136-413: The Century Guild of Artists was an English group of art enthusiasts that were active between c.1883 and 1892. Their work was primarily based on 18th century motifs, though some work was Art Nouveau in style. The Guild was founded in 1882 by Arthur Heygate Mackmurdo with the aim of preserving the artistic trade and the authenticity of the craftsmen behind it. The members were one of the first groups of
272-452: A 'Métropolitain' sign. The pylons were in an abstract vegetal form he invented, not resembling any particular plant, and the lettering was in a unique which Guimard invented. These were the most common type. From the beginning, Guimard's Metro entrances were controversial. In 1904, after complaints that the new Guimard balustrade at the Opera station was not in harmony with the architecture of
408-527: A celebrated poster of Sarah Bernhardt in 1890. In Paris, he taught at the Guérin school of art ( École normale d'enseignement du dessin ), where his students included Augusto Giacometti and Paul Berthon . Swiss-born Théophile-Alexandre Steinlen created the famous poster for the Paris cabaret Le Chat noir in 1896. The Czech artist Alphonse Mucha (1860–1939) arrived in Paris in 1888, and in 1895, made
544-484: A coherent whole. He commissioned the sculptor Alfred Crick and the painter Adolphe Crespin [ fr ] to decorate the façades of houses with their work. The most striking example was the house and studio built for the artist Albert Ciamberlani at 48, rue Defacqz / Defacqzstraat in Brussels, for which he created an exuberant façade covered with sgraffito murals with painted figures and ornament, recreating
680-773: A collection of Far Eastern art, especially Japanese. New technologies in printing and publishing allowed Art Nouveau to quickly reach a global audience. Art magazines, illustrated with photographs and colour lithographs , played an essential role in popularizing the new style. The Studio in England, Arts et idèes and Art et décoration in France, and Jugend in Germany allowed the style to spread rapidly to all corners of Europe. Aubrey Beardsley in England, and Eugène Grasset , Henri de Toulouse-Lautrec , and Félix Vallotton achieved international recognition as illustrators. With
816-645: A desk and chairs for his own studio there. In his early years he is known to have produced only two full sets of furniture, a dining room set for the Castel Henriette and a dining room for the Villa La Bluette.He also designed furnishings without any particular room in mind, as he did with watercolor designs for the Russian Princess Maria Tenisheva in 1903. His furniture style began to change in about 1903. He found
952-628: A famous symbol of the style, the Glasgow Rose". Léon-Victor Solon , made an important contribution to Art Nouveau ceramics as art director at Mintons. He specialised in plaques and in tube-lined vases marketed as "secessionist ware" (usually described as named after the Viennese art movement ). Apart from ceramics, he designed textiles for the Leek silk industry and doublures for a bookbinder (G.T.Bagguley of Newcastle-under-Lyme), who patented
1088-485: A figure holding a lamp and mirror symbolises light and truth. German Art Nouveau is commonly known by its German name, Jugendstil , or 'Youth Style'. The name is taken from the artistic journal, Jugend ('Youth'), which was published in Munich. The magazine was founded in 1896 by Georg Hirth , who remained editor until his death in 1916. The magazine survived until 1940. During the early 20th century, Jugendstil
1224-418: A form of "abstract naturalism". Undulating and coagulating forms are found in every material from stone, wood, cast iron, glass (Mezzara hotel, 1910), fabric (Guimard hotel, 1909), paper (Castel Béranger, 1898), wrought iron (Castel Henriette, 1899), and ceramic ( Coilliot House , 1898); Guimard compared it analogously to the flowing of sap running from a tree, referring to the liquid quality found in his work as
1360-594: A glass bathtub. Josef Hoffmann designed the Viennese exhibit at the Paris exposition, highlighting the designs of the Vienna Secession . Eliel Saarinen first won international recognition for his imaginative design of the pavilion of Finland. While the Paris Exposition was by far the largest, other expositions did much to popularize the style. The 1888 Barcelona Universal Exposition marked
1496-633: A gymnastics teacher at the Lycée Michelet in Vanves in 1878, and the following year Hector began to study at the Lycée. In October 1882 he enrolled at the École nationale supérieure des arts décoratifs , or school of decorative arts. He received his diploma on 17 March 1887, and promptly enrolled in the École des Beaux-Arts , where he studied architecture. He received honorable mention in several architectural competitions, and also showed his paintings at
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#17327717459241632-673: A large collection of his designs to Alfred Barr , the director of the Museum of Modern Art in New York. In 1937, he received authorisation to put thirty cases of models in the cellars of the National Museum of Antiquities in Saint-Germaine-en-Laye. Guimard served as a member of the jury judging architectural works at the 1937 Paris Exposition , where he could hardly miss the monumental pavilion of Nazi Germany and
1768-804: A mixture of Art Nouveau and Beaux-Arts architecture : the main exhibit hall, the Grand Palais had a Beaux-Arts façade completely unrelated to the spectacular Art Nouveau stairway and exhibit hall in the interior. French designers all made special works for the Exhibition: Lalique crystal and jewellery; jewellery by Henri Vever and Georges Fouquet ; Daum glass; the Manufacture nationale de Sèvres in porcelain ; ceramics by Alexandre Bigot ; sculpted glass lamps and vases by Émile Gallé ; furniture by Édouard Colonna and Louis Majorelle ; and many other prominent arts and crafts firms. At
1904-454: A modest price. He returned to Paris and in 1921–22, and built a small house at 3 Square Jasmin (16th arrondissement) designed to be a model for a series of standard houses, but it was not duplicated. He was unable to keep up with the rapid changes in styles and methods, and his firm was finally dissolved in July 1925. In 1925, he participated in the Paris Exposition of Decorative and Modern Arts,
2040-419: A new architecture. For each function its material; for each material its form and its ornament." This book influenced a generation of architects, including Louis Sullivan , Victor Horta , Hector Guimard , and Antoni Gaudí . The French painters Maurice Denis , Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration. "I believe that before everything
2176-408: A painting must decorate", Denis wrote in 1891. "The choice of subjects or scenes is nothing. It is by the value of tones, the coloured surface and the harmony of lines that I can reach the spirit and wake up the emotions." These painters all did both traditional painting and decorative painting on screens, in glass, and in other media. Another important influence on the new style was Japonism . This
2312-594: A poster for actress Sarah Bernhardt in the play Gismonda by Victorien Sardou in Théâtre de la Renaissance . The success of this poster led to a contract to produce posters for six more plays by Bernhardt. The city of Nancy in Lorraine became the other French capital of the new style. In 1901, the Alliance provinciale des industries d'art , also known as the École de Nancy , was founded, dedicated to upsetting
