Art Nouveau

Louis Majorelle, wall cabinet

Table Lamp by Franois-Raoul Larche in gilt bronze, with the

dancer Loe Fuller as model

ing architecture, graphic art, interior design, and most of

the decorative arts including jewelery, furniture, textiles,
household silver and other utensils and lighting, as well as
the ne arts. According to the philosophy of the style, art
should be a way of life. For many well-o Europeans, it
was possible to live in an art nouveau-inspired house with
art nouveau furniture, silverware, fabrics, ceramics including tableware, jewellery, cigarette cases, etc. Artists
desired to combine the ne arts and applied arts, even for
utilitarian objects.[3]

Art Nouveau (French pronunciation: [a nuvo], Anglicised

to /rtnuvo/; at. Sezession, cz Secese, eng. Modern
Style, germ. Jugendstil, sk. Secesia) or Jugendstil is
an international philosophy[1] and style of art, architecture and applied art especially the decorative arts that
was most popular during 18901910.[2] English uses the
French name Art Nouveau (new art), but the style has
many dierent names in other countries. A reaction to
academic art of the 19th century, it was inspired by natural forms and structures, not only in owers and plants,
but also in curved lines. Architects tried to harmonize
with the natural environment.[3]

Although Art Nouveau was replaced by 20th-century

Modernist styles,[4] it is now considered as an important
transition between the eclectic historic revival styles of
Art Nouveau is considered a total art style, embrac- the 19th century and Modernism.[5]
1

2 NAMING
Italy, where designers exhibited from almost every European country where Art Nouveau was practiced.

2 Naming

Art Nouveau sculpture, detail of facade in Metz, France

Art Nouveau interior at the 1900 Paris Universal Exhibition by

Bruno Mhring, German pavilion.

Origins

At its beginning, neither Art Nouveau nor Jugendstil was

the common name of the style but was known as this in
some locations, and the style had dierent names as it
was spread.[6] Those two names came from, respectively,
Siegfried Bing's gallery Maison de l'Art Nouveau in Paris
and the magazine Jugend in Munich,[5] both of which promoted and popularised the style.[6]
Maison de l'Art Nouveau (House of New Art) was the
name of the gallery initiated in 1895 by the German
art dealer Siegfried Bing in Paris that featured exclusively modern art.[7][8] The fame of his gallery was increased at the 1900 Exposition Universelle, where he presented coordinatedin design and colorinstallations
of modern furniture, tapestries and objets d'art.[8] These
decorative displays became so strongly associated with
the style that the name of his gallery subsequently provided a commonly used term for the entire style.[8] Thus
the term Art Nouveau was created.
Part of the evolution of Art Nouveau were several international fairs which presented buildings and products designed in the new style. So, the 1888 Barcelona Universal Exposition marks the beginning of the Modernisme,
with some buildings of Llus Domnech i Montaner.
The Exposition Universelle of 1900 in Paris, presented
an overview of the 'modern style' in every medium.
It achieved further recognition at the Esposizione Internazionale d'Arte Decorativa Moderna of 1902 in Turin,

Art Nouveau is usually known as Jugendstil (pronounced

[junttil ]) in Germany, as Modern () in
Russia, as Modernisme in Catalonia (Spain), as Secession in Austria-Hungary and as Stile Liberty in Italy.
The style was most popular in Europe, but its inuence
was global. Hence, it is known in various guises with
frequent localised characteristics.[9] Other local names
were associated with the characteristics of its forms, its
practitioners and their works, and schools of thought or
study where it was popular. Many of these terms refer
to the idea of newness. Before the term Art Nouveau became common in France, le style moderne (the
modern style) was the more frequent designation.[6] Arte
joven (young art) in Spain, Modernisme in Catalonia,
Arte nova in Portugal (new art), Arte nuova in Italy
(also new art), and Nieuwe kunst (new art) in the
Netherlands, (new, contemporary) in Russia
all continue this theme.[5] Many names refer specifically to the organic forms that were popular with the
Art Nouveau artists: Stile Floreal (oral style), Lilienstil (lily style), Style Nouille (noodle style), Paling Stijl
(eel style), and Wellenstil (wave style).[6]
In other cases, important examples, well-known artists,
and associated locations inuenced the names. Hector
Guimard's Paris Mtro entrances, for example, provided
the term Style Mtro, the popularity in Italy of Art Nouveau designs from Londons Liberty & Co department
store resulted in its being known as the Stile Liberty (Liberty style), and, in the United States, it became known
as the Tiany style due to its association with Louis
Comfort Tiany.[5][6] In Austria, a localised form of Art
Nouveau was practised by artists of the Vienna Secession,
and it is, therefore, known as the Sezessionstil (Secession
style).[10] As a stand-alone term, however, Secession
(German: Sezession, Hungarian: szecesszi, Czech: sece-

3
se) is used frequently to describe the general characteristics of Art Nouveau style outside Vienna, but mostly
in areas of Austria-Hungary at the beginning of the 20th
century. In the United Kingdom, it is associated with the
activities of Charles Rennie Mackintosh in Glasgow, and
is often known as the Glasgow style.

Form and character

his theories that helped initiate the Arts and crafts movement.[12] However, Arthur Mackmurdo's book-cover for
Wren's City Churches (1883), with its rhythmic oral
patterns, is often considered the rst realisation of Art
Nouveau.[12] About the same time, the at perspective
and strong colors of Japanese wood block prints, especially those of Katsushika Hokusai, had a strong eect
on the formulation of Art Nouveau.[13] The Japonisme
that was popular in Europe during the 1880s and 1890s
was particularly inuential on many artists with its organic forms and references to the natural world.[13] Besides being adopted by artists like Emile Gall and James
Abbott McNeill Whistler, Japanese-inspired art and design was championed by the businessmen Siegfried Bing
and Arthur Lasenby Liberty at their stores[14] in Paris and
London, respectively.[13]

La tourne du Chat Noir avec Rodolphe Salis (1896) by

Thophile Steinlen

Although Art Nouveau acquired distinctly localised tendencies as its geographic spread increased, some general
characteristics are indicative of the form. A description published in Pan magazine of Hermann Obrist's wall
hanging Cyclamen (1894) described it as sudden violent
curves generated by the crack of a whip, which became
well known during the early spread of Art Nouveau.[11]
Subsequently, not only did the work itself become better
known as The Whiplash but the term whiplash is frequently applied to the characteristic curves employed by
Art Nouveau artists.[11] Such decorative whiplash motifs, formed by dynamic, undulating, and owing lines
in a syncopated rhythm and asymmetrical shape, are
found throughout the architecture, painting, sculpture,
and other forms of Art Nouveau design.

