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For these elaborate presentations, the Eameses drew upon their meticulously catalogued collection of approximately 350,000 slides: their very own "cabinet of curiosity. They married in 1941 and joined the westward migration to Los Angeles as the city was gearing up for World War II. Diagram by Charles.
Here she was a member of the Art Club, the Big Sister Club, and is on the decorating committee for the senior dance. Ray Eames did not do drawings, but she documented and kept track of everything that was worked on in the In 1947, Eames created several textile designs, two of which, "Crosspatch" and "Sea Things", were produced by Schiffer Prints, a company that also produced textiles by Between 1943 and 1978, the Eames Office produced numerous furniture designs that went into commercial production, many of which utilized plywood. Charles (américain, né le 17 juin 1907 à Saint-Louis – décédé le 21 août 1978 à Saint-Louis) et Ray Eames (américaine, née le 15 décembre 1912 à Sacramento – décédée le 21 août 1988 à Los Angeles) sont des designers connus pour leurs contributions innovantes dans le domaine de l’architecture, du mobilier, du design industriel et de la fabrication.
Lent by Lucia Eames (A-51)
Le Bureau Eames. Charles became one of the country's leading cultural diplomats, helping to shape arts-related programs through his service on various councils. The Eameses moved in on Christmas Eve and it became their only residence for the remainder of their lives. In 1933, Eames graduated from the May Friend Bennett Women's College in Millbrook, New York (where her art teacher was Lu Duble), and moved to New York City to study Eames lived alone in New York City until she left the Hoffman Studio to return home to care for her ailing mother.
Their lives and work represented the nation's defining movements: the West Coast's coming-of-age, the economy's shift from making goods to producing information, and the global expansion of American culture. The Eameses also developed new partnerships with universities and government agencies, as their interests expanded beyond the design of objects.In the 1930s Ray exhibited her paintings and studied with Hofmann, one of the decade's most important teachers and painters.Announcement for Hans Hofmann's School, 1933 printed document. Courtesy Cranbrook Archives (A-19c)Sketches and Notes by Ray of Ringling Brothers Circus Acts at New York's Madison Square Garden, 1938, pencil on paper.
an article published in At Cranbrook, Charles was a design instructor from 1939 to 1940. Charles et Ray Eames comptent parmi les personnalités du design les plus importantes du XXe siècle. Separately from Charles and the Eames Office, she designed twenty-seven cover designs for the journal Ray Eames had a sense for form and color and is largely responsible for what is recognized as the Eames "look". Lent by Cranbrook Art Museum (A-38)Co-authors Eames and John Entenza advocated innovative uses of wartime materials and technologies, as well as collaborations with sociologists, economists, and scientists, to solve the housing shortage.Charles's diagram for "What is a House?" "A Sample Lesson," an experimental, multimedia course presented at the University of Georgia and then at UCLA, sought to break down the barriers of the typical university curriculum in order to de-compart-mentalize students' thinking and create free and intuitive learners.Beginning with the film The Information Machine in 1957, the Eameses helped IBM make science and technology accessible to lay people through a series of more than 50 films, exhibitions, and books.Pages from Charles's Proposal for an Exhibition about Computers at IBM's Headquarters in Armonk, New York, August 1967, pencil and ink on paper with typed text.
Edna died in 1940.By September 1940, Eames was entertaining the idea of moving to and building a house in California. Charles's Notes from a National Council on the Arts Meeting, 1973, handwritten notes on paper. Charles's Notes for a Lecture, circa 1974, pencil on paper. Lent by Lucia Eames (A-17)Charles and Ray met at the Cranbrook Academy of Art outside Detroit in 1940. Design by Ray, 1933-34, photographic reproduction. She spent her formative years in the orbit of New York's modern art movements and participated in the first wave of American-born abstract artists.Designed for the California Museum of Science and Industry in Los Angeles, Mathematica was the first of many major science exhibitions produced by the Eames Office.Ray and Charles Working on a Conceptual Model for the Exhibition Mathematica, 1960, photograph. Dot Pattern was never commercially produced.First submitted to a competition at New York's Museum of Modern Art in 1947, Crosspatch was then commercially produced by Schiffer Prints.The Eameses' correspondence with Henry Ford urged him to make "standard production models" and demonstrated their confidence that industry and designers could collaborate to produce beautiful, mass-produced goods.Letter from Charles (With Draft by Ray) to Henry Ford II, August 26, 1954, handwritten and typed letters. Like Ray's magazine covers, her textile designs translated abstract art into useful, everyday objects.
Because of post-war material rationing, the materials ordered for the first draft of the Eames House (called “the Bridge House”) were backordered. Ray and Charles Working on a Conceptual Model for the Exhibition Mathematica, 1960, photograph.
Their lives and work represented the nation's defining movements: the West Coast's coming-of-age, the economy's shift from making goods to producing information, and the global expansion of …