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Art Nouveau and Art Deco: Their Decorative Influences

Lorna Secrest

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Library of Congress Subject Headings

Art nouveau--Influence; Furniture design; Art deco--Influence

Publication Date

Document type, student type, degree name.

Fine Arts Studio (MFA)

Department, Program, or Center

School of Art (CIAS)

Douglas Sigla

Advisor/Committee Member

Zerbe Sodervick

Physical copy available from RIT's Wallace Library at TT196 .S43 1983

Recommended Citation

Secrest, Lorna, "Art Nouveau and Art Deco: Their Decorative Influences" (1983). Thesis. Rochester Institute of Technology. Accessed from https://repository.rit.edu/theses/6667

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Ph.D. Thesis: John Ruskin on Natural Shape and Ornamentation and the Birth of Art Nouveau

Plates are available on demand because the document is too heavy to be uploaded here.

Related Papers

«ARCHISTOR», 2018, 10, pp. 92 - 127

Giovanni Leoni

Gli studi dedicati all'influenza esercitata da John Ruskin sull'architettura si sono incentrati prevalentemente sulla questione del Gotico, sul problema del Restauro e sulla relazione tra immagine e struttura o, più esattamente, sulla discussione per l’architettura limitato alla immagine di superficie oppure esteso agli aspetti costruttivi e, in generale, ai temi più specificamente disciplinari, a dispetto del suo non essere architetto. Meno attenzione ha ricevuto un tema che intercetta con grande lucidità e offre solida struttura teorica a un mutamento in corso nella seconda metà del XIX secolo: il modello, o meglio i diversi modelli, della creatività artistica e architettonica. La figura del creatore di architettura, che in Seven Lamps of Architecture tende a coincidere con il prototipo dell’artista visionario turneriano messo a punto nei primi due volumi di Modern Painters, subisce, nell’evolversi del complesso sistema ruskiniano, mutamenti sostanziali, offrendo nuovi paradigmi immediatamente assunti nella riforma della disciplina avviata da William Morris e dal movimento Arts and Crafts ma attivi per tutto il secolo successivo e ancor oggi pienamente operanti nella cultura architettonica. Il presente contributo – che è parte di una più ampia ricerca – si incentra sulla stesura di The Seven Lamps of Architecture, inizialmente concepito come parte di Modern Painters, con l’intento di analizzare come la struttura della creatività descritta da John Ruskin si modifichi nel passaggio dall’arte all'architettura, guidata da due principali figure: la personalità artistica del visionario, l’anonimo come paradigma della architettura.

Professor Anuradha Chatterjee, PhD

The paper presents John Ruskin’s theory of architecture as assemblage. It is now well known that Ruskin’s writings on medieval architecture focused almost exclusively on (surface) fragments, on quotations severed from their architectural contexts, and pasted and re-presented, as in the plates used to illustrate the Seven Lamps. This was one of the reasons Ruskin’s modernist critics refused to qualify his writings as sufficiently architectural, as they shifted focus from the wholeness and seamlessness of buildings. Instead, they were concerned with the surficial and the fragmentary. Ruskin’s ideal consisted in planar undisrupted walls, veneered surfaces, constructional polychromy, low relief and inlaid ornament, and layering of relief and polychromatic ornament, all variously sourced from Pisan Romanesque, the Gothic of Western Italy, and the Venetian Gothic among others. The architectural quotations were not merely copied and pasted: they were repositioned and repurposed, like the traceries from Gothic cathedrals that were used in the Ducal Palace. Interestingly, there was no particular formula by which the above stated ideality could be achieved: it was in a constant state of emergence. Characterized by historical impurity, stylistic discontinuity, formal fragmentation, and a singularity of expression, the ideal was capable of being reinvented, always. Besides the hybrid nature of the ideal, Ruskin writings appeared to bring focus to buildings as assembled, as three-dimensional assemblages. And, far from suggesting decay, and ruination, and ordinary picturesque interest, the watchful articulation of composition, assembly, and joinery in Ruskin’s drawings appeared to suggest emergence, and a coming to (life). Besides an obvious challenge to classical architecture, argues the paper, Ruskin’s writings articulate a response to the aesthetic and perceptual experiences of modernity

Gli studi dedicati all&#39;influenza esercitata da John Ruskin sull&#39;architettura si sono incentrati prevalentemente sulla questione del Gotico, sul problema del Restauro e sulla relazione tra immagine e struttura o, piu esattamente, sulla discussione per l’architettura limitato alla immagine di superficie oppure esteso agli aspetti costruttivi e, in generale, ai temi piu specificamente disciplinari, a dispetto del suo non essere architetto. Meno attenzione ha ricevuto un tema che intercetta con grande lucidita e offre solida struttura teorica a un mutamento in corso nella seconda meta del XIX secolo: il modello, o meglio i diversi modelli, della creativita artistica e architettonica. La figura del creatore di architettura, che in Seven Lamps of Architecture tende a coincidere con il prototipo dell’artista visionario turneriano messo a punto nei primi due volumi di Modern Painters , subisce, nell’evolversi del complesso sistema ruskiniano, mutamenti sostanziali, offrendo nuovi p...

Frances S Connelly

Cedric Sookahet

The American Historical Review

James Schmiechen

Fabio Mangone

Donata Levi

John Macarthur

Review of The Sympathy of Things: Ruskin and the Ecology of Design By Lars Spuybroek Rotterdam, V2 Publishing, NAi, 2011 & Vital Beauty: Reclaiming Aesthetics in the Tangle of Technology and Nature Editors Joke Brouwer, Arjen Mulder, Lars Spuybroek Rotterdam,V2Publishing, 2012

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Heilbrunn Timeline of Art History Essays

Art nouveau.

