Art Nouveau

From Wikipedia, the free encyclopedia

Art Nouveau (French pronunciation: ​[aʁ nuvo], Anglicised to

/ˈɑːrt nuːˈvoʊ/) or Jugendstil is an international philosophy[1]
and style of art, architecture and applied art—especially the
decorative arts—that was most popular during 1890–1910.[2]
English uses the French name Art nouveau ("new art"), but the
style has many different names in other countries. A reaction to
academic art of the 19th century, it was inspired by natural
forms and structures, not only in flowers and plants, but also in
curved lines. Architects tried to harmonize with the natural
environment.[3]

Art Nouveau is considered a "total" art style, embracing

architecture, graphic art, interior design, and most of the
decorative arts including jewellery, furniture, textiles,
household silver and other utensils and lighting, as well as the
fine arts. According to the philosophy of the style, art should be
a way of life. For many well-off Europeans, it was possible to
live in an art nouveau-inspired house with art nouveau
furniture, silverware, fabrics, ceramics including tableware,
jewellery, cigarette cases, etc. Artists desired to combine the
fine arts and applied arts, even for utilitarian objects.[3]

Although Art Nouveau was replaced by 20th-century

Louis Majorelle, wall cabinet
Modernist styles,[4] it is now considered as an important
transition between the eclectic historic revival styles of the
19th-century and Modernism.[5]
Table Lamp by François-Raoul Larche in gilt
 bronze, with the dancer Loïe Fuller as model

Contents
1 Origins
2 Naming
3 Form and character
4 Relationship with contemporary styles and movements
5 Fine art and graphics
6 Glass art
7 Sculpture and jewelry
8 Ceramics
9 Art Nouveau in Europe
9.1 France, Belgium and Switzerland
9.2 Spain
9.3 Portugal
9.4 Germany
9.5 Britain
9.6 Italy
9.7 Nordic countries
9.8 Central and Eastern Europe
9.9 Austria
9.10 Hungary
9.11 Latvia
9.12 Slovakia
9.13 Czech Republic
9.14 Malta
10 Outside Europe
11 UNESCO World Heritage List
12 Noted practitioners
12.1 Architects
12.2 Furniture designers
12.3 Art, drawing, and graphics
12.4 Glassware and stained glass designers
12.5 Ceramists
12.6 Other decorative artists
 13 Works
14 See also
15 References
16 Bibliography
17 Further reading
18 External links

Origins
At its beginning, neither Art Nouveau nor Jugendstil was the common
name of the style but was known as this in some locations, and the style
had different names as it was spread.[6] Those two names came from,
respectively, Siegfried Bing's gallery Maison de l'Art Nouveau in Paris
and the magazine Jugend in Munich,[5] both of which promoted and
popularised the style.[6]

Maison de l'Art Nouveau (House of New Art) was the name of the
gallery initiated in 1895 by the German art dealer Siegfried Bing in Paris
that featured exclusively modern art.[7][8] 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.[8] These 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.[8]
Art Nouveau interior at the 1900 Paris
Thus the term "Art Nouveau" was created.
Universal Exhibition by Bruno
Möhring, German pavilion. Part of the evolution of Art Nouveau were several international fairs
which presented buildings and products designed in the new style. So,
the 1888 Barcelona Universal Exposition marks the beginning of the Modernisme, with some buildings of Lluís
Domènech i Montaner. The Exposition Universelle of 1900 in Paris, 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.

Naming
Art Nouveau is usually known as Jugendstil (pronounced [ˈjuːɡən̩tʃtiːl ]) in Germany, as Modern (Модерн) in
Russia, as Modernisme in Catalonia (Spain), as Secession in Austria-Hungary and as Stile Liberty in Italy.
The style was most popular in Europe, but its influence was global. Hence, it is known in various guises with
frequent localised characteristics.[9] 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. Many of these terms refer to
the idea of "newness". Before the term "Art Nouveau" became common in France, le style moderne ("the
modern style") was the more frequent designation.[6] Arte joven ("young art") in Spain, Modernisme in
Catalonia, Arte nova in Portugal ("new art"), Arte nuova in Italy (also "new art"), and Nieuwe kunst ("new art")
in the Netherlands, модерн ("new", "contemporary") in Russia – all continue this theme.[5] 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"), Paling Stijl ("eel style"), and Wellenstil ("wave style").[6]

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
association with Louis Comfort Tiffany.[5][6] In Austria, a localised form
of Art Nouveau was practised by artists of the Vienna Secession, and it
is, therefore, known as the Sezessionstil ("Secession style").[10] As a
Jugendstil sculpture, detail of facade
stand-alone term, however, "Secession" (German: Sezession, Hungarian:
in Metz, France
szecesszió, Czech: secese) is used frequently to describe the general
characteristics of Art Nouveau style outside Vienna, but mostly in areas
of Austria-Hungary at the beginning of the 20th century. In the United Kingdom, it is associated with the
activities of Charles Rennie Mackintosh in Glasgow, and is often known as the "Glasgow" style.

Form and character

Although Art Nouveau acquired distinctly localised tendencies as its
geographic spread increased, 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.[11] 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.[11] 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.

