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*[[Jozef Mehoffer]] (1869-1946)
*[[Jozef Mehoffer]] (1869-1946)
*[[Alfons Mucha]] (1860-1939)
*[[Alfons Mucha]] (1860-1939)
*[[Ze’ev Raban]] (1890-1970)
*[[Ze'ev Raban]] (1890-1970)
*[[Valentin Serov]] (1865-1911)
*[[Valentin Serov]] (1865-1911)
*[[Konstantin Somov]] (1869-1939)
*[[Konstantin Somov]] (1869-1939)

Revision as of 22:23, 13 March 2008

Staircase of the House of Victor Horta, one of the finest examples of Art Nouveau architecture.

Art Nouveau ([aʁ nu vo], anglicised /ˈɑːt nuːvəu/) (French for 'new art') is an international style of art, architecture and design that peaked in popularity at the turn of the 20th century (1890―1905)[1] and is characterized by highly-stylized, flowing, curvilinear designs often incorporating floral and other plant-inspired motifs. The design style is recognized during a fifteen year period and in several of western European centers, but the influence of the design language is recognized beyond the time and place of the original Art Nouveau.

The name 'Art Nouveau' derived from the name of a shop[2] in Paris, Maison de l'Art Nouveau, at the time run by Siegfried Bing, that showcased objects that followed this approach to design.

History of Art Nouveau

Art Nouveau was a movement that was broad based enough to encompass a whole lifestyle: it was possible to live in an art nouveau house with art nouveau furniture, silverware, crockery, jewelry, etc. In addition to Samuel Bing and his store the movement was defined and promoted by communal workshops, organized groups of designers, and periodicals of the time. The designers centered Art Nouveau in several European cities including Brussels, Nancy and Paris. In Brussels the style was actively developed with the help of Victor Horta and Henry Van de Velde.[3]

Despite the presence of the Maison de l'Art Nouveau, the style was not an immediate success in Paris. However, the entrances to the Paris Métro designed by Hector Guimard in 1899 and 1900 are famous examples of Art Nouveau architecture in Paris.

Bookcover of Arthur Mackmurdo, Wren's City Churches, 1883

In the United Kingdom Art Nouveau developed out of the Arts and Crafts Movement. The most important centre in Britain was Glasgow with the creations of Charles Rennie Mackintosh.

More localised terms for the phenomenon of self-consciously radical, somewhat reformist mannered chic that formed a prelude to 20th-century modernism include Jugendstil in Germany, Austria and many other countries, named after the avant-garde periodical Jugend ('Youth'), Młoda Polska ('Young Poland' style) in Poland, or skønvirke in Denmark, and Sezessionsstil ('Secessionism') in Vienna, where forward-looking artists and designers seceded from the mainstream salon exhibitions to exhibit on their own work in more congenial surroundings.

In Spain, the movement was centered in Barcelona and was known as modernisme. Architect Antoni Gaudí was the most noteworthy practitioner. Art Nouveau was also a force in Central and Eastern Europe, with the influence of Alfons Mucha in Prague and Moravia (part of the modern Czech Republic) and Latvian Romanticism (Riga, the capital of Latvia, is home to over 800 Art Nouveau buildings).

In Russia, the movement revolved around the art magazine Mir iskusstva ('World of Art'), which spawned the revolutionary Ballets Russes. In Italy, Stile Liberty was named for the London shop, Liberty & Co, which distributed modern design emanating from the Arts and Crafts movement, a sign both of the Art Nouveau's commercial aspect and the 'imported' character that it always retained in Italy.

Art Nouveau climaxed in the years 1890 to 1905. One of the first Art nouveau paintings can be found at Roquetaillade castle (France). Viollet-le-Duc restored the castle in the 1850's, and even though his ideal was to create a Gothic revival, his fresque in the keep of the castle is a pure example of "pre" Art Nouveau style -- organic movement and color.

The first stirrings of an Art Nouveau "movement" can be recognized in the 1880s, in a handful of progressive designs such as the architect-designer Arthur Mackmurdo's book cover design for his essay on the city churches of Sir Christopher Wren, published in 1883. Some free-flowing wrought iron from the 1880s could also be adduced, or some flat floral textile designs, most of which owed some impetus to patterns of High Victorian design.

Church of St. Elisabeth in Bratislava.

A high point in the evolution of Art Nouveau was the Exposition Universelle of 1900 in Paris, in which the 'modern style' triumphed in every medium. It probably reached its apogee, however, at the Esposizione Internazionale d'Arte Decorativa Moderna of 1902 in Turin, Italy, where designers exhibited from almost every European country where Art Nouveau flourished. Art Nouveau made use of many technological innovations of the late 19th century, especially the broad use of exposed iron and large, irregularly shaped pieces of glass in architecture. By the start of the First World War, however, the highly stylised nature of Art Nouveau design — which itself was expensive to produce — began to be dropped in favour of more streamlined, rectilinear modernism that was cheaper and thought to be more faithful to the rough, plain, industrial aesthetic that became Art Deco.

