A New Style for A New Age
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At its height exactly one hundred years ago, [wpcmtt id=”6608″]Art Nouveau[/wpcmtt] was an [wpcmtt id=”6610″]attempt[/wpcmtt] to create an international style based on [wpcmtt id=”6611″]decoration[/wpcmtt]. It was developed by a brilliant and energetic generation of artists and designers, who [wpcmtt id=”6612″]sought[/wpcmtt] to fashion an art form [wpcmtt id=”6621″]appropriate[/wpcmtt] to the modern age. During this [wpcmtt id=”6613″]extraordinary[/wpcmtt] time, urban life as we now understand it was established. Old customs, habits, and artistic styles sat next to new, combining a wide range of [wpcmtt id=”6614″]contradictory[/wpcmtt] images and ideas. Many artists, designers, and architects were excited by new technologies and lifestyles, while others turned back to the past.
Art Nouveau was in many ways a [wpcmtt id=”6616″]response[/wpcmtt] to [wpcmtt id=”6617″]the Industrial Revolution[/wpcmtt]. Some artists welcomed technological [wpcmtt id=”6618″]progress[/wpcmtt] and [wpcmtt id=”6619″]embraced[/wpcmtt] the artistic possibilities of new materials such as [wpcmtt id=”6620″]cast iron[/wpcmtt]. Others [wpcmtt id=”6623″]disapproved[/wpcmtt] of the poor quality of [wpcmtt id=”6624″]mass-produced[/wpcmtt] [wpcmtt id=”6625″]machine-made goods[/wpcmtt] and [wpcmtt id=”6626″]aimed to[/wpcmtt] raise the [wpcmtt id=”6628″]decorative[/wpcmtt] arts to the level of [wpcmtt id=”6629″]fine art[/wpcmtt] by applying the highest [wpcmtt id=”6630″]standards[/wpcmtt] of [wpcmtt id=”6631″]craftsmanship[/wpcmtt] and design to everyday objects. Art Nouveau designers also believed that all the arts should work in [wpcmtt id=”6632″]harmony[/wpcmtt] to create a “total work of art”: buildings, furniture, [wpcmtt id=”6633″]textiles[/wpcmtt], clothes, and jewelry all [wpcmtt id=”6634″]conformed to[/wpcmtt] the [wpcmtt id=”6635″]principles[/wpcmtt] of Art Nouveau.
Paris was the most important artistic center in Europe at this time, and many key developments in the [wpcmtt id=”6640″]formation[/wpcmtt] of Art Nouveau [wpcmtt id=”6641″]took place[/wpcmtt] there. From the mid-1890s, works by [wpcmtt id=”6642″]emerging[/wpcmtt] young designers were [wpcmtt id=”6643″]exhibited[/wpcmtt] at Bing’s gallery. Maison de L’Art Nouveau. And the city hosted the World’s [wpcmtt id=”6644″]Fair[/wpcmtt] of 1900, which also helped to bring Art Nouveau to center stage. At this time Hector Guimard, perhaps the most [wpcmtt id=”6645″]prominent[/wpcmtt] Parisian Art Nouveau designer was [wpcmtt id=”6646″]commissioned[/wpcmtt] to design [wpcmtt id=”6647″]entrances[/wpcmtt] for the city’s new subway system. With their [wpcmtt id=”6648″]organic style [/wpcmtt]and use of cast iron for both [wpcmtt id=”6650″]structural[/wpcmtt] and [wpcmtt id=”6651″]decorative[/wpcmtt] [wpcmtt id=”6652″]purposes[/wpcmtt], they are among the most famous icons of the Art Nouveau style. Artist Henri de Toulouse-Lautrec, also connected with Art Nouveau [wpcmtt id=”6653″]circles[/wpcmtt], was particularly active in the graphic arts. His posters for cafe-concerts such as the Divan Japonais reveal the influence of Japanese art in their strong [wpcmtt id=”6654″]outlines[/wpcmtt] and bold, flat [wpcmtt id=”6655″]patterns[/wpcmtt].
Brussels was also at the center of the development of Art Nouveau: many of its earliest and most important creations were either made or exhibited in the city. At this time Brussels enjoyed a new [wpcmtt id=”6656″]prosperity[/wpcmtt] from the [wpcmtt id=”6657″]wealth[/wpcmtt] it had [wpcmtt id=”6658″]gained[/wpcmtt] during the Industrial Revolution and Belgium’s [wpcmtt id=”6660″]colonial expansion[/wpcmtt] in Africa. The city [wpcmtt id=”6661″]underwent[/wpcmtt] great change, and Art Nouveau became the style most [wpcmtt id=”6662″]representative[/wpcmtt] of the [wpcmtt id=”6663″]transformation[/wpcmtt]. In 1893 Victor Horta, the [wpcmtt id=”6664″]leading[/wpcmtt] architect-designer in Brussels, designed Tassel House, the first fully developed example of architecture in the Art Nouveau style.
Although Art Nouveau was not [wpcmtt id=”6666″]generally[/wpcmtt] [wpcmtt id=”6667″]embraced[/wpcmtt] in England, the style developed in exciting new directions in the Scottish city of Glasgow. [wpcmtt id=”6668″]Elements[/wpcmtt] of [wpcmtt id=”6669″]vigorous industrialism[/wpcmtt], [wpcmtt id=”6671″]modernity[/wpcmtt], and [wpcmtt id=”6672″]ethnic[/wpcmtt] [wpcmtt id=”6673″]pride[/wpcmtt] all played their part in the [wpcmtt id=”6674″]particular[/wpcmtt] [wpcmtt id=”6675″]strain[/wpcmtt] of Art Nouveau that emerged there. The work of Charles Rennie Mackintosh and other artists and designers of the Glasgow school is [wpcmtt id=”6676″]typified[/wpcmtt] by a [wpcmtt id=”6677″]linear[/wpcmtt] [wpcmtt id=”6678″]restraint[/wpcmtt]. Inspired by Japanese art, they introduced into their designs a [wpcmtt id=”6679″]strict[/wpcmtt] [wpcmtt id=”6680″]geometry[/wpcmtt], along with [wpcmtt id=”6681″]stylized[/wpcmtt] plant and [wpcmtt id=”6682″]figurative[/wpcmtt] forms.
Art Nouveau in Vienna was known as the [wpcmtt id=”6683″]Secession style[/wpcmtt] after Viennese artist Gustav Klimt led the city’s [wpcmtt id=”6684″]progressive[/wpcmtt] artists and designers into forming the Vienna Secession group in 1897. Members of the group broke free from the [wpcmtt id=”6685″]restrictions[/wpcmtt] of existing Viennese art establishments by breaking down the [wpcmtt id=”6686″]barriers[/wpcmtt] between art, design, and [wpcmtt id=”6687″]craft[/wpcmtt]. Influenced by the geometry of the Glasgow school and the [wpcmtt id=”6688″]simplicity[/wpcmtt] of Japanese design l the work of the Viennese designers is [wpcmtt id=”6689″]characterized[/wpcmtt] by a restrained [wpcmtt id=”6690″]linearity[/wpcmtt] and [wpcmtt id=”6691″]elegance[/wpcmtt].
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