The origins of Art Nouveau are found in the resistance of the artist
William Morris to the cluttered compositions and the revival tendencies
of the 19th century and his theories that helped initiate the Arts and

La tournée du Chat Noir avec
Rodolphe Salis (1896) by Théophile
Steinlen
crafts movement.[12] However, Arthur Mackmurdo's book-cover for
Wren's City Churches (1883), with its rhythmic floral patterns, is often
considered the first realisation of Art Nouveau.[12] About the same time,
the flat perspective and strong colors of Japanese wood block prints,
especially those of Katsushika Hokusai, had a strong effect on the
formulation of Art Nouveau.[13] The Japonisme that was popular in Europe during the 1880s and 1890s was
particularly influential on many artists with its organic forms and references to the natural world.[13] 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[14] in Paris and
London, respectively.[13]

In architecture, hyperbolas and parabolas in windows, arches, and doors

are common, and decorative mouldings 'grow' into plant-derived forms.
Like most design styles, Art Nouveau sought to harmonise its forms.
The text above the Paris Metro entrance uses the qualities of the rest of
the iron work in the structure.[15]

Art Nouveau in architecture and interior design eschewed the eclectic

revival styles of the 19th century. Though Art Nouveau designers
selected and 'modernised' some of the more abstract elements of Rococo
style, such as flame and shell textures, they also advocated the use of
very stylised organic forms as a source of inspiration, expanding the
'natural' repertoire to use seaweed, grasses, and insects. The softly-
melding forms of 17th-century auricular style, best exemplified in Dutch
silverware, was another influence.

Relationship with contemporary styles and

Art Nouveau is rarely so fully in
movements control of architecture: doorway at
place Etienne Pernet, 24 (Paris 15e),
As an art style, Art Nouveau has affinities with the Pre-Raphaelites and 1905 Alfred Wagon, architect.
the Symbolist styles, 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
appearance; and, unlike the artisan-oriented Arts and Crafts Movement, Art Nouveau artists readily used new
materials, machined surfaces, and abstraction in the service of pure design.

Art Nouveau did not negate machines, as the Arts and Crafts Movement did. For sculpture, the principal
materials employed were glass and wrought iron, resulting in sculptural qualities even in architecture. Ceramics
were also employed in creating editions of sculptures by artists such as Auguste Rodin.[16]

Art Nouveau architecture made use of many technological innovations of the late 19th century, especially the
use of exposed iron and large, irregularly shaped pieces of glass for architecture. By the start of World War I,
however, the stylised nature of Art Nouveau design—which was expensive to produce—began to be disused in
favour of more streamlined, rectilinear modernism, which was cheaper and thought to be more faithful to the
plainer industrial aesthetic that became Art Deco.

Art Nouveau tendencies were also absorbed into local styles. In Denmark, for example, it was one aspect of
Skønvirke ("aesthetic work"), which itself more closely relates to the Arts and Crafts style.[17][18] Likewise,
artists adopted many of the floral and organic motifs of Art Nouveau into the Młoda Polska ("Young Poland")
style in Poland.[19] Młoda Polska, however, was also inclusive of other artistic styles and encompassed a
broader approach to art, literature, and lifestyle.[20]

Fine art and graphics

The style was the first major artistic stylistic movement in which mass-
produced graphics (as opposed to traditional forms of printmaking, which
were not very important for the style) played a key role, often techniques
of colour printing developed relatively recently. A key influence was the
Paris-based Czech artist Alphonse Mucha, who 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, featuring Sarah
Bernhardt.[21] It popularised the new artistic style and its creator to the
citizens of Paris. Initially named Style Mucha, (Mucha Style), his style
soon became known as Art Nouveau.[22]

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
The Peacock Skirt, by Aubrey
later found in works of artists from many parts of the world.
Beardsley, (1892)
Magazines like Jugend helped publicise 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 style 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 manner.[5][23]

Art Nouveau posters and graphics

Biscuits Lefèvre-Utile by Bières de la Meuse by Moulin Rouge – La Goulue Advertisement for Job
Alphonse Mucha (1896) Alphonse Mucha (1897) (1891) by Henri de Cigarettes by Alphonse
Toulouse-Lautrec Mucha (1896)
 Motocycles Comiot by Zodiac Calendar by F. Champenois Imprimeur- Salome and John by
Théophile-Alexandre Alphonse Mucha (1896) Éditeur, lithograph by Aubrey Beardsley, (1892)
Steinlen from Les Maîtres Alphonse Mucha (1897)
de l'Affiche (1899)

Folies Bergère,
La Loïe Fuller by Jules
Cheret (1893)

Glass art
Glass art was a medium in which the style found tremendous expression. Examples include the lamps and
favrile glass of Louis Comfort Tiffany in New York, and notably the vases, bowls and lighting in acid-etched
and marquetry cameo glass by both Émile Gallé and the Daum brothers in Nancy, France. In addition, Rene
Lalique started to produce early works in glass which were a precursor to his work in the Art Deco style, for
which he was to become famed.

Glass art
 Vase by Eugène Tiffany lamp, Carnegie Tiffany vase Louis Comfort Tiffany's
Feuillâtre, Musée Museum of Art 1890 window
dOrsay, Paris Education

Vase with lilies and Vase by René Lalique A lamp by Louis Émile Gallé, Rose de
daises by Émile Gallé Comfort Tiffany France

André Thesmar, lamp, Nature series - "Pâte de Nature series - "Iris" Louis Comfort Tiffany,
Musée dOrsay, Paris Verre" Antonin Daum, Antonin Daum, Nancy Vase, 1913
Nancy

Sculpture and jewelry

Sculptors included Ladislav Šaloun, François-Raoul Larche and Charles van der Stappen. Jewelry of the Art
Nouveau period revitalized 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 specialized 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, in particular on the diamond, and the jeweler or goldsmith had been concerned
principally 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 popularizing the changes.
Lalique glorified nature in jewelry, extending the repertoire to include new aspects of nature—such as
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 used the Renaissance, with its works 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 subsidiary, used alongside less familiar materials
such as molded glass, horn and ivory.

