If technological advances in the postwar years allowed for the development of new aesthetics, Panton's chair must be seen as one of the most extraordinary examples. It marks the first instance in which both technique and material define appearance: injection-molded plastic allows for a single-material, single-form chair. The decorative effect is achieved through the sculptural quality and the use of vivid color-the plastic could be dyed almost any shade. Easy to mass-produce and inexpensive (the chair originally sold for $75), these stacking chairs typify the 1960s populist approach to furniture design.
Herman Miller, Inc., Zeeland, Mich. (until 1986; gift to MMA)
New York. The Metropolitan Museum of Art. "Modern Design: 1890–1990," April 21–November 22, 1992, no catalogue.
New York. The Metropolitan Museum of Art. "A Century of Design, Part III: 1950–1975," November 28, 2000–April 1, 2001, no catalogue.
New York. The Metropolitan Museum of Art. "Modern Design," March 30–December 3, 2006, no catalogue.
New York. The Metropolitan Museum of Art. "Masterpieces of Modern Design: Selections from the Collection," May 30–October 5, 2008, no catalogue.
R. Craig Miller. Modern Design in The Metropolitan Museum of Art 1890–1990. New York, 1990, ill. p. 199, calls it "Side Chair".
Rita Reif. "Making Connections Via Squares and Curves." New York Times (May 31, 1992), p. H31, ill.
Mathias Remmele inVerner Panton: The Collected Works. Ed. Alexander von Vegesack and Mathias Remmele. Exh. cat., Vitra Design Museum. Weil am Rhein, 2000, pp. 75–99, ill. (color and bw).
Elizabeth Wilhide. Living with Modern Classics: The Chair. New York, 2000, pp. 54–55, ill. (color).
John R. Berry. Herman Miller: Classic Furniture and System Designs for the Working Environment. London, 2005, p. 33, ill.
Ina Grätz inVerner Panton: Die Spiegel-Kantine. Ed. Sabine Schulze and Ina Grätz. Exh. cat., Museum für Kunst und Gewerbe, Hamburg. Ostfildern, 2012, pp. 28–29, ill.