Art Nouveau is rarely so fully in control of architecture: doorway at place Etienne Pernet, 24 (Paris 15e), 1905 Alfred Wagon,
architect.

In architecture, hyperbolas and parabolas in windows,

arches, and doors are common, and decorative mouldings
'grow' into plant-derived forms. Like most design styles,
Art Nouveau sought to harmonise its forms. The text
above the Paris Metro entrance uses the qualities of the
rest of the iron work in the structure.[15]

Art Nouveau in architecture and interior design eschewed

the eclectic revival styles of the 19th century. Though
Art Nouveau designers selected and 'modernised' some
of the more abstract elements of Rococo style, such as
The origins of Art Nouveau are found in the resistance ame and shell textures, they also advocated the use of
of the artist William Morris to the cluttered composi- very stylised organic forms as a source of inspiration, extions and the revival tendencies of the 19th century and panding the 'natural' repertoire to use seaweed, grasses,

FINE ART AND GRAPHICS

and insects. The softly-melding forms of 17th-century Sknvirke (aesthetic work), which itself more closely
auricular style, best exemplied in Dutch silverware, was relates to the Arts and Crafts style.[17][18] Likewise, artists
another inuence.
adopted many of the oral and organic motifs of Art Nouveau into the Moda Polska (Young Poland) style in
Poland.[19] Moda Polska, however, was also inclusive of
a broader approach
4 Relationship with contemporary other artistic styles and encompassed
to art, literature, and lifestyle.[20]

styles and movements

5 Fine art and graphics

Adele Bloch-Bauer 1 by Gustav Klimt.

As an art style, Art Nouveau has anities with the PreRaphaelites and the Symbolist styles, and artists like
Aubrey Beardsley, Alphonse Mucha, Edward BurneJones, Gustav Klimt and Jan Toorop could be classed in
more than one of these styles. Unlike Symbolist painting,
however, Art Nouveau has a distinctive appearance; and,
unlike the artisan-oriented Arts and Crafts Movement,
Art Nouveau artists readily used new materials, machined The Peacock Skirt, by Aubrey Beardsley, (1892)
surfaces, and abstraction in the service of pure design.
The style was the rst major artistic stylistic movement in
Art Nouveau did not eschew the use of machines, as the which mass-produced graphics (as opposed to traditional
Arts and Crafts Movement did. For sculpture, the princi- forms of printmaking, which were not very important for
pal materials employed were glass and wrought iron, re- the style) played a key role, often techniques of colour
sulting in sculptural qualities even in architecture. Ce- printing developed relatively recently.
ramics were also employed in creating editions of sculp- A key inuence was the Paris-based Czech artist
tures by artists such as Auguste Rodin.[16]
Alphonse Mucha, who produced a lithographed poster,
Art Nouveau architecture made use of many
technological innovations of the late 19th century,
especially the use of exposed iron and large, irregularly
shaped pieces of glass for architecture. By the start of
World War I, however, the stylised nature of Art Nouveau designwhich was expensive to producebegan
to be disused in favour of more streamlined, rectilinear
modernism, which was cheaper and thought to be more
faithful to the plainer industrial aesthetic that became
Art Deco.

which appeared on 1 January 1895 in the streets of Paris

as an advertisement for the play Gismonda by Victorien
Sardou, featuring Sarah Bernhardt.[21] It popularised the
new artistic style and its creator to the citizens of Paris.
Initially named Style Mucha, (Mucha Style), his style soon
became known as Art Nouveau in France.[22] Muchas
work has continued to experience periodic revivals of
interest for illustrators and artists. Interest in Muchas
distinctive style experienced a strong revival during the
1960s with a general interest in Art Nouveau.[23]

Art Nouveau tendencies were also absorbed into local However, Art Nouveau was not limited to Muchas style
styles. In Denmark, for example, it was one aspect of solely but was interpreted dierently by artists from

5
around the world as the movement spread. Artists such as
Gustav Klimt, Charles Rennie Mackintosh, Jan Toorop,
Ren Lalique, Antoni Gaud and Louis Comfort Tiany,
created Art Nouveau works in their own manner.[5][24]
Magazines like Jugend helped publicise the style in Germany, especially as a graphic artform, while the Vienna
Secessionists inuenced art and architecture throughout
Austria-Hungary.

Vase by Eugne Feuilltre, Muse dOrsay, Paris

Two-dimensional Art Nouveau pieces were painted,

drawn, and printed in popular forms such as
advertisements, posters, labels, magazines, and the
like. Japanese wood-block prints, with their curved
lines, patterned surfaces, contrasting voids, and atness
of visual plane, also inspired Art Nouveau. Some line
and curve patterns became graphic clichs that were later
found in works of artists from many parts of the world.

