Art Nouveau Is Also Refered to As
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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. -
The Arts of Early Twentieth Century Dining Rooms: Arts and Crafts
THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY (Under the Direction of John C. Waters) ABSTRACT Within the preservation community, little is done to preserve the interiors of historic buildings. While many individuals are concerned with preserving our historic resources, they fail to look beyond the obvious—the exteriors of buildings. If efforts are not made to preserve interiors as well as exteriors, then many important resources will be lost. This thesis serves as a catalog of how to recreate and preserve an historic dining room of the early twentieth century in the Arts and Crafts, Art Nouveau, and Art Deco styles. INDEX WORDS: Arts and Crafts, Art Nouveau, Art Deco, Dining Room, Dining Table, Dining Chair, Sideboard, China Cabinet, Cocktail Cabinet, Glass, Ceramics, Pottery, Silver, Metalworking, Textiles, Lighting, Historic Preservation, Interior Design, Interior Decoration, House Museum THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY B.S.F.C.S, The University of Georgia, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF HISTORIC PRESERVATION ATHENS, GEORGIA 2005 © 2005 Sue-anna Eliza Dowdy All Rights Reserved THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY Major Professor: John C. Waters Committee: Wayde Brown Karen Leonas Melanie Couch Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May, 2005 DEDICATION To My Mother. -
PCA CONVENTION 2013 Themed Paperweight for Sale with Part of the Proceeds Going to New Orleans Based Charity “Second Harvest
President Vice President TOBY KRUGER JIM LEFEVER [email protected] [email protected] 5 Johnson Lane 810 Mt. Joy Road Voorhees, NJ 08043 Manheim, PA 17545 (856) 751-7720 (717) 665-4881 Secretary Treasurer, Newsletter Editor JILL BAUERSFELD DON FORMIGLI [email protected] [email protected] 9 Ramblewood Drive 455 Stonybrook Drive White Haven, PA 18661 Levittown, PA 19055 (570) 443-7023 (215) 945-1243 Volume 20 • Number 3 www.dvpaperweights.org June 2013 by David Graeber. Artists were asked to make a food PCA CONVENTION 2013 themed paperweight for sale with part of the proceeds going to New Orleans based charity “Second Harvest New Orleans, LA June 5 - 8 Food Bank”. These weights were for sale at the Dealers’ by Don Formigli Fair. Although smaller than recent conventions the 2013 Programs started on Thursday morning after a daily PCA, Inc convention in New Orleans was a big success. breakfast buffet which was served in the same Grand The attendance was 185 which included 19 DVPCA Gallery as the Artists’ Fair. Although many had gone on members. 28 states of the US were represented. a PCA booked bus and walking tour of New Orleans Fewer attended from outside the US than in the past before the start of the convention we all were treated to for varying reasons including the Ysart Weekend the a power point tour of New Orleans by Huey Pablovich, a following week in the UK and the economy in Europe. lifelong resident and guidebook author. Other speakers However there were seven other countries represented: during the various sessions were Alan Thornton, David Canada, UK, France, Germany, Mexico, Brazil and Graeber, Gay LeCleire Taylor, Alan Kaplan, Al Bates, Australia. -
La Villa Majorelle
LA VILLA MAJORELLE Dossier enseignants usée de del’École Nancy, cliché Caron P. © Nancy, m Nancy Musées Département des Publics [email protected] 03 83 17 86 77 (du lundi au vendredi de 9h à 12h30) Enseignant référent Nathalie Vergès [email protected] Sommaire 03 Introduction 04 Le quartier 06 L’architecture de la villa 08 Les façades 11 Les entrées 13 Les céramiques 16 Propositions de mise en œuvre pédagogique 20 Activités à proposer aux élèves 2 Introduction D. D. Boyer usée de del’École Nancy, cliché © Nancy, m « Une villa moderne » Ce titre est celui de l’un des premiers articles 1 consacrés par la presse à la villa Majorelle en 1902. L’auteur y manifeste son admiration pour le caractère novateur de cette maison construite « par un artiste pour un artiste ». La villa Majorelle est élevée dans les années 1901-1902 , dans ce qui est encore la banlieue peu urbanisée de Nancy. Louis Majorelle décide de construire, au milieu d’un parc arboré, ses ateliers et sa villa. Il dénomme celle-ci Jika en l’honneur de son épouse Jeanne Kretz (initiales JK). Cette villa est le fruit d’une collaboration entre un architecte, Henri Sauvage , qui débute sa carrière, et un industriel d’art déjà reconnu, Louis Majorelle . Les deux hommes se connaissent car ils fréquentent les mêmes lieux parisiens, l’atelier du sculpteur Alexandre Charpentier en particulier. Ils y côtoient d’autres artistes, tels Hector Guimard et le peintre Francis Jourdain, qui participa à la décoration de la villa Majorelle. -
