From the 1880s until the First World War, western Europe and the United States witnessed

the
development of Art Nouveau ("New Art"). Taking inspiration from the unruly aspects of the natural world,
Art Nouveau influenced art and architecture especially in the applied arts, graphic work, and illustration.
Sinuous lines and "whiplash" curves were derived, in part, from botanical studies and illustrations of deepsea organisms such as those by German biologist Ernst Heinrich Haeckel (18341919) in Kunstformen
der Natur (Art Forms in Nature, 1899). Other publications, including Floriated Ornament (1849)
by Gothic Revivalist Augustus Welby Northmore Pugin (18121852) and The Grammar of
Ornament (1856) by British architect and theorist Owen Jones (18091874), advocated nature as the
primary source of inspiration for a generation of artists seeking to break away from past styles. The
unfolding of Art Nouveau's flowing line may be understood as a metaphor for the freedom and release
sought by its practitioners and admirers from the weight of artistic tradition and critical expectations.
Additionally, the new style was an outgrowth of two nineteenth-century English developments for
which design reform (a reaction to prevailing art education, industrialized mass production, and the
debasement of historic styles) was a leitmotifthe Arts and Crafts movement and the Aesthetic
movement. The former emphasized a return to handcraftsmanship and traditional techniques. The latter
promoted a similar credo of "art for art's sake" that provided the foundation for non-narrative paintings, for
instance, Whistler's Nocturnes. It further drew upon elements of Japanese art ("japonisme"), which
flooded Western markets, mainly in the form of prints, after trading rights were established with Japan in
the 1860s. Indeed, the gamut of late nineteenth-century artistic trends prior to World War I, including
those in painting and the early designs of the Wiener Werksttte, may be defined loosely under the rubric
of Art Nouveau.
The term art nouveau first appeared in the 1880s in the Belgian journal L'Art Moderne to describe the
work of Les Vingt, twenty painters and sculptors seeking reform through art. Les Vingt, like much of the
artistic community throughout Europe and America, responded to leading nineteenth-century theoreticians
such as French Gothic Revival architect Eugne-Emmanuel Viollet-le-Duc (18141879) and British art
critic John Ruskin (18191900), who advocated the unity of all the arts, arguing against segregation
between the fine arts of painting and sculpture and the so-called lesser decorative arts. Deeply influenced
by the socially aware teachings of William Morris and the Arts and Crafts movement, Art Nouveau
designers endeavored to achieve the synthesis of art and craft, and further, the creation of the spiritually
uplifting Gesamtkunstwerk ("total work of art") encompassing a variety of media. The successful
unification of the fine and applied arts was achieved in many such complete designed environments as
Victor Horta and Henry van de Velde's Hotel Tassel and Van Eetvelde House (Brussels, 189395),
Charles Rennie Mackintosh and Margaret Macdonald's design of the Hill House (Helensburgh, near
Glasgow, 19034), and Josef Hoffmann and Gustav Klimt's Palais Stocklet dining room (Brussels, 1905
11) (2000.350; 1994.120; 2000.278.1-.9).
Painting styles such as Post-Impressionism and Symbolism (the "Nabis") shared close ties with Art
Nouveau and each was practiced by designers who adapted them for the applied arts, architecture,
interior designs, furnishings, and patterns. They contributed to an overall expressiveness and the
formation of a cohesive style (64.148).
In December 1895, German-born Paris art dealer Siegfried Bing opened a gallery called L'Art Nouveau
for the contemporary dcor he exhibited and sold there (1999.398.3). Though Bing's gallery is credited
with the popularization of the movement and its name, Art Nouveau style reached an international
audience through the vibrant graphic arts printed in such periodicals as The Savoy, La Plume, Jugend,
Dekorative Kunst, The Yellow Book, and The Studio.The Studio featured the bold, Symbolist-inspired
linear drawings of Aubrey Beardsley (18721898). Beardsley's flamboyant black and white block print J'ai

