136-620: The style sapin (the French ´´sapin´´ means fir tree, but better translates to ´´conifer style´´) is a variation of Art Nouveau created in La Chaux-de-Fonds , Switzerland, by the Swiss artist Charles L'Eplattenier (1874–1946), a professor of the school of art and design in that town. The basic principle taught by L'Eplattenier was that art should be inspired by nature, in this case by the conifers, in particular fir trees, that covered
272-410: A "true society", where neither luxuries nor cheap trash were made, machinery could be improved and used to reduce the hours of labor. The cultural historian Fiona McCarthy said of Morris that "unlike later zealots like Gandhi , William Morris had no practical objections to the use of machinery per se so long as the machines produced the quality he needed." Morris insisted that the artist should be
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
816-477: A community of craftsmen called the Guild of Handicraft in east London, later moving to Chipping Campden . Those adherents who were not socialists, such as Alfred Hoare Powell , advocated a more humane and personal relationship between employer and employee. Lewis Foreman Day was another successful and influential Arts and Crafts designer who was not a socialist, despite his long friendship with Crane. In Britain,
952-483: A craftsman-designer working by hand and advocated a society of free craftspeople, such as he believed had existed during the Middle Ages. "Because craftsmen took pleasure in their work", he wrote, "the Middle Ages was a period of greatness in the art of the common people. ... The treasures in our museums now are only the common utensils used in households of that age, when hundreds of medieval churches – each one
1088-507: A democratic art, and by the end of the 19th century, Arts and Crafts design in houses and domestic interiors was the dominant style in Britain, copied in products made by conventional industrial methods. The spread of Arts and Crafts ideas during the late 19th and early 20th centuries resulted in the establishment of many associations and craft communities, although Morris had little to do with them because of his preoccupation with socialism at
1224-628: 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
1360-485: 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
1496-476: A frieze with a fir tree motif over the front door. The students produced a variety of other decorative objects. A collection of one hundred eight decorative works designed by the students was presented at an international exposition in Milan in 1906, which earned the school an honorable mention. The artist Henriette Grandjean, a student in the upper course, also made numerous objects in the style sapin, which are now in
SECTION 10
#17327719019101632-594: 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
1768-494: A lack of interest in easel painting as such. On his side, Ruskin dissented firmly from the idea that became Arts-and-Crafts orthodoxy, that decoration should be flat and should not represent three-dimensional forms. William Morris (1834–1896) was the towering figure in late 19th-century design and the main influence on the Arts and Crafts movement. The aesthetic and social vision of the movement grew out of ideas that he developed in
1904-709: A leader in the Gothic Revival in architecture . For example, he advocated truth to material, structure, and function, as did the Arts and Crafts artists. Pugin articulated the tendency of social critics to compare the faults of modern society with the Middle Ages, such as the sprawling growth of cities and the treatment of the poor – a tendency that became routine with Ruskin, Morris, and the Arts and Crafts movement. His book Contrasts (1836) drew examples of bad modern buildings and town planning in contrast with good medieval examples, and his biographer Rosemary Hill notes that he "reached conclusions, almost in passing, about
2040-407: A masterpiece – were built by unsophisticated peasants." Medieval art was the model for much of Arts and Crafts design, and medieval life, literature and building was idealized by the movement. Morris's followers also had differing views about machinery and the factory system. For example, C. R. Ashbee , a central figure in the Arts and Crafts movement, said in 1888, that, "We do not reject
2176-804: 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
2312-403: A natural motif made to look as real as possible, whereas these writers advocated flat and simplified natural motifs. Redgrave insisted that "style" demanded sound construction before ornamentation, and a proper awareness of the quality of materials used. " Utility must have precedence over ornamentation." However, the design reformers of the mid-19th century did not go as far as the designers of
2448-419: 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
2584-408: 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
2720-594: 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
