art nouveau social history

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Ferdinand Horton
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1 social history The sentiment that gave birth to the Arts and Crafts Movement and the elongated forms of Glasgow Style, is also responsible for evoking the artistic movement known as Art Nouveau. A determination to break with the tired historicism of the past and forge a new form of art that was in keeping with the spirit of the age, Art Nouveau was a total art style that embraced architecture, graphic art, interiors, decorative and fine arts. And it was easily accessible to everyone through every day objects such as lighting, utensils, furniture and ceramics, accounting for its huge popularity. Emerging in Belgium in the 1880s the term Art Nouveau was used to describe the work of a group of artists called Les Vingt, whose aim it was to reform the arts and society as a whole. In 1884 the editor of Brussels based publication L Art Moderne pronounced them votaires of Art Nouveau. By 1895 the movement gathered public attention when art dealer, Siegfried Bing opened his Maison de L Art Nouveau in Paris, selling the works of Emile Galle and Louis Comfort Tiffany amongst others. It became a tourist attraction and firmly established France as a centre for Art Nouveau. In Germany, the style was known at Jugendstil, after the artistic journal Die Jugend that promoted it, and in Austria as Secession Style after the Vienna Secession formed by a group of artists and architects in The style developed through international trade fairs: the Barcelona Universal Exposition (1888), The 1900 Exposition Universelle in Paris and Esposizione Internazionale d Arte Decorativa Moderna in Italy in Buildings, designs, furnishings, art and decoration in the new, modern style were displayed and the style soon permeated through the department stores of Gallerie Lafayette, Au Bon Marche, Harrods and Liberty. In Britain, designers took the basic themes of Art Nouveau and interpreted them in two distinctly different ways the feminine flowing lines popular in France and Belgium, which began as an aspect of Aesthetic Style and the rectilinear style seen in Germany and Austria, adopted by Charles Rennie Mackintosh and the Glasgow School. Not only did it sweep across Europe but Art Nouveau manifested itself wherever Europeans went and became a truly international style. An important and pivotal art movement, it transitioned the historical revival styles of Victorian Britain into 20 th Century Modernism. Key Events 1895 Siegfried Bing opens La Maison de L Art Nouveau 1900 Mackintosh, MacDonald and Ashbee exhibit at the Vienna Secession 1901 Queen Victoria dies 1911 The first non stop flight from London to Paris The start of World War I

2 Architecture Art Nouveau architecture has two distinct forms curvilinear and rectilinear. The former, exemplified in the buildings of Antoni Gaudi in Barcelona and Victor Horta in Belgium, curvilinear architecture was also popular in Italy and France. The latter was seen in Britain in the simple, unadorned buildings of Mackintosh, and is also demonstrated in the work of Joseph Hoffman in Vienna and architect Peter Behrens in Germany. It is typified by use of tall, geometric windows, white walls and minimal external ornamentation. Art Nouveau architecture is noted for its use of modern materials, contemporary building techniques, and in the case of curvilinear architecture, its use of nature as a clear source of inspiration. Guimard s entrances for the Paris Metro were said to have emerged overnight like manifestations of some organic forms, sinuous green castiron tentacles erupting from a labyrinth to support metal pergolas, hooded light fittings and glazed canopies of surrealist dragonfly wings. The curved balconies on the front of Gaudi s Casa Batllo are like tiny birds nests clinging to the front of a cliff, the façade shimmers with fish-scales glinting in the sunshine and the roof appears to have a scaled dragon protectively curled over it. There are no sharp corners only smooth, organic edges. A spectacular iron and stained glass dome adorns Galleries Lafayette in Paris, completed by Georges Paul Chedanne in Coloured glass features heavily in many Art Nouveau buildings. Stained glass dome at Galleries Lafayette built by Georges Paul Chedanne in 1912

3 curvilinear architecture (1) Gaudi s Casa Batllo in Barcelona, (2) Staircase at Victor Horta s Tassel House built for Belgian scientist Emile Tassel between 1893 and 1894, (3) detail of Casa Batllo window, (4) Paris Metro entrance way designed by Hector Guimard

