DOCSLIB.ORG

Art Nouveau 50 Works of Art You Should Know

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Nouveau 50 Works of Art You Should Know 02 ARTHUR HEYGATE MACKMURDO, WREN’S CITY CHURCHES 04 HENRI DE TOULOUSE- LAUTREC, DIVAN JAPONAIS 14 ALPHONSE MUCHA, ZODIAC 12 AUBREY BEARDSLEY, 15 THÉOPHILE-ALEXANDRE ISOLDE STEINLEN, LE CHAT NOIR CABARET 05 MAURICE DENIS, APRIL 34 MARGARET MACDONALD MACKINTOSH, OPERA OF 16 JULES CHÉRET, LOÏE FULLER 06 PAUL GAUGUIN, WHAT! ARE THE SEAS AT THE FOLIES BERGÈRE YOU JEALOUS? AHA OE FEII? 42 GUSTAV KLIMT, FULFIL- 20 ALPHONSE MUCHA, 13 HERMANN OBRIST, MENT (THE EMBRACE) THE ARTS: DANCE THE WHIPLASH 10 EDWARD COLEY BURNE- JONES, LOVE AMONG THE 48 EDMUND DULAC, THESE 21 HENRY VAN DE VELDE, 19 RENÉ LALIQUE, RUINS NO SOONER SAW BEAUTY TROPON DRAGONFLY WOMAN THAN THEY BEGAN TO 11 EDVARD MUNCH, SCREAM AND CHATTER 22 KOLOMAN MOSER, 27 GEORGES FOUQUET, MADONNA DANCING GIRLS PEACOCK 49 KAY NIELSEN, THE PRIN- 31 GUSTAV KLIMT, JUDITH CESS ON THE WAY TO THE 35 EMMANUEL ORAZI, 39 ARCHIBALD KNOX, WITH THE HEAD OF DANCE LA MAISON MODERNE BELT BUCKLE HOLOFERNES 50 SIDNEY SIME, 46 WALTER CRANE, 44 MARIANO FORTUNY, 45 GUSTAV KLIMT, THE KISS THE OMINOUS COUGH NEPTUNE’S HORSES DELPHOS GOWN PAINTING DRAWING GRAPHIC WORK FASHION & JEWELLERY OVERVIEW 03 ANTONI GAUDÍ, SAGRADA FAMÍLIA 08 VICTOR HORTA, HÔTEL TASSEL 18 JOSEPH MARIA OLBRICH, SECESSION BUILDING 07 LOUIS COMFORT TIFFANY, 23 HECTOR GUIMARD, PARAKEETS AND GOLDFISH ENTRANCE TO THE BOWL 28 ALPHONSE MUCHA, LA NATURE MÉTRO PORTE DAUPHINE 09 LOUIS COMFORT TIFFANY, 29 FRANÇOIS-RAOUL LARCHE, FAVRILE VASE LOÏE FULLER TABLE LAMP 24 OTTO WAGNER, KARLSPLATZ UNDER- 25 ÉMILE GALLÉ, GLASS VASE 33 PETER BEHRENS, JUGENDSTIL GROUND STATION TABLE LAMP 26 DAUM FRÈRES, GLASS AND 30 ANTONI GAUDÍ, PARK IRON LAMP 01 ARTHUR HEYGATE MACKMUR- 37 GUSTAV GURSCHNER, SHELL GÜELL DO, FRETWORK-BACKED CHAIR TABLE LAMP 32 CHARLES ROBERT ASHBEE, 38 CHARLES RENNIE DECANTER 17 CHARLES RENNIE MACKIN- 40 GEORG JENSEN, BLOSSOM TEA MACKINTOSH, GLASGOW TOSH, HIGH-BACKED CHAIR AND COFFEE SERVICE SCHOOL OF ART 36 LOUIS COMFORT TIFFANY & CLARA DRISCOLL, WISTERIA 43 LOUIS MAJORELLE, 47 CHARLES ROBINSON SYKES, 41 ANTONI GAUDI, TABLE LAMP NÉNUPHAR BED THE SPIRIT OF ECSTASY CASA BATTLÓ GLASS WORK WOODWORK & FURNITURE METAL WORK ARCHITECTURE ART NOUVEAU 50 WORKS OF ART YOU SHOULD KNOW Susie Hodge PRESTEL Munich · London · New York CONTENTS INTRODUCTION 9 01 ARTHUR HEYGATE MACKMURDO 14 ALPHONSE MUCHA Fretwork-Backed Chair 24 Zodiac 50 02 ARTHUR HEYGATE MACKMURDO 15 THÉOPHILE-ALEXANDRE STEINLEN Wren’s City Churches 26 Le Chat Noir Cabaret 52 03 ANTONI GAUDÍ 16 JULES CHÉRET Sagrada Familia 28 Loïe Fuller at the Folies Bergère 54 04 HENRI DE TOULOUSE-LAUTREC 17 CHARLES RENNIE MACKINTOSH Divan Japonais 30 High-Backed Chair 56 05 MAURICE DENIS 18 JOSEPH MARIA OLBRICH April 32 Secession Building 