This page will contain wikis about Art Nouveau, as they become available.Art NouveauAlfons Mucha, lithographed poster Dancel (1898).Art Nouveau (French for "new art") is a style in art, architecture and design that peaked in popularity at the beginning of the 20th century. Other, more localized terms for the cluster of self-consciously radical, somewhat mannered reformist chic that formed a prelude to 20th-century modernism, included "Jugendstil" in Germany and the Netherlands, named for the snappy avant-garde periodical Jugend ('Youth') or "Sezessionsstil" ('Secessionism') in Vienna, where forward-looking artists and designers seceded from the mainstream salon exhibitions, to exhibit on their own in more congenial surroundings. In Russia, the movement revolved around the art magazine 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. In Catalonia, the movement was centred in Barcelona and was known as "modernisme", with Antoni Gaudí as the most noteworthy practitioner. Bookcover of Arthur Mackmurdo, Wren's City Churches, 1883Career of Art NouveauThough Art Nouveau climaxed in the years 1892 to 1902, the first stirrings of an Art Nouveau can be recognized in the 1880s, in a handful of progressive designs influenced by the Arts and Crafts movement, such as the architect-designer Arthur Mackmurdo's often-illustrated bookcover 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 vegetal-derived patterns of High Victorian design. The name "Art Nouveau" derived from the name of a shop in Paris, Maison de l'Art Nouveau, at the time run by Samuel Bing, that showcased objects that followed this approach to design. A high point in the evolution of Art Nouveau was the Universal Exposition of 1900 in Paris, in which the "modern style" triumphed in every medium. It probably reached its apogee, however, at the 1902 Turin Exposition in Italy, where designers exhibited from almost every European country where Art Nouveau flourished. Ironically, 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, but by the start of the First World War the highly stylized nature of Art Nouveau design — which itself was expensive to produce — began to be dropped in favor of more streamlined, simply rectilinear modernism that was cheaper and thought to be more faithful to the rough, plain industrial aesthetic. The entrances to the Paris Metro designed by Hector Guimard in 1899 and 1900 are notable and famous examples of Art Nouveau. Character of Art NouveauSt. Louis World's Fair, (1904). Entrance to the Creation exhibit.Dynamic, undulating and flowing, curved "whiplash" lines of syncopated rhythm characterize much of Art Nouveau. Another feature is usage of hyperbolas and parabolas. Conventional moldings seem to spring to life and "grow" into plant-derived forms. As an art movement it has affinities with the Pre-Raphaelites and the Symbolism movement, and artists like Aubrey Beardsley, Alfons 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 backwards-looking Pre-Raphaelites, Art Nouveau artists quickly used new materials, machined surfaces, and abstraction in the service of pure design. Daum, Nancy (c. 1900).Art Nouveau in architecture and interior design eschewed the eclectic historicism 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, in place of the historically-derived and basically tectonic or realistic naturalistic ornament of high Victorian styles, Art Nouveau advocated the use of highly-stylized nature as the source of inspiration and expanded the "natural" repertoire to embrace seaweed, grasses, and insects. Correspondingly organic forms, curved lines, especially floral or vegetal, and the like, were used. Japanese wood-block prints with their curved lines, patterned surfaces and contrasting voids, and flatness of their picture-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 other movements such as the Arts and Crafts Movement, but used it to an advantage. For sculpture the principle materials employed were glass and wrought iron, leading to sculpturesque quality even in architecture. Art Nouveau is considered a "total" style, meaning that it encompasses a hierarchy of scales in design — architecture, interior design, jewellery, furniture and textile design, utensils and art objects, lighting, and etc. (See Hierarchy of genres.) Art Nouveau mediaThe Peacock Skirt, by Aubrey Beardsley, (1892).2-dimensional Art Nouveau pieces were painted, drawn, and quite popular in printed material like advertising, 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 and Émile Gallé and the Daum brothers in Nancy, France. Jewelry of the Art Nouveau period revitalised the jeweller's art, with nature as the principal source of inspiration, complemented by new levels of virtuosity in enamelling 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 jewellery had been on gemstones, particularly on the