DOCSLIB.ORG

Art Nouveau & Ecology Art Nouveau & Ekologia Jugendstil & Natur

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Nouveau & Ecology Art Nouveau & Ekologia Jugendstil & Natur ART NOUVEAU & ECOLOGY ART NOUVEAU & EKOLOGIA JUGENDSTIL & NATUR www.artnouveau-net.eu INFORMATION: Réseau Art Nouveau Network, www.artnouveau-net.eu 25, rue Américaine BE - 1060 BRUXELLES T +32 02 543 04 94 F+32 02 538 76 31, [email protected], [email protected] Commonly known as Modernisme in Spain, Jugendstil in Germany, Secession in Austria and Slovenia, and Stile Liberty in Italy, Art Nouveau first developed in Barcelona and Brussels at the end of the 1880s through precursor architects such as Antoni Gaudí and Victor Horta. As modernity enthusiasts, artists of Art Nouveau were seeking to move away from immediate past styles whilst rediscovering the decorative arts of forgotten Middle-Ages or those more exotic forms from Japan and the Far East. Nature’s forms, which are always linked to a specific func- tion, quickly became a major reference for this art which was meant to be essential and close to the needs of modern man. Art nouveauta eli jugendtyyliä kutsutaan eri maissa eri nimillä: Ranskassa ja englanninkielisissä maissa sen nimi on Art Nou- veau, Espanjassa Modernisme, Saksassa Jugendstil, Itävallassa ja Sloveniassa Secession ja Italiassa Stile Liberty. Tyylisuunta sai alkunsa Barcelonassa ja Brysselissä 1880-luvun lopulla Antoni Gaudín ja Victor Hortan kaltaisten uraauurtavien arkkitehtien töistä. Taiteilijat ja arkkitehdit irtautuivat aiemmin käytetyistä tyylisuun- nista ja löysivät uudelleen unohdetun keskiaikaisen käyttötaiteen sekä Japanin ja Kaukoidän eksoottisen muotokielen. Luonnon vaihtelevat muodot olivat tärkeä innoittaja suunnittelijoille, jotka pyrkivät vastaamaan aikalaisten tarpeisiin. ART NOUVEAU ACROss BORDERS ART NOUVEAUTA YMPÄRI EUROOPPaa JUGEndsTIL ÜBER ALLE GRENZEN HInwEG Bekannt als Art Nouveau in Frankreich, Modernisme in Spanien, Secession in Österreich und Slowenien oder Stile Liberty in Italien, entwickelte sich der Jugendstil Ende der 1880er Jahre in Barcelona und Brüssel durch die als Wegbereiter geltenden Architekten Antoni Gaudí und Victor Horta. Begeistert von der Moderne, versuchten die Künstler des Jugendstils, sich von bisherigen Stilarten zu lösen, während sie gleichzeitig die vergessene dekorative Kunst des Mittelalters oder die exotischen Stilelemente aus Japan und dem fernen Osten wiederentdeckten. Die Formen der Natur, die immer mit einer bestimmten Funktion verbunden sind, 03 wurden schnell zum Vorbild für diese Kunst, die sich als wesentlich und nahe an den Bedürfnissen des modernen Menschen verstand. Thanks to the popularity of International Exhibitions and illustrated magazines, the Art Nouveau style quickly spread across Europe, expressed by handicraft (Arts and Crafts, Wiener Werkstätte etc) as well as machine-made goods (Ecole de Nancy, Gustave Serrurier-Bovy). Made famous by iconic artists such as Emile Gallé in Nancy (glassware art), Charles Rennie Mackintosh in Scotland (furniture) and Hector Guimard in Paris (Paris Metropolitan stations), the move- ment mostly died out with the beginning of the First World War in 1914. A COmmITTED and PROFEssIOnaL NETWORK The Réseau Art Nouveau Network brings together more than twenty European institutions collaborating on projects supported by the European Commission’s 2007-2013 Culture Programme. Founded in 1999, the Network aims to study, promote and preserve Art Nouveau in Europe through many activities (exhibitions, publications, conferences and teaching materials) for the general public (including children and those with visual impairment), technical specialists and academics. Kansainvälisten näyttelyiden ja taidelehtien suosion ansiosta art nouveau -liike levisi nopeasti ympäri Eurooppaa niin käyt- tötaiteen (Arts and Crafts, Wiener Werkstätte ym.) kuin teol- lisesti valmistettujen tuotteidenkin (Ecole de Nancy, Gustave Serrurier-Bovy) muodossa. Liikettä tekivät tunnetuksi monet taiteilijat, kuten Emile Gallé Nancyssa (lasitaide), Charles Rennie Mackintosh Skotlannissa (huonekalut) ja Hector Gui- mard Pariisissa (Pariisin metroasemat). Art nouveau alkoi hiipua ensimmäisen maailmansodan alettua vuonna 1914. 