2448-423: A precursor of Art Nouveau design. In France, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc , a declared enemy of the historical Beaux-Arts architectural style , whose theories on rationalism were derived from his study of medieval art : Viollet-le-Duc was himself a precursor of Art Nouveau: in 1851, at Notre-Dame de Paris , he created a series of mural paintings typical of
2584-656: A presence as strong as several forces". In 1906, he departed Belgium for Weimar (Germany), where he founded the Grand-Ducal School of Arts and Crafts, where the teaching of historical styles was forbidden. He played an important role in the German Werkbund , before returning to Belgium. The debut of Art Nouveau architecture in Brussels was accompanied by a wave of Decorative Art in the new style. Important artists included Gustave Strauven , who used wrought iron to achieve baroque effects on Brussels façades;
2720-460: A priest of the Dominican order , Father Levy. Guimard made an ambitious and non-traditional plan using soaring levels of iron and glass, inspired by an early idea of Eugène Viollet-le-Duc . An organ manufacturer, in consultation with Camille Saint-Saëns , donated a grand organ. The Salle was completed in 1901, but a scandal involving Father Levy and the orphans broke out. Father Levy was exiled by
2856-590: A prize of a funded voyage first to England and Scotland, and then, in the summer of 1895, to the Netherlands and Belgium. In Brussels in the summer of 1895, he met the Belgian architect Victor Horta , one of the founders of Art Nouveau , and saw the sinuous vegetal and floral lines of the Hotel Tassel , one of the earliest Art Nouveau houses. Guimard arranged for Horta to have an exhibition of his designs at
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#17327717459242992-467: A series of innovative glass display windows for Brussels shops, restaurants and galleries, in what a local critic called "a veritable delirium of originality". He died in 1901, just as the movement was beginning to receive recognition. Henry van de Velde , born in Antwerp , was another founding figure in the birth of Art Nouveau. Van de Velde's designs included the interior of his residence in Brussels,
3128-591: A small beach house at Hermanville-sur-Mer , near his earlier La Bluette house; La Surprise, a villa at Cabourg; and the Castel Val at Auvers-sur-Oise . In Paris he constructed the Hotel Nozal on Rue Ranelagh for his friend; the Hotel Jassadé for Louis Jassadé on Avenue de Versailles; and the palatial Castel d'Orgeval, which was the centrepiece of a new residential development at Villemoisson-sur-Orge in
3264-554: A strong influence on the work of the young Hector Guimard , who came to see the Hôtel Tassel under construction, and later declared that Horta was the "inventor" of the Art Nouveau. Horta's innovation was not the façade, but the interior, using an abundance of iron and glass to open up space and flood the rooms with light, and decorating them with wrought iron columns and railings in curving vegetal forms, which were echoed on
3400-492: A telephone booth in the lobby. A skilled publicist, Guimard very effectively used the new building to advertise his work. He had his own apartment and office in the building. He organized conferences and press articles, set up an exhibition of his drawings in the salons of Le Figaro , and wrote a monograph on the building. In 1899 he entered it into the first Paris competition for the best new building facades, and in March 1899 it
3536-480: A very different use. He designed the residence of a prominent Belgian chemist, Émile Tassel, on a very narrow and deep site. The central element of the house was the stairway, not enclosed by walls, but open, decorated with a curling wrought-iron railing, and placed beneath a high skylight. The floors were supported by slender iron columns like the trunks of trees. The mosaic floors and walls were decorated with delicate arabesques in floral and vegetal forms, which became
3672-578: A way of sharing the views of the Guild and promoted crafted art as opposed to mechanical industry. The Guild influenced designers such as C.F.A. Voysey and Charles Rennie Mackintosh and influenced the formation of The Arts and Crafts Exhibition Society. Art Nouveau Art Nouveau ( / ˌ ɑː r ( t ) n uː ˈ v oʊ / AR(T) noo- VOH , French: [aʁ nuvo] ; lit. ' New Art ' ), Jugendstil in German,
3808-583: A workshop to make his furniture, and began using finer woods, particularly pear wood, with delicate colors. He simplified he plans, and eliminated the excessive number of arms and shelves. The most notable examples of his late style are pieces made for the Hôtel Nozal (since destroyed) and now in the Musée des Arts Decoratifs in Paris. Other examples of the late style are from the Hotel Guimard , now in
3944-454: Is an international style of art, architecture, and applied art , especially the decorative arts . It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines , and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces. It
4080-414: Is characterised by a narrow façade clad in white stone, whose surface curves and undulates while highlighting verticality. Like with his previous projects, Guimard designed the interiors as well, organising the spaces and creating original furnishings that matched the architectural motifs of the structure. The construction begun in 1913 with the inauguration taking place on 7 June 1914, just a few weeks before
4216-423: Is inspired by the underlying movements, by the creative process in nature that reveals to us identical formulas through its numerous manifestations. And he assimilates these principles in the formation of his ornamental contours... the floret is not an exact representation of any particular flower, Here is an art that both abbreviates and amplifies the immediate facts of Nature; it spiritualises them. We are present at
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4352-413: Is only 4 metres (13 ft) wide, but is given extraordinary height by his elaborate architectural inventions. It is entirely covered by polychrome bricks and a network of curling vegetal forms in wrought iron , in a virtually Art Nouveau-Baroque style. Other important Art Nouveau artists from Belgium included the architect and designer Henry van de Velde , though the most important part of his career
4488-528: Is the Vase of Binelles (1902), made by crystallization on hard porcelain, which is now in the National Museum of Ceramics in Sèvres. Guimard was a determined advocate of architectural standardization, from mass-producing Metro station edicules and balustrades to (less successfully) the mass production of cast iron pieces and other prefabricated building materials intended for the assembly rows of houses. entrances to
4624-471: Is the greatest builder of all, and nature makes nothing that is parallel and nothing that is symmetric." Parisians welcomed Guimard's original and picturesque style; the Castel Béranger was chosen as one of the best new façades in Paris, launching Guimard's career. Guimard was given the commission to design the entrances for the new Paris Métro system, which brought the style to the attention of
4760-527: The Art Nouveau style. He achieved early fame with his design for the Castel Beranger , the first Art Nouveau apartment building in Paris, which was selected in an 1899 competition as one of the best new building facades in the city. He is best known for the glass and iron edicules or canopies, with ornamental Art Nouveau curves, which he designed to cover the entrances of the first stations of
