How Does the Work of Louis Comfort Tiffany Exemplify the Art Nouveau

Art Nouveau Staircase (1893-seven)
Emile Tassel House, Brussels.
Blueprint past architect Victor Horta,
fellow member of Les Vingt artist group.

DESIGN STYLES and MOVEMENTS
For details of late 19th-century and
early 20th century styles of fine art and
blueprint, see: Modernistic Art Movements.
For details of contemporary fine art
design styles since the 1960s,
run across: Gimmicky Art Movements.
For Fine art Nouveau'southward significance
for graphic pattern, see:
History of Affiche Art.

Introduction

Art Nouveau was an innovative international manner of modernistic art that became fashionable from nigh 1890 to the Kickoff World War. Arising as a reaction to 19th-century designs dominated by historicism in general and neoclassicism in particular, information technology promulgated the idea of fine art and design as part of everyday life. Henceforth artists should not overlook any everyday object, no matter how functional information technology might be. This aesthetic was considered to exist quite revolutionary and new, hence its name - New Art - or Art Nouveau. Hence also the fact that information technology was applied to a host of dissimilar forms including compages, fine fine art, applied art, and decorative art. Rooted partly in the Industrial Revolution, and the Arts and crafts Movement, but besides influenced by Japonism (especially Ukiyo-e prints past artists like Hokusai and his younger contemporary Hiroshige) and Celtic designs, Art Nouveau was given a major boost by the 1900 Exposition Universelle in Paris. After this, it spread across Europe and as far every bit the United states of america and Australia, nether local names like Jugendstil (Germany), Stile Liberty (Italy), Sezessionstil (Austria) and Tiffany style (America). A highly decorative idiom, Fine art Nouveau typically employed intricate curvilinear patterns of sinuous asymetrical lines, often based on plant-forms (sometimes derived from La Tene forms of Celtic art). Floral and other plant-inspired motifs are popular Art Nouveau designs, equally are female silhouettes and forms. Employing a variety of materials, the style was used in architecture, interior blueprint, glassware, jewellery, affiche fine art and illustration, likewise as painting and sculpture. The movement was replaced in the 1920s by Art Deco.

EVOLUTION OF ART & DESIGN
For details of movements and
styles, run into: History of Art.
For the chronology and dates
of key events in the evolution
of visual arts and design,
see: History of Art Timeline.

ARTISTS SINCE 1800
For details of the best modern
painters, since 1800, encounter:
Famous Painters.

Earth'S GREATEST ARTWORKS
For a listing of the Top ten painters/
sculptors: All-time Artists of All Time.

Fine art Nouveau is usually deemed a matter of 'style' rather than a philosophy: but, in fact, distinctive ideas and not only fanciful desires prompted its advent. Common to all the most consistently Art Nouveau creators was a decision to push button beyond the bounds of historicism - that exaggerated concern with the notions of the by which characterises the greater part of 19th-century design: they sought, in a fresh analysis of part and a close study of natural forms, a new aesthetic. It is truthful that the outer reaches of Art Nouveau are total of mindless pattern-making but there was, at and around the center, a marvellous sequence of works in which the decorative and the functional fuse to novel and compelling effect. Art Nouveau means much more than a single wait or mood: nosotros are reminded of alpine grasses in lite air current, or swirling lines of stormy water, or intricate vegetation - all stemming from organic nature: an interest in which should be understood as proceeding from a sense of life's club lost or perverted among urban industrial stress.

NOTE: For other art and design movements similar to Art Nouveau, come across Fine art Movements, Periods, Schools (from about 100 BCE).

ARTISTS AND DESIGNERS
In addition to those mentioned in
the text, here is a short list of
noted Art Nouveau designers.
Aubrey Beardsley (1872-1898)
Ivan Bilibin (1876-1942)
Walter Crane (1845-1915)
Jules Cheret (1836-1932)
Eugene Grasset (1845-1917)
Gustav Klimt (1862-1918)
E. G. Lilien (1874-1925)
Jozef Mehoffer (1869-1946)
Alphonse Mucha (1860-1939)
Jozsef Rippl-Ronai (1861-1927)
Valentin Serov (1865-1911)
Konstantin Somov (1869-1939)
Toulouse-Lautrec (1864-1901)
Janos Vaszary (1867-1939)
Stanislaw Wyspianski (1869-1907)
Eliseu Visconti (1866-1944)
Piece of furniture DESIGNERS
These include:
Eugene Gaillard (1862-1933)
Louis Majorelle (1859-1926)