4 architectural details 1 2 P 4 (1) Entrance hall in private Paris home of Félix Marcilhac, with late Art Nouveau ironwork staircase (2) Front Door of Peter Behren s house in Darmstadt 1901, (3) curvilinear stairway (4)Rectilinear architecture by Peter Behrens (1920), the Administration Building of Hoechst AG 3

rectilinear architecture Originating in the work of the Glasgow School, rectilinear Art Nouveau architecture was seen

Charles Rennie Mackintosh exhibited his work in Vienna in 1900, shortly after painter Kustav Klimt set up the Vienna

The extensive use of geometry and symmetry in the designs (particulary rectangular and square forms), use of contemporary

5 rectilinear architecture Originating in the work of the Glasgow School, rectilinear Art Nouveau architecture was seen extensively in Austria and Germany. Charles Rennie Mackintosh exhibited his work in Vienna in 1900, shortly after painter Kustav Klimt set up the Vienna Secesssion group, in protest against the Vienna Academy refusing the group s modernist work. The extensive use of geometry and symmetry in the designs (particulary rectangular and square forms), use of contemporary materials, in particular exposed metal, stone and glass, and lack of superficial decorations marked the onset of Modernism (1) & (3) Purkersdorf Sanatorium designed by Secession architect Hoffmann and (2) Peter Behrens architecture, Darmstadt around 1901

People Victor Horta Architect & Designer (1861 1947) Victor Horta in Horta House A Belgian architect who produced an extensive body of work that shows all the qualities typical of Art Nouveau.

materials. His first independent commission was Hotel Tassel in 1892, which drew heavily on inspiration from the exhibitions.

6 People Victor Horta Architect & Designer ( ) Victor Horta in Horta House A Belgian architect who produced an extensive body of work that shows all the qualities typical of Art Nouveau. After completing his architectural studies, Horta designed every element of his own home, from the stained glass, furniture, light fittings and window frames, incorporating modern design elements and materials. His first independent commission was Hotel Tassel in 1892, which drew heavily on inspiration from the exhibitions. His distinctive octagonal hallway with sweeping staircase featuring curved steps, railings and walls stenciled with the ubiquitous whiplash curve was a celebration of modern materials and techniques. Hector Guimard architect and interior designer ( ) Trained as an architect, Guimard also designed the interior, furnishings and decorative ornamentation for many buildings. Maybe better described as a pioneer industrial designer, for several of his designs were produced at quantity for sale, and he was also involved in projects such as the entrances to the Paris Metro. One of his major works was Castel Béranger, a residential building, the first to be built in the new Art Nouveau style in Paris. Entered through a vestibule with iron gate of curving whiplash forms and a stencilled ceiling. Guimard lived in one of the apartments, old photographs of which show his curvilinear furniture and Art Nouveau plasterwork. Hector Guimard (1919)

people Louis Comfort Tiffany Artist & Designer (1888 1943) Louis Tiffany was the son of the

He became increasingly interested in decorative arts and studied painting in Paris.

were modified by an awareness for the standards of the Arts & Crafts Movement.

glass both on decorative items such as vases, bowls and lamps and in windows for homes and

7 people Louis Comfort Tiffany Artist & Designer ( ) Louis Tiffany was the son of the founder of the New York jewelry firm Tiffany & Co. He became increasingly interested in decorative arts and studied painting in Paris. On his return to New York he established a decorating firm and designed residential interiors for wealthy New York families. While his rooms tended to follow the Victorian taste for overcrowded rich elaboration, they were modified by an awareness for the standards of the Arts & Crafts Movement. After a reorganization of his business, he became well known and sought after for stained glass both on decorative items such as vases, bowls and lamps and in windows for homes and churches. He sold through La Maison de L Art Nouveau in Paris. clockwise from left: Tiffany stained glass window, detail of stained glass lamp, Tiffany table lamp (1901), portrait of Louis Comfort Tiffany, Tiffany designed vase.

Interior style Nothing within interiors and the decorative arts escaped the touch of Art Nouveau, from door handles to chairs and wallpapers to staircases.

style favoured by the Glasgow School and seen in Germany and Austria.