4896-541: The Arts and Crafts Movement , which aimed to unify the arts. Roughly 20 people were associated with the guild, but the only members were Arthur Heygate Mackmurdo , Herbert Horne and Selwyn Image . The Guild primarily produced domestic design such as furniture, stained glass, metalwork, decorative painting and architectural design. These designs were all displayed at the Inventions Exhibition (London, 1885),
5032-466: The Hôtel Guimard (1909), where the ground was too narrow to have the exterior walls bear any weight, and thus the arrangement of interior spaces differs from one floor to another. In addition to his architecture, furniture, and wrought iron work, Guimard also designed art objects, such as vases, some of which were produced by the Manufacture nationale de Sèvres outside Paris. A notable example
5168-638: The Modern Style in English. The style is often related to, but not always identical with, styles that emerged in many countries in Europe and elsewhere at about the same time. Their local names were often used in their respective countries to describe the whole movement. The new art movement had its roots in Britain, in the floral designs of William Morris , and in the Arts and Crafts movement founded by
5304-625: The Palais Garnier opera house, the Metro authorities dismantled the entrance and replaced it with a more classical model. Garnier was sarcastic in his response in the Paris La Press of Paris on 4 October 1904. "Should we harmonise the station of Père-Lachaise with the cemetery by constructing an entrance in the form of a tomb? ... Should we have a dancer with her leg raised in front of the station at place Dame-Blanche, to harmonise with
5440-515: The Paris Metro . Between 1890 and 1930, Guimard designed and built some fifty buildings, in addition to one hundred and forty-one subway entrances for Paris Metro , as well as numerous pieces of furniture and other decorative works. However, in the 1910s Art Nouveau went out of fashion and by the 1960s most of his works had been demolished, and only two of his original Metro edicules were still in place. Guimard's critical reputation revived in
5576-518: The Petit Palais and the Musée des Arts Decoratifs in Paris, and Musée des Beaux-Arts de Lyon . Much of the success of Guimard came from the small details of his designs, from door handles and balcony railings to type faces, which he crafted with special imagination and care. He invented his own style of lettering which appeared on his Metro entrances and his building plans. He insisted on calling his work "Style Guimard", not Art Nouveau, and he
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5712-536: The Sutherland binding in 1895. George Skipper was perhaps the most active Art Nouveau architect in England. The Edward Everard building in Bristol, built during 1900–01 to house the printing works of Edward Everard , features an Art Nouveau façade. The figures depicted are of Johannes Gutenberg and William Morris , both eminent in the field of printing. A winged figure symbolises the "Spirit of Light", while
5848-617: The Villa Bloemenwerf (1895). The exterior of the house was inspired by the Red House , the residence of writer and theorist William Morris , the founder of the Arts and Crafts movement . Trained as a painter, Van de Velde turned to illustration, then to furniture design, and finally to architecture. For the Villa Bloemenwerf, he created the textiles, wallpaper, silverware, jewellery, and even clothing, that matched
5984-648: The railway station in Haarlem (1906–1908), and the former office building of the Holland America Lines (1917) in Rotterdam , now the Hotel New York . Prominent graphic artists and illustrators in the style included Jan Toorop , whose work inclined toward mysticism and symbolism , even in his posters for salad oil. In their colors and designs, they also sometimes showed the influence of
6120-487: The "sap of things". Guimard's structural forms remain only as abstract evocations of nature and never directly indicative of any particular plant, an approached outlined by the art critic and contemporary, Gustave Soulier who said about Guimard's work: "we do not see... clearly recognisable motifs which are only interpreted and regularised by a geometric ornamental convention. But neither is it merely withered and graceless floral or animal skeletons that Mr. Guimard draws. He
6256-605: The 1880s could also be adduced, or some flat floral textile designs, most of which owed some impetus to patterns of 19th century design. Other British graphic artists who had an important place in the style included Walter Crane and Charles Ashbee . The Liberty department store in London played an important role, through its colourful stylised floral designs for textiles, and the silver, pewter, and jewellery designs of Manxman (of Scottish descent) Archibald Knox . His jewellery designs in materials and forms broke away entirely from
6392-495: The 1900 Exposition, the capital of Art Nouveau was Paris. The most extravagant residences in the style were built by Jules Lavirotte , who entirely covered the façades with ceramic sculptural decoration. The most flamboyant example is the Lavirotte Building , at 29, avenue Rapp (1901). Office buildings and department stores featured high courtyards covered with stained glass cupolas and ceramic decoration. The style
6528-469: The 1900 Paris Exposition, Siegfried Bing presented a pavilion called Art Nouveau Bing , which featured six different interiors entirely decorated in the Style. The Exposition was the first international showcase for Art Nouveau designers and artists from across Europe and beyond. Prize winners and participants included Alphonse Mucha , who made murals for the pavilion of Bosnia-Herzegovina and designed
6664-508: The 1960s, in part due to subsequent acquisitions of his work by Museum of Modern Art , and art historians have noted the originality and importance of his architectural and decorative works. Guimard was a disciple of Viollet le Duc . Hector Guimard was born in Lyon on 10 March 1867. His father, Germain-René Guimard, was an orthopedist, and his mother, Marie-Françoise Bailly, was a linen maid. His parents married on 22 June 1867. His father became
6800-898: The Art Nouveau work of artists such as Louis Tiffany . It appeared in graphic arts in the posters of Alphonse Mucha , and the glassware of René Lalique and Émile Gallé . From Britain, Belgium and France, Art Nouveau spread to the rest of Europe, taking on different names and characteristics in each country (see Naming section below). It often appeared not only in capitals, but also in rapidly growing cities that wanted to establish artistic identities ( Turin and Palermo in Italy; Glasgow in Scotland; Munich and Darmstadt in Germany; Barcelona in Catalonia , Spain), as well as in centres of independence movements ( Helsinki in Finland, then part of
6936-550: The Castel d'Orgeval (1905), demonstrations of an asymmetrical "free plan", twenty-five years before the theories of Le Corbusier . Other buildings of his, like the Hôtel Nozal (1905), employ a rational, symmetrical, square-based style inspired by Viollet-le-Duc . Guimard employed some structural innovations, as in the concert hall Humbert-de-Romans (1901), where he created a complex frame to divide sound waves to produce enhanced acoustics (built 1898 and demolished in 1905), or as in
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#17327717459247072-602: The Dept. of Drawings & Archives at Avery Architectural and Fine Arts Library at Columbia University in New York City, and in the archives of the Museum of Decorative Arts in Paris. The re-evaluation and rehabilitation of Guimard's reputation began in the late 1960s. Portions of the Castel Beranger were declared of historic and artistic value in July 1965, and the entire building was protected in 1989. His reputation