2856-495: A powerful denunciation of modern industrialism to which Arts and Crafts designers returned again and again. Distrust for the machine lay behind the many little workshops that turned their backs on the industrial world around 1900, using preindustrial techniques to create what they called 'crafts.' — Alan Crawford, " W. A. S. Benson , Machinery, and the Arts and Crafts Movement in Britain" William Morris shared Ruskin's critique of industrial society and at one time or another attacked
SECTION 20
#17327719019102992-423: 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
3128-656: 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;
3264-467: 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,
3400-554: 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
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
3672-413: 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
3808-471: 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
3944-425: Is the incarnation of Art Nouveau in England. Others consider Art and Crafts to be in opposition to Art Nouveau. Arts and Crafts indeed criticized Art Nouveau for its use of industrial materials such as iron. And as for Art Nouveau artists, the Arts and Crafts utopia was intrinsically contradictory: "the paradoxical confinement of the Arts & Crafts movement in an artisanal practice was completely out of step with
4080-679: The Baptism of Christ in Paisley Abbey , (c. 1880). His followers included Stephen Adam and his son of the same name. The Glasgow-born designer and theorist Christopher Dresser (1834–1904) was one of the first, and most important, independent designers, a pivotal figure in the Aesthetic Movement and a major contributor to the allied Anglo-Japanese movement. The movement had an "extraordinary flowering" in Scotland where it
4216-673: The British Empire and to the rest of Europe and America. Initiated in reaction against the perceived impoverishment of the decorative arts and the conditions in which they were produced, the movement flourished in Europe and North America between about 1880 and 1920. Some consider that it is the root of the Modern Style , a British expression of what later came to be called the Art Nouveau movement. Others consider that it
Style sapin - Misplaced Pages Continue
4352-586: The Century Guild , a partnership of designers including Selwyn Image , Herbert Horne , Clement Heaton and Benjamin Creswick . In 1884, the Art Workers Guild was initiated by five young architects, William Lethaby , Edward Prior , Ernest Newton , Mervyn Macartney and Gerald C. Horsley , with the goal of bringing together fine and applied arts and raising the status of the latter. It
4488-459: The Cotswolds . The guild's work is characterised by plain surfaces of hammered silver, flowing wirework and colored stones in simple settings. Ashbee designed jewellery and silver tableware. The guild flourished at Chipping Camden but did not prosper and was liquidated in 1908. Some craftsmen stayed, contributing to the tradition of modern craftsmanship in the area. C.F.A. Voysey (1857–1941)
4624-588: The Irish National War Memorial Gardens in Dublin) and Frederick 'Pa' Hicks ( Malahide Castle estate buildings and round tower). Irish Celtic motifs were popular with the movement in silvercraft, carpet design, book illustrations, and hand-carved furniture. In continental Europe, the revival and preservation of national styles was an important motive of Arts and Crafts designers; for example, in Germany, after unification in 1871 under
4760-618: The Jura Mountains around the town. L'Eplattenier began teaching the higher course of art and decoration at the regional School of Art in 1905, where his students included the Charles-Edouard Jeanneret, the future Le Corbusier . He declared that "nature is the sole inspiration" and urged his students to study the regional plants, flowers and wildlife. In his official report to the school administration, he wrote, "the base of our studies or ornament remains always
4896-520: 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
5032-480: The Musée d'Orsay in Paris. The crematorium of La Chaux-de-Fonds (1909–1910) is the most comprehensive example of the style. It was designed by Charles L'Eplattenier, using the triangular motif of the fir tree and fir cone emblems in the facade sculpture and interior decor. The symbolist murals by L'Eplattenier were added later. The crematorium facade and interior is decorated with stylized conifer cone sculpture, and
5168-536: 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
5304-617: 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
5440-574: 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
5576-648: 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
Style sapin - Misplaced Pages Continue
5712-525: The 1850s with the Birmingham Set – a group of students at the University of Oxford including Edward Burne-Jones , who combined a love of Romantic literature with a commitment to social reform. John William Mackail notes that "Carlyle's Past and Present stood alongside of [Ruskin's] Modern Painters as inspired and absolute truth." The medievalism of Malory 's Morte d'Arthur set
5848-605: 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