Factory of Olivier de Sorra

Vase with peacock feathers

Auguste Delaherche

"Ombellifères" (cow parsley) Cabinet

Emile Gallé

Moulin Rouge: La Goulue

Henri de Toulouse-Lautrec

Designed by Louis C. Tiffany

Lucien Lévy-Dhurmer

Edvard Munch

Designed by Philippe Wolfers

Monumental vase

Georges Hoentschel

Edward Colonna

Alexandre Bigot

Cabinet-vitrine

Gustave Serrurier-Bovy

Dress panel

Hector Guimard

Georges Fouquet

Pierre-Adrien Dalpayrat

Coffeepot (part of a service)

• Sèvres Manufactory

René-Jules Lalique

Henry van de Velde

Charles Rennie Mackintosh

Designed by Henri-Jules-Ferdinand Bellery-Desfontaines

Maude Adams (1872–1953) as Joan of Arc

Alphonse Mucha

Tea service

Josef Hoffmann

Mäda Primavesi (1903–2000)

Gustav Klimt

Cybele Gontar Department of European Sculpture and Decorative Arts, The Metropolitan Museum of Art

October 2006

From the 1880s until the First World War, western Europe and the United States witnessed the development of Art Nouveau (“New Art”). Taking inspiration from the unruly aspects of the natural world , Art Nouveau influenced art and architecture especially in the applied arts, graphic work, and illustration. Sinuous lines and “whiplash” curves were derived, in part, from botanical studies and illustrations of deep-sea organisms such as those by German biologist Ernst Heinrich Haeckel (1834–1919) in Kunstformen der Natur (Art Forms in Nature, 1899). Other publications, including Floriated Ornament (1849) by Gothic Revivalist Augustus Welby Northmore Pugin (1812–1852) and The Grammar of Ornament (1856) by British architect and theorist Owen Jones (1809–1874), advocated nature as the primary source of inspiration for a generation of artists seeking to break away from past styles. The unfolding of Art Nouveau’s flowing line may be understood as a metaphor for the freedom and release sought by its practitioners and admirers from the weight of artistic tradition and critical expectations.

Additionally, the new style was an outgrowth of two nineteenth-century English developments for which design reform (a reaction to prevailing art education, industrialized mass production, and the debasement of historic styles) was a leitmotif—the Arts and Crafts movement and the Aesthetic movement. The former emphasized a return to handcraftsmanship and traditional techniques. The latter promoted a similar credo of “art for art’s sake” that provided the foundation for non-narrative paintings, for instance, Whistler ‘s  Nocturnes . It further drew upon elements of Japanese art (“ japonisme “), which flooded Western markets , mainly in the form of prints, after trading rights were established with Japan in the 1860s. Indeed, the gamut of late nineteenth-century artistic trends prior to World War I, including those in painting and the early designs of the Wiener Werkstätte, may be defined loosely under the rubric of Art Nouveau.

The term art nouveau first appeared in the 1880s in the Belgian journal L’Art Moderne to describe the work of Les Vingt, twenty painters and sculptors seeking reform through art. Les Vingt, like much of the artistic community throughout Europe and America, responded to leading nineteenth-century theoreticians such as French Gothic Revival architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900), who advocated the unity of all the arts, arguing against segregation between the fine arts of painting and sculpture and the so-called lesser decorative arts. Deeply influenced by the socially aware teachings of William Morris and the Arts and Crafts movement , Art Nouveau designers endeavored to achieve the synthesis of art and craft, and further, the creation of the spiritually uplifting Gesamtkunstwerk (“total work of art”) encompassing a variety of media. The successful unification of the fine and applied arts was achieved in many such complete designed environments as Victor Horta and Henry van de Velde’s Hôtel Tassel and Hôtel Van Eetvelde (Brussels, 1893–95), Charles Rennie Mackintosh and Margaret Macdonald’s design of the Hill House (Helensburgh, near Glasgow, 1902–4), and Josef Hoffmann and Gustav Klimt’s Palais Stoclet dining room (Brussels, 1905–11) ( 2000.350 ; 1994.120 ; 2000.278.1–.9 ).

Painting styles such as Post-Impressionism and Symbolism (the “Nabis” ) shared close ties with Art Nouveau, and each was practiced by designers who adapted them for the applied arts, architecture, interior designs, furnishings, and patterns. They contributed to an overall expressiveness and the formation of a cohesive style ( 64.148 ).

In December 1895, German-born Paris art dealer Siegfried Bing opened a gallery called L’Art Nouveau for the contemporary décor he exhibited and sold there ( 1999.398.3 ). Though Bing’s gallery is credited with the popularization of the movement and its name, Art Nouveau style reached an international audience through the vibrant graphic arts printed in such periodicals as The Savoy, La Plume, Die Jugend, Dekorative Kunst, The Yellow Book , and The Studio . The Studio featured the bold, Symbolist-inspired linear drawings of Aubrey Beardsley (1872–1898). Beardsley’s flamboyant black and white block print J’ai baisé ta bouche lokanaan for Oscar Wilde’s play Salomé (1894), with its brilliant incorporation of Japanese two-dimensional composition, may be regarded as a highlight of the Aesthetic movement and an early manifestation of Art Nouveau taste in England. Other influential graphic artists included Alphonse Mucha, Jules Chéret, and Henri de Toulouse-Lautrec , whose vibrant poster art often expressed the variety of roles of women in Belle Époque society—from femme nouvelle (a “new woman” who rejected the conventional ideals of femininity, domesticity, and subservience) to demimonde ( 20.33 ; 32.88.12 ). Female figures were often incorporated as fairies or sirens in the jewelry of René Lalique, Georges Fouquet, and Philippe Wolfers ( 1991.164 ; 2003.560 ; 2003.236 ).

