Félix AUBLET Tahar was born in Tunis on February 25th, 1903 in a "bourgeois" environment. His father, Albert Aublet embraced a painting career, he was rewarded on numerous occasions.
After numerous journeys for study, the Aublet family settles down in Tunisia. This period remains dark, indeed we know only very few things. What we are certain about is that every year, the family left Neuilly to pass time in the family palace in Tunis.
His passion for the Orient was such that the family home in Neuilly looked like an Oriental villa.
Thus, Félix was immersed in a convenient environment for the forming of an artist. He gave evidence of precocity in painting and in drawing. When the family stayed in Paris, Félix frequented the Art college of Paris. His father made him integrate the studio of Cormon in 1914; he was also registered in those of Pierre Laurens, Ernest Laurent and Louis Roger.
The Félix Aublet's first paintings were exhibited in Tunisia from 1918. In France, he exposed only from 1925 in the salon of the French Artists.
The first official command and the first participation in an International Exhibition of Félix Aublet is bound to his work as painter and in his debuts as creator of furniture. This was during the Colonial and International Exhibition of Paris in 1931.
It is not easy to define the exact date of the beginning of his activity as "designer" and creator of forms. Nevertheless, the first dated testimonies are situated around 1925.
Numerous meetings are going to illuminate his life as that of Robert and Sonia Delaunay in 1935 in an exhibition. They found many occasions to work together.
Félix Aublet and Robert Delaunay founded Art and Light, an association bound to the problems of light; preoccupation which they shared with numerous architects of the UAM such as Robert Mallet-Stevens.
Aublet is then seen as one of the creators of his time and one who expressed the best the environment adapted to modern life as demanded by the Manifest of the UAM.
In the 40s ', Aublet also collaborated in installations with Nicolas de Staël for the "cabaret de l'aigle d'or" in Nice.
Besides their various meetings or the relation which he maintained with Le corbusier, as well as the discovery of the art déco in 1925 during the opening of the international Exhibition of the Decorative and industrial Arts, what credibly steered Aublet towards the creation of determinedly modern forms is doubtless his taste for the modernity, for the speed, for the evolution or the light.
As a matter of fact, it is collectively allowed that Felix Aublet's work testifies ceaselessly of a changing world.
For him the Art and the technique make only one; he tempted the synthesis of the knowledge of his time, turning to good account all the acquisitions of the modern technique.
The passion which he maintains with painting will not stop during all his career simultaneously in his commitments in the creation of furniture, the internal architecture and the advertisement. Félix approached the creation of piece of furniture in 1932. He said that Corbusier " will be his first master ". His commitment in the creation of furniture with metal structure shows his passion for modern life and the impact of the ideas of Le Corbusier.
It is necessary to note that Félix Aublet also contributed to the emergence of tubulaire steel furniture beside Thonet or Strafor.
Aublet begans with bulimia. It is enough to take for example his workshop which was very active during the decade of the 30s '.
The numerous prestigious commands which he received show it (the apartments of Mr François Pernod or Mr François Barret). These decorations are the occasion for Félix to create new modular furniture.
Aublet also received state commissions (The Farmer Company of Vichy and the Foch Foundation) where metal, iron, and steel reign as the main materials used.
Another facet of the artistic palette of Aublet, are his advertising works. Indeed, he managed advertising campaigns such as that of Cinzano from 1948.
Finally, in 1952 he participated in the exhibition " The Genius of the industry ", organized by Georges Waldemar to the Museum of the Decorative Arts of Paris and in association with the review Art and Industry.
Painting became his main activity when an accident in 1959 forced him to stop all the other occupations.
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