58 06 PAUL GAUGUIN 19 RENÉ LALIQUE What! Are You Jealous? Aha Oe Feii? 34 Dragonfl y Woman Corsage Ornament 60 07 LOUIS COMFORT TIFFANY 20 ALPHONSE MUCHA Parakeets and Goldfi sh Bowl 36 The Arts: Dance 62 08 VICTOR HORTA 21 HENRY VAN DE VELDE Hôtel Tassel 38 Tropon 64 09 LOUIS COMFORT TIFFANY 22 KOLOMAN MOSER Favrile Vase 40 Dancing Girls 66 10 EDWARD COLEY BURNE-JONES 23 HECTOR GUIMARD Love Among the Ruins 42 Entrance to the Métro Porte Dauphine 68 11 EDVARD MUNCH 24 OTTO WAGNER Madonna 44 Karlsplatz Underground Station 70 12 AUBREY BEARDSLEY 25 ÉMILE GALLÉ Isolde 46 Glass Vase 72 13 HERMANN OBRIST 26 DAUM FRÈRES The Whiplash Wall Hanging 48 Glass and Iron Lamp 74 27 GEORGES FOUQUET 40 GEORG JENSEN Peacock Brooch 76 Blossom Coffee and Tea Service 102 28 ALPHONSE MUCHA 41 ANTONI GAUDÍ La Nature 78 Casa Battló 104 29 FRANÇOIS-RAOUL LARCHE 42 GUSTAV KLIMT Loïe Fuller Table Lamp 80 Fulfi lment (The Embrace) 106 30 ANTONI GAUDÍ 43 LOUIS MAJORELLE Park Güell 82 Nénuphar Bed 108 31 GUSTAV KLIMT 44 MARIANO FORTUNY Judith with the Head of Holofernes 84 Delphos Gown 110 32 CHARLES ROBERT ASHBEE 45 GUSTAV KLIMT Decanter 86 The Kiss 112 33 PETER BEHRENS 46 WALTER CRANE Jugendstil Table Lamp 88 Neptune’s Horses 114 34 MARGARET MACDONALD 47 CHARLES ROBINSON SYKES Opera of the Seas 90 The Spirit Of Ecstasy 116 35 EMMANUEL ORAZI 48 EDMUND DULAC La Maison Moderne 92 These No Sooner Saw Beauty than they Began to Scream and Chatter 118 36 LOUIS COMFORT TIFFANY AND CLARA DRISCOLL Wisteria Table Lamp 94 49 KAY NIELSEN The Princess on the Way to the Dance 120 37 GUSTAV GURSCHNER Shell Table Lamp 96 50 SIDNEY SIME The Ominous Cough 122 38 CHARLES RENNIE MACKINTOSH Glasgow School Of Art 98 PHOTO CREDITS 124 39 ARCHIBALD KNOX Belt Buckle 100 8 INTRODUCTION styles and historical replications that were popular during the Victorian era, and aimed to produce original designs that reached a broader public, transcending class bound- aries, reconciling mass production with craftsmanship and democratising tastes. Sources of inspiration The nineteenth century saw the industri- alisation and urbanisation of much of Eur- ope. There was a great rise in the wealth of the middle and upper classes, but this co-existed with extreme poverty and huge economic booms and slumps, leading to The Hunterston Brooch, silver, gold and amber, ca. 700, periodic mass unemployment. The large National Museums of Scotland, Edinburgh increase in the availability of material goods and commercial opportunities was Art Nouveau was an infl uential but rela- accompanied by persistent anxieties about tively short-lived art and design movement the social and moral effects of such con- and philosophy that emerged in the fi nal sumerism, initiating a rise in socialist and decades of the nineteenth century (often anarchist movements. In this respect, Art called the fi n