Art Nouveau style was particularly associated with France, where it was called variously Style Jules Verne, Le Style Métro (after Hector Guimard’s iron and glass subway entrances), Art belle époque , and Art fin de siècle ( 49.85.11 ). In Paris, it captured the imagination of the public at large at the 1900 Exposition Universelle, the last and grandest of a series of fairs organized every eleven years from 1798. Various structures showcased the innovative style, including the Porte Monumentale entrance, an elaborate polychromatic dome with electronic lights designed by René Binet (1866–1911); the Pavillon Bleu, a restaurant alongside the Pont d’Iena at the foot of the Eiffel Tower featuring the work of Gustave Serrurier-Bovy (1858–1910) ( 1981.512.4 ); Art Nouveau Bing, a series of six domestic interiors that included Symbolist art ( 26.228.5 ); and the pavilion of the Union Centrale des Arts Décoratifs, an organization dedicated to the revival and modernization of the decorative arts as an economic stimulus and expression of national identity that offered an important display of decorative objects ( 1991.182.2 ; 26.228.7 ; 1988.287.1a,b ). Sharing elements of the French Rococo (and its nineteenth-century revivals ), including stylized motifs derived from nature, fantasy, and Japanese art, the furnishings exhibited were produced in the new taste and yet perpetuated an acclaimed tradition of French craftsmanship. The use of luxury veneers and finely cast gilt mounts in the furniture of leading cabinetmakers Georges de Feure (1868–1943), Louis Majorelle (1859–1926), Edward Colonna (1862–1948), and Eugène Gaillard (1862–1933) indicated the Neo-Rococo influence of François Linke (1855–1946) ( 26.228.5 ).

The Exposition Universelle was followed by two shows at which many luminaries of European Art Nouveau exhibited. They included the Glasgow International Exhibition in 1901 that featured the fantastical Russian pavilions of Fyodor Shekhtel’ (1859–1926) and the Esposizione Internazionale d’Arte Decorativa Moderna at Turin in 1902 that showcased the work of furniture designer Carlo Bugatti of Milan ( 69.69 ).

As in France, the “new art” was called by different names in the various style centers where it developed throughout Europe. In Belgium, it was called Style nouille or Style coup de fouet . In Germany, it was Jugendstil or “young style,” after the popular journal Die Jugend ( 1991.182.2 ). Part of the broader Modernista movement in Barcelona, its chief exponent was the architect and redesigner of the Sagrada Familia (Holy Family) cathedral (Barcelona, begun 1882), Antoni Gaudí (1852–1926). In Italy, it was named Arte nuova, Stile floreale , or Lo stile Liberty after the London firm of Liberty & Co., which supplied Oriental ceramics and textiles to aesthetically aware Londoners in the 1870s and produced English Art Nouveau objects such as the Celtic Revival “Cymric” and “Tudric” ranges of silver by Archibald Knox (1864–1933). Other style centers included Austria and Hungary, where Art Nouveau was called the Sezessionstil . In Russia, Saint Petersburg and Moscow were the two centers of production for Stil’ modern . “Tiffany Style” in the United States was named for the legendary Favrile glass designs of Louis Comfort Tiffany .

Although international in scope, Art Nouveau was a short-lived movement whose brief incandescence was a precursor of modernism, which emphasized function over form and the elimination of superfluous ornament. Although a reaction to historic revivalism, it brought Victorian excesses to a dramatic fin-de-siècle crescendo. Its influence has been far reaching and is evident in Art Deco furniture designs, whose sleek surfaces are enriched by exotic wood veneers and ornamental inlays. Dramatic Art Nouveau—inspired graphics became popular in the turbulent social and political milieu of the 1960s, among a new generation challenging conventional taste and ideas.

Gontar, Cybele. “Art Nouveau.” In Heilbrunn Timeline of Art History . New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/artn/hd_artn.htm (October 2006)

Further Reading

Arwas, Victor. Art Nouveau: The French Aesthetic . London: Andreas Papadakis, 2002.

Escritt, Stephen. Art Nouveau . London: Phaidon, 2000.

Fahr-Becker, Gabriele. Art Nouveau . Cologne: Könemann, 1997.

Greenhalgh, Paul, ed. Art Nouveau, 1890–1914 . Exhibition catalogue. London: V&A Publications; Washington, D.C.: National Gallery of Art, 2000.

Weisberg, Gabriel P. Art Nouveau Bing: Paris Style 1900 . Exhibition catalogue. New York: Abrams, 1986.

Weisberg, Gabriel P., Edwin Becker, and Évelyne Possémé, eds. The Origins of L'Art Nouveau: The Bing Empire . Exhibition catalogue. Amsterdam: Van Gogh Museum, 2004.

Additional Essays by Cybele Gontar

• Gontar, Cybele. “ Empire Style, 1800–1815 .” (October 2004)
• Gontar, Cybele. “ Neoclassicism .” (October 2003)
• Gontar, Cybele. “ Jean-Baptiste Carpeaux (1827–1875) .” (October 2004)
• Gontar, Cybele. “ The Neoclassical Temple .” (October 2003)

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Artist or Maker

• Bellery-Desfontaines, Henri-Jules-Ferdinand
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Art Nouveau: Art of Darkness

First named such in Belgium, Art Nouveau was intimately tied up with that country’s brutal rule of the Congo.

Art Nouveau remains one of the most popular forms of modern art. The style had multiple permutations and names in different countries in fin-de-siècle Europe, but it was first named “art nouveau” in Belgium in the 1880s. There, “pioneers in modern design” including Victor Horta, Henry van de Velde, Paul Hankar, and Philippe Wolfers created the curvy new style as the country exploded in development on the profits from King Leopold II’s murderous Congo Free State.  

Scholar Debora L. Silverman argues that this context was no coincidence . Belgian Art Nouveau was an “imperial modernism,” with “profound and inextricable ties, long unexamined, between the Belgian arts and artists […] and the patrons, policies, violence, and even the expressive forms of Congo imperialism.”

“These artists’ creative consciousnesses were also vitalized by the sudden and successful Congo venture,” she notes, “and they shared the exhilaration of their contemporaries, as well as some of the collective derangement, over the fact that their small, new, and neutral nation has ‘acquired’ one-thirteenth of the African continent.”

Artists used raw materials from the colony, including ivory and tropical hardwoods. They were inspired by colonial motifs, including the “sinuous coils” of the rubber vine and the lash of the chicotte , or imperial flogging whip made of hippopotamus hide. (An early Belgium name for the new art was Style coup de fouet, or whiplash style.) And they were supported by patrons, above all Leopold II, who—engorged with profits from the colony, especially from rubber—commissioned their buildings and bought their works.

