1Art NouveauMain article: Art NouveauAround 1900 a number of architects around the world began developing new architecturalsolutions to integrate traditional precedents with new social demands and technologicalpossibilities. The work of Victor Horta and Henry van de Velde in Brussels, Antoni Gaud inBarcelona, Otto Wagner in Vienna and Charles Rennie Mackintosh in Glasgow, among manyothers, can be seen as a common struggle between old and new.Art Nouveau (French pronunciation: [a nu'vo], Anglicised to /rt nuvo/) is an internationalphilosophy[1] and style of art, architecture and applied artespecially the decorative artsthat were most popular during 18901910.[2] The name "Art Nouveau" is French for "newart". It is known also as Modernisme in Catalonia (Spain), with its most notablecontributions by the architect Antoni Gaud. Known as Jugendstil, pronounced [ ] inGermany, German for "youth style" or "the style of youth", named after the magazineJugend, which promoted it, as Modern () in Russia, perhaps named after Parisiangallery "La Maison Moderne", as Secession in Austria-Hungary and its successor states afterthe Viennese group of artists, and, in Italy, as Stile Liberty from the department store inLondon, Liberty & Co., which popularised the style. A reaction to academic art of the 19thcentury, it was inspired by natural forms and structures, not only in flowers and plants butalso in curved lines. Architects tried to harmonize with the natural environment. It is alsoconsidered a philosophy of design of furniture, which was designed according to the wholebuilding and made part of ordinary life.[3]

The style was influenced strongly by Czech artist Alphonse Mucha, when Mucha produced alithographed poster, which appeared on 1 January 1895 in the streets of Paris as anadvertisement for the play Gismonda by Victorien Sardou, featuring Sarah Bernhardt.[4] Itpopularised the new artistic style and its creator to the citizens of Paris. Initially named StyleMucha, (Mucha Style), his style soon became known as Art Nouveau.[5]

Art Nouveau was most popular in Europe, but its influence was global. Hence, it is known invarious guises with frequent localised tendencies.[6] In France, Hector Guimard's Paris metroentrances were of art nouveau style and Emile Gall practised the style in Nancy. VictorHorta had a decisive effect on architecture in Belgium.[7] Magazines like Jugend helpedpublicise the style in Germany, especially as a graphic artform, while the ViennaSecessionists influenced art and architecture throughout Austria-Hungary. Art Nouveau wasalso a style of distinct individuals such as Gustav Klimt, Charles Rennie Mackintosh,Alphonse Mucha, Ren Lalique, Antoni Gaud and Louis Comfort Tiffany, each of whominterpreted it in their own manner.[8][9]

Although Art Nouveau was replaced by 20th-century modernist styles,[10] it is considerednow as an important transition between the historicism of Neoclassicism and modernism.[9]Furthermore, Art Nouveau monuments are now recognised by UNESCO with their WorldHeritage List as significant contributions to cultural heritage.[11] The historic center of Riga,Latvia, with "the finest collection of art nouveau buildings in Europe", was included on thelist in 1997 in part because of the "quality and the quantity of its Art Nouveau/Jugendstil

2architecture",[12] and four Brussels town houses by Victor Horta were included in 2000 as"works of human creative genius" that are "outstanding examples of Art Nouveauarchitecture brilliantly illustrating the transition from the 19th to the 20th century in art,thought, and society".[13]

Naming the styleAt its beginning, neither Art Nouveau nor Jugendstil was the common name of the style butwas known as this in some locations, and the style had different names as it was spread.[14]Those two names came from, respectively, Samuel Bing's gallery Maison de l'Art Nouveau inParis and the magazine Jugend in Munich,[9] both of which promoted and popularised thestyle.[14]

Bing'sMaison de l'Art Nouveau

An advertisement for the Art Nouveau gallery "La Maison Moderne" by Manuel Orazi

Maison de l'Art Nouveau (House of New Art) was the name of the gallery initiated in 1895 bythe German art dealer Samuel Bing in Paris that featured exclusively modern art.[15][16] Thefame of his gallery was increased at the 1900 Exposition Universelle, where he presentedcoordinatedin design and colorinstallations of modern furniture, tapestries and objetsd'art.[16] These decorative displays became so strongly associated with the style that thename of his gallery subsequently provided a commonly used term for the entire style.[16]

Jugend and Jugendstil

2

architecture",[12] and four Brussels town houses by Victor Horta were included in 2000 as"works of human creative genius" that are "outstanding examples of Art Nouveauarchitecture brilliantly illustrating the transition from the 19th to the 20th century in art,thought, and society".[13]

Naming the styleAt its beginning, neither Art Nouveau nor Jugendstil was the common name of the style butwas known as this in some locations, and the style had different names as it was spread.[14]Those two names came from, respectively, Samuel Bing's gallery Maison de l'Art Nouveau inParis and the magazine Jugend in Munich,[9] both of which promoted and popularised thestyle.[14]

Bing'sMaison de l'Art Nouveau

An advertisement for the Art Nouveau gallery "La Maison Moderne" by Manuel Orazi

Maison de l'Art Nouveau (House of New Art) was the name of the gallery initiated in 1895 bythe German art dealer Samuel Bing in Paris that featured exclusively modern art.[15][16] Thefame of his gallery was increased at the 1900 Exposition Universelle, where he presentedcoordinatedin design and colorinstallations of modern furniture, tapestries and objetsd'art.[16] These decorative displays became so strongly associated with the style that thename of his gallery subsequently provided a commonly used term for the entire style.[16]

Jugend and Jugendstil

2

architecture",[12] and four Brussels town houses by Victor Horta were included in 2000 as"works of human creative genius" that are "outstanding examples of Art Nouveauarchitecture brilliantly illustrating the transition from the 19th to the 20th century in art,thought, and society".[13]

Naming the styleAt its beginning, neither Art Nouveau nor Jugendstil was the common name of the style butwas known as this in some locations, and the style had different names as it was spread.[14]Those two names came from, respectively, Samuel Bing's gallery Maison de l'Art Nouveau inParis and the magazine Jugend in Munich,[9] both of which promoted and popularised thestyle.[14]

Bing'sMaison de l'Art Nouveau

An advertisement for the Art Nouveau gallery "La Maison Moderne" by Manuel Orazi

Maison de l'Art Nouveau (House of New Art) was the name of the gallery initiated in 1895 bythe German art dealer Samuel Bing in Paris that featured exclusively modern art.[15][16] Thefame of his gallery was increased at the 1900 Exposition Universelle, where he presentedcoordinatedin design and colorinstallations of modern furniture, tapestries and objetsd'art.[16] These decorative displays became so strongly associated with the style that thename of his gallery subsequently provided a commonly used term for the entire style.[16]

Jugend and Jugendstil

3Jugendstil sculpture, detail of facade in Metz, France

Jugendstil typography, applied to a brewery sign

Jugend: Mnchner illustrierte Wochenschrift fr Kunst und Leben (English: Youth: theillustrated weekly magazine of art and lifestyle of Munich) was a magazine founded in 1896by Georg Hirth (Hirth remained editor until his death in 1916, and the magazine continuedto be published until 1940). The magazine was instrumental in promoting the style inGermany. As a result, its name was adopted as the most common German-language termfor the style: Jugendstil ("young style"), although, during the early 20th century, the wordwas applied to only two-dimensional examples of the graphic arts,[17] especially the forms oforganic typography and graphic design found in and influenced by German magazines likeJugend, Pan, and Simplicissimus. It is now applied to more general manifestations of ArtNouveau visual arts in Germany, the Netherlands, the Baltic states, and Nordiccountries.[9][18]

Other names

Paris Mtro entrance in Chicago

Other local names were associated with the characteristics of its forms, its practitioners andtheir works, and schools of thought or study where it was popular. Many of these termsrefer 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.[14] Arte joven("young art") in Spain, Modernisme in Catalonia, Arte nova in Portugal ("new art"), Artenuova in Italy (also "new art"), and Nieuwe kunst ("new art") in the Netherlands, ("new", "contemporary") in Russia all continue this theme.[9] Many names refer specificallyto the organic forms that were popular with the Art Nouveau artists: Stile Floreal ("floral

3

Jugendstil sculpture, detail of facade in Metz, France

Jugendstil typography, applied to a brewery sign

Jugend: Mnchner illustrierte Wochenschrift fr Kunst und Leben (English: Youth: theillustrated weekly magazine of art and lifestyle of Munich) was a magazine founded in 1896by Georg Hirth (Hirth remained editor until his death in 1916, and the magazine continuedto be published until 1940). The magazine was instrumental in promoting the style inGermany. As a result, its name was adopted as the most common German-language termfor the style: Jugendstil ("young style"), although, during the early 20th century, the wordwas applied to only two-dimensional examples of the graphic arts,[17] especially the forms oforganic typography and graphic design found in and influenced by German magazines likeJugend, Pan, and Simplicissimus. It is now applied to more general manifestations of ArtNouveau visual arts in Germany, the Netherlands, the Baltic states, and Nordiccountries.[9][18]

Other names

Paris Mtro entrance in Chicago

Other local names were associated with the characteristics of its forms, its practitioners andtheir works, and schools of thought or study where it was popular. Many of these termsrefer 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.[14] Arte joven("young art") in Spain, Modernisme in Catalonia, Arte nova in Portugal ("new art"), Artenuova in Italy (also "new art"), and Nieuwe kunst ("new art") in the Netherlands, ("new", "contemporary") in Russia all continue this theme.[9] Many names refer specificallyto the organic forms that were popular with the Art Nouveau artists: Stile Floreal ("floral