5984-495: 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
6120-469: 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
6256-491: The 1920s as the Mingei movement. It stood for traditional craftsmanship, and often used medieval , romantic , or folk styles of decoration. It advocated economic and social reform and was anti-industrial in its orientation. It had a strong influence on the arts in Europe until it was displaced by Modernism in the 1930s, and its influence continued among craft makers, designers, and town planners long afterwards. The term
6392-842: 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
6528-595: The Arts and Crafts Movement brought new appreciation to their work. Horace W Elliot, an English gallerist, visited the Ewenny Pottery (which dated back to the 17th century) in 1885, to both find local pieces and encourage a style compatible with the movement. The pieces he brought back to London for the next twenty years revivified interest in Welsh pottery work. A key promoter of the Arts and Crafts movement in Wales
6664-469: The Arts and Crafts movement in Scotland were in the stained glass revival of the 1850s, pioneered by James Ballantine (1806–1877). His major works included the great west window of Dunfermline Abbey and the scheme for St. Giles Cathedral , Edinburgh. In Glasgow it was pioneered by Daniel Cottier (1838–1891), who had probably studied with Ballantine, and was directly influenced by William Morris , Ford Madox Brown and John Ruskin . His key works included
6800-454: The Arts and Crafts movement. They were more concerned with ornamentation than construction, they had an incomplete understanding of methods of manufacture, and they did not criticise industrial methods as such. By contrast, the Arts and Crafts movement was as much a movement of social reform as design reform, and its leading practitioners did not separate the two. Some of the ideas of the movement were anticipated by Augustus Pugin (1812–1852),
6936-523: The Arts and Crafts philosophy was perpetuated among British craft workers in the 1950s and 1960s, long after the demise of the Arts and Crafts movement and at the high tide of Modernism. British Utility furniture of the 1940s also derived from Arts and Crafts principles. One of its main promoters, Gordon Russell , chairman of the Utility Furniture Design Panel, was imbued with Arts and Crafts ideas. He manufactured furniture in
SECTION 50
#17327719019107072-608: The Cotswold Hills, a region of Arts and Crafts furniture-making since Ashbee, and he was a member of the Arts and Crafts Exhibition Society. William Morris's biographer, Fiona MacCarthy , detected the Arts and Crafts philosophy even behind the Festival of Britain (1951), the work of the designer Terence Conran (1931–2020) and the founding of the British Crafts Council in the 1970s. The beginnings of
7208-561: 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
7344-468: 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
7480-628: 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
7616-720: 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
7752-423: 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
7888-662: 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
8024-550: The artistic side Ruskin was influenced by his contemporary Viollet le Duc whom he taught to all of his pupils. In a letter to one of his pupils Ruskin writes : "There is only one book of any value and that is the Dictionnary of Viollet le Duc. Everyone should learn French". And according to some Ruskin's influence on Arts and Crafts was supplanted in 1860 by that of Viollet le Duc. His followers favoured craft production over industrial manufacture and were concerned about
8160-509: The assertion of national pride and the striving for independence, and, whereas for Arts and Crafts practitioners in Britain the ideal style was to be found in the medieval, in central Europe it was sought in remote peasant villages. Widely exhibited in Europe, the Arts and Crafts style's simplicity inspired designers like Henry van de Velde and styles such as Art Nouveau , the Dutch De Stijl group, Vienna Secession , and eventually
8296-858: 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
SECTION 60
#17327719019108432-568: 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
8568-465: The catalogues of their exhibitions. Peter Floud, writing in the 1950s, said that "The founders of the Society ... never executed their own designs, but invariably turned them over to commercial firms." The idea that the designer should be the maker and the maker the designer derived "not from Morris or early Arts and Crafts teaching, but rather from the second-generation elaboration doctrine worked out in
8704-482: The ceiling has a highly stylized coniferous tree and flame motif. 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, is an international style of art, architecture, and applied art , especially the decorative arts . It was often inspired by natural forms such as