bais ta bouche lokanaan for Oscar Wilde's play Salom (1894), with its brilliant incorporation of
Japanese two-dimensional composition, may be regarded as a highlight of the Aesthetic movement and
an early manifestation of Art Nouveau taste in England. Other influential graphic artists included Alphonse
Mucha, Jules Chret, and Henri de Toulouse-Lautrec, whose vibrant poster art often expressed the
variety of roles of women in belle poque societyfrom femme nouvelle (a "new woman" who rejected
the conventional ideals of femininity, domesticity, and subservience) to demimonde (20.33; 32.88.12).
Female figures were often incorporated as fairies or sirens in the jewelry of Ren Lalique, Georges
Fouquet, and Philippe Wolfers (1991.164;2003.560; 2003.236).
Art Nouveau style was particularly associated with France, where it was called variously Style Jules
Verne, Le Style Mtro (after Hector Guimard's iron and glass subway entrances), Art belle poque,
and Art fin de sicle (49.85.11). In Paris, it captured the imagination of the public at large at the 1900
Exposition Universelle, the last and grandest of a series of fairs organized every eleven years from 1798.
Various structures showcased the innovative style, including the Porte Monumentale entrance, an
elaborate polychromatic dome with electronic lights designed by Ren Binet (18661911); the Pavillon
Bleu, a restaurant alongside the Pont d'Iena at the foot of the Eiffel Tower featuring the work of Gustave
Serrurier-Bovy (18581910) (1981.512.4); Art Nouveau Bing, a series of six domestic interiors which
included Symbolist art (26.228.5); and the pavilion of the Union Centrale des Arts Dcoratifs, an
organization dedicated to the revival and modernization of the decorative arts as an economic stimulus
and expression of national identity which offered an important display of decorative objects
(1991.182.2; 26.228.7; 1988.287.1a,b). Sharing elements of the French Rococo (and its nineteenthcentury revivals), including stylized motifs derived from nature, fantasy, and Japanese art, the furnishings
exhibited were produced in the new taste and yet perpetuated an acclaimed tradition of French
craftsmanship. The use of luxury veneers and finely cast gilt mounts in the furniture of leading
cabinetmakers Georges de Feure (18681943), Louis Majorelle (18591926), douard Colonna (1862
1948), and Eugne Gaillard (18621933) indicated the Neo-Rococo influence of Franois Linke (1855
1946) (26.228.5).
The Exposition Universelle was followed by two shows at which many luminaries of European Art
Nouveau exhibited. They included the Glasgow International Exhibition in 1901 that featured the
fantastical Russian pavilions of Fyodor Shekhtel' (18591926) and the Esposizione Internazionale d'Arte
Decorativa Moderna at Turin in 1902 that showcased the work of furniture designer Carlo Bugatti of Milan
(69.69).
As in France, the "new art" was called by different names in the various style centers where it developed
throughout Europe. In Belgium, it was called Style nouille or Style coup de fouet. In Germany, it
was Jugendstil or "young style," after the popular journal Die Jugend (1991.182.2). Part of the
broader Modernista movement in Barcelona, its chief exponent was the architect and redesigner of the
Sagrada Familia (Holy Family) cathedral (Barcelona, begun 1882), Antoni Gaud (18521926). In Italy, it
was named Arte nuova, Stile floreale, or La Stile Liberty after the London firm of Liberty & Co., which
supplied Oriental ceramics and textiles to aesthetically aware Londoners in the 1870s and produced
English Art Nouveau objects such as the Celtic Revival "Cymric" and "Tudric" ranges of silver by Archibald
Knox (18641933). Other style centers included Austria and Hungary, where Art Nouveau was called
theSezessionstil. In Russia, Saint Petersburg and Moscow were the two centers of production for Stil'
modern. "Tiffany Style" in the United States was named for the legendary Favrile glass designs of Louis
Comfort Tiffany.
Although international in scope, Art Nouveau was a short-lived movement whose brief incandescence
was a precursor of modernism, which emphasized function over form and the elimination of superfluous

ornament. Although a reaction to historic revivalism, it brought Victorian excesses to a dramatic fin-desicle crescendo. Its influence has been far reaching and is evident in Art Deco furniture designs, whose
sleek surfaces are enriched by exotic wood veneers and ornamental inlays. Dramatic Art Nouveau
inspired graphics became popular in the turbulent social and political milieu of the 1960s, among a new
generation challenging conventional taste and ideas.