7208-604: The Exhibition of Navigation and Manufacture (Liverpool, 1886), Pownall Hall (1886–7; Cheshire) and the Royal Jubilee Exhibition (Manchester, 1887). Despite inconsistent output, the group gained recognition through exhibiting and through their quarterly magazine called The Century Guild Hobby Horse which ran from 1884–1892. The journal was then renamed The Hobby Horse , and continued for another two years before it ended in 1894. The Hobby Horse served as
7344-544: The Exposition which gave its name to Art Deco , with a proposed model of a town hall for a French village. He also designed and built a parking garage and several war memorials and funeral monuments. He continued to receive honors, particularly for his teaching at the École national des arts decoratifs. In February 1929 he was named a Chevalier in the French Legion d'honneur . After the war, Art Deco emerged as
7480-532: The Guimard Building, an apartment building at 18 Rue Henri Heine, Paris (XVI arrondissement, begun in 1926. is his last major project still standing. He made a skilful of different-colored brick and stone to create decorative designs on the facade, and added triangular sculpted windows on the roof level, and, in the interior. a very remarkable central stairway with curling iron railings and hexagonal windows of colored and clear glass bricks In 1928 he entered
7616-561: The Hankar House, his own residence in Brussels. With a goal to create a synthesis of fine arts and decorative arts, he brought together the sculptor René Janssens and the painter Albert Ciamberlani to decorate the interior and exterior with sgraffiti , or murals. The façade and balconies featured iron decoration and curling lines in stylised floral patterns, which became an important feature of Art Nouveau. Based on this model, he built several houses for his artist friends. He also designed
7752-525: The Hotel Delfau (1894), which he put on display at an Exposition in 1895, was picturesque and ornate, with a sort of star motif, which seemed to have little connection with the architecture of the house. His early furniture sometimes featured had long looping arms and lateral shelves and levels for displays of objects. He apparently did not produce any furniture for the Hotel Beranger, other than
7888-580: The Hotel Guimard as a site for a Guimard Museum first to the French state, then to the City of Paris, but both refused. Instead, she donated three rooms of Guimard's furniture to three museums; the Museum of Fine Arts of Lyon , the Museum of Decorative Arts in Paris, and the Museum of the Petit Palais , where they are now displayed. She also donated a collection of three hundred designs and photographs to
8024-608: The January 1896 Paris Salon, and Guimard's own style and career began to change. The earliest constructed work of Guimard was the cafe-restaurant Au Grand Neptune (1888), located on the Quai Auteuil in Paris at the edge of the Paris Universal Exposition of 1889 . It was picturesque but not strikingly innovative. It was demolished in 1910. He constructed another picturesque structure for the Exposition,
8160-470: The Maison Coilliot, he began three new houses; The Modern Castel or Villa Canivet in Garches was Guimard's reinvention of a medieval castle. La Bluette in Hermanville-sur-Mer was Guimard's update of traditional Norman architecture. and the Castel Henriette , in Sevres. The Castel Henriette was the most inventive. It was located on a small site, almost circular, and was crowned with a tall, slender watchtower. To create more open interior space, Guimard moved
8296-407: The Modern Style is Arthur Mackmurdo 's design for the cover of his essay on the city churches of Sir Christopher Wren , published in 1883, as is his Mahogany chair from the same year. Other important innovators in Britain included the graphic designers Aubrey Beardsley whose drawings featured the curved lines that became the most recognizable feature of the style. Free-flowing wrought iron from
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#17327717459248432-498: The Moulin-Rouge?" From the beginning, Guimard was also in conflict with the Metro authorities about his payments. The dispute was ended in 1903 with an agreement by which Guimard received payment, but gave up his models and manufacturing rights. Construction of new stations continued using his design without his participation. Between 1900 and 1913, a total of 167 entrances were installed, of which sixty-six still survive, mostly in locations different from their original placement. In
8568-476: The Museum of Decorative Arts and the Musée d'Orsay in Paris. He is honoured in street names in the French towns of Châteauroux , Perpignan , Guilherand-Granges and Cournon-d'Auvergne , and by the rue Hector Guimard in Belleville, Paris . Like other prominent Art Nouveau architects, Guimard also designed furniture and other interior decoration to harmonize with his buildings. It took him some time to find his own style in furniture. The furniture he designed for
8704-513: The Museum of Decorative Arts. These disappeared into various archives in the 1960s, but were relocated in 2015. His widow died on 26 October 1965 in New York. By the time of Guimard's death, many of his buildings had already been demolished or remodeled beyond recognition. Most of his original Metro station edicules and balustrades had also been removed. The only full covering remaining at its original location at Porte Dauphine . However, many original architectural drawings by Guimard were stored in
8840-415: The National School of Decorative Arts nicknamed him the "Ravachol of architecture", after Ravachol , the Paris anarchist who bombed church buildings. Nonetheless, he was recognized for his designing skills; in 1884 he was awarded three bronze and two silver medals at the school for his work. In 1885 he received awards in all of the competitions at the school, including four bronze medallions, five silver, and
8976-505: The Paris Métro , based on the ornamented structures of Viollet-le-Duc . The idea was taken up – but with less success – in 1907 with a catalogue of cast iron elements applicable to buildings: Artistic Cast Iron, Guimard Style . Guimard's art objects have the same formal continuity as his buildings, harmoniously uniting practical function with linear design, as in the Vase des Binelles , of 1903. His stylistic vocabulary has suggestions to plants and organic matter and has been described as
9112-406: The Paris Salon des Artistes in 1890, and in 1892 competed, without success, in the competition for the Prix de Rome . In October 1891 he began to teach drawing and perspective to young women at the École nationale des arts decoratifs and later a course on perspective for younger students, a post he held until July 1900. He showed his work at the Paris Salons of April 1894 and 1895, which earned him
9248-414: The Paris suburbs. The most important work of this period is the Hotel Guimard , built in 1909 at 122 Avenue Mozart (XVIth arrondissement) in Paris, ten years after his first success with the Hotel Beranger. It was built following his marriage with Adeline Oppenheim , an American painter from a wealthy family. The land was purchased three months after the marriage, and in June 1910 Guimard was able to move
