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4541 Final Rl Final Bilder.Indd Abs8:1 19.07.11 12:13 4541 Final Rl Final Bilder.Indd Abs8:2 19.07.11 12:13 Hier Kommt Seite 2.Tif 4541_final_rl_final Bilder.indd Abs8:1 19.07.11 12:13 4541_final_rl_final Bilder.indd Abs8:2 19.07.11 12:13 Hier kommt Seite 2.tif 4541_final_rl_final Bilder.indd Abs8:3 19.07.11 12:13 4541_final_rl_final Bilder.indd Abs8:4 19.07.11 12:13 4541_final_rl_final Bilder.indd Abs8:5 19.07.11 12:13 4541_final_rl_final Bilder.indd Abs8:6 19.07.11 12:13 4541_final_rl_final Bilder.indd Abs8:7 19.07.11 12:13 4541_final_rl_final Bilder.indd Abs8:8 19.07.11 12:13 NORBERT WOLF PRESTEL MUNICH LONDON NEW YORK 4541_final_rl_final Bilder.indd Abs8:9 19.07.11 12:13 12 INTRODUCTION 14 I THE NEW STYLE: AN APPROACH 18 ART LUXURY—LUXURY ART 20 THE MATTER OF ADVERTISING 23 A NEW AESTHETIC OF LIGHT 25 LUXURY FASHION AND REFORM DRESS 30 “MOBILIZING INWARDNESS” OR THE BREAK WITH THE STATUS QUO 32 SELF-PROMOTION: THE ART MAGAZINES 36 II PROBLEMS OF STYLE 40 VISIONS OF UNITY AND SPIRITUALIZATIONS 41 YOUTH—AWAKENING 46 “SACRED SPRING” 59 TOTAL WORKS OF ART 62 A CONSCIOUSNESS OF STYLE 64 “RINASCI” 68 III THE PHYSIOGNOMY OF STYLE 70 THE CULT OF BEAUTY 71 THE BEAUTY OF WOMEN 78 THE MAGIC OF JEWELRY 84 SYNESTHESIA 85 BUILT SYMPHONIES 87 PAINTED MUSIC AND DANCED ARABESQUES 98 ORNAMENTS AND LINES 99 POLARIZATIONS 106 JAPONISM 110 IV PRELUDES 114 THE ENGLISH PATH 115 FROM BLAKE TO BEARDSLEY 4541_final_rl_final Bilder.indd Abs8:10 19.07.11 12:13 120 FROM RUSKIN TO THE AESTHETIC MOVEMENT 188 AUSTRIA 121 WILLIAM MORRIS, THE PRE-RAPHAELITES, 189 THE WIENER WERKSTÄTTE AND THE ARTS AND CRAFTS MOVEMENT 190 Josef Hoffmann and Koloman Moser 126 THE FRENCH PROPHETS 194 THE UNITED STATES 127 TOULOUSE-LAUTREC 195 NEW YORK AND TIFFANY 128 GAUGUIN AND THE NABIS 197 CHICAGO AND SULLIVAN 132 IN THE ORBIT OF SYMBOLISM 200 VI IMAGE SYSTEMS 204 FRANZ VON STUCK 136 V EVERYWHERE AN AWAKENING: THE GREAT 214 GUSTAV KLIMT 224 FERDINAND HODLER CENTERS OF ART NOUVEAU 232 EDVARD MUNCH 140 GREAT BRITAIN 141 GLASGOW AND MACKINTOSH 238 VII ART NOUVEAU AND THE AVANTGARDE 148 FRANCE 240 THE PARADIGM OF ARCHITECTURE 149 PARIS 241 VIENNA: BETWEEN RINGSTRASSE 149 La Maison Bing AND “WHITE CITY” 150 Guimard 241 Otto Wagner 153 Mucha 246 Adolf Loos 154 GALLÉ AND THE ÉCOLE DE NANCY 252 THE CASTING OUT OF ORNAMENT 160 BELGIUM 256 THE PARADIGM OF PAINTING 161 HENRY VAN DE VELDE: THE HOUSE IN UCCLE 257 František Kupka 162 VICTOR HORTA 257 Kandinsky and the Blaue Reiter 166 THE NETHERLANDS 262 Piet Mondrian and De Stijl 168 SPAIN 169 ANTONI GAUDÍ 266 VIII CONCLUSION AND PROSPECTS 172 GERMANY 268 BETWEEN REALITY AND UTOPIA 173 BERLIN AND WORPSWEDE 272 THE SEMANTICS OF DESIGN 177 MUNICH 276 THE REVIVAL OF ART NOUVEAU 179 THE ARTISTS OF THE DARMSTADT MATHILDENHÖHE 180 Joseph Maria Olbrich 282 APPENDICES 182 Peter Behrens 290 REFERENCES AND SELECT BIBLIOGRAPHY 183 HAGEN, WEIMAR AND VAN DE VELDE 295 INDEX OF NAMES 4541_final_rl_final Bilder.indd Abs8:11 19.07.11 12:13 INTRODUCTION Art Nouveau cannot be presumed to have the to Art Nouveau or that closely touched upon it, in same degree of art historical and cultural histori- particular Symbolism. cal signifi cance as, for example, Impressionism or Expressionism. For this reason I will approach its CHAPTER V is devoted to the main centers of the origins and historical development as carefully as style and their artistic exponents, with the excep- possible, that is to say as impartially as possible. tion of four outstanding painters for whom I reserve a special chapter, which follows. CHAPTER I concerns phenomena linked with the style’s “self-promotion.” Did it react to the modern CHAPTER VI examines the works and impact of world of consumerism with what Walter Benjamin Franz von Stuck, Gustav Klimt, Ferdinand Hodler, called a “mobilization of inwardness” or did it and Edvard Munch. It also returns to the question place priority on an attempt to avoid being clois- raised previously of whether the art form of paint- tered off from the world and rather to oppose the ing must be excluded from Art Nouveau; whether, contemporary industrialized world? that is, Art Nouveau is realized only in the crafts and in architecture. CHAPTER II seeks to clarify a problem rooted in the contemporary terms “Art Nouveau,” “Jugendstil,” CHAPTER VII deals with the relationship between “Modern Style,” and so on: whether the self-image Art Nouveau and the Functionalism of the early expressed in these gives us the right, from the per- twentieth century, which sought to allow art to spective of art historical scholarship, to similarly be absorbed into everyday usefulness and thus speak of a “style.” I believe that a comparison with to dispense with “superfl uous” decoration. The the paradigm of Renaissance style permits impor- apologists for an ornament-free art categorically tant conclusions to be drawn, which additionally condemned Art Nouveau as a cosmetic aesthetic illuminate