3

Jugendstil sculpture, detail of facade in Metz, France

Jugendstil typography, applied to a brewery sign

Jugend: Mnchner illustrierte Wochenschrift fr Kunst und Leben (English: Youth: theillustrated weekly magazine of art and lifestyle of Munich) was a magazine founded in 1896by Georg Hirth (Hirth remained editor until his death in 1916, and the magazine continuedto be published until 1940). The magazine was instrumental in promoting the style inGermany. As a result, its name was adopted as the most common German-language termfor the style: Jugendstil ("young style"), although, during the early 20th century, the wordwas applied to only two-dimensional examples of the graphic arts,[17] especially the forms oforganic typography and graphic design found in and influenced by German magazines likeJugend, Pan, and Simplicissimus. It is now applied to more general manifestations of ArtNouveau visual arts in Germany, the Netherlands, the Baltic states, and Nordiccountries.[9][18]

Other names

Paris Mtro entrance in Chicago

Other local names were associated with the characteristics of its forms, its practitioners andtheir works, and schools of thought or study where it was popular. Many of these termsrefer 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.[14] Arte joven("young art") in Spain, Modernisme in Catalonia, Arte nova in Portugal ("new art"), Artenuova in Italy (also "new art"), and Nieuwe kunst ("new art") in the Netherlands, ("new", "contemporary") in Russia all continue this theme.[9] Many names refer specificallyto the organic forms that were popular with the Art Nouveau artists: Stile Floreal ("floral

4style"), Lilienstil ("lily style"), Style Nouille ("noodle style"), Paling Stijl ("eel style"), andWellenstil ("wave style").[14]

In other cases, important examples, well-known artists, and associated locations influencedthe names. Hector Guimard's Paris Mtro entrances, for example, provided the term StyleMtro, the popularity in Italy of Art Nouveau designs from London's Liberty & Codepartment store resulted in its being known as the Stile Liberty ("Liberty style"), and, in theUnited States, it became known as the "Tiffany style" due to its association with LouisComfort Tiffany.[9][14] In Austria, a localised form of Art Nouveau was practised by artists ofthe Vienna Secession, and it is, therefore, known as the Sezessionstil ("Secession style").[19]As a stand-alone term, however, "Secession" (German: Sezession, Hungarian: szecesszi,Czech: secese) is used frequently to describe the general characteristics of Art Nouveau styleoutside 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 inGlasgow, and is often known as the "Glasgow" style.Art Nouveau tendencies were also absorbed into local styles. In Denmark, for example, itwas one aspect of Sknvirke ("aesthetic work"), which itself more closely relates to the Artsand Crafts style.[20][21] Likewise, artists adopted many of the floral and organic motifs of ArtNouveau into the Moda Polska ("Young Poland") style in Poland.[22] Moda Polska, however,was also inclusive of other artistic styles and encompassed a broader approach to art,literature, and lifestyle.[23]

OriginsThe origins of Art Nouveau are found in the resistance of the artist William Morris to thecluttered compositions and the revival tendencies of the 19th century and his theories thathelped initiate the Arts and crafts movement.[24] However, Arthur Mackmurdo's book-coverfor Wren's City Churches (1883), with its rhythmic floral patterns, is often considered thefirst realisation of Art Nouveau.[24] About the same time, the flat perspective and strongcolors of Japanese wood block prints, especially those of Katsushika Hokusai, had a strongeffect on the formulation of Art Nouveau.[25] The Japonisme that was popular in Europeduring the 1880s and 1890s was particularly influential on many artists with its organicforms and references to the natural world.[25] Besides being adopted by artists like EmileGall and James Abbott McNeill Whistler, Japanese-inspired art and design was championedby the businessmen Siegfried Bing and Arthur Lasenby Liberty at their stores[26] in Paris andLondon, respectively.[25]

5Character

The building on Pikk 18 in Tallinn, Estonia, by Jacques Rosenbaum, 1910

Although Art Nouveau acquired distinctly localised tendencies as its geographic spreadincreased, some general characteristics are indicative of the form. A description published inPan magazine of Hermann Obrist's wall hanging Cyclamen (1894) described it as "suddenviolent curves generated by the crack of a whip", which became well known during the earlyspread of Art Nouveau.[27] Subsequently, not only did the work itself become better knownas The Whiplash but the term "whiplash" is frequently applied to the characteristic curvesemployed by Art Nouveau artists.[27] Such decorative "whiplash" motifs, formed by dynamic,undulating, and flowing lines in a syncopated rhythm, are found throughout thearchitecture, painting, sculpture, and other forms of Art Nouveau design.

Philosophy and geography

La tourne du Chat Noir avec Rodolphe Salis (1896) by Thophile Steinlen

Art Nouveau is now considered a 'total' style, meaning that it includes a hierarchy of scalesin designarchitecture; interior design; decorative arts including jewellery, furniture,textiles, household silver and other utensils and lighting; and the visual arts (see Hierarchyof genres.) According to the philosophy of the style, art should be a way of life. For manyEuropeans, it was possible to live in an art nouveau-inspired house with art nouveaufurniture, silverware, crockery, jewellery, cigarette cases, etc. Artists desired to combine thefine arts and applied arts, even for utilitarian objects.[3]

International exposPart of the evolution of Art Nouveau was the Exposition Universelle of 1900 in Paris, whichpresented an overview of the 'modern style' in every medium. It achieved furtherrecognition at the Esposizione Internazionale d'Arte Decorativa Moderna of 1902 in Turin,Italy, where designers exhibited from almost every European country where Art Nouveauwas practiced.

5

Character

The building on Pikk 18 in Tallinn, Estonia, by Jacques Rosenbaum, 1910

Although Art Nouveau acquired distinctly localised tendencies as its geographic spreadincreased, some general characteristics are indicative of the form. A description published inPan magazine of Hermann Obrist's wall hanging Cyclamen (1894) described it as "suddenviolent curves generated by the crack of a whip", which became well known during the earlyspread of Art Nouveau.[27] Subsequently, not only did the work itself become better knownas The Whiplash but the term "whiplash" is frequently applied to the characteristic curvesemployed by Art Nouveau artists.[27] Such decorative "whiplash" motifs, formed by dynamic,undulating, and flowing lines in a syncopated rhythm, are found throughout thearchitecture, painting, sculpture, and other forms of Art Nouveau design.

Philosophy and geography

La tourne du Chat Noir avec Rodolphe Salis (1896) by Thophile Steinlen

Art Nouveau is now considered a 'total' style, meaning that it includes a hierarchy of scalesin designarchitecture; interior design; decorative arts including jewellery, furniture,textiles, household silver and other utensils and lighting; and the visual arts (see Hierarchyof genres.) According to the philosophy of the style, art should be a way of life. For manyEuropeans, it was possible to live in an art nouveau-inspired house with art nouveaufurniture, silverware, crockery, jewellery, cigarette cases, etc. Artists desired to combine thefine arts and applied arts, even for utilitarian objects.[3]

International exposPart of the evolution of Art Nouveau was the Exposition Universelle of 1900 in Paris, whichpresented an overview of the 'modern style' in every medium. It achieved furtherrecognition at the Esposizione Internazionale d'Arte Decorativa Moderna of 1902 in Turin,Italy, where designers exhibited from almost every European country where Art Nouveauwas practiced.

5

Character

The building on Pikk 18 in Tallinn, Estonia, by Jacques Rosenbaum, 1910

Although Art Nouveau acquired distinctly localised tendencies as its geographic spreadincreased, some general characteristics are indicative of the form. A description published inPan magazine of Hermann Obrist's wall hanging Cyclamen (1894) described it as "suddenviolent curves generated by the crack of a whip", which became well known during the earlyspread of Art Nouveau.[27] Subsequently, not only did the work itself become better knownas The Whiplash but the term "whiplash" is frequently applied to the characteristic curvesemployed by Art Nouveau artists.[27] Such decorative "whiplash" motifs, formed by dynamic,undulating, and flowing lines in a syncopated rhythm, are found throughout thearchitecture, painting, sculpture, and other forms of Art Nouveau design.

Philosophy and geography

La tourne du Chat Noir avec Rodolphe Salis (1896) by Thophile Steinlen

Art Nouveau is now considered a 'total' style, meaning that it includes a hierarchy of scalesin designarchitecture; interior design; decorative arts including jewellery, furniture,textiles, household silver and other utensils and lighting; and the visual arts (see Hierarchyof genres.) According to the philosophy of the style, art should be a way of life. For manyEuropeans, it was possible to live in an art nouveau-inspired house with art nouveaufurniture, silverware, crockery, jewellery, cigarette cases, etc. Artists desired to combine thefine arts and applied arts, even for utilitarian objects.[3]

International exposPart of the evolution of Art Nouveau was the Exposition Universelle of 1900 in Paris, whichpresented an overview of the 'modern style' in every medium. It achieved furtherrecognition at the Esposizione Internazionale d'Arte Decorativa Moderna of 1902 in Turin,Italy, where designers exhibited from almost every European country where Art Nouveauwas practiced.

6France, Belgium and SwitzerlandIn Paris, the Maison de l'Art Nouveau, at the time managed by Siegfried Bing, showcased artnouveau objects. Artists such as mile Gall, Louis Majorelle and Victor Prouv in Nancy,France, founded the cole de Nancy, giving Art Nouveau a new influence. In Brussels,Belgium the style was developed with the help of the architects Victor Horta[13] and HenryVan de Velde.[28] Other Art Nouveau designers in Belgium, Switzerland, and France includeTheophile Alexandre Steinlen, Hector Guimard, and Jules Lavirotte.[3] The Czech artistAlphonse Mucha worked in Paris for a number of years.

