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After studying at the École nationale supérieure des Arts Décoratifs, he apprenticed with Jacques Gruber. Ingrand established his own practice in Paris, creating religious, mythological, and decorative works using advanced glass techniques. His notable projects included the furnishings for the Normandie ocean liner and the Royal Palace of Romania. In 1954, he became the Artistic Director of Fontana Arte, modernizing their production. He also designed iconic lighting and mirrors. After leaving Fontana Arte in 1967, Ingrand founded Verre Lumière.",[],[107,115,140,148,156,172,188,196,212,220],{"_key":108,"_type":8,"children":109,"markDefs":114,"style":25},"a5fa6cada3c9",[110],{"_key":111,"_type":12,"marks":112,"text":113},"c586454d5f0c",[],"Born in 1908, the French designer attended the École nationale supérieure des Arts Décoratifs for a few years until, in 1927, he joined the atelier of the renowned glassmaker Jacques Gruber, famous since the Art Nouveau era for his extraordinary polychrome stained glass windows. This apprenticeship was fundamental in providing him with the foundation to specialize in stained glass, a field in which he would later achieve international fame.",[],{"_key":116,"_type":8,"children":117,"markDefs":139,"style":25},"d205c92f8015",[118,122,127,131,135],{"_key":119,"_type":12,"marks":120,"text":121},"7743af6398b2",[],"He established an independent practice in Paris with his first wife, Paule Rouquié, creating works of religious, mythological, and interior decorative nature. He employed crystal panels engraved through refined sandblasting techniques, etching, and the addition of silver and gold plating. By the mid-1930s, Paule and Max Ingrand’s work in glass had already garnered the attention of Gio Ponti, who dedicated an article to them in ",{"_key":123,"_type":12,"marks":124,"text":126},"d48aec2cb2db",[125],"em","Domus",{"_key":128,"_type":12,"marks":129,"text":130},"dbe780b2c0bd",[]," in 1936—the same year some of their pieces were showcased at the Milan Triennale. Among their most notable works from this period were the furnishings of the grand salons of the ",{"_key":132,"_type":12,"marks":133,"text":134},"26e411ddae7b",[125],"Normandie",{"_key":136,"_type":12,"marks":137,"text":138},"5aaf6aeb8231",[]," ocean liner, which was tragically destroyed in a fire in the New York harbor in 1942, as well as projects in the Royal Palace of Romania in Bucharest and the decorated mirrored ceilings of Baron Empain’s villa in Brussels.",[],{"_key":141,"_type":8,"children":142,"markDefs":147,"style":25},"d577eb0d26e7",[143],{"_key":144,"_type":12,"marks":145,"text":146},"e893614c7087",[],"After World War II, Ingrand, along with his second wife, moved to Neuilly-sur-Seine while continuing to work with his Parisian studio. The studio, expanded under a project by architect Pierre Vago, grew to occupy an area of 800 square meters and employed up to fifty artisans. Over time, Ingrand’s interests broadened, particularly in the fields of lighting and furniture. He produced small-series lamps, custom-designed pieces, mirrors with thick crystal treated like precious stones, screens, and tables with illuminated tops.",[],{"_key":149,"_type":8,"children":150,"markDefs":155,"style":25},"731789e9bedc",[151],{"_key":152,"_type":12,"marks":153,"text":154},"393e2fdd8132",[],"In 1954, Ingrand was appointed Artistic Director of Fontana Arte, a role he took on at the strong encouragement of Gio Ponti and Pierre Vago, who saw him as the perfect successor to Pietro Chiesa. Balancing his time between his well-established Parisian studio and Milan, Ingrand significantly reshaped Fontana Arte’s production, modernizing it to align with emerging market trends while preserving the typological and qualitative characteristics that had made the company world-famous.",[],{"_key":157,"_type":8,"children":158,"markDefs":171,"style":25},"ae565dab462a",[159,163,167],{"_key":160,"_type":12,"marks":161,"text":162},"23d095a6a115",[],"The lighting sector, in particular, saw remarkable expansion, with innovative models that skillfully combined crystal with brass and aluminum, progressively moving away from wood. Only a few of Ingrand’s lamp designs were explicitly credited to him in Fontana Arte’s catalogs (",{"_key":164,"_type":12,"marks":165,"text":166},"2379041239b5",[125],"Quaderni",{"_key":168,"_type":12,"marks":169,"text":170},"1c4b18a43e30",[],"), such as the iconic lamp-sculpture, model no. 2533, and the timeless table lamp with an opal diffuser base, model no. 1853, which remains in production today.",[],{"_key":173,"_type":8,"children":174,"markDefs":187,"style":25},"acbe659bb938",[175,179,183],{"_key":176,"_type":12,"marks":177,"text":178},"085acab2dc9a",[],"Mirrors also enjoyed great success under Ingrand’s direction, adorned with thick crystal elements—sometimes cut like gemstones—or featuring rough, \"torn\" edges that enhanced the glass's reflective qualities. Additionally, his large chandeliers with curved crystal elements, such as the ",{"_key":180,"_type":12,"marks":181,"text":182},"788913de0b9d",[125],"Dahlia",{"_key":184,"_type":12,"marks":185,"text":186},"2b6ab7837b39",[],", became a hallmark of luxury furnishings in the 1950s and 1960s. A particularly grand version was presented at the 1958 Universal Exposition in Brussels.",[],{"_key":189,"_type":8,"children":190,"markDefs":195,"style":25},"7ba8753ce086",[191],{"_key":192,"_type":12,"marks":193,"text":194},"181d2fa19c20",[],"In 1955, under Ingrand’s direction, Fontana Arte’s stores in Milan and Rome were renovated. The Milan store, particularly the one on Via Montenapoleone, featured an interior design based on a regular sequence of large mirrors that created the illusion of expanded space—a concept later adopted for Fontana Arte’s exhibition space at the 1958 Milan Fair. During the 1960s, Ingrand shifted his focus toward interior architecture, securing prestigious commissions such as the hall of RTF (French Radio Television), the Peugeot Palace, and the Rond-Point fountains on the Champs-Élysées in Paris.",[],{"_key":197,"_type":8,"children":198,"markDefs":211,"style":25},"8c6d207b4814",[199,203,207],{"_key":200,"_type":12,"marks":201,"text":202},"1aa1053e5aca",[],"After leaving Fontana Arte in 1967, he continued working from his Parisian studio and founded the new company ",{"_key":204,"_type":12,"marks":205,"text":206},"407b56051599",[125],"Verre Lumière",{"_key":208,"_type":12,"marks":209,"text":210},"f94a35fe9e83",[]," in collaboration with the Saint-Gobain glassworks and the Mazda lamp factory. 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