Ceramics
Dragonfly Lady brooch by René
Art Nouveau ceramics were also influenced by the work of Japan. Lalique
Artists called for a re-examination of vegetal and zoological motifs,
particularly as seen in Japanese art. The development of high temperature (grand feu) porcelain with
crystallised and matte glazes, with or without other decoration, is typical of these works. It was a period where
lost techniques were rediscovered, such as the oxblood glaze, and entirely new methods were developed. Major
French potters include: Ernest Chaplet, Taxile Doat, Alexandre Bigot, Adrien-Pierre Dalpayrat, Edmond
Lachenal and Albert Dammouse.[24] The Zsolnay factory in Pécs, Hungary, was led by Miklós Zsolnay (1800–
1880) and his son, Vilmos Zsolnay (1828–1900) with Tádé Sikorski (1852–1940) chief designer, to produce
stoneware and other ceramics in 1853. In 1893, Zsolnay introduced porcelain pieces made of eosin. He led the
factory to worldwide recognition by demonstrating its innovative products at world fairs and international
exhibitions, including the 1873 World Fair in Vienna, then at the 1878 World Fair in Paris, where Zsolnay
received a Grand Prix. Frost-resisting Zsolnay building decorations were used in numerous buildings
specifically during the art nouveau movement.[25]

Ceramics

József Rippl-Rónai Vase with vines and Zsolnay collection, Zsolnay collection,
Vase snails by Pál Horti Budapest Budapest
(1865-1907)
 Zsolnay collection, Vessel with mistletoe Edmond Lachenal, Amphora with elm-leef
Budapest sprigs vase. and blackberry
manufactured by
Stellmacher & Kessner

Vase by Rosenthal, Paul Bonnaud, Limoges Tiffany and Company, Cachepot, a decorative
copper ornaments enamel enamel covered jar container for a plant and
(1900) its pot in Art-Nouveau
style

Art Nouveau in Europe

France, Belgium and Switzerland
In Paris, the Maison de l'Art Nouveau, at the time managed by Siegfried Bing, showcased Art Nouveau objects.
Artists such as Émile Gallé, Louis Majorelle and Victor Prouvé in Nancy, France, founded the École de Nancy,
giving Art Nouveau a new influence. In Brussels, Belgium the style was developed with the help of the
architects Victor Horta[26] and Henry van de Velde.[27] Other Art Nouveau designers in Belgium, Switzerland
and France include Théophile Steinlen, Hector Guimard and Jules Lavirotte.[3] The Czech artist Alphonse
Mucha worked in Paris for a number of years.

Hector Guimard's Paris metro entrances were of Art Nouveau style, and Emile Gallé practised the style in
Nancy. Victor Horta had a decisive effect on architecture in Belgium.[28]

Spain
In Spain, the style was based mainly in Catalonia, with its focal point in Barcelona and was an essential element
of the Catalan Modernisme. Architect Antoni Gaudí, whose decorative architectural style is so personal that he
is sometimes considered as practising an artistic style different from Art Nouveau, nonetheless uses Art
Nouveau's floral and organic forms as in Palau Güell (1886).[29] His designs from about 1903, the Casa Batlló
(1904–1906) and Casa Milà (1906–1908), are most closely related to the stylistic elements of Art Nouveau.[30]
However, famous structures such as the Sagrada Familia characteristically contrast the modernising Art
Nouveau tendencies with revivalist Neo-Gothic.[30] Besides the dominating presence of Gaudí, Lluís Domènech
i Montaner also used Art Nouveau in Barcelona in buildings such as the Castell dels Tres Dragons (1888), Palau
de la Música Catalana and Casa Lleó Morera (1905).[30] Another major modernista was Josep Puig i Cadafalch,
who designed the Casa Martí and its Quatre Gats café, the Casimir Casaramona textile factory (now the
CaixaFòrum art museum), Casa Macaya, Casa Amatller, the Palau del Baró de Quadras (housing Casa Àsia for
10 years until 2013) and the Casa de les Punxes ("Pointy House"). Also well-known is Josep Maria Jujol, with
houses in Sant Joan Despí (1913-1926), several churches near Tarragona (1918 and 1926) and the sinuous Casa
Planells (1924) in Barcelona. A
few other major architects
working outside of Barcelona
were Lluís Muncunill i Parellada,
with a magnificent textile factory
in Terrassa (Vapor Aymerich,
Amat i Jover, now the Science
and Technology Museum of
Catalonia - Museu de la Ciència i
de la Tècnica de Catalunya)and a Architect Victor Horta's Tassel House
"farmhouse"/small manor house stairway in Brussels
called Masia Freixe in the same
city; and Cèsar Martinell i Brunet, with his spectacular "wine
cathedrals", housing town cooperative wineries throughout southern and
central Catalonia. A Valencian architect who worked in Catalonia before
emigrating to the States was Rafael Guastavino. Attributed to him is the
Asland Cement Factory in Castellar de n'Hug, among other buildings.
Window, Villa Majorelle, France

Portugal
The spread of Art Nouveau (Arte nova) in Portugal, although delayed due to slowly developing industry,
flourished in cities like Porto and Aveiro, in which can be found numerous buildings influenced by European
models, in particular by French architecture. Buildings like 'Livraria Lello & Irmão', Porto in 1906 designed by
Xavier Esteves.

