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He was well prepared through his formal training and professional career to demonstrate his theories pictorially, as he had extraordinary skills as a draftsman and model maker and produced remarkably beautiful, refined drawings. It was his belief that the sounds of music could be made visual. Instead, he began to evolve an intricate and complex theory using the medium of colored pencil drawings. He did not, however, retire to lament the passing of an architectural era or his own sculptural career. It is perhaps the first large structure, with the exception of the Auditorium Building in Chicago, to carry through a significant scheme of decoration."īy the mid-1940s the International Style in architecture was rapidly making traditional architectural decoration either functionally untenable or aesthetically undesirable, and John De Cesare retired. Lewis Mumford stated that, "the real triumph of the Barclay-Vesey Building is its ornament.
It was also one of the earliest buildings in America to incorporate ornamentation into its design. The Barclay-Vesey Building, 1923–26, now a historic landmark and one of the most distinguished architectural monuments of the 1920s, was the first and most influential example of the "set-back" formula characteristic of skyscraper design in the late 1920s and 1930s. For twenty-five years he was an innovative and highly successful architectural sculptor, who provided ornament for some of the earliest and most important Art Deco buildings in America.īetween the years 19 John De Cesare’s firm, Stifter and De Cesare, working primarily in conjunction with the architectural firm of Voorhees, Gmelin and Walker (now Haines, Lundberg and Wachler) supplied the sculptural decoration for many New York city structures, including the Empire State Building, the Barclay-Vesey Building, and the Irving Trust Company Building. The name of John De Cesare (1890–1972) is not unfamiliar to students of Art Deco architecture. Saturated brings together extraordinary rare books from Smithsonian Libraries and compellingly colorful objects from Cooper Hewitt's permanent collection to explore how the sensory experience of color has been conceived by history's greatest color thinkers, visualized with graphic tools and models, and used by designers to bring both order and excitement to our visual world. Used effectively, color helps us to navigate our physical world, organize and ingest information, and make decisions as consumers. Yet designers deploy color everyday, across an incredibly wide array of media. Color perception is an elusive, complex phenomenon that is still not fully understood, despite centuries of research by artists and designers, scientists and philosophers. An objective, quantifiable event, color is also a subjective personal experience, different for every person and deeply intertwined with language and memory.
Hardin, Color for Philosophers, 1988Ĭolor shouts or whispers to us from every corner of our world, saturates nearly every surface we touch. 18pt 20pt 22pt 24pt 26pt 28pt Saturated: The Allure and Science of ColorĬolor is an illusion, but not an unfounded illusion.
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