NAME: AISHA HAYAT

STUDENT ID: 1512-2019

COURSE: DESIGN HISTORYAND THEORY
PROGRAM: TEXTILE DESIGNING
SEMESTER: 2ND
 ART NOUVEAU.
Introduction

Art Nouveau was an innovative international style of modern art that became fashionable from
about 1890 to the First World War. Arising as a reaction to 19th-century designs dominated by
historicism in general and neoclassicism in particular, it promulgated the idea
of art and design as part of everyday life. Henceforth artists should not overlook any everyday
object, no matter how functional it might be. This aesthetic was considered to be quite
revolutionary and new, hence its name - New Art - or Art Nouveau. Hence also the fact that it
was applied to a host of different forms including architecture, fine art, applied art,
and decorative art. Rooted partly in the Industrial Revolution, and the Arts
and Crafts Movement, but also influenced by Japonism (especially Ukiyo-e prints by artists
like Hokusai and his younger contemporary Hiroshige) and Celtic designs, Art Nouveau was
given a major boost by the 1900 Exposition Universelle in Paris. After this, it spread across
Europe and as far as the United States and Australia, under local names
like Jugendstil (Germany), Stile Liberty (Italy), Sezessionstil (Austria) and Tiffany
style (America). A highly decorative idiom, Art Nouveau typically employed intricate
curvilinear patterns of sinuous asymetrical lines, often based on plant-forms (sometimes derived
from La Tene forms of Celtic art). Floral and other plant-inspired motifs are popular Art
Nouveau designs, as are female silhouettes and forms. Employing a variety of materials, the style
was used in architecture, interior design, glassware, jewellery, poster art and illustration, as well
as painting and sculpture. The movement was replaced in the 1920s by Art Deco.
Who start the nouveau art?
William Morris

Art Nouveau. It all started in 1861 in England, the most industrialized country at the time, where
William Morris in collaboration with other artists, created the Arts and Crafts Movement as a
reaction to the mid-19th-century artistic styles.

Who is the father of nouveau art?

Alphonse Mucha

Alphonse Mucha: Inspirations of Art Nouveau is divided into six sections and
explores Mucha not just as the father of Art Nouveau, but also Mucha's Moravian roots, his
family, his photography and his devotion to the Slav people.
Vienna Secession.

The Vienna Secession was movement with a very different aesthetic and style from the Belgian
and French Art Nouveau. The sinuous lines and floral designs of the early style were largely

replaced by geometric patterns and symmetry. The painter Gustav Klimt made a venture into
graphic arts, designing the poster for the Secession Exhibition of 1898. The major graphic artists
of the Secession included Joseph Maria Olbrich, who designed posters for the exhibitions of the
Secession, and also designed the gilded cupola for the Secession's gallery in central Vienna.

Munich Secession 
The Munich Secession was an artistic movement which broke away from the more conservative
fine arts establishment in Munich in 1892. Its creation inspired the better-known Vienna
Secession a few years later.
The Jugendstil, or "Young Style", was centered in Munich, and was the German variant of Art
Nouveau. Its most prominent graphic artist was Otto Eckmann, who produced numerous
illustrations for the movement's journal, Jugend, in a sinuous, floral style that was similar to the
French style. He also created a type style based upon Japanese calligraphy. Joseph Sattler was
another graphic artist who contributed to the style through another artistic journal, called Pan.
Sattler invented a type face often used in the Jugendstil.
Another important German graphic artist was Josef Rudolf Witzel (1867–1925), what produced
many early covers for Jugend with curving, floral forms. Which helped shape the style.
Much of the psychedelia of the 1960s owes its style to an Art Nouveau revival inspired by
milestone exhibitions at the Victoria & Albert Museum in London and at the MoMA in New York
in the 1950s.
ARTISTS OF ART NOUVEAU.

