ART NOUVEAU

 An international art movement in the

style of decoration and architecture
of the late 19th and early 20th centuries
that developed in Europe and North
America.
 Art Nouveau a French term
meaning new art, refers to a style of
architecture, of commercial and
decorative art.
It was derived from
 the Gothic

 Rococo

 the arts Japan.

 Celtic manuscripts

 drawings of William Blake.

 Persian pottery and ancient Roman glass also

served as models for some Art Nouveau craftsmen .
 The English arts and crafts movement
CHARACTERISTICS

Ornamental
Exotic forms
Chronology
Curvillinear depicition
Non Geometric
Sinuous lines
Foliate forms
ORIGIN
 The origins of Art Nouveau are found in
the resistance of the artist William Morris
to the cluttered compositions and his
theories that helped to initiate the Arts and crafts
movement.
 However, Arthur Mackmurdo's book-cover

for Wren's City Churches in 1883, with its rhythmic

floral patterns, is often considered the first
realisation of Art Nouveau.
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.
(2) Art Nouveau saw no separation in principle
between fine art and applied or decorative arts .
(3) In content, the style was a reaction to a world
of art which was dominated by the precise geometry of
Neoclassical forms.
(4) Art Nouveau hold a variety of stylistic
interpretations like usage of new low-cost materials and
mass production methods while others used more
expensive materials and valued high craftsmanship.
INTERNATIONAL EXPOS

 Part of 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(First
International Exposition of Modern Decorative Arts),
held in Turin, Italy, in 1902 where designers
exhibited from almost every European country
where Art Nouveau was practised.
 The movement spread throughout Europe and the
United States and had unique identities in each
country.
Style Guimard in France ,
Stile Floreale in Italy ,
Jugendstil in Germany,
Sezessionstil in Austria, and
Modernismo in Spain., which sometimes
created opposition between the varying nations and
artists.
DECORATIVE ARTS

 Art nouveau designs were common

in glassware, jewellery, ceramics, textiles,
household silver, domestic utensils, cigarette cases,
furniture and lighting, as well as drawing, poster
art, painting and book illustration.
Painting and graphic arts
 Two-dimensional Art Nouveau pieces were
painted, drawn, and printed in popular forms such
as advertisements, posters, labels, magazines
Glass
 In Glass art, the style found

tremendous expression.
for example, the works of Louis
Comfort Tiffany in New York,
Charles Rennie Mackintosh in Glasgow.
ARCHITECTURE
 In architecture, hyperbolas and parabolas in
windows, arches and doors are common, and
decorative mouldings grow into plant-derived forms.
 Art Nouveau designers selected

and 'modernised' some of the

more abstract elements of Rococo
style, such as flame and shell
Textures.
 Art Nouveau styles can be seen in the pavilions
constructed for the world trade fairs. Fluid wrought-
iron designs and architectural stoneware brought a
distinctive and luxurious presence to the exterior of
buildings and bridges
MAIN REPRESENTATIVES
Art Nouveau in Britain
Arthur Mackmurdo
Charles Rennie Mackintosh

Art Nouveau Belgian, Swiss and Franch

Alphonse Mucha
Victor Horta
Henry van de Velde
Hector Guimard
 1
Art Nouveau in Spain
Antoni Gaudí
Art Nouveau in Austria
Gustav Klimt
Josef Hoffmann
Art Nouveau in Germany
Hermann Obrist
August Endell
Art Nouveau in United States
Louis Comfort Tiffany
Louis Sullivan
ART
 One characterization of
this movement was
depictions of flowers
and vines, also called
foliate forms. Many of
these forms were used
in mosaics.
CHARLES RENNIE MACKINTOSH (1868-
1928)
HILL HOUSE (1902 -1903)
 Mackintosh is widely
known for his furniture
designs.
 He often used simple
geometries & then
exaggerated the
features to provide a
level of creativity.

Hill House-Living Room

VICTOR HORTA,
HOTEL TASSEL, 1890.
 Victor Horta-His work
was defined by light,
open-planned spaces
and innovative use of
ironwork.
 In the Tassel House, he
used very thin metal work
in combination with
elaborate tile patterns, to
bring out the organic
curves. The walls were
cream colored with
stenciled patterns painted
over the top.

Tassel house - stair

VICTOR HORTA (1861- 1947)
HORTA HOUSE (1898 - 1911)
 Horta used all different
kinds of tile on the walls,
ceilings & floors. He
balanced the cool
expression of the tiles with
wood. Stained glass was
used to bring in color to
individual rooms.
 The furniture of the period
was made up of curving
wood pieces.

Horta house – Dining Room

HECTOR GUIMARD (1867- 1941)
PARIS METRO KIOSKS (1900)
 The most iconographic
design of the period.
Guimard used a
combination of metal &
decorative glass , to
create forms of nature.

Porte Dauphine – entry

ANTONIO GAUDI (1852 - 1926)
CASA BATLLO (1904-1906)
Gaudi was a Spanish
(Catalan) Architect who
created complex
buildings in that the
architecture was
considered sculptural
as well.
 His buildings are
considered
biomorphic, or
organically-shaped

Casa Batllo – exterior

 CASA BATLLO

Casa Batllo – dining room

 LOUIS COMFORT TIFFANY (1848 -
1933)

 Tiffany produced everything

from windows, vases, bowls,
to lamps & paperweights. His
work included floral motifs.
 He produced stained glass
for churches such as
Richardson’s Trinity Church
in Boston.
 It reached its popularity
around1900 to be gradually
overtaken by art deco and
other mordernist styles.

tiffany – window