ART NOUVEAU

Aguas – banela – barluado – ARILLO

 ART NOUVEAU
 Gesamtrunstwerk – all of the arts should be
reintegrated eg. Interior design, paintings,
architecture, etc.
 Architects became the prominent practitioners
in this era
ART NOUVEAU
“art should be incorporated in everyday life”

 Started in Europe (Britain) in the

late 1880s and 1890s.
 French term for “New Art”
 Reaction against 19th century
academic styles (new age)
 LOCATION/HISTORY
 (Name) Paris - derived from a shop which Samuel Bing opened
in Paris in 1895, selling craft ware and works of art and it is
mainly to the fine and applied arts that one has to look for
the origin of the style. The store name was “Salon de l’ Art
Nouveau” or "La Maison d el’ Art Nouveau“
 glass by Emile Galle of Nancy
 textiles by William Morris
 firm and furniture by Henry Van de Velde of Belgium.
 LOCATION/HIST
 (Architecture) Belgium - firstORY
appeared in Brussels' Hôtel Tassel (1894)
and Hôtel Solvay (1900) of Victor Horta.
 covered with ornament in curving forms, based on flowers, plants or
animals: butterflies, peacocks, swans, irises, cyclamens, orchids and
water lilies.
 Influenced Hector Guimard (France)
 RELIGION

 Christianity particularly Roman Catholicism

HISTORICAL BACKGROUND

Hotel Tassel in Belgium – Victor Horta

HISTORICAL BACKGROUND

Henry Van De Velde Bloemenwerf House - Henry Van de Velde

HISTORICAL BACKGROUND

Hector Guimard Castel Beranger by Hector Guimard

Paris Metro Station by Hector Guimard
Antoni Gaudí
- well-known architect in Art Nouveau
- a Spanish architect known as the greatest exponent of
Catalan Modernism. Gaudí's works have a highly
individualized, one-of-a-kind style. Most are located in
Barcelona, including his main work, the church of the
Sagrada Família.
Sagrada Familia
- Barcelona, Spain (1883)
- a large unfinished Roman Catholic church in
Barcelona, designed by Catalan architect Antoni Gaudí
ART NOUVEAU
 Jugendstil – Germany
 Sezessionstil – Austria
 Modernista – Spain
 Nieuwe Kunst – The Netherlands
 Stilte Liberty – Italy
 Style Guimard – France
 Jugendstil
 late-19th and early-20th centuries in Germany
 The Latvian capital of Riga is the most celebrated
Jugendstil city in the world, with a large concentration
of buildings designed in the style
Jugendstil Capital
 Jugendstil

 a massive woman’s face, a screaming woman, a satyr, and

large busts of Lady Liberty.
 Architect - Mikhail Eisenstein
Sezessionstil
 Modernista
 can be characterized by the use of the curve over the straight
line, organic and botanical shapes and motifs, a great richness
of ornamentation, bright colours, a disregard of symmetry and
a wide use of symbolism.
 Modernista

Casa Amatller
Casa Lleo Morera
Nieuwe Kunst

Tendrilous Ornamentation
 Stilte Liberty

Palazzo Castiglioni in the corso Venezia, 47

built between 1901 and 1904 by
Sommaruga Giuseppe
CHARACTERISTICS
Extensive use of iron and glass (France)

Curvilinear

Whiplash or eel style – S-shaped linear

ornament (Germany and Austria)

Floral and Tendrilous ornaments

 Extensive use of iron and glass

Paris Métro (1900) by Hector Guimard

Montmartre Church of Saint Jean L’

Evangeliste (1894 – 1904) by Anatole de
Baudot
 Curvilinear

Hôtel Van Eetvelde in Brussels, Belgium

(1891) by Baron Victor Horta
 Whiplash or Eel Style

Façade Studio Elvira in Munich (1897- Majolica House in Vienna (1898)

1898) by August Endell by Otto Wagner
 Floral and Tendrilous ornaments

Palazzina Rossi in Milan Ceiling of Hôtel Van Eetvelde

 Floral and Tendrilous Ornaments

Hôtel Van Eetvelde in Brussels, Belgium

(1891) by Baron Victor Horta
Fenestration
• Facades were asymmetrical, and often
decorated with polychrome ceramic tiles.
The decoration usually suggested movement;
there was no distinction between the
structure and the ornament.
Size of Fenestration
The windows and doors in this art
movement are usually large ones, and are
based from what country they are used in.

