How Were Women Affected by the Arts and Craft Movement? Site 1
Elisabeth Horth is a coordinator with the Réseau Fine art Nouveau Network in Belgium. Founded in 1999, the Network was established to help preserve Art Nouveau buildings in Brussels, Barcelona, Nancy, and other European cities. Today, the Network holds conferences, promotes traveling exhibitions, maintains an online database, and hosts scientific articles for use by scholars and the general public alike. For more than information, visit their site at www.artnouveau-net.eu.
Fine art Nouveau was a huge move. Information technology wasn't merely almost architecture; information technology touched every artistic discipline. It dealt with architecture, of grade, only also with furniture, pottery, painting, and embroidery. In an Art Nouveau home, the artists took care of everything—the jewelry, the apparel of the patron, the article of furniture, the garden, the lights and lamps, the stained-glass windows, the staircase, even the wallpaper.
Vase by Emile Gallé from Nancy, 1904
Before Art Nouveau, the decorative arts were divided into separate categories, but Art Nouveau was about the entire life, concerned with the connectedness between nature and your body in nature. It was a concept, as well as a way of life.
Art Nouveau artists did not work in isolation. They belonged to large groups that wanted to alter lives, to bring art to all the different social classes, non only rich people simply the labor classes, too. The idea was that Art Nouveau was designed for everybody, the poor and the rich. Some artists made furniture only for the labor classes; others designed very small houses to be filled with lots of inexpensive but beautiful factory-made objects. At that place was a very important glass production facility in Nancy that made some of its pieces in two versions—one copy for the rich, and ane copy with less detail for everybody else. The thought was to make unique pieces for special clients as well every bit industrially produced items for the public at large.
Art Nouveau was advanced. It was the fashion of the new generation. It was not the fashion of the dignity or conservative social club. It was the style of the new industrial era, of the young generation with new ideas, and of the new bourgeoisie, which wanted a fashion to distinguish itself from the sometime, wealthy nobility. Art Nouveau resonated with the new suburbia—sometimes the pieces were even richer in their detail and choice of materials than the objects made for the noble class.
Art Nouveau was not merely a manner. It was a deep style and a serious motility. It wasn't just a way to decorate houses but a way to find new solutions to create a better life. It wasn't a trendy mode. It was something with real content.
The dwelling of Belgian artist and architect Henri van de Velde, which he designed himself in 1895
Fine art Nouveau artists respected nature and were focused on the quality of life in full general. They were very concerned with beauty, only likewise with the function of each object. They wanted to have care not only of a patron's business firm, but too of the workers in the factories that made the things that went into the house, so that the workers would have a better working environment. They changed the ways in which gild viewed the labor classes past making special petty houses for them, and fifty-fifty schools for their children. Information technology wasn't merely a question of doing a squeamish painting for a prissy room. It was the whole concept.
Beyond the factories with progressive working atmospheric condition, Fine art Nouveau artists and patrons innovated in other areas of society. For example, they built a lot of hospitals. There, the architecture was very important, because the goal was to put the patient in connection with nature to have a meliorate space to relax, rest, and heal. They also built a lot of vacation houses in harmony with their natural environment, so one could rest and de-stress from the speed of the urban center. Then they paid attending to the value of life and its connection with nature.
It's difficult to mark the date when Art Nouveau began. Many people say that Art Nouveau started in Brussels in nigh 1890, just it's non a scientific fact. Barcelona has some Fine art Nouveau buildings that were built earlier that, and in England there was Arts and Crafts, which started in around 1880. But in general, people agree that Brussels was a very important place for the beginning of Art Nouveau.
Stained glass in La Chaux-de-Fonds, 1905
In the United States, Tiffany was very important, particularly with all his work made in glass—the lamps, vases, and other cute objects. I am sure that Tiffany took a lot of influence from Europe, but Europe was also influenced by the Tiffany style. The stained-glass windows all over Europe used the Tiffany technique, a very special melding of color and texture. So the influence went in both directions.
Art Nouveau was not in style after World State of war I because people had other needs and priorities. Society needed to modify the fashion information technology looked at the world after the state of war. In countries that were not connected with the war, similar Spain and Finland, Art Nouveau connected, though information technology was less of a forcefulness. Today, people collect Art Nouveau. People restore Fine art Nouveau. It even so has influence.