04 ASIanTUNTIJOIDEN VERKOSTO Réseau Art Nouveau Network -verkostoon kuuluu yli kak- sikymmentä eurooppalaista laitosta ja museota. Verkoston yhteistyöprojektit ovat Euroopan komission vuosien 2007– 2013 kulttuuriohjelman tukemia. Vuonna 1999 perustetun verkoston tarkoituksena on tutkia, vaalia ja tuoda esiin art nouveau -aikakauden kulttuuriperintöä monin eri tavoin (näyttelyt, julkaisut, konferenssit ja oppimateriaalit). Koh- deryhmään kuuluvat suuri yleisö, erityisryhmät, tekniset asiantuntijat ja tutkijat. Dank der Popularität internationaler Ausstellungen und illustrierter Zeitschriften verbreitete sich der Jugendstil rasch in ganz Europa, sowohl durch das Kunsthandwerk (Arts and Crafts, Wiener Werkstätte usw.) als auch durch industriell gefertigte Waren (Ecole de Nancy, Gustave Serrurier-Bovy). Berühmt geworden durch herausragende Künstler wie Emile Gallé in Nancy (Glaskunst), Charles Rennie Mackintosh in Schottland (Möbel) und Hector Guimard in Paris (Pariser U-Bahnstationen), endete die Bewegung weitgehend mit dem Beginn des Ersten Welt- krieges 1914 EIN ENGAGIERTES Und PROFEssIONELLES NETZWERK Das Réseau Art Nouveau Network verbindet über zwanzig europäische Institutionen. Diese arbeiten an Projekten zusammen, die vom Kulturprogramm 2007-2013 der Europäischen Kommission unterstützt werden. Gegründet 1999, hat das Netzwerk das Ziel, das reiche Jugendstilerbe in Europa weiter zu erforschen, zu fördern und zu bewahren. Vielfältige Aktivitäten (Ausstellungen, Publikationen, Konferenzen und Lehrmaterial) für die Allgemeinheit (insbesondere auch für Kinder und Menschen mit Sehbeeinträchtigung), für Wissenschaftler und Uni- versitäten, tragen dazu bei. 05 More information about the Network’s activities is available on the multilingual website www.artnouveau-net.eu. Here it is possible to sign up for the newsletter and download publications and proceedings of the Network conferences. The website also provides infor- mation about the partner cities, links to other websites and Art Nouveau related events around the world. Professionals and students can benefit from scientific materials related to Art Nouveau, such as the PhD thesis database and the list of documentation centres. Last but not least, the interactive learning tools allow children to read booklets appropriate to their age and teachers can bring their pupils to discover Art Nouveau through online activity sheets. ART NOUVEAU & ECOLOGY 2010-2015 In a time of sustainable development and environmental awareness, Nature, the main source of inspiration in Art Nouveau, remains a most concerning topic. The Réseau Art Nouveau Network’s fourth European project, Art Nouveau & Ecology, seeks to explore the specific connection between Art Nouveau heritage and nature. Lisätietoja verkoston toiminnasta on verkkosivuilla osoittees- sa www.artnouveau-net.eu. Verkkosivuilta voi tilata uutiskirjeen sekä ladata julkaisuja ja verkoston järjestämien konferenssien lyhennelmiä. Sivuilla on myös tietoja yhteistyökaupungeista, linkkejä ja tietoa aiheeseen liittyvistä tapahtumista ympäri maailman. Asiantuntijat ja opiskelijat voivat hyödyntää aiheeseen liittyviä tieteellisiä materiaaleja, kuten väitöskirjatie- dostoa ja dokumentointikeskusten luetteloa. Lisäksi tarjolla on opetusmateriaaleja julkaisujen ja nettipelien muodossa. ART NOUVEAU & EkOLOGIA 2010–2015 Art nouveau taiteilijoiden ja arkkitehtien suurin inspiraationläh- de oli luonto. Luonnon arvo ja sen suojelun tärkeys on nykyisin kaikkien tiedossa. Réseau Art Nouveau