DOCSLIB.ORG

Nancy and the Birth of Art Nouveau

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nancy and the Birth of Art Nouveau Nancy and the Birth of Art Nouveau Travel Passports Please ensure your 10-year British Passport is not out of date and is valid for a full six months beyond Train Seats the duration of your visit. EU, Andorra, On all legs of the journey you have reserved seat Liechtenstein, Monaco, San Marino or Switzerland and carriage numbers which are shown clearly on valid national identification cards are also your ticket. acceptable for travel to France. Visas Baggage British and EU passport holders are not required to As with most trains, passengers are responsible for have a visa. carrying baggage onto and off the train. Baggage can be stored on overhead shelves or at the For all other passport holders please check the visa entrance to the carriages. Trollies are available at St requirements with the appropriate embassy. Pancras and Lille, but bags do need to be carried on to the platform. Porters are sometimes but not French consulate: PO Box 57, 6A Cromwell Place, always available at St Pancras. London SW7 2EW; Tel (020) 7838 2000/1. Travel Editions recommends a luggage delivery Information Service: Tel (0891) 887 733, Fax: (020) service called thebaggageman, where your suitcase 7838 2046. can be picked up from your home before departure Opening hours: 0900-1130 (and 1600-1630 for visa and delivered straight to your hotel; therefore collection only) Mon-Fri (except British and French removing the worry about carrying your cases onto national holidays). and off the trains. For further information: http://www.thebaggageman.com Tickets You will be issued with return train tickets. Labels Please take care not to lose your tickets and please Please use the luggage labels provided. It is useful check that the details on your tickets are accurate. to have your home address located inside your Your ticket is non-transferable and non-refundable. suitcase should the label go astray. No refund can be given for non-used portions. Standard Premier on Eurostar tickets is indicated by Transfers two asterisks in the class type section in the top On arrival in Nancy, transfer by coach to your hotel right-hand corner. A light meal will be served to and check-in for three nights at the four-star passengers travelling Standard Premier on Eurostar. Mercure Stanislas. Standard class Eurostar tickets do not include any food or drink on board, although there is a buffet car serving drinks and snacks. Special Requests TGV tickets do not include any food or drink on If you haven’t already, please notify Travel Editions board, although a buffet car is available. of any special requests as soon as possible to allow sufficient time to make the necessary arrangements. Accommodation Mercure Hotel Stanislas, Nancy Almost all restaurants offer two types of meals: a la Located just 200 metres from the historic UNESCO carte (extensive choice for each course, generally World Heritage Place Stanislas in the heart of the more expensive) and le menu (a set meal at a fixed city, this four-star hotel is ideal. It offers a bar and price). The bill (l’addition) will not be presented comfortable, finely-decorated bedrooms themed until it is asked for, even if clients sit and talk for around Terrier art and Art Nouveau. Facilities half an hour after finishing their meal. Usually, a include private bathroom with bath/shower, discretionary service charge is added to your bill in hairdryer, minibar, TV, telephone, wi-fi, safe and restaurants and bars, and no further tipping is coffee/tea making facilities. required. For more information visit their website: Generally speaking, mealtimes in France are strictly http://www.mercure.com/gb/hotel-1068-mercure- observed. Lunch is as a rule served from noon to nancy-centre-stanislas-hotel/index.shtml 1330, dinner usually from 2000-2130, but the larger the city, the later the dining hour. Food Located on the north-eastern border of France, the Drink Lorraine region’s cuisine is inspired by neighbouring Wine is by far the most popular alcoholic beverage Germany – popular dishes include Quiche Lorraine, in France, and the choice will vary according to Bouchée à la reine (vol-au-vent garnished with region. After a Phylloxera infestation in the late savoury filling and thick creamy sauce), potée 1800s, which destroyed much of the vines, the lorraine (pork, potatoes, beans, cabbage, carrot and Lorraine is now one of the smallest French leak stew), and choucroute Lorraine (sauerkraut vineyards. It still manages to produce two original with saucisson de Lorraine and frankfurter sausage). wines – a grey Gamay wine (Toul de Gris) and the Other traditional dishes from Nancy include white Auxerrois wines, as well as Pinot noirs and omelette de Nancy (made with Boudin de Nancy Pinot gris. Along with Côtes de Toul AOC, Moselle and herbs), salade de pissenlits (dandelion