9384-455: The Pavilion of Electricity, a showcase for the work of electrical engineer Ferdinand de Boyéres. Between 1889 and 1895 he constructed a dozen apartment buildings, villas and houses, mostly in the Paris 16th arrondissement or suburbs, including the Hotel Roszé (1891) and the Hotel Jassedé (1893) without attracting much attention. He earned his living primarily from his teaching at the School of Decorative Arts. Guimard's first recognized major work
9520-435: The Pope to Constantinople, the foundation was dissolved, and the concert hall was used only for meetings and conferences. It closed in 1904 and was demolished in 1905. The grand organ moved to the church of Saint-Vincent-de-Paul in Clichy, where it can be found today. The highly publicized debut of the Hotel Béranger quickly brought Guimard new projects, including villas, a Paris concert hall, and, most famously, entrances for
9656-448: The Russian Empire). By 1914, with the beginning of the First World War , Art Nouveau was largely exhausted. In the 1920s, it was replaced as the dominant architectural and decorative art style by Art Deco and then Modernism . The Art Nouveau style began to receive more positive attention from critics in the late 1960s, with a major exhibition of the work of Hector Guimard at the Museum of Modern Art in 1970. The term Art Nouveau
9792-720: The Secession Style in Vienna. His architectural creations included the Glasgow Herald Building (1894) and the library of the Glasgow School of Art (1897). He also established a major reputation as a furniture designer and decorator, working closely with his wife, Margaret Macdonald Mackintosh , a prominent painter and designer. Together they created striking designs that combined geometric straight lines with gently curving floral decoration, particularly
9928-423: The architecture and interior design of houses designed by Paul Hankar , Henry van de Velde , and especially Victor Horta , whose Hôtel Tassel was completed in 1893. It moved quickly to Paris, where it was adapted by Hector Guimard , who saw Horta's work in Brussels and applied the style to the entrances of the new Paris Métro . It reached its peak at the 1900 Paris International Exposition , which introduced
10064-662: The art of Java. Important figures in Dutch ceramics and porcelain included Jurriaan Kok and Theo Colenbrander . They used colorful floral pattern and more traditional Art Nouveau motifs, combined with unusual forms of pottery and contrasting dark and light colors, borrowed from the batik decoration of Java. Art Nouveau had its roots in Britain, in the Arts and Crafts movement which started in 1860s and reached international recognition by 1880s. It called for better treatment of decorative arts, and took inspiration in medieval craftmanship and design, and nature. One notable early example of
10200-858: The beginning of 1860, a Far Eastern influence suddenly manifested. In 1862, art lovers from London or Paris, could buy Japanese artworks , because in that year, Japan appeared for the first time as an exhibitor at the International Exhibition in London. Also in 1862, in Paris, La Porte Chinoise store, on Rue de Rivoli , was open, where Japanese ukiyo-e and other objects from the Far East were sold. In 1867, Examples of Chinese Ornaments by Owen Jones appeared, and in 1870 Art and Industries in Japan by R. Alcock, and two years later, O. H. Moser and T. W. Cutler published books about Japanese art. Some Art Nouveau artists, like Victor Horta , owned
10336-568: The beginning of the Modernisme style in Spain, with some buildings of Lluís Domènech i Montaner . The Esposizione internazionale d'arte decorativa moderna of 1902 in Turin, Italy, showcased designers from across Europe, including Victor Horta from Belgium and Joseph Maria Olbrich from Vienna, along with local artists such as Carlo Bugatti , Galileo Chini and Eugenio Quarti . Following
10472-871: The beginning of the First World War. By the time the First World War began in August 1914, Art Nouveau was already out of fashion. The army and war economy took almost all available workers and building materials. Most of Guimard's projects were shelved. and Guimard gave up his furniture workshop on Avenue Perrichont. He left Paris and to reside most of the war in a luxury hotel in Pau and Candes-Saint-Martin , where he wrote essays and pamphlets calling for an end to militarized society, and also, more practically, studying ideas standardized housing that could be constructed more quickly and less expensively, anticipating
10608-488: The building into the competition for the best Paris facades, the same competition that he had entered in 1898 with the Hôtel Beranger. He was a winner again, and was the first Paris architect to enter twice and to win twice. This building became his residence, though he was not able to move in until 1930. Despite his success with the facade competition, his late work appeared old fashioned, particularly compared with
10744-513: The ceramics manufacturer Louis Coilliot on rue de Fleurs in Lille , and served as his store, reception hall and residence. The facade was covered with plaques of green enamelled volcanic rock, and decorated with soaring arches, curling wrought iron, and Guimard's characteristic asymmetric, organic doorways and windows. The following year, 1899, while he continued to teach regularly at the school of decorative arts in Paris, and continued construction of
10880-567: The decorative architecture of the Quattrocento , or 15th-century Italy. Hankar died in 1901, when his work was just receiving recognition. Gustave Strauven began his career as an assistant designer working with Horta, before he started his own practice at age 21, making some of the most extravagant Art Nouveau buildings in Brussels. His most famous work is the Saint-Cyr House at 11, square Ambiorix / Ambiorixsquare . The house
11016-534: The design of the fair, and Henri Privat-Livemont created the poster for the exhibition. The Franco-German art dealer and publisher Siegfried Bing played a key role in publicizing the style. In 1891, he founded a magazine devoted to the art of Japan, which helped publicize Japonism in Europe. In 1892, he organized an exhibit of seven artists, among them Pierre Bonnard , Félix Vallotton , Édouard Vuillard , Toulouse-Lautrec and Eugène Grasset , which included both modern painting and decorative work. This exhibition
11152-412: The designs of the textiles and batik from Java . The most important architect and furniture designer in the style was Hendrik Petrus Berlage , who denounced historical styles and advocated a purely functional architecture. He wrote, "It is necessary to fight against the art of illusion, to and to recognize the lie, in order to find the essence and not the illusion." Like Victor Horta and Gaudí , he
11288-530: The early years of the 20th century, Guimard's popularity diminished and his earlier frenetic pace of production slowed down. His works shown at the 1903 Paris Exposition of residential architecture did not attract the attention of the Castel Beranger and other earlier work. He was supported largely by one wealthy client, Léon Nozal, and his friends. His works for this group included the La Sapiniere,
11424-470: The exterior of the building. The postwar shortages of iron and other materials affected the style; there was little decoration of the facade, or entrance. He concentrated his attention on the parapets which gave the building a soaring, modern profile. Just before the First World War he had created a firm, the Sociéte général de constructions modernes, with the intention of building standardized housing at