Spain

The Casa Batll, already built in 1877, was remodelled in the Barcelona manifestation of ArtNouveau,modernisme, by Antoni Gaud and Josep Maria Jujol during 19041906

In Spain, the style was based mainly in Barcelona and was an essential element of theCatalan Modernisme. Architect Antoni Gaud, whose decorative architectural style is sopersonal that he is sometimes considered as practising an artistic style different from ArtNouveau, nonetheless uses Art Nouveau's floral and organic forms.[29] His designs fromabout 1903, the Casa Batll (19041906) and Casa Mil (19061908), are most closelyrelated to the stylistic elements of Art Nouveau.[30] However, famous structures such as theSagrada Familia characteristically contrast the modernising Art Nouveau tendencies withrevivalist Neo-Gothic.[30] Besides the dominating presence of Gaud, Llus Domnech iMontaner also used Art Nouveau in Barcelona in buildings such as the Casa Lle Morera(1905).[30] Another major art nouveauist was Josep Maria Jujol.

Germany

6

France, Belgium and SwitzerlandIn Paris, the Maison de l'Art Nouveau, at the time managed by Siegfried Bing, showcased artnouveau objects. Artists such as mile Gall, Louis Majorelle and Victor Prouv in Nancy,France, founded the cole de Nancy, giving Art Nouveau a new influence. In Brussels,Belgium the style was developed with the help of the architects Victor Horta[13] and HenryVan de Velde.[28] Other Art Nouveau designers in Belgium, Switzerland, and France includeTheophile Alexandre Steinlen, Hector Guimard, and Jules Lavirotte.[3] The Czech artistAlphonse Mucha worked in Paris for a number of years.

Spain

The Casa Batll, already built in 1877, was remodelled in the Barcelona manifestation of ArtNouveau,modernisme, by Antoni Gaud and Josep Maria Jujol during 19041906

In Spain, the style was based mainly in Barcelona and was an essential element of theCatalan Modernisme. Architect Antoni Gaud, whose decorative architectural style is sopersonal that he is sometimes considered as practising an artistic style different from ArtNouveau, nonetheless uses Art Nouveau's floral and organic forms.[29] His designs fromabout 1903, the Casa Batll (19041906) and Casa Mil (19061908), are most closelyrelated to the stylistic elements of Art Nouveau.[30] However, famous structures such as theSagrada Familia characteristically contrast the modernising Art Nouveau tendencies withrevivalist Neo-Gothic.[30] Besides the dominating presence of Gaud, Llus Domnech iMontaner also used Art Nouveau in Barcelona in buildings such as the Casa Lle Morera(1905).[30] Another major art nouveauist was Josep Maria Jujol.

Germany

6

France, Belgium and SwitzerlandIn Paris, the Maison de l'Art Nouveau, at the time managed by Siegfried Bing, showcased artnouveau objects. Artists such as mile Gall, Louis Majorelle and Victor Prouv in Nancy,France, founded the cole de Nancy, giving Art Nouveau a new influence. In Brussels,Belgium the style was developed with the help of the architects Victor Horta[13] and HenryVan de Velde.[28] Other Art Nouveau designers in Belgium, Switzerland, and France includeTheophile Alexandre Steinlen, Hector Guimard, and Jules Lavirotte.[3] The Czech artistAlphonse Mucha worked in Paris for a number of years.

Spain

The Casa Batll, already built in 1877, was remodelled in the Barcelona manifestation of ArtNouveau,modernisme, by Antoni Gaud and Josep Maria Jujol during 19041906

In Spain, the style was based mainly in Barcelona and was an essential element of theCatalan Modernisme. Architect Antoni Gaud, whose decorative architectural style is sopersonal that he is sometimes considered as practising an artistic style different from ArtNouveau, nonetheless uses Art Nouveau's floral and organic forms.[29] His designs fromabout 1903, the Casa Batll (19041906) and Casa Mil (19061908), are most closelyrelated to the stylistic elements of Art Nouveau.[30] However, famous structures such as theSagrada Familia characteristically contrast the modernising Art Nouveau tendencies withrevivalist Neo-Gothic.[30] Besides the dominating presence of Gaud, Llus Domnech iMontaner also used Art Nouveau in Barcelona in buildings such as the Casa Lle Morera(1905).[30] Another major art nouveauist was Josep Maria Jujol.

Germany

7Music room of the Behrens house with Schiedmayer grand piano, 1901

German Art Nouveau is commonly known by its German name, Jugendstil. Drawing fromtraditional German printmaking, the style uses precise and hard edges, an element that wasrather different from the naturalistic style of the time. The style was used mainly inHamburg. Jugendstil art includes a variety of different methods, applied by the variousindividual artists. Methods range from classic to romantic. One feature of Jugendstil is thetypography used, the letter and image combination of which is unmistakable. Thecombination was used for covers of novels, advertisements, and exhibition posters.Designers often used unique display typefaces that worked harmoniously with the image.Henry Van de Velde, who worked most of his career in Germany, was a Belgian theorist whoinfluenced many others to continue this style of graphic art including Peter Behrens,Hermann Obrist, and Richard Riemerschmid. August Endell, Henri Privat-Livemont is anothernotable Art Nouveau designer.[3]

Magazines were important for spreading the visual idiom of Jugendstil, especially thegraphical qualities. Besides Jugend, other important magazines were the satiricalSimplicissimus and Pan.Austria

The secession building in Vienna was built in 1897 by Joseph Maria Olbrich for exhibitions of thesecession group.

7

Music room of the Behrens house with Schiedmayer grand piano, 1901

German Art Nouveau is commonly known by its German name, Jugendstil. Drawing fromtraditional German printmaking, the style uses precise and hard edges, an element that wasrather different from the naturalistic style of the time. The style was used mainly inHamburg. Jugendstil art includes a variety of different methods, applied by the variousindividual artists. Methods range from classic to romantic. One feature of Jugendstil is thetypography used, the letter and image combination of which is unmistakable. Thecombination was used for covers of novels, advertisements, and exhibition posters.Designers often used unique display typefaces that worked harmoniously with the image.Henry Van de Velde, who worked most of his career in Germany, was a Belgian theorist whoinfluenced many others to continue this style of graphic art including Peter Behrens,Hermann Obrist, and Richard Riemerschmid. August Endell, Henri Privat-Livemont is anothernotable Art Nouveau designer.[3]

Magazines were important for spreading the visual idiom of Jugendstil, especially thegraphical qualities. Besides Jugend, other important magazines were the satiricalSimplicissimus and Pan.Austria

The secession building in Vienna was built in 1897 by Joseph Maria Olbrich for exhibitions of thesecession group.

7

Music room of the Behrens house with Schiedmayer grand piano, 1901

German Art Nouveau is commonly known by its German name, Jugendstil. Drawing fromtraditional German printmaking, the style uses precise and hard edges, an element that wasrather different from the naturalistic style of the time. The style was used mainly inHamburg. Jugendstil art includes a variety of different methods, applied by the variousindividual artists. Methods range from classic to romantic. One feature of Jugendstil is thetypography used, the letter and image combination of which is unmistakable. Thecombination was used for covers of novels, advertisements, and exhibition posters.Designers often used unique display typefaces that worked harmoniously with the image.Henry Van de Velde, who worked most of his career in Germany, was a Belgian theorist whoinfluenced many others to continue this style of graphic art including Peter Behrens,Hermann Obrist, and Richard Riemerschmid. August Endell, Henri Privat-Livemont is anothernotable Art Nouveau designer.[3]

Magazines were important for spreading the visual idiom of Jugendstil, especially thegraphical qualities. Besides Jugend, other important magazines were the satiricalSimplicissimus and Pan.Austria

The secession building in Vienna was built in 1897 by Joseph Maria Olbrich for exhibitions of thesecession group.

8A localised approach to Art Nouveau is represented by the artists of the Vienna Secession, asecession that was initiated on 3 April 1897 by Gustav Klimt, Koloman Moser, JosefHoffmann, Joseph Maria Olbrich, Max Kurzweil, Otto Wagner, and others. They objected tothe conservative orientation toward historicism expressed by the Vienna Knstlerhaus.

MaltaThere are Art Nouveau buildings called the Balluta Buildings. They are apartment buildingson the eastern shore of Balluta Bay, on the northeast coast of Malta within the district St.Julian's.

BritainIn the United Kingdom, Art Nouveau developed out of the Arts and Crafts Movement. Thebeginning of an Art Nouveau style can be recognized during the 1880s, in a few progressivedesigns such as the architect-designer Arthur Mackmurdo's book cover design for his essayon the city churches of Sir Christopher Wren, published during 1883. Some free-flowingwrought iron from the 1880s could also be adduced, or some flat floral textile designs, mostof which owed some impetus to patterns of 19th century design. The most important centrein Britain eventually became Glasgow, with the creations of Charles Rennie Mackintosh andhis colleagues, not to forget his wife Margaret Macdonald Mackintosh, who producedoutstanding paintings.Other notable British Art Nouveau designers include Walter Crane, Arthur Lasenby Liberty,Charles Ashbee, and Aubrey Beardsley.[3]

The Edward Everard building in Bristol, built during 190001 to house the printing works ofEdward Everard, features an Art Nouveau faade. The figures depicted are of JohannesGutenberg and William Morris, both eminent in the field of printing. A winged figuresymbolises the Spirit of Light, while a figure holding a lamp and mirror symbolises light andtruth.

