Art Nouveau Architecture Examples
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At the Confluence of Art Nouveau and Ecclectic Early Modernism in Riga's
ZDZISŁAWA TOŁŁOCZKO* AT THE CONFLUENCE OF ART NOUVEAU AND ECCLECTIC EARLY MODERNISM IN RIGA’S METROPOLITAN ARCHITECTURE U ZBIEGU ART NOUVEAU I EKLEKTYCZNEGO WCZESNEGO MODERNIZMU W ARCHITEKTURZE METROPOLITALNEJ RYGI Abstract The aim of this paper was to draw attention to the coincidence of streets intersections ending, in general, in corner buildings making up typical and picturesque parts of the townscape of the 19th c. European cities, including the central quarter of Riga. This type of town-planning establishments perfectly compose with the art and aesthetics of Art Nouveau in Riga. An additional and very important component of the town- planning-architectonic solutions is the decorative finial of the corner houses (not only inJugendstil , but also the Latvian national romanticism) creating a harmonious composition in respect of art and town-planning, ideally completing the townscape of this Baltic metropolis. Keywords: Latvia, Riga, Cracow, New York, London, Berlin, history of architecture and city-planning, Art Nouveau, Modern Art, Jugendstil, National Romanticism Streszczenie Celem prezentowanego artykułu jest zwrócenie uwagi na koincydencję zbiegów ulic zakończonych na ogół wyraźnymi narożami, tworzącymi typowe, a jednocześnie malownicze, fragmenty krajobrazu dziewiętna- stowiecznych miast europejskich, w tym również śródmieścia Rygi. Tego rodzaju założenia urbanistyczne doskonale komponują się ze sztuką i estetyką Art Nouveau w Rydze. Dodatkową i jednocześnie niezwy- kle ważną komponentą rozwiązań urbanistyczno-architektonicznych są umieszczone na narożach ozdobne zwieńczenia (nie tylko w stylu Jugendstil’u, ale także łotewskiego narodowego romantyzmu) komponujące się wspólnie i harmonijnie pod względem artystycznym i urbanistycznym, uzupełniając znakomicie pejzaż tej nadbałtyckiej metropolii. Słowa kluczowe: Łotwa, Ryga, Kraków, Nowy Jork, Londyn, Berlin, historia architektury i urbanistyki, Art Nouveau, Modern Art, Jugendstil, Narodowy Romantyzm DOI: 10.4467/2353737XCT.15.154.4191 * Prof. -
Modernism Without Modernity: the Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F
University of Pennsylvania ScholarlyCommons Management Papers Wharton Faculty Research 6-2004 Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Mauro F. Guillen University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/mgmt_papers Part of the Architectural History and Criticism Commons, and the Management Sciences and Quantitative Methods Commons Recommended Citation Guillen, M. F. (2004). Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940. Latin American Research Review, 39 (2), 6-34. http://dx.doi.org/10.1353/lar.2004.0032 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mgmt_papers/279 For more information, please contact [email protected]. Modernism Without Modernity: The Rise of Modernist Architecture in Mexico, Brazil, and Argentina, 1890-1940 Abstract : Why did machine-age modernist architecture diffuse to Latin America so quickly after its rise in Continental Europe during the 1910s and 1920s? Why was it a more successful movement in relatively backward Brazil and Mexico than in more affluent and industrialized Argentina? After reviewing the historical development of architectural modernism in these three countries, several explanations are tested against the comparative evidence. Standards of living, industrialization, sociopolitical upheaval, and the absence of working-class consumerism are found to be limited as explanations. As in Europe, Modernism -
Immersion Into Noise
