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    Art History Art Nouveau
    Art History Art Nouveau
    Art History Art Nouveau
    Ebook103 pages43 minutes

    Art History Art Nouveau

    By Jean Lahor

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    About this ebook

    Art Nouveau designates a decorative and architectural style developed in the 1880s and 1890s in the West. Born in reaction to the Industrial Revolution and to the creative vacuum it left behind, Art Nouveau was at the heart of a "renaissance" in the decorative arts. The primary objective of the movement was the creation of a new aesthetic of nature through a return to the study of natural subjects. In order to achieve this, such artists as Gustav Klimt, Koloman Moser, Antoni Gaudí, Jan Toorop, and William Morris favoured innovation in technique and novelty of forms. After its triumph at the Paris Universal Exposition in 1900, the trend continued and has inspired many artists ever since. Art Deco, the successor of Art Nouveau, appeared after World War II.
    LanguageEnglish
    PublisherParkstone International
    Release dateJul 27, 2024
    ISBN9798894050010
    Art History Art Nouveau

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      Book preview

      Art History Art Nouveau - Jean Lahor

      Sarah Bernhardt, Lefèvre-Utile, 1903. Oil on canvas, 72 x 53 cm. The Mucha Trust Collection.

      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 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. It meant designers finally asserted the art of their own time as their own. Up until 1789, style had advanced by reign; this era wanted its own style. And there was a yearning for something more: to no longer 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. 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 Art Nouveau. France had come to see through the absurdity of the situation and was demanding imagination from its stucco and fine plaster artists, its decorators, furniture makers, and even architects, asking all these artists to show some creativity and fantasy. And so there arose new decoration in response to the new needs of new generations.

      The definitive trends capable of producing a new art would not materialise until the 1889 Universal Exposition. There the English asserted their own taste in furniture; American silversmiths Graham and Augustus Tiffany applied new ornament to items produced by their workshops; and Louis Comfort Tiffany revolutionised the art of stained glass with his glassmaking. An elite corps of French artists and manufacturers exhibited works that likewise showed noticeable progress: Emile Gallé sent furniture of his

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