Italy

9Casa Galleria-Vichi in Florence, designed by Giovanni Michelazzi, 1911

The Art Nouveau European Route[31] provides details of the heritage in Europe andworldwide of the Art Nouveau style featuring considerable information about Italy's StileLiberty. This represented the modern designs from the Liberty & Co store of London,indicating both Art Nouveau's commercial aspect and the 'imported' character that itretained in some parts of Italy, though not in Palermo, isolated from developments in thenorth and evolving an independent character due largely to designers such as architectErnesto Basile and Vittorio Ducrot, who specialised as a cabinetmaker. According to the ArtNouveau European Route, Basile and Ducrot were responsible for the idea of the completework of art in Italy. Important Italian Liberty cities or sites are the spa centres ofSalsomaggiore Terme, Emilia-Romagna, and San Pellegrino Terme, Lombardy, as well asCernobbio on Lake Como also in Lombardy. Some large cities have a considerable number ofLiberty-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 byItalian designers and architects overseas, especially in Argentina and Chile, such as atValparaso where architects Renato Schiavon and Arnaldo Barison, trained in Trieste, arrivedafter the earthquake of 1906. Here they built outstanding structures such as the PalaceBarburizza (1915), now the city's Museum of Fine Arts. Other important Italian art nouveaudesigners were the Bugatti family (Carlo, Ettore, Jean and Rembrandt) best known for theircars 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 LuigiBugatti. Carlo received his training at the renowned Milanese Academy of Brera, and laterthe Acadmie des Beaux-Arts in Paris. His work was wide-ranging including silverware,textiles, ceramics, and musical instruments, but he is best remembered for his innovativefurniture designs, shown first in the 1888 Milan Fine Arts Fair.

9

Casa Galleria-Vichi in Florence, designed by Giovanni Michelazzi, 1911

The Art Nouveau European Route[31] provides details of the heritage in Europe andworldwide of the Art Nouveau style featuring considerable information about Italy's StileLiberty. This represented the modern designs from the Liberty & Co store of London,indicating both Art Nouveau's commercial aspect and the 'imported' character that itretained in some parts of Italy, though not in Palermo, isolated from developments in thenorth and evolving an independent character due largely to designers such as architectErnesto Basile and Vittorio Ducrot, who specialised as a cabinetmaker. According to the ArtNouveau European Route, Basile and Ducrot were responsible for the idea of the completework of art in Italy. Important Italian Liberty cities or sites are the spa centres ofSalsomaggiore Terme, Emilia-Romagna, and San Pellegrino Terme, Lombardy, as well asCernobbio on Lake Como also in Lombardy. Some large cities have a considerable number ofLiberty-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 byItalian designers and architects overseas, especially in Argentina and Chile, such as atValparaso where architects Renato Schiavon and Arnaldo Barison, trained in Trieste, arrivedafter the earthquake of 1906. Here they built outstanding structures such as the PalaceBarburizza (1915), now the city's Museum of Fine Arts. Other important Italian art nouveaudesigners were the Bugatti family (Carlo, Ettore, Jean and Rembrandt) best known for theircars 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 LuigiBugatti. Carlo received his training at the renowned Milanese Academy of Brera, and laterthe Acadmie des Beaux-Arts in Paris. His work was wide-ranging including silverware,textiles, ceramics, and musical instruments, but he is best remembered for his innovativefurniture designs, shown first in the 1888 Milan Fine Arts Fair.

9

Casa Galleria-Vichi in Florence, designed by Giovanni Michelazzi, 1911

The Art Nouveau European Route[31] provides details of the heritage in Europe andworldwide of the Art Nouveau style featuring considerable information about Italy's StileLiberty. This represented the modern designs from the Liberty & Co store of London,indicating both Art Nouveau's commercial aspect and the 'imported' character that itretained in some parts of Italy, though not in Palermo, isolated from developments in thenorth and evolving an independent character due largely to designers such as architectErnesto Basile and Vittorio Ducrot, who specialised as a cabinetmaker. According to the ArtNouveau European Route, Basile and Ducrot were responsible for the idea of the completework of art in Italy. Important Italian Liberty cities or sites are the spa centres ofSalsomaggiore Terme, Emilia-Romagna, and San Pellegrino Terme, Lombardy, as well asCernobbio on Lake Como also in Lombardy. Some large cities have a considerable number ofLiberty-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 byItalian designers and architects overseas, especially in Argentina and Chile, such as atValparaso where architects Renato Schiavon and Arnaldo Barison, trained in Trieste, arrivedafter the earthquake of 1906. Here they built outstanding structures such as the PalaceBarburizza (1915), now the city's Museum of Fine Arts. Other important Italian art nouveaudesigners were the Bugatti family (Carlo, Ettore, Jean and Rembrandt) best known for theircars 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 LuigiBugatti. Carlo received his training at the renowned Milanese Academy of Brera, and laterthe Acadmie des Beaux-Arts in Paris. His work was wide-ranging including silverware,textiles, ceramics, and musical instruments, but he is best remembered for his innovativefurniture designs, shown first in the 1888 Milan Fine Arts Fair.

10

Hungary

Church of St. Elisabeth in Bratislava, by dn Lechner

In contrast to Historicism, Hungarian Art Nouveau is based on supposed nationalarchitectural characteristics. dn Lechner (18451914), the most important figure inHungarian Art Nouveau, was inspired initially by Indian and Syrian architecture, and later bytraditional Hungarian decorative designs. In this manner, he created an original synthesis ofarchitectural styles. Disusing the style of Lechner, yet being inspired by his method, thegroup of 'Young People' (Fiatalok), which included Kroly Ks and Dezs Zrumeczky, appliedthe characteristic structures and forms of traditional Hungarian architecture, especially theTransylvanian vernacular. Besides the two principal styles, Hungarian architecture alsodisplays local versions of trends originating from other European countries. The ViennaSecession, the German Jugendstil, Art Nouveau from Belgium and France, and the influenceof English and Finnish architecture are all represented in the buildings constructed at thebeginning of the 20th century. Bla Lajta initially adopted Lechner's style, subsequentlyadopting English and Finnish trends; after developing an interest in the Egyptian style, hefinally developed a modern architectural style. Aladr rkay did almost the same. IstvnMedgyaszay developed his own style, which differed from Lechner's, using stylisedtraditional motifs to create decorative designs in concrete. For applied arts, those mainlyresponsible for promoting the spread of Art Nouveau were the School and Museum ofApplied Arts, which opened in 1896. Former areas in the Hungarian Kingdom, Vojvodina(northern Serbia) and Transylvania have fine examples of Hungarian art Nouveau. SeeSzabadka, Marosvsrhely etc.

Czech landsAlphonse 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 desicle sections of Prague reveal modest buildings encrusted with images of leaves andwomen that curve and swirl across the faades.[32] Examples of Art Nouveau in the city,

10

Hungary

Church of St. Elisabeth in Bratislava, by dn Lechner

In contrast to Historicism, Hungarian Art Nouveau is based on supposed nationalarchitectural characteristics. dn Lechner (18451914), the most important figure inHungarian Art Nouveau, was inspired initially by Indian and Syrian architecture, and later bytraditional Hungarian decorative designs. In this manner, he created an original synthesis ofarchitectural styles. Disusing the style of Lechner, yet being inspired by his method, thegroup of 'Young People' (Fiatalok), which included Kroly Ks and Dezs Zrumeczky, appliedthe characteristic structures and forms of traditional Hungarian architecture, especially theTransylvanian vernacular. Besides the two principal styles, Hungarian architecture alsodisplays local versions of trends originating from other European countries. The ViennaSecession, the German Jugendstil, Art Nouveau from Belgium and France, and the influenceof English and Finnish architecture are all represented in the buildings constructed at thebeginning of the 20th century. Bla Lajta initially adopted Lechner's style, subsequentlyadopting English and Finnish trends; after developing an interest in the Egyptian style, hefinally developed a modern architectural style. Aladr rkay did almost the same. IstvnMedgyaszay developed his own style, which differed from Lechner's, using stylisedtraditional motifs to create decorative designs in concrete. For applied arts, those mainlyresponsible for promoting the spread of Art Nouveau were the School and Museum ofApplied Arts, which opened in 1896. Former areas in the Hungarian Kingdom, Vojvodina(northern Serbia) and Transylvania have fine examples of Hungarian art Nouveau. SeeSzabadka, Marosvsrhely etc.

Czech landsAlphonse 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 desicle sections of Prague reveal modest buildings encrusted with images of leaves andwomen that curve and swirl across the faades.[32] Examples of Art Nouveau in the city,

10

Hungary

Church of St. Elisabeth in Bratislava, by dn Lechner

In contrast to Historicism, Hungarian Art Nouveau is based on supposed nationalarchitectural characteristics. dn Lechner (18451914), the most important figure inHungarian Art Nouveau, was inspired initially by Indian and Syrian architecture, and later bytraditional Hungarian decorative designs. In this manner, he created an original synthesis ofarchitectural styles. Disusing the style of Lechner, yet being inspired by his method, thegroup of 'Young People' (Fiatalok), which included Kroly Ks and Dezs Zrumeczky, appliedthe characteristic structures and forms of traditional Hungarian architecture, especially theTransylvanian vernacular. Besides the two principal styles, Hungarian architecture alsodisplays local versions of trends originating from other European countries. The ViennaSecession, the German Jugendstil, Art Nouveau from Belgium and France, and the influenceof English and Finnish architecture are all represented in the buildings constructed at thebeginning of the 20th century. Bla Lajta initially adopted Lechner's style, subsequentlyadopting English and Finnish trends; after developing an interest in the Egyptian style, hefinally developed a modern architectural style. Aladr rkay did almost the same. IstvnMedgyaszay developed his own style, which differed from Lechner's, using stylisedtraditional motifs to create decorative designs in concrete. For applied arts, those mainlyresponsible for promoting the spread of Art Nouveau were the School and Museum ofApplied Arts, which opened in 1896. Former areas in the Hungarian Kingdom, Vojvodina(northern Serbia) and Transylvania have fine examples of Hungarian art Nouveau. SeeSzabadka, Marosvsrhely etc.