1. Jules Cheret (1836-1932)

The painter and printmaker Jules Cheret (1836-1932) was a key figure in French painting during
the late 19th century, and the first artist to make his reputation in the medium of poster art. An
apprentice lithographer who went on to develop a cheaper type of colour lithography and, in the
process, the lithographic advertising poster. Moreover, he enhanced the aesthetic nature of the
poster, endowing it with graceful designs and transforming it into an independent decorative
art form. Known as the "father of the Belle Epoque poster", he inspired other painters to explore
the genre, and later produced a special book entitled Masters of the Poster, to promote the best
designers. An avid employer of the female form in his designs, to generate extra viewer-appeal,
his subjects became so popular that Parisians dubbed them Cherettes. Cheret was a key figure in
the history of poster art, producing more than 1,000 posters, beginning with his 1867
advertisement for Sarah Bernardt. In 1889 he received a major solo exhibition and a gold medal
at the International Exhibition in Paris. He was awarded the Legion d'Honneur in 1890, and in
1928 the French government honoured his achievements in graphic art with the opening of the
Cheret Museum in Nice.

2. Early Work
In 1854 he travelled to London, where the techniques of lithography and chromolithography
were more advanced, but succeeded only in gaining a lowly paid job as a sketcher for The Maple
Furniture Company. Returning to Paris in 1858 he received his first slice of luck in the form of a
commission for a poster advertising Jacques Offenbach's operetta Orpheus in the Underworld.
Disappointed when this failed to trigger more commissions, Cheret went back to London where
he spent the next seven years developing his skills in lithography, and absorbing the British
approach to poster design and printing, in the process. He designed posters for music halls,
cabarets, theatres and circuses, as well as book covers and illustrations for the publisher Cramer.

In 1890s
In 1890, he was awarded the Legion d'honneur for his outstanding contribution to applied art, but
he continued working, having become almost the personnification of La Belle Epoque. In 1895,
to encourage other artists to explore the medium of poster art, Cheret published his book called
the Maîtres de l'Affiche collection (Masters of the Poster), which reproduced the best works of
nearly 100 Parisian poster-designers. Thanks largely to his influence, these poster artists were
transforming Parisian streets into colourful art galleries, while major poster exhibitions were held
throughout Europe, and publishers produced extra copies of the best posters to satisfy collectors.

Retirement.

In the last period of his life, Cheret retired to the French Riviera at Nice, where he was honoured
in 1928 with the opening of the Cheret Museum. He died in 1932 at the ripe old age of 96 and his
body was buried in the Cimetiere Saint-Vincent in Paris. His posters remain some of the most
highly sought-after items of French graphic art.

Quinine Dubonnet.

Dubonnet was first sold in 1846 by Joseph Dubonnet, in response to a competition run by
the French Government to find a way of persuading French Foreign Legionnaires in North
Africa to drink quinine. Quinine combats malaria but is very bitter.
Ownership was taken over by Pernod Ricard in 1976. It was re-popularised in late-1970s by an
advertising campaign starring Pia Zadora. It is available in Rouge, Blanc and Gold (vanilla and
orange) varieties. Dubonnet is also widely known by the advertisement slogan of the
French graphic designer Cassandre "Dubo, Dubon, Dubonnet" (a play on words roughly meaning
"It's nice; it's good; it's Dubonnet"), which still can be found on the walls of houses in France.
The brand later became owned by Heaven Hill.

Dubonnet is commonly mixed with lemonade or bitter lemon, and forms part of many cocktails.

 Vin Marian

When cocaine and alcohol meet inside a person, they create a third unique drug called
cocaethylene. Cocaethylene works like cocaine, but with more euphoria.
So in 1863, when Parisian chemist Angelo Mariani combined coca and wine and started selling
it, a butterfly did flap its wings. His Vin Marian became extremely popular. Jules Verne,
Alexander Dumas, and Arthur Conan Doyle were among literary figures said to have used it, and
the chief rabbi of France said, "Praise be to Mariani’s wine!" 
Pope Leo XIII reportedly carried a flask of it regularly and gave Mariani a medal. 
 3. Folies-Bergère
One of the most famous printmakers of the late nineteenth century, Chéret is often regarded as
the originator of the artistic lithographic poster. His innovative crachis technique—spattering
rather than painting a wax resist onto the lithographic stone—allowed him to create a
shimmering effect with relatively few impressions. The new advertising and poster art of the
1890s often deployed women as enticing or allegorical figures. This exuberant image of the
American dancer Loie Fuller captures the spirit of sensuality and excitement in the cabaret
culture of fin-de-siècle Paris. Fuller was an important attraction at the 1900 Paris world’s fair,
embodying Art Nouveau with her innovative choreography and diaphanous silk costumes
illuminated by multicolored electric lights
lphonsee Mucha (1860-1939)