Drinking glass DESIGNERS
Famous Art Nouveau drinking glass
designers include:
Émile Galle(1846-1904)
René Lalique (1860-1945)
Louis Tiffany (1848-1933)
Auguste Daum (1853-1909)
Antonin Daum (1864-1930)
DECORATIVE ARTISTS
Famous Art Nouveau designers
in the decorative arts include:
Vilmos Zsolnay (1828-1900)
Hermann Obrist (1863-1927)
Will H. Bradley (1868-1962)
Georges de Feure (1868-1943)
Artus Van Briggle (1869-1904)

Definition, Characteristics

There is no single definition or meaning of Art Nouveau. But the following are distinguishing factors. (1) Art Nouveau philosophy was in favour of applying artistic designs to everyday objects, in order to make beautiful things available to everyone. No object was too utilitarian to be "beautified". (2) Art Nouveau saw no separation in principle between fine fine art (painting and sculpture) and applied or decorative arts (ceramics, furniture, and other practical objects). (3) In content, the style was a reaction to a world of art which was dominated past the precise geometry of Neoclassical forms. It sought a new graphic design language, as far abroad as possible from the historical and classical models employed past the arts academies. (4) Art Nouveau remains something of an umbrella term which embraces a diversity of stylistic interpretations: some artists used new depression-cost materials and mass production methods while others used more expensive materials and valued high craftsmanship.

Types of Designs

In line with with the Art Nouveau philosophy that fine art should become part of everyday life, it employed apartment, decorative patterns that could be used in all art forms. Typical decorative elements include leaf and tendril motifs, intertwined organic forms, mostly curvaceous in shape, although correct-angled designs were as well prevalent in Scotland and in Austria. Art fabricated in this way typically depicted lavish birds, flowers, insects and other zoomorphs, as well as the pilus and curvaceous bodies of beautiful women. For Art Nouveau architectural designs, see the exaggerated bulbous forms of the Spanish architect Antoni Gaudi (1852-1926), and the stylistic Parisian Metro entrances of Hector Guimard (1867-1942).

History of Art Nouveau

The term "Fine art Nouveau" stemmed from the name of the Parisian art gallery, called "La Maison de 50'Art Nouveau", owned past the avant-garde fine art-collector Siegfried Bing (1838-1905), which showcased works created in the Art Nouveau mode. The gallery's reputation and fame was considerably boosted by its installations of modern furniture, tapestries and objets d'art at the 1900 Exposition Universelle, after which the gallery'due south name became most synonymous with the mode.

At the same time, in Belgium the style was promoted by Les Vingt and La Libre Esthetique, while in Deutschland the manner was popularized and promoted by a magazine chosen Jugend: Münchner illustrierte Wochenschrift für Kunst und Leben (Youth: the illustrated weekly mag of art and lifestyle of Munich), which is why German Art Nouveau - forth with that of holland, the Baltic and the Nordic countries - has since been known every bit "Jugendstil" (youth-style). In Austria, Art Nouveau was first popularized by artists of the Vienna Secession movement, leading to the adoption of the proper noun "Sezessionstil". In fact, the Vienna Secessionists, like Joseph Maria Olbrich (1867-1908), influenced fine art and architecture throughout Austria-Republic of hungary. In Germany, after the Munich Secession (1892) and the Berlin Secession (1898), many of its leading practitioners came together again in 1907 as members of the Deutscher Werkbund (German language Piece of work Federation).

Other temporary names were used which reflected the novelty of the style, or its ribbon-like curvilinear designs. For example, in France it was as well known as "le style moderne" or "le way nouille" (noodle style); in Spain, "arte joven" (young fine art); in Italy "arte nuova" and in the Netherlands "Nieuwe kunst" (both, new fine art). The way was besides named later sure of its exponents or promoters. For case, Hector Guimard's Parisian Metro entrances led to the temporary name "Style Metro"; in America the motility was chosen the "Tiffany style" due to its connectedness with the Fine art Nouveau glassmaker and jeweller Louis Comfort Tiffany.

Evolution of Art Nouveau

The origins of Art Nouveau are unclear, although most art historians agree that its roots lay in the English Arts and Crafts Motility, championed by the medievalist William Morris, as well equally the apartment-perspective and stiff colours of Japanese woodcuts. This idiom was reinforced by the moving ridge of Japonism that swept through Europe in the 1880s and 1890s, and by the decorative painting styles of Synthetism (Gauguin) and Cloisonnism (Bernard, Anquetin) developed at the Pont-Aven School in Brittany. For more details, delight see: Mail service Impressionist Painting (1880-95).

Equally a movement, Art Nouveau shared certain features with Romanticism, the Pre-Raphaelites, the Symbolists, and the Craft Movement, although each differed in various ways. For example, unlike Symbolist painting, Fine art Nouveau has a distinctive visual look; and, in contrast to the artisan-oriented Arts & Crafts Movement, Art Nouveau artists readily employed new materials, and did not turn their backs on mass-produced or machined surfaces.