de siècle) and ended with Nouveau evolved directly from the Arts and the start of World War One. It developed Crafts movement that was led by the Eng- almost simultaneously across Europe and lish designer and socialist William Morris America, in provincial towns as well as in (1834–96). The Arts and Crafts movement capital cities, including Glasgow, Chicago, was a reaction against the predominance Barcelona, Paris, Bucharest, Nancy, Brus- of cluttered, ornate styles, poorly made sels and St Louis. A conscious attempt mass-produced objects and the division of to create a unique and modern form of labour, all of which were a direct conse- expression that evoked the spirit of the quence of the Industrial Revolution. Morris age, it was a versatile movement with huge and his followers had sought to revitalise scope and infl uence that manifested itself design and revive medieval crafts, produc- in painting, illustration, sculpture, jewellery, ing handmade items in small workshops, metalwork, glass, ceramics, textiles, graph- ultimately aiming to enhance people’s ic design, furniture, architecture, costume quality of life. Like the Arts and Crafts and fashion. Applying organic, fl owing movement, Art Nouveau artists and design- lines, Art Nouveau designers determined ers drew on diverse infl uences, including to escape the excessively ornamental Celtic art and design, the Gothic Revival, 10 Sudden Rainstorm at Shono, No. 46 from the series “53 Stations of the Tokaido,“ Ando or Utagawe Hiroshige, woodblock print, 1833, Victoria & Albert Museum, London the Rococo, the Aesthetic movement, Sym- was superior to craft-based decorative bolist art, and aspects of Japanese design. arts. In addressing this attempt to raise the Unlike the Arts and Crafts movement, how- status of crafts and the decorative arts, ever, Art Nouveau artists and designers did Art Nouveau was applied to all forms of not shun mass production, but embraced art and design, with practitioners endeav- many modern technologies, including ma- ouring to produce “total works of art” or chines. The movement was a genuine at- Gesamtkunstwerke, in which every aspect tempt to create something completely new of art and design was coordinated. Artists, that did not imitate the past, and that was designers and architects also aimed to har- truly international. monise with the natural environment, and Art Nouveau was also a rejection of determined that art and design should be the traditional hierarchy of the arts estab- an integral part of life. lished by the academic system that had The fi rst Art Nouveau designs are be- dominated art education since the seven- lieved to have been made by the English teenth century, and which maintained that architect and designer Arthur Heygate fi ne art, such as painting and sculpture, Mackmurdo (1851–1942) early in the 1880s. 11.
