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February 5, 2002 - JANUARY 5, 2003 february 5, 2002 - JANUARY 5, 2003 WINTER PARK, FLORIDA American Terra Cotta and Ceramic lines, exotic and extremely ornamental Art Nouveau refers to a style that developed in the last Company [Teco] (1895 - 1921) forms with whiplash and tendril two decades of the 19th century. It waned quickly and Pottery in Terra Cotta, Illinois. designs, sometimes dusted with gilt. Founder William Day Gates (1852- virtually disappeared by World War I. During its peak at 1935), a lawyer, won two gold medals Ashbee, Charles Robert (1863 – 1942) the turn of the century, Art Nouveau revolutionized the for his crystalline glaze art ware at the English architect, interior designer, decorative arts and architecture. St. Louis world’s fair in 1904. Lotus silversmith, artist craftsman, art theo- blossoms, water lilies, leaves, and plant retician, and poet. Inspired by William stalks influenced Teco’s green matte- Morris (1834-1996), Ashbee founded glazed ware, a pottery trademark for Art Nouveau is French for “new subject, they favored attractive, often the Guild and School of Handicraft ten years. Afterwards brown, buff and art.” Centers of this new art arose in sensuous images of flowers, vines, in London in 1888. The guild was so shades of red were introduced. Pottery Paris, Vienna, Munich, London, and youth, and women. successful that several London firms, pieces were always molded or carved Milan, and in short order designers In seeking liberation from the including Liberty & Co., copied and in relief. from Central Europe to the American past, the practitioners of the new art sold its versions of his designs. Ashbee Midwest adopted and adapted the ideas zealously turned away from historical published books and essays on the of the new art. In Austria, it was called styles and instead sought inspiration problems of art in the industrial age. Sezessionstil; in Spain, Modernista; in in nature. Germany, Jugendstil; and in Italy, Stile In America, the designer Louis Beardsley, Aubrey Vincent Floreale and Stile Liberty, referring C. Tiffany and the architect Louis (1872 – 1898) to the English shop, Liberty & Co., Sullivan have been associated with English draftsman and graphic art- which had great influence in the pro- Art Nouveau, although as in the case ist. Beardsley was mentored by British 2 motion of Art Nouveau. of many great designers, no one cat- artist Edward Burne-Jones (1833- 3 The style emerged from the tre- egory fully describes their work. 1898). From 1894, he worked for The mendous economic and cultural The collection of The Charles Yellow Book, a journal for art and lit- changes of the day and grew from Hosmer Morse Museum of American erature. Beardsley’s drawings – which the rich soil of the Arts and Crafts Art includes many wonderful influenced peers across Europe - were Movement. Most important to all examples of Tiffany’s work as well as frequently of erotic, waif-like char- manifestations of Art Nouveau was numerous fine examples of European acters with flowing hair and robes. the Arts and Crafts’ concept of unity Art Nouveau that provide a splendid Among the best known examples are of design wherein the designer strives glimpse of the phenomenon as it his illustrations for Oscar Wilde’s play Salomé (1894). for a totally integrated designed envi- arose in Europe. Figurine, 1905-1910, Glazed clay, ronment Art Nouveau was at its height for Amphora Porzellanfabrik (founded 1892), Because of the wide variety of the less than two decades. Still scholars Austrian (66-009) Bing, Siegfried (1838 - 1905) work it encompasses, Art Nouveau is recognize the broad implications of German-born French art dealer. not easily defined with precision. But Art Nouveau for the modern move- Amphora Porzellanfabrik Bing built his Paris business in the late (Founded 1892) in general Art Nouveau designs shared ments that followed it in the 20th 1870s selling Japanese art. Later Bing Austrian ceramic factory. Amphora energetic lines that were dynamic, century. Today, the Art Nouveau style wrote a report on industrial arts in produced fully developed Art often twisting and turning as they is more familiar than are the design- the United States and inspired espe- Nouveau or Secession- style vessels stretched to define curves and coun- ers who created and promoted it. cially by the work of Louis C. Tiffany, and figures. Using young artists sup- tercurves. The designs, too, tended to Following are brief biographies of he began promoting modern design. plied by the Imperial Technical School flat planes and asymmetrical composi- some of key figures – artists, design- He opened the gallery L’Art Nouveau for Ceramics and Associated Applied tions, ideas inspired by Japanese prints ers, makers, and dealers – related to (1895-1904) to exhibit works by inter- Arts, Amphora mass-produced vases that were popular at the time. In the objects in this exhibition: national artists and designers. It decorated with incise-molded out- opened with an exhibition of ten Art Nouveau in