GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / OvervIEW I / lII Art Nouveau 1 Japonisme 1 2 The Art Nouveau Style 10 3 Aubrey Beardsley 23 4 Toulouse-Lautrec 30 5 Alphonse Mucha 37 6 Conclusion 52 © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / OvervIEW II / lII © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU 1 / 52 Japonisme 1872 Japonism (from the French Japonisme) is the influence of Japanese art, fashion and aesthetics on Western culture. The term is used particularly to refer to Japanese influence on European art. © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 2 / 52 1603–1867 Tokugawa period This epoch was the final phase of traditional Japanese history. • Shogunate rule • Feudal system • National isolation • Few external influences • No Western influence • Singular national style © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 3 / 52 1603–1867 Tokugawa period Ukiyo-e means “pictures of the floating world” and defines an art movement of Japan’s Tokugawa period. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 4 / 52 1800’S Ukiyo-e • Calligraphic linework • Abstraction • Simplification • Flat color • Silhouettes • Bold black shapes • Decorative patterns © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 5 / 52 1800’S Ukiyo-e Landscape and interior environments were frequently presented as suggestive impressions rather than detailed depictions. © KEVIN WOODLAND, 2015 UTAGAWA HIROSHIGE, HORSE-MACKEREL AND PRAWNS, EDO PERIOD, ABOUT 1832 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 6 / 52 1800’S Subjects often became emblematic symbols, reduced to graphic interpretations conveying their essence. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 7 / 52 1868–1912 Meiji Restoration Restored Imperial rule in Japan under emperor Meiji Opened communication with Western societies and cultures • New government • Increased trade and communication • Economic expansion • Internal stability • End of the samurai • End of feudal society • Government military © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 8 / 52 © KEVIN WOODLAND, 2015 THE GREAT WAVE OFF KANAGAWA, KATSUSHIKA HOKUSAI, EDO PERIOD, 1830 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / JaponIsme 9 / 52 1868–1912 Meiji Restoration Western influence flooded and mixed with Japanese traditionalism. • Flourishing cultural arts • East & West cultural collision • Reciprocal influences HIROSHIGE AND VAN GOGH © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU 10 / 52 The Art Nouveau Style 1890–1910 Borrowing graphic characteristics from Ukiyo-e, Art Nouveau was an international decorative style that saw its greatest achievements around the turn of the century. © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 11 / 52 1890–1910 The term Art Nouveau arose in a Paris gallery which opened in 1895 as the Salon de l’Art Nouveau. In addition to Japanese art, “new art” by European and American artists was displayed and sold there. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 12 / 52 1890–1910 Motifs • Vine tendrils • Flowers (rose) • Flowers (lily) • Birds (peacocks) • Female form Art Nouveau’s identifying visual quality is an organic, plantlike line. –MEGGS © KEVIN WOODLAND, 2015 HENRI MEUNIER, POSTER FOR CAFE RAJAH, 1897 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 13 / 52 Art Nouveau encompassed all the design arts • architecture • dishes • furniture • spoons • product design • chairs • fashion • door frames • poster design • staircases • packaging • factories • advertising • subway entrances • teapots • houses © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 14 / 52 Early Modernism • Victorians sought solutions through established historical approaches • “Modernists” adopted a new international ornamental style • Elegant motifs aligned with nature and often distinguished by free and graceful lines. © KEVIN WOODLAND, 2015 HÔTEL TASSEL, VICTOR HORTA, BRUSSELS, BELGIUM, 1894 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 15 / 52 © KEVIN WOODLAND, 2015 HECTOR GUIMARD, PARIS MÉTRO ENTRANCE (REPLICA), DESIGNED 1901, NOW IN CHICAGO GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 16 / 52 © KEVIN WOODLAND, 2015 HECTOR GUIMARD, PARIS MÉTRO ENTRANCE, 1901, NOW AT TOLEDO MUSEUM OF ART GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 17 / 52 1868–1940 Peter Behrens The German artist, architect, and designer Peter Behrens played a major role in charting a course for design in the first decade of the new century. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 18 / 52 1908 Behren’s Apprentices • Mies van der Rohe • Hannes Meyer • Walter Gropius © KEVIN WOODLAND, 2015 (LEFT) PETER BEHRENS, ARCHITECT, AEG BUILDING; (RIGHT) BEHRENS’ WORKSHOP, 1908 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 19 / 52 1910–1914 Henry van de Velde • Belgian • Practiced in the Art Nouveau style • Architect, industrial designer, and graphic designer • Director, Weimar Arts and Crafts School © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, GRAND DUCAL ART SCHOOL, STAIRCASE, BUILT 1904 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 20 / 52 © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, (LEFT) TROPON POSTER, 1898, (RIGHT) RUTH BOOK COVER, 1899 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 21 / 52 © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, CIRCA 1900 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / The Art Nouveau Style 22 / 52 © KEVIN WOODLAND, 2015 HENRY VAN DE VELDE, CIRCA 1900 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU 23 / 52 1872–1898 Aubrey Beardsley A strange cult figure, he was intensely prolific for five years before dying of tuberculosis at age twenty-six. © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 24 / 52 1892-1896 Aubrey Beardsley was the enfant terrible of art nouveau, with his striking pen line, vibrant black-and- white work, and shockingly exotic imagery. – MEGGS © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 25 / 52 © KEVIN WOODLAND, 2015 WILLIAM MORRIS, 1892 (LEFT), AUBREY BEARDSLEY, 1893 (RIGHT) GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 26 / 52 1892-1896 “The black spot” was the name given to compositions based on a dominant black form. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 27 / 52 1892-1896 “The black spot” was the name given to compositions based on a dominant black form. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 28 / 52 1892-1896 “The black spot” was the name given to compositions based on a dominant black form. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / BRITIsh Art Nouveau 29 / 52 1898 Aubrey Beardsley Tragically, during the last two years of his life, Beardsley was an invalid. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU 30 / 52 Toulouse-Lautrec 1864–1901 Henri De Toulouse-Lautrec had turned obsessively to drawing and painting after breaking both hips in an accident at age thirteen. © KEVIN WOODLAND, 2015 GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 31 / 52 Further growth of his legs was stunted, leaving him crippled. He became a master draftsman in the academic tradition after moving to Paris two years later. © KEVIN WOODLAND, 2015 HENRI DE TOULOUSE-LAUTREC GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 32 / 52 Japanese art, impressionism, and Degas’s design and contour were big influences on him. © KEVIN WOODLAND, 2015 HENRI DE TOULOUSE-LAUTREC IN THE STUDIO (LEFT), EDGAR DEGAS, L’ETOILE (RIGHT) GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 33 / 52 © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 34 / 52 He haunted Paris cabarets and bordellos, watching, drawing, and developing a journalistic, illustrative style that captured the night life of la belle époque (the beautiful era), a term used to describe glittering late- nineteenth-century Paris. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 35 / 52 Primarily a printmaker, draftsman, and painter, he produced only thirty-one posters, the commissions for which were negotiated in the cabarets in the evenings. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU / Toulouse-Lautrec 36 / 52 Drawing directly on the lithographic stone, he often worked from memory with no sketches and used an old toothbrush that he always carried to achieve tonal effects through a splatter technique. © KEVIN WOODLAND, 2015 · GDT-101 / HISTORY OF GRAPHIC DESIGN / ART NOUVEAU 37 / 52 Alphonse Mucha 1860–1939 Mucha’s distint illustrative approach involving beautiful young women surrounded by lush flowers set him apart as the preeminent practitioner of the Art Nouveau style. © KEVIN WOODLAND,