The style was influenced strongly by Czech artist Alphonse Mucha, when Mucha produced a lithographed poster, which appeared on 1 January 1895 in the streets of Paris as an advertisement for the play Gismonda by Victorien Sardou, featuring Sarah Bernhardt. 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.
Art Nouveau was most popular in Europe and the British Isles, but its influence was global. Hence, it is known in various guises with frequent localised tendencies. In France, Hector Guimard's Paris metro entrances were of art nouveau style and Emile Gallé practised the style in Nancy. Victor Horta had a decisive effect on architecture in Belgium. Magazines like Jugend helped publicise the style in Germany, especially as a graphic artform, while the Vienna Secessionists influenced art and architecture throughout Austria-Hungary. Art Nouveau was also a style of distinct individuals such as Gustav Klimt, Charles Rennie Mackintosh, Alphonse Mucha, René Lalique, Antoni Gaudí and Louis Comfort Tiffany, each of whom interpreted it in their own manner.
Although Art Nouveau was replaced by 20th-century modernist styles, it is considered now as an important transition between the historicism of Neoclassicism and modernism. Furthermore, Art Nouveau monuments are now recognised by UNESCO with their World Heritage List as significant contributions to cultural heritage. The historic center of Riga, Latvia, with "the finest collection of art nouveau buildings in Europe", was included on the list during 1997 in part because of the "quality and the quantity of its Art Nouveau/Jugendstil architecture", and four Brussels town houses by Victor Horta were included during 2000 as "works of human creative genius" that are "outstanding examples of Art Nouveau architecture brilliantly illustrating the transition from the 19th to the 20th century in art, thought, and society".
In other cases, important examples, well-known artists, and associated locations influenced the names. Hector Guimard's Paris Métro entrances, for example, provided the term Style Métro, the popularity in Italy of Art Nouveau designs from London's 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 "Tiffany style" due to its association with Louis Comfort Tiffany. 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"). As a stand-alone term, however, "Secession" (, ) 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.
Art Nouveau tendencies were also used by local styles. In Denmark, for example, it was one aspect of Skønvirke ("aesthetic work"), which itself more closely relates to the Arts and Crafts style. Likewise, artists adopted many of the floral and organic motifs of Art Nouveau into the Młoda Polska ("Young Poland") style in Poland. Młoda Polska, however, was also inclusive of other artistic styles and encompassed a style of art, literature and lifestyle.
Henry Van de Velde, who worked most of his career in Germany, was a Belgian theorist who influenced many others to continue this style of graphic art including Peter Behrens, Hermann Obrist and Richard Riemerschmid. August Endell, Henri Privat-Livemont is another notable Art Nouveau designer.
Magazines were important for spreading the visual idiom of Jugendstil, especially the graphical qualities. Besides Jugend, other important magazines were the satirical Simplicissimus and Pan.
Other notable British Art Nouveau designers include Walter Crane, Arthur Lasenby Liberty, Charles Ashbee and Aubrey Beardsley.
The Edward Everard building in Bristol, built during 1900–01 to house the printing works of Edward Everard, features an Art Nouveau façade. The figures depicted are of Johannes Gutenberg and William Morris, both eminent in the field of printing. A winged figure symbolises the Spirit of Light, while a figure holding a lamp and mirror symbolises light and truth.
Significant number of Art Nouveau structures is located also in other cities and towns of Latvia, including Liepāja (hundreds of buildings), Jūrmala (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).
The Polish style was centred in Krakow and was part of the Mloda Polska style. Stanisław Wyspiański was the main Art Nouveau artist in Poland; his paintings, theatrical designs, stained glass, and building interiors are widely admired and celebrated in the National Museum in Kraków. Art Nouveau buildings survive in most Polish cities (Łódź, Kraków), with the exception of Warsaw, where Communist authorities destroyed the few examples that survived the Nazi razing of the city on the grounds that the buildings were decadent. The Slovene Lands were another area influenced by Art Nouveau. At its beginning, Slovenian Art Nouveau was influenced strongly by the Viennese Secession, but it later developed an individual style. Important architects of this style include Max Fabiani, Ciril Metod Koch, Jože Plečnik, Ivan Vurnik and a Croatian Josip Vancaš, with the vast majority of the architecture to be found in Ljubljana.
