Booklet Art Nouveau Draft 3.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Brussels Art Nouveau Datasheet
Image not found or type unknown Image not found or type unknown TITLE INFORMATION Tel: +1 212 645 1111 Email: [email protected] Web: https://www.accartbooks.com/us Published 25th Jun 2018 Image not found or type unknown Brussels Art Nouveau Walks in the Center Brussels Art Nouveau ISBN 9782390250456 Publisher Lannoo Publishers Binding Paperback / softback Territory USA & Canada Size 6.3 in x 9.06 in Pages 176 Pages Illustrations 140 color, 50 b&w Price $34.95 Nine walks to discover the multiple aspects of architectural Art Nouveau in Brussels Including maps, places to visit, information about guided tours and notes From Victor Horta, in an organic style to Paul Hankar, in a more geometrical tendency (Re)discover Art Nouveau at the heart of Brussels. At the end of the 19th century, the anti-academic movement pushed Brussels' architects towards Art Nouveau. Both Victor Horta, in an organic style, and Paul Hankar, in a more geometrical tendency, created an architecture that quickly gained an international reputation. In a little more than a decade, from 1893 on, hundreds of Art Nouveau- fashioned buildings appeared in Brussels, elaborated first by the great pioneers and later by their students and imitators who are also influenced by the Vienna Secession and other trends of European Art Nouveau. At first, this style fulfilled industrial bourgeoisie's dreams, yearning to assert itself in the city's structure through this new, and sometimes exuberant, architecture. This book offers nine walks to discover - in different districts - the multiple aspects of architectural Art Nouveau in Brussels. -
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 -
If You Decide to Join Us, Send Your Reservation Form and Deposit Right Away
Wallonia, Brussels, and Champagne April 27 to May 12, 2017 We encourage you to look over the description below; if you decide to join us, send your reservation form and deposit right away. Interest in this tour is exceptionally strong, with 75% of the space tentatively reserved, even before the announcement of specific dates and prices. The overall size of the group will not exceed 25 participants, with certain elements limited to only 20. Wallonia, the French-speaking southern half of Belgium, is a land of charming old cities, picturesque castles, peaceful abbeys, gently rolling hills, breathtaking river valleys, and lush forests. Join us in May 2017 to discover the artistic, historical, cultural, and culinary heritage of Wallonia, plus Belgium's capital, Brussels. We will also visit the Champagne region of Northern France including the city of Reims before ending up in Paris; you can either spend a few days on your own there or return directly to the States. Musically speaking, the main attraction is four days at the International Chamber Music Festival Resonances, which takes places in the peaceful environment of Halloy Castle and involves a whole roster of major international musicians. Following one of our three concerts, we will enjoy dinner with the artists. From our base in another chateau, our spare time will be dedicated to visiting the charming chateaux, villages, and gardens nearby. Opera and concert seasons for 2017 have yet to be announced, but we hope to attend a performance at the Royal Opera House of Wallonia or the Philharmonic Orchestra of Liège, and at the famed opera house, La Monnaie in Brussels. -
Art Nouveau and the Social Vision of Modern Living: Belgian Artists in a European Context by Amy Fumiko Ogata
Gabriel P. Weisberg book review of Art Nouveau and the Social Vision of Modern Living: Belgian Artists in a European Context by Amy Fumiko Ogata Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002) Citation: Gabriel P. Weisberg, book review of “Art Nouveau and the Social Vision of Modern Living: Belgian Artists in a European Context by Amy Fumiko Ogata,” Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002), http://www.19thc-artworldwide.org/autumn02/254-art- nouveau-and-the-social-vision-of-modern-living-belgian-artists-in-a-european-context-by- amy-fumiko-ogata. 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. ©2002 Nineteenth-Century Art Worldwide Weisberg: Art Nouveau and the Social Vision of Modern Living Nineteenth-Century Art Worldwide 1, no. 2 (Autumn 2002) Amy Fumiko Ogata Art Nouveau and the Social Vision of Modern Living: Belgian Artists in a European Context Cambridge: Cambridge University Press, 2001 239 pp.; 72 b/w photos, 8 color ills.; $75.00 (hardcover) ISBN 0521643287 At the turn of the twentieth century Belgian designers and architects were emerging as the dominant influence in innovative decorative design and new architectural forms that in turn became models for other countries. Painters such as Henry van de Velde eloquently expressed the importance of design reform as they moved from a consideration of only one medium toward embracing all of the arts simultaneously. Through exhibitions of Les Vingt and later La Libre Esthétique, many of Van de Velde's colleagues also embraced the concept of design reform as the means to create a universal style—an art nouveau—that would help them achieve a heightened creativity while theoretically assist in improving society at large. -
