The work of these pioneers took place at a difficult time. In the 1930s, Europe was dealing with many social and economic issues: Germany was struggling with the consequences of reparations demanded by the victorious Allies after World War I, including massive inflation and the rise of the Nazi party; Spain was engaged in a deadly civil war; the Soviet Union was in the throes of a widespread famine; and anarchists, communists and fascists were building their organizations. In 1930 the Great Depression began in America and quickly spread throughout the world. France was rocked by violent labor strikes, including the strike of 1936, which caused the cancellation of the race at Le Mans.

Against this background, the rich and aristocratic clung to a way of life that would disappear with the beginning of World War II. As long as their fortunes remained intact, however, they were able to commission automobiles of great luxury and beauty, tailored to fit their individual tastes and demands. Cars were shown at various Concours d’Elegance and the top couturiers of the time, including Elsa Schiaparelli and Coco Chanel, joined with the car designers to create high fashion ensembles. Photographs of the period often show glamorous ladies beside the cars, dressed in couture outfits that matched the cars in color and style. In spite of the problems of the era, these cars never lacked for buyers or passionate admirers.

The demand for speed and efficiency was another strong motivator. Norman Bel Geddes, a visionary of American streamlined forms said, “Speed is the cry of our era, and greater speed one of the goals of tomorrow.” This desire in turn led the Germans to the construct the Autobahn, the first high- speed roadway. The new road systems allowed designers to flex their muscles and work without limits. Car manufacturers were able to make faster, more efficient engines producing more horsepower for greater speed. Interest was especially strong in Germany where future designs for engines and warplanes were first tested in racecars.

Another startling development was the availability of color. Working almost simultaneously, the Dupont Company in the United States and Nitrolac in France formulated brilliantly pigmented paints, and coachbuilders immediately applied the bright colors, including fresh metallic paints, to their cars. Fashion designers used these same colors in their new looks.

In 1925, the Exposition des Arts Décoratifs was held in Paris. For the first time, industrial designers and stylists came together at the cultural center of Europe to discuss future trends and display their ideas. Streamlining was one outcome. In 1927 General Motors established its first Art and Color Section, with Harley Earl as director. Earl’s contribution to streamlining was to take the separate, exposed features of the car and develop them into a sculpted unit, not as an outgrowth of the horse and carriage, but as an entirely new design for a new machine.

In the United States, the streamlining movement really gathered momentum with the 1933-34 Chicago World Fair, called the “Century of Progress.” At the Fair, Chrysler caused a styling sensation with its introduction of the Airflow. The car was designed using wind tunnel technology created with the help of Orville Wright, the American pioneer aviator, and the influence of Paul Jaray. The Airflow pulled the pontoon-shaped fenders into the body sides and rounded the front and rear of the car. The normally detached parts (such as the lights) were incorporated into the basic body envelope, producing a new streamlined shape never seen before. Millions of people came to see the Chrysler display of new cars, which changed car designs from upright and boxy in shape to soft and curvaceous. Some of these designs went on to great success, while others never caught on. The Peugeot 402, for example, was an immediate hot seller, but the Chrysler Airflow’s beautiful design was too far ahead of its time and so far beyond the experience of the American buyer that it became a commercial failure.

Just as World War II marked the end of the streamlining decade in Europe, the New York World Fair of 1939 marked the end of the movement in the United States. However, before it closed its doors, the fair showcased a Delahaye Type 165 V-12 featuring a Figoni body, which we are lucky to be able to feature in this exhibit. The car’s compound curves enveloped the body with a flamboyant aerodynamic balance, and its innovative features included a rolldown retractable windshield, disappearing top and a new race bred V-12 engine. When war broke out, the car remained in America.

Streamlining heralded a new progressive movement in the style, design, and construction of all things in motion, and it left behind a legacy of improved technology that relied on strict industry standards. Wind testing moved from a novelty to an accepted practice. While streamlined styling in the United States was more visual and decorative than functional, Europe continued to focus on aerodynamic cars and fuel-efficient motors. From the first bullet car in 1899 to the present day Peugeot, European automobile manufacturers have developed the streamlined style, producing cars that are sleeker and more fuel-efficient and, ultimately, better suited to the higher price of fuel and the geography of their cities.

The French Curves exhibition focuses on French aerodynamic cars produced between 1930 and 1939, and on their inspired creators. These works of art continue to influence the major automobile manufacturers around the world who look back to the classic styles of the 1930s and 1940s in the creation of retro-styled cars. Many years have gone by, but the cars for the most part have survived—a testimony to the admiration they inspire. The revival of the Concours d’Elegance, starting with Pebble Beach, has also been instrumental in their preservation. The fortunate owners are comforted by the fact that their automobiles have become extremely valuable works of art. The popularity of these models is a testimony to the enduring beauty of streamlined designs dreamed up so long ago. —Richard Adatto

About the author: Richard Adatto is a noted car historian and author of From Passion to Perfection—The Story of French Streamlined Styling, 1930-1939 published in France in 2003 and lavishly illustrated by color photographs by Jean-Paul Caron and many historical images. The book was recently awarded the “Grand Prix for the Year’s Most Beautiful Book” by the XIX Jury of the International Automobile Festival of France. The book was edited and researched by Diana Meredith.

Richard Adatto and Diana Meredith will be present to sign copies of the book at the Museum’s 10-Year Anniversary Gala on Thursday, June 24.

The exhibition French Curves: The Automobile as Sculpture will be on view from June 11, 2004 through January 23, 2005.