One of the great pioneers of poster art, the Czech artist and painter Alphonse Mucha became
famous for his 1894 life-size poster for Sarah Bernhardt as Gismonda. This richly textured poster
led to a 6-year contract and was the basis for Mucha's success as the archetypal Art
Nouveau designer, who infused decorative art with a new aesthetic. As well as poster
lithographs, his output included book covers, illustrations, calendars, stamps, packaging,
textiles, jewellery art and stained glass, all executed in a richly decorated idiom known as Le
Style Mucha. This style influenced an entire generation of painters and graphic artists: indeed, in
the minds of many, his work epitomizes the Art Nouveau movement. An exhibition of
his lithography held in Paris, travelled to other European cities before crossing to New York.
Mucha's success as a poster-designer financed his travel and studios in America and finally
Czechoslovakia, where he settled in 1910. Here he produced Slav Epic (1909-28), a series of 20
monumental murals outlining the history of his nation. An ardent patriot, Mucha also freely
assisted the young Czechoslovakian nation with the graphic design of its banknotes and stamps.
Ironically, posters of Mucha's 'Art Nouveau Posters' are in extremely high demand and can be
obtained from a number of online sources.
Role in art Nouveau.

Mucha produced a huge number of posters, paintings, advertisements, and book illustrations, as

well as applied art designs such as packaging, ceramics, jewellery, textiles, and wallpaper in
what critics initially termed "the Mucha Style", but later became known as Art Nouveau.
Mucha's designs were characterized by luxuriantly flowing motifs/patterns, often featuring
beautiful women (with none of the morbid sensuality typical of the period) cast in Neoclassical-
style robes, and haloes of lush flowers, painted in pale pastel colours. In 1896, he designed his
first limited-edition large-size prints (panneaux decoratifs), which were usually executed on silk
or stiff paper, and ornately framed for hanging on walls or screens. Subject matter was heavily
influenced by oriental silk screen paintings. His most famous panneaux decoratifs were: The
Seasons (1896), Flowers (1898), The Arts (1898), The Months (1899), Gemstones (1900)
and Stars (1901).

Gismonda.

At the end of 1894 his career took a dramatic and unexpected turn when he began to work for
French stage actress Sarah Bernhardt. As Mucha later described it, on 26 December Bernhardt
made a telephone call to Maurice de Brunhoff, the manager of the publishing firm Lemercier
which printed her theatrical posters, ordering a new poster for the continuation of the
play Gismonda. The play, by Victorien Sardou, had already opened with great success on 31
October 1894 at the Théâtre de la Renaissance on the Boulevard Saint-Martin. Bernardt decided
to have a poster made to advertise the prolongation of the theatrical run after the Christmas break
and insisting it be ready by 1 January 1895. Because of the holidays, none of the regular
Lemercier artists were available.
 4. Gustav Klimt .
Gustav Klimt (July 14, 1862 – February 6, 1918) was an Austrian symbolist painter and one of
the most prominent members of the Vienna Secession movement. Klimt is noted for his
paintings, murals, sketches, and other objet d'art. Klimt's primary subject was the female body
and his works are marked by a frank eroticism. In addition to his figurative works, which include
allegories and portraits, he painted landscapes. Among the artists of the Vienna Secession, Klimt
was the most influenced by Japanese art and its methods.