The colonial history here is unique. In 1885, as the European powers divided up Africa, Leopold II managed to gain control of the Congo region. The resulting L’État indépendant du Congo wasn’t technically a colony of what was then a half-century-old Belgian state. It was Leopold II’s personal colony. His minions proceeded to extract rubber, palm oil, ivory, and exotic hardwoods out a place much larger than Belgium itself. Shareholders in his exploitation of the Congo earned an average stock dividend of 220% from the plundering between 1892 and 1897.

“By 1905,” writes Silverman, “two decades of contact with the Congo Free State had remade Belgium as a global hub, vitalized by a tentacular economy, technological prowess, and architectural grandiosity.”

Buoyed by the wealth of what critics called bloody “red rubber,” the “Builder King” himself never visited his African fiefdom. By the time the state of Belgium annexed the Congo from Leopold II in 1908 in response to the world-wide scandal over conditions there, his regime “of forced labor, invasion terror, hostage taking, and hand severing” had murdered millions of Congolese. (Silverman cites a figure of four to eight million; Adam Hochschid’s King Leopold’s Ghost , which introduced the historical record to many in 1998, argues for a higher figure: ten million lives.)

Silverman focuses on the 2005 exhibition La mémoire du Congo, le temps colonial , at the Royal Museum for Central Africa (now known as AfricaMuseum) in Tervuren, Belgium. The exhibition “attempted to confront for the very first time the brutal history of Belgium in the Congo.” This history was “long suppressed in what had become the pivotal institution of official national denial and the most visible and provocative embodiment of the ‘great forgetting’” of Belgium’s role in Africa—a role that lasted long after Leopold II’s death in 1909. (In 2002, Belgium formally apologized for its role in the 1961 assassination of the Democratic Republic of the Congo’s first Prime Minister, Patrice Lumumba, whose body was hacked up and dissolved in acid after death.)

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Calling the exhibit “flawed and evasive,” Silverman nevertheless argues that the display of long-unseen objects, especially works in ivory, helped to reveal the “art of darkness” behind Belgian Art Nouveau. The phrase intentionally echo’s Joseph Conrad’s famous 1899 novella Heart of Darkness , which explores European imperialism in the Congo .

Silverman ends with the words of Henry Van de Velde, who explained the “eruption of modern line” in the “breakthrough” of Art Nouveau, transposing Belgian violence in the Congo into the new art in Belgium: “We seized line like one seizes a whip. A whip whose sonorous cracks accompanied our adventurous course, and whose blows lashed the skin of an indolent public.”

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ThinkIR: The University of Louisville's Institutional Repository

Home > ETD > 3069

Electronic Theses and Dissertations

Women in art nouveau : artist and inspiration..

Jo Anne Triplett , University of Louisville

Date on Master's Thesis/Doctoral Dissertation

Document type.

Master's Thesis

Degree Name

Degree program.

Humanities, MA

Committee Chair

Schuyler, William M.

Committee Co-Chair (if applicable)

Covi, Dario

Committee Member

Morgan, William

Author's Keywords

art nouveau; women artists

Art nouveau; Women artists

The role of women in the development of the turn-of-the-century movement known as Art Nouveau was important, but little has been written about it. This thesis serves as an introduction to attempt to explore. their roles, primarily by identifying who they were and what they accomplished. Art History, until our own century, documented the women artists of the past. has not The women fully who excelled in this field of handicrafts and applied arts should be more appreciated as interest grows in all aspects of Art Nouveau.

Recommended Citation

Triplett, Jo Anne, "Women in art nouveau : artist and inspiration." (1984). Electronic Theses and Dissertations. Paper 3069. https://doi.org/10.18297/etd/3069

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• A conversation between Art Nouveau and Digital design
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Lotz, Felix

Abstract [en].

The study contrasts the architecture of the Art Nouveau period  1880-1915 with contemporary curvilinear computational designs created 1980-2015. This is done by examining similarities and differences in design context, methods, philosophy and forms. The study includes an analysis of the curved lines used in Art Nouveau architecture as well as comparative study of  the two periods’ building compositions, façades and ornamentation. The thesis tries to answer the following questions: Is it possible to identify significant forms or geometric markers in  the Art Nouveau architecture of the period 1890 to 1920? How do such markers differ from post 1980 computational curvilinear architecture? Is it possible to reinterpret Art Nouveau architecture today in a relevant way?

Abstract [sv]

Denna studien kontrasterar Art Nouveau/ Jugendstil perioden 1880-1920 med dagens datorstödda design diskurs med fokus på den böjda linjen. Studien undersöker skillnader och likheter i kontext, metod, filosofi och form mellan de båda perioderna. Studien inkluderar en analys av den kurvatur som används inom Art Nouveau / Jugendstil och undersöker vidare byggnadskomposition,  fasader och ornament i de båda tidsperioderna. Studien försöker besvara följande frågor: Fins det några signifikanta former eller geometrier i  Art Nouveau / Jugendstil arkitekturen och hur skiljer dessa sig från dagens datorstödda arkitektur, Går det att på ett relevant sätt använda delar av  Art Nouveau / Jugendstil arkitekturen och dess diskurrs på ett idag relevant sätt.

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Mucha's Art Nouveau influence on women depicted in Chinese posters, 1920--1930s.

Maiko Kawase , San Jose State University

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Master of Arts (MA)

Art and Design

Beverly K. Grindstaff

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Art History; Women's Studies

Advertising posters produced during the Art Nouveau movement in 1880s France had a prominent influence on graphic design all over the world. After their success in France, posters in this style influenced arts and affected economic development of the other European countries, America, and Asia. In addition, French posters that featured a modern woman elevated the status of women, and the popular advocacy of the image of the New Women spread internationally. However, women in each society experienced an inferior status to men in reality which contrasted to the new depictions. While women figures in posters reflected the increasing rights of women, their artists also depicted women's subordinated roles metaphorically. This thesis examines the influence of Art Nouveau depictions of women on Chinese advertising posters, comparing the Western and Eastern artists' concepts and historical backgrounds. It focuses especially on how Shanghai posters were modeled upon an attitude of ideal national women as depicted by Alphonse Mucha, the most outstanding poster artist during the Art Nouveau.