diamond, and the jeweller or goldsmith had been principally concerned with providing settings for their advantage. With Art Nouveau, a different type of jewellery emerged, motivated by the artist-designer rather than the jeweller as setter of precious stones. Mikhail Vrubel. Demon Seated in a Garden, 1890The jewellers of Paris and Brussels created and defined Art Nouveau in jewellery, and in these cities it achieved the most renown. Contemporary French critics were united in acknowledging that jewellery was undergoing a radical transformation, and that the French designer-jeweller René Lalique was at its heart. Lalique glorified nature in jewellery, extending the repertoire to include new aspects of nature — dragonflies or grasses — inspired by his encounter with Japanese art. The jewellers 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 enamelled gold, and its acceptance of jewellers as artists rather than craftsmen. In most of the enamelled 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 NouveauPrincipal centers of the style were:
Other centers included:
Noted Art Nouveau artistsArchitecture
Drawing, Graphics
Furniture
Glassware and Stained glass
Other decorative arts
Murals and mosaics
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Other centers included:. The jewellers 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 enamelled gold, and its acceptance of jewellers as artists rather than craftsmen. A form of beating or battering:. Lalique glorified nature in jewellery, extending the repertoire to include new aspects of nature — dragonflies or grasses — inspired by his encounter with Japanese art. A form of energy storage:. Contemporary French critics were united in acknowledging that jewellery was undergoing a radical transformation, and that the French designer-jeweller René Lalique was at its heart. Battery may mean:. The jewellers of Paris and Brussels created and defined Art Nouveau in jewellery, and in these cities it achieved the most renown. Battery the "artillery" team of pitcher and catcher, in baseball; see list of baseball jargon. With Art Nouveau, a different type of jewellery emerged, motivated by the artist-designer rather than the jeweller as setter of precious stones. Battery (band). For the previous two centuries the emphasis in fine jewellery had been on gemstones, particularly on the diamond, and the jeweller or goldsmith had been principally concerned with providing settings for their advantage. Battery 9, South African musical project. The widespread interest in Japanese art and the more specialised enthusiasm for Japanese metalworking skills, fostered new themes and approaches to ornament. Battery (song), by Metallica. Jewelry of the Art Nouveau period revitalised the jeweller's art, with nature as the principal source of inspiration, complemented by new levels of virtuosity in enamelling and the introduction of new materials, such as opals and semi-precious stones. Battery Point, Tasmania. Glass making was an area in which the style found tremendous expression — for example, the works of Louis Comfort Tiffany in New York and Émile Gallé and the Daum brothers in Nancy, France. Battery Park (Charleston). 2-dimensional Art Nouveau pieces were painted, drawn, and quite popular in printed material like advertising, posters, labels, magazines and the like. Battery Park City, the area around Battery Park in Manhattan. (See Hierarchy of genres.). Battery Park (New York), a former artillery fortification on Manhattan Island. Art Nouveau is considered a "total" style, meaning that it encompasses a hierarchy of scales in design — architecture, interior design, jewellery, furniture and textile design, utensils and art objects, lighting, and etc. Drumline or battery in a marching band. For sculpture the principle materials employed were glass and wrought iron, leading to sculpturesque quality even in architecture. Battery farming, a farming practice where many hens are confined in small cages to lay eggs. Art Nouveau did not negate the machine, as other movements such as the Arts and Crafts Movement, but used it to an advantage. Artillery battery, a group of artillery units acting in concert. Some line and curve patterns became graphic clichés that were later found in works of artists from all parts of the world. Battery (tort), touching another person without lawful justification. Japanese wood-block prints with their curved lines, patterned surfaces and contrasting voids, and flatness of their picture-plane, also inspired Art Nouveau. Battery (crime), physical contact which causes bodily harm. Correspondingly organic forms, curved lines, especially floral or vegetal, and the like, were used. Battery (drink), a brand of beverage. Though, Art Nouveau designers selected and "modernized" some of the more abstract elements of Rococo style, such as flame and