In 1884 he trained as an architect in a local firm and studied art and design at evening classes at the Glasgow
He collaborated to the 1900 Vienna Secession and with Austrian architect-designer J.
Hoffmann, greatly influencing his work. In 1902, he presented his "Mackintosh" room
furniture at the Turin International Exhibition and he later designed houses and various TeaRooms interior decorations.
Very appreciated all over Europe, but nearly ignored at home, in 1914 he retired and
dedicated himself to painting, producing a beautiful collection of fine watercolour flower
studies.
Charles Rennie Mackintosh is one of the most influential figures of Art Nouveau, as he
developed his original, incomparable and linear style in architecture and decorative arts. He
finely exploited natural and artificial lighting and explored new spatial concepts, based on
strong traditional Scottish elements adapted to modern way of life. His buildings were treated
as whole works of art, where every detail was carefully designed into clear and pure lines.

His elegant decorative interiors complemented his wooden furniture, designed with minimal decorations, suc

One of his most famous piece of furniture is the "Hillhouse chair", in dark oak wood, designed into geometrica

Art Nouveau Interior Design

It has been said often that Art Nouveau interior design is in fact the original modern style of the 20th
century, as it was the first style to stop looking back in time for inspiration.
Art Nouveau was influenced by ideas of the natural world and what designers experienced around
them, borrowing ideas from nature and reflecting them in magnificent fabrics and wall paper.
From 1880 to 1910, art nouveau interior design was the height of originality and design excellence.
The concept was first on show in Paris, France and then London, UK. It caused a huge fuss as people
instantly loved it or loathed it.
The two distinct looks that were commonly used by nouveau artist are rational, linear lines and curves
that take on organic shapes.
Take a look at the wonderful work created by the architect/designer Charles Rennie MacKintosh and
his wife and fellow artist, Margaret MacDonald. I am very proud to be from the same city, Glasgow in
bonnie Scotland.

Colors: soft, muted colors were often used so select from a palette assortment of sage and olive
green, mustard yellows and brown. Pair those up with beautiful shades of lilac, violet and purple.
Peacock blue is stunning against a white backdrop so do not be afraid to paint your walls in brilliant
white or in an off-white shade.

Walls: you could select a magnificent wallpaper like that seen in the image above or in the below
left bedroom, to act as a feature wall. There are incredible ranges to suit art nouveau interior design
or why not just keep your walls white and elegant looking.
White or off white tiles interspersed with a patterned one would certainly add to the authenticity of
your look.

Floors: should be parquet to resemble the floor finish of the marquetry that was often used. Keep
the timber in natural mid tones or for a modern twist you could whitewash it with paint.

Decor: wasn't always simple, it was however decadent and ornamental. Take a look at the ensemble
below. Here we see a collection of necessary storage, developed into on piece. It has simple touches
of design and staying true to this period it is warm in color and has a beautiful mix of curvy and
straight lines flowing up either side. The organic look of art nouveau interior design always grows from
the ground up.
Stained glass panels with curved leading that look like stalks and leaves really help to bring this
concept to life. They were often used in doors as well as in furniture wardrobe doors, cabinets and
mirrors. A mix of colorful glass and semi-precious stones can be used to really give a luxurious finish.
Chairs were more often tall like those you can see below. This helped to create intimate spaces within
a room, allowing ladies to sit and chit chat without worry of their voices being carried across the room.

They were usually finished in a glossy black lacquer and occasional had touches of a floral design in
the upholstery fabrics.
Accessorize your finished room with a selection of ornaments in silver, pewter and opaque pearl glass.
Look for frames that depict the look to house your artwork.

Lighting: no art nouveau interior design would be complete without a Tiffany lamp like the one
shown below. Constructed from a bronze base the Tiffany lamps have an umbrella shaped shade,
made from spectacularly, interesting stained glass.