Immersion Into Noise Critical Climate Change Series Editors: Tom Cohen and Claire Colbrook The era of climate change involves the mutation of systems beyond 20th century anthropomorphic models and has stood, until recent- ly, outside representation or address. Understood in a broad and critical sense, climate change concerns material agencies that im- pact on biomass and energy, erased borders and microbial inven- tion, geological and nanographic time, and extinction events. The possibility of extinction has always been a latent figure in textual production and archives; but the current sense of depletion, decay, mutation and exhaustion calls for new modes of address, new styles of publishing and authoring, and new formats and speeds of distri- bution. As the pressures and re-alignments of this re-arrangement occur, so must the critical languages and conceptual templates, po- litical premises and definitions of ‘life.’ There is a particular need to publish in timely fashion experimental monographs that redefine the boundaries of disciplinary fields, rhetorical invasions, the in- terface of conceptual and scientific languages, and geomorphic and geopolitical interventions. Critical Climate Change is oriented, in this general manner, toward the epistemo-political mutations that correspond to the temporalities of terrestrial mutation. Immersion Into Noise Joseph Nechvatal OPEN HUMANITIES PRESS An imprint of MPublishing – University of Michigan Library, Ann Arbor, 2011 First edition published by Open Humanities Press 2011 Freely available online at http://hdl.handle.net/2027/spo.9618970.0001.001 Copyright © 2011 Joseph Nechvatal This is an open access book, licensed under the Creative Commons By Attribution Share Alike license. Under this license, authors allow anyone to download, reuse, reprint, modify, distribute, and/or copy this book so long as the authors and source are cited and resulting derivative works are licensed under the same or similar license. -
Adolf Loos, a Controversial Architect -Adolf Loos’ Architectural Position Presents a Complex Relationship with Art Nouveau
-In the last session, we studied Art Nouveau. -Adolf Loos, a controversial architect -Adolf Loos’ architectural position presents a complex relationship with Art Nouveau. -On one hand, he appears to reject Art Nouveau’s decorative tendency, Art Nouveau’s aesthetic ideal of the total work of art. -On the other hand, Adolf Loos seems to still accept the significance of ornament. -Art Nouveau: ornament completes form -Loos somehow seems to embrace this idea of ornament when it comes to the design of civic buildings. Adolf Loos (1870-1933) -the son of a stonemason -studied at the Imperial State technical College in Vienna and the Dresden College of technology -traveled to America to visit his uncle in Philadelphia -admiration of American culture -Louis Sullivan “Ornament in Architecture” (1892) Advocated temporary abandonment of ornament until the architect was better able to manipulate unadorned forms Adolf Loos (1870-1933) Architectural position -Loos reacted strongly against Art nouveau’s and Jugendstil’s attempt to replace Beaux-Arts eclecticism with what he saw as a superficial system of ornament -rejection of Gesamkunstwerk (especially his article “Poor Little Richman”) -rejection of the very concept of ‘art’ when applied to the design of objects for everyday use, and rejection of the artist as the giver of Form (Gestalt) to machine age. And thus attack on the Werkbund -Building versus Architecture The building is a useful object and therefore not architecture (art). The portion of building activity that is considered to be architecture includes only memorials, cenotaphs, and monuments Adolf Loos (1870-1933) -the filling-up of the chasm bt. -
Bruno Paul – the Life and Work of a Pragmatic Modernist 128 Pp
Edition Axel Menges GmbH Esslinger Straße 24 D-70736 Stuttgart-Fellbach tel. +49-0711-574759 fax +49-0711-574784 William Owen Harrod Bruno Paul – The Life and Work of a Pragmatic Modernist 128 pp. with 205 ill., 233 x 284.5 mm, hard-cover, English ISBN 978-3-932565-47-2 Euro 59.00, sfr 89.00, £ 39.00, US $ 69.00, $A 109.00 At the dawn of the 20th century, Bruno Paul (1874–1968) stood like a colossus astride the landscape of an emerging Modernism. As an illustrator, architect and educator his influence was unequalled. Arguably the most important German designer of his generation, his work was ubiquitous in the technical and professional publica- tions of his day. For five decades, Paul’s reputation was unparal- leled among progressive German artists. As a young man he was a member of the Munich avant-garde responsible for the creation of the Jugendstil. As a designer of furniture and interiors, he achieved a commercial success unmatched by his illustrious con- temporaries. In the light of his professional