xecution must be as simple and logical as possible (...), it must not be blocked by anything and it must be out in the open (...), but what is essential is the structure ( of a piece) of furniture, the architecture of (a) vase, and their precise location....” These words could certainly be attributed to Jean Prouve, “but they are actually the words of his godfather, Emile Galle, from an article he wrote in the year 1901, the year Jean was born.” Prouve grew up surrounded by the ideals and energy of the school as he later stated, “I was born at the Ecole de Nancy”. Jean and his siblings grew up in this environment of continuous exchange of ideas between artists, intellectuals, and manufacturers. Although Jean Prouv did not attach himself to any particular aestheticc, the powerful influence of "L’cole de Nancy" on his work is evident. He has said “I was raised in a world of artists and scholars, a world which nourished my mind. But I was a worker, so I had perfect knowledge of the work and the materials” Coming from this background, Prouve naturally turned to a career in design. “He was fond of machinery-automobiles, aircraft and bridges-and observed that architecture was not benefitting from new technical improvements. He therefore resolved to fill a need which seemed generally neglected and planned to become an engineer.” However these plans were disrupted with the outbreak of World War 1. During this period, Prouve found work as an ironmonger. Prouv was first apprenticed to a blacksmith, mile Robert, and then to the metal workshop of Szabo. His training with these ironworkers gave Prouve experience in the workshop, a place of artistic production and manufacturing. Here he acquired many skills and was exposed to organized labour based on the sharing of tasks and working class conditions. Prouve opened his own studio in Nancy, in 1923. Th...