Load more

Recommended publications
  • Midnight in Paris & New York: Scenes from the 1890S
    Midnight in Paris & New York: Scenes from the 1890s - 1930s William Glackens and His Contemporaries Dimensions are frame size: 2-D objects: height x length 3-D objects: height x length x depth William J. Glackens (American, 1870-1938) Glackens and Colleagues: Paintings + Drawings The Seine at Paris, n.d. Charcoal on paper 11 ¾ x 14 1/8 inches NSU Art Museum Fort Lauderdale; bequest of Ira D. Glackens, 91.40.167.a Edith Dimock (American, 1876-1955) Mrs. Roosevelt at Klein's, n.d. Watercolor 20 ¼ x 17 ¼ inches NSU Art Museum Fort Lauderdale; gift of the Sansom William J. Glackens (American, 1870-1938) Foundation, 92.77 The Seine at Paris, n.d. Drypoint 10 x 13 inches NSU Art Museum Fort Lauderdale; bequest of Ira D. Glackens, 91.40.167.b Edith Dimock (American, 1876-1955) Trying on Room at Klein's, Union Square, n.d. Watercolor 17 ¼ x 20 ¼ inches NSU Art Museum Fort Lauderdale; bequest of Ira D. Glackens, 91.40.75 William J. Glackens (American, 1870-1938) Untitled, n.d. Charcoal 17 ¼ x 20 ¼ inches NSU Art Museum Fort Lauderdale; bequest of Ira D. Glackens, 91.40.213 William J. Glackens (American, 1870-1938) Sketchbook, 1905 Charcoal on paper 7 in x 5 inches NSU Art Museum Fort Lauderdale; gift of the Sansom Foundation, 92.61 10 1 William J. Glackens (American, 1870-1938) Circus Parade, 1895-1896 Oil on canvas 28 x 36 ¼ inches NSU Art Museum Fort Lauderdale; gift of the Sansom William J. Glackens (American, 1870-1938) Foundation, FIC7.2009.2 Dancer in Pink Dress, 1902 Oil on canvas 40 ½ x 24 ½ inches NSU Art Museum Fort Lauderdale; gift of the Sansom Foundation, 94.13 William J.
    [Show full text]
  • FROM JAPONISME to ART NOUVEAU Matthew Martin Japanese Art Is Important As a Teacher
    FROM JAPONISME TO ART NOUVEAU Matthew Martin Japanese art is important as a teacher. From it, we once again learn to feel clearly how far we have strayed from nature's true designs through the persistent imitation of fixed models; we learn how necessary it is to draw from the source; how the human spirit is able to absorb a wealth of magnificent, naive beauty from the organic forms of nature in place of pedantic, decrepit rigidity of form. Julius Lessing, Report from the Paris Exposition Universelle, 1878 In the nineteenth century, an age where art from many different cultures was available for consumption, no other art had such a deep, transformational and permanent impact on the West as that of Japan. A five decade-long fascination began in exoticism, with widespread, literal copying of Japanese motifs and techniques, and ended in the absorption of Japanese aesthetic principles to the point that we no longer see anything overtly Japanese in European art and design of the turn of the twentieth century—the brief, brilliant moment of Art Nouveau, now widely recognised as the beginning of modern design. As the term `Japonisme' suggests, Japanese art had an enormous impact on the arts in France from the 1860s onwards.' The second half of the nineteenth century was a period of soul searching for intellectuals and artists across Europe. Many believed that the rise of industrial production in the nineteenth century had destroyed taste. Concomitant with this was the belief that quality of taste reflected the health — or lack thereof— of a society.
    [Show full text]
  • A Pair of Art Deco Amboyna and Gilt Armchairs Attributed to Josef Hoffmann of Vienna
    A Pair of Art Deco Amboyna and Gilt Armchairs Attributed to Josef Hoffmann of Vienna Circa 1910 – 12 23.5 x 20.5 x 44 in high (60 x 52 x 112 cm high) The tops of the curved attenuated backs are fitted with giltwood cappings. The backs and fronts of the high backs are quarter veneered and the arms are curved and shaped around the seat. With square legs and upholstered in a brown patterned velvet. Josef Hoffmann (1870-1956) was an ! Austrian architect, interior designer and applied artist. He studied architecture at the Academy of Fine Arts in Vienna, Austria, under Art Nouveau architect Otto Wagner, whose theories of functional, modern architecture profoundly influenced his works and, in 1896, he joined his office. ! In 1898, he established his own practice in Vienna. In 1897, inspired by Mackintosh and the Glasgow School, he was one of the founding members with Gustav Klimt, of an association of revolutionary artists and architects, the Vienna Secession.!!In 1903, he founded, with architects Koloman Moser and Joseph Maria Olbrich, the Wiener Werkstätte for decorative arts. ! They aspired to the renaissance of the arts and crafts and to bring more abstract and purer forms to the designs of buildings and furniture, glass and metalwork, following the concept of total work of art. Hoffman's works combined functionality and simplicity of craft production with refined and innovative ornamental details and geometric elements. He is an important precursor of the Modern Movement and Art Deco. !!In 1905, Hoffmann, Klimt and the Wiener Werkstätte artists, designed the Palais Stoclet, in Brussels, the Capital of Art Nouveau and city of Victor Horta.