accomplishments, he was the most influential German architect of his generation, a fig- ure of international significance. Ludwig Mies van der Rohe, Adolf Meyer and Kem Weber were among his students, and their work developed from the practices of his atelier. Indeed, as director of Distributors the Vereinigte Staatsschulen für freie und angewandte Kunst in Berlin he presided over an institution that rivaled the Bauhaus as Brockhaus Commission a center of progressive instruction in the arts. Kreidlerstraße 9 Despite the renown he enjoyed at the height of his career, Paul’s D-70806 Kornwestheim name has been largely absent from the standard histories of the Germany modern movement. -
In Association with Page Ayres Cowley Architects, LLP, Henry Joyce, and the Alexander Palace Association the ALEXANDER PALACE
THE ALEXANDER PALACE TSARSKOE SELO, ST. PETERSBURG, RUSSIA PRELIMINARY ASSESSMENT REPORT FOR RESTORATION AND ADAPTIVE RE-USE \ ~ - , •I I THE WORLD MONUMENTS FUND in Association with Page Ayres Cowley Architects, LLP, Henry Joyce, and The Alexander Palace Association THE ALEXANDER PALACE TSARSKOE SELO, ST. PETERSBURG, RUSSIA PRELIMINARY ASSESSMENT REpORT FOR RESTORATION AND ADAPTIVE RE-USE Mission I: February 9-15, 1995 Mission II: June 26-29,1995 Mission III: July 22-26, 1996 THE WORLD MONUMENTS FUND in Association with Page Ayres Cowley Architects, LLP, Henry Joyce, and The Alexander Palace Association June 1997 Enfilade, circa 1945 showing war damage (courtesy Tsarskoe Selo Museum) The research and compilation of this report have been made possible by generous grants from the following contributors Delta Air Lines The Samuel H. Kress Foundation The Charles and Betti Saunders Foundation The Trust for Mutual Understanding Cover: The Alexander Palace, February 1995. Photograph by Kirk Tuck & Michael Larvey. Acknowledgements The World Monuments Fund, Page Ayres Cowley Architects, LLP, and Henry Joyce wish to extend their gratitude to all who made possible the series of international missions that resulted in this document. The World Monuments Fund's initial planning mission to St. Petersburg in 1995 was organized by the office of Mayor Anatoly Sobchak and the members of the Alexander Palace Association. The planning team included representatives of the World Monuments Fund, Page Ayres Cowley Architects, and the Alexander Palace Association, accompanied by Henry Joyce. This preliminary report and study tour was made possible by grants from the Samuel H. Kress Foundation and the Trust for Mutual Understanding. -
Iin Search of a European Style
In Search of a I European Style Our European Community built upon an economic base Art Nouveau was a movement started by the new is being increasingly defined as a shared socio-cultural space. middle-classes, who established themselves in cities such as Within this new spirit, art and architecture are, like music, Glasgow, Brussels, Nancy, Berlin and Barcelona, where it laid universal languages and have become an indisputable the roots for this emerging social class. There is nothing reference point for overcoming social, religious or linguistic better, therefore, than a network of cities to explain this differences in the various countries. Furthermore, a simple movement. The Art Nouveau European Route-Ruta Europea analysis of the evolution of art throughout history shows that del Modernisme is a project whose aim is the cultural styles have always spread across the continent at an amazing dissemination and promotion of the values of Art Nouveau speed. Artistic styles have defined specifically European heritage, offering a tour through the different cities models such as the Romanesque, Gothic or Renaissance, etc. comprising this network, where one can enjoy the These spread across Europe but always left a trace of each ornamental wealth of the movement and the beauty of its nation's indigenous values. This process has been appreciated forms. All of these cities sought a common project of since the appearance of the first Medieval styles and was also modernity in the diversity of their Art Nouveau styles. The evident in Art Nouveau, probably the most cosmopolitan and narrative thread of this book can be found in a collection of international of European styles. -