Networkin neljäs projekti Art Nouveau & Ecology keskittyy tutkimaan art nouveaun ja 06 luonnon välistä erityistä yhteyttä. Weitere Informationen über die Aktivitäten des Netzwerks stehen auf der mehrsprachigen Website www.artnouveau-net.eu zur Verfügung. Hier kann man sich für den Newsletter anmelden, sowie Publikationen und Berichte der Netzwerkkonferenzen herunterladen. Die Website bietet umfangreiche Informationen über die Partnerstädte, über weltweite Veranstaltungen mit Bezug zum Jugendstil sowie eine relevante Linksammlung. Fachleute und Studenten können wissenschaftliches Material über den Jugendstil weltweit nutzen, wie z.B. die PhD thesis Promotions Datenbank und eine Liste der Dokumentationszentren. Nicht zuletzt stehen für Kinder altersgerecht aufbereitete Inhalte online bereit, und Lehrer können online verfügbare Arbeitsmaterialien nutzen, um ihren Schülern die Epoche des Jugendstils vorzustellen. JUGEndsTIL & NATUR 2010-2015 In einer Zeit, die durch Nachhaltigkeit und Umweltbewusst- sein geprägt ist, bleibt die Natur als bedeutendste Inspira- tionsquelle des Jugendstils ein wichtiges Thema. Das vierte europäische Projekt des Réseau Art Nouveau Netzwerks unter dem Thema „Jugendstil & Natur“ will die besondere Verbindung zwischen dem Jugendstilerbe und der Natur erforschen. 07 COORDInaTOR - KOORDINOIja - KOORDInaTOR : BELGIUM - BELGIA - BELGIEN Direction des Monuments et des Sites de la Région de Bruxelles-Capitale - Directie Monumenten en Landschappen van het Brussels Hoofdstedelijk Gewest CO-ORGanISERS - MUUT JÄRJESTÄJÄT - CO-ORGanIsaTOREN : BELGIUM - BELGIA - BELGIEN Musée Horta Saint-Gilles - Hortamuseum Sint-Gillis FINLand - SUOMI - FInnLand Helsingin kaupunginmuseo - Helsinki City Museum FRanCE - Ranska - FRankREICH Ville de Nancy - City of Nancy GERmanY - Saksa - DEUTSCHLand Magistrat der Stadt Bad Nauheim - Bad Nauheim City Council ITALY - ITALIA - ITALIEN Regione Lombardia, Direzione Generale Cultura, Struttura Programmazione
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • In Association with Page Ayres Cowley Architects, LLP, Henry Joyce, and the Alexander Palace Association the ALEXANDER PALACE
    THE ALEXANDER PALACE TSARSKOE SELO, ST. PETERSBURG, RUSSIA PRELIMINARY ASSESSMENT REPORT FOR RESTORATION AND ADAPTIVE RE-USE \ ~ - , •I I THE WORLD MONUMENTS FUND in Association with Page Ayres Cowley Architects, LLP, Henry Joyce, and The Alexander Palace Association THE ALEXANDER PALACE TSARSKOE SELO, ST. PETERSBURG, RUSSIA PRELIMINARY ASSESSMENT REpORT FOR RESTORATION AND ADAPTIVE RE-USE Mission I: February 9-15, 1995 Mission II: June 26-29,1995 Mission III: July 22-26, 1996 THE WORLD MONUMENTS FUND in Association with Page Ayres Cowley Architects, LLP, Henry Joyce, and The Alexander Palace Association June 1997 Enfilade, circa 1945 showing war damage (courtesy Tsarskoe Selo Museum) The research and compilation of this report have been made possible by generous grants from the following contributors Delta Air Lines The Samuel H. Kress Foundation The Charles and Betti Saunders Foundation The Trust for Mutual Understanding Cover: The Alexander Palace, February 1995. Photograph by Kirk Tuck & Michael Larvey. Acknowledgements The World Monuments Fund, Page Ayres Cowley Architects, LLP, and Henry Joyce wish to extend their gratitude to all who made possible the series of international missions that resulted in this document. The World Monuments Fund's initial planning mission to St. Petersburg in 1995 was organized by the office of Mayor Anatoly Sobchak and the members of the Alexander Palace Association. The planning team included representatives of the World Monuments Fund, Page Ayres Cowley Architects, and the Alexander Palace Association, accompanied by Henry Joyce. This preliminary report and study tour was made possible by grants from the Samuel H. Kress Foundation and the Trust for Mutual Understanding.
