Architects-France Charles Garnier Gustave Eiffel Hector Guimard Architects-U.S. H. H. Richardson Louis Sullivan Frank Lloyd Wright Architects-Other Josef Hoffmann Victor Horta Antoni Gaudi
Art nouveau= “la style moderne”
Jugendstil (youth style) The explosion of the decorative arts in the late 19th cent Paris was also related to symbolist theory Gustave Eiffel, Eiffel Tower, 1889 (image) Iron structure Art nouveau is a manifestation of Symbolism in the decorative arts It also is a manifestation of new technologies Art nouveau= undulating line (symbolism) Whiplash line Ex: Van Gogh and Gauguin’s art Another Photography studio! August Endell, Atelier Elvira, Munich, Germany, 1897-98 Artist wanted to be the latest thing so creates art inspired of Japanese style People see sea animals in it; sea horses Purple and green Inside of the study= has branches; looks as if it is growing; not looking in the past= looking toward the future British movements that foreshadowed Art Nouveau The pre-Raphaelite Arts and crafts in England Whistler an American working in London, created décor for this British shipping magnate Frederick R. Leyland Peacock Room; now located in Washington DC Peacocks symbolize vanity Portrait of Mrs. Leyland= dressed like a Geisha girl; not dressed like a fashionable woman in her time, but oriental style/look Aubrey Beardsley, illustration from Oscar Wilde, Salome. 1893 India ink drawing on paper; later reported in line block print Bible story= horrifying story but sexually interpreted in story by Wilde John the Baptist severed head being kissed by a woman and his blood flows down to form a flower Another important influence on art nouveau: changing status of women in France (Major part of labor force; new laws requiring women’s education) Looking as strong and becoming fearful women Femme fatale= sexually powerful, somewhat fearful Salome= Wilde Madonna= Munch References to darkness, night, the underworld; insects and reptiles Hector Guimard Paris, art nouveau architect and designer Paris Metro Entrance. 1898-1901 Iron and glass Exotic, spooky font Light coming up from below; descending into hell/Hades Cast iron made to appear organic like growing plant life Swamp plant Lights around the entrance; red almond shape that look like eyes in the dark Also did carpentry; furniture but could only be bought by the upper class Pear wood cabinet, 1900 Galle a French art nouveau glass artist; also furniture Emile Galle, Hand Vase, 1900 o Butterfly Bed, 1900= looks like a moth on it (moth man) o butterfly-orgasm Butterfly over the city Art Nouveau Rene Lalique jewelry Snake glasses= woman holding it Adam and Eve Louis Comfort Tiffany- American stained glassmaker with a major market in Paris “Favrile Glass”= blowing the design then adding different colors during the process Made his name in Paris; America didn’t really mind his work at first Henry Van de Velde (1863-1957) Structure in flux Belgium= wrote about symbolist theory All line is in motion; more alive and more exciting Velde= our environments should affect the moods of our everday lives Van de Velde believed abstract line and form were direct lines to the emotions Abstract Composition. 1890, Pastels Impulse toward total abstraction Textile wall hanging Van de Velde followed Gauguin’s ideas about symbolism and the importance of the decorative arts Yellow Christ= example Looking at these Japanese gowns; he designed aesthetic style gowns elaborated with art nouveau curvilinear design Femme nouveau= has been educated; stand on her own two feet; wear comfortable clothes but still be incredibly stylish Femme nouveau vs. femme fatale Woman getting strength Gustave Klimt (1862-1918) Art nouveau + symbolism in Vienna Jugendstil Vienna secession founded in 1897 Klimt. The Kiss. 1907-08, o/c Man is being absorbed into the woman Just like Munch doing in Germany Loved to cover his paintings with bright colors mixed with gold leaves Sigmund Freud’s The Interpretation of Dreams; 1897-1900 Rooted in the subconscious Published in Vienna Klimt, Wall Mosaics in dining room of Joseph Hoffman’s Palais Stoclet, Brussels. 