Czech landsAlphonse 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 desicle sections of Prague reveal modest buildings encrusted with images of leaves andwomen that curve and swirl across the faades.[32] Examples of Art Nouveau in the city,

11

along with the exteriors of any number of private apartment and commercial buildings, arethe Municipal House, the Hotel Pa, Smchov Market Hall, Hotel Central, the windows inthe St. Wenceslaus Chapel at St. Vitus Cathedral, the main railway station, the Grand Hoteland the Jubilee Synagogue. The Olany Cemetery and the New Jewish Cemetery are alsoimportant examples of Art Nouveau.[32] In Czech, Art Nouveau is known as secese, a nameadopted from the Austrian term "Secessionism".

LatviaArt Nouveau architecture was popular in Riga, the capital of Latvia, during the late 19thcentury and the beginning of the 20th century about 40% of the buildings from this timewere built in this style.[33] Several substyles formed during this period. Early elements of thenew 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 firstsuch building was built in 1899, however by 1906 decorative styles had becomeunfashionable.[34] Therefore the decorative style is not very widespread in Riga.[33] Mostpopular 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 constituteabout one-third of all buildings in central Riga. From 1905 to 1911, Latvian NationalRomantism peaked. While being a substyle of Art Nouveau, it copied forms of traditionalarchitecture and incorporated traditional decorative elements.[35] As Art Nouveau matured,emphasis on vertical lines became more popular, known as "Vertical" Art Nouveau, this stylewas most popular shortly before World War I.[34] The center of Riga is now designated as aUNESCO World Heritage site in part for its Art Nouveau architecture.[12]

Significant number of Art Nouveau structures is located also in other cities and towns ofLatvia, including Liepja (hundreds of buildings), Jrmala (notable example DubultiLutheran Church, 1907), Daugavpils and others. The use of Art Nouveau outside urbancentres has been rare, but there some exquisite examples such as Luznava manor house(eastern Latvia).

Jugendstilsenteret in lesund, Norway

Norway

11

along with the exteriors of any number of private apartment and commercial buildings, arethe Municipal House, the Hotel Pa, Smchov Market Hall, Hotel Central, the windows inthe St. Wenceslaus Chapel at St. Vitus Cathedral, the main railway station, the Grand Hoteland the Jubilee Synagogue. The Olany Cemetery and the New Jewish Cemetery are alsoimportant examples of Art Nouveau.[32] In Czech, Art Nouveau is known as secese, a nameadopted from the Austrian term "Secessionism".

LatviaArt Nouveau architecture was popular in Riga, the capital of Latvia, during the late 19thcentury and the beginning of the 20th century about 40% of the buildings from this timewere built in this style.[33] Several substyles formed during this period. Early elements of thenew 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 firstsuch building was built in 1899, however by 1906 decorative styles had becomeunfashionable.[34] Therefore the decorative style is not very widespread in Riga.[33] Mostpopular 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 constituteabout one-third of all buildings in central Riga. From 1905 to 1911, Latvian NationalRomantism peaked. While being a substyle of Art Nouveau, it copied forms of traditionalarchitecture and incorporated traditional decorative elements.[35] As Art Nouveau matured,emphasis on vertical lines became more popular, known as "Vertical" Art Nouveau, this stylewas most popular shortly before World War I.[34] The center of Riga is now designated as aUNESCO World Heritage site in part for its Art Nouveau architecture.[12]

Significant number of Art Nouveau structures is located also in other cities and towns ofLatvia, including Liepja (hundreds of buildings), Jrmala (notable example DubultiLutheran Church, 1907), Daugavpils and others. The use of Art Nouveau outside urbancentres has been rare, but there some exquisite examples such as Luznava manor house(eastern Latvia).

Jugendstilsenteret in lesund, Norway

Norway

11

along with the exteriors of any number of private apartment and commercial buildings, arethe Municipal House, the Hotel Pa, Smchov Market Hall, Hotel Central, the windows inthe St. Wenceslaus Chapel at St. Vitus Cathedral, the main railway station, the Grand Hoteland the Jubilee Synagogue. The Olany Cemetery and the New Jewish Cemetery are alsoimportant examples of Art Nouveau.[32] In Czech, Art Nouveau is known as secese, a nameadopted from the Austrian term "Secessionism".

LatviaArt Nouveau architecture was popular in Riga, the capital of Latvia, during the late 19thcentury and the beginning of the 20th century about 40% of the buildings from this timewere built in this style.[33] Several substyles formed during this period. Early elements of thenew 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 firstsuch building was built in 1899, however by 1906 decorative styles had becomeunfashionable.[34] Therefore the decorative style is not very widespread in Riga.[33] Mostpopular 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 constituteabout one-third of all buildings in central Riga. From 1905 to 1911, Latvian NationalRomantism peaked. While being a substyle of Art Nouveau, it copied forms of traditionalarchitecture and incorporated traditional decorative elements.[35] As Art Nouveau matured,emphasis on vertical lines became more popular, known as "Vertical" Art Nouveau, this stylewas most popular shortly before World War I.[34] The center of Riga is now designated as aUNESCO World Heritage site in part for its Art Nouveau architecture.[12]

Significant number of Art Nouveau structures is located also in other cities and towns ofLatvia, including Liepja (hundreds of buildings), Jrmala (notable example DubultiLutheran Church, 1907), Daugavpils and others. The use of Art Nouveau outside urbancentres has been rare, but there some exquisite examples such as Luznava manor house(eastern Latvia).

Jugendstilsenteret in lesund, Norway

Norway

12

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

Central and Eastern Europe

The interior of the Vitebsk Railway Station in St. Petersburg

In Russia, the style was promoted by the art magazine Mir iskusstva ('World of Art'), whichspawned the revolutionary Ballets Russes.The Polish style was centred in Krakow and was part of the Mloda Polska style. StanisawWyspiaski was the main Art Nouveau artist in Poland; his paintings, theatrical designs,stained glass, and building interiors are widely admired and celebrated in the NationalMuseum in Krakw. Art Nouveau buildings survive in most Polish cities (d, Krakw), withthe exception of Warsaw, where Communist authorities destroyed the few examples thatsurvived the Nazi razing of the city on the grounds that the buildings were decadent.The Slovene Lands were another area influenced by Art Nouveau. At its beginning, SlovenianArt Nouveau was influenced strongly by the Viennese Secession, but it later developed anindividual style. Important architects of this style include Max Fabiani, Ciril Metod Koch, JoePlenik, 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 andBaranyai developed a mixture between modernism and classical Art Nouveau[citation needed].The Croat architect Josip Vanca worked mostly in Sarajevo, the capital of Bosnia andHercegovina. His architecture was a mixture of earlier historicism and proper Art Nouveau:some of his finest Art Nouveau buildings are located in Ljubljana, Slovenia.

12

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

Central and Eastern Europe

The interior of the Vitebsk Railway Station in St. Petersburg

In Russia, the style was promoted by the art magazine Mir iskusstva ('World of Art'), whichspawned the revolutionary Ballets Russes.The Polish style was centred in Krakow and was part of the Mloda Polska style. StanisawWyspiaski was the main Art Nouveau artist in Poland; his paintings, theatrical designs,stained glass, and building interiors are widely admired and celebrated in the NationalMuseum in Krakw. Art Nouveau buildings survive in most Polish cities (d, Krakw), withthe exception of Warsaw, where Communist authorities destroyed the few examples thatsurvived the Nazi razing of the city on the grounds that the buildings were decadent.The Slovene Lands were another area influenced by Art Nouveau. At its beginning, SlovenianArt Nouveau was influenced strongly by the Viennese Secession, but it later developed anindividual style. Important architects of this style include Max Fabiani, Ciril Metod Koch, JoePlenik, 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 andBaranyai developed a mixture between modernism and classical Art Nouveau[citation needed].The Croat architect Josip Vanca worked mostly in Sarajevo, the capital of Bosnia andHercegovina. His architecture was a mixture of earlier historicism and proper Art Nouveau:some of his finest Art Nouveau buildings are located in Ljubljana, Slovenia.

12

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

Central and Eastern Europe

The interior of the Vitebsk Railway Station in St. Petersburg

In Russia, the style was promoted by the art magazine Mir iskusstva ('World of Art'), whichspawned the revolutionary Ballets Russes.The Polish style was centred in Krakow and was part of the Mloda Polska style. StanisawWyspiaski was the main Art Nouveau artist in Poland; his paintings, theatrical designs,stained glass, and building interiors are widely admired and celebrated in the NationalMuseum in Krakw. Art Nouveau buildings survive in most Polish cities (d, Krakw), withthe exception of Warsaw, where Communist authorities destroyed the few examples thatsurvived the Nazi razing of the city on the grounds that the buildings were decadent.The Slovene Lands were another area influenced by Art Nouveau. At its beginning, SlovenianArt Nouveau was influenced strongly by the Viennese Secession, but it later developed anindividual style. Important architects of this style include Max Fabiani, Ciril Metod Koch, JoePlenik, 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 andBaranyai developed a mixture between modernism and classical Art Nouveau[citation needed].The Croat architect Josip Vanca worked mostly in Sarajevo, the capital of Bosnia andHercegovina. His architecture was a mixture of earlier historicism and proper Art Nouveau:some of his finest Art Nouveau buildings are located in Ljubljana, Slovenia.