8840-573: The control of an old guard, was withdrawing from commerce and collaboration with manufacturers into purist handwork and what Tania Harrod describes as "decommoditisation" Its rejection of a commercial role has been seen as a turning point in its fortunes. Nikolaus Pevsner in his book Pioneers of Modern Design presents the Arts and Crafts movement as design radicals who influenced the modern movement, but failed to change and were eventually superseded by it. The British artist potter Bernard Leach brought to England many ideas he had developed in Japan with
8976-567: 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
9112-605: The decorative arts, including furniture and woodwork, stained glass, leatherwork, lacemaking, embroidery, rug making and weaving, jewelry and metalwork, enameling and ceramics. By 1910, there was a fashion for "Arts and Crafts" and all things hand-made. There was a proliferation of amateur handicrafts of variable quality and of incompetent imitators who caused the public to regard Arts and Crafts as "something less, instead of more, competent and fit for purpose than an ordinary mass produced article." The Arts and Crafts Exhibition Society held eleven exhibitions between 1888 and 1916. By
9248-534: 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
9384-415: The designer was a matter for debate and disagreement. Not all Arts and Crafts artists carried out every stage in the making of goods themselves, and it was only in the twentieth century that that became essential to the definition of craftsmanship. Although Morris was famous for getting hands-on experience himself of many crafts (including weaving, dying, printing, calligraphy and embroidery), he did not regard
9520-412: 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
9656-405: The encouragement of the Bund für Heimatschutz (1897) and the Vereinigte Werkstätten für Kunst im Handwerk founded in 1898 by Karl Schmidt; and in Hungary Károly Kós revived the vernacular style of Transylvanian building. In central Europe, where several diverse nationalities lived under powerful empires (Germany, Austria-Hungary and Russia), the discovery of the vernacular was associated with
9792-527: The esthetics of the Arts and Crafts movement. The Arts and Crafts movement emerged from the attempt to reform design and decoration in mid-19th century Britain. It was a reaction against a perceived decline in standards that the reformers associated with machinery and factory production. Their critique was sharpened by the items that they saw in the Great Exhibition of 1851 , which they considered to be excessively ornate , artificial, and ignorant of
9928-432: The evolution of the status of the artist-decorator, but also with the democratic will of an art 'for the people and by the people' proclaimed by William Morris". For example, while Henry van de Velde understood the social discourse of Arts and Crafts, he was not an unconditional disciple of the movement and ended up turning away from it, considering it as anachronistic and tinged with quixotism . In Japan, it emerged in
10064-446: The exhibits." Owen Jones, for example, complained that "the architect, the upholsterer, the paper-stainer, the weaver, the calico-printer, and the potter" produced "novelty without beauty, or beauty without intelligence." From these criticisms of manufactured goods emerged several publications that set out what the writers considered to be the correct principles of design. Richard Redgrave's Supplementary Report on Design (1852) analysed
10200-485: 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
10336-484: The fir/coniferous tree. This tree, at its different ages, studied in its different ages, in its totality, or in detail, offers an inexhaustible resource of decoration... The great silver chardon , the gentienes, as well as our Jurassian wildlife, add a considerable richness." The most famous production of the school was a chalet, the Villa Fallet , designed in 1906 by the eighteen-year old Jeanerette, which included
10472-409: The first decade of [the twentieth] century by men such as W. R. Lethaby ". Many of the Arts and Crafts movement designers were socialists , including Morris, T. J. Cobden Sanderson , Walter Crane , C.R. Ashbee , Philip Webb , Charles Faulkner , and A. H. Mackmurdo . In the early 1880s, Morris was spending more of his time on promoting socialism than on designing and making. Ashbee established
10608-580: The first time one can measure a bit the change that has happened in the last twenty years". The society still exists as the Society of Designer Craftsmen. In 1888, C.R. Ashbee , a major late practitioner of the style in England, founded the Guild and School of Handicraft in the East End of London. The guild was a craft co-operative modelled on the medieval guilds and intended to give working men satisfaction in their craftsmanship. Skilled craftsmen, working on
10744-497: 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
10880-423: 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
11016-476: 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
11152-456: 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