salad), AOC and Côtes de Meuse are the main vineyards. Tourte aux grenouilles, côtes de veau à la Excellent mirabelle, damson, pear, raspberry, cherry nancéienne (veal chops served with cheese, cream and bilberry eau-de-vie and liqueurs are also and egg sauce), porc en civet roti aux mirabelles produced in the region. (roast pork with Mirabelle plums). For typical sweets try the macarons de Nancy, In elegant restaurants the wine list will be separate Madeline Lorraine, Gâteau au chocolat de Nancy, from the main menu, but in less opulent the Bergamote de Nancy (hard sweetie made with establishments will be printed on the back or along Bergamote essential oil), and the many fruit tarts the side of the carte. The waiter will usually be glad made with locally grown fruits such as mirabelle to advise an appropriate choice. If in doubt, try the and damson plums, apricots, and cherries. house wine; this will usually be less expensive and will always be the owner’s pride. Coffee is served after the meal and will be black, in small cups, unless a café au lait (or crème) is Meals included in the price of your holiday are: requested. A speciality of the area is the brûlot, a sweetened coffee imbibed with Mirabelle eau-de- Breakfast – daily vie and flamed. Dinner is included on two nights at the atmospheric Art Nouveau Excelsior Restaurant, located 5 minutes’ walk from the hotel. Destination The Art Nouveau Movement flourished throughout exquisite stained glass windows. The group will split Europe between 1890 and 1910, embracing the use in two to visit the lovely interior with a local guide of natural forms and structures in art, architecture and outside see its architectural splendour in the and the applied arts. company of the tour lecturer. The stately town of Nancy - a model of 18th century For more information about the Villa Majorelle, please town planning - enjoyed a second golden age at the visit: turn of the 20th century, when rebellious local https://musee-ecole-de-nancy.nancy.fr/accueil- artists, such as Émile Gallé and Louis Majorelle, 2676.html founded the École de Nancy, which became the leading force of the Art Nouveau movement in École de Nancy Museum France. Today the town is a treasure trove of Located on the former property of Jean-Baptiste wonderful and whimsical Art Nouveau architecture, Eugène Corbin, collector of École de Nancy artwork, glassware, ceramics, stained glass and furniture. this superb museum houses a wonderful collection Other sites in Nancy include the Place Stanislas, the of furniture, fabrics, jewellery and Gallé glassware Eglise Bonsecours, Basilique Saint Epvre, in reconstructed Art Nouveau settings. The lovely picturesque Porte de la Craffe, Basilique Notre- gardens, restored in 1998, feature an oak door by Dame-de-Lourdes. Eugène Vallin and a pavilion aquarium with stained glass by Jacques Gruber. For more information about Nancy, please visit: For more information about the École de Nancy, please http://en.nancy-tourisme.fr/home/ visit: http://www.ecole-de-nancy.com/web/ Details of places of interest included in your tour: Musée des Beaux Arts Excelsior Restaurant The museum is housed in an 18th century pavilion One of the highlights of this tour are the two belonging to the exceptional architectural collection dinners taken in the Art Nouveau splendour of the designed by the architect of King Stanislas, Excelsior restaurant, that serves excellent brasserie Emmanuel Héré. From Place Stanislas, the Museum fare in exquisite surroundings with a lively, bustling of Fine Arts is one of the flagships of Nancy's atmosphere as it has done for a century. The menu cultural life. The museum presents the biggest offers a welcome drink, 3-course menu with a names in the history of European art: Le Pérugin, Le choice at each course, accompanied by wine, water Caravage, Rubens and Delacroix. Its collections are and coffee. particularly rich for the twentieth century, with in For more information about Excelsior Restaurant, please particular the glassworks of the Daum collection, visit: exposed in the setting of the old fortifications of http://www.brasserie-excelsior.com/en/ Nancy or the space dedicated to the constructor Jean Prouvé. Villa Majorelle For more information about the Fine Arts Museum, please visit: The Villa Majorelle, testimony of the Art Nouveau http://mban.nancy.fr/ period in Nancy, had closed for renovation in the summer of 2018. The first phase of renovation is over, and the house will be reopening from Maison Bergeret February 2020. Built in 1908 for the artist Louis Albert Bergeret, a printer known for the production Majorelle, the first completely Art Nouveau style of illustrated post cards, commissioned the house in Nancy, it is a stunning example of architect Lucien Weissemburger to build his family collaboration between Parisian architect Henri home close to his printing works which no longer Sauvage and Nancy artist Majorelle, whose exist.