    [Show full text]
  • Iin Search of a European Style
    In Search of a I European Style Our European Community built upon an economic base Art Nouveau was a movement started by the new is being increasingly defined as a shared socio-cultural space. middle-classes, who established themselves in cities such as Within this new spirit, art and architecture are, like music, Glasgow, Brussels, Nancy, Berlin and Barcelona, where it laid universal languages and have become an indisputable the roots for this emerging social class. There is nothing reference point for overcoming social, religious or linguistic better, therefore, than a network of cities to explain this differences in the various countries. Furthermore, a simple movement. The Art Nouveau European Route-Ruta Europea analysis of the evolution of art throughout history shows that del Modernisme is a project whose aim is the cultural styles have always spread across the continent at an amazing dissemination and promotion of the values of Art Nouveau speed. Artistic styles have defined specifically European heritage, offering a tour through the different cities models such as the Romanesque, Gothic or Renaissance, etc. comprising this network, where one can enjoy the These spread across Europe but always left a trace of each ornamental wealth of the movement and the beauty of its nation's indigenous values. This process has been appreciated forms. All of these cities sought a common project of since the appearance of the first Medieval styles and was also modernity in the diversity of their Art Nouveau styles. The evident in Art Nouveau, probably the most cosmopolitan and narrative thread of this book can be found in a collection of international of European styles.
    [Show full text]
  • Art and Technology (1910) PETER BEHRENS
    Art and Technology (1910) PETER BEHRENS Peter Behrens (born April 14, 1868, Hamburg—died Feb. 27, 1940, Berlin) German Architect He has an influencel role to develop modern architecture in Germany. He made a name with his works of painting, graphic design and architecture and industrial de- sign, especially he was accepted as a pioneer of modern industrial design and mod- ern industrial architecture. “Design is not about decorating functional forms - it is about creating forms that accord with the character of the object and that show new technologies to advantage.” - Peter Behrens Arch222 Presentation 16.03.2017 1 From 1886 to 1889 - Behrens studied at Hamburg Kunstgewerbeschule (School for the Ap- plied Arts). After attending the fine arts school at Hamburg, Behrens went to Munich in 1897 during the time of the renaissance of arts and crafts in Germany before attending the Kunst- schule in Karlsruhe and the Düsseldorf Art Academy. In1890 - In Munich, He began to career of painter, in this period he joined a Munich’s popular art movement Jugendstil (German Art Nouveau) In 1893 - He was a founding member of the Munich Secession. In 1899 - Behrens was invited by the Grand-duke Ernst-Ludwig of Hesse-Darmstadt Artists’ Colony, where he designed and built his own house (Haus Behrens) In 1903 - He became director of the arts and crafts school in Düsseldorf. In 1907 - Behrens came together with ten other artists and designers to create the Deutscher Werkbund, an organization that was deliberated to compete with the English Arts and Crafts movement and improves the status of German design and industry.
    [Show full text]
  • Art Nouveau Et Art Total
    Claire Lingenheim terminale l | option histoire des arts l’art nouveau Lycée des Pontonniers strasbourg _Art nouveau et Art total «L’espoir d’un avenir heureux et égalitaire est derrière ces nouvelles œuvres décoratives ; nous en trouvons la preuve dans les écrits de Walter Crane et de William Morris, deux des personnalités phares de ce mouvement. Les artistes ne sont peut-être que des vision- naires mais les sociologues soutiennent ces prophéties de manière scientiques». Henri Van de Velde Les années 1900, la décennie 1895-1905, sont incontestablement celles où semble 1.G. KLIMT, Frise de Beethoven, Pavillon de la Sécession, sur le point d’aboutir une quête entreprise depuis une vingtaine d’années, la quête Vienne, 1902 d’une synthèse des arts. L’œuvre d’art totale est d’origine essentiellement romantique. C’est le compositeur Richard Wagner qui rêvait d’une fusion de tous les arts. Dans l’idéal, une Gesamtkunstwerk peut même solliciter plusieurs sens : vue, ouïe, mais aussi goût, odorat, toucher. Les artistes de l’Art nouveau enrichissent ce principe en se don- nant comme ambition de toucher le peuple et d’abolir l’élitisme du beau. I/L’UNION DE TOUS LES ARTS _LA COLLABORATION ENTRE ARTISTES Les artistes unissent leur talent pour créer une œuvre d’art totale. 1. Le Pavillon de la Sécession et l’hommage à Beethoven Cette collaboration fructueuse entre les différents arts s’incarne dans l’hommage à Beethoven, incarnation romantique du génie, et la statue que lui a consacrée Max Klinger (2) comme la frise de Klimt (1) au Pavillon de la Sécession.