11288-448: The importance of craftsmanship and tradition in architecture that it would take the rest of the century and the combined efforts of Ruskin and Morris to work out in detail." She describes the spare furnishings which he specified for a building in 1841, "rush chairs, oak tables", as "the Arts and Crafts interior in embryo." The Arts and Crafts philosophy was derived in large measure from John Ruskin 's social criticism, deeply influenced by
11424-478: The loss of traditional skills, but they were more troubled by the effects of the factory system than by machinery itself. William Morris's idea of "handicraft" was essentially work without any division of labour rather than work without any sort of machinery. Morris admired Ruskin's The Seven Lamps of Architecture and The Stones of Venice and had read Modern Painters , but he did not share Ruskin's admiration for J. M. W. Turner and his writings on art indicate
11560-404: The machine, we welcome it. But we would desire to see it mastered." After unsuccessfully pitting his Guild and School of Handicraft guild against modern methods of manufacture, he acknowledged that "Modern civilisation rests on machinery", but he continued to criticise the deleterious effects of what he called "mechanism", saying that "the production of certain mechanical commodities is as bad for
11696-521: 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
11832-458: 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
11968-400: The modern factory, the use of machinery, the division of labor, capitalism and the loss of traditional craft methods. But his attitude to machinery was inconsistent. He said at one point that production by machinery was "altogether an evil", but at others times, he was willing to commission work from manufacturers who were able to meet his standards with the aid of machines. Morris said that in
12104-652: 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 ,
12240-490: The movement was associated with dress reform , ruralism , the garden city movement and the folk-song revival . All were linked, in some degree, by the ideal of "the Simple Life". In continental Europe the movement was associated with the preservation of national traditions in building, the applied arts, domestic design and costume. Morris's designs quickly became popular, attracting interest when his company's work
12376-592: The movement, was formed with Walter Crane as president, holding its first exhibition in the New Gallery , London, in November 1888. It was the first show of contemporary decorative arts in London since the Grosvenor Gallery 's Winter Exhibition of 1881. Morris & Co. was well represented in the exhibition with furniture, fabrics, carpets and embroideries. Edward Burne-Jones observed, "here for
12512-650: 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
12648-793: The nation's cultural development, a visual counterpart to the literary revival of the same time and was a publication of Irish nationalism. The Arts and Crafts use of stained glass was popular in Ireland, with Harry Clarke the best-known artist and also with Evie Hone . The architecture of the style is represented by the Honan Chapel (1916) in Cork city in the grounds of University College Cork . Other architects practicing in Ireland included Sir Edwin Lutyens (Heywood House in Co. Laois, Lambay Island and
12784-436: The national health as is the production of slave-grown cane or child-sweated wares." William Arthur Smith Benson , on the other hand, had no qualms about adapting the Arts and Crafts style to metalwork produced under industrial conditions. (See quotation box.) Morris and his followers believed the division of labour on which modern industry depended was undesirable, but the extent to which every design should be carried out by
12920-429: 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
13056-693: The outbreak of war in 1914 it was in decline and faced a crisis. Its 1912 exhibition had been a financial failure. While designers in continental Europe were making innovations in design and alliances with industry through initiatives such as the Deutsche Werkbund and new initiatives were being taken in Britain by the Omega Workshops and the Design in Industries Association , the Arts and Crafts Exhibition Society, now under
13192-668: 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
13328-659: 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 ;
13464-505: The principles of Ruskin and Morris, were to produce hand-crafted goods and manage a school for apprentices. The idea was greeted with enthusiasm by almost everyone except Morris, who was by now involved with promoting socialism and thought Ashbee's scheme trivial. From 1888 to 1902 the guild prospered, employing about 50 men. In 1902 Ashbee relocated the guild out of London to begin an experimental community in Chipping Campden in
13600-529: The principles of design and ornament and pleaded for "more logic in the application of decoration." Other works followed in a similar vein, such as Wyatt's Industrial Arts of the Nineteenth Century (1853), Gottfried Semper 's Wissenschaft, Industrie und Kunst ("Science, Industry and Art") (1852), Ralph Wornum 's Analysis of Ornament (1856), Redgrave's Manual of Design (1876), and Jones's Grammar of Ornament (1856). The Grammar of Ornament
