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Art Nouveau Movement presentation
- 1. ART NOUVEAU 1890 - 1910
- 2. Design Motifs & Visual Quality
- 4. Tassel House by Baron Victor Horta
- 11. Kitagawa Utamaro
- 13. Ando Hiroshige
- 15. French Art Nouveau Jules Chéret
- 16. Chérettes
- 17. Eugène Grasset
- 20. Alphonse Mucha
- 21. •
- 22. Art Nouveau in England Aubrey Beardsley
- 24. Charles Ricketts
- 25. Art Nouveau in America
- 26. Louis Rhead
Hinweis der Redaktion
- Art Nouveau (New Art) is a transitional style that bridged the aesthetic confusion of the Victorian era and Modernism. Art Nouveau thrived from about 1890 to 1910, and overlapped with the Arts and Crafts movement. 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.
- Frequent design motifs included vine tendrils, flowers (such as the rose and lily), birds (particularly peacocks), and the human female form. The main identifying visual quality of art nouveau was and organic, plant like line.
- Because of it’s decorativeness, some observers see Art Nouveau as an expression of late 19th century decadence; other, however, noting art nouveau’s quest for spiritual and aesthetic values, see it as a reaction against the retrogression and materialism of the time.
- Among the numerous sources that have been cited for art nouveau are the tendrilous, curvilinear networks that unified Emile Tassel’s townhouse, designed by Belgian architect Baron Victor Horta, and the French symbolist movement in literature, with it’s rejection of realism, in favor of the metaphysical and sensuous.
- Other influences include William Blake’s book illustration, Celtic ornament, the rococo style,
- the Arts and Crafts Movement, Pre-Raphaelite painting, Japanese ukiyo-e woodblock prints,
- As well as the swirling forms of Vincent Van Gogh, the flat color and stylized organic contour of Paul Gauguin, and the Nabis, a group of young artists who explored symbolic color and decorative patterns. In this chapter, we will cover art nouveau in Europe and in North America, with an emphasis on the design of posters, books, periodicals, trademarks and typefaces.
- Ukiyo-e, or “pictures of the floating world,” defined an art movement of Japan’s Tokugawa period, from 1603-1867. This was also a period of national isolation, which allowed Japanese art to acquire a singular national characteristic, with few external influences. The earliest works were depictions of the entertainment districts, or “floating worlds” of Edo, or modern day Tokyo.
- Ukiyo-e prints provided European and North American artists and designers with new approaches to space, color, drawing conventions and subject matter. They drew inspiration from from the calligraphic line drawing, abstraction and simplification of natural appearances, flat color and silhouettes, unconventional use of bold black shapes and decorative patterns.
- Among the Japanese artists who made contributions to the genre were Hishikawa Moronobu, the first master of the Ukiyo-e print.
- Kitagawa Utamaro was known for his portrayal of beautiful women.
- The most renowned and prolific ukiyo-e artist was Katsushika Hokusai, who produced an estimated 35,000 works during seven decades of artistic production.
- Ando Hiroshige was the last great master whose spatial compositions and ability to capture transient moments of the landscape inspired the European Impressionists.
- Ukiyo-e prints continue to influence modern art forms.
- French Art Nouveau began in Paris in 1881, with Jules Chéret and Eugene Grasset, after a new French law that lifted censorship restrictions led to a booming poster industry. Jules Cheret, considered the father of the modern poster, designed lithographic posters for music halls, the theatre, beverages, medicines, household products, entertainers and publications.
- The beautiful young archetypical women he featured in his posters were dubbed “Chérettes.”
- Swiss-born Eugene Grasset, is noted for his integration of illustration, format and typography, and what has been called his “coloring book style,” a thick black contour drawing that locked forms into flat areas of color. His flowing lines and floral motif pointed toward French Art Nouveau. The women on his posters were quietly demure instead of exuberant, Grasset’s figures project a resonance very different from that of the Chérette.
- Henri de Toulouse-Lautrec broke new ground in poster design with his posters for Parisian cabarets, with their simple, symbolic shapes and dynamic spatial relationships.
- Toulouse-Lautrec’s friend and sometimes rival, Steinlein, was a prolific illustrator, who often depicted poverty, exploitation, and the working class. His commissions included magazine covers, magazine and book illustrations, sheet music and large posters.
- Art nouveau found it’s most comprehensive statement from 1895 to 1900 in the work of young Czech artist Alphonse Mucha. Mucha’s dominant theme was a central female figure surrounded by stylized forms derived from plants and flowers, Moravian folk art, Byzantine mosaics and even magic and the occult.
- Mucha’s women project an archetypical sense of unreality—exotic, sensuous, yet maidenlike, they express no specific age, nationality, or historic period—and their stylized hair patterns became a hallmark of the era.
- In England, the art nouveau movement was primarily concerned with graphic design and illustration. Aubrey Beardsley and Charles Ricketts were key figures.
- Beardsley’s illustrations combined contour line, textured areas and black and white shapes into powerful compositions. In this double page spread for Morte d’Arthur, from 1893, the contrast between geometric and organic shapes reflects the influence of the Japanese print style.
- Ricketts approached the book as a total entity, focusing on harmony of binding, end sheets, title page, typography, ornaments and illustrations. His page layouts were more open and geometric than William Morris’s Kelmscott Press books.
- Art nouveau was imported to America when Harper’s Magazine commissioned Eugene Grasset to design covers.
- The two major American practitioners of Art nouveau-inspired graphic design and illustration were Louis Rhead, who was influenced more by French sources, such as Grasset,
- and, William H. Bradley, who was inspired by English sources such as William Morris and Aubrey Beardsley. Bradley’s work for The Inland Printer, and the Chap Book—in particular, his fresh approach to graphic technique and visual unity of type and image—ignited art nouveau in America.
- Other Art Nouveau-inspired American designers and illustrators of note include Ethel Reed—the first American woman to achieve national prominence as a graphic designer and illustrator, Edward Penfield, and Maxfield Parrish.
- Art nouveau qualities were also applied to trademarks such as La Maison Moderne, in France, General Electric, in America, and AEG, in Germany.