Some of the motility's well-nigh influential designers include Lluís Domènech i Montaner, Eusebi Güell, and Josep Puig i Cadafalch. Gaudí is actually important in Catalonia. In Scotland, information technology'south Charles Rennie McIntosh. In Belgium, it's Victor Horta and Henry van de Velde. In Nancy, information technology'south glassmaker Emile Gallé and article of furniture designer Luis Majorelle. And then it's non just architects but other kinds of artists, as well. In Ljubljana, it'south Joze Plecnik, who did everything—pieces of furniture, urban planning, restoration of castles, new building, bridges. He was very consummate equally an creative person.
Infirmary de la Santa Creu i Sant Pau (Hospital of the Holy Cross and Saint Paul) in Barcelona
At the aforementioned fourth dimension, you had graphic artists making books, posters, fabrics, and wallpaper. You lot even had dancers performing Art Nouveau dance. An American dancer named Loïe Fuller, who was living in Paris, created a kind of revolution in dance with her improvisational fashion, dramatic lighting, and voluminous costumes.
Nature was very important in Fine art Nouveau, merely the materials were important, too. Art Nouveau artists did not limit themselves. Instead, they were open to all kinds of materials—rock, wood, ceramics, metal, and glass, even exotic woods from Asia and Africa. The influence of Japan was very important, equally was the notion of the new nation. For these reasons Art Nouveau used the folkloric and Gothic vocabularies from history to maximize that idea.
Men were not the sole practitioners of Fine art Nouveau. At that place were a lot of female person artists, too. In Glasgow, McIntosh's wife designed a lot of pottery, embroidery, and wall decorations. And, of course, women models were very important because they were curvy and beautiful, and information technology was non a problem to show nudity. In fact, Alphonse Mucha only painted women, including those in the labor classes. He liked to bear witness the poor children and women walking in the countryside, which is a very of import social aspect of Fine art Nouveau.
As for its style, Art Nouveau could be floral and flowing, but it could as well exist geometric, like McIntosh and a lot of architects in Frg and Austria. It's a mix of both.
A dish designed by Kitty Kielland for Egersund Fayancefabrik, 1902
Art Nouveau's historical underpinnings, political agenda, and economic aspects were felt across Europe, simply the details varied from region to region. The artists expressed themselves in different ways, but they shared common elements. For example, the colors were different in each country. In Vienna, black and white were very important. In Brussels, orange and green were more present. In Espana, they liked flashy and brilliant colors. In Ljubljana, they had traditions linked to Italian and Austrian colors. Then in that location were a lot of very specific differences, but with common roots.
Similarly, the predominant art forms changed from one city to another. For example, Art Nouveau glass was common throughout Europe, but the manufacture was most prominent in Nancy. In architecture, the importance of natural low-cal in buildings was a central thought of Fine art Nouveau, but it was more than of import in the northward. In the south, they had to discover dissimilar solutions to remove heat from buildings. Information technology all depended on the local realities.
Nor was Art Nouveau limited to Europe's capital letter cities. For example, in France, Art Nouveau was more of import in Nancy than Paris. In the U.K., Glasgow was actually the Art Nouveau capital, not London. In both cases, Art Nouveau thrived because of the industrial nature of those cities.
In Nancy, they wanted to evidence that they were not slaves to the style of Paris. They didn't follow the capital. They were very independent and valued their specific history. It was the same in Scotland and Finland. Very oftentimes Art Nouveau was linked to the political thought to exist contained.
Staircase designed past architects Herman Gesellius, Armas Lindgren, and Eliel Saarinen in Helsinki, 1899-1901
In Republic of finland, Art Nouveau was a symbol of the nation'south desire for independence from Russia. Finland needed a new style for its sense of itself equally a new nation, so at that place you lot have a connection between political alter and Art Nouveau. That was as well the case in Ljubljana and Slovenia, which was a young nation that got a footling bit of freedom from the Austrian empire.
It's the same for Barcelona, too, because the region of Catalonia really wanted to exist independent from the residual of Spain. Art Nouveau was there, besides. Art Nouveau was also the menstruum when socialism took concord, so it was linked to ideas of progress in politics and manufacture.
Finally, Fine art Nouveau was very important in Vienna. You had Gustav Klimt, who produced a lot of murals, mosaics, and paintings to decorate the interior spaces of numerous new buildings. Then you lot had Koloman Moser, who was able to pattern buildings, furniture, and jewelry, likewise as dishes, tablecloths, and dresses. The artists of Art Nouveau could practice everything.
(All images in this article courtesy of the Réseau Art Nouveau Network.)
Source: https://www.collectorsweekly.com/articles/guest-column-the-social-agenda-of-art-nouveau/
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