Vase by Ren Lalique

Art Nouveau posters and graphics

Biscuits Lefvre-Utile by Alphonse Mucha (1896)
Poster for an art exhibition in Nancy, France (1894)

Tiany lamp, Carnegie Museum of Art

Tiany vase
Louis Comfort Tianys 1890 window Education
Vase with lilies and daises by mile Gall

A lamp by Louis Comfort Tiany

mile Gall, Rose de France
Andr Thesmar, lamp, Muse dOrsay, Paris
Nature series - Pte de Verre Antonin Daum,
Nancy
Nature series - Iris Antonin Daum, Nancy
Louis Comfort Tiany, Vase, 1913

7 Sculpture and jewelry

Moulin Rouge La Goulue (1891) by Henri de

Toulouse-Lautrec
Advertisement for Job Cigarettes by Alphonse
Mucha (1896)
Motocycles Comiot by Thophile-Alexandre Steinlen
from Les Matres de l'Ache (1899)
Advertisement for Victor Bicycles by Will H. Bradley
(1896).
Zodiac Calendar by Alphonse Mucha (1896)
Divan Japonais lithograph by Henri de ToulouseLautrec (189293)
Salome and John by Aubrey Beardsley, (1892)
Folies Bergre,
La Loe Fuller by Jules Cheret (1893)

Glass art

Glass art was a medium in which the style found tremendous expression. Examples include the lamps and favrile
glass of Louis Comfort Tiany in New York, and notably the vases, bowls and lighting in acid-etched and marquetry cameo glass by both mile Gall and the Daum
brothers in Nancy, France. In addition, Ren Lalique
started to produce early works in glass which were a precursor to his work in the Art Deco style, for which he was
to become famed.
Glass art

Dragony Lady brooch by Ren Lalique

Sculptors included Ladislav aloun, Franois-Raoul

Larche and Charles van der Stappen. Jewelry of the Art
Nouveau period revitalized the jewelers art, with nature
as the principal source of inspiration, complemented by
new levels of virtuosity in enameling and the introduction of new materials, such as opals and semi-precious
stones. The widespread interest in Japanese art and the
more specialized enthusiasm for Japanese metalworking
skills fostered new themes and approaches to ornament.
For the previous two centuries, the emphasis in ne jewelry had been on gemstones, in particular on the diamond,
and the jeweler or goldsmith had been concerned principally with providing settings for their advantage. With
Art Nouveau, a dierent type of jewelry emerged, motivated by the artist-designer rather than the jeweler as
setter of precious stones.
The jewelers of Paris and Brussels dened Art Nouveau
in jewelry, and in these cities it achieved the most renown.

9 ART NOUVEAU IN EUROPE

Contemporary French critics were united in acknowledging that jewelry was undergoing a radical transformation,
and that the French designer-jeweler-glassmaker Ren
Lalique was popularizing the changes. Lalique gloried nature in jewelry, extending the repertoire to include
new aspects of naturesuch as dragonies or grasses
inspired by his encounter with Japanese art. The jewelers
were keen to establish the new style in a noble tradition,
and for this they used the Renaissance, with its works of
sculpted and enameled gold, and its acceptance of jewelers as artists rather than craftsmen. In most of the enameled work of the period, precious stones receded. Diamonds were usually subsidiary, used alongside less familiar materials such as molded glass, horn and ivory.

Ceramics

Vase by Rosenthal, copper ornaments (1900)

Paul Bonnaud, Limoges enamel
Tiany Studios, enamel covered jar
Cachepot, a decorative container for a plant and its
pot in Art-Nouveau style
Vase from the Regina factory in Gouda with chryso
design
Vase from the Regina factory in Gouda with Robur
design

9 Art Nouveau in Europe

9.1 France, Belgium and Switzerland

Art Nouveau ceramics were also inuenced by the work

of Japan. Artists called for a re-examination of vegetal
and zoological motifs, particularly as seen in Japanese
art. The development of high temperature (grand feu)
porcelain with crystallised and matte glazes, with or without other decoration, is typical of these works. It was
a period where lost techniques were rediscovered, such
as the oxblood glaze, and entirely new methods were developed. Major French potters include: Ernest Chaplet,
Taxile Doat, Alexandre Bigot, Adrien-Pierre Dalpayrat,
Edmond Lachenal and Albert Dammouse.[25] The Zsolnay factory in Pcs, Hungary, was led by Mikls Zsolnay (18001880) and his son, Vilmos Zsolnay (1828
1900) with Td Sikorski (18521940) chief designer,
to produce stoneware and other ceramics in 1853. In
1893, Zsolnay introduced porcelain pieces made of eosin.
He led the factory to worldwide recognition by demonstrating its innovative products at world fairs and international exhibitions, including the 1873 World Fair in Vienna, then at the 1878 World Fair in Paris, where Zsolnay
received a Grand Prix. Frost-resisting Zsolnay building
decorations were used in numerous buildings specically
during the art nouveau movement.[26]
Ceramics
Jzsef Rippl-Rnai Vase
Vase with vines and snails by Pl Horti (1865-1907)
Zsolnay collection, Budapest
Zsolnay collection, Budapest
Zsolnay collection, Budapest
Vessel with mistletoe sprigs
Edmond Lachenal, vase.

Window, Villa Majorelle, France

In Paris, the Maison de l'Art Nouveau, at the time managed by Siegfried Bing, showcased Art Nouveau objects.
Artists such as mile Gall, Louis Majorelle and Victor
Prouv in Nancy, France, founded the cole de Nancy,
giving Art Nouveau a new inuence. In Brussels, Belgium
the style was developed with the help of the architects
Victor Horta[27] and Henry van de Velde.[28] Other Art
Nouveau designers in Belgium, Switzerland and France
include Thophile Steinlen, Hector Guimard and Jules
Lavirotte.[3] The Czech artist Alphonse Mucha worked
in Paris for a number of years.

Amphora with elm-leaf and blackberry manufac- Hector Guimard's Paris metro entrances were of Art
tured by Stellmacher & Kessner
Nouveau style, and Emile Gall practised the style in