Germany
German Art Nouveau is commonly known by its German name, Jugendstil. The name is taken from the artistic
journal, Die Jugend, which was published in Munich and which espoused the new artistic movement. It was
founded in 1896 by Georg Hirth (Hirth remained editor until his death in 1916, and the magazine continued to
be published until 1940). The magazine was instrumental in promoting the style in Germany. As a result, its
name was adopted as the most common German-language term for the style: Jugendstil ("young style").
Although, during the early 20th century, the word was applied to only two-dimensional examples of the graphic
 arts,[31] especially the forms of
organic typography and graphic
design found in and influenced
by German magazines like
Jugend, Pan, and Simplicissimus,
it is now applied to more general
manifestations of Art Nouveau
visual arts in Germany, the
Netherlands, the Baltic states,
and Nordic countries.[5][32] The
two main centres for Jugendstil
art in Germany were Munich and
Darmstadt.

Two other journals,

Simplicissimus, published in
1896 cover of Jugend magazine. Munich, and Pan, published in
Berlin, proved to be important
proponents of the Jugendstil. The magazines were important for The Casa Batlló, already built in
spreading the visual idiom of Jugendstil, especially the graphical 1877, was remodelled in the
qualities. Jugendstil art includes a variety of different methods, applied Barcelona manifestation of Art
by the various individual artists and features the use of hard lines as well Nouveau, modernisme, by Antoni
as sinuous curves. Methods range from classic to romantic. One feature Gaudí and Josep Maria Jujol during
of Jugendstil is the typography used, the letter and image combination of 1904–1906
which 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.

One of the most famous German artists associated with both Die Jugend and Pan was Otto Eckmann. His
favourite animal was the swan, and such was his influence in the German movement that the swan came to
serve as the leitmotif for the Jugendstil.

Britain
The beginning of an Art Nouveau style can be recognised during the 1880s, in a few 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 during 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 19th century
design. The most important centre in Britain eventually became Glasgow, with the creations of Charles Rennie
Mackintosh and the Glasgow Four, pre-eminent members of the so-called Glasgow School, which included his
wife Margaret Macdonald Mackintosh, who produced outstanding paintings.

Other notable British Art Nouveau designers include Walter Crane, Archibald Knox, Charles Ashbee, and
Aubrey Beardsley.[3]
Leon Solon, born in Stoke-on-Trent to French parents, made an important contribution to art nouveau ceramics
as art director at Mintons. He specialised in plaques and in tube-lined vases marketed as "secessionist ware"
(usually described as named after the Viennese art movement).[33] Apart from ceramics, he designed textiles for
the Leek silk industry[34] and doublures for a bookbinder (G.T.Bagguley of Newcastle under Lyme), who
patented the Sutherland binding in 1895.

The Edward Everard building in Bristol, built during 1900–01 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.

Italy
The Art Nouveau European
Route[35] provides details of the
heritage in Europe and worldwide of
the Art Nouveau style featuring
considerable information about
Italy's Stile Liberty. This represented
the modern designs from the Liberty
& Co store of London, indicating
both Art Nouveau's commercial
aspect and the 'imported' character
that it retained in some parts of
Walter Crane, Swan and Iris Italy, though not in Palermo,
isolated from developments in the
north and evolving an independent character due largely to designers
such as architect Ernesto Basile and Vittorio Ducrot, who specialised as
a cabinetmaker. According to the Art Nouveau European Route, Basile
and Ducrot were responsible for the idea of the complete work of art in Charles Rennie Mackintosh
Italy. Kelvingrove, Glasgow

Important Italian Liberty cities or sites are the spa centres of

Salsomaggiore Terme, Emilia-Romagna, and San Pellegrino Terme, Lombardy, as well as Cernobbio on Lake
Como also in Lombardy. Some large cities have a considerable number of Liberty-style decorations and
buildings, especially Turin, Milan, Naples, Florence, Genoa, and large sections of the sea-side town of
Viareggio, Tuscany. The Liberty Style was used by Italian designers and architects overseas, especially in
Argentina and Chile, such as at Valparaíso where architects Renato Schiavon and Arnaldo Barison, trained in
Trieste, arrived after the earthquake of 1906. Here they built outstanding structures such as the Palace
Barburizza (1915), now the city's Museum of Fine Arts.

Other important Italian art nouveau designers were the Bugatti family (Carlo, Ettore, Jean and Rembrandt) best
known for their cars built in France, and furniture and art constructed in their native Milan. Carlo Bugatti, born
February 1856 in Milan, was himself the son of an architect and sculptor Giovanni Luigi Bugatti. Carlo
received his training at the renowned Milanese Academy of Brera, and later the Académie des Beaux-Arts in
Paris. His work was wide-ranging including silverware, textiles, ceramics, and musical instruments, but he is
best remembered for his innovative furniture designs, shown first in the 1888 Milan Fine Arts Fair.
Nordic countries
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 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 in 1904, and was rebuilt in a
uniform Jugendstil architecture, kept more or less intact to the present.