Load more

Recommended publications
  • Midnight in Paris & New York: Scenes from the 1890S
    Midnight in Paris & New York: Scenes from the 1890s - 1930s William Glackens and His Contemporaries Dimensions are frame size: 2-D objects: height x length 3-D objects: height x length x depth William J. Glackens (American, 1870-1938) Glackens and Colleagues: Paintings + Drawings The Seine at Paris, n.d. Charcoal on paper 11 ¾ x 14 1/8 inches NSU Art Museum Fort Lauderdale; bequest of Ira D. Glackens, 91.40.167.a Edith Dimock (American, 1876-1955) Mrs. Roosevelt at Klein's, n.d. Watercolor 20 ¼ x 17 ¼ inches NSU Art Museum Fort Lauderdale; gift of the Sansom William J. Glackens (American, 1870-1938) Foundation, 92.77 The Seine at Paris, n.d. Drypoint 10 x 13 inches NSU Art Museum Fort Lauderdale; bequest of Ira D. Glackens, 91.40.167.b Edith Dimock (American, 1876-1955) Trying on Room at Klein's, Union Square, n.d. Watercolor 17 ¼ x 20 ¼ inches NSU Art Museum Fort Lauderdale; bequest of Ira D. Glackens, 91.40.75 William J. Glackens (American, 1870-1938) Untitled, n.d. Charcoal 17 ¼ x 20 ¼ inches NSU Art Museum Fort Lauderdale; bequest of Ira D. Glackens, 91.40.213 William J. Glackens (American, 1870-1938) Sketchbook, 1905 Charcoal on paper 7 in x 5 inches NSU Art Museum Fort Lauderdale; gift of the Sansom Foundation, 92.61 10 1 William J. Glackens (American, 1870-1938) Circus Parade, 1895-1896 Oil on canvas 28 x 36 ¼ inches NSU Art Museum Fort Lauderdale; gift of the Sansom William J. Glackens (American, 1870-1938) Foundation, FIC7.2009.2 Dancer in Pink Dress, 1902 Oil on canvas 40 ½ x 24 ½ inches NSU Art Museum Fort Lauderdale; gift of the Sansom Foundation, 94.13 William J.
    [Show full text]
  • 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.
    [Show full text]
  • Guide to International Decorative Art Styles Displayed at Kirkland Museum
    1 Guide to International Decorative Art Styles Displayed at Kirkland Museum (by Hugh Grant, Founding Director and Curator, Kirkland Museum of Fine & Decorative Art) Kirkland Museum’s decorative art collection contains more than 15,000 objects which have been chosen to demonstrate the major design styles from the later 19th century into the 21st century. About 3,500 design works are on view at any one time and many have been loaned to other organizations. We are recognized as having one of the most important international modernist collections displayed in any North American museum. Many of the designers listed below—but not all—have works in the Kirkland Museum collection. Each design movement is certainly a confirmation of human ingenuity, imagination and a triumph of the positive aspects of the human spirit. Arts & Crafts, International 1860–c. 1918; American 1876–early 1920s Arts & Crafts can be seen as the first modernistic design style to break with Victorian and other fashionable styles of the time, beginning in the 1860s in England and specifically dating to the Red House of 1860 of William Morris (1834–1896). Arts & Crafts is a philosophy as much as a design style or movement, stemming from its application by William Morris and others who were influenced, to one degree or another, by the writings of John Ruskin and A. W. N. Pugin. In a reaction against the mass production of cheap, badly- designed, machine-made goods, and its demeaning treatment of workers, Morris and others championed hand- made craftsmanship with quality materials done in supportive communes—which were seen as a revival of the medieval guilds and a return to artisan workshops.