Recommended Citation

Kawase, Maiko, "Mucha's Art Nouveau influence on women depicted in Chinese posters, 1920--1930s." (2008). Master's Theses . 4025. DOI: https://doi.org/10.31979/etd.gzth-bdh9 https://scholarworks.sjsu.edu/etd_theses/4025

Since July 27, 2011

https://doi.org/10.31979/etd.gzth-bdh9

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Art Nouveau

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Art Nouveau , ornamental style of art that flourished between about 1890 and 1910 throughout Europe and the United States . Art Nouveau is characterized by its use of a long, sinuous, organic line and was employed most often in architecture , interior design , jewelry and glass design, posters , and illustration. It was a deliberate attempt to create a new style, free of the imitative historicism that dominated much of 19th-century art and design. About this time the term Art Nouveau was coined, in Belgium by the periodical L’Art Moderne to describe the work of the artist group Les Vingt and in Paris by S. Bing, who named his gallery L’Art Nouveau. The style was called Jugendstil in Germany, Sezessionstil in Austria , Stile Floreale (or Stile Liberty) in Italy , and Modernismo (or Modernista) in Spain .

In England the style’s immediate precursors were the Aestheticism of the illustrator Aubrey Beardsley , who depended heavily on the expressive quality of organic line, and the Arts and Crafts movement of William Morris , who established the importance of a vital style in the applied arts. On the European continent, Art Nouveau was influenced by experiments with expressive line by the painters Paul Gauguin and Henri de Toulouse-Lautrec . The movement was also partly inspired by a vogue for the linear patterns of Japanese prints ( ukiyo-e ).

The distinguishing ornamental characteristic of Art Nouveau is its undulating asymmetrical line, often taking the form of flower stalks and buds, vine tendrils, insect wings, and other delicate and sinuous natural objects; the line may be elegant and graceful or infused with a powerfully rhythmic and whiplike force. In the graphic arts the line subordinates all other pictorial elements—form, texture, space, and colour—to its own decorative effect. In architecture and the other plastic arts, the whole of the three-dimensional form becomes engulfed in the organic, linear rhythm, creating a fusion between structure and ornament. Architecture particularly shows this synthesis of ornament and structure; a liberal combination of materials—ironwork, glass, ceramic, and brickwork—was employed, for example, in the creation of unified interiors in which columns and beams became thick vines with spreading tendrils and windows became both openings for light and air and membranous outgrowths of the organic whole. This approach was directly opposed to the traditional architectural values of reason and clarity of structure.

There were a great number of artists and designers who worked in the Art Nouveau style. Some of the more prominent were the Scottish architect and designer Charles Rennie Mackintosh , who specialized in a predominantly geometric line and particularly influenced the Austrian Sezessionstil; the Belgian architects Henry van de Velde and Victor Horta , whose extremely sinuous and delicate structures influenced the French architect Hector Guimard , another important figure; the American glassmaker Louis Comfort Tiffany ; the French furniture and ironwork designer Louis Majorelle ; the Czechoslovakian graphic designer-artist Alphonse Mucha ; the French glass and jewelry designer René Lalique ; the American architect Louis Henry Sullivan , who used plantlike Art Nouveau ironwork to decorate his traditionally structured buildings; and the Spanish architect and sculptor Antonio Gaudí , perhaps the most original artist of the movement, who went beyond dependence on line to transform buildings into curving, bulbous, brightly coloured, organic constructions.

After 1910 Art Nouveau appeared old-fashioned and limited and was generally abandoned as a distinct decorative style. In the 1960s, however, the style was rehabilitated, in part, by major exhibitions organized at the Museum of Modern Art in New York (1959) and at the Musée National d’Art Moderne (1960), as well as by a large-scale retrospective on Beardsley held at the Victoria & Albert Museum in London in 1966. The exhibitions elevated the status of the movement, which had often been viewed by critics as a passing trend, to the level of other major Modern art movements of the late 19th century. Currents of the movement were then revitalized in Pop and Op art . In the popular domain, the flowery organic lines of Art Nouveau were revived as a new psychedelic style in fashion and in the typography used on rock and pop album covers and in commercial advertising .

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Art nouveau: como surgiu e qual sua influência na arquitetura

O estilo art nouveau surgiu na virada do século 19 para o 20 buscando uma estética nova, caracterizada por linhas sinuosas e uma forte inspiração na natureza.

13/09/2024 06h00 Atualizado 13/09/2024

Estilo artístico e arquitetônico símbolo da Belle Époque, o art nouveau marcou o final do Século 19 e início do 20 com formas orgânicas, tons propositalmente esmaecidos – de verde, mostarda, bege e rosé, entre outros – e um tom ao mesmo elegante e otimista, puxado pelo desenvolvimento cultural e tecnológico do período.

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O art nouveau surgiu na Europa – em especial, na França e Bélgica –, trazendo uma proposta calcada na fluidez. Daí suas formas sinuosas, cores leves e pitadas de sofisticação, como os eventuais detalhes em dourado que adornam sem “pesar”.

Características do art nouveau

A virada dos séculos 19 para o 20, no qual surgiu o art nouveau , foi marcado por grandes transformações em diversas áreas, refletindo um clima de inovação e inquietação.

Na arte, como fizeram o modernismo e o impressionismo, o art nouveau chegou para romper com tradições clássicas, explorando novas formas de expressão e estética.

Até o comportamento social nessa “virada de século” mudou, uma guinada marcada pela crescente urbanização e pelo avanço da industrialização, que trouxeram consigo novos hábitos de consumo, lazer e visão de mundo, que foi profundamente impactada por descobertas científicas e pelo avanço da psicologia, trazido por Sigmund Freud. Tudo isso desafiava o passado.

Além disso, inovações tecnológicas, como o cinema, a eletricidade e o automóvel, transformaram o cotidiano e reforçaram a sensação de que o futuro seria moldado pela ciência e pela modernidade.

É nesse contexto efervescente que surge o art nouveau, conhecido por suas formas orgânicas e linhas sinuosas, inspiradas na natureza que passava a ser cada vez mais desvendada pela ciência.

Entre essas características está o uso de motivos florais, animais e elementos botânicos, muitas vezes combinados com formas geométricas – e vejam aí a natureza e a ciência juntas novamente.