The foremost examples of Art Nouveau architecture (Jugendstil) in Norway are found in Ålesund, which was
rebuilt after a major fire in 1904, while the style was particularly relevant. A representative Ålesund jugend is
the former Svaneapoteket (Swan Pharmacy). Today, the Jugendstilsenteret is located in this building. It should
have been applied in 1908. Apothecary Øwre was a member of the council and the presidency in Ålesund, and
after that the pharmacy was adopted also mayor in the years 1909-1910. He chose the architect Hagbarth Martin
Schytte-Berg (1860-1944) to draw and construct the new pharmacy.[36] The architect was one of the leaders in
the effort to restore Ålesund after the fire. His other works include Skien
Church (1887-1894) and Fagerborg Church in Kristiania (Oslo) (1900-
1903).

Central and Eastern Europe

In Russia Art Nouveau is known as Modern (Модерн) perhaps named
after Parisian gallery "La Maison Moderne". The style was promoted by
the art magazine Mir iskusstva ('World of Art'), which spawned the
revolutionary Ballets Russes.

The Polish style was centred in Kraków and was part of the Młoda
Polska style. Stanisław Wyspiański was the main 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 (Łódź,
Kraków), with the exception of Warsaw, where the few examples that
survived the Nazi razing of the city were destroyed by the Communist Casa Galleria-Vichi in Florence,
authorities on the grounds that the buildings were decadent. designed by Giovanni Michelazzi,
1911
The Slovene Lands were another area influenced by Art Nouveau. At its
beginning, Slovenian Art Nouveau was influenced strongly by the
Viennese Secession, but it later developed an individual style. Important architects of this style include Max
Fabiani, Ciril Metod Koch, Jože Plečnik, Ivan Vurnik. The vast majority of the architecture is to be found in
Ljubljana.

Croatia was an area of secessionist architecture as well. Architects like Vjekoslav Bastl and Aladar Baranyai
developed a mixture between modernism and classical Art Nouveau. The Croat architect Josip Vancaš worked
mostly in Sarajevo, the capital of Bosnia and Herzegovina. His architecture was a mixture of earlier historicism
and proper Art Nouveau: some of his finest Art Nouveau buildings are located in Ljubljana, Slovenia.

Austria
Main article: Vienna Secession
A localised 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.

Hungary
In contrast to Historicism, Hungarian Art Nouveau is based on supposed national architectural characteristics.
Besides of the Zsolnay ceramics, Ödön Lechner (1845–1914), was the most important figure in Hungarian Art
Nouveau, was inspired initially by Indian and Syrian architecture, and later by traditional Hungarian decorative
designs. In this manner, he created an original synthesis of architectural styles. Disusing the style of Lechner,
yet being inspired by his method, the group of 'Young People' (Fiatalok), which included Károly Kós and Dezső
Zrumeczky,
applied the
characteristic
structures and
forms of traditional
Hungarian
architecture,
especially the
Transylvanian
vernacular.

Besides the two

Jugend in Ålesund, Svaneapoteket (Swan Pharmacy). principal styles,
Hungarian
architecture also
displays local versions of trends originating from other European
countries. The Vienna Secession, the German Jugendstil, Art Nouveau Jugendstilsenteret in Ålesund,
from Belgium and France, and the influence of English and Finnish Norway. Inside the building is the
architecture are all represented in the buildings constructed at the Svaneapoteket (Swan Pharmacy)
beginning of the 20th century. Béla Lajta initially adopted Lechner's
style, subsequently adopting English and Finnish trends; after
developing an interest in the Egyptian style, he finally developed a
modern architectural style. Aladár Árkay did almost the same. István
Medgyaszay developed his own style, which differed from Lechner's,
using stylised traditional motifs to create decorative designs in concrete.
For applied arts, those mainly responsible for promoting the spread of
Art Nouveau were the School and Museum of Applied Arts, which
opened in 1896. The interior of the Vitebsk Railway
Station in St. Petersburg
Szabadka, Marosvásárhely and other former areas in the Hungarian
Kingdom, Vojvodina (northern Serbia) and Transylvania have fine
examples of Hungarian Art Nouveau.

Latvia
Art Nouveau architecture was popular in Riga, the capital of Latvia, during the late 19th century and the
beginning of the 20th century – about 40% of the buildings from this time were built in this style.[37] Several
substyles formed during this period. Early elements of the new style were added to Eclectic architecture
forming "Eclectic" Art Nouveau. "Decorative" Art Nouveau refers to style using only decorative elements of
the Art Nouveau; the first such building was built in 1899, however by 1906 decorative styles had become
unfashionable.[38] Therefore the
decorative style is not very
widespread in Riga.[37] The most
popular style in Riga is known as
"Romantic" Art Nouveau.
Simplistic and modern in form,
these buildings were decorated
with elements from other historic
styles and constitute about one-
Otto Wagner's Karlsplatz Station in third of all buildings in central The secession building in Vienna was
Vienna Riga. From 1905 to 1911, built in 1897 by Joseph Maria Olbrich
Latvian National Romantism for exhibitions of the secession group.
peaked. While being a substyle
of Art Nouveau, it copied forms of traditional architecture and
incorporated traditional decorative elements.[39] As Art Nouveau
matured, emphasis on vertical lines became more popular, known as
"Vertical" Art Nouveau, this style was most popular shortly before
World War I.[38] The center of Riga is now designated as a UNESCO
World Heritage site in part for its Art Nouveau architecture.[40]

A significant number of Art Nouveau structures are located in other

cities and towns in Latvia, including Liepāja (hundreds of buildings),
Jūrmala (notable example – Dubulti Lutheran Church, 1907),
Daugavpils and others. The use of Art Nouveau outside urban centres
has been rare, but there some exquisite examples such as Luznava manor
house (eastern Latvia).