Brussels, a Journey at the Heart of Art Nouveau Horta/Hankar/Van De Velde Summerschool / 8–19 June 2020
Brussels, a Journey at the Heart of Art Nouveau Horta/Hankar/Van de Velde Façade Maison Autrique, Victor Horta © Marie-Françoise Plissart Horta © Marie-Françoise Victor Autrique, Maison Façade Summerschool / 8–19 June 2020 Brussels, a Journey at the Heart of Art Nouveau Horta/Hankar/Van de Velde Summerschool 8–19 June 2020 Victor Horta, Henry van de Velde and Paul Hankar are pioneers of Art Nouveau in Brussels and Europe. Brussels’ streets have dramatically changed under their influence and became the setting where their talent blossomed. The Faculty of Architecture La Cambre Horta at Université libre de Bruxelles invites you to dive into the heritage of these Architecture giants through academic lectures and exclusive site visits led by internationally renowned experts. From the beginnings of Art Nouveau to its peak, from the private mansion to the public school, from furniture to ornamentation, from destruction to preservation, you will undertake a journey at the heart of Art Nouveau and discover Brussels through a unique lens. Escalier Maison Autrique, Victor Horta © Marie-Françoise Plissart Horta © Marie-Françoise Victor Autrique, Maison Escalier Programme* The programme includes several exclusive 1. The beginnings of Art Nouveau visits in Brussels led by renowned experts. 2. The renewal of ornament (1861–1920): See our website for more details The examples of Victor Horta and Paul Hankar Target audience 3. Art Nouveau in Brussels and across Students and young professionals with a Europe background or profound interest in archi- 4. Victor Horta the Royal Museums of tecture, arts, history and urban renovation. Art and History: Reconstitution of the Magasins Wolfers and The Pavilion of Learning outcomes Human Passions Participants will be able to make the link 5. -
Travail De Fin D'étude Le Refus De La Modernité Dans L'architecture Des
Bernard Branquart Le 23 mai 2017 Master 60 en Histoire de l’art et Archéologie Travail de fin d’étude Prof. : Ph. Bragard Le refus de la modernité dans l’architecture des pavillons belges des Expositions universelles et internationales belges de Liège 1905, Bruxelles 1910, Charleroi 1911 et Gand 1913. Année académique 2016-2017 Université catholique de Louvain Faculté de philosophie, art et lettres Commission de programme en histoire de l’art, archéologie et musicologie 1 Table des matières Mise au point .................................................................................................................................... 3 Introduction ...................................................................................................................................... 4 Avant 1850 : la préhistoire des expositions...................................................................................... 7 La période 1850 – 1900. .................................................................................................................. 9 Les débuts et la surenchère Angleterre – France. ............................................................................. 9 L'arrivée de la Belgique dans les pays organisateurs. .................................................................... 12 La période 1901 – 1914 ................................................................................................................. 13 Liège 1905..................................................................................................................................... -
1 a Chanson Des Vieux Amants? Belgium and the World's Fairs Dr. Rika Devos Department of Architecture & Urban Planning, Gh