    [Show full text]
  • H-France Review Vol. 19 (July 2019), No. 142 Jessica M. Dandona, Nature and the Nation I
    H-France Review Volume 19 (2019) Page 1 H-France Review Vol. 19 (July 2019), No. 142 Jessica M. Dandona, Nature and the Nation in Fin-de-Siècle France: The Art of Emile Gallé and the Ecole de Nancy. New York and London: Routledge, 2017. xiii + 214 pp. Figures, notes, works cited, and index. $126.00 (cl). ISBN 978-1-4724-6261-9; $49.46 (eb). ISBN 978-1-3151-7611-6. Review by Peter Clericuzio, University of Edinburgh. The political activism of Emile Gallé (1846-1904) is not a new story. At the end of the nineteenth century, an age when cutting-edge fine artists in France were turning away from history and contemporary politics, leaving these fields to commercial illustrators and photographers, the Nancy-based furniture manufacturer and glassmaker rushed in to fill the void.[1] Gallé’s geographic location (on the redrawn eastern frontier) and personal experience (he had fought in the Franco-Prussian War of 1870-71) meant that he witnessed with great sorrow the dismemberment of his native region of Lorraine between France and the newly-formed German Empire as decreed by the hated Treaty of Frankfurt ending the conflict. Outspoken and filled with conviction, Gallé determined to use his skills and talents with glass and wood to address the tumultuous issues that he saw eating at the belly of the Third Republic as it struggled for survival during its first three decades. His leadership in the development of the fin-de-siècle style called Art Nouveau in the decorative arts ensured Gallé’s place in history before his death at age fifty-eight, now thought to have been caused by exposure to hazardous chemicals that he pioneered the use of in his glassmaking.[2] Jessica Dandona’s concise monograph focuses on four primary arenas of intersection between Gallé’s decorative art and contemporaneous French politics over the last twenty years of the artist’s life.
    [Show full text]
  • Art Nouveau 50 Works of Art You Should Know
    02 ARTHUR HEYGATE MACKMURDO, WREN’S CITY CHURCHES 04 HENRI DE TOULOUSE- LAUTREC, DIVAN JAPONAIS 14 ALPHONSE MUCHA, ZODIAC 12 AUBREY BEARDSLEY, 15 THÉOPHILE-ALEXANDRE ISOLDE STEINLEN, LE CHAT NOIR CABARET 05 MAURICE DENIS, APRIL 34 MARGARET MACDONALD MACKINTOSH, OPERA OF 16 JULES CHÉRET, LOÏE FULLER 06 PAUL GAUGUIN, WHAT! ARE THE SEAS AT THE FOLIES BERGÈRE YOU JEALOUS? AHA OE FEII? 42 GUSTAV KLIMT, FULFIL- 20 ALPHONSE MUCHA, 13 HERMANN OBRIST, MENT (THE EMBRACE) THE ARTS: DANCE THE WHIPLASH 10 EDWARD COLEY BURNE- JONES, LOVE AMONG THE 48 EDMUND DULAC, THESE 21 HENRY VAN DE VELDE, 19 RENÉ LALIQUE, RUINS NO SOONER SAW BEAUTY TROPON DRAGONFLY WOMAN THAN THEY BEGAN TO 11 EDVARD MUNCH, SCREAM AND CHATTER 22 KOLOMAN MOSER, 27 GEORGES FOUQUET, MADONNA DANCING GIRLS PEACOCK 49 KAY NIELSEN, THE PRIN- 31 GUSTAV KLIMT, JUDITH CESS ON THE WAY TO THE 35 EMMANUEL ORAZI, 39 ARCHIBALD KNOX, WITH THE HEAD OF DANCE LA MAISON MODERNE BELT BUCKLE HOLOFERNES 50 SIDNEY SIME, 46 WALTER CRANE, 44 MARIANO FORTUNY, 45 GUSTAV KLIMT, THE KISS THE OMINOUS COUGH NEPTUNE’S HORSES DELPHOS GOWN PAINTING DRAWING GRAPHIC WORK FASHION & JEWELLERY OVERVIEW 03 ANTONI GAUDÍ, SAGRADA FAMÍLIA 08 VICTOR HORTA, HÔTEL TASSEL 18 JOSEPH MARIA OLBRICH, SECESSION BUILDING 07 LOUIS COMFORT TIFFANY, 23 HECTOR GUIMARD, PARAKEETS AND GOLDFISH ENTRANCE TO THE BOWL 28 ALPHONSE MUCHA, LA NATURE MÉTRO PORTE DAUPHINE 09 LOUIS COMFORT TIFFANY, 29 FRANÇOIS-RAOUL LARCHE, FAVRILE VASE LOÏE FULLER TABLE LAMP 24 OTTO WAGNER, KARLSPLATZ UNDER- 25 ÉMILE GALLÉ, GLASS VASE 33 PETER BEHRENS, JUGENDSTIL
    [Show full text]
  • Mixing Modernism & Historical Luxurious Styles in Furniture Design