Early in his artistic career, he was a successful painter of architectural decorations in a

conventional manner. As he developed a more personal style, his work was the subject of
controversy that culminated when the paintings he completed around 1900 for the ceiling of the
Great Hall of the University of Vienna were criticized as pornographic. He subsequently
accepted no more public commissions, but achieved a new success with the paintings of his
"golden phase", many of which include gold leaf. Klimt's work was an important influence on
his younger contemporary Egon Schiele.
The Kiss.

The Kiss (in German Der Kuss) is an oil-on-canvas painting with added gold leaf, silver and
platinum. by the Austrian Symbolist painter Gustav Klimt. It was painted at some point in 1907
and 1908, during the height of what scholars call his "Golden Period".[3] It was exhibited in
1908 under the title Liebespaar (the lovers) as stated in the catalogue of the exhibition. The
painting depicts a couple embracing each other, their bodies entwined in elaborate beautiful
robes decorated in a style influenced by the contemporary Art Nouveau style and the organic
forms of the earlier Arts and Crafts movement. The painting now hangs in the Österreichische
Galerie Belvedere museum in the Belvedere, Vienna, and is considered a masterpiece of Vienna
Secession (local variation of Art Nouveau) and Klimt's most popular work.

The Kiss was exhibited in 1908 in Vienna in the Kunstschau – the building created in
collaboration by Josef Hoffmann, Gustav Klimt, Otto Prutscher, KolomanMoser and many
others, to coincide with the celebrations in Vienna for the sixtieth anniversary of Emperor
Francis Joseph I’s reign from June 1 to November 16, 1908.

The Kiss, however, was enthusiastically received, and was purchased, still unfinished, by the
Austrian government when it was put on public exhibition.

5. Victor Pierre Horta

Victor Pierre Horta ; Victor, Baron Horta after 1932; 6 January 1861 – 8 September 1947) was
a Belgian architect and designer, and one of the founders of the Art Nouveau movement.
His Hôtel Tassel in Brussels built in 1892–1893, is often considered the first Art Nouveau house,
and, along with three of his other early houses, is listed as a UNESCO World Heritage Site. The
curving stylized vegetal forms that Horta used influenced many others, including
architect Hector Guimard, who used it in the first house he designed in Paris and in the entrances
he designed for the Paris Metro. He is also considered a precursor of modern architecture for his
open floor plans and his innovative use of iron, steel and glass.
Role in Art Nouveau.

His later work moved away from Art Nouveau, and became more geometric and formal, with
classical touches, such as columns. He made a highly original use of steel frames and skylights to bring
light into the structures, open floor plans, and finely-designed decorative details. 

The Maison du Peuple.

The Maison du Peuple  or Volkshuis  both literally translated as The People’s Home or The

People’s House, was a public building located on Emile Vandervelde Square, near
the Sablon/Zavel, in Brussels (Belgium). It was one of the most influential Art
Nouveau buildings in Belgium and one of the most notable designs by Belgian architect Victor
Horta. Commissioned by the Belgian Workers' Party, it was constructed between 1896 and 1899,
and opened on 2 April 1899.

Brussels Central Station.

Brussels Central Station (French: Bruxelles-Central, Dutch: Brussel-Centraal) is
a railway and metro station in central Brussels, Belgium. It is the second busiest railway station
in Belgium[1] and one of three principal railway stations in Brussels, together with Brussels-
South and Brussels-North (See: List of railway stations in Belgium). First completed in 1952
after protracted delays caused by economic difficulties and World War II, it is the newest of
Brussels' main rail hubs.

During the late 19th and early 20th centuries, Brussels North and Brussels South were the
primary railway stations in Brussels (Brussels North slowly supplanted the original Allée
Verte/Groendreef Station near the same site). However, they were joined only by an inadequate
single track running along what is today the route of the Brussels inner ring road. Many
proposals were put forward to link the two stations more substantially. A law was finally passed
in 1909 mandating a direct connection.
 6. Émile Gallé

Émile Gallé (8 May 1846 in Nancy – 23 September 1904 in Nancy) was a French artist and
designer who worked in glass, and is considered to be one of the major innovators in the
French Art Nouveau movement. He was noted for his designs of Art Nouveau glass art and Art
Nouveau furniture, and was a founder of the École de Nancy or Nancy School, a movement of
design in the city of Nancy, France.