Materials:
Cast iron
Steel and iron
Ceramics
Glass
Stained Glass
Reinforced concrete
Shape of Window

• In architecture, hyperbolas and parabolas in windows, arches

and doors are common, and decorative mouldings 'grow' into
plant-derived forms.
Ornaments of windows

• Asymmetrical shapes, Extensive use of

arches and curved forms, Curved glass,
Curving, plant-like embellishments,
Mosaics, Stained glass and Japanese
motifs.
• Glass art is a neat medium, where single
pieces of art are made partially or
entirely in glass.
Ornaments of door
• The ornaments found on doors
are the same with windows
only in different placements.
• Here, you’ll see everything
from stylized leaves, twigs, and
roots to stylized plants, buds,
and flowers.
• That’s because, without any
prior design aesthetic to
influence the movement, Art
Nouveau designers felt free to
look at their surroundings and
use them as muses.
INTERIOR DESIGN
 Flooring & Stained Glass
• Ensure the floors are parquet, stained and
varnished.
• stained-glass panels into doors, cabinets,
mirrors and other furnishings

Interior design of Casa Lleo Morera

 Colors & Ornaments
• Colors are more conservative and toned down, with
shades like brown, mustard, olive green, and sage green
being popular.
• Ornaments are inspired by nature – floral and tendrilous
ornamentation

Interior Design of Majolica House in Vienna

 Wallpapers
The highly stylized flower designs that are
emblematic of this art style feature heavily in its
wallpapers.

Wallpaper designs by William

Morris, a British textile
designer in 1800s.
 Lighting & Decoration
Tiffany Lamp - Originally design my Louis Comfort
Tiffany, 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.
 Fireplace & Tiles
• fireplace should feature a cast, iron hood with the curved,
elegant impression of flowers rising up on either side.
• These can be used in panels. White tiles were mixed with
patterned ones to create a pleasing, visual effect.
•Load bearing walls (mid-walls, perpendicular to the
façades) with a large diversity in thickness and
materials: adobe, brick masonry,
tabique de fasquio (a wood structural wall covered
with plaster)

•Façade composed by heavy limestone blocks

laboriously hand-carved, supported by slim stone
columns at the ground floor

•Wood as main structural material for roof (covered

by Marseilles tiles)

•Floors constituted of wood beams parallel to the

façades, bearing directly on the lateral walls.
• dominant element used is the traditional stone brick

• Curvilinear intergrations with the side panels

• The elevation of the first floor is formed by a series of windows,

separated by small stone columns.

• on the second floor, high balconies are carved out, slightly set
back and protected with an iron railing.

• Bow window
• Inspired by plants and
flowers

• Walls and ceilings are

covered in “whiplash
linings”

• Metal frame principal

staircase

• At the foot of the

staircase is a slim
column of iron rises as
if it were the stem of a
flower

• Repeated in the
corbels and railings

• Mosaic floor
Hôtel van Eetvelde / Victor Horta

• Small corridor as entryway that ascends into a

double-height octagonal atrium
• Stained glass patterns fans out like a palm frond
• Sinuous curves of the ironwork in the banisters are
ferrous analogues for creeping vines
• Widening window lintels
• A hint of modernism
 Use Big Images To
Show Your Ideas

The building of Castel Béranger

Hector Guimard (1867-1942) for his client, Anne-Elisabeth Fournier
 • House of devils
• Bow windows
• Corner domes
• Flowering ornamental
structure
• pierre de taille, red, grey
and glazed bricks,
millstones, cast iron,
molten copper, wood and
polychrome stained-glass
• Balconies bear devils and
masks

• Wrought-iron gateway is
flanked by two colonettes
 Hôtel Solvay
Victor Horta
1895-98

• Designed for Armand Solvay

• Most prestigious town house
• Two symmetrical bow windows raised over
two stories terminating in balconies
 • Oblique view of first storey with details of the
central bay
• interplay of stone (in two colors) and metal, and
the importance of organic curves against
rectilinear symmetry
• Two bow windows with wrought-iron
decoration over the entrance
• double door has a metal
lintel and elaborate
stone carving encasing it
• Curving tendrils are
echoed in the stained
glass of the windows of
the door and transom.
• carved stones