    International Design Journal Volume 9 Issue 2 Article 12 2019 Mixing Modernism & historical luxurious styles in furniture design applying Art Nouveau movement concept & aspects Hanan krema Associate professor, Faculty of education, Helewan University, [email protected] Follow this and additional works at: https://digitalcommons.aaru.edu.jo/faa-design Part of the Art and Design Commons Recommended Citation krema, Hanan (2019) "Mixing Modernism & historical luxurious styles in furniture design applying Art Nouveau movement concept & aspects," International Design Journal: Vol. 9 : Iss. 2 , Article 12. Available at: https://digitalcommons.aaru.edu.jo/faa-design/vol9/iss2/12 This Article is brought to you for free and open access by Arab Journals Platform. It has been accepted for inclusion in International Design Journal by an authorized editor. The journal is hosted on Digital Commons, an Elsevier platform. For more information, please contact [email protected], [email protected], [email protected]. 157 Hanan Krema Mixing Modernism & historical luxurious styles in furniture design applying Art Nouveau movement concept & aspects Dr. Hanan krema Associate professor, Faculty of education, Helewan University Abstract: Keywords: Art Nouveau style is considered a very strong movement, from late 19th century Modernism and the beginning of the20th century that paved the way to emerge the Modern luxurious styles furniture design movement in all art branches including Architecture& furniture design. Art Art Nouveau Nouveau Designing elements could be widely used to enhance plain and solid furniture pieces to create a vivid and luxurious atmosphere in the interior Design. The nature elements were the first influence in Art Nouveau Architecture and furniture Design that covered lots of decorative motives like women face, long wavy hair, flowers, sea shells, nails and spirals,……etc.it is an artistic movement full of Vividness.
    [Show full text]
  • NEWSLETTER No 6
    PATCH ROGERS – NEWSLETTER No 6 Welcome to our sixth Newsletter. The second year of our concession on the fourth floor at Liberty’s continues to be a fantastic success. The Annual Exhibition was well received and attended, generating interest from both the UK and international clients. It seems that bringing back pieces from Liberty’s illustrious past never ceases to stimulate new generations of devotees to the Arts and Crafts Movement. We continue to update our stock on a regular basis and have some beautiful objects for sale. In particular, the Neatby coal box with its superb brass hinged door my favourite piece of the year! a truly powerful object. A rare and iconic Art Nouveau table by Louis Majorelle with sinuous sweeping legs and brass sabots; a pair of Glasgow School jardinières; a very stylish dining suite designed by Dick Russell in walnut and contrasting bur elm veneer with the impeccable quality associated with the firm of Gordon Russell 1935, dining table, six chairs including two carvers and sideboard. Also a now a hard to source Heals bookchair, only the second this year, along with a beautifully proportioned Heals three door bookcase from the twenties. See our new additions on the website. www.acfc.co.uk In this Newsletter we are featuring a table and synopsis of the celebrated French Art Nouveau furniture designer Louis Majorelle. Louis Majorelle 1859 -1926 is considered one of the finest cabinet makers in the Art Nouveau style. Born in Toul, France, the son of a cabinet maker, he trained as an artist at The Beaux Arts in Paris under Jean Francois Millet.
    [Show full text]
  • 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.