A arte, no contexto desse estilo, buscava romper com as tradições acadêmicas e trazer um olhar novo, integrando também a vida cotidiana. Arquitetura, design de interiores, joalheria e até mesmo pôsteres publicitários foram influenciados pelo movimento.

Art nouveau na pintura

A pintura em estilo art nouveau é marcada por um apelo estético elegante e, a exemplo de outras linguagens que influenciou, as linhas sinuosas e a temática naturalista, refletindo, também nas telas, um desejo de harmonizar a arte e vida cotidiana.

O art nouveau na pintura reuniu artistas que exploraram temas, entre outros, como a figura feminina idealizada e a flora e a fauna estilizadas. Um dos principais expoentes da pintura art nouveau é o artista austríaco Gustav Klimt, cuja obra é conhecida por sua ornamentação luxuosa e detalhista. Seu quadro O Beijo (1907-1908) exemplifica essa fusão de formas geométricas, linhas curvas e uma paleta de ouro – características estéticas do movimento.

Outro exemplo marcante do art nouveau nas artes plásticas é o trabalho de Alphonse Mucha (1860-1939), pintor, ilustrador e designer gráfico checo e um dos principais expoentes do movimento art nouveau na pintura e no design gráfico. Mucha é conhecido por seus cartazes icônicos, como os produzidos para a atriz Sarah Bernhardt (1844-1923), onde retratava figuras femininas envoltas em ornamentos florais e arabescos elaborados, como em Gismonda, de 1894.

O francês Henri de Toulouse-Lautrec (1864-1901) também integrou elementos do Art Nouveau em seus cartazes e pinturas, especialmente nas representações de mulheres e da vida boêmia de Paris, como em Moulin Rouge: La Goulue (1891).

O trabalho de Aubrey Beardsley no campo da ilustração representa o art nouveu, na Inglaterra, por meio das figuras alongadas e do uso predominante do preto e do branco, como visto em Salomé (1893).

Ao passo que, nos Estados Unidos, o Art Nouveau influenciou artistas como Louis Comfort Tiffany, cujos trabalhos em vidro pintado revelam uma simbiose entre a pintura e o design decorativo, destacando o uso de cores vibrantes e de motivos naturais. Um exemplo é sua série de Lâmpadas Tiffany.

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O art nouveau na arquitetura

O uso de novos materiais, como ferro e vidro, foi uma das marcas mais indeléveis do art nouveau na arquitetura.

Em Paris, Hector Guimard (1867-1942) é amplamente reconhecido pelas entradas das estações de metrô, que se tornaram ícones do estilo. São dele as edículas e dosséis de vidro e ferro, com curvas ornamentais, projetados para cobrir essas entradas, ainda nas primeiras estações da malha de metrô na capital francesa. Guimard foi uma figura proeminente do estilo art nouveau, ganhando reconhecimento com seu projeto para o Castel Beranger, considerado o primeiro prédio de apartamentos art nouveau de Paris.

Em Bruxelas, na Bélgica – outro berço do estilo, ao lado de Paris –, foi Victor Horta (1861-1947) quem liderou a “entrada” do art nouveau na arquitetura de casas, com obras como a Maison Tassel, que combinavam elementos estruturais e decorativos. Horta entrou para a história do art nouveau justamente pela utilização – considerada “ousada”, na época – de novos materiais, como ferro e vidro.

Na Espanha, o estilo ganhou um caráter mais expressivo com o trabalho de Antoni Gaudí (1852-1926), que transformou o cenário arquitetônico de Barcelona com edifícios como a Casa Batlló, que particularmente segue o estilo art nouveau.

Gaudí é um dos arquitetos mais famosos do mundo. Não apenas pela inventividade e contundência de suas obras, mas também por trafegar com maestria por diferentes estilos arquitetônicos. Do modernismo ao art nouveau, passando também pelo neogótico. Grande parte da obra de Gaudí é marcada pela equação “arquitetura, natureza e religião” que ele resolvia como ninguém. O espanhol dedicava atenção aos menores detalhes de cada uma das suas obras, incorporando nelas uma série de ofícios que também dominava, como a cerâmica, o vitral, o ferro forjado e a marcenaria.

Na Áustria, o art nouveau encontrou em Otto Wagner (1841-1918) um de seus maiores expoentes. Obras como a Estação de Stadtbahn, em Viena, são exemplos da fusão entre função e estética, que marcou o art nouveau austríaco. O arquiteto e planejador urbano foi um dos líderes da Secessão de Viena, movimento formado por jovens artistas do final do século 20 e que tinha Gustav Klimt como participante.

Charles Rennie Mackintosh (1868-1928) é nome forte do estilo na Escócia, introduzindo seus elementos não somente na arquitetura como também no design de interiores. É o que se vê em seu projeto para a Glasgow School of Art, no qual o uso de vidro e madeira, aliado às formas geométricas, criou um ambiente funcional e inovador.

Já na Rússia, o ar nouveau teve influência na arquitetura de São Petersburgo, onde prédios como o Eliseevsky Store exibem as ricas decorações e formas elaboradas que caracterizam o movimento. Ao passo que, nos Estados Unidos, o art nouveau foi incorporado, ainda que de forma mais sutil, no design de interiores e móveis, como pode ser visto no trabalho de Louis Comfort Tiffany (1848-1933), artista, designer de interiores e empresário famoso por suas lâmpadas de vidro colorido e mosaicos de vidro com joalheria.

Art nouveau no Brasil

O art nouveau chegou por aqui no início do século 20, refletindo o desejo de modernização e desenvolvimento das grandes cidades que pautou o estilo na Europa.

Aqui, sua influência pode ser observada na arquitetura, no design e nas artes gráficas, com notada concentração de trabalhos em capitais como São Paulo e Rio de Janeiro, dois símbolos do desenvolvimento urbano brasileiro.