9.3

Portugal

oral and organic forms as in Palau Gell (1886).[30] His

designs from about 1903, the Casa Batll (19041906)
and Casa Mil (19061908), are most closely related to
the stylistic elements of Art Nouveau.[31] However, famous structures such as the Sagrada Famlia characteristically contrast the modernising Art Nouveau tendencies with revivalist Neo-Gothic.[31] Besides the dominating presence of Gaud, Llus Domnech i Montaner also
used Art Nouveau in Barcelona in buildings such as the
Castell dels Tres Dragons (1888), Palau de la Msica
Catalana and Casa Lle Morera (1905).[31] Another major modernista was Josep Puig i Cadafalch, who designed
the Casa Mart and its Quatre Gats caf, the Casimir
Architect Victor Hortas Tassel House stairway in Brussels
Casaramona textile factory (now the CaixaFrum art museum), Casa Macaya, Casa Amatller, the Palau del Bar
Nancy. Victor Horta had a decisive eect on architec- de Quadras (housing Casa sia for 10 years until 2013)
and the Casa de les Punxes (Pointy House). Also wellture in Belgium.[29]
known is Josep Maria Jujol, with houses in Sant Joan
Desp (19131926), several churches near Tarragona
9.2 Catalonia, Spain
(1918 and 1926) and the sinuous Casa Planells (1924)
in Barcelona. A few other major architects working outside of Barcelona were Llus Muncunill i Parellada, with a
magnicent textile factory in Terrassa (Vapor Aymerich,
Amat i Jover, now the Science and Technology Museum
of Catalonia Museu de la Cincia i de la Tcnica de
Catalunya)and a farmhouse"/small manor house called
Masia Freixe in the same city; and Csar Martinell i
Brunet, with his spectacular wine cathedrals, housing
town cooperative wineries throughout southern and central Catalonia. A Valencian architect who worked in Catalonia before emigrating to the States was Rafael Guastavino. Attributed to him is the Asland Cement Factory
in Castellar de n'Hug, among other buildings.

9.3 Portugal
The spread of Art Nouveau (Arte nova) in Portugal, although delayed due to slowly developing industry, ourished in cities like Porto and Aveiro, in which can be
found numerous buildings inuenced by European models, in particular by French architecture. Buildings like
'Livraria Lello & Irmo', Porto in 1906 designed by
Xavier Esteves.

9.4 Germany
The Casa Batll, already built in 1877, was remodelled in the
Barcelona manifestation of Art Nouveau, modernisme, by Antoni Gaud and Josep Maria Jujol during 19041906

The style was based mainly in Catalonia, with its focal

point in Barcelona and was an essential element of the
Catalan Modernisme. Architect Antoni Gaud, whose
decorative architectural style is so personal that he is
sometimes considered as practising an artistic style different from Art Nouveau, nonetheless uses Art Nouveaus

German Art Nouveau is commonly known by its German name, Jugendstil. The name is taken from the artistic journal, Die Jugend, which was published in Munich
and which espoused the new artistic movement. It was
founded in 1896 by Georg Hirth (Hirth remained editor
until his death in 1916, and the magazine continued to be
published until 1940). The magazine was instrumental
in promoting the style in Germany. As a result, its name
was adopted as the most common German-language term
for the style: Jugendstil (young style). Although, during
the early 20th century, the word was applied to only two-

1896 cover of Jugend magazine.

9 ART NOUVEAU IN EUROPE

Charles Rennie Mackintosh Kelvingrove, Glasgow

dimensional examples of the graphic arts,[32] especially

the forms of organic typography and graphic design found
in and inuenced by German magazines like Jugend, Pan,
and Simplicissimus, it is now applied to more general manifestations of Art Nouveau visual arts in Germany, the
Netherlands, the Baltic states, and Nordic countries.[5][33]
The two main centres for Jugendstil art in Germany were
Munich and Darmstadt (Mathildenhhe).
Two other journals, Simplicissimus, published in Munich,
and Pan, published in Berlin, proved to be important proponents of the Jugendstil. The magazines were important
for spreading the visual idiom of Jugendstil, especially
the graphical qualities. Jugendstil art includes a variety
of dierent methods, applied by the various individual
artists and features the use of hard lines as well as sinuous curves. Methods range from classic to romantic. One
feature of Jugendstil is the typography used, the letter and
image combination of which is unmistakable. The combination was used for covers of novels, advertisements,
and exhibition posters. Designers often used unique display typefaces that worked harmoniously with the image.
One of the most famous German artists associated with
both Die Jugend and Pan was Otto Eckmann. His
favourite animal was the swan, and such was his inuence
in the German movement that the swan came to serve as
the leitmotif for the Jugendstil.

Walter Crane, Swan and Iris

9.5 Britain
The beginning of an Art Nouveau style can be recognised
during the 1880s, in a few progressive designs such as
the architect-designer Arthur Mackmurdo's book cover
design for his essay on the city churches of Sir Christopher Wren, published during 1883. Some free-owing
wrought iron from the 1880s could also be adduced, or
some at oral textile designs, most of which owed some
impetus to patterns of 19th century design. The most

9.7

Nordic countries

important centre in Britain eventually became Glasgow,

with the creations of Charles Rennie Mackintosh and
the Glasgow Four, pre-eminent members of the so-called
Glasgow School, which included his wife Margaret Macdonald Mackintosh, who produced outstanding paintings.

Stile Liberty. This represented the modern designs from

the Liberty & Co store of London, indicating both Art
Nouveaus commercial aspect and the 'imported' character that it retained in some parts of Italy, though not
in Palermo, isolated from developments in the north and
evolving
an independent character due largely to designOther notable British Art Nouveau designers include
ers
such
as
architect Ernesto Basile and Vittorio Ducrot,
Walter Crane, Archibald Knox, Charles Ashbee, and
who
specialised
as a cabinetmaker. According to the Art
[3]
Aubrey Beardsley.
Nouveau European Route, Basile and Ducrot were reLeon Solon, made an important contribution to art nou- sponsible for the idea of the complete work of art in Italy.
veau ceramics as art director at Mintons. He specialised
in plaques and in tube-lined vases marketed as secession- Important Italian Liberty cities or sites are the spa centres
ist ware (usually described as named after the Viennese of Salsomaggiore Terme, Emilia-Romagna, and San Pelart movement).[34] Apart from ceramics, he designed tex- legrino Terme, Lombardy, as well as Cernobbio on Lake
tiles for the Leek silk industry[35] and doublures for a Como also in Lombardy. Some large cities have a considbookbinder (G.T.Bagguley of Newcastle under Lyme), erable number of Liberty-style decorations and buildings,
especially Turin, Milan, Naples, Florence, Genoa, and
who patented the Sutherland binding in 1895.
large sections of the sea-side town of Viareggio, Tuscany.
The Edward Everard building in Bristol, built during The Liberty Style was used by Italian designers and archi190001 to house the printing works of Edward Everard, tects overseas, especially in Argentina and Chile, such as
features an Art Nouveau faade. The gures depicted are at Valparaso where architects Renato Schiavon and Arof Johannes Gutenberg and William Morris, both emi- naldo Barison, trained in Trieste, arrived after the earthnent in the eld of printing. A winged gure symbolises quake of 1906. Here they built outstanding structures
the Spirit of Light, while a gure holding a lamp and mir- such as the Palace Barburizza (1915), now the citys Muror symbolises light and truth.
seum of Fine Arts.

