From left to right: 'Three-arm wall light' by Serge Mouille, 1958, courtesy of Timothy Taylor Gallery; 'Lit de Silence (Text. XL)' by Jean Dubuffet, 1958, courtesy of Acquevella Galleries and Timothy Taylor Gallery; 'T1947-31' by Hans Hartung, 1947, courtesy of Foundation Bergman Hartung and Timothy Taylor Gallery; and 'Five-door cabinet' by Charlotte Perriand, 1958, courtesy of Timothy Taylor Gallery. Photograph by Todd-White

馆长艾玛·德克斯特(EmmaDexter)说，20世纪50年代法国出现了很大的团结，但思想却有很大的多样性。但艺术家和设计师之间的相似之处远不止于美学。哈通也全心全意地进入了世纪中叶的现代主义概念。

'Bureau Standard', 1942, and 'Chaise Standard', 1950, by Jean Prouvé, courtesy of Timothy Taylor Gallery, and prints by Hans Hartung, 1953-1957, courtesy Foundation Hartung Bergman. Photograph by Todd-White

'Nagasaki' table (large) and chairs and 'Kangourou' table (small) by Mathieu Matégot, 1954, courtesy of Jousse Enterprise and Timothy Taylor Gallery. Paintings, from left to right: 'La Raie', 1963, and 'Le Cirque, Les trapezistes', 1957, by Bernard Buffet, courtesy of Galerie Maurice Garnier. Photograph by Todd-White

From left to right: 'La Sauterelle, petite' bronze by Germaine Richier, 1944, from a private collection; 'Mexique' bookcase by Charlotte Perriand, circa 1953, courtesy of Timothy Taylor Gallery; 'Femme nue debout' by Bernard Buffet, 1953, courtesy of Galerie Maurice Garnier; and 'Texturologie X' by Jean Dubuffet, 1957, courtesy of Acquevella Galleries and Timothy Taylor Gallery. Photograph by Todd-White

‘Nagasaki’ by Mathieu Mathieu Matégot, 1954, courtesy of Jousse Entreprise and Timothy Taylor Gallery 

'L'Effraye' by Jean Dubuffet, 1951, from a private collection

'Femme nue debout' by Bernard Buffet, 1953, courtesy of Galerie Maurice Garnier

'La Raie' by Bernard Buffet, 1963, courtesy of Galerie Maurice Garnier

'Texturologie X' by Jean Dubuffet, 1957, courtesy of Acquevella Galleries and Timothy Taylor Gallery