Connections were as well forged between practitioners of Jugendstil and Celtic-style artists, notably in the area of abstract patternwork. Christopher Dresser'southward Unity in Variety (1859) - a treatise on phytology for artists, was as well influential. Only information technology is Arthur Heygate Mackmurdo (1851-1942) who is ofttimes identified every bit the beginning designer in whom historical precedents were sufficiently subdued for the new mode to prove conspicuously. Indeed, the primeval example of Fine art Nouveau was the variety of rhythmic floral patterns used by Mackmurdo in his book-cover for Sir Christopher Wren'southward City Churches (1883). His buildings, furniture, graphics and textiles derive definitely, though non exclusively, from the natural world, convey a strong sense of their materials, and are structurally elemental. Mackmurdo accepted a skilful deal of Ruskin's involvement with the social and economic atmospheric condition of fine art and turned somewhen to the composition of political tracts. Any its exact origins, Art Nouveau benefited enormously from the exposure information technology received at international exhibitions such as the Paris Exposition Universelle (1900) and the Turin Esposizione Internazionale d'Arte Decorativa Moderna (1902), every bit well as individual outlets such as London's Liberty & Co and Siegfried Bing's "Maison de l'Art Nouveau".

The manner has been said to end in the work of Charles Rennie Mackintosh (1868-1928), a key effigy in the Glasgow School of Painting (1880-1915). Painter, builder and designer, he was initially attracted by the creative freedom of Art Nouveau and its encouragement of the fanciful, merely he used a libation treatment. The essentials of his passage may be traced in one identify, the Glasgow School of Fine art. A system of repeated curving forms in the master edifice (1897-ix) gave style to regimented verticals and horizontals in the library (1907-9): the new order cruel to a new orderliness. From then on, the need and the wish for economic system of means, a desire to exploit easy mechanical replication, became ascendant. Both architecture and the applied arts contrived an ethic and an aesthetic based on meaner notions of utility.

Applications

Art Nouveau designs were most common in glassware, jewellery, and other decorative objects like ceramics. But the style was likewise practical to textiles, household silverish, domestic utensils, cigarette cases, furniture and lighting, as well as drawing, affiche art, painting and book illustration. Theatrical design of sets and costumes was another area in which the new style flourished. The best examples are the designs created by Leon Bakst (1866-1924) and Alexander Benois (1870-1960) for Diaghilev and the Ballets Russes. Art Nouveau as well had a stiff application in the field of architecture and interior blueprint. In this surface area it exemplified a more humanistic and less functionalist approach to the urban environment. Hyperbolas and parabolas in windows, arches, and doors were typical equally were institute-derived forms for moldings. Art Nouveau interior designers updated some of the more abstract elements of Rococo manner, such as flame and shell textures, and also employed highly stylized organic forms, expanding the 'natural' repertoire to include seaweed, grasses, and insects. Art Nouveau architectural designs made broad employ of exposed fe and large, irregular pieces of glass.

Art Nouveau Decorative Glass and Jewellery

In both these areas, Art Nouveau found tremendous expression, as exemplified in works by Louis Comfort Tiffany in New York, Charles Rennie Mackintosh in Glasgow and Emile Galle and the Daum brothers in Nancy, French republic. Jewellery of the Art Nouveau period saw new levels of virtuosity in enameling as well every bit the introduction of new materials such as moulded drinking glass, horn, and ivory. The growth of interest in Japanese fine art (a fashion known every bit Japonisme), forth with increased respect for Japanese metalworking skills, also stimulated new themes and approaches to ornamentation. Every bit a upshot, jewellers stopped seeing themselves as mere craftsmen whose task was to provide settings for precious stones like diamonds, and began seeing themselves as artist-designers. A new blazon of Art Nouveau jewellery emerged that depended less on its gemstone content and more on its designwork. The jewellers of Paris and Brussels were at the forefront of the Fine art Nouveau movement and information technology was in these cities that it achieved the greatest success. In America, Louis Condolement Tiffany (1848-92) was an adventurous creator of luxury objects, mainly in glass, often utilising the shot-silk glow of metal iridescence, and inspired by bloom and feather. Tiffany's firm was enormously successful and his goods were much imitated.