13

Other areas

Art Nouveau House in Aveiro, Portugal

Loe Fuller by Franois-Raoul Larche

The spread of Art Nouveau (Arte nova) in Portugal, although delayed due to slowlydeveloping industry, flourished in cities like Oporto and Aveiro, in which can be foundnumerous buildings influenced by European models, in particular by French architecture.

13

Other areas

Art Nouveau House in Aveiro, Portugal

Loe Fuller by Franois-Raoul Larche

The spread of Art Nouveau (Arte nova) in Portugal, although delayed due to slowlydeveloping industry, flourished in cities like Oporto and Aveiro, in which can be foundnumerous buildings influenced by European models, in particular by French architecture.

13

Other areas

Art Nouveau House in Aveiro, Portugal

Loe Fuller by Franois-Raoul Larche

The spread of Art Nouveau (Arte nova) in Portugal, although delayed due to slowlydeveloping industry, flourished in cities like Oporto and Aveiro, in which can be foundnumerous buildings influenced by European models, in particular by French architecture.

14

Art Nouveau was also popular in the Nordic countries, where it became integrated with theNational Romantic Style. Good examples are the neighbourhoods of Katajanokka andUllanlinna in Helsinki, Finland, as well as the Helsinki Central railway station, designed by thearchitect Eliel Saarinen. As in Germany, Jugendstil is the prevailing term used for the style.The Norwegian coastal town of lesund burned in 1904, and was rebuilt in a uniformJugendstil architecture, kept more or less intact to the present.Although no significant artists in Australia are associated with Art Nouveau, many buildingsin Australia were designed in the Art Nouveau style. In Melbourne, the Victorian ArtsSociety, Milton House, Melbourne Sports Depot, Melbourne City Baths, Conservatorium ofMusic and Melba Hall, Paston Building, and Empire Works Building all represent the ArtNouveau style.Montevideo, in South America's Rio de la Plata, offers a good example of the influence ofthe Art Nouveau style across the Atlantic. The style is very apparent in the architecture bothof downtown and of the periphery of the city. Montevideo maintained intensecommunication with Paris, London, and Barcelona during Art Nouveau's heyday, when thecity was also receiving massive immigration, especially from Italy and Spain. Those were alsothe years Montevideo developed the structure of its urban spaces, all of which factors helpexplain the widespread presence of Art Nouveau there.[citation needed]

In the other side of the Rio de la Plata, Buenos Aires still conserves some of its Art Nouveauarchitecture, also brought by Italian and Spanish immigrants, which developed thejugendstil (Edificio Otto Wulff, by Morten Ronnow, Danish), liberty (Casa de los PavosReales, by Virginio Colombo, Italian), modernisme (various buildings by Julin Garca Nez,Spanish-Argentine) and Art Nouveau (Chile Hotel by Louis Dubois, French) varieties. AnotherArgentinean city where this architecture has been recently[when?] protected is Rosario, animportant port on the Paran River.

Architecture

Art Nouveau is rarely so fully in control of architecture: doorway at place Etienne Pernet, 24 (Paris15e), 1905 Alfred Wagon, architect.

14

Art Nouveau was also popular in the Nordic countries, where it became integrated with theNational Romantic Style. Good examples are the neighbourhoods of Katajanokka andUllanlinna in Helsinki, Finland, as well as the Helsinki Central railway station, designed by thearchitect Eliel Saarinen. As in Germany, Jugendstil is the prevailing term used for the style.The Norwegian coastal town of lesund burned in 1904, and was rebuilt in a uniformJugendstil architecture, kept more or less intact to the present.Although no significant artists in Australia are associated with Art Nouveau, many buildingsin Australia were designed in the Art Nouveau style. In Melbourne, the Victorian ArtsSociety, Milton House, Melbourne Sports Depot, Melbourne City Baths, Conservatorium ofMusic and Melba Hall, Paston Building, and Empire Works Building all represent the ArtNouveau style.Montevideo, in South America's Rio de la Plata, offers a good example of the influence ofthe Art Nouveau style across the Atlantic. The style is very apparent in the architecture bothof downtown and of the periphery of the city. Montevideo maintained intensecommunication with Paris, London, and Barcelona during Art Nouveau's heyday, when thecity was also receiving massive immigration, especially from Italy and Spain. Those were alsothe years Montevideo developed the structure of its urban spaces, all of which factors helpexplain the widespread presence of Art Nouveau there.[citation needed]

In the other side of the Rio de la Plata, Buenos Aires still conserves some of its Art Nouveauarchitecture, also brought by Italian and Spanish immigrants, which developed thejugendstil (Edificio Otto Wulff, by Morten Ronnow, Danish), liberty (Casa de los PavosReales, by Virginio Colombo, Italian), modernisme (various buildings by Julin Garca Nez,Spanish-Argentine) and Art Nouveau (Chile Hotel by Louis Dubois, French) varieties. AnotherArgentinean city where this architecture has been recently[when?] protected is Rosario, animportant port on the Paran River.

Architecture

Art Nouveau is rarely so fully in control of architecture: doorway at place Etienne Pernet, 24 (Paris15e), 1905 Alfred Wagon, architect.

14

Art Nouveau was also popular in the Nordic countries, where it became integrated with theNational Romantic Style. Good examples are the neighbourhoods of Katajanokka andUllanlinna in Helsinki, Finland, as well as the Helsinki Central railway station, designed by thearchitect Eliel Saarinen. As in Germany, Jugendstil is the prevailing term used for the style.The Norwegian coastal town of lesund burned in 1904, and was rebuilt in a uniformJugendstil architecture, kept more or less intact to the present.Although no significant artists in Australia are associated with Art Nouveau, many buildingsin Australia were designed in the Art Nouveau style. In Melbourne, the Victorian ArtsSociety, Milton House, Melbourne Sports Depot, Melbourne City Baths, Conservatorium ofMusic and Melba Hall, Paston Building, and Empire Works Building all represent the ArtNouveau style.Montevideo, in South America's Rio de la Plata, offers a good example of the influence ofthe Art Nouveau style across the Atlantic. The style is very apparent in the architecture bothof downtown and of the periphery of the city. Montevideo maintained intensecommunication with Paris, London, and Barcelona during Art Nouveau's heyday, when thecity was also receiving massive immigration, especially from Italy and Spain. Those were alsothe years Montevideo developed the structure of its urban spaces, all of which factors helpexplain the widespread presence of Art Nouveau there.[citation needed]

In the other side of the Rio de la Plata, Buenos Aires still conserves some of its Art Nouveauarchitecture, also brought by Italian and Spanish immigrants, which developed thejugendstil (Edificio Otto Wulff, by Morten Ronnow, Danish), liberty (Casa de los PavosReales, by Virginio Colombo, Italian), modernisme (various buildings by Julin Garca Nez,Spanish-Argentine) and Art Nouveau (Chile Hotel by Louis Dubois, French) varieties. AnotherArgentinean city where this architecture has been recently[when?] protected is Rosario, animportant port on the Paran River.

Architecture

Art Nouveau is rarely so fully in control of architecture: doorway at place Etienne Pernet, 24 (Paris15e), 1905 Alfred Wagon, architect.

15

In architecture, hyperbolas and parabolas in windows, arches, and doors are common, anddecorative mouldings 'grow' into plant-derived forms. Like most design styles, Art Nouveausought to harmonise its forms. The text above the Paris Metro entrance uses the qualities ofthe rest of the iron work in the structure.[37]

Art Nouveau in architecture and interior design eschewed the eclectic revival styles of the19th century. Though Art Nouveau designers selected and 'modernised' some of the moreabstract elements of Rococo style, such as flame and shell textures, they also advocated theuse of very stylised organic forms as a source of inspiration, expanding the 'natural'repertoire to use seaweed, grasses, and insects.

Relationship with contemporary styles and movementsAs an art style, Art Nouveau has affinities with the Pre-Raphaelites and the Symbolist styles,and artists like Aubrey Beardsley, Alphonse Mucha, Edward Burne-Jones, Gustav Klimt andJan 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 Artsand 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 sculpturalqualities even in architecture. Ceramics were also employed in creating editions ofsculptures by artists such as Auguste Rodin.[39]

Art Nouveau architecture made use of many technological innovations of the late 19thcentury, especially the use of exposed iron and large, irregularly shaped pieces of glass forarchitecture. By the start of World War I, however, the stylised nature of Art Nouveaudesignwhich was expensive to producebegan to be disused in favour of morestreamlined, rectilinear modernism, which was cheaper and thought to be more faithful tothe plainer industrial aesthetic that became Art Deco.

Art DecoArt Deco (/rt dko/), or Deco, is an influential visual arts design style which firstappeared in France during the 1920s, flourished internationally during the 30s and 40s, thenwaned in the post-World War II era.[1] It is an eclectic style that combines traditional craftmotifs with Machine Age imagery and materials. The style is often characterized by richcolors, bold geometric shapes, and lavish ornamentation.