    [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]
  • Majorelle Et Ses Contemporains | 30.12.2019
    RTCURIAL MAJORELLE ET SES CONTEMPORAINS Lundi 30 décembre 2019 - 17h La Mamounia Marrakech En duplex à Paris MAJORELLE ET SES CONTEMPORAINS SES ET MAJORELLE MAJORELLE ET SES CONTEMPORAINS Lundi 30 décembre 2019 - 17h artcurial.com Lundi 30 décembre 2019 - 17h MA3902 RTCURIAL RTCURIAL lot n°12, Jacques Majorelle, Contre-jour, Assikis, vallée du Haut Sexaoua (Grand Atlas), 1929 p.20 MAJORELLE ET SES CONTEMPORAINS Lundi 30 décembre 2019 – 17h La Mamounia Marrakech En duplex à Paris lot n°13, Jacques Majorelle, Les Allamattes p.22 lot n°50, Étienne Dinet, Le fils d'un saint M'rabeth, 1900 p.58 François Tajan Olivier Berman Soraya Abid Hugo Brami Fatima Zahra Mahboub Jessica Cavalero Président délégué Directeur Directrice administrative Spécialiste junior Assistante de Direction Recherche et certificat Commissaire-priseur Assistez en direct aux ventes aux enchères d’Artcurial et enchérissez comme si vous y étiez, c’est ce que vous offre le service Artcurial Live Bid. Pour s’inscrire : www.artcurial.com Lots 1 à 13, 16 à 23, 25 à 34, 36 à 41, 43 à 51, 53 à 63 et 65 à 71 en provenance hors Maroc (indiqués par un ) : Aux commissions et taxes indiquées aux conditions générales d’achat, il convient d’ajouter les frais d’importation (12,75% du prix d’adjudication). 30 décembre 2019 17h. Marrakech RTCURIAL Majorelle et ses contemporains 5 lot n°56, John Evan Hodgson, Le repos des chasseurs p.68 INDEX A F P ACKEIN, Marcelle - 35 FABIUS BREST, Germain - 53 PONTOY, Henri - 6, 7, 16, 17, 18, AZÉMA, Jacques - 39, 40, 41 FRÈRE, Théodore - 54, 55 19, 28, 29, 31 Attr.
    [Show full text]
  • Gino Severini and the Symbolist Aesthetics of His
    GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD (Under the Direction of Evan Firestone) ABSTRACT This thesis examines Gino Severini’s dance imagery produced between 1910 and 1915 and its relationship to late nineteenth- and early twentieth-century Symbolism. It is proposed in this paper that the influence of Symbolism, including the phenomenon of synesthesia, was a consistent presence throughout Severini’s artistic production during this period. Surrounded by artists and writers within the neo-Symbolist milieu of Paris, Severini was introduced to Symbolist literature and contemporary philosophy, both of which influenced his approach to Futurism. The resultant amalgamation of Symbolist and Futurist aesthetic theories is analyzed in the context in which these dance images were produced. Taking into consideration Severini’s personal and artistic relationships, along with his theoretical writings, a more complete understanding of his Futurist works from this period is possible. INDEX WORDS: Gino Severini, Severini, Futurism, Symbolism, Dance GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD B.A.F.A., The University of New Mexico, 1999 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements of the Degree MASTER OF ARTS ATHENS, GEORGIA 2003 © 2003 Shannon N. Pritchard All Rights Reserved GINO SEVERINI AND THE SYMBOLIST AESTHETICS OF HIS FUTURIST DANCE IMAGERY, 1910-1915 by SHANNON N. PRITCHARD Major Professor: Evan Firestone Committee: Janice Simon Shelley Zuraw Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2003 DEDICATION I dedicate this thesis to my mother, Marian Pritchard, for without her unwavering support and understanding this would not have been possible.
    [Show full text]