1905-09 Covered in tree forms; referred as the Tree of Life The Kiss couple is in there with a third woman (signature of artist in her arm) Geisha woman Viennese Session He was part of Movement Working group of Viennese Session Viennese style of art nouveau: no whiplash line, but same interest in surface decoration and new materials Example of Symbolism: 1. Color, line and shape important on their own apart from subject 2. Color, line, shape, … etc. affect our emotions without necessary recourse to subject or story 3. Exotic cultural references 4. Symbolists theme: “tree of life” related to “ages of man” we have already seen 5. Vienna was the home town of Sigmund Freud Architecture 1880-1914 Baron Haussmann- civic planner designed the city plan for Paris in the 1850s Cut Paris in half to fix the mess in the city Create big avenues; required all buildings to have same core design Haussmann widened major avenues and sight lines between major urban monuments Preparing for cars and parades In France, the Ecole fostered architecture and planning based on Renaissance and Baroque models Traditional in art as well as architecture Couldn’t be an artist without a degree/education here Beaux Arts Style Charles Garnier, L’Opera, Paris. 1861-74 Built in Baroque style A whole lot of Roman and Persian style rolled into one First sign of change came in the industrial capital of London Joseph Paxton, Crystal Palace, London, 1851 Iron and Glass He was a gardener who came up with the idea for this building Interior= tapestries hanging Gustave Eiffel, Eiffel Tower, Paris. 1889, iron World’s Fair symbol/center piece Not really building that housed anything but it was a monument Something new= nothing that was of traditional styles Iron construction; lines an form USA: The Chicago School Henry Hobson Richardson= medievalist Louis Henry Sullivan Urban living was growing fast in America Chicago- center for the US steel industry Richardson was born in LA, went to Harvard then Paris Ecole “Romanesque Revival” Trinity Church, 1872-77 Makes it look thought out but draped in traditional/medieval style Like Abbey of St. Pierre Richardson. Marshall Field Warehouse, 1885-87; Chicago (demolished, 1930) No iron or steel frame; the innovation is in simplifying and opening up the walls Romanesque arches Bearing-wall construction; wall holds the building up Louis Sullivan, Wainwright Building, St. Louis, MO. 1890-91 “Skyscraper” Irish man; Celtic style/ornate pattern Sullivan a pioneer in the use of structural steel- NOT first to use it but used it more extensively and in totally new ways Still designed with Renaissance patterns on the outside Modern because it made person look up with the lines Sullivan: “Form Follows Function” That means: building should be dictated by its program Carson Pirie Scott and Co. Store, 1899-1904 Stretched out; window, not much window; modern New building type: department stores Steel frame, curtain wall Store seem exciting; top was nice but bottom was decorative Chicago Windows= vents in the window (tiny windows to big ones) First floor still had to appeal to the people Art Nouveau Architecture Victor Horta, Tassel House, Brussels. 1892-93; ironwork, mosaics, wall painting Curling of iron with whiplash on the walls Swirl of forces Whiplash line Use of reinforced concrete Auguste Perret, Rue Franklin apartments, 1902-3, Paris. Concrete that had steel bars inside it to keep it strong Used it to create the framing elements In between concrete was a flower motif Antonio Gaudi (1842-1926) Spain Glorifies the Middle Ages Most of his life working on a church La Sagrada Familia. Barcelona, 1883-1926 Organic shapes Casa Mila, 1905-07. Barcelona: steel frame Undulated walls Knows of modern but gives us forms to other references Gives us a natural organic quality to it; river bed eroding rocks Apartment complex= steel frame! Iron balconies; no straight lines or square rooms Mosaic usage to chimney pots Frank Lloyd Wright (1869-1959) USA Wright starts with the program and the plan Suburb in Chicago Ward Willits House, Highland Park, IL, 1900-02 Cross shape layout that would create rectangles with it Japanese style; horizontal Natural looking; thinking of foliage around the building Wright was interested in, and collected Japanese prints and these influenced his architecture “Prairie style” Flat and spread out; way he saw the Midwest All done with wood, but rebuilt to be steel Hearth the central pint for Wright’s residential plans Center of his architecture of his design House may look radical and new but his living space was traditional Lighter stone Wood construction, NOT steel and local stone and brick slide structure; nothing closed off-= open room plan Everything went together