Art Nouveau - Part 1, In Europe

Delia Tacheny
INT 332 - History of Interiors II

Art Nouveau In Europe (1890 - 1910)

The interesting thing about each art movement we have learned about so far, is that each one is born out of rebellion or support of the relevant cultural period. While the Arts and Crafts Movement rebelled against the industrial revolution, Art Nouveau ("new art") embraced it. A small shop in Paris gave this movement its name, and while the spark began in Britain it took dominance primarily in France and Belgium, as well as Spain and Germany. 

In the late 19th century, Europe was experiencing a time of peace and prosperity, and growth due to the Industrial Revolution continued to occur. In the world of the Arts, the work of William Morris and writings of Ruskin continued to serve as an influence, and an inspiration for the unification of the arts as whole. Japanese design was also an influence of the time. In general, the Art Nouveau movement was a revolt against the Victorian era, while embracing natural forms, modern materials, and a relationship between the fine arts. 

Art Nouveau rejected any form of academic model or historical preference. Instead, it took more of a romanticism route by adopting inspiration from nature: flowers, birds, vines, insects, cherry blossoms, etc. Additionally, it utilizes many curves, inspired by the curvature of a woman's body. The most popular motif of the time was known as "whiplash" which can be seen in the pictures here. 

Art Nouveau sprang up differently in different European countries. For example, in Austria, a parallel art movement known as "the Vienna Secession" rose up, and in Germany "Jugendstil" was the name of the movement -- both within the family of Art Nouveau. 

While the Art Nouveau movement valued and focused on craftsmanship, which is seen in the unique artistic pieces, it also took advantage of industrial materials and processes. In France, Hector Guimard was the most influential Art Nouveau architect, designer, writer, etc. He designed city signage and created standardized elements for installations in the Paris Metro Subway stations. His pieces looked hand-crafted, despite being made in factories. 

Additionally, the use and experimentation with glass and metal became popular. In Belgium, Victor Horta introduced to the world the first metal and glass "curtain wall." One of his designs, the "Horta House" is a beautiful example of Art Nouveau. In Spain, Antony Guadi went through phases of representing various movements, but his Art Nouveau designs utilized glass, masonry, ceramic tile, wrought iron, and wood seamlessly; his designs took on forms of nature and fantasy. 

Most of the well-known Art Nouveau architects were also furniture designers. Henry Van De Velde of Belgium had many unique furniture pieces. Art Nouveau wasn't merely an architecture movement or furniture movements, rather, similar to the movements we've studied thus far, Art Nouveau found its way in a multitude of the fine arts as well as in philosophy, art theory, and the study of overall aesthetics. 

One Step Further: August Endell (1871 - 1925)

In Germany, a well-known figure from the Jugendstil movement was August Endell, an architect, writer, designer, and teacher. In 1892, Endell abandoned his plans to become a teacher and entered into a period of self-study, engaging in aesthetics, psychology, and philosophy. I'm intrigued by Endell, because rather than a mere artist, he was a deep thinker which was reflected in his writings. In 1896, he met Hermann Obrist who encouraged him to become a self-taught artist; he began designing illustrations, decor, textiles, window glass, and more. 

His first architectural work was the Elvira photographic studio in Munich (1896-97; destroyed 1944), which is decoratively and prominently marked on its street façade by a gigantic, writhing dragon - a piece that well represents the Jugendstil movement. Endell's work was highly detailed and ornamental, but following his move to Berlin in 1901 he began to focus more on mass and space. Endell actually created the first artistic racecourse architecture -- the Trotting Racecourse, Berlin.

"With texts such as 'Um die Schönheit' (1896), Endell paved the way for abstract art. In his new art theory based on a psychological aesthetic of perception, he proclaimed a purely formal art divorced from the imitation of nature, an art that evoked strong feelings through freely invented forms, as music does through sounds."

His written works were highly influential, progressive, and still appreciated today. The second source is a great resource for more insight into his philosophies and influence in the art world. 

Sources:

Biography of ENDELL, August in the Web Gallery of Art (wga.hu)

Unimagined delight: August Endell 150 — Rixdorf Editions