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Art Nouveau in Progress / Art Nouveau En Projet Proceedings of the Colloquium Actes Du Colloque Wien - 24 & 25/10/2002

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Art Nouveau in Progress / Art Nouveau En Projet Proceedings of the Colloquium Actes Du Colloque Wien - 24 & 25/10/2002 ART NOUVEAU IN PROGRESS / ART NOUVEAU EN PROJET PROCEEDINGS OF THE COLLOQUIUM ACTES DU COLLOQUE WIEN - 24 & 25/10/2002 1 Table of contents / Table des matieres LE RÉSEAU ART NOUVEAU NETWORK Le Réseau Art Nouveau Network est une association internationale fondée en 1999 par une quinzaine de villes possédant toutes un riche patrimoine Art nouveau. Depuis, grâce au soutien de l’Union européenne, le Réseau développe et encourage la collaboration entre les experts et institutions chargées de la sauvegarde et La ligne Art nouveau / The Art Nouveau line – Prof. Dr. Jean-Paul Bouillon . 27-36 de la mise en valeur de ce patrimoine, en organisant de nombreux échanges de connaissance et des actions communes de dimension européenne La restauration du décor intérieur de style Art nouveau : les chimères de l’authenticité / The Restoration of Art Nouveau Interior Design : Illusions of Authenticity – Françoise Aubry . 37-40 THE RÉSEAU ART NOUVEAU NETWORK The Réseau Art Nouveau Network is an international association, launched in 1999 by fourteen cities all Restoration and Future Presentation of Charles Rennie Mackintosh’s Ingram Street Tea Rooms / possessing a rich Art Nouveau heritage. Since then, thanks to the backing of the European Union, the Network Restauration et mise en valeur future de l’Ingram Street Tea Rooms de Charles Rennie has developed and encouraged collaboration between the experts and institutions responsible for protecting Mackintosh – Alison Brown . 41-44 and promoting this heritage, organising several events where skills can be shared, as well as joint initiatives at European level. Emile André et le Parc de Saurupt à Nancy / Emile André and the Parc de Saurupt in Nancy – Hervé Doucet . 45-50 Inventing the Ideal City, the Narratives and Symbolism of Art Nouveau / TABLE OF CONTENTS / TABLE DES MATIERES PAGES L’invention de la ville idéale, narrations et symbolisme de l’Art nouveau – Dr. Paul Greenhalgh . 51-54 Introduction . 4-5 Barcelona’s Modernisme Trail and the Municipal Programme of Preservation and Restoration of Gaudi monuments on the Occasion of the Gaudi International Year 2002 / La Route du Allocution de bienvenue / Welcome speech – Caroline Mierop . 6-8 Modernisme de Barcelone et le programme municipal de sauvegarde et de restauration des monuments de Gaudi dans le cadre de l’Année internationale Gaudi 2002 – Cristina Trius Chassaigne, The Perception of Art Nouveau, Iconography and Historiography / Lluis Bosch . 55-59 La perception de l’Art nouveau, iconographie et historiographie – Dr. Stephan Tschudi-Madsen . 9-12 Projets manqués et rêvés, développements anciens et futurs du Stile Liberty dans la province L’Art nouveau dans les expositions internationales autour de 1900 / de Varese / Unfulfilled and Would-be Projects : Past and Future Developments of the Liberty Art Nouveau in International Exhibitions around 1900 – Dr. Rossana Bossaglia . 13-14 Style in the Province of Varese – Giuseppe Pacciarotti . 60-65 The National Pavilion at the Paris World Fair of 1900, an Archetypal Building in Finnish Some Hungarian examples of Unaccomplished, Demolished and Reconverted Art Nouveau Architectural History / Le pavillon national à l’exposition universelle de Paris en 1900, une Buildings / Quelques exemples d’édifices hongrois de style Art nouveau jamais réalisés, disparus construction paradigmatique dans l’histoire de l’architecture finlandaise – Dr. Ritva Wäre . 15-18 ou reconvertis – Jànos Gerle . 66-69 Riga’s 700th anniversary Jubilee Exhibition of 1901 / Visionary Projects in Vienna never Accomplished, around 1900 / L’Exposition de 1901 pour le 700e anniversaire de Riga – Janis Krastins . 19-22 Projets visionnaires non réalisés, à Vienne autour de 1900 – Rainald Franz . 70-75 Ljubljana – Vienne – Prague : les relations culturelles à l’époque de l’Art nouveau / Terrassa, réhabilitation du patrimoine moderniste industriel / Ljubljana – Vienna – Prague : Cultural Relations during the Art Nouveau Period – Breda Mihelic . 23-26 Terrassa, the revival of the Modernist Industrial Heritage – Domènec Ferran i Gomez . 