Architecture Outside of the Art Nouveau Centers

Although no significant artists in Australia are linked to the Art Nouveau movement, many buildings throughout Australia were designed in the Art Nouveau style. In Melbourne, the Victorian Arts Society, Milton House, Melbourne Sports Depot, Melbourne City Baths, Conservatory of Music and Melba Hall, Paston Building, and Empire Works Building all reflect the Art Nouveau style.

The spread of Art Nouveau in Portugal suffered a delay due to slowly developing industry, although the movement flourished. Especially in cities like Oporto and Aveiro, in which can be found numerous buildings influenced by European models mainly by French architecture.

Character of Art Nouveau

Dynamic, undulating, and flowing, with curved 'whiplash' lines of syncopated rhythm, characterized much of Art Nouveau. Another feature is the use of hyperbolas and parabolas in windows, arches, and doors. Conventional moldings seem to spring to life and 'grow' into plant-derived forms. Like most design styles, Art Nouveau sought to harmonize its forms. The text above the Paris Metro entrance follows the qualities of the rest of the iron work in the structure.[4]

As an art movement it has affinities with the Pre-Raphaelites and the Symbolism movement, and artists like Aubrey Beardsley, Alphonse Mucha, Edward Burne-Jones, Gustav Klimt, and Jan Toorop could be classed in more than one of these styles. Unlike Symbolist painting, however, Art Nouveau has a distinctive visual look; and unlike the backward-looking Arts and Crafts Movement, Art Nouveau artists quickly used new materials, machined surfaces, and abstraction in the service of pure design.

Art Nouveau in architecture and interior design eschewed the eclectic revival styles of the Victorian era. Though Art Nouveau designers selected and 'modernized' some of the more abstract elements of Rococo style, such as flame and shell textures, they also advocated the use of highly stylized organic forms as a source of inspiration, expanding the 'natural' repertoire to embrace seaweed, grasses, and insects.

Japanese wood-block prints, with their curved lines, patterned surfaces, contrasting voids, and flatness of visual plane, also inspired Art Nouveau. Some line and curve patterns became graphic clichés that were later found in works of artists from all parts of the world.

Art Nouveau did not negate the machine as the Arts and Crafts Movement did, but used it to its advantage. For sculpture, the principal materials employed were glass and wrought iron, leading to sculptural qualities even in architecture.

Art Nouveau is considered a 'total' style, meaning that it encompasses a hierarchy of scales in design — architecture; interior design; decorative arts including jewelry, furniture, textiles, household silver and other utensils, and lighting; and the range of visual arts. (See Hierarchy of genres.)

Art Nouveau media

Two-dimensional Art Nouveau pieces were painted, drawn, and printed in popular forms such as advertisements, posters, labels, magazines, and the like.

Glass making was an area in which the style found tremendous expression — for example, the works of Louis Comfort Tiffany in New York, Charles Rennie Mackintosh in Glasgow and Émile Gallé and the Daum brothers in Nancy, France.

Jewelry of the Art Nouveau period revitalised the jeweler's art, with nature as the principal source of inspiration, complemented by new levels of virtuosity in enameling and the introduction of new materials, such as opals and semi-precious stones. The widespread interest in Japanese art, and the more specialised enthusiasm for Japanese metalworking skills, fostered new themes and approaches to ornament.

For the previous two centuries, the emphasis in fine jewelry had been on gemstones, particularly on the diamond, and the jeweler or goldsmith had been principally concerned with providing settings for their advantage. With Art Nouveau, a different type of jewelry emerged, motivated by the artist-designer rather than the jeweler as setter of precious stones.

The jewelers of Paris and Brussels defined Art Nouveau in jewelry, and in these cities it achieved the most renown. Contemporary French critics were united in acknowledging that jewelry was undergoing a radical transformation, and that the French designer-jeweler-glassmaker René Lalique was at its heart. Lalique glorified nature in jewelry, extending the repertoire to include new aspects of nature — dragonflies or grasses — inspired by his encounter with Japanese art.

The jewelers were keen to establish the new style in a noble tradition, and for this they looked back to the Renaissance, with its jewels of sculpted and enameled gold, and its acceptance of jewelers as artists rather than craftsmen. In most of the enameled work of the period precious stones receded. Diamonds were usually given subsidiary roles, used alongside less familiar materials such as moulded glass, horn and ivory.

Geographical scope of Art Nouveau

Interior of a dome in the Grand Palais, Paris

Centres of the style were:

Noted Art Nouveau practitioners

See also

Notes

  1. ^ Sterner, Gabriele. Art Nouveau.(Cologne:Dumont Schauberg, 1975), 6.
  2. ^ A modern equivalent might be called "an interior design gallery", implying that the arts of design are equivalent in importance to the "fine arts", an Art Nouveau axiom.
  3. ^ Sterner, Gabriele. Art Nouveau.(Cologne:Dumont Schauberg, 1975), 38-42.
  4. ^ Sterner, Gabriele. Art Nouveau.(Cologne:Dumont Schauberg, 1975), 21.
  5. ^ Sterner, Gabriele. Art Nouveau.(Cologne:Dumont Schauberg, 1975), 169
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