André Arbus has a real sense of the aestheticism that he wants to give each of his objects. It is purely material, yet also a spiritual search, acheived by adding charm and a humanistic touch to all of his executions. Arbus received an apprenticeship in cabinetry in Toulouse, in the atelier of his father and his grandfather. He then establishes himself in Paris in 1932. In 1933, he obtains the Prix Blumenthal de la décoration and creates some invaluable, robust pieces, as if established by an architect they are logically equipped with bases, façades, entablatures, sculptural ornaments and painting all of which reheighten the eloquence of his vast selection of cabinetry.
This fashion of conceiving furniture won over the public because the arguments for soul comforting pieces completed the actual physical comfort of the works. Rapidly, the Arbus models gave birth to a style that a number of young decorators contributed by their variations to expand this style. The mix of logic and delicacy put Arbus in the family of the classiques français.
He doesn't wish for a tactical return to the Decorative era of the XVIII century, but rather to inherite some of the virtues from this illustrious lineage. He tempts, with his original thought and the means that become available to mankind in the XXth century, to perpetuate their work and their savoir-faire. Having thought about structure and furniture in architecture, Arbus must adapt his dominating ability to larger plans and manage these, all while continuing his efforts in cabinetry. He advances in the art of construction with the Maison de la famille française at the Exposition of 1937 and also at the Palais au Saolon des Artistes Décorateurs (1939). In 1942, he constructs many farmhouses in the prairies of Crau with the collaboration of Lucien Rollin. And on the Ilot du Planier, near Marseille, he becomes the designer of the most powerful lighthouse on the Mediterranean. Then Arbus is hired as the architect and decorator for a large ocean liner that is constructed in Newcastle and becomes the South American line.
The extent of Arbus's creative register shows us in this circumstance that various elements of the decoration will be like furniture (lustrious glass from Venice, wrought-iron ramps, brackets, etc.), conceived by Arbus in view of the harmony that they present together. It is always on a spiritual basis that André Arbus who was led by classical reasoning and architectural sense, undertakes his work up to the poin where function becomes the glance at a refined and agreable object.