Slovakia
The style of combining Art Nouveau and national architectural elements
was typical also for a Slovak architect Dušan Jurkovič who was under
Church of St. Elisabeth in Bratislava,
the influence of Hungarian Art Nouveau. His most original works are the
by Ödön Lechner
Cultural House in Skalica in Slovakia (1905), buildings of spa in
Luhačovice in Czech Republic (1901-1903) and 35 war cemeteries near
Nowy Żmigród in Galicia (now Poland), most of them heavily influenced by local Lemko (Rusyn) folk art and
carpentry (1915-1917).

Czech Republic
Alphonse Mucha used the style in Prague and Moravia (part of the modern Czech Republic); his style of Art
Nouveau became associated with the so-called Czech National Revival. Fin de siècle sections of Prague reveal
modest buildings encrusted with images of leaves and women that curve and swirl across the façades.[41]
Examples of Art Nouveau in the city, along with the exteriors of any number of private apartment and
commercial buildings, are the Municipal House, the Hotel Paříž, Smíchov Market Hall, Hotel Central, the
windows in the St. Wenceslaus Chapel at St. Vitus Cathedral, the main railway station, the Grand Hotel and the
Jubilee Synagogue. The Olšany Cemetery and the New Jewish Cemetery are also important examples of Art
Nouveau.[41] In Czech, Art Nouveau is known as secese, a name
adopted from the Austrian term "Secessionism".

Malta
There are Art Nouveau buildings called the Balluta Buildings. They are
apartment buildings on the eastern shore of Balluta Bay, on the northeast
coast of Malta within the district St. Julian's.
Culture house in Skalica (Slovakia)
Outside Europe
Although no significant artists in Australia are associated with Art
Nouveau, many buildings in Australia were designed in the Art Nouveau
style. In Melbourne, the Victorian Arts Society, Milton House,
Melbourne Sports Depot, Conservatorium of Music and Melba Hall,
Paston Building, and Empire Works Building all represent the Art
Nouveau style.

Montevideo, in South America's Río de la Plata, offers a good example

of the influence of the Art Nouveau style across the Atlantic. The style is
very apparent in the architecture both of downtown and of the periphery Paris Métro replica entrance in
of the city. Montevideo maintained intense communication with Paris, Chicago
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 structure of its urban spaces, all of which factors help
explain the widespread presence of Art Nouveau there.

In the other side of the Río de la Plata, Buenos Aires still conserves some of its Art Nouveau architecture, also
brought by Italian and Spanish immigrants, which developed the jugendstil (Edificio Otto Wulff, by Morten
Ronnow, Danish), liberty (Casa de los Pavos Reales, by Virginio Colombo, Italian), modernisme (various
buildings by Julián García Núñez, Spanish-Argentine) and Art Nouveau (Chile Hotel by Louis Dubois, French)
varieties. Another Argentinean city where this architecture has been recently protected is Rosario, an important
port on the Paraná River.

UNESCO World Heritage List

Art Nouveau monuments are now recognised by UNESCO in their World Heritage List as significant
contributions to cultural heritage.[42] The historic center of Riga, Latvia, with "the finest collection of art
nouveau buildings in Europe", was included on the list in 1997 in part because of the "quality and the quantity
of its Art Nouveau/Jugendstil architecture",[40] 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".[26]

Noted practitioners

Architects Art, drawing, and graphics

Émile André (1871–1933) Aubrey

Gavriil Baranovsky (1860–1920) Beardsley
Ernesto Basile (1857–1932) (1872–
Vjekoslav Bastl (1872–1947) 1898)
Peter Behrens (1868–1940) František
Ferdinand Boberg (1860–1946) Bílek
Wilhelm Bockslaff (1858-1945) (1872–
Gustave Serrurier-Bovy (1858–1910) 1941)
Raimondo Tommaso D'Aronco (1857–1932) Ivan
Lluís Domènech i Montaner (1850–1923)
Mikhail Eisenstein (1867–1921)
August Endel (1871–1925)
Max Fabiani (1865–1962)
Eugène Gaillard (1862–1933)
Antoni Gaudí (1852–1926)
Vladislav Gorodetsky (1863–1930)
Hector Guimard (1867–1942)
Paul Hankar (1859–1901)
Josef Hoffmann (1870–1956) "Le Printemps" window by Eugène
Victor Horta (1861–1947) Grasset & Félix Gaudin

Lev Kekushev (1862–1919)

