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Art Nouveau I EL FENÒMEN DE L’ART NOUVEAU I. ORÍGENS I CARACTERÍSTIQUES DE J. OLBRICH, EDIFICI SECESSIÓ, VIENA, 1898 L’ART NOUVEAU, 1890‐1910 ‐RECERCA D’UN “ESTIL DE L’ÈPOCA”‐ REACCIÓ CONTRA ELS NEOS I L’ACADEMICISME. ‐FUSIÓ ENTRE ARTS I ARTESANIA: L’ARQUITECTURA COM A FORMA D’AGLUTINAR‐LES. ARTS AND CRAFT ‐LA CONCEPCIÓ VERS ELS NOUS MATERIALS. Hector GUIMARD, CASA BÉRANGER, PARIS, 1894 ‐EL DEBAT SOBRE LA INDUSTRIALITZACIÓ I EL MAQUINISME ‐ADVENIMENT D’ESTILS EXÒTICS, JAPONESISME, ORIENTALISME… ‐‐CAIRE INTERNACIONAL: JUGENDSTIL, MODERN STYLE, LIBERTY, MODERNISME, SEZESSION… ‐. I. ORÍGENS I CARACTERÍSTIQUES DE ADOLF LOOS, LOOSHAUSE, VIENA, 1909 L’ART NOUVEAU, 1890‐1910 ‐RECERCA D’UN “ESTIL DE L’ÈPOCA”‐ REACCIÓ CONTRA ELS NEOS I L’ACADEMICISME. ‐FUSIÓ ENTRE ARTS I ARTESANIA: L’ARQUITECTURA COM A FORMA D’AGLUTINAR‐LES. ARTS AND CRAFT ‐LA CONCEPCIÓ VERS ELS NOUS MATERIALS. ANTONI GAUDÍ, CASA BATLLÓ, BARCELONA, 1906 ‐EL DEBAT SOBRE LA INDUSTRIALITZACIÓ I EL MAQUINISME ‐ADVENIMENT D’ESTILS EXÒTICS, JAPONESISME, ORIENTALISME… ‐‐CAIRE INTERNACIONAL: JUGENDSTIL, MODERN STYLE, LIBERTY, MODERNISME, SEZESSION… ‐. BEARDSLEY, Salome, 1893 • INCIDÈNCIA EN L’ORNAMENTACIÓ: L’ORNAMENT COM A SÍMBOL ESTRUCTURAL • FORMES ORGÀNIQUES: SINUOSITAT, MOTIUS FLORALS, NATURALESA I FIGURA FEMENINA • INCIDÈNCIA EN ARTS GRÀFIQUES I FOTOGRAFIA COMO A DIFUSORES DEL MOVIMENT. CARÀCTER INTERNACIONAL. DENOMINACIONS ARQUITECTURA ART NOUVEAU BÈLGICA, AUSTRIA ITÀLIA ESPANYA FRANÇA ALEMÀNYA LIBERTY‐FLOREALE MODERNISME ART NOUVEAU SEZESSION JUGENDSTIL ANGLATERRA‐EEUU O. WAGNER A. GAUDÍ, VICTOR PETER BEHRENS DOMENECH HORTA J. HOFFMAN LIBERTY STYLE J. OLBRICH MONTANER HECTOR ESCÒCIA PUIG I GUIMARD F. LL. WRIGHT CADAFALCH VAN DE LOUIS SULLIVAN VELDE CHARLES R. MACKINTOSH VICTOR HORTA, CASA TASSEL, BRUSELES, 1893 ESTRUCTRA DE FERRO VISIBLE (PARCIAL) ABSÈNCIA DE NEOS INTEGRACIÓ MOBILIARI FINESTRES BOW, NOVA DISPOSICIÓ PLANTA VICTOR HORTA, CASA TASSEL, BRUSELES, 1893. INTERIOR COLUMNA COM A ELEMENT ORGÀNIC. ORNAMENTACIÓ=ESTRUCTURA CONTINUITAT ESPACIAL MITJANÇANT ORNAMENT V. HORAT, HOTEL VAN EETVELDE, BRUSELES 1898 COMBINACIÓ FERRO‐VIDRE APROFITAMENT LUMÍNIC EN ELS ACCESSOS I ZONES CENTRALS HÉCTOR GUIMARD ESTACIÓ DE METRO PORTE DAUPHINE, PARIS, 1900 H. GUIMARD, CASTEL BÉRANGER, PARIS, 1894 FUNCIONALISME I ORNAMENTACIÓ HENRI VAN DE VELDE Escola d’arts a Weimar, 1910 L’EXPOSICIÓ DEL DEUSTCHE WERKBUND, COLÒNIA, 1914 VAN DE VELDE, TEATRE DE COLÒNIA BRUNO TAUT, PALAU DE VIDRE GROPIUS I MEYER, FÀBRICA EXPERIMENTAL LA SECESSIÓ VIENESA J. OLBRICH, PABELLÓ DE LA SECESSIÓ, 1897 PRIMAVERA SAGRADA, VER SACRUM 1897 MAJOR ABSTRACCIÓ I MANCA D’ORNAMENT DERIVACIÓ CAP A PROTORACIONALISME GUSTAVE KLIMT, OLBRICH, WAGNER, HOFFMANN… J. OLBRICH, EDIFICI SECESSIÓ, VIENA, 1898 OLBRICH, PALAU D’EXPOSICIONS A LA CÒLONIA D’ARTISTES (HOCHEZEISTRUM), DARMSTADT, 1908 OTTO WAGNER ESTACIÓ DE KARLSPATZ, 1899 OTTO WAGNER CAIXA