    [Show full text]
  • Nancy and the Birth of Art Nouveau
    Nancy and the Birth of Art Nouveau Travel Passports Please ensure your 10-year British Passport is not out of date and is valid for a full six months beyond Train Seats the duration of your visit. EU, Andorra, On all legs of the journey you have reserved seat Liechtenstein, Monaco, San Marino or Switzerland and carriage numbers which are shown clearly on valid national identification cards are also your ticket. acceptable for travel to France. Visas Baggage British and EU passport holders are not required to As with most trains, passengers are responsible for have a visa. carrying baggage onto and off the train. Baggage can be stored on overhead shelves or at the For all other passport holders please check the visa entrance to the carriages. Trollies are available at St requirements with the appropriate embassy. Pancras and Lille, but bags do need to be carried on to the platform. Porters are sometimes but not French consulate: PO Box 57, 6A Cromwell Place, always available at St Pancras. London SW7 2EW; Tel (020) 7838 2000/1. Travel Editions recommends a luggage delivery Information Service: Tel (0891) 887 733, Fax: (020) service called thebaggageman, where your suitcase 7838 2046. can be picked up from your home before departure Opening hours: 0900-1130 (and 1600-1630 for visa and delivered straight to your hotel; therefore collection only) Mon-Fri (except British and French removing the worry about carrying your cases onto national holidays). and off the trains. For further information: http://www.thebaggageman.com Tickets You will be issued with return train tickets.
    [Show full text]
  • KOLOMAN MOSER Ø KOLOMAN DESIGNING MODERN VIENNA Ø MOSER 1897–1907 Edited by Christian Witt-Dörring
    5294-NG_MOSER_jacket_offset 19.03.13 13:47 Seite 1 MOSER KOLOMAN KOLOMAN MOSER ø KOLOMAN DESIGNING MODERN VIENNA ø MOSER 1897–1907 Edited by Christian Witt-Dörring With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Rainald Franz, Ernst Ploil, Elisabeth Schmuttermeier, Janis Staggs, Angela Völker, and Christian Witt-Dörring FRONT COVER: This catalogue accompanies an (TOP ROW) Armchair, ca. 1903, Neue Galerie DESIGNING New York; Easter egg, 1905, A.P. Collection, MODERN VIENNA exhibition at the Neue Galerie London; (MIDDLE ROW) Vase, 1905, New York and the Museum of A.P. Collection, London; Jewelry box, 1907, 1897–1907 Fine Arts, Houston, devoted to Private Collection; (BOTTOM ROW) Vase, 1903, Ernst Ploil, Vienna; Bread basket, 1910, Austrian artist and designer Asenbaum, London Koloman Moser (1868–1918). It BACK COVER: is the first museum retrospec- (TOP ROW) Centerpiece with handle, 1904, tive in the United States focused Private Collection; Coffer given by Gustav on Moser’s decorative arts. The Mahler to Alma Mahler, 1902, Private Collection; (MIDDLE ROW) Two napkin rings, exhibition is organized by Dr. 1904, Private Collection; Table, 1904, Private Christian Witt-Dörring, the Neue Collection; (BOTTOM ROW) Mustard pot, 1905, Private Collection; Display case for the Galerie Curator of Decorative Arts. Schwestern Flöge (Flöge Sisters) fashion salon, 1904, Private Collection The exhibition and catalogue survey the entirety of Moser’s decorative arts career. They ex- amine his early work as a graphic designer and his involvement with the Vienna Secession, with spe- cial focus given to his role as an PRESTEL PRESTEL artist for the journal Ver Sacrum (Sacred Spring).