Art and Technology (1910) PETER BEHRENS
Art and Technology (1910) PETER BEHRENS Peter Behrens (born April 14, 1868, Hamburg—died Feb. 27, 1940, Berlin) German Architect He has an influencel role to develop modern architecture in Germany. He made a name with his works of painting, graphic design and architecture and industrial de- sign, especially he was accepted as a pioneer of modern industrial design and mod- ern industrial architecture. “Design is not about decorating functional forms - it is about creating forms that accord with the character of the object and that show new technologies to advantage.” - Peter Behrens Arch222 Presentation 16.03.2017 1 From 1886 to 1889 - Behrens studied at Hamburg Kunstgewerbeschule (School for the Ap- plied Arts). After attending the fine arts school at Hamburg, Behrens went to Munich in 1897 during the time of the renaissance of arts and crafts in Germany before attending the Kunst- schule in Karlsruhe and the Düsseldorf Art Academy. In1890 - In Munich, He began to career of painter, in this period he joined a Munich’s popular art movement Jugendstil (German Art Nouveau) In 1893 - He was a founding member of the Munich Secession. In 1899 - Behrens was invited by the Grand-duke Ernst-Ludwig of Hesse-Darmstadt Artists’ Colony, where he designed and built his own house (Haus Behrens) In 1903 - He became director of the arts and crafts school in Düsseldorf. In 1907 - Behrens came together with ten other artists and designers to create the Deutscher Werkbund, an organization that was deliberated to compete with the English Arts and Crafts movement and improves the status of German design and industry. -
Der Moderne Stil / the Modern Style: Jugendstil / Art Nouveau, 1899-1905 by Julius Hoffmann, Ed
Astrid Liverman book review of Der Moderne Stil / The Modern Style: Jugendstil / Art Nouveau, 1899-1905 by Julius Hoffmann, ed. Nineteenth-Century Art Worldwide 6, no. 2 (Autumn 2007) Citation: Astrid Liverman, book review of “Der Moderne Stil / The Modern Style: Jugendstil / Art Nouveau, 1899-1905 by Julius Hoffmann, ed.,” Nineteenth-Century Art Worldwide 6, no. 2 (Autumn 2007), http://www.19thc-artworldwide.org/autumn07/117-der-moderne-stil-the- modern-style-jugendstil-art-nouveau-1899-1905-julius-hoffmann-ed. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2007 Nineteenth-Century Art Worldwide Liverman: Der Moderne Stil / The Modern Style: Jugendstil / Art Nouveau, 1899-1905 Nineteenth-Century Art Worldwide 6, no. 2 (Autumn 2007) Julius Hoffmann, ed. Der Moderne Stil / The Modern Style: Jugendstil / Art Nouveau, 1899-1905 Stuttgart: Arnoldsche Verlagsanstalt Gmbh, 2006. 448 pp.; 2500 bl/w photographs. Cost: $135.00. ISBN: 3-89790-229-X: Between 1899 and 1905, publisher Julius Hoffmann, Jr. actively promoted continental Art Nouveau to a German audience through editions of plates culled from specialized art periodicals. Known in Germany as Jugendstil, Art Nouveau was an international movement in architecture and design between 1890 and 1914 encompassing multiple idioms and diverging design philosophies across Europe. While the bulk of twentieth-century scholarship myopically addresses Art Nouveau as an elite, sinuous, and superficial art form, profound social consciousness united many of its exponents through their concern for housing and aesthetic democratization.[1] In conjunction with Art Nouveau's centennial, scholars are beginning to uncover the complex local relationships and conditions affecting stylistic and ideological development. -
Gino Severini and the Symbolist Aesthetics of His
GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD (Under the Direction of Evan Firestone) ABSTRACT This thesis examines Gino Severini’s dance imagery produced between 1910 and 1915 and its relationship to late nineteenth- and early twentieth-century Symbolism. It is proposed in this paper that the influence of Symbolism, including the phenomenon of synesthesia, was a consistent presence throughout Severini’s artistic production during this period. Surrounded by artists and writers within the neo-Symbolist milieu of Paris, Severini was introduced to Symbolist literature and contemporary philosophy, both of which influenced his approach to Futurism. The resultant amalgamation of Symbolist and