Tiffany Glass
Woodson Art Museum in your classroom Tiffany Glass Winter 2016-17 Top: Detail from Tiffany Studios, New York, Apple Blossom Library Lamp, ca. 1905, leaded glass, bronze; Below: Tiffany Studios, New York, Clara Driscoll, designer, Wisteria Library Lamp, ca. 1901, leaded glass, bronze. All artworks and images from The Neustadt Collection of Tiffany Glass, Queen, New York. Above: Detail from Tiffany Studios, New York, Begonia Reading Lamp, ca. 1905, leaded glass, bronze; Below: Louis Comfort Tiffany, Favrile Vase, 1909, blown glass; Victorian Art Glass Basket Introduction to Exhibitions on View This winter at the Leigh Yawkey Woodson Art Museum, three complementary exhibitions focused on art glass showcase the range of materials, forms, and designs spanning three iconic movements in American decorative arts: Victorian Era, Gilded Age, and Art Nouveau. Tiffany Glass: Painting with Color and Light includes twenty Tiffany Studios leaded glass lamps, five large stained glass windows, hanging shades, and three forgeries modeled after Tiffany’s iconic lamp designs, all from The Neaustadt Collection of Tiffany Glass. For more information about the exhibition and The Neustadt Collection, check out the Woodson Art Museum’s free app and videos on our Youtube Channel. Two exhibitions from the Woodson Art Museum’s glass collection juxtapose the intricate, feminine designs of the Victorian Era with the more modern and restrained aesthetics of the Art Nouveau period. Enduring Beauty: Art Nouveau Glass features bold iridescent glass in sleek undulating forms typical of the decorative, yet utilitarian, turn-of-the-twentieth-century glassware. Victorian Art Glass Baskets also from the Art Museum’s collection, feature bright colors “woven” throughout delicate glass reminiscent of frills on tutus and unfurling flower petals. -
Henry Van De Velde Year in Germany and Belgium: Part One
Jane Van Nimmen Henry van de Velde Year in Germany and Belgium: Part One Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Citation: Jane Van Nimmen, “Henry van de Velde Year in Germany and Belgium: Part One,” Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013), http://www.19thc- artworldwide.org/autumn13/van-nimmen-on-henry-van-de-velde-year-in-germany-and- belgium-part-one. 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. Nimmen: Henry van de Velde Year in Germany and Belgium: Part One Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Henry van de Velde Year in Germany and Belgium: Part One Honoring the 150th birthday of painter, architect, and designer Henry van de Velde, Google posted a celebratory doodle on April 3, 2013. It was not a global doodle like the glitzy Kiss commemorating Gustav Klimt, displayed around the world in 2012. The pastel tribute to van de Velde could be seen in only a handful of continental markets: Belgium, where he was born in 1863; France, where in 1884 the young painter studied for a few months in Paris with Carolus- Duran and where in 1895 he created three sensational rooms for Siegfried Bing’s new gallery L’Art Nouveau; Austria, where he showed furniture at the Eighth Vienna Secession exhibition in late 1900; Germany, where he lived with his wife and growing family from 1900 until 1917; the Netherlands, where he settled in the 1920s; and Switzerland, where he died in 1957. -
The Jewellery of Lluís Masriera Modernisme, Que Ha De Ser El Canal Pel Qual La Ruta Europea for More Details)
Ödön Lechner, 1891-1986. Museum of Applied Arts, detail of columns Ödön Lechner, 1891-1986. Museu d’Arts Aplicades, detall de columnes THE ROUTE 3 Budapest: an Art Nouveau Stylistic Inventory János Gerle Architect, Budapest © János Gerle he so-called Bedo-house is alive with activity. The long ago destroyed shop will get back its original portal (reconstructed on the basis of one existing photograph) and the tenant, who happens © János Gerle to be the builder, wants to open the Budapest Art Nouveau Centre – with a café, museum, exhibitions and shop for art objects and books. This private initiative is a fantastic opportunity for Budapest to show Toff its Art Nouveau heritage to tourists. Until now, none of the official projects for such a centre have gotten off the ground. Budapest is unfortunately failing to exploit its rich architectural heritage as it could: programmes, publications, restoration and, above all, the very consciousness of the value of this heritage are all missing. The key feature of Hungarian Art Nouveau was the ambition to create a national language for the new style at the turn of the century. The idea of using architecture as a tool for expressing national identity comes from the first third of the 19th century, but this romantic approach to architecture as a stimulator of cultural independence reached its artistic apogee in the 1890s. This led, at least in the work of Ödön Lechner, to a combination of pioneering structures, materials and new construction methods, which together also bore a concrete national message that was at once modern and traditional. -
Tiffany Windows in Richmond and Petersburg, Virginia Rachel M
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 Tiffany Windows in Richmond and Petersburg, Virginia Rachel M. Bradshaw [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/4389 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW Th�sis Advisor Reader Dean, School of the Arts Dean, School of Graduate Studies 15;;c;c;i. Date TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW B.A., Troy State University, 1991 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of Arts RICHMOND, VIRGINIA April, 1997 Table of Contents Acknowledgements...... lll List of illustrations....... IV Introduction. ................................... .... Catalog ................................................. 20 Monumental Church........... 21 St. Paul's Episcopal Church.... 25 Second Presbyterian Church. ....... 62 69 Grace and Holy Trinity Church ..................... Temple Beth Ahabah ............................ 74 St. James Episcopal Church ....... 77 All Saints Episcopal Church..... 91 Ginter Park Baptist Church ...... 123 Hollywood Cemetery... 139 Old Blandford Church.. 146 Washington Street United Methodist Church........... 182 Conclusion........................................ 186 Selected Bibliography ....................................... 188 ii Acknowledgements I would like to thank my advisor, Dr. Anne Crowe, for her patience, support, and encouragement, and my reader, Dr. -
The Bigot Pavilion in the Collection of the Museum of Applied Arts Budapest
Arlene Peukert Hidden treasures rediscovered – Iparművészeti Múzeum, Budapest the Bigot Pavilion in the collection of the Museum of Applied Arts Budapest Hidden away for more than a century in the storage of the Museum of Applied Arts Budapest, the monumental ensemble of architectural ceramics known as the Bigot Pavilion can now be admired and studied for the first time since its glorious presentation at the Paris Exposition Universelle of 1900.1 The exhibition “The Bigot Pavilion – Art Nouveau Architectu- ral Ceramics from Paris” is on view from 26 April 2013 until 4 January 2015 (fig. 1). The architectural ceramic sample pieces of the pavilion were produced by the Alexandre Bigot & Company Factory. The pavilion was acquired by the director of the Museum of Fig. 1. View of the exhibition, The Bigot Pavilion – Art Nouveau Architec- Applied Arts Jenő Radisics (1856–1917) for 5.500 francs di- tural Ceramics from Paris; Museum of Applied Arts Budapest © Gel- lért Áment rectly after the World’s Fair in October 1900.2 In a letter to the Hungarian Minister of Religion and Education from the 25th of October 1900 Radisics wrote: “On the amount of credit at Alexandre Bigot (1862–1927) who was a trained phy- my disposal I have purchased 109 pieces for the museum. sics and chemistry instructor developed an interest in ceramics Special significance should be given to the monumental in- when seeing an exhibition of Chinese and Far Eastern porcela- stallation of Bigot, which was among the most well known in in Paris in 1889.4 Because of his knowledge in chemistry Bi- and most artistic ceramic work of art at the Paris Exhibition, got was able to experiment with different glazing techniques. -
Download Particle Theories: International Pðfiñžte
