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. His and Tudric pewter series, both of which across Europe. His work shows his furniture and interior decoration emphasized Celtic ornamentation. interest in botany, in Japanese art, is considered among French Art Though best known for his modern and French traditions. His style and Nouveau’s finest. Guimard’s principal interpretation of Celtic ornamenta- operations greatly influenced Louis works include the Castel Béranger tion in jewelry and metalwork, he also C. Tiffany in the development of (1894-99), a residential building that designed carpets, pottery and fabrics. Tiffany Studios. won him a prize for the finest façade in Paris, and the cast iron station Lalique, René Jules (1860 – 1945) Gouda Zuid Holland Pottery Company entrances to the Paris Métro. French jeweler. Lalique set a (1898 – 1964) standard in craftsmanship and inven- Dutch pottery factory. Gouda Hoffmann, Josef (1870 – 1956) tion in jewelry. His work included began as a pipe-manufacturing fac- Austrian architect, graphic art- hat pins, corsages, chokers, bracelets, tory. It eventually became the largest ist, and applied artist. Hoffman was pendants, stomachers (worn over a and most important manufacturer one of the Art Nouveau founders bodice), brooches, and hair combs. His of matte-glazed, brightly tinted and of the Vienna Secession in 1897, and steady experimentation yielded many 6 extensively decorated pottery of the of the Wiener Werkstätte (Vienna motifs that are now synonymous with 7 Art Nouveau style. Workshops) in 1904 for which he the Art Nouveau style. French actress designed all manner of decorative Sarah Bernhardt (1844-1943), was one Grueby Faience Company objects and was the mainstay of its of his most important patrons. He had (1894 – 1919) architectural practice. Hoffman cre- close ties with the influential art deal- American pottery firm in Boston. ated a more rectilinear form of Art er Siegfried Bing and artist Alphonse Founded by William H. Grueby Nouveau, often using the square in Mucha. (1867-1925), the pottery produced his ornamental style. earthenware, tiles, and architectural Landry, Abel (1871-1923) faience (a kind of fine, glazed pot- Hokusai, Katsushika (1760 – 1849) French architect-designer. Landry tery). The work typically had matte Japanese painter and master of studied at the École des Beaux-Arts, green glazes with some Japanese- colored woodcuts. Hokusai is one Paris, and later with William Morris inspired floral inlays and incised of the most versatile ukiyo-e artists in London. Julius Meier-Graefe’s surfaces. Grueby won two gold (Japanese for “pictures of the floating (1867-1935) shop La Maison Moderne medals and one silver medal at the world”), his free curved lines often executed many of his designs for inte- 1900 Exposition Universelle in Paris. developing into graceful spirals. His rior decorations and household items. Before he launched his own pottery, work was more appreciated in the He created entire ensembles that Louis C. Tiffany was a client, pro- West than in Japan. His woodcuts included wallpaper, curtains, and ducing leaded-glass lampshades with were much sought after during the carved paneling. He also provided Grueby bases. second half of the 19th century and architectural designs for private had a major influence on the devel- homes, using contrasting straight and Guimard, Hector (1867 – 1942) opment of Art Nouveau style and Four Seasons pendant, Gold, enamel. curved lines. French architect, sculptor, and René Jules Lalique (1860-1945) composition. Knox, Archibald (1864 – 1933)