11560-408: The facade; his wife could paint in one portion of the house, with large windows, while he worked in his bureau in another part of the house. It had a very large dining room and many tables, but no kitchen; it was apparently designed for working and entertaining. The house was later broken up into apartments, and the original room arrangements and furniture are gone. By the 1910s, Guimard was no longer
11696-485: The few Art Nouveau products that could be mass-produced was the perfume bottle, and these are still manufactured in the style today. Belgium was an early centre of Art Nouveau, thanks largely to the architecture of Victor Horta , who designed one of the first Art Nouveau houses, the Hôtel Tassel in 1893, and three other townhouses in variations of the same style. They are now UNESCO World Heritage sites . Horta had
11832-497: The floors and walls, as well as the furniture and carpets which Horta designed. Paul Hankar was another pioneer of Brussels' Art Nouveau. His house was completed in 1893, the same year as Horta's Hôtel Tassel, and featured sgraffiti murals on the façade. Hankar was influenced by both Viollet-le-Duc and the ideas of the English Arts and Crafts movement . His conception idea was to bring together decorative and fine arts in
11968-423: The furniture designer Gustave Serrurier-Bovy , known for his highly original chairs and articulated metal furniture; and the jewellery designer Philippe Wolfers , who made jewellery in the form of dragonflies, butterflies, swans and serpents. The Brussels International Exposition held in 1897 brought international attention to the style; Horta, Hankar, Van de Velde, and Serrurier-Bovy, among others, took part in
12104-476: The hierarchy that put painting and sculpture above the decorative arts. The major artists working there included the glass vase and lamp creators Émile Gallé , the Daum brothers in glass design, and the designer Louis Majorelle , who created furniture with graceful floral and vegetal forms. The architect Henri Sauvage brought the new architectural style to Nancy with his Villa Majorelle in 1902. The French style
12240-456: The historical traditions of jewellery design. For Art Nouveau architecture and furniture design, the most important centre in Britain was Glasgow , with the creations of Charles Rennie Mackintosh and the Glasgow School , whose work was inspired by Scottish baronial architecture and Japanese design. Beginning in 1895, Mackintosh displayed his designs at international expositions in London, Vienna, and Turin; his designs particularly influenced
12376-536: The leader of Paris architectural fashion, but he continued to design and build residences, apartment buildings, and monuments. Between 1910 and 1911 he built Hôtel Mezzara for Paul Mezzara, experimenting with skylights. Another notable work of this period is the Agoudas Hakehilos Synagogue at 10 Rue Pavé (IV arrondissement) in the Marais district . The synagogue, Guimard's only religious building,
12512-413: The leading style of Parisian architecture. Guimard adapted to the new style and proved his originality and attention to the detail. His buildings display geometric decorative patterns, simplified columns emphasizing structural elements and rigid shapes; despite this they retain elements of his previous style: sinuous lines, vegetal-inspired ornaments and typical Art Nouveau iron railings. His next project,
12648-521: The menu for the restaurant of the pavilion; the decorators and designers Bruno Paul and Bruno Möhring from Berlin; Carlo Bugatti from Turin ; Bernhardt Pankok from Bavaria ; The Russian architect-designer Fyodor Schechtel , and Louis Comfort Tiffany and Company from the United States. The Viennese architect Otto Wagner was a member of the jury, and presented a model of the Art Nouveau bathroom of his own town apartment in Vienna, featuring
12784-399: The millions of visitors to the city's 1900 Exposition Universelle . The Paris 1900 Exposition universelle marked the high point of Art Nouveau. Between April and November 1900, it attracted nearly fifty million visitors from around the world, and showcased the architecture, design, glassware, furniture and decorative objects of the style. The architecture of the Exposition was often
12920-464: The modernism of the Paris buildings of Robert Mallet-Stevens , Auguste Perret , and Le Corbusier . Between 1926 and 1930 he built several residential buildings in the same neighborhood as his home in the 16th arrondissement, which still exist. These include the Hôtel Houyvet, at 2 Villa Flore and 120 Avenue Mozart, built for the industrialist Michel Antoine Paul Houyhvet. His last recorded work
13056-652: The most popular signature of the style. In a short period, Horta built three more town houses, all with open interiors, and all with skylights for maximum interior light: the Hôtel Solvay , the Hôtel van Eetvelde (for Edmond van Eetvelde ), and the Maison & Atelier Horta . All four are now part of a UNESCO World Heritage Site . Paul Hankar was also an innovator of early Art Nouveau. Born at Frameries , in Hainaut ,
13192-650: The name Munich Secession for the Association of Visual Artists of Munich . The Vienna Secession , founded in 1897, and the Berlin Secession also took their names from the Munich group. The journals Jugend and Simplicissimus , published in Munich, and Pan , published in Berlin, were important proponents of the Jugendstil . Jugendstil art combined sinuous curves and more geometric lines, and
13328-451: The need to reconstruct housing destroyed in the War. He received a dozen patents for his new inventions. One of the rare completed buildings still standing from this period is the office building at 10 Rue de Bretagne, begun in 1914 but not completed until after the War in 1919. The Art Nouveau style was replaced by a more functional simplicity, where the reinforced concrete structure defined
13464-429: The new style, between 1895 and 1898. Parisians had been complaining of the monotony of the architecture of the boulevards built under Napoleon III by Georges-Eugène Haussmann . The Castel Beranger was a curious blend of Neo-Gothic and Art Nouveau, with curving whiplash lines and natural forms. Guimard, a skilled publicist for his work, declared: "What must be avoided at all cost is...the parallel and symmetry. Nature
13600-413: The offices of his agency into the ground floor. The house was not occupied by the couple, however, for two more years, while the furniture he designed was manufactured. The house is located on a triangular lot, which proved particularly challenging for Guimard. He saved interior space by installing an inclined elevator rather than a stairway on the upper floors. The house was designed to show its functions on
13736-435: The original one hundred sixty-seven put in place) were declared of historic value. The city donated a few originals, and several copies, to Chicago and other cities which desired them. Reconstructed original edicules are found at Abbesses and Châtelet . Many of his buildings have been substantially modified, and there are no intact Guimard interiors which are open to the public, though suites of his furniture can be found in
13872-668: The posters by Jules Chéret for dancer Loie Fuller in 1893, and by Alphonse Mucha for actress Sarah Bernhardt in 1895, the poster became not just advertising, but an art form. Sarah Bernhardt set aside large numbers of her posters for sale to collectors. The first Art Nouveau town houses, the Hankar House by Paul Hankar (1893) and the Hôtel Tassel by Victor Horta (1892–1893), were built almost simultaneously in Brussels . They were similar in their originality, but very different in their design and appearance. Victor Horta