Yakovlevich Bilibin (1876–1942)
Ciril Metod Koch (1867–1925)
Walter Crane (1845–1915)
Károly Kós (1883–1977)
Jules Chéret (1836–1932)
Béla Lajta (1873–1920)
Hans Christiansen (1866-1945)
Ödön Lechner (1845–1914)
Eugène Gaillard (1862–1933)
Jules Lavirotte (1864–1924)
Eugène Grasset (1845–1917)
Charles Rennie Mackintosh (1868–1928)
Gustav Klimt (1862–1918)
Ede Magyar (1877–1912)
Ludwik Konarzewski (1885-1954)
 Rafael Masó (1880–1935)
Ivan Meštrović (1883–1962)
Gyula Pártos (1845–1916)
Marian Peretiatkovich (1872–1916)
Jože Plečnik (1872–1957)
Osvald Polívka (1859–1931)
Zsigmond Quittner (1859–1918)
Eliel Saarinen (1873–1950)
Fyodor Schechtel (1859–1926)
László Székely (1877–1934)
Gustave Strauven (1878–1919)
Louis Sullivan (1856–1924)
Eugène Vallin (1856–1922)
Henry Van de Velde (1863–1957)
Ivan Vurnik (1884–1971)
Otto Wagner (1841–1918)
William Walcot (1874–1943)
Lucien Weissenburger (1860–1929)
Furniture designers
Carlo Bugatti (1856–1940)
Glassware and stained glass designers
Eugène Gaillard (1862–1933)
Louis Majorelle (1859–1926)
Ceramists
E. M. Lilien (1874–1925)
Józef Mehoffer (1869–1946)
Alphonse Mucha (1860–1939)
Paul Philippe (1870-1930)
Erwin Puchinger (1876–1944)
József Rippl-Rónai (1861–1927)
Valentin Serov (1865–1911)
Konstantin Somov (1869–1939)
Margaret MacDonald (1865–1933)
Virginia Frances Sterret (1900–1931)
Henri de Toulouse-Lautrec (1864–1901)
Théophile Steinlen (1859–1923)
Henri Privat-Livemont (1861–1936)
Janos Vaszary (1867–1939)
Aleardo Terzi (1870–1943)
Hans Unger (1872–1936)
Stanisław Wyspiański (1869–1907)
Eliseu Visconti (1866–1944)
Elisabeth Sonrel (1874–1953)
Gerda Wegener (1886–1940)
Auguste Daum (1853–1909)
Antonin Daum (1864–1930)
Émile Gallé (1846–1904)
René Lalique (1860–1945)
Koloman Moser (1868-1918)
Louis Comfort Tiffany (1848–1933)
Ernest Chaplet
Adrien-Pierre Dalpayrat
Albert Dammouse
Taxile Doat (1851–1939)
Edmond Lachenal (1855–1948)
Artus Van Briggle (1869–1904)
 Vilmos Zsolnay (1828–1900)

Other decorative artists

Charles Robert Ashbee (1863–1942)

Will H. Bradley (1868–1962)
Georges de Feure (1868–1943)
Archibald Knox (1864-1933)
Hermann Obrist (1863–1927)
François-Raoul Larche (1860–1912)

Works

Adele Bloch-Bauer 1 by "Lady in red dress" by Salon des Cent poster by Bench by Émile Gallé
Gustav Klimt Hungarian painter, József Eugène Grasset
Rippl-Rónai (1898)

The Kiss 1907–08, oil on Hope II by Gustav Klimt. Hôtel Ciamberlani in Furniture pieces by Carlo
canvas, Österreichische Brussels by Paul Hankar Bugatti
Galerie Belvedere, Vienna
 Singer House in St. "Majolikahaus" (det.) 1898 Bechstein Art Nouveau Dining cabinet at the
Petersburg by Otto Wagner[43] grand piano 1902 made for Musée de l'École de Nancy
Julius Gütermann by Eugene Vallin.

See also
Art Nouveau furniture
Fin de siècle
Belle Époque
Art Deco
Modernisme
Secession (art)

