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    Art Nouveau 120 illustrations
    Art Nouveau 120 illustrations
    Art Nouveau 120 illustrations
    Ebook208 pages1 hour

    Art Nouveau 120 illustrations

    By Jean Lahor

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    About this ebook

    Ever since its triumph at the Paris Universal Exposition, Art Nouveau has continued to inspire artists. The movement offered an artistic response to the industrial revolution and the creative vacuum left in its wake, exerting a huge impact on the decorative arts. Art Nouveau spans all forms of expression – including design, painting and architecture – and covers artists such as Gustav Klimt, Koloman Moser, Antoni Gaudí, Jan Toorop, and William Morris.
    LanguageEnglish
    PublisherParkstone International
    Release dateDec 19, 2023
    ISBN9781781609330
    Art Nouveau 120 illustrations

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      Book preview

      Art Nouveau 120 illustrations - Jean Lahor

      Chronology

      1893:

      Victor Horta builds the Hôtel Tassel in Brussels, which is considered to be the first Art Nouveau building.

      Louis Comfort Tiffany creates a new process for the making of vases and bowls, the favrile technique, a handcrafted technic of glass-blowing, that allows numerous effects.

      1894:

      Edmond Picard uses the term Art Nouveau for the first time in the Belgian revue L'Art moderne.

      1895:

      Siegfried Bing opens his shop L'Art Nouveau, 22 rue de Chauchat in Paris.

      1897:

      Creation of the Sezessionstil by Joseph Hoffmann in Vienna. This movement, which also includes Egon Schiele, Oskar Kokoschka and Koloman Moser, is chaired by Gustav Klimt.

      1897-1899:

      Josef Maria Olbrich creates the Secession building in Vienna.

      1900:

      Universal Exposition in Paris. Triumph of Art Nouveau.

      René Lalique receives the Grand Prix for jewellery at the Universal Exposition and therefore becomes the most famous Art Nouveau jeweller.

      Foundation of the first metropolitan stations designed by Hector Guimard.

      1901:

      Creation of the Alliance des Industries de l'Art, commonly known as the École de Nancy, by the artists Louis Majorelle, the Daum Brothers and Émile Gallé, who will be the first chairman.

      1904:

      Antoni Gaudí creates the Casa Batlló in Barcelona.

      1914 -1918:

      The art world is affected by the world-wide crisis.

      Around 1920:

      Art Nouveau gives way to a new style: Art Deco.

      I. The Origins of Art Nouveau

      Art Nouveau sprang from a major movement in the decorative arts that first appeared in Western Europe in 1892, but its birth was not quite as spontaneous as is commonly believed. Decorative ornament and furniture underwent many changes between the waning of the Empire Style around 1815 and the 1889 Universal Exposition in Paris celebrating the centennial of the French Revolution. For example, there were distinct revivals of Restoration, Louis-Philippe, and Napoleon III furnishings still on display at the 1900 Universal Exposition in Paris.

      Tradition (or rather imitation) played too large a role in the creation of these different period styles for a single trend to emerge and assume a unique mantle. Nevertheless there were some artists during this period that sought to distinguish themselves from their predecessors by expressing their own decorative ideal.

      What then did the new decorative art movement stand for in 1900? In France, as elsewhere, it meant that people were tired of the usual repetitive forms and methods, the same old decorative clichés and banalities, the eternal imitation of furniture from the reigns of monarchs named Louis (Louis XIII to XVI) and furniture from the Renaissance and Gothic periods. This meant that designers finally asserted the art of their own time as their own. Up until 1789 (the end of the ancien régime), style had advanced by reign; this era wanted its own style. And (at least outside of France) there was a yearning for something more: no longer to be slave to foreign fashion, taste, and art. It was an urge inherent in the era’s awakening nationalism, as each country tried to assert independence in literature and in art.

      In short, everywhere there was a push towards a new art that was neither a servile copy of the past nor an imitation of foreign taste.

      There was also a real need to recreate decorative art, simply because there had been none since the turn of the century. In each preceding era, decorative art had not merely existed; it had flourished gloriously and with delight. In the past, everything from people’s clothing and weapons, right down to the slightest domestic object – from andirons, bellows, and chimney backs, to one’s drinking cup – were duly decorated: each object had its own ornamentation and finishing touches, its own elegance and beauty. But the nineteenth century had concerned itself with little other than function; ornament, finishing touches, elegance, and beauty were superfluous. At once both grand and miserable, the nineteenth century was as deeply divided as Pascal’s human soul. The century that ended so lamentably in brutal disdain for justice among peoples had opened in complete indifference to decorative beauty and elegance, maintaining for the greater part of one hundred years a singular paralysis when it came to aesthetic feeling and taste.

      The return of once-abolished aesthetic feeling and taste also helped bring about

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