16

Deco emerged from the Interwar period when rapid industrialization was transformingculture. One of its major attributes is an embrace of technology. This distinguishes Decofrom the organic motifs favored by its predecessor Art Nouveau.Historian Bevis Hillier defined Art Deco as "an assertively modern style...[that] ran tosymmetry rather than asymmetry, and to the rectilinear rather than the curvilinear; itresponded to the demands of the machine and of new material...[and] the requirements ofmass production."[2]

During its heyday Art Deco represented luxury, glamour, exuberance, and faith in social andtechnological progress.

Art Deco spire of the Chrysler Building in New York City; designed by William Van Alen; built19281930.

Terracotta sunburst design above front doors of the Eastern Columbia Building in LosAngeles; built 1930.

16

Deco emerged from the Interwar period when rapid industrialization was transformingculture. One of its major attributes is an embrace of technology. This distinguishes Decofrom the organic motifs favored by its predecessor Art Nouveau.Historian Bevis Hillier defined Art Deco as "an assertively modern style...[that] ran tosymmetry rather than asymmetry, and to the rectilinear rather than the curvilinear; itresponded to the demands of the machine and of new material...[and] the requirements ofmass production."[2]

During its heyday Art Deco represented luxury, glamour, exuberance, and faith in social andtechnological progress.

Art Deco spire of the Chrysler Building in New York City; designed by William Van Alen; built19281930.

Terracotta sunburst design above front doors of the Eastern Columbia Building in LosAngeles; built 1930.

16

Deco emerged from the Interwar period when rapid industrialization was transformingculture. One of its major attributes is an embrace of technology. This distinguishes Decofrom the organic motifs favored by its predecessor Art Nouveau.Historian Bevis Hillier defined Art Deco as "an assertively modern style...[that] ran tosymmetry rather than asymmetry, and to the rectilinear rather than the curvilinear; itresponded to the demands of the machine and of new material...[and] the requirements ofmass production."[2]

During its heyday Art Deco represented luxury, glamour, exuberance, and faith in social andtechnological progress.

Art Deco spire of the Chrysler Building in New York City; designed by William Van Alen; built19281930.

Terracotta sunburst design above front doors of the Eastern Columbia Building in LosAngeles; built 1930.

17

EtymologyThe first use of the term Art Deco has been attributed to architect Le Corbusier who penneda series of articles in his journal L'Esprit nouveau under the headline 1925 Expo: Arts Dco.He was referring to the 1925 Exposition Internationale des Arts Dcoratifs et IndustrielsModernes (International Exposition of Modern Decorative and Industrial Arts).[3]

The term was used more generally in 1966 when a French exhibition celebrating the 1925event was held under the title Les Annes 25: Art Dco/Bauhaus/Stijl/Esprit Nouveau.[4]Here the phrase was used to distinguish French decorative crafts of the Belle Epoque fromthose of later periods.[3] The term Art Deco has since been applied to a wide variety ofworks produced during the Interwar period (L'Entre Deux Guerres), and even to those of theBauhaus in Germany. However Art Deco originated in France. It has been argued that theterm should be applied to French works and those produced in countries directly influencedby France.[5]

Art Deco gained currency as a broadly applied stylistic label in 1968 when historian BevisHillier published the first book on the subject: Art Deco of the 20s and 30s.[2] Hillier notedthat the term was already being used by art dealers and cites The Times (2 November 1966)and an essay on Les Arts Dco in Elle magazine (November 1967) as examples of priorusage.[6] In 1971 Hillier organized an exhibition at the Minneapolis Institute of Arts thenpublished a book about it: The World of Art Deco.[7]

Origins

Joseph Csaky, Deux figures, 1920, relief, limestone, polychrome, 80 cm. Exhibited Lonce Rosenberg,Galerie de L'Effort Moderne (1920), now at Krller-Mller Museum, Otterlo, Holland

Some historians trace Deco's roots to the Universal Exposition of 1900.[8] After this show agroup of artists established an informal collective known as La Socit des artistesdcorateurs (Society of Decorator Artists) to promote French crafts. Among them wereHector Guimard, Eugne Grasset, Raoul Lachenal, Paul Bellot, Maurice Dufrne, and EmileDecoeur. These artists are said to have influenced the principles of Art Deco.[9]

The Art Deco era is often dated from 1925 when the Exposition Internationale des ArtsDcoratifs et Industriels Modernes was organized to showcase new ideas in appliedarts.[3][10][11][12] Yet Deco was heavily influenced by pre-modern art from around the world,and observable at the Muse du Louvre, Muse de l'Homme and the Muse national desArts d'Afrique et d'Ocanie. During the 1920s affordable travel permitted in situ exposure toother cultures. There was also popular interest in archeology due to excavations at Pompeii,Troy, the tomb of Tutankhamun etc. Artists and designers integrated motifs from ancientEgypt, Mesopotamia, Greece, Rome, Asia, Mesoamerica, and Oceania with Machine Ageelements.[13][14][15][16][17][18]

Deco was also influenced by Cubism, Constructivism, Functionalism, Modernism, andFuturism.[15][19]

17

EtymologyThe first use of the term Art Deco has been attributed to architect Le Corbusier who penneda series of articles in his journal L'Esprit nouveau under the headline 1925 Expo: Arts Dco.He was referring to the 1925 Exposition Internationale des Arts Dcoratifs et IndustrielsModernes (International Exposition of Modern Decorative and Industrial Arts).[3]

The term was used more generally in 1966 when a French exhibition celebrating the 1925event was held under the title Les Annes 25: Art Dco/Bauhaus/Stijl/Esprit Nouveau.[4]Here the phrase was used to distinguish French decorative crafts of the Belle Epoque fromthose of later periods.[3] The term Art Deco has since been applied to a wide variety ofworks produced during the Interwar period (L'Entre Deux Guerres), and even to those of theBauhaus in Germany. However Art Deco originated in France. It has been argued that theterm should be applied to French works and those produced in countries directly influencedby France.[5]

Art Deco gained currency as a broadly applied stylistic label in 1968 when historian BevisHillier published the first book on the subject: Art Deco of the 20s and 30s.[2] Hillier notedthat the term was already being used by art dealers and cites The Times (2 November 1966)and an essay on Les Arts Dco in Elle magazine (November 1967) as examples of priorusage.[6] In 1971 Hillier organized an exhibition at the Minneapolis Institute of Arts thenpublished a book about it: The World of Art Deco.[7]

Origins

Joseph Csaky, Deux figures, 1920, relief, limestone, polychrome, 80 cm. Exhibited Lonce Rosenberg,Galerie de L'Effort Moderne (1920), now at Krller-Mller Museum, Otterlo, Holland

Some historians trace Deco's roots to the Universal Exposition of 1900.[8] After this show agroup of artists established an informal collective known as La Socit des artistesdcorateurs (Society of Decorator Artists) to promote French crafts. Among them wereHector Guimard, Eugne Grasset, Raoul Lachenal, Paul Bellot, Maurice Dufrne, and EmileDecoeur. These artists are said to have influenced the principles of Art Deco.[9]

The Art Deco era is often dated from 1925 when the Exposition Internationale des ArtsDcoratifs et Industriels Modernes was organized to showcase new ideas in appliedarts.[3][10][11][12] Yet Deco was heavily influenced by pre-modern art from around the world,and observable at the Muse du Louvre, Muse de l'Homme and the Muse national desArts d'Afrique et d'Ocanie. During the 1920s affordable travel permitted in situ exposure toother cultures. There was also popular interest in archeology due to excavations at Pompeii,Troy, the tomb of Tutankhamun etc. Artists and designers integrated motifs from ancientEgypt, Mesopotamia, Greece, Rome, Asia, Mesoamerica, and Oceania with Machine Ageelements.[13][14][15][16][17][18]

Deco was also influenced by Cubism, Constructivism, Functionalism, Modernism, andFuturism.[15][19]

17

EtymologyThe first use of the term Art Deco has been attributed to architect Le Corbusier who penneda series of articles in his journal L'Esprit nouveau under the headline 1925 Expo: Arts Dco.He was referring to the 1925 Exposition Internationale des Arts Dcoratifs et IndustrielsModernes (International Exposition of Modern Decorative and Industrial Arts).[3]

The term was used more generally in 1966 when a French exhibition celebrating the 1925event was held under the title Les Annes 25: Art Dco/Bauhaus/Stijl/Esprit Nouveau.[4]Here the phrase was used to distinguish French decorative crafts of the Belle Epoque fromthose of later periods.[3] The term Art Deco has since been applied to a wide variety ofworks produced during the Interwar period (L'Entre Deux Guerres), and even to those of theBauhaus in Germany. However Art Deco originated in France. It has been argued that theterm should be applied to French works and those produced in countries directly influencedby France.[5]

Art Deco gained currency as a broadly applied stylistic label in 1968 when historian BevisHillier published the first book on the subject: Art Deco of the 20s and 30s.[2] Hillier notedthat the term was already being used by art dealers and cites The Times (2 November 1966)and an essay on Les Arts Dco in Elle magazine (November 1967) as examples of priorusage.[6] In 1971 Hillier organized an exhibition at the Minneapolis Institute of Arts thenpublished a book about it: The World of Art Deco.[7]

Origins

Joseph Csaky, Deux figures, 1920, relief, limestone, polychrome, 80 cm. Exhibited Lonce Rosenberg,Galerie de L'Effort Moderne (1920), now at Krller-Mller Museum, Otterlo, Holland

