Art Nouveau
(French for “New Art”) was a movement that flourished at the end of the 19th
century and the beginning of the 20th century. It was a conscious
rejection of the accepted values of the time and sought to unite all the
decorative arts, including architecture and interior design, in making a new
stride forward.
Art Nouveau
artists and designers stressed the use of organic, natural and geometrical
motifs in stylized forms with an emphasis on line and sinuosity. Although Art
Nouveau style was most apparent in the arts of architecture and the design of physical
“objets d’art”, it was characterized by an essential two-dimensionality.
The
inspiration for Art Nouveau came from several sources, included the passion for
Japanese art that swept Western Europe in the late 19th century,
Celtic and Gothic art, and even the engravings of William Blake.
The movement
was essentially English in origin, although it later flowered in many parts of
Europe where it combined with other movements such as Symbolism in France. The
later pre-Raphaelites, with their interest in medievalism and Gothic forms,
were precursors of Art Nouveau, as was William Morris and his Arts and Crafts
movement.
The drawings
of Aubrey Beardsley, many of which appeared in the “Yellow Book” (1894-5) and
the “Savoy” magazine (1896-8) were very influential, with their strongly
delineated black-and-white shapes that incorporated florid and bold designs that
were both sensuous and highly stylized.
Art Nouveau
found architectural and decorative expression in the works of the Glasgow group
(“The Four”) led by Charles Rennie Mackintosh. Their work, much of which still
adorns the streets of Glasgow and other cities, incorporated Celtic patterns with
formalized flower heads, an emphasis on verticality, and parallel upward lines.
The style was
popularised by the London store of Liberty and Co. Arthur Lasenby Liberty had
started his Regent Street store in 1875 and popularised Japanese style in fabrics
and decorative objects. In the 1890s he employed designers (such as Archibald
Knox) who developed Art Nouveau designs that became characteristically
“Liberty” and which are still associated with the name.
Art Nouveau
was taken up with enthusiasm in Belgium, its chief exponents being the
architect Victor Horta and the artist, architect and designer Henry van de
Velde. They developed a “Belgian line” that incorporated floral patterns and
sensuous double curves that can be found in every element of the buildings they
designed and furnished. A prime example is the Hotel Tassel, designed by Victor
Horta, in Brussels.
Art Nouveau
as such made relatively little impression in France, which was the birthplace
of Symbolism, to which Art Nouveau was closely related, but the metalwork and
jewellery of René Lalique and the glassware of Emile Gallé were influenced by
Art Nouveau concepts. The most lasting influence seen today is in the designs by
Hector Guimard for Paris Metro stations.
In Spain, the
Barcelona-based architect and designer Antoni Gaudi incorporated Art Nouveau,
together with other influences, in his highly characteristic designs for the
Casa Mila and the Sagrada Familia church.
In Italy the
influence of Liberty’s on Art Nouveau is seen from the name given to the style,
namely “Stile Liberty” (or “Stile Anglese”). However, although it was highly
popular for a time, it did not produce any distinctively Italian variants.
Art Nouveau
was, however, very influential in Austria and Germany, where it was the
catalyst for some of the best avant-garde work of that era. It was popularized
in the magazine “Jugend” (“Youth”) and was therefore known as “Jugendstil”.
Although there are few examples of pure Art Nouveau art or design in Germany,
the style was developed by artists such as the sculptor Ernst Barlach, the
Russian painter (then living in Munich) Wassily Kandinsky, and the painter
Ernst-Ludwig Kirchner. They were important in the development of German
Expressionism, which, like Art Nouveau, was a reaction to the Impressionism of
the previous decades.
Two forms of
Art Nouveau-inspired work became apparent in Germany, namely a Munich-based floral
style and a more abstract form centred on Berlin where the Belgian designer
Henry van de Velde was living and accepting commissions.
In Austria,
the rebellion against the conservatism of the establishment led to a movement
known as the “Vienna Sezession”. Architects including Otto Wagner and Koloman
Moser were enthusiastic devotees of Charles Rennie Mackintosh and “The Four”,
with an emphasis on geometrical design. They were joined by the painter Gustav
Klimt, who was the first president of the Vienna Sezession but who later left
after a quarrel. Klimt was influenced not only by Art Nouveau but by Symbolism
and also Impressionism. Klimt’s paintings of women, with naturalistic features
but extravagantly decorated clothing, are highly reminiscent of works by Aubrey
Beardsley. Both of them are renowned for their portrayals of the Biblical femme
fatale Salome.
Although Art
Nouveau was essentially a European movement, its influence did cross the
Atlantic, as seen in the work of the architect Louis Sullivan and the glass
designer Louis Comfort Tiffany, who used flower forms in a highly original way.
Despite the
strength of the Art Nouveau movement, it did not survive the First World War
except in its influences on other artistic developments. The post-war world had
little call for its artificiality and it was easily overwhelmed by the forces
of Modernism. However, later exhibitions and reappraisals have ensured that
interest in Art Nouveau has not disappeared completely, and elements of it
still appear at times in contemporary design.
© John Welford
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