9.6

Italy

Carlo Bugatti. Cobra Chair and Desk. 1902. Brooklyn Museum

Casa Galleria-Vichi in Florence, designed by Giovanni

Michelazzi, 1911

The Art Nouveau European Route[36] provides details of

the heritage in Europe and worldwide of the Art Nouveau style featuring considerable information about Italys

Other important Italian art nouveau designers were the

Bugatti family (Carlo, Ettore, Jean and Rembrandt) best
known for their cars built in France, and furniture and
art constructed in their native Milan. Carlo Bugatti, born
February 1856 in Milan, was himself the son of an architect and sculptor Giovanni Luigi Bugatti. Carlo received
his training at the renowned Milanese Academy of Brera,
and later the Acadmie des Beaux-Arts in Paris. His work
was wide-ranging including silverware, textiles, ceramics,
and musical instruments, but he is best remembered for
his innovative furniture designs, shown rst in the 1888
Milan Fine Arts Fair.

10

9 ART NOUVEAU IN EUROPE

The interior of the Vitebsk Railway Station in St. Petersburg

Art Nouveau in lesund, Svaneapoteket (Swan Pharmacy).

9.7

Nordic countries

Art Nouveau was also popular in the Nordic countries,

where it became integrated with the National Romantic Style. Good examples are the neighbourhoods of
Katajanokka and Ullanlinna in Helsinki, Finland, as well
as the Helsinki Central railway station, designed by the architect Eliel Saarinen. As in Germany, Jugendstil is the
prevailing term used for the style. The Norwegian coastal
town of lesund burned in 1904, and was rebuilt in a uniform Jugendstil architecture, kept more or less intact to
the present.

cities (d, Krakw, Bydgoszcz), with the exception of

Warsaw, where the few examples that survived the Nazi
razing of the city were destroyed by the Communist authorities on the grounds that the buildings were decadent.
The Slovene Lands were another area inuenced by Art
Nouveau. At its beginning, Slovenian Art Nouveau was
inuenced strongly by the Viennese Secession, but it later
developed an individual style. Important architects of
this style include Max Fabiani, Ciril Metod Koch, Joe
Plenik, Ivan Vurnik. The vast majority of the architecture is to be found in Ljubljana.
Croatia was an area of secessionist architecture as well.
Architects like Vjekoslav Bastl and Aladar Baranyai developed a mixture between modernism and classical Art
Nouveau. The Croat architect Josip Vanca worked
mostly in Sarajevo, the capital of Bosnia and Herzegovina. His architecture was a mixture of earlier historicism
and proper Art Nouveau: some of his nest Art Nouveau
buildings are located in Ljubljana, Slovenia.

The foremost examples of Art Nouveau architecture (Jugendstil) in Norway are found in lesund, which was rebuilt after a major re in 1904, while the style was particularly relevant. A representative lesund jugend is
the former Svaneapoteket (Swan Pharmacy). Today, the
Jugendstilsenteret is located in this building. It should
have been applied in 1908. Apothecary wre was a
member of the council and the presidency in lesund,
9.9 Austria
and after that the pharmacy was adopted also mayor in
the years 19091910. He chose the architect Hagbarth
Main article: Vienna Secession
Martin Schytte-Berg (18601944) to draw and construct
A localised approach to Art Nouveau is represented by
[37]
the new pharmacy. The architect was one of the leaders in the eort to restore lesund after the re. His other
works include Skien Church (18871894) and Fagerborg
Church in Kristiania (Oslo) (19001903).

9.8

Central and Eastern Europe

In Russia Art Nouveau is known as Modern ()

perhaps named after Parisian gallery La Maison Moderne. The style was promoted by the art magazine Mir
iskusstva ('World of Art'), which spawned the revolutionary Ballets Russes.
The Polish style was centred in Krakw and was part of
the Moda Polska style. Stanisaw Wyspiaski was the
main Art Nouveau artist in Poland; his paintings, the- Otto Wagners Karlsplatz Station in Vienna
atrical designs, stained glass, and building interiors are
widely admired and celebrated in the National Museum the artists of the Vienna Secession, a secession that was
in Krakw. Art Nouveau buildings survive in most Polish initiated on 3 April 1897 by Gustav Klimt, Koloman

9.11

Latvia

11

Moser, Josef Homann, Joseph Maria Olbrich, Max

Kurzweil, Otto Wagner, and others. They objected to the
conservative orientation toward historicism expressed by
the Vienna Knstlerhaus.