Some historians trace Deco's roots to the Universal Exposition of 1900.[8] After this show agroup of artists established an informal collective known as La Socit des artistesdcorateurs (Society of Decorator Artists) to promote French crafts. Among them wereHector Guimard, Eugne Grasset, Raoul Lachenal, Paul Bellot, Maurice Dufrne, and EmileDecoeur. These artists are said to have influenced the principles of Art Deco.[9]

The Art Deco era is often dated from 1925 when the Exposition Internationale des ArtsDcoratifs et Industriels Modernes was organized to showcase new ideas in appliedarts.[3][10][11][12] Yet Deco was heavily influenced by pre-modern art from around the world,and observable at the Muse du Louvre, Muse de l'Homme and the Muse national desArts d'Afrique et d'Ocanie. During the 1920s affordable travel permitted in situ exposure toother cultures. There was also popular interest in archeology due to excavations at Pompeii,Troy, the tomb of Tutankhamun etc. Artists and designers integrated motifs from ancientEgypt, Mesopotamia, Greece, Rome, Asia, Mesoamerica, and Oceania with Machine Ageelements.[13][14][15][16][17][18]

Deco was also influenced by Cubism, Constructivism, Functionalism, Modernism, andFuturism.[15][19]

18

In 1905, before the onset of Cubism, Eugne Grasset wrote and published Mthode deComposition Ornementale, lments Rectilignes[20] within which he systematically exploresthe decorative (ornamental) aspects of geometric elements, forms, motifs and theirvariations, in contrast with (and as a departure from) the undulating Art Nouveau style ofHector Guimard, so popular in Paris a few years earlier. Grasset stresses the principle thatvarious simple geometric shapes (e.g., the triangle, the square) are the basis of allcompositional arrangements.[21]

At the 1907 Salon d'Automne (Paris) Georges Braque exhibited Viaduc l'Estaque (a proto-Cubist work), now at the Minneapolis Institute of Arts. Simultaneously, there was aretrospective exhibition of 56 works by Paul Czanne, as a tribute to the artist who died in1906. Czanne was interested in the simplification of forms to their geometric essentials:the cylinder, the sphere, the cone.Paul Iribe created for the couturier Paul Poiret esthetic designs that shocked the Parisianmilieu with its novelty. These illustrations were compiled into an album, Les Robes de PaulPoiret raconte par Paul Iribe, published in 1908.[22]

At the 1910 Salon des Indpendants Jean Metzinger, Henri Le Fauconnier and RobertDelaunay, shown together in Room 18, elaborated upon Czannian syntax, revealing to thegeneral public for the first time a 'mobile perspective' in their art, soon to become known asCubism. Several months later the Salon d'Automne saw the invitation of Munich artists whofor several years had been working with simple geometric shapes. Leading up to 1910 andculminating in 1912, the French designers Andr Mare and Louis Sue turned towards thequasi-mystical Golden ratio, in accord with Pythagorean and Platonic traditions, giving theirworks a Cubist sensibility.Between 1910 and 1913, Paris saw the construction of the Thtre des Champs-lyses, 15avenue Montaigne, another sign of the radical aesthetic change experienced by the Parisianmilieu of the time. The rigorous composition of its facade, designed by Auguste Perret, is amajor example of early Art Deco.[23][24] The building includes an exterior bas relief byAntoine Bourdelle, a dome by Maurice Denis, paintings by douard Vuillard and JacquelineMarval, and a stage curtain design by Ker-Xavier Roussel.The artists of the Section d'Or exhibited (in 1912) works considerably more accessible to thegeneral public than the analytical cubism of Picasso and Braque. The Cubist vocabulary waspoised to attract fashion designers, furniture and interior designers.[25]

These revolutionary changes occurring at the outset of the 20th century are summarized inthe 1912 writings of Andr Vera. Le Nouveau style, published in the journal L'Art dcoratifexpressed the rejection of Art Nouveau forms (asymmetric, polychrome and picturesque),and called for simplicit volontaire, symtrie manifeste, l'ordre et l'harmonie; themes thatwould eventually become ubiquitous within the context of Art Deco.[26]

Order, color and geometry: the essence of Art Deco vocabulary was made manifest before1914.

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Several years after World War I, in 1927 the Cubists Joseph Csaky, Jacques Lipchitz, LouisMarcoussis, Henri Laurens, the sculptor Gustave Miklos and others collaborated in thedecoration of a Studio House, rue Saint-James, Neuilly-sur-Seine, designed by the architectPaul Ruaud, and owned by the French fashion designer Jacques Doucet: also a collector ofPost-Impressionist and Cubist paintings (including Les Demoiselles d'Avignon, which hebought directly from Picasso's studio). Laurens designed the fountain, Csaky designedDoucet's staircase, Lipchitz made the fireplace mantel, Marcoussis made a Cubistrug.[27][28][29][30]

AttributesDeco emphasizes geometric forms: spheres, polygons, rectangles, trapezoids, zigzags,chevrons, and sunburst motifs. Elements are often arranged in symmetrical patterns.Modern materials such as aluminum, stainless steel, Bakelite, chrome, and plastics arefrequently used. Stained glass, inlays, and lacquer are also common. Colors tend to be vividand high-contrast.[13][14][15][31][32][33]

InfluenceArt Deco was a globally popular style and affected many areas of design. It was used widelyin consumer products such as automobiles, furniture, cookware, china, textiles, jewelry,clocks, and electronic items such as radios, telephones, jukeboxes. It also influencedarchitecture, interior design, industrial design, fashion, graphic arts, and cinema.During the 1930s Art Deco was used extensively for public works projects, railwaystations,[34] ocean liners (including the le de France, Queen Mary, Normandie), moviepalaces, and amusement parks.The austerities imposed by World War II caused Art Deco to decline in popularity: it wasperceived by some as gaudy and inappropriately luxurious.[citation needed] A resurgence ofinterest began during the 1960s.[11][15][35] Deco continues to inspire designers and is oftenused in contemporary fashion, jewelry, and toiletries.[36]

Chrysler Airflow sedan; designed by Carl Breer; 1934.

19

Several years after World War I, in 1927 the Cubists Joseph Csaky, Jacques Lipchitz, LouisMarcoussis, Henri Laurens, the sculptor Gustave Miklos and others collaborated in thedecoration of a Studio House, rue Saint-James, Neuilly-sur-Seine, designed by the architectPaul Ruaud, and owned by the French fashion designer Jacques Doucet: also a collector ofPost-Impressionist and Cubist paintings (including Les Demoiselles d'Avignon, which hebought directly from Picasso's studio). Laurens designed the fountain, Csaky designedDoucet's staircase, Lipchitz made the fireplace mantel, Marcoussis made a Cubistrug.[27][28][29][30]

AttributesDeco emphasizes geometric forms: spheres, polygons, rectangles, trapezoids, zigzags,chevrons, and sunburst motifs. Elements are often arranged in symmetrical patterns.Modern materials such as aluminum, stainless steel, Bakelite, chrome, and plastics arefrequently used. Stained glass, inlays, and lacquer are also common. Colors tend to be vividand high-contrast.[13][14][15][31][32][33]

InfluenceArt Deco was a globally popular style and affected many areas of design. It was used widelyin consumer products such as automobiles, furniture, cookware, china, textiles, jewelry,clocks, and electronic items such as radios, telephones, jukeboxes. It also influencedarchitecture, interior design, industrial design, fashion, graphic arts, and cinema.During the 1930s Art Deco was used extensively for public works projects, railwaystations,[34] ocean liners (including the le de France, Queen Mary, Normandie), moviepalaces, and amusement parks.The austerities imposed by World War II caused Art Deco to decline in popularity: it wasperceived by some as gaudy and inappropriately luxurious.[citation needed] A resurgence ofinterest began during the 1960s.[11][15][35] Deco continues to inspire designers and is oftenused in contemporary fashion, jewelry, and toiletries.[36]

Chrysler Airflow sedan; designed by Carl Breer; 1934.

19

Several years after World War I, in 1927 the Cubists Joseph Csaky, Jacques Lipchitz, LouisMarcoussis, Henri Laurens, the sculptor Gustave Miklos and others collaborated in thedecoration of a Studio House, rue Saint-James, Neuilly-sur-Seine, designed by the architectPaul Ruaud, and owned by the French fashion designer Jacques Doucet: also a collector ofPost-Impressionist and Cubist paintings (including Les Demoiselles d'Avignon, which hebought directly from Picasso's studio). Laurens designed the fountain, Csaky designedDoucet's staircase, Lipchitz made the fireplace mantel, Marcoussis made a Cubistrug.[27][28][29][30]

AttributesDeco emphasizes geometric forms: spheres, polygons, rectangles, trapezoids, zigzags,chevrons, and sunburst motifs. Elements are often arranged in symmetrical patterns.Modern materials such as aluminum, stainless steel, Bakelite, chrome, and plastics arefrequently used. Stained glass, inlays, and lacquer are also common. Colors tend to be vividand high-contrast.[13][14][15][31][32][33]

InfluenceArt Deco was a globally popular style and affected many areas of design. It was used widelyin consumer products such as automobiles, furniture, cookware, china, textiles, jewelry,clocks, and electronic items such as radios, telephones, jukeboxes. It also influencedarchitecture, interior design, industrial design, fashion, graphic arts, and cinema.During the 1930s Art Deco was used extensively for public works projects, railwaystations,[34] ocean liners (including the le de France, Queen Mary, Normandie), moviepalaces, and amusement parks.The austerities imposed by World War II caused Art Deco to decline in popularity: it wasperceived by some as gaudy and inappropriately luxurious.[citation needed] A resu