8 Interior style Nothing within interiors and the decorative arts escaped the touch of Art Nouveau, from door handles to chairs and wallpapers to staircases. In Britain, designers took the key motifs of the style and interpreted them in two distinctly different ways: the feminine flowing lines popular in France and Belgium and the restrained rectilinear style favoured by the Glasgow School and seen in Germany and Austria. Strongly influenced by the natural world, this was reflected in design schemes, often tranquil and harmonious with a lightness of touch. More modern and less exuberant than Rococo, many of the same motifs were used shells, grasses, insects and flowers distinguished in Art Nouveau by the fluid and sweeping whiplash curve which appeared on panelled walls and doors, was incorporated into furniture and ornamentation. Mahogany, Oak and Poplar panelled dining room with metalwork of gilt bronze. Designed by Henry van de Velde for Adriend Benard in 1901, at the Musee d Orsay

9 interiors (1) fireplace in the Art Nouveau former home of Louis Vuitton in Asnieres-sur-Seine (2) curved window surround at The Horta Museum, (3) Art Nouveau stained glass window and (4) the curvilinear tilework and ironwork in the entrance hall at Horta s Hotel Tassel

10 interiors (1) detail from the Post Office Savings Bank Building in Vienna, designed by Otto Wagner, (2) & (3) Peter Behrens - Krematorium Hamm-Delstern, (4) Stairway in Vienna, Austria, designed by Otto Wagner;

11 Key features Floors Polished floorboards and/or carpets designed to match the decorative scheme WALLS Panelled in wood with vine like tendrils and plant like asymmetrical forms framing them Wallpapers with themes of flowing flowers, seaweed like forms Plain white walls painted with Art Nouveau motifs such as trailing vine leaves, irises or poppies Muted colours (known as greenery-yallery ) teamed with peacock blue, turquoise blue, emerald green, lilac, black and silver ceilings Often plain, sometimes with decorative plasterwork to complement the scheme fireplace Often a key design feature, curvilinear in shape or with curvilinear, flowing design elements Sometimes with inlaid tiles featuring curved, botanical designs Doors Often carved to match the decorative scheme Ornate brass door furniture in tendril shapes or organic forms Windows Casement windows often with leaded panes set with coloured glass in Art Nouvea patterns Dressed with simple curtains hung on poles (sometimes with a frilled valance) Fabrics Printed cottons for curtains and cretonnes for upholstery Stamped velvets and stenciled linens were also popular Lighting Glass shades and hanging metal pendants lights featuring curves and plant like forms Table lamps with Tiffany glass shades or by Daum Brothers objects Accessories were an important feature of Art Nouveau, making it an accessible, populist style Glass by Galle and Lalique furniture Furniture was often designed to fit the overall scheme chairs, sofas, tables and cabinets featuring either asymmetrical flowing lines or elongated geometrical designs Rectilinear furniture was rather austere but modernist in design with a heavy vertical emphasis Curvilinear furniture incorporated whiplash curves and fluid lines both carved and inlaid Warm cherry wood, satinwood and light oak were all popular Fitted furniture was popular Handrails and banisters, often in metal with curved tendril like forms were key to design schemes

12 Furniture and Decorative Objects - curvilinear (1) Loetz irridescent glass bowl with pewter mount (1905), (2) patinated bronze and glass chandelier with dragonfly design (1900), (3) Louis Majorelle curved corner stand, (4) Loetz style iridescent blue and teal globe, with a tendril pattern, (5) Carved miroir feuillage by Pierre La Halle (1904), (6) Jugendstil tile, Germany 1900, (7) carved walnut buffet a deux corps, made in France around 1910, (8) Art Nouveau style mahogany framed sofa with curved detailing (9) Emile Galle sideboard (1903), (10) Gebruder Thonet rocking chaise, (1890), (11) Hector Guimard chairs (1900), (12) Loetz glass vase with Juventa pewter mount, (13) cast iron fireplace with Art Nouveau detailing on the canopy (1900). 7

Decorative Art After 19 th Century. Art Noveau ( )

Decorative Art After 19 th Century Art Noveau (1890-1910) Lecture 3 Polla Dilshad Ibrahim MSc Architecture Spread of Art where there is Peace and economic growth The late nineteenth century was a period