His early ceramics of Gallé were generally plates and vases with more traditional floral designs.
Tne faience, or glazed earthenware of Gallé, rarely achieved the same level of technical quality
and fame as his glassware. He largely abandoned it after 1892. However, it contained much of
the same imagination and unusual as his glass. His ceramics and glazed earthenware of Gallé
oftenl, looked like real earth, employing earthy brown colors, with overlays of leaves and insects.
Art Nouveau glass art

Art Nouveau glass art is a type of finely-made, undulating, sinuous and colorful art objects,
usually inspired by natural forms, in the Art Nouveau style, It most prominently appeared in the
1890s in the work of the American Louis Comfort Tiffany, Rene Lalique, Emile Gallé and
the Daum brothers in France, Christopher Dresser in Scotland, and Friedrich Zitzman, Karl
Koepping and Max Ritter von Spaun in Germany. Art Nouveau glass included decorative
objects, vases, lamps, and stained glass windows. It was usually made by hand, and was usually
colored with metal oxides while in a molten state in a furnace.
 7. Louis Comfort Tiffany

Louis Comfort Tiffany (February 18, 1848 – January 17, 1933) was an American artist and
designer who worked in the decorative arts and is best known for his work in stained glass. He is
the American artist most associated with the Art Nouveau. and Aesthetic movements. He was
affiliated with a prestigious collaborative of designers known as the Associated Artists, which
included Lockwood de Forest, Candace Wheeler, and Samuel Colman. Tiffany designed stained
glass windows and lamps, glass mosaics, blown glass, ceramics, jewelry, enamels, and
metalwork. He was the first Design Director at his family company, Tiffany & Co., founded by
his father Charles Lewis Tiffany.

Tiffany started out as a painter, but became interested in glassmaking from about 1875 and
worked at several glasshouses in Brooklyn between then and 1878. In 1879 he joined
with Candace Wheeler, Samuel Colman, and Lockwood de Forest to form Louis Comfort
Tiffany and Associated American Artists. The business was short-lived, lasting only four years.
The group made designs for wallpaper, furniture, and textiles. He later opened his own glass
factory in Corona, New York, determined to provide designs that improved the quality of
contemporary glass. Tiffany's leadership and talent, as well as his father's money and
connections, led this business to thrive.
Angel of the Resurrection.

Angel of the Resurrection is a massive stained glass window by the American Art Nouveau glass

manufacturer Tiffany Studios, now in the collection of the Indianapolis Museum of Art. It was
commissioned by former-First Lady Mary Lord Harrison as a memorial to her husband,
President Benjamin Harrison. 

Angel of the Resurrection was commissioned in 1901 for the First Meridian Heights Presbyterian
Church in Indianapolis, by Mary Lord Harrison in memory of her husband, President Benjamin
Harrison. The church had particular importance for Harrison, who had been a church elder for
over forty years. The total cost, including installation and external glass protection.
The peacock vase.

The "Peacock" vases reflect Tiffany's interest in the long, sinous lines of the Art Nouveau style
and his fascination with highly organic forms.

Aubrey Vincent Beardsley (21 August 1872 – 16 March 1898) was an English illustrator and

author. His drawings in black ink, influenced by the style of Japanese woodcuts, emphasized the
grotesque, the decadent, and the erotic. He was a leading figure in the aesthetic movement which
also included Oscar Wilde and James McNeill Whistler. Beardsley's contribution to the
development of the Art Nouveau and poster styles were significant despite the brevity of his
career before his early death from tuberculosis
 8. Beardsley

Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and
perverse images and grotesque erotica, which were the main themes of his later work. His
illustrations were in black and white against a white background. 

The Climax.