    [Show full text]
  • Kunsthaus Zürich Presents 'Hodler, Klimt and the Wiener Werkstätte'
    Media release Zurich, 20 May 2021 Kunsthaus Zürich presents ‘Hodler, Klimt and the Wiener Werkstätte’ From 21 May to 29 August, the Kunsthaus Zürich presents paintings, drawings, furniture, jewellery and design objects from the heyday of the Vienna Secession. The presentation focuses on works by Josef Hoffmann, Ferdinand Hodler and Gustav Klimt as well as the creations of Dagobert Peche. Peche was the artistic director of the Wiener Werkstätte branch that opened on Zurich’s Bahnhofstrasse in 1917, and whose history is being examined by scholars for the first time as part of the exhibition. The presentation includes some 160 exhibits. It is curated by Tobias G. Natter, former Director of the Leopold Museum in Vienna and author of the catalogues raisonnés of the paintings of Gustav Klimt (2012) and Egon Schiele (2017). The exhibition sheds new light, from a Viennese perspective, on Ferdinand Hodler (1853–1918), who during his lifetime was already being seen as Switzerland’s ‘national artist’. It reminds us that Hodler owed his international breakthrough to the triumph of his participation in the 19th Exhibition of the Vienna Secession in 1904, which brought him the social and financial success he had long craved. Hodler also spent several weeks in Vienna during the exhibition, experiencing at first hand the aesthetic of Viennese ‘Jugendstil’. ‘HIGH AND LOW’ Of the artists Hodler met in Vienna, he reserved the greatest admiration for Gustav Klimt (1862–1918), and in particular ‘the decorative element’ of his art. Yet while known as a peerless exponent of ‘Vienna 1900’, eroticism and ornament, Klimt was more than just the leading figure in Viennese modernism.
    [Show full text]
  • Guide to International Decorative Art Styles Displayed at Kirkland Museum
    1 Guide to International Decorative Art Styles Displayed at Kirkland Museum (by Hugh Grant, Founding Director and Curator, Kirkland Museum of Fine & Decorative Art) Kirkland Museum’s decorative art collection contains more than 15,000 objects which have been chosen to demonstrate the major design styles from the later 19th century into the 21st century. About 3,500 design works are on view at any one time and many have been loaned to other organizations. We are recognized as having one of the most important international modernist collections displayed in any North American museum. Many of the designers listed below—but not all—have works in the Kirkland Museum collection. Each design movement is certainly a confirmation of human ingenuity, imagination and a triumph of the positive aspects of the human spirit. Arts & Crafts, International 1860–c. 1918; American 1876–early 1920s Arts & Crafts can be seen as the first modernistic design style to break with Victorian and other fashionable styles of the time, beginning in the 1860s in England and specifically dating to the Red House of 1860 of William Morris (1834–1896). Arts & Crafts is a philosophy as much as a design style or movement, stemming from its application by William Morris and others who were influenced, to one degree or another, by the writings of John Ruskin and A. W. N. Pugin. In a reaction against the mass production of cheap, badly- designed, machine-made goods, and its demeaning treatment of workers, Morris and others championed hand- made craftsmanship with quality materials done in supportive communes—which were seen as a revival of the medieval guilds and a return to artisan workshops.