14008-535: The press as resembling newspaper stands, funeral monuments, or public toilets. Time was short, and Guimard presented sketches of his own idea for entrances made of iron and glass, which would be quicker and simpler to manufacture. He was given the commission on 12 January 1900, just a few months before the opening of the system. To simplify the manufacture, Guimard made two designs of edicules, called Type A and B. Both were made of cast iron frames, with cream-colored walls and glass roofs to protect against rain. The A type
14144-659: The principles of constructivism . Everything was functional, including the lines of rivets that decorated the walls of the main room. He often included very tall towers to his buildings to make them more prominent, a practice used by other Art Nouveau architects of the period, including Joseph Maria Olbrich in Vienna and Eliel Saarinen in Finland. Other buildings in the style include the American Hotel (1898–1900), also by Berlage; and Astoria (1904–1905) by Herman Hendrik Baanders and Gerrit van Arkel in Amsterdam ;
14280-646: The pupils of Morris. Early prototypes of the style include the Red House with interiors by Morris and architecture by Philip Webb (1859), and the lavish Peacock Room by James Abbott McNeill Whistler . The new movement was also strongly influenced by the Pre-Raphaelite painters, including Dante Gabriel Rossetti and Edward Burne-Jones , and especially by British graphic artists of the 1880s, including Selwyn Image , Heywood Sumner , Walter Crane , Alfred Gilbert , and especially Aubrey Beardsley . The chair designed by Arthur Mackmurdo has been recognized as
14416-409: The school's Grande Prix d'Architecture. Guimard's early Art Nouveau work, particularly the Castel Beranger , as Guimard himself acknowledged, was strongly influenced by the work of the Belgian architect Victor Horta , especially the Hotel Tassel , which Guimard visited before he designed the Castel Beranger. Like Horta, he created original designs and ornament, inspired by his own views of nature. If
14552-672: The skylights favored by Victor Horta are rare in his work (the Mezzara Hotel, 1910, and the Rue Pavée Synagogue , (1913), being notable exceptions), Guimard made noteworthy experiments in space and volume. These include the Coilliot House and its disconcerting double-frontage (1898), and the Villa La Bluette , noted for its volumetric harmony (1898), and especially the Castel Henriette (1899) and
14688-500: The son of a master stone cutter, he had studied ornamental sculpture and decoration at the Royal Academy of Fine Arts in Brussels from 1873 to 1884, whilst working as an ornamental sculptor. From 1879 to 1904, he worked in the studio of the prominent architect Henri Beyaert , a master of eclectic and neoclassical architecture . Through Beyaert, Hankar also became an admirer of Viollet-le-Duc. In 1893, Hankar designed and built
14824-412: The stairwell to the side of the building. The interior was lit by large windows, and featured ensembles of furniture all designed by Guimard. The building had an unhappy history. The watchtower fell in 1903, apparently after being struck by lightning. Guimard was summoned back and redesigned the house, adding new balconies and terrace. However, by the 1960s, the building was considered out of fashion, and it
14960-607: The stations of the new Paris Metro , which was planned to open in 1900 in time for the Paris Universal Exposition . A new organization, the chemin de fer métropolitan de Paris (CFP, now RATP) was created in April 1899 to build and manage the system. They organized a competition for station entrance edicules, or canopies, and balustrades, or railings. This attracted twenty-one applicants. Guimard did not apply. The twenty-one original applicants proposed edicules built of masonry, in various historic and picturesque styles. These were ridiculed in
15096-476: The style of the residence. Van de Velde went to Paris, where he designed furniture and decoration for the German-French art dealer Siegfried Bing , whose Paris gallery gave the style its name. He was also an early Art Nouveau theorist, demanding the use of dynamic, often opposing lines. Van de Velde wrote: "A line is a force like all the other elementary forces. Several lines put together but opposed have
15232-660: The style was known as the Nieuwe Stijl ('New Style'), or Nieuwe Kunst ('New Art'), and it took a different direction from the more floral and curving style in Belgium. It was influenced by the more geometric and stylised forms of the German Jugendstil and Austrian Vienna Secession . It was also influenced by the art and imported woods from Indonesia , then the Dutch East Indies , particularly
15368-530: The style. These paintings were removed in 1945 as deemed non academic. At the Château de Roquetaillade in the Bordeaux region, his interior decorations dating from 1865 also anticipate Art Nouveau. In his 1872 book Entretiens sur l'architecture , he wrote, "Use the means and knowledge given to us by our times, without the intervening traditions which are no longer viable today, and in that way we can inaugurate
15504-439: The summer of 1895. Guimard put together an extraordinary number of stylistic effects and theatrical elements on the facade and in the interior, using cast iron, glass and ceramics for decoration. The lobby, decorated with sinuous vine-like cast iron and colorful ceramics, resembled an undersea grotto. He designed every detail, including the wallpaper, rain spouts and door handles, and added adding highly modern new features including
15640-646: The threat it presented. His wife was Jewish, and he was alarmed by the approaching likelihood of war. In September 1938 he and his wife settled in New York City. He died on 20 May 1942 at the Hotel Adams on Fifth Avenue. He is buried in Gate of Heaven Cemetery in Hawthorne, New York, about 25 miles north of New York City. After the War, in June–July 1948, his widow returned to Paris to settle his affairs. She offered
15776-488: The time of its creation, did not aspire in any way to have the honor of becoming a generic term. It was simply the name of a house opened as a rallying point for all the young and ardent artists impatient to show the modernity of their tendencies." The style was quickly noticed in neighbouring France. After visiting Horta's Hôtel Tassel, Hector Guimard built the Castel Béranger , among the first Paris buildings in
15912-572: Was La Guimardière, an apartment building on Avenue Le Nôtre, Vaucresson in the Hauts-de-Seine suburb of Paris. It was completed in about 1930, but was demolished in March–April 1969. As early as 1918, he took steps to assure that his work would be documented and would survive. He obtained space in the former orangerie of the Château de Saint-Germain-en-Laye , where he deposited models of his buildings and hundreds of designs. In 1936 he donated
16048-527: Was a wave of enthusiasm for Japanese woodblock printing , particularly the works of Hiroshige , Hokusai , and Utagawa Kunisada , which were imported into Europe beginning in the 1870s. The enterprising Siegfried Bing founded a monthly journal, Le Japon artistique in 1888, and published thirty-six issues before it ended in 1891. It influenced both collectors and artists, including Gustav Klimt . The stylised features of Japanese prints appeared in Art Nouveau graphics, porcelain, jewellery, and furniture. Since
16184-451: Was among the most influential architects of early Art Nouveau, and his Hôtel Tassel (1892–1893) in Brussels is one of the style's landmarks. Horta's architectural training was as an assistant to Alphonse Balat , architect to King Leopold II , constructing the monumental iron and glass Royal Greenhouses of Laeken . He was a great admiror of Viollet-le-Duc , whose ideas he completely identified with. In 1892–1893, he put this experience to