POSTAL D’ESTALVIS DE VIENA, 1904‐1906 OTHMAR SCHIMKOWITZ PALAU STOCLET, BRUSELES, 1905‐1910 ADOLF LOOS LOOSHAUS , MICHAELERPLATZ, 1909‐1910 MACKINTOSH I L’ESCOLA DE GLASGOW. WAGNER, OLBRICH I HOFFMANN • Els 4 de Glasgow: Herbert mcNair, Frances Macdonald, MACKINTOSH i MargarEt Macdonald 1902, CADIRA DE DORMITORI A HILL HOUSE Charles Rennie Mackintosh, A House for an Art Lover, Perspectiva de la Sala de música, litografia, 1901. MAKINTOSH, ESCOLA D’ART DE GLASGOW, 1896‐1909 BIBLIOTECA ESCOLA D’ART DE GLASGOW EL MODERNISME CATALÀ ELIES ROGENT, LLUIS DOMENECH I MONTANER, JOSPE PUIG I CADAFALCH, ANTONI GAUDÍ LLUIS DOMENECH I MONTANER, PALAU DE LA MÚSICA, BARCELONA, 1908 LLUIS DOMENECH I MONTANER, GRAN HOTEL, 1903 MIQUEL BLAY HOSPITAL DE SANT PAU, 1902‐1910 ANTONI GAUDÍ, CASA VICENS, 1883‐88 FASE INICIAL HISTORICISTA ORIENTALISME NO FERRO ESTRUCTURAL,NOMÉS ORNAMENTAL “CAPRICHO” DE COMILLAS, 1883 CASA CALVET, 1898 PARC GÜELL, BARCELONA, 1910‐15 PROJECTE D’ESGLÈSIA DE SANTA COLOMA DE CERVELLÓ, 1908)CRIPTA) 1906 CASA BATLLÓ CASA MILÀ LA SAGRADA FAMÍLIA, 1882‐ 1928 ProjectE de les Misiones Católicas Franciscanas de Tánger. PÒRTICS DE LA FE, CARITAT, ARBRE DE LA VIDA, ESPERANÇA LOUIS SULLIVAN , GUARANTY BUILDING, Buffallo, Louis Sullivan, 1894 CARTELLISME I IL∙LUSTRACIÓ PINTURA EUGENE GRASSET ALPHONSE MUCHA, SIGMONDA, 1894 A. MUCHA, JOB, 1897 A. MUCHA A. MUCHA WILL. H. BRADSLEY, CHAP BOOK, 1897, GRAN BRETANYA ARTHUR BEARDSLEY GUSTAVE KLIMT (1862‐ 1918) KLIMT, FRIS DE BEETOVHEN, 1902 KLIMT, FRIS DE BEETOVHEN, 1902 KLIMT, FRIS DE BEETOVHEN, 1902 KLIMT, FRIS DE BEETOVHEN, 1902 Klimt, JUDITH, 1901 KLIMT, EL BES, 1908 BURNE JONES, WALTER CRANE I L’INFLUÈNCIA PRERAFAELITA PELICÀ, , 1881 Les nocions de SINTETISME I “CLOISONISME” EMILE BERNARD, DONA AMB KIMONO, 1887 I ARBRE GROC, 1888 ORNAMENT FRUTAL, 1890 SIMBOLISME FLAMENC VAN DE VELDE, FERDNAND KHNOPFF L’ESFINX, 1884 Ramón Casas, 1.892. Madeleine. L´absenta. SANTIAGO RUSSINYOL, CAFÉ DE MONTMARTRE, 1890 DISSENY I ARTS DECORATIVES MICHAEL THONET (1796‐1871) , PRECURSOR. CHAISE LONGHE, 1900 V. HORTA, MOBILIARI PER VILLA CHARPENTIER, 1899 HENRY VAN DE VELDE, CADIRES I ESCRIPTORI “PAPALLONA”, 1898 CASA GUIMARD, PARIS, 1900 GUIMARD VAN DE VELDE EUGÈNE GALLARD, 1900 “COP‐DE‐FUET” GASPAR HOMAR, TAULA I DETALL D’APARADOR, C. 1900 JOSEPH HOFFMANN, 1898, CADIRA REGULABLE I MOBLE BIBLIOGRAFIA ART NOUVEAU TSCHUDI MADSEN, S. (1967), Art nouveau, Madrid, Guadarrama. ARWAS, V. (2000), Art Nouveau: From Mackintosh to Liberty. The Birth of a Style, Papadakis BOZAL, V. (1991), “El modernismo”, en Historia del arte en España desde Goya hasta nuestros días, Akal. BOUILLON, J. P. (1990), Diario del Art Nouveau 1870‐1914, Barcelona, Destino. FANELLI, G. (1982) El diseño art nouveau, Madrid, Gustavo Gili. FRANCASTEL, P. (1990), Arte y técnica en los siglos XIX y XX, Debate, Madrid. LOYER, F. (1997), Art nouveau en Cataluña, Evergreen. .
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