Art Nouveau : txt
Gabriele Fahr-Becker.
- Special edition
- 424p. ill. ; 26cm. book
Include Index.
Contents: The Final Chord and A New Beginning Introduction 7 -- Cube and arabesque 7 -- Japan and the West 9 -- Ornamental organisms 12 -- Breathing life into nature – Synesthesia 13 -- Eternal femininity 17 -- The collage in 1900 18 -- England Ruskin, Morris and the Pre-Raphaelites 25 -- The Aesthetic Movement and Aesthetic Discontent 25 -- A life a beauty – The dandy 26 -- The Pre-Raphaelites 29 -- William Morris and the Arts and Crafts Movement 30 -- The Guilds 32 -- Morris & Co. – Merton Abbey – The Kelmscott Press 33 -- The Dial – The Studio 34 -- Charles Robert Ashbee – The Guild and School of Handicraft 35 -- Charles Francis Annesley Voysey - The house as a work of art 36 -- Arthur Lasenby Liberty – Art and commerce 39 -- Walter Crane – Line and form 43 -- James Abbott McNeil Whistler – Mists of Light 46 -- Oscar Wilde and Aubrey Vincent Beardsley: - The virtue of vice 47 -- Aubrey Vincent Beardsley: Symbolic lines and the eloquence of black 49 -- Glasgow The Blossoming of interior design 53 -- Elegant Scottish proportions 53 -- Charles Rennie Mackintosh – Purified architecture 53 -- Poetry of Interios – The Macdonald Sisters 54 -- The Four – The Glasgow style 57 -- Tea Rooms – Stylized refinements of buildings with a purpose 60 -- Hill House – Scotland’s Ultimate Artistic Whole 66 -- Paris World expositions and the bourgeoisie 71 – L’art pour l’art – Fin de siècle 71 -- World expositions – The “absolute bourgeoisie” 73 -- Hector Guidmard: Le Style Métro 75 -- L’architecte d’ art 76 -- La divine arabesque – Debussy and Bergson 82 -- “Hey eyes and the diamonds shone in a single flame” (Gustave Flaubert) 85 -- René Lalique: Poetic jewelry – Polished poetry 87 -- Le Style Parisien: Alfons Maria Mucha – Jules Chéret – Eugène Grasset 90 -- Maison Bing, L’ Art Nouveau 92 -- Feminine Art Nouveau aestheticism: Georges de Feure – Eugène Gaillard 93 -- Symbolism in stone – Jules Aimé Lavirotte 95 -- Masters of fire: Potters and glassmakers 95 -- A living arabesque – Loie Fuller 100 -- Henri de Toulouse – Lautrec 100 -- La Revue Blanche – The graphic line 102 -- Nancy The Language of flora and fauna 107 -- Patriotism as a driving force 107 Pantheism and flower mysticism 107 -- Emile Gallé 110 -- A la japonica 113 -- Verres parlantes – “Talking glasses” 114 Glass techniques 114 -- Marvels in wood – Flora and fauna 116 -- Louis Majorelle – Les Nénuphars 119 -- Art for all? 121 -- The Daum brothers’ glass factory 123 -- L’Ecole de Nancy 127 -- Belgium The new architecture 131 -- Symbolism – a Belgian tradition 131 -- Mallarmé – Maeterlinck – Khnopff 131 -- Manifesto of the new style 135 -- Iron and glass – Victor Horta 136 -- The Belgian line 137 -- Heyday of architecture – Brussels around 1900 143 -- Gustave Serrurier – Bovy – Inventor of jointed furniture 148 -- Iron and gold – Sphinx and ivory 150 -- Phillippe Wolfers – Black jewels 151 -- Henry van de Velde – doyen of Art Nouveau 152 -- Synthesis of art 157 -- The figurative line 160 -- The Netherlands abstract line and De Stijl 163 – Symbolist arabesques 163 -- Haagsche Plateelbakkeerij Rozenburg 164 -- The non-curving line – Abstraction 169 -- Hendrik Petrus Berlage – The new architecture 171 -- De Stijl – Concrete art 175 -- Italy and Russia A step into the future 179 -- Expositions, the total art shows – Turn 1902 179 -- Magic of the Orient – D’Aronco and the Bugattis 180 -- Cult of Eros and beauty – Gabriele D’ Annunzio 185 -- Redundancy and architecture 187 -- Stile Liberty – Futurism 187 -- Russia – Art Nouveau and abstraction 189 -- Barcelona Architecture as a natural phenomenon 195 -- The “Moorish style” 195 -- Antoni Gaudí I Cornet – Catalan and world citizen 195 -- Catalonia and Europe 197 -- Modernisme: Lluis Doménech i Montaner and Manuel Raspall i Mayol 198 -- Aesthic Pluralism 200 -- “God’s Master Builder” – the correlation between structure, form, and space 201 -- Symphonic statics 203 -- Mythology, symbolism and functionality of the organic 203 -- The “Dante of Architecture” 205 -- Painterly and sculptural architectural composition 206 -- La Sagrada Familia 209 -- Munich Capital of arts and crafts 213 -- A youthful mood in southern Germany – New Jugendstil, new lifestyle 213 -- Munich shone! 