Biography of Henri Rapin

In Paris, Henri Rapin was born in 1873. Filling in as a painter, artist, furniture designer, and decorator was HENRI RAPIN. At the Ecole des Beaux-Arts, he studied under the tutelage of neoclassical artist Jean-Leon Gerome and J. Blanc.
Henri Rapin began showcasing his artistic creations at the Salons of the Societe des Artistes Francais in 1900, and then the Salon d’Automne in 1910. Even though his original designs were quite simple, they became increasingly complex about 1910, and he began using unusual materials, such as cut wood boards by Charles Hairon and Eve Le Bourgeois. Munich Furniture and Handcrafts Workshops’ skillfully created designs that year were the source of these more intricate outlines.
Global Exhibition Henri Rapin’s design for a red Morocco leather trunk won the “Diplôme d’Honneur” 1905–1930 of Modern Industrial and Decorative Arts.

In 1924

Henri Rapin transitioned from being a master executive at the Ecole du Comite des Dames de l’Union Centrale des Arts Decoratifs to Principal at the Manufacture Nationale de Sevres.
Henri Rapin created a variety of interior designs for Parisian stores, theaters, and execution lobbies. Among his noteworthy projects is the 1932 completion of the Art Deco mansion that is now the Tokyo Metropolitan Teien Museum of Art.
Henri Rapin served as an artistic consultant for Sèvres, a porcelain producer, from 1920 to 1934. Lighting fixture ceramic blanks were commercially successful, allowing Sèvres to lessen its reliance on French money in 1927. It made Sèvres less financially reliant on the French government.
It served as the residence of His Imperial Highness Yasuhiko of Asaka, the head’s cousin and the husband of a former sovereign’s daughter, until World War II. The Prince Asaka studied in France in the middle of the 1920s and was struck by the country’s way of life, particularly the marvels he witnessed at the 1925 Paris L’Exposition Internationale des Arts Decoratifs et Industriels, a historic occasion that marked the emergence of geometric and streamlined classicism that would later come to be known as “Art Deco.” With a resolve to carry a little bit of the new style with him, the monarch returned to Japan.
Grand Salon was planned by Henri Rapin furniture for Ruhlmann’s Hotel d’un Riche Collectioneeur, the introduction and lounge area of L’Art a l’Ecole, the building of Sevres containing the several different spaces at the 1925 Exposition referenced to above, and the Une Ambassade Francaise with Pierre Selmersheim. In fact, Rapin was the one who suggested to Paul Leon, the right-hand Commissioner General for the 1925 Exposition, that the Societe des Artistes Decorateurs be organized to submit a project in line with the theme of the Exhibition: a fully furnished and ready model of a French Embassy.