A chanson des vieux amants? Belgium and the world’s fairs dr. Rika Devos Department of Architecture & Urban Planning, Ghent University St.-Lucas, Department of Architecture, Wenk World’s fair architecture: a setting for discussion World’s fairs would have lost their meaning in today’s mediatised global village: in 2010, this is old news, as world’s fairs, by their very existence, continue to deliver proof of the will to show, to (re)consider, nothing less than the world. Printed press, live satellite television, Internet, YouTube and Skype, multinational corporations, free travel, changed concepts of the nation and international relations, Europe without borders: all these eye and mind openers have not, as was suggested by many in the 1990ies, drained the sense and purpose from world’s fairs. Ever since the first post-war world’s fair – Expo 58, held in Brussels – organisers have publically questioned the use of their events, as from the 1950s onwards, evolutions in science, (tele)communications and transportation theoretically made the world accessible to all. But world’s fairs offer a specific view of the world, bound by place, time and the exhibition’s theme, which give order and sense to the gathering. Indeed, one of the criteria used by the BIE1 to grant a city the right to organise a world’s fair is the choice and elaboration of a relevant theme. Such a theme – in case of Shanghai 2010 ‘Better City, Better Life’ – has to set the goals for the fair, give sense to the efforts of the participants, provide an opportunity to differentiate from others and unite all in a conceptual way. -
Mario Baeck1
Permanent Secretariat Av. Drassanes, 6-8, planta 21 08001 Barcelona Tel. + 34 93 256 25 09 Fax. + 34 93 412 34 92 Strand 4: Research and doctoral theses in progress The Flourishing of Belgian Ornamental Tiles and Tile Panels in the Art Nouveau Period Mario Baeck1 Introduction When in 1893 - the year of the construction of the Hôtel Tassel by Victor Horta and of the personal residence of Paul Hankar - the Art Nouveau architecture in Belgium started to flourish2, the Belgian ceramic industry and the tile industry in particular had undergone very important developments during the foregoing decades. The modern ceramic industry which gradually emerged around 1850 in Belgium alongside traditional production, as had happened in England, Germany and France, was to a great extent due to the Boch family who introduced many innovations from England to the ceramics industry on the Continent. They already owned factories in Germany and Luxemburg, and for political and economic reasons decided to set up a ceramic factory in the newly independent Belgium in 1841. Actual ceramic production started in 1844. To meet competition from England, the Boch family introduced many technical innovations in their Kéramis factory in La Louvière 3. Dust pressed ceramic floor tiles After introducing the dust pressing technique for wall tiles at the Villeroy & Boch factory in Septfontaines in 1846, the Boch family started to experiment from 1852 onwards in Mettlach in order to produce next to these dust pressed wall tiles - an English invention patented in 1840 by the engineer Richard Prosser and developed further by the ceramist Herbert Minton - also ‘encaustic’ or inlaid floor tiles in the new 1 Works on a doctoral thesis at the Department of Art History of Ghent University under the direction of Prof. -
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. -
092-095-Belgium-Brussels 1893.Cdr
SHORT Marie Resseler ARTICLESB russels 1893, Belgium the Origins of an ART NOUVEAU Aesthetic Revolution. The year 1893 sees the official birth of Art apartment buildings. These houses are Nouveau in Brussels with the construction of characterized by a plan consisting of three two emblematic houses: the Hôtel Tassel built successive rooms and a stairwell placed along by Victor Horta and the private house of the the common wall. This plan restricts light and architect Paul Hankar. They are both located circulation and hinders creativity. The Art near the prestigious tree-lined avenue Louise Nouveau architects fought against this stan- in a trendy new area of the capital which has dardised architecture that didn't really evolve been known since then as the cradle of Art but was simply repeated over and over again. Nouveau. This new quarter attracts the wealthy Two young men were an exception among the bourgeoisie, who build their mansions in the future inhabitants of this new quarter near eclectic style which then dominated Brussels. avenue Louise: Emile Tassel, an engineer and The city is unique in being a capital where friend of Victor Horta, and the architect Paul people live in single-family houses instead of Hankar. wwww Eclecticism in Brussels: the Palace of Justice (architect Joseph Poelaert, 1863-1886) © KIK-IRPA, Brussels, negative E23517 92 Uncommon Culture Octave van Rysselberghe is a pioneer, a visionary architect who in 1882, more than ten years before the birth of Art Nouveau, had already built a house that was a break with the traditional styles, the Hôtel Goblet d'Alviella.