Art Nouveau’s penchant for the Gesamt- of repression, as a fundamental self-delusion and kunstwerk , or “total” work of art. cultural illusion; was this condemnation based upon appropriate premises? The concept of the Gesamtkunstwerk also creates a transition to the idea of the “physiognomy” of CHAPTER VIII returns to this problem in a resumptive style, discussed in CHAPTER III , whose most impor- look back at the history of Art Nouveau and in light tant features lie in the all-encompassing cult of of its revival, which began a couple of decades ago beauty (which proves itself obsolete in the further (“metaphor of a utopian hope”—see below). course of the twentieth century), in the striving for synesthetic harmony, and in the immense signifi - Two positions, which I single out from the litera- cance of ornament and decoration. ture, offer extremely contrasting perspectives on Art Nouveau, which ventured the attempt—a late In order to classify these qualities within the his- one in terms of cultural history—of combining torical development, CHAPTER IV introduces those intrinsically artistic forms, but also fashion, dance, nineteenth-century artistic movements that led the culture of eating, and an environment suit- 12 4541_final_rl_final Bilder.indd Abs8:12 19.07.11 12:13 13 able for children, into a style of life and of binding there any intention to list designers, artists, and their these to an ideal. works anywhere near completely. 3 The fi rst sees the new movement, which began The present book thus investigates fundamental toward the end of the nineteenth century, in terms aspects. It raises, not least, the question of whether of cultural psychology, and locates its guiding image one must presuppose an “inborn” failure on the part in Narcissistic self-love: “Man is never less immedi- of Art Nouveau, or whether this assumption is not ate than when he seeks to bring forth the immediate the result of an overly narrow avant-garde view, into expression of himself. The idea of Jugendstil [as con- whose coordinates “art nouveau” does not quite fi t. temporary Germans termed Art Nouveau] was to These objectives simultaneously declare what surround people, in fact the era in its entirety … the book does not aim to achieve: It is not one of with nothing but refl ections of their own inner that large group of publications that organize the selves … Narcissus died because he lost himself in development of Art Nouveau chronologically or his own refl ection.” 1 According to this view, Art Nou- in terms of art as a whole. Only chapter VII follows veau’s “autism,” its aesthetic self-refl ection in a mass this model, with the intention of making it possible society, necessarily led to its swift conclusion. to glean synoptic information of undoubted signifi - The second interpretation, which could title cance. But all the other chapters examine the fun- itself “How Modernism Learned to Walk,” locates damental problems with which Art Nouveau saw the failure of Art Nouveau not in its Narcissism, itself confronted in the historical and socio-cultural but rather in the opposing attempt, namely in its context of the epochal threshold around 1900. effort “to bring about a reconciliation of conven- In order to keep the bibliography within bounds, tional expectations about art with the phenomena I have limited myself to important works that are of the technological age,” and especially with the relatively easily accessible to the reader. I also driving impulses of technocratic motion. “The fact sought to set limits to the footnotes by generally that something like this was possibly a self-con- citing only quotations or particularly important tradiction can be suspected, but it became certain sources of ideas from the literature. As a rule I have fi rst through Jugendstil. This was surely painful; avoided listing again in the footnotes publications its continuing popularity can therefore only be already in the bibliography that clearly deal with interpreted as the irrational desire to repeatedly concrete artists, factual matters, and so on. This delay this moment of realization. For this reason limitation should not lead the reader to falsely pre- Jugendstil will … probably live on forever as the sume that my investigations are not indebted to all metaphor of a utopian hope.”2 the publications mentioned. Obviously, the organizational structure of this book In addition I would like to thank Stefanie Penck of necessarily ignores a whole array of points: in par- Prestel Verlag, who supported this project from the ticular technological aspects and questions of pro- very beginning; Anita Dahlinger for her astute and duction technology have been set aside, for example thorough image research; and not least Eckhard in the case of decorative glass and furniture, just as Hollmann, whose editorial supervision of the text has a listing of factory, workshops, and so on.
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