    [Show full text]
  • Art Nouveau in Brussels and Paris 28/30 January 2002/5 Feb. Samuel
    Art Nouveau in Brussels and Paris 28/30 January 2002/5 Feb. Samuel Bing, Art Nouveau Shop, rue de Provence, Paris 1895 A. Mackmurdo, Frontispiece to “Wren’s Churches” London 1888 Aubrey Beardsley, Salome, 1893 Jan Toorop (Belgian painter), Song of the Ages, 1893 Gustave Serrurier-Bovy, Art Nouveau furniture, exs. Of 1898 and 1900 Victor Horta Hôtel Tassel (Tassel House), Brussels, 1892-95 Hôtel Solvay, Brussels 1895-1900 Hôtel van Eetveld, Brussels 1895-1901 Hôtel Horta (architect’s own house), Brussels, 1898 Maison du Peuple, Brussels 1896-99 L’Innovation (Department Store), Brussels 1901 Gare Centrale (central railroad station), Brussels, 1925 Paul Hankar Hôtel Ciamberlani, Brussels 1897 Niguet Shop, Brussels 1899 Colonial Section, Exposition, Brussels, 1897 Henri van de Velde Bloemenwerf (architect’s own house), Uccle (Brussels), 1894-95 Havana Company Shop, Berlin 1899 Office for Meier-Graefe, Paris 1898 Study at the Secession Exhibition, Munich 1899 Haby’s Hairdressing Salon, Berlin, 1901 New Buildings for the Art School, in Weimar (later the Bauhaus, Weimar) 1906 (Temporary) Theater, Werkbund Exposition, Cologne, 1914 Hector Guimard Ecole du Sacre-Coeur, Paris 1895 Castel Béranger, Paris 1894-97 Humbert Romains Concert Hall, Paris 1898 Coilliot House, Lille 1898-1900 Paris Métro Stations and signage, 1897-1904 Hôtel Guimard (architect’s own house), Paris 1911 Projects for prefabricated houses, 1922 Louis Majorelle, Victor Prouvé, Henri Sauvage and the Nancy School of Art Nouveau in Lorraine: Villa Majorelle at Nancy by Sauvage 1901-02 24 rue Liomnoios, Nancy by Weissenburger 1903-04g Quai Claude Lorraine, Nancy by André 1903 Comparisons with: Charles Garnier, Paris Opera (1861-75), Eiffel Tower Paris by Gustave Eiffel 1888-89 Alphonse Balat: Museum of Fine Arts in Brussels and Greenhouses at Laaken (1876) Concept of Einfühlung (Empathy) in relation the the design and theory of Munich art nouveau architect Auguste Endell, Elivra Photographic Studio, Munich 1897 Anatole de Baudot (pupil of Viollet-le-Duc), Lycée Lakanal, Sceaux (nr.
    [Show full text]
  • A Full Day at Nancy !
    A full day at Nancy ! Surrounded by ramparts in the 14th century, Nancy suffered the siege of Charles the Bold in 1475, and fell under Burgundian rule until October 5, 1476, when Duke René II reconquered it. Nancy is an architectural ensemble of the eighteenth century, inscribed on the World Heritage List by UNESCO. Become French at the death of Stanislas in 1766, Nancy loses its walls but becomes the seat of a university, a parliament, and a bishopric. Nancy is the cradle of Art Nouveau. The city has experienced a particularly important development. Artisans-artists of various disciplines (sculptors, glassmakers, engravers, cabinetmakers, architects ...) have spontaneously grouped to work in the same direction, have defined a common program, have officially formed a school. Nature is everywhere, alive, splendid and colorful. This cult of beauty, Gallé, Daum, Gruber, Vallin, Majorelle, Prouvé ... are the soul of their movement. The museum of the Nancy School, with some famous names. The Museum of the School of Nancy is one of the few French museums dedicated to an artistic movement: Art Nouveau in Nancy. At the heart of the Nancy Thermal district, the museum is located in the former property of the most important collector of the School of Nancy, Eugène Corbin. Welcome to the Belle Epoque ! The extent of the museum's collections reflects the diversity of areas developed by the School of Nancy. The movement has excelled in the decorative arts, but has also distinguished itself in painting, sculpture, graphic arts and photography. T. : +33 (0)1 58 83 53 24 [email protected] www.calliopeevoyages.com The Villa Majorelle The Villa Majorelle - or Villa Jika, after the initials of the wife of Louis Majorelle, Jeanne Kretz - was built in 1901-1902 and occupies a special place in the history of architecture Nancy.
