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 GROUND STATION TABLE LAMP 26 DAUM FRÈRES, GLASS AND 30 ANTONI GAUDÍ, PARK IRON LAMP 01 ARTHUR HEYGATE MACKMUR- 37 GUSTAV GURSCHNER, SHELL GÜELL DO, FRETWORK-BACKED CHAIR TABLE LAMP 32 CHARLES ROBERT ASHBEE, 38 CHARLES RENNIE DECANTER 17 CHARLES RENNIE MACKIN- 40 GEORG JENSEN, BLOSSOM TEA MACKINTOSH, GLASGOW TOSH, HIGH-BACKED CHAIR AND COFFEE SERVICE SCHOOL OF ART 36 LOUIS COMFORT TIFFANY & CLARA DRISCOLL, WISTERIA 43 LOUIS MAJORELLE, 47 CHARLES ROBINSON SYKES, 41 ANTONI GAUDI, TABLE LAMP NÉNUPHAR BED THE SPIRIT OF ECSTASY CASA BATTLÓ GLASS WORK WOODWORK & FURNITURE METAL WORK ARCHITECTURE ART NOUVEAU 50 WORKS OF ART YOU SHOULD KNOW Susie Hodge PRESTEL Munich · London · New York CONTENTS INTRODUCTION 9 01 ARTHUR HEYGATE MACKMURDO 14 ALPHONSE MUCHA Fretwork-Backed Chair 24 Zodiac 50 02 ARTHUR HEYGATE MACKMURDO 15 THÉOPHILE-ALEXANDRE STEINLEN Wren’s City Churches 26 Le Chat Noir Cabaret 52 03 ANTONI GAUDÍ 16 JULES CHÉRET Sagrada Familia 28 Loïe Fuller at the Folies Bergère 54 04 HENRI DE TOULOUSE-LAUTREC 17 CHARLES RENNIE MACKINTOSH Divan Japonais 30 High-Backed Chair 56 05 MAURICE DENIS 18 JOSEPH MARIA OLBRICH April 32 Secession Building 58 06 PAUL GAUGUIN 19 RENÉ LALIQUE What! Are You Jealous? Aha Oe Feii? 34 Dragonfl y Woman Corsage Ornament 60 07 LOUIS COMFORT TIFFANY 20 ALPHONSE MUCHA Parakeets and Goldfi sh Bowl 36 The Arts: Dance 62 08 VICTOR HORTA 21 HENRY VAN DE VELDE Hôtel Tassel 38 Tropon 64 09 LOUIS COMFORT TIFFANY 22 KOLOMAN MOSER Favrile Vase 40 Dancing Girls 66 10 EDWARD COLEY BURNE-JONES 23 HECTOR GUIMARD Love Among the Ruins 42 Entrance to the Métro Porte Dauphine 68 11 EDVARD MUNCH 24 OTTO WAGNER Madonna 44 Karlsplatz Underground Station 70 12 AUBREY BEARDSLEY 25 ÉMILE GALLÉ Isolde 46 Glass Vase 72 13 HERMANN OBRIST 26 DAUM FRÈRES The Whiplash Wall Hanging 48 Glass and Iron Lamp 74 27 GEORGES FOUQUET 40 GEORG JENSEN Peacock Brooch 76 Blossom Coffee and Tea Service 102 28 ALPHONSE MUCHA 41 ANTONI GAUDÍ La Nature 78 Casa Battló 104 29 FRANÇOIS-RAOUL LARCHE 42 GUSTAV KLIMT Loïe Fuller Table Lamp 80 Fulfi lment (The Embrace) 106 30 ANTONI GAUDÍ 43 LOUIS MAJORELLE Park Güell 82 Nénuphar Bed 108 31 GUSTAV KLIMT 44 MARIANO FORTUNY Judith with the Head of Holofernes 84 Delphos Gown 110 32 CHARLES ROBERT ASHBEE 45 GUSTAV KLIMT Decanter 86 The Kiss 112 33 PETER BEHRENS 46 WALTER CRANE Jugendstil Table Lamp 88 Neptune’s Horses 114 34 MARGARET MACDONALD 47 CHARLES ROBINSON SYKES Opera of the Seas 90 The Spirit Of Ecstasy 116 35 EMMANUEL ORAZI 48 EDMUND DULAC La Maison Moderne 92 These No Sooner Saw Beauty than they Began to Scream and Chatter 118 36 LOUIS COMFORT TIFFANY AND CLARA DRISCOLL Wisteria Table Lamp 94 49 KAY NIELSEN The Princess on the Way to the Dance 120 37 GUSTAV GURSCHNER Shell Table Lamp 96 50 SIDNEY SIME The Ominous Cough 122 38 CHARLES RENNIE MACKINTOSH Glasgow School Of Art 98 PHOTO CREDITS 124 39 ARCHIBALD KNOX Belt Buckle 100 8 INTRODUCTION styles and historical replications that were popular during the Victorian era, and aimed to produce original designs that reached a broader public, transcending class bound- aries, reconciling mass production with craftsmanship and democratising tastes. Sources of inspiration The nineteenth century saw the industri- alisation and urbanisation of much of Eur- ope. There was a great rise in the wealth of the middle and upper classes, but this co-existed with extreme poverty and huge economic