13736-646: 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
13872-540: The qualities of the materials used. Art historian Nikolaus Pevsner writes that the exhibits showed "ignorance of that basic need in creating patterns, the integrity of the surface", as well as displaying "vulgarity in detail". Design reform began with Exhibition organizers Henry Cole (1808–1882), Owen Jones (1809–1874), Matthew Digby Wyatt (1820–1877), and Richard Redgrave (1804–1888), all of whom deprecated excessive ornament and impractical or badly-made things. The organizers were "unanimous in their condemnation of
14008-400: The separation of design and execution was not only inevitable in the modern world, but also that only that sort of specialisation allowed the best in design and the best in making. Few of the founders of the Arts and Crafts Exhibition Society insisted that the designer should also be the maker, although they considered it important that the maker should be credited, which was the practice in
14144-452: The separation of designer and executant in his factory as problematic. Walter Crane, a close political associate of Morris's, took an unsympathetic view of the division of labour on both moral and artistic grounds, and strongly advocated that designing and making should come from the same hand. Lewis Foreman Day, a friend and contemporary of Crane's, as unstinting as Crane in his admiration of Morris, disagreed strongly with Crane. He thought that
14280-451: 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 was popular between 1890 and 1910 during the Belle Époque period, and was a reaction against
14416-409: The social critic Yanagi Soetsu about the moral and social value of simple crafts; both were enthusiastic readers of Ruskin. Leach was an active propagandist for these ideas, which struck a chord with practitioners of the crafts in the inter-war years, and he expounded them in A Potter's Book , published in 1940, which denounced industrial society in terms as vehement as those of Ruskin and Morris. Thus
14552-500: 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
14688-434: The standard for their early style. In Burne-Jones' words, they intended to "wage Holy warfare against the age". Morris began experimenting with various crafts and designing furniture and interiors. He was personally involved in manufacture as well as design, which was the hallmark of the Arts and Crafts movement. Ruskin had argued that the separation of the intellectual act of design from the manual act of physical creation
14824-476: 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
14960-660: 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
15096-530: 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
15232-488: 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
15368-604: The time. A hundred and thirty Arts and Crafts organisations were formed in Britain, most between 1895 and 1905. In 1881, Eglantyne Louisa Jebb , Mary Fraser Tytler and others initiated the Home Arts and Industries Association to encourage the working classes, especially those in rural areas, to take up handicrafts under supervision, not for profit, but in order to provide them with useful occupations and to improve their taste. By 1889 it had 450 classes, 1,000 teachers and 5,000 students. In 1882, architect A.H.Mackmurdo formed
15504-827: The vernacular or domestic traditions of the British countryside. Some were deliberately left unfinished in order to display the beauty of the materials and the work of the craftsman, thus creating a rustic appearance. Morris strove to unite all the arts within the decoration of the home, emphasizing nature and simplicity of form. Unlike their counterparts in the United States, most Arts and Crafts practitioners in Britain had strong, slightly incoherent, negative feelings about machinery. They thought of 'the craftsman' as free, creative, and working with his hands, 'the machine' as soulless, repetitive, and inhuman. These contrasting images derive in part from John Ruskin's (1819–1900) The Stones of Venice , an architectural history of Venice that contains
15640-543: The work of Thomas Carlyle . Ruskin related the moral and social health of a nation to the qualities of its architecture and to the nature of its work. Ruskin considered the sort of mechanized production and division of labour that had been created in the industrial revolution to be "servile labour", and he thought that a healthy and moral society required independent workers who designed the things that they made. He believed factory-made works to be "dishonest," and that handwork and craftsmanship merged dignity with labour. On
15776-583: Was Owen Morgan Edwards . Edwards was a reforming politician dedicated to renewing Welsh pride by exposing its people to their own language and history. For Edwards, "There is nothing that Wales requires more than an education in the arts and crafts." – though Edwards was more inclined to resurrecting Welsh Nationalism than admiring glazes or rustic integrity. In architecture, Clough Williams-Ellis sought to renew interest in ancient building, reviving "rammed earth" or pisé construction in Britain. The movement spread to Ireland, representing an important time for