16320-586: Was an admirer of architectural theories of Viollet-le-Duc . His furniture was designed to be strictly functional, and to respect the natural forms of wood, rather than bending or twisting it as if it were metal. He pointed to the example of Egyptian furniture, and preferred chairs with right angles. His first and most famous architectural work was the Beurs van Berlage (1896–1903), the Amsterdam Commodities Exchange, which he built following
16456-516: Was applied only to the graphic arts. It referred especially to the forms of typography and graphic design found in German magazines such as Jugend , Pan , and Simplicissimus . Jugendstil was later applied to other versions of Art Nouveau in Germany, the Netherlands. The term was borrowed from German by several languages of the Baltic states and Nordic countries to describe Art Nouveau (see Naming section). In 1892 Georg Hirth chose
16592-595: Was first used in the 1880s in the Belgian journal L'Art Moderne to describe the work of Les Vingt , twenty painters and sculptors seeking reform through art. The name was popularized by the Maison de l'Art Nouveau ('House of the New Art'), an art gallery opened in Paris in 1895 by the Franco-German art dealer Siegfried Bing . In Britain, the French term Art Nouveau was commonly used, while in France, it
16728-405: Was genius at publicizing it. He wrote numerous articles and gave interviews and lectures on his work, and printed a set of "Style Guimard" postcards with his pictures of his buildings, Guimard rejected the dominant academic Beaux-Arts style of there 1880s, calling it "cold receptacle of various past styles in which the original spirit was no longer alive enough to dwell". His fellow students at
16864-445: Was given a major boost in 1970, when the Museum of Modern Art in New York hosted a large exhibition of his work, including drawings he had donated himself and one of his Metro Station edicules. Other museums followed. The thirty cases of models in the cellars of the National Museum of Antiquities in Saint-Germaine-en-Laye were rediscovered and some were put on display. In 1978, all of Guimard's surviving Metro entrances (Eighty-eight of
17000-402: Was influenced by William Morris and the Arts and Crafts movement . German architects and designers sought a spiritually uplifting Gesamtkunstwerk ('total work of art') that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents. The first Art Nouveau houses and interior decoration appeared in Brussels in the 1890s, in
17136-679: Was often called by the term Style moderne (akin to the British term Modern Style ), or Style 1900 . In France, it was also sometimes called Style Jules Verne (after the novelist Jules Verne ), Style Métro (after Hector Guimard 's iron and glass subway entrances), Art Belle Époque , or Art fin de siècle . Art Nouveau is known by different names in different languages: Jugendstil in German, Stile Liberty in Italian, Modernisme in Catalan, and also known as
17272-523: Was particularly popular in restaurants and cafés, including Maxim's at 3, rue Royale , and Le Train bleu at the Gare de Lyon (1900). The status of Paris attracted foreign artists to the city. The Swiss-born artist Eugène Grasset was one of the first creators of French Art Nouveau posters. He helped decorate the famous cabaret Le Chat Noir in 1885, made his first posters for the Fêtes de Paris and
17408-721: Was popular between 1890 and 1910 during the Belle Époque period, and was a reaction against the academicism , eclecticism and historicism of 19th century architecture and decorative art. One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work. The style responded to leading 19th century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900). In Britain, it
17544-522: Was rarely occupied. It served as a movie set before it was finally demolished, despite appeals by preservationists. Some of the furniture is now found in museums. In 1898, Guimard embarked upon another ambitious project, the construction of a concert hall, the Salle Humbert-de-Romans, located at 60 Rue Saint Didier (16th arrondissement). It was built as the centrepiece of a conservatory of Christian music intended for orphans, proposed by
17680-521: Was selected one of the six winners, a fact which he proudly had inscribed on the facade of the building. The success and publicity created by the Castel Beranger quickly brought him commissions for other residential buildings. Between 1898 and 1900, he constructed three houses simultaneously, each very different but recognizably in Guimard's style. The first, the Maison Coilliot , was built for
17816-749: Was shown at the Société nationale des beaux-arts in 1895. In the same year, Bing opened a new gallery at 22 rue de Provence in Paris, the Maison de l'Art Nouveau , devoted to new works in both the fine and decorative arts. The interior and furniture of the gallery were designed by the Belgian architect Henry van de Velde , one of the pioneers of Art Nouveau architecture. The Maison de l'Art Nouveau showed paintings by Georges Seurat , Paul Signac and Toulouse-Lautrec , glass from Louis Comfort Tiffany and Émile Gallé , jewellery by René Lalique , and posters by Aubrey Beardsley . The works shown there were not at all uniform in style. Bing wrote in 1902, "Art Nouveau, at
17952-443: Was simpler and more cubic, while the B was rounded and more dynamic in form, and is sometimes compared with a dragonfly . Only two of the original A types were made and neither still exists. Only one B type, restored, remains in its original location, at Porte Dauphine . Guimard also designed a simpler version, without a roof, with railings or balustrades of ornamental green-painted iron escutcheons and two high pylons with lamps and
18088-471: Was spent in Germany; he strongly influenced the decoration of the Jugendstil . Others included the decorator Gustave Serrurier-Bovy , and the graphic artist Fernand Khnopff . Belgian designers took advantage of an abundant supply of ivory imported from the Belgian Congo ; mixed sculptures, combining stone, metal and ivory, by such artists as Philippe Wolfers , was popular. In the Netherlands,
18224-409: Was the Castel Béranger in Paris, an apartment building with thirty-six units constructed between 1895 and 1898, when the architect was just thirty years old. It was at 14, rue Jean de la Fontaine, Paris, for Mme. Fournier. He persuaded his client to abandon a more restrained design and replace it with a new design in a more modern style, similar to that of Horta's Hotel Tassel , which he had visited in
18360-401: Was used for covers of novels, advertisements, and exhibition posters. Designers often created original styles of typeface that worked harmoniously with the image, e.g. Arnold Böcklin typeface in 1904. Hector Guimard Hector Guimard ( French pronunciation: [ɛktɔʁ ɡimaʁ] , 10 March 1867 – 20 May 1942) was a French architect and designer, and a prominent figure of
18496-499: Was widely propagated by new magazines, including The Studio , Arts et Idées and Art et Décoration , whose photographs and colour lithographs made the style known to designers and wealthy clients around the world. In France, the style reached its summit in 1900, and thereafter slipped rapidly out of fashion, virtually disappearing from France by 1905. Art Nouveau was a luxury style, which required expert and highly-paid craftsmen, and could not be easily or cheaply mass-produced. One of
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