76-80 2 3 Introduction The Art Nouveau heritage, as we know it today, is the product of several vicissitudes. In addition to the great examples of architecture and applied arts dating from this period, now preserved within cities and museums, there are a multitude of projects which were never carried out or were temporary in nature, as well as demolished buildings or forgotten structures which, in some cases, have now benefitted from new usage. All these works display a variety of illustrations of this style so worthy of remembrance, and they deserve to be better known and appreciated. Using a wide range of European examples, this international colloquium has presented the first general record of that heritage, which has been subject in varying degrees to obscurity, loss, or re-usage. Over three sessions, the lecturers have explored the problems inextricably linked to reflections on the nature, origins or future of Art Nouveau in Europe. The historiography behind the rediscovery of this style, retraced by Stephan Tschudi- Madsen, enables us to follow the slow process that led in successive stages to its recognition on a world- wide scale. This rehabilitation has been gradual, as opposed to the sudden extreme popularity– described by Rossana Bossaglia – that Art Nouveau enjoyed in the early XX century, notably due to international exhibitions. Jean-Paul Bouillon has produced an in-depth analysis on the important role played by the Art Nouveau line, both structurally and as an identifying feature, as distinguished from other, similar modes of expression. Art Nouveau’s relationship with the city and urban design, evoked by Paul Greenhalgh, illustrates the quest for a new, symbolic order comparable to the ethos of modernity. Finally, Françoise Aubry has criticised the whimsical pursuit of authenticity in the restoration of Art Nouveau interiors, pleading instead for greater awareness of the « emotion » involved in this type of operation. This extensive evaluation is completed by analyses of several actual cases. In this way, the Réseau Art Nouveau Network has sought to contribute to the rediscovery of vital elements within Art Nouveau’s creative output, promoting better understanding of a movement which has left its mark on most European cities. Le patrimoine Art nouveau, tel que nous le percevons aujourd’hui, est le fruit de nombreuses vicissitudes. Face aux grands témoins de l’architecture ou des arts appliqués de cette période, désormais protégés dans les villes et les musées, se dresse la multitude de projets jamais réalisés ou éphémères, d’œuvres détruites, ou encore d’édifices oubliés qui, dans certains cas, bénéficient actuellement de nouvelles affectations. Toutes ces réalisations constituent autant d’expressions de ce style dont il convient de conserver la mémoire et qui méritent d’être davantage mises en valeur. Ce colloque international a proposé pour la première fois, à travers un large éventail d’exemples européens, un état des lieux de ce patrimoine ayant subi, à des degrés divers, la logique de l’oubli, de la disparition ou de la réutilisation. Au cours de trois sessions, les conférenciers ont abordé des problématiques indissociables de toute réflexion sur la nature, les origines ou le devenir de l’Art nouveau en Europe. L’historiographie de la redécouverte de ce style, retracée par Stephan Tschudi-Madsen, permet de parcourir le lent processus qui, par étapes successives, a amené à sa reconnaissance à l’échelle mondiale. Une réhabilitation progressive à opposer à l’engouement très soudain – décrit par Rossana Bossaglia – dont fit l’objet l’Art nouveau au début du XXe siècle, grâce notamment aux expositions internationales. Jean-Paul Bouillon livre une analyse approfondie du rôle structurant et signalétique de la ligne Art nouveau, à distinguer d’autres modes d’expression similaires. La relation de l’Art nouveau à la ville et à l’imaginaire urbain, évoquée par Paul Greenhalgh, illustre, elle, la quête d’un nouvel ordre symbolique pouvant être assimilé à la modernité. Françoise Aubry dénonce, enfin, la recherche d’une authenticité chimérique en matière de restauration des intérieurs Art nouveau, plaidant pour une meilleure prise en compte de l’« émotion » dans ce type d’interventions. L’analyse de nombreux cas concrets complète ce vaste tour d’horizon, par lequel le Réseau Art Nouveau Network a souhaité contribuer à la redécouverte d’un pan essentiel de la production Art nouveau, et promouvoir ainsi une meilleure com- préhension d’un mouvement ayant marqué de son empreinte la plupart des pays d’Europe. 4 5 définir la re-lecture que vous voulez proposer de redécouvertes, de réévaluations aussi, d’avancées Allocution de bienvenue l’Art nouveau européen, dans ce colloque d’abord, scientifiques et techniques. Je vous en félicite. dans une grande exposition ensuite : Permettez-moi, sur le thème de la redécouverte CAROLINE MIEROP, COMMISSION EUROPÉENNE, CONSEILLÈRE POUR LA CULTURE AU CABINET • le projet (c’est à dire le futur) parce que, vous le et sous prétexte de Paul Hankar, de citer quelques soulignez, de très nombreux édifices Art nouveau mots du professeur François Loyer: « L’oubli prolongé DE MADAME VIVIANE REDING « mineurs » sont aujourd’hui encore méconnus, dont un artiste aussi important que Paul Hankar C’est un plaisir pour moi d’ouvrir ce colloque du Il est donc indispensable de faire connaître, à insuffisamment protégés, en mal d’affectation et fut la victime – alors que son rôle avait été
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