Entre os arquitetos que se destacaram no art nouveau fabriqué au Brésil, temos Antônio Januzzi (1854-1949) e Rafael Rebecchib (datas de nascimento e morte imprecisas). Considerados pioneiros aqui, ambos participaram da construção Theatro Municipal do Rio de Janeiro, que, embora majoritariamente influenciado pelo estilo eclético, apresenta elementos do art nouveau principalmente no interior, como nas curvas dos arabescos e nos detalhes ornamentais em ferro.

No mesmo período, o arquiteto Adolfo Morales de Los Rios (1887-1973), nascido na Espanha e radicado no Brasil, também utilizou influências do art nouveau no Rio de Janeiro, especialmente em projetos residenciais e comerciais, trazendo para o Brasil a estética como se via na Europa.

Entre os exemplos de trabalhos influenciados pelo estilo na Cidade Maravilhosa, podemos citar o Palácio da Fazenda (1943), edifício com características decorativas que refletem o estilo art nouveau, como ornamentos detalhados e arabescos nas fachadas; o Palácio Laranjeiras (1909-1914), de estilo eclético, mas com um projeto de interiores art nouveau; e residências particulares também no bairro de Laranjeiras, construídas principalmente entre as décadas de 1910 e 1930.

Em São Paulo, um exemplo de art nouveau na arquitetura da cidade é o Castelinho da Rua Apa, projeto de Francisco de Paula Ramos de Azevedo (1851-1928), conhecido dos paulistanos pelo desenho do Theatro Municipal de São Paulo. A estrutura do edifício, com torres circulares e detalhes decorativos em ferro e vidro, reflete a combinação de formas tradicionais com detalhes naturais, característica do art nouveau.

É exemplo paulistano também o prédio Escola Normal Caetano de Campos, que possui elementos como as formas arredondadas e as ornamentações típicas do estilo. O prédio foi projetado em parceria entre Ramos de Azevedo, Ricardo Severo (1869-1940) e Domiziano Rossi (1865-1920).

Além da arquitetura, o art nouveau no Brasil também influenciou o design de interiores e a decoração. O trabalho de artistas como Eliseu Visconti (1866-1944) – italiano radicado no Brasil – é tido como fundamental para a disseminação do estilo no país. Considerado um dos maiores representantes do movimento no Brasil, Visconti trouxe o estilo para suas pinturas e projetos de design, como os painéis e a decoração do Theatro Municipal do Rio de Janeiro. Sua obra A Criação das Artes (1908), que adorna o teto do teatro, é um exemplo dessa influência.

No campo das artes gráficas, a imprensa, especialmente revistas e periódicos ilustrados, também incorporou elementos da art nouveau em suas capas e anúncios da épica. O uso de arabescos, tipografia mais fluida e a estilização de figuras femininas foram marcas dessa influência.

Revistas como a Fon-Fon! (1907) e a Careta (1908) adotaram o estilo em suas ilustrações e capas. Entre os artistas gráficos brasileiros influenciados pelo estilo, é nome forte ilustrador J. Carlos (1884-1950).

Principais nomes do art nouveau

O art nouveau se estendeu por diferentes linguagens artísticas e campos da criação humana. Ele esteve em tudo: pintura, arquitetura, design e artes gráficas.

Confira a lista com alguns dos nomes que ditaram as regras do estilo, ou foram influenciados por ele, no Brasil e no mundo, e exemplos dessa influência.

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• Adolfo Morales de Los Rios, arquiteto. Exemplos de obras: Palácio da Fazenda (1943), Palácio das Laranjeiras (1909-1914) e residências particulares também no bairro de Laranjeiras. Todos projetos localizados no Rio de Janeiro.
• Alphonse Mucha, arista visual e designer gráfico. Exemplo de obras: cartazes que retratavam mulheres envoltas em flores e arabescos, como em La Dame aux Camélias (1896)
• Antoni Gaudí, arquiteto. Exemplo de obras: Casa Batlló (1904), Casa Milà (1906-1912), Parque Güell (1900-1914). Algumas leituras também identificam elementos do art nouveau na Sagrada Família.
• Antônio Januzzi, arquiteto. Exemplo de obra: Theatro Municipal do Rio de Janeiro (1905-1909), em parceria com Rafael Rebecchib.
• Aubrey Beardsley, ilustrador. Exemplo de obra: Salomé (1893)
• Charles Rennie Mackintosh, arquiteto. Exemplo de obra: Glasgow School of Art (1845)
• Domiziano Rossi, arquiteto. Exemplo de obra: Escola Normal Caetano de Campos (1894), em parceria com Ramos de Azevedo e Ricardo Severo.
• Eliseu Visconti, pintor, desenhista e designer. Exemplo de obra: e painéis e a decoração do Theatro Municipal do Rio de Janeiro (1905-1909).
• Francisco de Paula Ramos de Azevedo, engenheiro e arquiteto. Exemplos de obra: Castelinho da Rua Apa (1912-1917) e Escola Normal Caetano de Campos, esse em parceria com Ricardo Severo e Domiziano Rossi
• Gustav Klimt, pintor. Exemplo de obra: O Beijo (1907-1908)
• Hector Guimard, arquiteto. Exemplo de obra: entradas do metrô de Paris (datadas de 1900).
• Henri de Toulouse-Lautrec, pintor. Exemplo de obras: suas litografias e pôsteres, como Moulin Rouge: La Goulue (1891).
• J. Carlos, ilustrador. Exemplo de obra: trabalhos para as revistas Fon-Fon! (1907) e Careta (1908).
• Louis Comfort Tiffany, designer. Exemplo de obra: lâmpadas Tiffany
• Otto Wagner, arquiteto. Exemplo de obra: Pavilhão da Secessão (1898)
• Rafael Rebecchib, arquiteto. Exemplo de obra: Theatro Municipal do Rio de Janeiro (1905-1909), em parceria com Antônio Januzzi.
• Ricardo Severo, arquiteto. Exemplo de obra: Escola Normal Caetano de Campos (1894), em parceria com Ramos de Azevedo e Domiziano Rossi.
• Victor Horta, arquiteto. Exemplo de obra: Maison Tassel (1893).

