Stoel met hoge rug bekleed met oranje velours c. 1925

Curator: Ah, here's a splendid example of Art Deco design. This is a chair from around 1925, "Stoel met hoge rug bekleed met oranje velours"— or, "Chair with a High Back Upholstered in Orange Velvet". It's the work of Klaas van den Berg. The materials combine wood and textiles in a rather striking way. Editor: It’s…severe, isn’t it? Almost unsettlingly upright. The high back in that dense orange velvet evokes a kind of royal discomfort to me. It seems less like a chair meant for relaxation and more like a throne for introspection, or maybe even penance. Curator: Precisely! That austerity aligns perfectly with the post-war sensibilities that influenced Art Deco. It’s a departure from the frivolous ornamentation of the pre-war era, leaning towards streamlined functionality while still retaining a sense of luxury through the choice of materials. Van den Berg understood the need to project a new image of Dutch society, modern but grounded. Editor: Orange, though, is such a powerful choice. It doesn't whisper, it commands. Is it a symbol of warmth and vitality against the cold wood structure, or perhaps an emblem of the dramatic social changes roiling society at the time? The elongated back almost resembles a flame... or perhaps, a stylized depiction of power. Curator: Yes, color held tremendous socio-political weight. Orange of course being intrinsically tied to the Netherlands. It might be seen as the artist and designer aligning themselves and their work within a very specific national context, and history. Beyond the shape it gives the chair context, linking it to traditional ideas and a sense of burgeoning Dutch identity. Editor: And consider the tactile impact – the contrast of smooth wood and plush velvet, both whispering promises and perhaps inaccessible power, because of the design’s obvious inflexibility and unyielding upright stance. Is it even a comfortable chair? Curator: Probably not! But comfort wasn't necessarily the primary goal. This piece is more about conveying status and embodying a modern aesthetic. It's a design statement, intended to be admired and, indeed, discussed. Editor: Ultimately, the piece asks how and what our furniture is, in both public and private contexts, because if nothing else it's made me think. Curator: Indeed, its rigidity compels reflection on the social function of furniture and the aspirations it embodies. Thank you for helping to make our visitors also reflect!