Guy de Rougemont began his career studying at l’École Nationale Supérieure des Arts Décoratifs in Paris. Recognized for his use of vivid colors and geometric patterns, De Rougemont imbues his work with tension and controversy while incorporating painterly gestures and sculptural forms. De Rougemont’s use of bold industrial materials such as acrylic and metals furthers his aim to create design that permeates its surroundings. “I came to furniture because I wanted to bestow a function on the volumes of sculpture, yet forfeit none of their ambiguity; is it function or not function?” (Bony, Furniture & Interiors of the 1970s, p. 102). Reminiscent of Henri Matisse’s Snail (1953), the present lot conveys a whimsical and painterly attitude while staying true to De Rougemont’s goal of disruptive forms in space.

Together with Éric Seydoux, De Rougemont formed the Atelier Populaire in 1968 at the École Beaux-Arts, Paris. He would later become a member in 2002. His public commissions include a large fresco in the forecourt of the Musée d’Orsay and a sculptural installation at the Hakone Open Air Museum in Japan.