References
1. ^ Duncan (1994), 7.
2. ^ Sterner (1982), 6.
3. ^ a b c d Art Nouveau – Art Nouveau Art
(http://web.archive.org/web/20130222070337/http://www.huntfor.com/arthistory/c19th/artnouveau.htm)
4. ^ Henry R. Hope, review of H. Lenning, The Art Nouveau", The Art Bulletin, vol. 34 (June 1952), 168–171 (esp. 168–
169): Discussing the state of Art Nouveau during 1952, the author notes that Art Nouveau, which had become
disfavored, was not yet an acceptable study for serious art history or a subject suitable for major museum exhibitions and
their respective catalogs. He predicts an impending change, however.
5. ^ a b c d e f Michèle Lavallée, "Art Nouveau", Grove Dictionary of Art, Oxford University Press [accessed 11 April
2008].
6. ^ a b c d e Duncan (1994): 23–24.
7. ^ Martin Eidelberg and Suzanne Henrion-Giele, "Horta and Bing: An Unwritten Episode of L'Art Nouveau", The
Burlington Magazine, vol. 119, Special Issue Devoted to European Art Since 1890 (Nov., 1977), pp. 747–752.
8. ^ a b c Duncan (1994), 15–16; 25–27.
9. ^ Duncan, 1; 23–24.
10. ^ Georg Hirth, the editor of Jugend, applied the term "Secession" to the series of reactionary movements of the era:
Nicolas Powell, "Review of C. Nebehay, Ver Sacrum, 1898–1903", The Burlington Magazine, vol. 118 (Sep., 1976): 660.
11. ^ a b Duncan (1994): 27–28.
12. ^ a b Duncan (1994): 10–13.
13. ^ a b c Duncan (1994): 14–18.
14. ^ Before opening the Maison de l'Art Nouveau, Bing managed a shop specialising in items from Japan; after 1888 he
promoted Japanism with his magazine La Japon Artistique: Duncan (1994): 15–16.
15. ^ Sterner (1982), 21.
16. ^ http://www.musee-rodin.fr/communication/images/CPrevejaponais_anglais.pdf Edmond Lachenal produced editions
of Rodin's sculptures
17. ^ Jennifer Opie, "A Dish by Thorvald Bindesbøll", The Burlington Magazine, vol. 132 (May, 1990), pp. 356.
18. ^ Claire Selkurt, "New Classicism: Design of the 1920s in Denmark", The Journal of Decorative and Propaganda Arts,
vol. 4 (Spring, 1987), pp. 16–29 (esp. 18 n. 4).
19. ^ Danuta A. Boczar, "The Polish Poster", Art Journal, vol. 44 (Spring, 1984), pp. 16–27 (esp. 16).
20. ^ Danuta Batorska, "Zofia Stryjeńska: Princess of Polish Painting", Woman's Art Journal, vol. 19 (Autumn, 1998–
Winter, 1999), pp. 24–29 (esp. 24–25).
21. ^ http://www.trueartworks.com/poster.php/0000-0086
22. ^ An Introduction to the Work of Alphonse Mucha and Art Nouveau
(http://www.mala.bc.ca/~Johnstoi/praguepage/muchalecture.htm), lecture by Ian Johnston of Malaspina University-
College, Nanaimo, British Columbia.
23. ^ Duncan (1994), 34.
24. ^ Edmond Lachenal and His Legacy, by Martin Eidelberg, Claire Cass, Hudson Hills Press; illustrated edition (25
February 2007)
25. ^ Timeline (http://www.magyarkeramia.hu/keramia/zsolnay/page_en.html), accessed 1/23/08
26. ^ a b UNESCO World Heritage List – Major Town Houses of the Architect Victor Horta (Brussels)
(http://whc.unesco.org/en/list/1005)
27. ^ Sterner (1982), 38–42.
28. ^ Duncan (1994), 37.
29. ^ James Grady, "Special Bibliographical Supplement: A Bibliography of the Art Nouveau", The Journal of the Society of
Architectural Historians, vol. 14 (May, 1955), pp. 18–27.
30. ^ a b c Duncan (1994): 52.
31. ^ A. Philip McMahon, "review of F. Schmalenbach, Jugendstil", Parnassus, vol. 7 (Oct., 1935), 27.
32. ^ Reinhold Heller, "Recent Scholarship on Vienna's "Golden Age", Gustav Klimt, and Egon Schiele", The Art Bulletin,
vol. 59 (Mar., 1977), pp. 111–118.
33. ^ Muter, Grant (1985). "Leon Solon and John Wadsworth" (http://www.jstor.org/stable/41809144). Journal of the
Decorative Arts Society. Retrieved 2 December 2013.
34. ^ He was commissioned by the Wardle family of dyers and printers, trading as "Thomas Wardle & Co" and "Bernard
Wardle and Co".The Wardel Pattern Books Revealed
(http://www.whitworth.manchester.ac.uk/collection/recentprojects/wardle/)
 35. ^ http://www.coupdefouet.eu/
36. ^ Jugendstilsenteret in Ålesund (http://www.jugendstilsenteret.no/?slang=1#cid=3)
37. ^ a b "Jūgenstils". Enciklopēdija "Rīga" (in Latvian). Riga: Galvenā enciklopēdiju redakcija. 1988. p. 334.
38. ^ a b Krastiņš, J; Vasiļjevs, J (1978). "Rīgas izbūve un arhitektūra 19. gs. otrajā pusē". In J, Krastiņš. Rīga. 1860–1917
(in Latvian). Riga: Zinātne. pp. 437–445.
39. ^ "Nacionālā romantisma celtnes". Enciklopēdija "Rīga" (in Latvian). Riga: Galvenā enciklopēdiju redakcija. 1988.
p. 483.
40. ^ a b UNESCO World Heritage List – Historic Centre of Riga (http://whc.unesco.org/en/list/852).
41. ^ a b Marie Vitochová Jindřichkjer and Jiří Všetecka, Prague and Art Nouveau, translation by Denis Rath and Mark
Prescott, Prague: V Raji, 1995.
42. ^ In addition to monuments in Riga and Brussels that are specifically named as examples of Art Nouveau, the "Works of
Antoni Gaudí" in and around Barcelona are recognised as "outstanding examples of the building typology in the
architecture of the early 20th century." See World Heritage List – Works of Antoni Gaudí
(http://whc.unesco.org/en/list/320)
43. ^ Sterner (1982), 169.

Bibliography
Duncan, Alastair. Art Nouveau. World of Art. New York: Thames and Hudson, 1994. ISBN 0-500-20273-
7
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 0-
8120-2105-3

Further reading
Art Nouveau Grange Books, Rochester, England 2007 ISBN 978-1-84013-790-3
William Craft Brumfield. The Origins of Modernism in Russian Architecture (Berkeley: University of
California Press, 1991) ISBN 0-520-06929-3

External links
Art Nouveau (http://www.dmoz.org/Arts/Art_History/Periods_and_Movements/Art_Nouveau/) at DMOZ
Art Nouveau -Historic Places in Canada (http://www.historicplaces.ca/en/results-resultats.aspx?
m=2&Keyword=art%20nouveau)
 Art Nouveau European Route (http://coupdefouet.eu/) The most complete information on Art Nouveau
heritage in Europe and worldwide.
art1900.info (http://www.art1900.info/) Art Nouveau in Central Europe
lartnouveau.com (http://www.lartnouveau.com/) Art Nouveau in France and in Europe
Brussels Capital of Art Nouveau (http://www.senses-artnouveau.com/), History, artists, tours, pictures,
links all about Art Nouveau in Brussels
Réseau Art Nouveau Network (http://www.artnouveau-net.eu/), a European network of Art Nouveau
cities.
Europeana virtual exhibition of Art Nouveau (http://exhibitions.europeana.eu/exhibits/show/art-nouveau-
en)

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