Art Nouveau : Gabriele Fahr-Becker. txt
Idioma: Inglés Lenguaje original: Alemán Alemania : H.F Ullmann , 2007Edición: Special editionDescripción: 424p. ill. ; 26cmTipo de contenido:- text
- unmediaded
- volume
- 9783833135453
- 978833110429
- 709.0349 22
- N6465 .A7 F3413 2007
| Imagen de cubierta | Tipo de ítem | Biblioteca actual | Biblioteca de origen | Colección | Ubicación en estantería | Signatura topográfica | Materiales especificados | Info Vol | URL | Copia número | Estado | Notas | Fecha de vencimiento | Código de barras | Reserva de ítems | Prioridad de la cola de reserva de ejemplar | Reservas para cursos | |
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| Libro | CARIBET Biblioteca Arquitectura Colección General CARIBET | General N6465 .A7 F3413 2007 (Navegar estantería(Abre debajo)) | 1 | Disponible | 91000000022608 |
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With this volume, Gabriele Fahr-Becker delivers a complex portrait of the Art Nouveau phenomenon in all of its fantastic variety. It features different national variations of Art Nouveau in Scotland, England, France, Germany, Austria, the United States and other countries. It offers a comprehensive portrayal of famous individual artists including Louis Comfort Tiffany, Edward Munch, and Rene Lalique. It contains biographies of the most significant artists, and an extensive glossary. 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 will to style in architecture, interior decor, furniture design, silver and goldsmithery, ceramics and glasswork, graphic arts and painting. The author leads her readers through the diverse national variations of Art Nouveau in Europe and the United States. Artists and their contemporaries explain the significance of the literary and philosophical as well as cultural and political background by means of many theories and writings. The countless permutations of Art Nouveau are woven into a complex and yet distinctive picture of this artistic movement at the turn of the twentieth century.
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 --
Translated from the German.