Tanque de guerra é reformado e vira hospedagem alternativa na Inglaterra

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A chamada “Dubai Brasileira” irá abrigar o Senna Tower, com 500 metros de altura e 228 apartamentos de altíssimo padrão

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25 ideias para paisagismo de baixa manutenção, de grama artificial a xerojardinagem

Passe o seu final de semana relaxando ao invés de suar com ferramentas de jardinagem, graças a estas dicas de paisagismo de baixa manutenção

Apartamento em Recife tem alma de galeria de arte à beira do mar

Quadros, esculturas e objetos protagonizam a morada, entre ícones do mobiliário moderno brasileiro

Casa de vidro na árvore tem interiores impressionantes; fotos

Com capacidade para duas pessoas e sem wi-fi, instalação sugere que hóspedes aproveitem o 'aqui e agora'

Loft de 48 m² custa R$ 4 milhões em Londres; veja fotos

Imóvel tem pé-direito de 8 metros, cortinas elétricas e mezanino sobre a área de estar

Parques aquáticos da Disney terão entrada gratuita a partir de 2025; detalhes

Disney’s Typhoon Lagoon e Disney’s Blizzard Beach ficam no complexo de Walt Disney World Resort em Orlando, nos Estados Unidos

Carol Castro mostra fotos do apartamento ao curtir 'rock em casa'

Atriz compartilhou fotos ao lado da filha, Nina, e dos gatinhos de estimação

Ilhas Cook, Austrália, Japão e Espanha também aparecem na lista

Mansão caindo aos pedaços é tão perigosa que ninguém pode entrar

Propriedade abandonada por mais de uma década desperta curiosidade e mistério, mas seu estado de degradação extrema mantém qualquer pessoa longe

Ex. : Banlieusards 2 , Bob Marley One Love , L'Empire

Karaté Kid : infos, casting, histoire... Tout savoir sur le nouveau film de la saga d'action avec Jackie Chan et Ralph Macchio

Si vous n'êtes pas encore au courant, sachez qu'un nouvel épisode de "Karaté Kid" va voir le jour et qu'il réunira Jackie Chan et Ralph Macchio ! On fait sur ce projet très attendu qui sortira après la diffusion de la saison 6 de "Cobra Kai".

Préparez-vous pour un nouveau combat ! En 2025, Jackie Chan et Ralph Macchio vont s'associer pour nous offrir un nouvel opus de la saga Karaté Kid au cinéma ! On fait le point sur l'avancement du projet, qui débarquera après la diffusion de la série dérivée Cobra Kai , qui se terminera après sa 6ème saison.

Karate Kid, ça sort quand ?

Le nouveau Karaté Kid sortira le 28 mai 2025 dans l'Hexagone. C'est en novembre 2023 que Jackie Chan, star du remake de 2010 , et Ralph Macchio, héros de la trilogie originale, ont annoncé la bonne nouvelle.

Il s'agira du 6ème volet de la saga au cinéma après les 3 films avec Ralph Macchio, Miss Karaté Kid avec Hilary Swank (1994) et le reboot de 2010. "On va jouer ensemble dans un tout nouveau film Karaté Kid" , a révélé Macchio, se tenant debout sur la vidéo ci-dessous aux côtés de Jackie Chan.

Jackie Chan and Ralph Macchio are teaming up to star in new #KarateKid movie for Sony Pictures. And they're starting a global casting search to find the next Karate Kid to join them. pic.twitter.com/3ES9LbCnbY — Rotten Tomatoes (@RottenTomatoes) November 21, 2023

Ça va raconter quoi ?

Pour le moment, aucun indice concernant l'intrigue de ce nouvel opus n'a été dévoilé. On sait juste qu'un nouveau Karaté Kid sera au centre du récit et qu'il sera sûrement entraîné par Han et LaRusso. Ce cross-over des franchises Karaté Kid ne semble toutefois pas lié à l’univers la série Cobra Kai, et ses créateurs n’ont d’ailleurs pas été invité à participer à l’écriture du long-métrage.

Qui va jouer dans le film ?

Ralph Macchio reprendra évidemment son rôle de Daniel LaRusso et Jackie Chan celui de Han, qu'il tenait dans le reboot de 2010. Les deux univers viendront ainsi se croiser. En revanche, comme indiqué plus haut, l'histoire ne semble pas tenir compte de Cobrai Kai ; par conséquent, on ne sait pas non plus si William Zabka , alias Johnny Lawrence, sera de retour.

Ben Wang , 24 ans, vu notamment dans les séries Américain de Chine , Legion ou MacGyver , interprètera Li Fong, la nouvelle star de la franchise. Selon des sources chez Sony citées par Variety, le comédien a livré une "audition exceptionnelle, qui a démontré son lien profond avec le personnage."

Ben Wang, qui parle couramment le mandarin, maîtrise aussi de nombreuses formes d'arts martiaux, notamment le karaté, le Wing Chun/Kung Fu, le Gumdo, le Kempo et le Taekwondo. Il possède donc toutes les qualités requises pour exceller dans ce rôle exigeant.

'Karate Kid' Found: 'American Born Chinese' Actor Ben Wang Nabs Lead in Sony Movie (Exclusive) https://t.co/BPzeacrSPE — The Hollywood Reporter (@THR) February 12, 2024

À noter que Joshua Jackson , Ming-Na Wen , Shaunette Renée Wilson , Sadie Stanley , Aramis Knight , Wyatt Oleff et Jennifer-Lynn Christie seront de la partie.

Qui réalise ce nouvel épisode ?

C'est Jonathan Entwistle qui s'est chargé de mettre en scène ce nouvel épisode de Karaté Kid. Actuellement, le film est en phase de post-production. Le cinéaste est connu pour avoir réalisé des épisodes de séries comme I Am Not Okay With This ou The End of The Fucking World .

Véritable phénomène de la pop culture s'étendant sur près de 4 décennies, la franchise Karaté Kid a rapporté 618 millions de dollars dans le monde en 5 films. La licence a été relancée en 2018 avec le triomphe de la série dérivée Cobra Kai. La 6ème et dernière saison du show arrivera sur Netflix en juillet 2024.

• 618 millions de dollars : le 6ème film de cette saga d'action culte avec Jackie Chan a une nouvelle date de sortie !