europe and america from the morse collection windows designed by members of the Arts and Crafts Exhibition Society. Dresser, Christopher (1834 – 1904) Feure, Georges de (1868 – 1943) Nabis group of artists and executed He wrote books on decoration and English botanist, art theoretician, Dutch-French painter and decora- in Favrile glass by Tiffany, who he design, including The Decorative and crafts designer. Dresser designed tive artist. De Feure together with represented in Europe. In its brief life, Illustration of Books, and also illustrated silver tableware and after 1879, glass, Eugène Gailliard (1862-1933) and the gallery and Bing played a major children’s books. furniture, textiles, and the first Art Édouard Colonna (1862-1948) out- role in furthering Art Nouveau taste Nouveau ceramics made in England. fitted Siegfried Bing’s pavilion for in Paris. Delaherche, Felix Auguste After a trip to the Far East in 1876, the Paris Exposition Universelle in (1857 – 1940) Dresser was taken with Japanese art and 1900. De Feure worked in all fields Bradley, William H. (1868 – 1962) French potter. Delaherche worked opened a store for imported Japanese of decorative arts, designing furni- American graphic artist. One of in the village of La Chappell-aux goods in 1879. His designs, marked by ture, porcelain, jewelry, textiles, glass the earliest American artists to work Pots. His Art Nouveau style was their simplicity and strong line, were windows, glassware, posters, and book in the new style of Art Nouveau, manifest in roughened surfaces as also inspired by the art of India, China, illustrations, and was particularly Bradley was influenced by the diver- well as grooved and openwork deco- Islam and the ancient Celts. noted for his female subjects. gent designs of Aubrey Beardsley and ration. He fired his kiln only once a William Morris. He produced cover year and made no duplicates of his Fabergé, Peter Carl, (1846 - 1920) Gallé, Émile (1846 – 1904) designs and posters for the Inland work. He preferred dark red stone- Russian goldsmith and jeweler. An French glass artist, potter, and Printer, Harper’s Weekly, Harper’s Bazaar ware with variegated polychrome Art Nouveau disciple, Fabergé is the furniture designer. Gallé studied phi- and Harper’s Young People. He exhib- glazes and developed several firing best-known and most innovative mem- losophy, mineralogy, and botany in ited at the Paris salon L’Art Nouveau techniques. ber of the Huguenot goldsmith family, Germany before taking over his in 1895. Fabergé (est. 1842, St. Petersburg). He joined the family business in 1864, and 4 Brangwyn, Frank (1867 - 1943) was in full control by 1872. After suc- 5 English printmaker, furniture cess at the Paris Exposition Universelle and textile designer, and painter of of 1900, Fabergé established workshops murals. Brangwyn studied at the in Moscow, Kiev, Odessa and a shop South Kensington Art School in in London. In addition to his famous London and served as an appren- Easter eggs, Fabergé made icons, clocks, tice in the workshop of William cases, mounted glassware, jewelry, metal Morris. Siegfried Bing commissioned bowls, and animal figures. Brangwyn to design a number of cartoons to be executed by Louis C. Feuilâtre, Eugene (1870-1916) Tiffany for exhibition at London’s French sculptor, silversmith and Grafton Galleries in 1899. jeweler. Feuilâtre began his career working for René Lalique. His suc- Crane, Walter (1845 – 1915) cessful experiments with enameling English painter, graphic art- on silver and platinum led him to ist, illustrator, and designer. Crane, specialize in plique-à-jour (French for strongly influenced by the Pre- “openwork fold”) enameling, produc- Raphaelites and by early Renaissance ing some of the most intricate of Art art, was a leading figure in the Arts Nouveau metalwork. His work was and Crafts Movement. Though criti- exhibited at the Paris Exposition cal of Art Nouveau, his own work L’Art Nouveau poster, c. 1899, Siegfreid Bing Universelle in 1900 and the Turin inspired its practitioners. In 1888, he for Grafton Galleries, London, Color lithograph, Esposizione in 1902. Three Graces table lamp, c. 1890, Glass and bronze, became the first president of the Frank Brangwyn (1867-1943) Émile Gallé (1846-1904) (misc-029-69) Art Nouveau in europe and america from the morse collection father’s glassmaking and ceramics craft artist. Guimard studied at British silversmith and painter company in 1874. He exhibited work the École des Beaux-Arts in Paris. from the Isle of Man. Knox worked with success and honors at the Paris Influenced by the Belgian archi- for Christopher Dresser and later for world fairs of 1878, 1889, and 1900. tect, Victor Horta (1861-1947), Liberty & Co., which employed Knox In 1901 he founded the École de Guimard created a quintessentially in more than 400 of its designs, includ- Nancy, the decorative arts college Art Nouveau style that was organic, ing for its hand-made Cymric silver that was a force for Art Nouveau floral, linear, and harmonious.
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