15912-527: 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
16048-451: 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
16184-556: Was an Arts and Crafts architect who also designed fabrics, tiles, ceramics, furniture and metalwork. His style combined simplicity with sophistication. His wallpapers and textiles, featuring stylised bird and plant forms in bold outlines with flat colors, were used widely. Morris's thought influenced the distributism of G. K. Chesterton and Hilaire Belloc . By the end of the nineteenth century, Arts and Crafts ideals had influenced architecture, painting, sculpture, graphics, illustration, book making and photography, domestic design and
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
16456-576: 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
16592-556: Was both socially and aesthetically damaging. Morris further developed this idea, insisting that no work should be carried out in his workshops before he had personally mastered the appropriate techniques and materials, arguing that "without dignified, creative human occupation people became disconnected from life". In 1861, Morris began making furniture and decorative objects commercially, modelling his designs on medieval styles and using bold forms and strong colours. His patterns were based on flora and fauna, and his products were inspired by
16728-512: Was concerned, Arts and Crafts was a revivalist campaign. But in Wales, at least until World War I , a genuine craft tradition still existed. Local materials, stone or clay, continued to be used as a matter of course. Scotland become known in the Arts and Crafts movement for its stained glass; Wales would become known for its pottery. By the mid 19th century, the heavy, salt glazes used for generations by local craftsmen had gone out of fashion, not least as mass-produced ceramics undercut prices. But
16864-463: Was directed originally by George Blackall Simonds . By 1890 the Guild had 150 members, representing the increasing number of practitioners of the Arts and Crafts style. It still exists. The London department store Liberty & Co. , founded in 1875, was a prominent retailer of goods in the style and of the " artistic dress " favoured by followers of the Arts and Crafts movement. In 1887 the Arts and Crafts Exhibition Society , which gave its name to
17000-629: Was exhibited at the 1862 International Exhibition in London. Much of this work is directly inspired from the Dictionnaire of Viollet le Duc. Most of Morris & Co's early work was for churches and Morris won important interior design commissions at St James's Palace and the South Kensington Museum (now the Victoria and Albert Museum). Later his work became popular with the middle and upper classes, despite his wish to create
17136-503: Was first used by T. J. Cobden-Sanderson at a meeting of the Arts and Crafts Exhibition Society in 1887, although the principles and style on which it was based had been developing in England for at least 20 years. It was inspired by the ideas of historian Thomas Carlyle , art critic John Ruskin , and designer William Morris . In Scotland, it is associated with key figures such as Charles Rennie Mackintosh . Viollet le Duc's books on nature and Gothique art also play an essential part in
17272-650: 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
17408-402: 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
17544-624: 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
17680-433: Was particularly influential, liberally distributed as a student prize and running into nine reprints by 1910. Jones declared that ornament "must be secondary to the thing decorated", that there must be "fitness in the ornament to the thing ornamented", and that wallpapers and carpets must not have any patterns "suggestive of anything but a level or plain". A fabric or wallpaper in the Great Exhibition might be decorated with
17816-523: 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
17952-574: Was represented by the development of the ' Glasgow Style ' which was based on the talent of the Glasgow School of Art . Celtic revival took hold here, and motifs such as the Glasgow rose became popularised. Charles Rennie Mackintosh (1868–1928) and the Glasgow School of Art were to influence others worldwide. The situation in Wales was different from elsewhere in the UK. Insofar as craftsmanship
18088-749: 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
18224-471: 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,
18360-493: 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. Arts and Crafts movement The Arts and Crafts movement was an international trend in the decorative and fine arts that developed earliest and most fully in the British Isles and subsequently spread across
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
#909090