France, and the inuence of English and Finnish architecture are all represented in the buildings constructed
at the beginning of the 20th century. Bla Lajta initially adopted Lechners style, subsequently adopting English and Finnish trends; after developing an interest in
the Egyptian style, he nally developed a modern architectural style. Aladr rkay did almost the same.
9.10 Hungary
Istvn Medgyaszay developed his own style, which difIn contrast to Historicism, Hungarian Art Nouveau is fered from Lechners, using stylised traditional motifs to
based on supposed national architectural characteristics. create decorative designs in concrete. For applied arts,
Besides of the Zsolnay ceramics, dn Lechner (1845 those mainly responsible for promoting the spread of Art
1914), was the most important gure in Hungarian Art Nouveau were the School and Museum of Applied Arts,
Nouveau, was inspired initially by Indian and Syrian ar- which opened in 1896.
chitecture, and later by traditional Hungarian decorative Szabadka, Marosvsrhely and other former areas in the
designs. In this manner, he created an original synthe- Hungarian Kingdom, Vojvodina (northern Serbia) and
sis of architectural styles. Disusing the style of Lech- Transylvania have ne examples of Hungarian Art Nouner, yet being inspired by his method, the group of veau.
'Young People' (Fiatalok), which included Kroly Ks
and Dezs Zrumeczky, applied the characteristic structures and forms of traditional Hungarian architecture, es- 9.11 Latvia
pecially the Transylvanian vernacular.
Art Nouveau architecture was popular in Riga, the capital
of Latvia, during the late 19th century and the beginning
of the 20th century about 40% of the buildings from this
time were built in this style.[38] Several substyles formed
during this period. Early elements of the new style were
added to Eclectic architecture forming Eclectic Art
Nouveau. Decorative Art Nouveau refers to style using only decorative elements of the Art Nouveau; the rst
such building was built in 1899, however by 1906 decorative styles had become unfashionable.[39] Therefore the
decorative style is not very widespread in Riga.[38] The
most popular style in Riga is known as Romantic Art
Nouveau. Simplistic and modern in form, these buildings
were decorated with elements from other historic styles
Museum of Applied Arts in Budapest, was designed by dn
and constitute about one-third of all buildings in central
Lechner
Riga. From 1905 to 1911, Latvian National Romantism
peaked. While being a substyle of Art Nouveau, it copied
forms of traditional architecture and incorporated traditional decorative elements.[40] As Art Nouveau matured,
emphasis on vertical lines became more popular, known
as Vertical Art Nouveau, this style was most popular
shortly before World War I.[39] The center of Riga is now
designated as a UNESCO World Heritage site in part for
its Art Nouveau architecture.[41]
A signicant number of Art Nouveau structures are
located in other cities and towns in Latvia, including
Liepja (hundreds of buildings), Jrmala (notable example Dubulti Lutheran Church, 1907), Daugavpils and
others. The use of Art Nouveau outside urban centres
has been rare, but there some exquisite examples such as
Luznava manor house (eastern Latvia).
Cifrapalota, Kecskemt by Gza Mrkus

Besides the two principal styles, Hungarian architec- 9.12 Slovakia

ture also displays local versions of trends originating
from other European countries. The Vienna Secession, The style of combining Art Nouveau and national archithe German Jugendstil, Art Nouveau from Belgium and tectural elements was typical also for a Slovak architect

12

Culture house in Skalica (Slovakia)

Duan Jurkovi who was under the inuence of Hungarian Art Nouveau. His most original works are the Cultural
House in Skalica in Slovakia (1905), buildings of spa in
Luhaovice in Czech Republic (19011903) and 35 war
cemeteries near Nowy migrd in Galicia (now Poland),
most of them heavily inuenced by local Lemko (Rusyn)
folk art and carpentry (19151917). Another example
of Hungarian Secession architecture is the Church of St.
Elisabeth (The Little Blue Church) in Bratislava.

11

UNESCO WORLD HERITAGE LIST

Paris Mtro replica entrance in Chicago

signed in the Art Nouveau style. In Melbourne, the Victorian Arts Society, Milton House, Melbourne Sports Depot, Conservatorium of Music and Melba Hall, Paston
Building, and Empire Works Building all represent the
Art Nouveau style.

Montevideo, in South Americas Ro de la Plata, oers a

good example of the inuence of the Art Nouveau style
across the Atlantic. The style is very apparent in the
architecture both of downtown and of the periphery of
the city. Montevideo maintained intense communication
9.13 Czech Republic
with Paris, London, and Barcelona during Art Nouveaus
heyday, when the city was also receiving massive immiAlphonse Mucha used the style in Prague and Moravia gration, especially from Italy and Spain. Those were also
(part of the modern Czech Republic); his style of Art the years Montevideo developed the structure of its urban
Nouveau became associated with the so-called Czech Na- spaces, all of which factors help explain the widespread
tional Revival. Fin de sicle sections of Prague reveal presence of Art Nouveau there.
modest buildings encrusted with images of leaves and
women that curve and swirl across the faades.[42] Ex- In the other side of the Ro de la Plata, Buenos Aires
amples of Art Nouveau in the city, along with the exteri- still conserves some of its Art Nouveau architecture, also
ors of any number of private apartment and commercial brought by Italian and Spanish immigrants, which debuildings, are the Municipal House, the Hotel Pa, Sm- veloped the jugendstil (Edicio Otto Wul, by Morten
chov Market Hall, Hotel Central, the windows in the St. Ronnow, Danish), liberty (Casa de los Pavos Reales, by
Wenceslaus Chapel at St. Vitus Cathedral, the main rail- Virginio Colombo, Italian), modernisme (various buildway station, the Grand Hotel and the Jubilee Synagogue. ings by Julin Garca Nez, Spanish-Argentine) and Art
The Olany Cemetery and the New Jewish Cemetery are Nouveau (Chile Hotel by Louis Dubois, French) varialso important examples of Art Nouveau.[42] In Czech, eties. Another Argentinean city where this architecture
Art Nouveau is known as secese, a name adopted from has been recently protected is Rosario, an important port
on the Paran River.
the Austrian term Secessionism.