    [Show full text]
  • H-France Review Vol. 19 (July 2019), No. 142 Jessica M. Dandona, Nature and the Nation I
    H-France Review Volume 19 (2019) Page 1 H-France Review Vol. 19 (July 2019), No. 142 Jessica M. Dandona, Nature and the Nation in Fin-de-Siècle France: The Art of Emile Gallé and the Ecole de Nancy. New York and London: Routledge, 2017. xiii + 214 pp. Figures, notes, works cited, and index. $126.00 (cl). ISBN 978-1-4724-6261-9; $49.46 (eb). ISBN 978-1-3151-7611-6. Review by Peter Clericuzio, University of Edinburgh. The political activism of Emile Gallé (1846-1904) is not a new story. At the end of the nineteenth century, an age when cutting-edge fine artists in France were turning away from history and contemporary politics, leaving these fields to commercial illustrators and photographers, the Nancy-based furniture manufacturer and glassmaker rushed in to fill the void.[1] Gallé’s geographic location (on the redrawn eastern frontier) and personal experience (he had fought in the Franco-Prussian War of 1870-71) meant that he witnessed with great sorrow the dismemberment of his native region of Lorraine between France and the newly-formed German Empire as decreed by the hated Treaty of Frankfurt ending the conflict. Outspoken and filled with conviction, Gallé determined to use his skills and talents with glass and wood to address the tumultuous issues that he saw eating at the belly of the Third Republic as it struggled for survival during its first three decades. His leadership in the development of the fin-de-siècle style called Art Nouveau in the decorative arts ensured Gallé’s place in history before his death at age fifty-eight, now thought to have been caused by exposure to hazardous chemicals that he pioneered the use of in his glassmaking.[2] Jessica Dandona’s concise monograph focuses on four primary arenas of intersection between Gallé’s decorative art and contemporaneous French politics over the last twenty years of the artist’s life.
    [Show full text]
  • Style and Seduction Review
    Elana Shapira. Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siècle Vienna. Waltham: Brandeis University Press, 2016. xv + 314 pp. Illustrations. $40.00 (paper), ISBN 978-1-61168-921-1. Reviewed by Leslie Topp (Birkbeck, University of London) Published on HABSBURG (July, 2017) Commissioned by Jonathan Kwan Architecture, Design and Identity in Fin-de-Siecle Vienna Elana Shapira’s book investigates the ways in which as secessionist, modernist, and avant-garde. The seces- Jewish patrons, critics, salonniers, and collectors sup- sionist chapter presents rich new research on the critic ported advanced architecture and interior design in Vi- Ludwig Hevesi and the dynamic industrialist and art sup- enna between the mid-nineteenth century and the First porter Karl Wittgenstein; Shapira emphasizes their piv- World War. She convincingly argues that patronage and otal importance to the Vienna Secession and its sensa- other types of intellectual and social support for inno- tional new building on the Naschmarkt designed 1898 vation in architecture and design were deployed by a by Joseph Maria Olbrich, while also arguing that the Se- wide range of Viennese Jews in order to stake a claim cession was crucial to their own image formation as at- for cultural authority in an often hostile context. She tractive outsiders. The modernists include Isidor Singer usefully rejects pat interpretations of patronage as a and Heinrich Kanner, who worked with Otto Wagner to tool of assimilation–as a way of blending in. She ar- craft an sophisticated modern image for their newspa- gues instead, following Hannah Arendt and the literary per, Die Zeit.
    [Show full text]
  • Josef Hoffmann, Charles Rennie Mackintosh, and Their Contribution to the Decorative Arts in Fin- De-Siecle Glasgow and Vienna
    Illinois Wesleyan University Digital Commons @ IWU Honors Projects History Department 4-15-2014 The Two Gentleman of Design: Josef Hoffmann, Charles Rennie Mackintosh, and their Contribution to the Decorative Arts in Fin- de-Siecle Glasgow and Vienna Elizabeth Muir Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/history_honproj Part of the History Commons Recommended Citation Muir, Elizabeth, "The Two Gentleman of Design: Josef Hoffmann, Charles Rennie Mackintosh, and their Contribution to the Decorative Arts in Fin-de-Siecle Glasgow and Vienna" (2014). Honors Projects. 51. https://digitalcommons.iwu.edu/history_honproj/51 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Elizabeth Muir Major: History Research Honors The Two Gentleman of Design: Josef Hoffmann, Charles Rennie Mackintosh, and their Contribution to the Decorative Arts in Fin-de-Siecle Glasgow and Vienna Dr. Horwitz April 15, 2014 In the twentieth century, two designers stood out as radicals: Josef Hoffmann of Vienna and Charles Rennie Mackintosh of Glasgow.