    [Show full text]
  • 'Émile Friant, Le Dernier Naturaliste?' Three Works by Émile Friant From
    ‘Émile Friant, le dernier naturaliste?’ Musée des Beaux Arts de Nancy, 4 November 2016 - 17 February 2017 Three works by Émile Friant from the Collection have gone on loan to a monographic exhibition on the artist at the Musée des Beaux Arts located in the splendid eighteenth-century complex Place de Stanislas in Nancy. Although Friant was not born in Nancy, he grew up there from the age of nine and trained at the atelier of Théodore Devilly (1818-1886) where he met Victor Prouvé (1858-1943) who like Friant moved to Paris to study at the École des Beaux Arts under Alexandre Cabanel. Both artists Figure 1 Installation of Émile Friant, ‘Self- Portrait’, 1892, oil on panel, 17.4 x 14.7 cm. remained close and the portrait of his friend in the painting ‘Le coin favori’ is a testament to their friendship. Friant maintained his connection to the École de Nancy and the Art Nouveau artists associated with it such as Prouvé and the older Émile Gallé (1946-1904) throughout his career. All three were strong advocates of naturalism. This is apparent in the glass created by Gallé or the Daum brothers, as well as the furniture designed by Louis Majorelle (1859-1926) or Prouvé. The collection owns a work by Victor Marec showing Émile Gallé at work on the glass Fforigure Figure 2 Émile Friant, ‘Le coin favori (Portrait of which he was renowned. Victor Prouvé)’, 1883, oil on panel, 54.7 x 45.5 cm While the applied arts of the École de Nancy have received much attention, the visual arts have not been considered within the context of this movement that aimed towards a ‘Gesamtkunstwerk’ typical of the period.
    [Show full text]
  • La Villa Jika Dite Majorelle D'henri Sauvage
    Villa Jika, dite Majorelle Nancy 1901-1902 Henri Sauvage Emplacement de la maquette dans la galerie d’architecture moderne et contemporaine La maquette Elle est présentée dans la partie qui a pour thème « Maisons de référence » où sont exposées les maquettes de douze villas de la fin du XIXe au XXe siècle, conçues par des architectes célèbres tels Guimard, Mallet-Stevens ou Rem Koolhaas. Réalisé en corian, un matériau synthétique à base de résine acrylique, l’ensemble de ces villas blanches est reproduit à l’échelle 1/100. La maquette représente la villa dans son état d’origine. Les modifications ultérieures comme l’ajout d’une véranda ou d’une pièce extérieure sur la terrasse n’y figurent pas. Cette villa est emblématique de l’Art nouveau, un style très développé à Nancy au début du XXe siècle. © Maquette de la Villa Majorelle, © CAPA / MMF / Direction des publics / MMF Direction © CAPA Majorelle, de la Villa © Maquette FICHE TECHNIQUE DU BÂTIMENT Programme : maison d’habitation Architectes : Henri Sauvage, avec l’aide de Lucien Weissenburger (ar- chitecte d’opération en charge des travaux), d’Alexandre Bigot (céram- iste), de Francis Jourdain (peintre), Jacques Gruber (maître verrier), Louis Majorelle (mobilier) Commanditaire : Louis Majorelle (1859-1926) Dates de construction : 1901-1902 Lieu d’implantation : 1 rue Louis Majorelle (anciennement rue du Vieil-Aître), Nancy Système constructif : bâtiment en béton armé, structure en fer, gros œuvre en calcaire, revêtement de brique rouge et céramique émaillée Protection : classée Monuments historiques en 1927 Façade Ouest © Fonds Sauvage SIAF/Cité de l’architecture et du patrimoine/ de l’architecture SIAF/Cité Sauvage © Fonds Ouest Façade du XXe siècle d’architecture Archives 1 « Il [Louis Majorelle] me confia l’exécution d’une magnifique villa à Nancy.
    [Show full text]