9.14 Malta

11 UNESCO World Heritage List

There are Art Nouveau buildings called the Balluta Buildings. They are apartment buildings on the eastern shore Art Nouveau monuments are now recognised by
List as signicant conof Balluta Bay, on the northeast coast of Malta within the UNESCO in their World Heritage
[43]
tributions
to
cultural
heritage.
The
historic center of
district St. Julians.
Riga, Latvia, with the nest collection of art nouveau
buildings in Europe, was included on the list in 1997 in
part because of the quality and the quantity of its Art
10 Outside Europe
Nouveau/Jugendstil architecture,[41] and four Brussels
town houses by Victor Horta were included in 2000 as
Although no signicant artists in Australia are associated works of human creative genius that are outstanding
with Art Nouveau, many buildings in Australia were de- examples of Art Nouveau architecture brilliantly illustrat-

13
ing the transition from the 19th to the 20th century in art,
thought, and society.[27]

12

Noted practitioners

13

Works

Lady in red dress by Hungarian painter, Jzsef

Rippl-Rnai (1898)
Salon des Cent poster by Eugne Grasset
Bench by mile Gall
The Kiss by Gustav Klimt, 190708, oil on canvas,
sterreichische Galerie Belvedere, Vienna
Hope II by Gustav Klimt.
Portrait of Anton Peschka by Egon Schiele (1909)
Htel Ciamberlani in Brussels by Paul Hankar
Furniture pieces by Carlo Bugatti

[4] Henry R. Hope, review of H. Lenning, The Art Nouveau",

The Art Bulletin, vol. 34 (June 1952), 168171 (esp. 168
169): Discussing the state of Art Nouveau during 1952,
the author notes that Art Nouveau, which had become disfavored, was not yet an acceptable study for serious art history or a subject suitable for major museum exhibitions
and their respective catalogs. He predicts an impending
change, however.
[5] Michle Lavalle, Art Nouveau, Grove Dictionary of
Art, Oxford University Press [accessed 11 April 2008].
[6] Duncan (1994): 2324.
[7] Martin Eidelberg and Suzanne Henrion-Giele, Horta and
Bing: An Unwritten Episode of L'Art Nouveau, The
Burlington Magazine, vol. 119, Special Issue Devoted to
European Art Since 1890 (Nov. 1977), pp. 747752.
[8] Duncan (1994), 1516; 2527.
[9] Duncan, 1; 2324.
[10] Georg Hirth, the editor of Jugend, applied the term
"Secession" to the series of reactionary movements of the
era: Nicolas Powell, Review of C. Nebehay, Ver Sacrum,
18981903", The Burlington Magazine, vol. 118 (Sep.,
1976): 660.

Singer House in St. Petersburg

[11] Duncan (1994): 2728.

Majolikahaus (det.) 1898 by Otto Wagner[1]

[12] Duncan (1994): 1013.

Bechstein Art Nouveau grand piano 1902 made for

Julius Gtermann

[13] Duncan (1994): 1418.

Dining cabinet at the Muse de l'cole de Nancy by

Eugene Vallin.
1. ^ Sterner (1982), 169.

14

See also

Art Nouveau furniture

Fin de sicle
Belle poque
Art Deco
Modernisme
Secession (art)

[14] Before opening the Maison de l'Art Nouveau, Bing managed a shop specialising in items from Japan; after 1888
he promoted Japanism with his magazine La Japon Artistique: Duncan (1994): 1516.
[15] Sterner (1982), 21.
[16] http://www.musee-rodin.fr/communication/images/
CPrevejaponais_anglais.pdf Edmond Lachenal produced
editions of Rodins sculptures
[17] Jennifer Opie, A Dish by Thorvald Bindesbll, The
Burlington Magazine, vol. 132 (May, 1990), pp. 356.
[18] Claire Selkurt, New Classicism: Design of the 1920s in
Denmark, The Journal of Decorative and Propaganda
Arts, vol. 4 (Spring, 1987), pp. 1629 (esp. 18 n. 4).
[19] Danuta A. Boczar, The Polish Poster, Art Journal, vol.
44 (Spring, 1984), pp. 1627 (esp. 16).
[20] Danuta Batorska, Zoa Stryjeska: Princess of Polish
Painting, Womans Art Journal, vol. 19 (Autumn, 1998
Winter, 1999), pp. 2429 (esp. 2425).
[21] http://www.trueartworks.com/poster.php/0000-0086

15

References

[1] Duncan (1994), 7.

[22] An Introduction to the Work of Alphonse Mucha and Art

Nouveau, lecture by Ian Johnston of Malaspina UniversityCollege, Nanaimo, British Columbia.

[2] Sterner (1982), 6.

[23] Fraser, Julie. H. Recycling art style2000.com.

[3] Art Nouveau Art Nouveau Art

[24] Duncan (1994), 34.

14

[25] Edmond Lachenal and His Legacy, by Martin Eidelberg,

Claire Cass, Hudson Hills Press; illustrated edition (25
February 2007)
[26] Timeline, accessed 1/23/08
[27] UNESCO World Heritage List Major Town Houses of
the Architect Victor Horta (Brussels)
[28] Sterner (1982), 3842.
[29] Duncan (1994), 37.
[30] James Grady, Special Bibliographical Supplement: A
Bibliography of the Art Nouveau, The Journal of the Society of Architectural Historians, vol. 14 (May, 1955), pp.
1827.

18

EXTERNAL LINKS

16 Bibliography
Duncan, Alastair. Art Nouveau. World of Art. New
York: Thames and Hudson, 1994. ISBN 0-50020273-7
Heller, Steven, and Seymour Chwast. Graphic Style
from Victorian to Digital. New ed. New York:
Harry N. Abrams, Inc., 2001. p. 5357.
Sterner, Gabriele. Art Nouveau, an Art of Transition: From Individualism to Mass Society. 1st English ed. (original title: Jugendstil: Kunstformen
zwischen Individualismus und Massengesellschaft)
Trans. Frederick G. Peters and Diana S. Peters. Woodbury, N.Y.: Barrons Educational Series,
1982. ISBN 0-8120-2105-3

[31] Duncan (1994): 52.

[32] A. Philip McMahon, review of F. Schmalenbach, Jugendstil", Parnassus, vol. 7 (Oct., 1935), 27.
[33] Reinhold Heller, Recent Scholarship on Viennas
Golden Age, Gustav Klimt, and Egon Schiele, The Art
Bulletin, vol. 59 (Mar., 1977), pp. 111118.
[34] Muter, Grant (1985). Leon Solon and John Wadsworth.
Journal of the Decorative Arts Society. Retrieved 2 December 2013.
[35] He was commissioned by the Wardle family of dyers and
printers, trading as Thomas Wardle & Co and Bernard
Wardle and Co.The Wardel Pattern Books Revealed
[36] http://www.coupdefouet.eu/
[37] Jugendstilsenteret in lesund
[38] Jgenstils. Enciklopdija Rga (in Latvian). Riga:
Galven enciklopdiju redakcija. 1988. p. 334.
[39] Krasti, J; Vasijevs, J (1978). Rgas izbve un arhitektra 19. gs. otraj pus". In J, Krasti. Rga. 18601917
(in Latvian). Riga: Zintne. pp. 437445.