booms and slumps, leading to The Hunterston Brooch, silver, gold and amber, ca. 700, periodic mass unemployment. The large National Museums of Scotland, Edinburgh increase in the availability of material goods and commercial opportunities was Art Nouveau was an infl uential but rela- accompanied by persistent anxieties about tively short-lived art and design movement the social and moral effects of such con- and philosophy that emerged in the fi nal sumerism, initiating a rise in socialist and decades of the nineteenth century (often anarchist movements. In this respect, Art called the fi n de siècle) and ended with Nouveau evolved directly from the Arts and the start of World War One. It developed Crafts movement that was led by the Eng- almost simultaneously across Europe and lish designer and socialist William Morris America, in provincial towns as well as in (1834–96). The Arts and Crafts movement capital cities, including Glasgow, Chicago, was a reaction against the predominance Barcelona, Paris, Bucharest, Nancy, Brus- of cluttered, ornate styles, poorly made sels and St Louis. A conscious attempt mass-produced objects and the division of to create a unique and modern form of labour, all of which were a direct conse- expression that evoked the spirit of the quence of the Industrial Revolution. Morris age, it was a versatile movement with huge and his followers had sought to revitalise scope and infl uence that manifested itself design and revive medieval crafts, produc- in painting, illustration, sculpture, jewellery, ing handmade items in small workshops, metalwork, glass, ceramics, textiles, graph- ultimately aiming to enhance people’s ic design, furniture, architecture, costume quality of life. Like the Arts and Crafts and fashion. Applying organic, fl owing movement, Art Nouveau artists and design- lines, Art Nouveau designers determined ers drew on diverse infl uences, including to escape the excessively ornamental Celtic art and design, the Gothic Revival, 10 Sudden Rainstorm at Shono, No. 46 from the series “53 Stations of the Tokaido,“ Ando or Utagawe Hiroshige, woodblock print, 1833, Victoria & Albert Museum, London the Rococo, the Aesthetic movement, Sym- was superior to craft-based decorative bolist art, and aspects of Japanese design. arts. In addressing this attempt to raise the Unlike the Arts and Crafts movement, how- status of crafts and the decorative arts, ever, Art Nouveau artists and designers did Art Nouveau was applied to all forms of not shun mass production, but embraced art and design, with practitioners endeav- many modern technologies, including ma- ouring to produce “total works of art” or chines. The movement was a genuine at- Gesamtkunstwerke, in which every aspect tempt to create something completely new of art and design was coordinated. Artists, that did not imitate the past, and that was designers and architects also aimed to har- truly international. monise with the natural environment, and Art Nouveau was also a rejection of determined that art and design should be the traditional hierarchy of the arts estab- an integral part of life. lished by the academic system that had The fi rst Art Nouveau designs are be- dominated art education since the seven- lieved to have been made by the English teenth century, and which maintained that architect and designer Arthur Heygate fi ne art, such as painting and sculpture, Mackmurdo (1851–1942) early in the 1880s. 11.