Art Nouveau Architecture

Art Nouveau architecture was one of the keen ubiquitous cultural impulses, appearing virtually throughout Europe and Scandinavia, and in America too.
A very vigorous strain developed in Belgium, where Henri van de Velde (1863-1937) pared away the conventions of art and architecture in favour of a rather rigid floral style (his house at Uccle, 1895), while Victor Horta (1861-1947) seems to have passed the rule-volume through a maze of botanical fact (the Hotel Tassel, 1892-three, and the Maison du Peuple, 1896-9 in Brussels). Horta was widely admired for his readiness to reconsider basic design problems and for the fluency of his adaptations of organic principle. For the Tassel house he opened up the centre into a sort of solarium space in which the exposed cast iron supports are themselves stylised plants. And the Maison du Peuple he constructed effectually a sinuous fe frame, every decorative element of which arose from the containment of stresses. Information technology was said that 'he follows the secret police force obeyed past vegetation, which grows in immutable and e'er harmonious forms, but he compels himself never to draw a motif, nor to describe a lone bend which could be seen as a pastiche of natural course'.

In French republic, Art Nouveau-way nineteenth century architecture had the State'due south seal of approving when Guimard's designs for the Paris Metro stations were accepted, and higher up the subways (1898-1900) sprouted elaborate arrangements of iron and glass resembling large edible bean shoots and seed-pods. Hector Guimard (1867-1942) had liked Horta's work in Brussels and hoped to extend its radical disruption of expected architectural behaviour. Just the most spectacular results of the conclusion to rethink blueprint from the ground up, so to speak, are to be establish in Espana. Antoni Gaudi (1852-1926) conceived for Barcelona a series of architectural extravaganzas, apparently pervaded past thoughts of nature in its less attractive manifestations - the rabbit warren or termite loma, reptilean anatomy, weeds on the rampage. The Palacio Guell (1885-nine) has already the ebb and flow, the rhythmic asymmetry of his mature efforts, but is relatively urbane. The Casa Mila (1905-07) is a riotous assembly of pitted stone and twisting iron, with a ground plan which altogether ignores the right-bending. And the Church of the Sagrada Familia (1884, uncompleted) bemuses the visitor, with its four towers like monster decaying cucumbers: it resembles, on the whole, a vegetable garden in the grip of some ferocious virus and mutating freely. Meanwhile, in America, the giant function blocks of Louis Sullivan (1856-1924) - the Wainwright Building, St Louis (1890), the Guaranty Building, Buffalo (1894), the Carson, Pirie & Scott Store, Chicago (1899-1904) - reveal in their facades, their honeycomb insides and the strips and panels which divide the cells a riot of plant-like ornament.

Art Nouveau architectural designs were widespread throughout many parts of key and eastern Europe, including Republic of latvia (Riga), the Czech Commonwealth (Prague), Poland (Krakow), Slovenia (Ljubljana), every bit well as Italy. Leading Art Nouveau architects and designers included the Hungarian architect Odon Lechner (1845–1914), the French architect Hector Guimard (1867-1942), the Castilian architect Antoni Gaudi (1852-1926), the Belgian architect Victor Horta (1861-1947), and the Viennese designers Otto Wagner (1841-1918) and Joseph Maria Olbrich (1867-1908), to name but a few. Further afield, examples of Art Nouveau-manner buildings tin can exist seen in South America (Uraguay's Montevideo) and Australia.

Famous Art Nouveau Artists

The two greatest graphic artists of the Art Nouveau motility were the French lithographer Jules Cheret (1836-1932) whose invention of "iii-stone chromolithography" made Art Nouveau poster art feasible, and the Czech lithographer and designer Alphonse Mucha (1860-1939) whose celebrated posters epitomized the Art Nouveau idiom. Emile Galle of France and Louis Comfort Tiffany of the United States were famous for their colourful Art Nouveau glassware, as were the English artists Aubrey Beardsley and Walter Crane for their wonderful Fine art Nouveau drawings. Other famous artists involved in the "new art" included: the French jewellery designer Rene Lalique, the Viennese painter Gustav Klimt, the Polish theatrical designer and stained glass artist Stanislaw Wyspianski, and the Scottish architect and designer Charles Rennie Mackintosh (1868-1928), leader of the Glasgow School.

Legacy & Influence of Art Nouveau

While Fine art Nouveau promoted a more than widespread adoption of "beautiful" blueprint, information technology did non diminish the value of the auto or mass-product (as the Craft Movement did), but instead took advantage of many technological innovations from the late 19th century. Even so, by World War I, information technology too succumbed to the more streamlined blueprint processes that were kickoff to become available.

Mayhap its greatest influence was on (ane) 20th-century advocates of integrated design, such equally the German language Bauhaus design schoolhouse and the Dutch pattern movement De Stijl; and (2) Graphic art such as analogy and poster-blueprint.

Nowadays, Art Nouveau is viewed as an important span between Neoclassicism and modernism, and a number of its monuments are on the UNESCO World Heritage List, notably the historic centre of Riga, Latvia with over 750 buildings in the Art Nouveau style.

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Source: http://www.visual-arts-cork.com/history-of-art/art-nouveau.htm

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