17 Further reading
Art Nouveau Grange Books, Rochester, England
2007 ISBN 978-1-84013-790-3
William Craft Brumeld. The Origins of Modernism in Russian Architecture (Berkeley: University of California Press, 1991) ISBN 0-520-06929-3

18 External links
Art Nouveau at DMOZ
Rseau Art Nouveau Network, a European network
of Art Nouveau cities.
Art Nouveau European Route The most complete
information on Art Nouveau heritage in Europe and
worldwide.
Art Nouveau in Nancy Ecole de Nancy and the
Villa Majorelle
Art Nouveau -Historic Places in Canada

[40] Nacionl romantisma celtnes. Enciklopdija Rga (in

Latvian). Riga: Galven enciklopdiju redakcija. 1988.
p. 483.

art1900.info Art Nouveau in Central Europe

[41] UNESCO World Heritage List Historic Centre of Riga.

Europeana virtual exhibition of Art Nouveau

[42] Marie Vitochov Jindichkjer and Ji Vetecka, Prague

and Art Nouveau, translation by Denis Rath and Mark
Prescott, Prague: V Raji, 1995.
[43] In addition to monuments in Riga and Brussels that are
specically named as examples of Art Nouveau, the
Works of Antoni Gaud" in and around Barcelona are
recognised as outstanding examples of the building typology in the architecture of the early 20th century. See
World Heritage List Works of Antoni Gaud

lartnouveau.com Art Nouveau in France and in Europe

15

19
19.1

Text and image sources, contributors, and licenses

Text

Art Nouveau Source: http://en.wikipedia.org/wiki/Art_Nouveau?oldid=665203250 Contributors: Kpjas, Tarquin, Css, Jagged, Andre
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Cyde, Ihcoyc, Samuelsen, Darkwind, Gisle~enwiki, Raven in Orbit, AHands, KRS, Hyacinth, Ed g2s, Phoebe, Pietro, Spinster, Wetman, Robbot, Sander123, Greudin, Romanm, Halibutt, Rasmus Faber, Hadal, Wikibot, Wereon, Mushroom, HaeB, Agendum, Giftlite,
Harp, BenFrantzDale, Ezhiki, Ferdinand Pienaar, Pascal666, Solipsist, Brockert, Chameleon, Edcolins, Mestric, Ivi, Hananeko, Bgbot,
JoJan, MistToys, Tothebarricades.tk, Pethan, Necrothesp, Tail, Sonett72, Grstain, Justin Foote, Ham II, DanielCD, Edolen1, Guanabot,
Jikayo~enwiki, Chammy Koala, Jon Backenstose, Rama, Vzb83~enwiki, Lankiveil, Kwamikagami, Mwanner, Brisis~enwiki, EurekaLott,
CeeGee, Smalljim, Man vyi, Kaganer, Nk, Shaka~enwiki, Canadianartist, Haham hanuka, Jcrocker, Jumbuck, Alansohn, Tablizer, MrTree,
Duman~enwiki, Ricky81682, AzaToth, Jonathanriley, Hu, Hohum, Velella, Clubmarx, HenkvD, Pethr, Versageek, Ghirlandajo, Axeman89, RyanGerbil10, Feezo, Angr, Anish7, Kelly Martin, Woohookitty, Karnesky, LoopZilla, Jpers36, Before My Ken, JeremyA, Fred
J, Cbustapeck, Dysepsion, Mandarax, Graham87, Sparkit, Monk, Jorunn, SMC, Infosocialist, Afterwriting, Yamamoto Ichiro, FlaBot,
SchuminWeb, Karelj, Wars, Wowbobwow12, Planetneutral, Gareth E Kegg, Chobot, Gdrbot, Korg, TodorBozhinov, Gregalodon, RussBot, Jhbeck23, Ikar.us, Hydrargyrum, CambridgeBayWeather, Eleassar, Rsrikanth05, Philopedia, Bullzeye, ALoopingIcon, ENeville, Bjf,
Grafen, Fib2004, Rick lightburn, Irishguy, Ragesoss, Brandon, RUL3R, Amakuha, Alex43223, Rwalker, Shaqspeare, 1717, Gilemon,
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Peterktan, J Milburn, RCS, Mcginnly, Rickbrown55, Carlosr chill, Amiralis, Pedro uhart, HenkeB, Equendil, Cydebot, Paulromney, Alvesgaspar, Tkynerd, Julian Mendez, Justindancer, Diarmada, Kozuch, SpK, Victoriaedwards, Algabal, Gimmetrow, Mattisse, Epbr123, Sry85,
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16

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1896.jpg License: Public domain Contributors: University of Heidelberg Original artist: Unknown. No reference to an author could be
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2.0 Contributors: http://www.flickr.com/photos/sparklig/6129761819/ Original artist: sprklg
File:Louis_Majorelle_-_Wall_Cabinet_-_Walters_6587.jpg
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39/Louis_Majorelle_-_Wall_Cabinet_-_Walters_6587.jpg License: Public domain Contributors: Walters Art Museum: <a
href='http://thewalters.org/' data-x-rel='nofollow'><img alt='Nuvola lesystems folder home.svg' src='//upload.wikimedia.
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svg/30px-Nuvola_filesystems_folder_home.svg.png
1.5x,
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2x'
data-le-width='128'
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/></a> Home page <a href='http://art.thewalters.org/detail/1629' data-x-rel='nofollow'><img alt='Information icon.svg'
src='//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/20px-Information_icon.svg.png'
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height='20' srcset='//upload.wikimedia.org/wikipedia/commons/thumb/3/35/Information_icon.svg/30px-Information_icon.svg.png 1.5x,
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data-le-height='620' /></a> Info about artwork Original artist: Louis Majorelle
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artist: Koenzime

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