214 -- August Endell – “Ornamental frenzies” 217 -- Hof-Atelier Elvira 217 -- “Blessed be the spiral”- Hermann Obrist 220 -- The Secession and the “snake painter” 221 -- Munich’s Montparnasse – The Decadent Movementand Symbolism 223 -- Caricature and illustration – Simplicissimus and Jugend 224 -- The Vereinigte Werkstätten für Kunst im Handwerk and the Munich designers 227 -- Richard Riemerschmid – Painter and anatomist of handicraft 229 -- Darmstadt Revolution and art 235 -- Art for all – “Elite art” 235 Deliverance from on high – Patronage around 1900 236 -- Grand Duke Ernst Ludwig of Hesse – Statesman and sponsor 236 -- The Darmstadt artists’ colony 238 -- The home as cult building – Peter Behrens and Joseph Maria Olbrich 242 -- The artists of the colony 248 -- Exhibitions and “documentations” 250 -- “Artists, more than other people, are individualists” 251 -- Berlin German factories and workshops 255 -- Berlin – Jugendstil versus Wilhelminism 255 -- The “Much affair” – Walter Leistikow- Secession 255 -- Pan – Julius Meier-Graefe 259 The total work of art in print 261 -- Dreams of flowering glass – Karl Koepping 262 -- A potpourri of expressive forms 262 -- Jugendstil form Saxony 269 -- Worpswede – lineament and plane 269 -- Peter Behrens – From artist-designer to industrial designer 270 -- Henry van de Velde- The abstract line-Karl Ernst Osthaus 275 -- Weimar and Count Harry Kessler- From Goethe to the Bauhaus 278 -- Scandinavia National consciousness in the “Light of the North” 283 – Norway and Finland 283 -- The Light and luminosity of the North 283 -- Art Nouveau – Culture heritage lent modern expression 283 -- Edvard Munch – Portraits of human emotion 287 -- Landscape as a vehicle of mood 288 -- Duplicity of nature and style – Tapestries 289 -- Globalism and native tradition 290 -- Akseli Gallen-Kallela – The Finnish soul 293 -- Finland’s “Golden Age” – The artist-designers 294 -- Finnish architecture 297 -- Geselius, Lindgren & Saarinen 299 -- The evolution of architecture into the 20th century 301 -- Denmark and Sweden 304 -- From ‘sophisticated” handcraft to design 304 -- Den Kongelige Porcelainsfabrik- The Royale Danish Porcelain Factory 305 -- Mastery in silver – Georg Jensen 307 -- Visions and “Northern Symbolism” 308 -- From North to South 309 -- New York and Chicago Form Follows function 313 -- Functional organism 313 -- The American Dream – Louis Comfort Tiffany 314 -- Stained-glass windows – A luminous play pf color 316 -- “Favrile” – Invention and Inventiveness in glass 317 -- Tiffany lamps – Glass pictures flooded with light 320 -- Graphic art 323 -- Louis Henry Sullivan 324 -- The Chicago School of Architecture 325 -- Frank Lloyd Wright 327 -- Zen and Prairie 331 -- Vienna End of an era 335 -- Imperial Royal Vienna – Waltzing in bliss 335 -- Coffeehouse culture – The Secession 336 -- Gustav Klimt and the “empty plane” 340 -- The Beethoven Exhibition – A scandal 344 -- Vienna Secession style 345 -- Otto Wagner and modern architecture 347 -- Naissance – The Austrian Post Office Savings Bank 349 -- Furniture as architecture 351 -- Iridescent color from Bohemia 352 -- Adolf Loos – Austerity on the attack 355 -- The liberation of the beauty from ornament 358 -- The Wiener Werkstätte the total work of ar5t accomplished 361 -- Art and patronage 361 -- The inspired métier of the artist craftsman 364 -- Josef Hoffman and Koloman Moser - Purkersdorf Sanatorium 367 -- “Ornamental madness” - Colored squares 369 -- Cabaret Fledermaus - A “miracle of design” 373 -- Palais Stoclet – The total work of art 374 -- Appendix 381 -- Bibliographic notes 381 -- Glossary 386 -- Biographies 391 -- Biographical references 415 -- Acknowledgements 419 -- Picture credits 420 -- Index 421 --
The unity of art and life was the expressed goal of the Art Nouveau movement, the prelude to modernity. On the basis of shared ideas its adherents strove for a homogenous style, which nonetheless took on manifold variations in its expression. Dr. Gabriele Fahr-Becker pursues this yearning for an all-pervasive style in its impact on architecture, interior design, furniture, silver and gold-smithery, ceramics and glasswork, graphic arts and painting --