The Climax is an 1893 illustration by Aubrey Beardsley (1872–1898), a leading artist of

the Decadent (1880-1900) and Aesthetic movements. It depicts a scene from Oscar Wilde's 1891
play Salome, in which the femme fatale Salome has just kissed the severed head of John the
Baptist, which she grasps in her hands. Elements of eroticism, symbolism, and Orientalism are
present in the piece. This illustration is one of sixteen Wilde commissioned Beardsley to create
for the publication of the play. The series is considered to be Beardsley's most celebrated work,
created at the age of 21.
The Peacock Skirt 

The Peacock Skirt is an 1893 illustration by Aubrey Beardsley. His original pen and ink drawing
was reproduced as a woodblock print in the first English edition of Oscar Wilde's one-act
play Salome in 1894. The original drawing was bequeathed by Grenville Lindall Winthrop to
the Fogg Art Museum at Harvard University in 1943.
Maximilian Liebenwein.

Maximilian Liebenwein was born in Vienna on 11 April 1869. After his schooldays at the
Vienna Schottengymnasium he studied painting at the Academy of Art with Julius Victor Berger
and Matthias von Trenkwald. He left the Academy in 1893 and moved to Karlsruhe where he
studied with Kaspar Ritter and Heinrich Zügel. 
Maximilian Liebenwein’s versatile oeuvre is aligned between Impressionism and Art Nouveau
and as well as painting includes drawings, illustrations, ex libris, and furniture design. The years
between 1897 and 1900 brought the artist his first major successes. Exhibitions followed in
Salzburg, Linz and Munich. In 1900 his pictures “Parzival” and “Animal Studies” were
presented in the gallery of international masters in the spring exhibition of the Vienna Secession.
In the same year Maximilian Liebenwein became a member of the Vienna Secession and
furthermore its vice-president in 1912.
Edouard Marcel.

Edouard Marcel Sandoz was a Swiss animalier sculptor. His best known works are depictions of
foxes, rabbits, and cats, in bronze, ceramic, and stone. Though he also produced watercolors of
landscapes and flowers, his primary occupation led him to found the French Society of
Animalists in 1933. “In art, one has to love everything: nature, science, one's fellow man,” the
artist said. Born on March 21, 1881 in Basel, Switzerland, he was encouraged to pursue his
artistic talents by his parents. In 1908, he moved to Paris to study art and remained there for
much of his life. Sandoz’s long and successful career was marked by his election to the Academy
of Fine Arts and bestowment of the title of Commander in the Order of Arts and Letters. The
artist died on March 20, 1971 in Lausanne, Switzerland.
As a painter, he mainly depicted flowers and landscapes. In 1921 he travelled to North Africa
and painted watercolors for folding brochures. In 1933 he founded the Société Française des
Animaliers (French Society of Animal Sculptors). He showed his works in the pavilion of the
Société des artistes décorateurs at the World Exhibition Paris 1937. In 1947 he was elected a
member of the Paris Académie des Beaux-Arts. The University of Lausanne awarded him an
honorary doctorate in geology and botany in 1959. He was appointed Commander of the Legion
of Honour and Commander of the Ordre des Arts et des Lettres.
Siegfried Bing.

At age 17, Bing had moved from Hamburg (Germany) to Paris (France) to run the French branch
of his family’s import-export business. And in 1863, together with Jean-Babtiste Ernest
Leullier, Bing founded another company called ‘Leullier fils et Bing’ which produced high
quality ceramics. The French government recognised the high quality of the ceramics as
the company won a gold medal at the Paris World’s Exhibition of 1867. This gave Bing the
opportunity to prove that high quality decorative art, developed together with artisans and
craftsmen, could very well be produced in larger volumes.
Being convinced that the quality of art objects industrially produced in France was deteriorating,
Bing pleaded to breathe new life into the French applied arts by embracing modern technologies,
aggressive marketing and the preparedness to adopt artistic ideas from non-French cultures, and
in particular from Japan. By connecting the Japanese imagination to the French tradition, Bing
would realise his dream… the creation of a ‘new’ decorative style.

L’Art Nouveau.
In order to spread the knowledge about Japanese art as widely as possible, Bing decided to
publish a magazine called “Le Japon Artistique” in French, English and German. And Bing
really succeeded.