    [Show full text]
  • R.M. SCHINDLER: the PREQUEL Josef Hoffmann, Adolf Loos, Otto Wagner, and the Modernist Debates of Early 20Th Century Vienna
    Press Contact: Adam Peña (323) 651-1510 [email protected] MAK Center for Art and Architecture at the Schindler House presents R.M. SCHINDLER: THE PREQUEL Josef Hoffmann, Adolf Loos, Otto Wagner, and the Modernist Debates of Early 20th Century Vienna Exhibition: September 11 - December 6, 2015 Opening Reception: September 10, 2015 (West Hollywood, July 8, 2015) Upcoming this fall, the MAK Center for Art and Architecture House presents an exhibition exploring the intellectual climate in Vienna at the time of R.M. Schindler's architectural training, and highlighting the trajectory connecting 19th century Europe with 20th century West Hollywood. Curated by Christian Witt-Dörring, MAK Vienna, R.M. Schindler: The Prequel will be on view at the Schindler House from September 11-December 6, 2015. There will be a public preview and reception on Thursday, September 10 (Schindler's birthday), from 7:00-9:00 p.m. and Witt-Dörring will lead a walk-through beginning at 6:30 p.m. R.M. Schindler: The Prequel contextualizes the landmark 1922 Kings Road House as a direct result of the debates playing out in Vienna Modernist circles from 1890-1914, when Schindler was a student and young practitioner. Through photographs, drawings, and furniture designs, the exhibition reviews the foundations laid by Otto Wagner, as well as the next generation responses to his work as personified by Adolf Loos and Josef Hoffmann. The Prequel is divided into four sections: the first focuses on R.M. Schindler's (1887- 1953) Vienna years from 1887-1914. As a student, Schindler took up civil engineering before attending Otto Wagner's special school of architecture at the Academy of Fine Arts.
    [Show full text]
  • Mixing Modernism & Historical Luxurious Styles in Furniture Design
    International Design Journal Volume 9 Issue 2 Article 12 2019 Mixing Modernism & historical luxurious styles in furniture design applying Art Nouveau movement concept & aspects Hanan krema Associate professor, Faculty of education, Helewan University, [email protected] Follow this and additional works at: https://digitalcommons.aaru.edu.jo/faa-design Part of the Art and Design Commons Recommended Citation krema, Hanan (2019) "Mixing Modernism & historical luxurious styles in furniture design applying Art Nouveau movement concept & aspects," International Design Journal: Vol. 9 : Iss. 2 , Article 12. Available at: https://digitalcommons.aaru.edu.jo/faa-design/vol9/iss2/12 This Article is brought to you for free and open access by Arab Journals Platform. It has been accepted for inclusion in International Design Journal by an authorized editor. The journal is hosted on Digital Commons, an Elsevier platform. For more information, please contact [email protected], [email protected], [email protected]. 157 Hanan Krema Mixing Modernism & historical luxurious styles in furniture design applying Art Nouveau movement concept & aspects Dr. Hanan krema Associate professor, Faculty of education, Helewan University Abstract: Keywords: Art Nouveau style is considered a very strong movement, from late 19th century Modernism and the beginning of the20th century that paved the way to emerge the Modern luxurious styles furniture design movement in all art branches including Architecture& furniture design. Art Art Nouveau Nouveau Designing elements could be widely used to enhance plain and solid furniture pieces to create a vivid and luxurious atmosphere in the interior Design. The nature elements were the first influence in Art Nouveau Architecture and furniture Design that covered lots of decorative motives like women face, long wavy hair, flowers, sea shells, nails and spirals,……etc.it is an artistic movement full of Vividness.
    [Show full text]