shell textures, in place of the historically-derived and basically tectonic or realistic naturalistic ornament of high Victorian styles, Art Nouveau advocated the use of highly-stylized nature as the source of inspiration and expanded the "natural" repertoire to embrace seaweed, grasses, and insects. Battery room. Art Nouveau in architecture and interior design eschewed the eclectic historicism of the Victorian era. Battery charger. Unlike Symbolist painting, however, Art Nouveau has a distinctive visual look; and unlike the backwards-looking Pre-Raphaelites, Art Nouveau artists quickly used new materials, machined surfaces, and abstraction in the service of pure design. Battery pack. As an art movement it has affinities with the Pre-Raphaelites and the Symbolism movement, and artists like Aubrey Beardsley, Alfons Mucha, Edward Burne-Jones, Gustav Klimt, and Jan Toorop could be classed in more than one of these styles. Battery (electricity), a device for storing electrical energy
The entrances to the Paris Metro designed by Hector Guimard in 1899 and 1900 are notable and famous examples of Art Nouveau. Ironically, 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, but by the start of the First World War the highly stylized nature of Art Nouveau design — which itself was expensive to produce — began to be dropped in favor of more streamlined, simply rectilinear modernism that was cheaper and thought to be more faithful to the rough, plain industrial aesthetic. It probably reached its apogee, however, at the 1902 Turin Exposition in Italy, where designers exhibited from almost every European country where Art Nouveau flourished. A high point in the evolution of Art Nouveau was the Universal Exposition of 1900 in Paris, in which the "modern style" triumphed in every medium. The name "Art Nouveau" derived from the name of a shop in Paris, Maison de l'Art Nouveau, at the time run by Samuel Bing, that showcased objects that followed this approach to design. 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 vegetal-derived patterns of High Victorian design. Though Art Nouveau climaxed in the years 1892 to 1902, the first stirrings of an Art Nouveau can be recognized in the 1880s, in a handful of progressive designs influenced by the Arts and Crafts movement, such as the architect-designer Arthur Mackmurdo's often-illustrated bookcover design for his essay on the city churches of Sir Christopher Wren, published in 1883. . In Catalonia, the movement was centred in Barcelona and was known as "modernisme", with Antoni Gaudí as the most noteworthy practitioner. 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. In Russia, the movement revolved around the art magazine World of Art, which spawned the revolutionary Ballets Russes. Other, more localized terms for the cluster of self-consciously radical, somewhat mannered reformist chic that formed a prelude to 20th-century modernism, included "Jugendstil" in Germany and the Netherlands, named for the snappy avant-garde periodical Jugend ('Youth') or "Sezessionsstil" ('Secessionism') in Vienna, where forward-looking artists and designers seceded from the mainstream salon exhibitions, to exhibit on their own in more congenial surroundings. Art Nouveau (French for "new art") is a style in art, architecture and design that peaked in popularity at the beginning of the 20th century. Gustav Klimt (1862-1918). Mikhail Vrubel (1856-1910). Philippe Wolfers (1858-1929). Hermann Obrist (1863-1927). Georges de Feure (1868-1928). Auguste Delaherche (1857-1940). Jules Brunfaut (1852-1942). William Bradley (1868-1962). Ashbee (1863-1942). Charles R. Louis Comfort Tiffany (1848-1933). René Lalique (1860-1945). Jacques Gruber (1870-1936). Émile Gallé (1846-1904). Daum Frères (1825-1885). Henry van de Velde (1863-1957). Louis Majorelle (1859-1926). Eugène Gaillard (1862-1933). Carlo Bugatti (1856-1940). Pierre Bonnard (1867-1947). Henri de Toulouse-Lautrec (1864-1901). Edvard Munch (1863-1944). Alfons Mucha (1860-1939). Gaston Gerard (1878-1969). Aubrey Beardsley (1872-1898). Marian Peretiatkovich (1872-1916). Lucien Weissenburger (1860-1929). Otto Wagner (1841-1918). Henry Van de Velde (1863-1957). Fyodor Shekhtel (1859-1926). Eugène Vallin (1856-1922). Louis Sullivan (1856-1924). Charles Rennie Mackintosh (1868-1928). Hector Guimard (1867-1942). Josef Hoffmann (1870-1956). Victor Horta (1861-1947). Antoni Gaudi (1852-1926). August Endel (1871-1925). Raimondo Tommaso D'Aronco (1857-1932). Paul Charbonnier (1865-1953). Georges Biet (1868-1955). Émile André (1871-1933). Amsterdam, Ålesund, Berlin, Chicago, Illinois, Helsinki, Ljubljana, Osijek, Oslo, Prague, The Hague, Subotica, Vladivostok, La Chaux-de-Fonds. Mannheim, Barcelona, Brussels, Darmstadt, Moscow, Glasgow, Rīga, London, School of Nancy France, Paris, St.Petersburg, Russia, Munich, New York, Vienna. |