Futurist aesthetic theories is analyzed in the context in which these dance images were produced. Taking into consideration Severini’s personal and artistic relationships, along with his theoretical writings, a more complete understanding of his Futurist works from this period is possible. INDEX WORDS: Gino Severini, Severini, Futurism, Symbolism, Dance GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD B.A.F.A., The University of New Mexico, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements of the Degree MASTER OF ARTS ATHENS, GEORGIA 2003 © 2003 Shannon N. Pritchard All Rights Reserved GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD Major Professor: Evan Firestone Committee: Janice Simon Shelley Zuraw Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2003 DEDICATION I dedicate this thesis to my mother, Marian Pritchard, for without her unwavering support and understanding this would not have been possible. -
Art Nouveau and the Female Consumer
MARKETING MODERNISM TO THE MAITRESSE DE MAISON: ART NOUVEAU AND THE FEMALE CONSUMER _______________________________________ A Thesis presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts _____________________________________________________ by SARAH S. JONES Dr. Michael E. Yonan, Thesis Supervisor December, 2010 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled MARKETING MODERNISM TO THE MAITRESSE DE MAISON: ART NOUVEAU AND THE FEMALE CONSUMER presented by Sarah S. Jones, a candidate for the degree of master of arts, and hereby certify that, in their opinion, it is worthy of acceptance. Professor Michael E. Yonan Professor Kristin Schwain Professor Daniel Sipe Dedicated to my family especially Mom, Grandma Sue and Laura. Thank you for supporting my journey down this long and winding road. ACKNOWLEDGEMENTS I would like to thank Dr. Michael Yonan for his invaluable support and direction. Thank you for teaching me how to be a professional scholar. Our shared interest in the decorative arts encourages me to be an “outside-of-the-frame” art historian. I would like to thank Dr. Kristin Schwain for her infectious excitement about material culture and the words of encouragement that always come at the right time. I would like to thank Dr. Daniel Sipe for his time and valuable suggestions. I would like to thank the staff of Ellis Library for their services and patience. I would like to thank the following professors at the University of Nebraska at Kearney for preparing me for graduate school: Mr. -
Style Debates in Early 20Th-Century German Architectural Discourse
$UFKLWHFWXUDO Barnstone, DA. 2018. Style Debates in Early 20th-Century German Architectural Discourse. Architectural Histories, +LVWRULHV 6(1): 17, pp. 1–9. DOI: https://doi.org/10.5334/ah.300 RESEARCH ARTICLE Style Debates in Early 20th-Century German Architectural Discourse Deborah Ascher Barnstone In spite of the negative connotations ‘style’ has in contemporary architectural discourse, in early 20th- century Germany there was no consensus on the meaning or value of the concept amongst architects and critics. Although style was a dirty word for some like Hermann Muthesius, it represented the pinnacle of achievement for others like Walter Curt Behrendt. Against the backdrop of Behrendt’s famous Victory of the New Building Style, of 1927, were very diverse understandings of the term. This plurality was partly due to conceptual confusion between ‘the styles’ and ‘style’, but it was also a legacy of Gottfried Semper’s and Alois Riegl’s respective efforts to resituate style as a practical and historiographical tool. Although style was endlessly debated between 1910 and 1930 by German architects, critics, and intel- lectuals of all stripes, later scholars have either largely overlooked its significance or used the term as a way of describing a particular group of works with a narrow set of formal tropes. The debates, the conceptual confusion, and the incredible variety of opinion over style in early 20th-century discourse have not been addressed, especially in relation to practicing architects. This essay examines some of the intersecting positions of several important German practitioners to show how the notion of style served as a conceptual framework for divergent modern practices.