Particle Theories: International PГўte de Verre and Other Cast Glass Granulations, Susanne K. Frantz, Museum of American Glass, Museum of American Glass at Wheaton Village, 2005, 0974210749, 9780974210742, . DOWNLOAD HERE Lucent A Survey of Contemporary Canadian Glass, Glass Art Association of Canada, 2007, Glass art, 34 pages. Rapture Arngunnur Yr, Timothy Horn, Mills College. Art Museum, 2006, Art, 34 pages. Friendship Blocks New Settings for Sentimental Favorites, Marge Edie, Dec 1, 2001, , 80 pages. Circus Of Spheres/ Cirque De Spheres , Monica Guggisberg, Philip Baldwin, 2004, Antiques & Collectibles, 88 pages. This book accompanies a major exhibition in the Carte Blanche series at the MusГ©e de Design et d'arts AppliquГ©s Contemporains, Lausenne, Switzerland, devoted to the .... Glass , Reino Liefkes, Victoria and Albert Museum, Jan 1, 1997, Antiques & Collectibles, 160 pages. Starting with the dawn of vessel glassmaking in the 2nd millenium BC and ending with the work of contemporary artists, Glass covers history, social uses, design, and techniques .... Nick Mount Incandescence, Margot Osborne, Apr 1, 2004, Antiques & Collectibles, 88 pages. Nick Mount is an iconic figure in the hothouse of contemporary glass. He has been in the vanguard of the studio glass movement in Australia since the 1970s, both as a brilliant .... Glass , Andrew Langley, Sep 1, 2008, Juvenile Nonfiction, 24 pages. Introduces glass, discussing how it is created, things that are made from it, special uses, and the importance of recycling.. Contemporary glass a world survey from the Corning Museum of Glass, Susanne K. Frantz, 1989, Antiques & Collectibles, 264 pages. The Essential Louis Comfort Tiffany, William Warmus, Sep 1, 2001, , 112 pages. -
Paris 1900 DE PRESSE MARS 2014 LA VILLE SPECTACLE
DOSSIER Paris 1900 DE PRESSE MARS 2014 LA VILLE SPECTACLE 2 avril - 17 août 2014 INFORMATIONS www.petitpalais.paris.fr Henri de Toulouse-Lautrec (1864 – 1901). Marcelle Lender dansant le boléro dans Chilpéric, 1895-1896. Huile sur toile ; 145 × 149 cm. Washington, National Gallery of Art, collection of Mr and Mrs John Hay Whitney © Bridgeman Giraudon Organisée avec les concours exceptionnels Avec le soutien de SOMMAIRE Communiqué de presse p. 3 Scénographie p. 5 Parcours de l’exposition p. 6 Œuvres commentées p. 9 Paris 1900 dans les collections permanentes p. 12 Le catalogue de l’exposition p. 14 Autour de l’exposition p. 15 Ateliers et visites p. 17 L’application Paris 1900 p. 18 Partenaires p. 19 Le Petit Palais p. 25 Informations Pratiques p. 26 Visite de presse Le mardi 1er avril 2014 de 9h30 à 13h Attachée de Presse Mathilde Beaujard [email protected] Tel : 01 53 43 40 14 Responsable Communication Anne Le Floch [email protected] Tel : 01 53 43 40 21 2 Paris 1900, la Ville spectacle - du 2 avril au 17 août 2014 COMMUNIQUÉ DE PRESSE L’exposition « Paris 1900, la Ville spectacle » invite le public à revivre les heures fastes de la capitale française au moment où elle accueille l’Exposition universelle qui inaugure en fanfare le 20e siècle. Plus que jamais la ville rayonne aux yeux du monde entier comme la cité du luxe et de l’art de vivre. Plus de 600 œuvres – peintures, objets d’art, costumes, affiches, photographies, films, meubles, bijoux, sculptures… - plongeront les visiteurs du Petit Palais dans le Paris de la Belle Epoque. -
AH 215 HISTORY of PARIS in ARCHITECTURE and ART IES Abroad Paris BIA
AH 215 HISTORY OF PARIS IN ARCHITECTURE AND ART IES Abroad Paris BIA DESCRIPTION: This class retraces the major steps in the evolution of the city of Paris through art and architecture from the medieval period to today. Particular attention is paid to the 19th century from the Second Empire and the major urban planning programs conducted by the Baron Haussmann, which gave the capital its current form and style to Paris at 1900. We will then focus on he modern innovations of the XXth century and end with an overview of the Grand Paris project for the XXIst century. Students will study questions related to urban planning, the new Parisian lifestyle, as well as the modernity and modernization of the city but also questions of style, which will be put into context and paralleled with the major artistic movements of the times such as impressionism. In order to illustrate these changes and the architectural history of Paris, beside major monuments and buildings, we will look at the works of famous painters such as Lebrun, Boucher, David, Ingres, Delacroix for the pre and post revolutionary era, and Edouard Manet who illustrated “Modern” Paris as with the monuments, the impressionists, post-impressionism and the XXth century avant- garde artistes. We will use historical novels, films and specific readings from Alistair Horne’s Seven Ages of Paris to complete our knowledge on the topic. CREDITS: 3 CONTACT HOURS: 45 hours LANGUAGE OF INSTRUCTION: English PREREQUISITES: Recommended for students with no previous knowledge of art history METHOD OF PRESENTATION: • Lecture • Field study REQUIRED WORK AND FORM OF ASSESSMENT: • Midterm: 30% • Participation and homework (oral presentations): 20% • 2 or 3 mini quiz on readings: 20% • Final exam: 30% Class attendance on study abroad is mandatory.