¢ Emerged in the early 1890’s and spread quickly across Europe and the United States.
¢ Reached a climax at the Paris exposition Universelle of 1900 before falling into decline in the early years of the new century and collapsing with the outbreak of WWI.
¢ Style emerged from the activity of a collection of movements, manufacturers, public institutions, publishing houses and individual artists. Its origins somewhat rooted in the British Arts and Crafts Movement of William Morris.
Influences
¢ arts and crafts - shared the same belief in quality goods and fine craftsmanship but was happy with mass production.
¢ Rococo style – the use of asymmetric and curvilinear forms and sensuous imagery of this style
¢ France: use of asymmetric and curvilinear forms and Rococo style
¢ English Arts &Crafts Movement led way in a reappraisal of folk culture
¢ William Morris reconcile art and society.
¢ Influence of non-western art, Japan, North Africa and the Middle East
¢ Japanese woodblock prints , became defining feature of the new style;
¢ use of flat areas of colour with strong defining outlines,
¢ bold and evocative lines,
¢ asymmetry,
¢ lack of spatial recession,
¢ simplification of forms became
¢ Products from Belgian Congo brought about a revival in the use of ivory in the decorative arts
¢ Exotic woods from various colonies became a feature of much Art Nouveau.
¢ Indonesian arts and techniques were important for the development of Art Nouveau in Holland
¢ Colonial enterprise add to the development of the style.
¢ Most important source of forms and motifs were nature.
¢ Nature was used in varying ways and for different purposes.
Symbolism 1880 – 1890’s
¢ Aimed at Capturing the Mysterious
¢ A vital, dynamic linear quality, reduces the vision of the world to a two-dimensional screen.
¢ Their work often degenerated into metaphysics with frequent recourse to spiritualism and the occult
Aubrey Beardsley 1872 – 1898
¢ His worked linked to the Art Nouveau style prevalent at the time.
¢ His work shows the new preoccupation with graphics.
¢ He was greatly influenced by Oscar Wilde and William Morris
¢ The Victorian taste of the time labeled his work as “Decadent Art”
¢ He took subjects from symbolic mythologies with a strong erotic content.
¢ He used an extreme linear style which was in tune with the fashionable Mackintosh designs
Infuences
¢ Botanical research – forms and motifs from nature. Plant and flower forms were stylized and often made into patterns to be applied to all forms of art. Nature was also used directly and realistically to create the form of a functional object. Animals, insects and often reptiles were applied directly to works without stylisation
¢ Non-western art – the arts of Japan and the Middle-east, especially the Japanese woodblock prints with their use of flat areas of colour with strong defining outlines, lack of spatial recession and simplification of forms.
¢ style emerged from activity of a collection of:
¢ movements,
¢ manufacturers,
¢ public institutions,
¢ publishing houses,
¢ individual artists,
¢ entrepreneurs
¢ patrons
¢ architecture,
¢ decorative arts,
¢ graphic design,
¢ painting and sculpture
¢ Art Nouveau, 1890-1914, explores a new style in the visual arts and architecture
¢ Attempt to create an international style based on decoration.
¢ Old customs, habits, and artistic styles sat alongside new, combining a wide range of contradictory images and ideas.
¢ Many artists, designers, and architects were excited by new technologies and lifestyles, while others retreated into the past, embracing the spirit world, fantasy, and myth.
Art Nouveau Style / Characterisitcs
¢ Elegant decorative art style characterized by intricate patterns of curving lines.
¢ Sensuous, elongated, curvy lines
¢ The whiplash line
¢ Vertical lines and height
¢ Stylised flowers, leaves, roots, buds and seedpods
¢ The female form - in a pre-Raphaelite pose with long, flowing hair
¢ Exotic woods, marquetry, iridescent glass, silver and semi-precious stones
¢ Sensuous, asymmetric curving line
¢ Organic or natural forms or applied decoration: geometric, abstract, or linear form and patterns
¢ Art Nouveau is associated with the sinuous, asymmetric curving line,
¢ Identified through the use of organic or natural forms or applied decoration:
¢ Geometric, abstract, or linear form and patterns;
¢ The use of specific historical sources;
¢ Symbolism. it used modernized decoration as a key approach to style.
¢ Plant and flower forms were stylized
¢ Made into patterns to be applied to all forms of art.
¢ Nature used directly and realistically to create the form of a functional object.
¢ Animals, insects reptiles were applied directly to works without stylization
¢ Evolutionary theories of Darwin played part in imagery
¢ Frequent use of metamorphosis, fusing human form with natural world.
¢ It was a stylistic break with the past to create a unified modern art available to all.
¢ The regeneration of craft practice developed utopian models,
¢ It was derived from the Arts & Crafts philosophy.
¢ Machine production, and mass availability of high-quality products
¢ It responded to the demands for consumer goods of new prosperous middle class.
¢ Art Nouveau set apart from its Arts & Crafts forbear.
Gaudi
¢ Gaudí, throughout his life, was fascinated by nature. He studied nature's angles and curves and incorporated them into his designs. Instead of relying on geometric shapes, he mimicked the way trees and humans grow and stand upright. The hyperboloids and paraboloids he borrowed from nature were easily reinforced by steel rods and allowed his designs to resemble elements from the environment.
¢ Because of his rheumatism, the artist observed a strict vegetarian diet, used homeopathic drug therapy, underwent water therapy, and hiked regularly. Long walks, besides suppressing his rheumatism, further allowed him to experience nature.