Art Nouveau in europe and america from the morse collection English retailer. Liberty founded Mucha, Alphonse (1860 – 1939) Liberty & Co. in 1875, primarily for Czechoslavakian-born graphic the sale of British-made and import- artist. Alphonse Mucha trained and ed Oriental decorative arts. After worked in Munich, Vienna, and Paris. 1883, mostly unidentified designers in He received popular attention in the Liberty’s studio, began producing fur- 1890s for his poster designs for actress niture and decorative arts in the Arts Sarah Bernhardt. In addition to his and Crafts style. By 1900, Liberty Art Nouveau style posters, Mucha also was widely regarded as the arbiter of designed jewelry, furniture, wallpaper modern taste in interior decoration, panels, postage stamps, and banknotes. and it played a significant role in fur- He was awarded a silver medal for the thering Art Nouveau. pavilion for Bosnia-Herzegovina at the 1900 world’s fair in Paris. Loetz Witwe (1836 – 1939) Austrian glass factory. This Rookwood Pottery (1880-1967) respected Bohemian company was American art pottery. Founder acquired in 1840 by Johann Loetz Maria Longworth Nichols Storer (1778-1848) and operated by his (1849-1932) was inspired by the widow, Susanna, under the name sophisticated ceramic decoration she Loetz Witwe (“Loetz Widow”) after saw at the 1876 Centennial Exhibition his death. Loetz’ iridescent glass in Philadelphia. By the turn of the 8 both rivaled and was influenced century, Rookwood was influenced 9 by the work of Louis C. Tiffany. It by Art Nouveau. The Cincinnati won numerous awards at interna- firm’s superior designers included tional expositions. The factory’s artists Japanese-born Kataro Shirayamadani. included members of the Wiener Rookwood won major prizes at inter- Werkstätte (Vienna Workshops). national exhibitions and a gold medal at the 1889 Paris world’s fair. Majorelle, Louis (1859 – 1916) Royale de Rozenburg (1883 - 1916) French painter and craft designer. Dutch pottery. The Royale de Loie Fuller table lamp, c. 1900, Rozenburg led a revival of Dutch Gilt bronze, Raoul François Larche (1860-1912) Majorelle began designing in the neo-Baroque and period styles, but ceramics, and its work is considered Larche, François-Raoul (1860 – 1912) was quickly influenced by the work among the finest pottery ever made. Young Girl Holding Bouquet of Flowers, French sculptor. Larche is famous of Émile Gallé and the Art Nouveau Its designers’ stylized decoration and c. 1900, color lithograph, Alphonse Mucha for a series of bronzes of the style. Majorelle provided the French innovative shapes were influenced by (1860-1939) American dancer and muse, Loïe glass factory Daum Frères (1875-pres- Art Nouveau. The work was noted for Fuller (1862-1928). His figure of ent) with many designs, and used lightweight, extremely thin eggshell Steuben Glassworks (1903 - present) Fuller designed as a lampstand is wrought bronze and brass in furni- porcelain introduced in 1889 and used Art glass manufacturer in Corning, among the finest Art Nouveau gilt- ture construction. Majorelle was a in the manufacture of vases, ewers, New York. The company was bronzes ever produced. Larche won a board member of the artists alliance and tea wares. founded in Steuben County by the gold medal in 1900 at the Exposition École de Nancy, founded in 1901. local Thomas Hawkes family and Universelle in Paris. Englishman Frederick Carder (1863- Liberty, Arthur Lasenby (1843-1935) 1963)– who was art director there for

Art Nouveau in europe and america from the morse collection like forms either in terra cotta tiles or cast iron. One of his most significant buildings was the Schlesinger Meyer department store (Chicago, 1904),now Carson-Pirie-Scott & Co.

Tiffany, Louis Comfort (1848 – 1933) American glass and interior designer. Son of the renowned American jeweler, Charles Tiffany, Tiffany was a significant figure in international Art Nouveau style. In 1895, he executed several windows designed by French artists for exhi- bition at Siegfried Bing’s salon L’Art Nouveau in Paris and his work continued to be sold there. Tiffany’s famous leaded-glass lamps were Porcelain ewer, c. 1900, Royale de Rozenburg introduced in 1902. His companies Fig. 9: Vase, c. 1900, Glazed clay, (1883-1916), J. Juriaan, designer; S. Schellink, Zsolnay (from 1862) decorator continued to produce leaded-glass 10 windows, glass mosaics, lamps, art 11 more than 30 years and was influenced glass, ceramics, furniture, and jew- Zsolnay by Art Nouveau. It became a division elry well into the 1920s, although (Founded in 1862) of Corning in 1918. Stueben, a lead- his greatest success predated World Hungarian ceramics factory in ing competitor of Louis C. Tiffany, War I. Pécs. Although known for large vases produced more than 20 glass types, the decorated with scenes from Grimm’s best known of which was “Aurene,” Whistler, James Abbott McNeill Fairy Tales, the early works of Zsolnay which was made in various iridescent (1834 – 1903) were simple, useful wares such as colors but particularly gold and blue. American painter and graphic dishes, water pipes, and terracotta gar- artist. Whistler, one of the most den ornaments. In 1878, the factory Sullivan, Louis Henry important American painters of his exhibited a special porcelain faience (1856 – 1924) era, spent most of his life outside the – a high-fired cream body in a glaze American architect. The chief rep- United States travelling in Russia and of metallic oxides. It was awarded the resentative of the Chicago School of throughout Europe. He was one of Grand Prix at the Paris world’s fair of Architecture, Sullivan, who studied in the first major 19th-century artists 1900. Boston and at the École des Beaux- in London to show direct Japanese Arts in Paris, designed the first influence in his work. Considered functional, tall steel-frame commer- one of the precursors to Art Nouveau cial buildings in the United States. from the decorative scheme, his Adapting European Art Nouveau “Peacock Room” (1876), designed for architectural decoration, he adorned the London home of shipping mag- his buildings with elaborate vegetal nate F. R. Leyland, is a celebrated Fig. 8: Rosewater sprinkler, 1896, Amber Favrile ornamentation and scrolling tendril- masterpiece of the decorative arts. glass, Louis Comfort Tiffany (1848-1933),

Art Nouveau in europe and america from the morse collection the charles hosmer morse museum of american art 445 north park avenue winter park, florida 32789 (407) 645-5311 www.morsemuseum.org

On the Cover: Winged Nymph pin, c. 1900, Gold and plique -à- jour enamel, Eugene Feuillâtre (1870-1916)

© 2002 Charles Hosmer Morse Foundation, Inc.