Croatia was an area of secessionist architecture as well. Architects like Vjekoslav Bastl and Baranyai developed a mixture between modernism and classical Art Nouveau.
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 Ålesund burned during 1904, and was rebuilt in a uniform Jugendstil architecture, kept more or less intact to the present.
Although no significant artists in Australia are associated with Art Nouveau, many buildings in Australia were designed in the Art Nouveau style. In Melbourne, the Victorian Arts Society, Milton House, Melbourne Sports Depot, Melbourne City Baths, Conservatorium of Music and Melba Hall, Paston Building, and Empire Works Building all represent the Art Nouveau style.
Montevideo, in South America's Rio de la Plata, offers a good example of the influence 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 with Paris, London and Barcelona during Art Nouveau's heyday, when the city was also receiving massive immigration, especially from Italy and Spain. Those were also the years Montevideo developed the structure of its urban spaces, all of which factors help explain the widespread presence of Art Nouveau there.
In the other side of the Rio de la Plata, Buenos Aires still conserves some of its art nouveau architecture, also brought by Italian and Spanish immigrants, which developed the jugendstil (Edificio Otto Wulff, by Morten Ronnow, Danish), liberty (Casa de los Pavos Reales, by Virginio Colombo, Italian), modernisme (various buildings by Julián García Núñez, Spanish-Argentine) and art nouveau (Chile Hotel by Louis Dubois, French) varieties. Another Argentinean city where this architecture has been recently protected is Rosario, an important port on the Paraná River.
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 flame and shell textures, they also advocated the use of very stylised organic forms as a source of inspiration, expanding the 'natural' repertoire to use seaweed, grasses, and insects.
For the previous two centuries, the emphasis in fine jewellery had been on gemstones, particularly on the diamond, and the jeweller or goldsmith had been principally concerned with providing settings for their advantage. With Art Nouveau, a different type of jewellery emerged, motivated by the artist-designer rather than the jeweller as setter of precious stones.
The jewellers of Paris and Brussels defined Art Nouveau in jewellery, and in these cities it achieved the most renown. Contemporary French critics were united in acknowledging that jewellery was undergoing a radical transformation, and that the French designer-jeweller-glassmaker René Lalique was popularising the changes. Lalique glorified nature in jewellery, extending the repertoire to include new aspects of nature—such as dragonflies or grasses—inspired by his encounter with Japanese art.
The jewellers were keen to establish the new style in a noble tradition, and for this they used the Renaissance, with its works of sculpted and enamelled gold, and its acceptance of jewellers as artists rather than craftsmen. In most of the enamelled work of the period, precious stones receded. Diamonds were usually subsidiary, used alongside less familiar materials such as moulded glass, horn and ivory.
Art Nouveau did not negate machines as the Arts and Crafts Movement did. For sculpture, the principal materials employed were glass and wrought iron, resulting in sculptural qualities even in architecture. Ceramics were also employed in creating editions of sculptures by artists such as Auguste Rodin.
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 design—which was expensive to produce—began 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. Image:Bechstein10.jpg|Bechstein Art Nouveau grand piano 1902 made for Julius Gütermann
Category:Modern art Category:Architectural styles Category:Decorative arts Category:French words and phrases Category:Edwardian era
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This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Alphonse Mucha |
---|---|
birth name | Alfons Maria Mucha |
birth date | July 24, 1860 |
birth place | Ivančice, Moravia, Austrian Empire (present Czech Republic) |
death date | July 14, 1939 |
death place | Prague, Protectorate of Bohemia and Moravia |
nationality | Czech |
field | Painting, Illustration, Decorative art |
training | Munich Academy of Fine ArtsAcadémie JulianAcadémie Colarossi |
movement | Art Nouveau |
works | The Slav Epic (Slovanská epopej) |
patrons | Count Karl Khuen of Mikulov |
influenced by | Neoclassicism |
influenced | Paul HarveyKevin Wasden |
awards | }} |
Mucha moved to Paris in 1887, and continued his studies at Académie Julian and Académie Colarossi. In addition to his studies, he worked at producing magazine and advertising illustrations. About Christmas 1894, Mucha happened to go into a print shop where there was a sudden and unexpected need for a new advertising poster for a play featuring Sarah Bernhardt, the most famous actress in Paris, at the Théâtre de la Renaissance on the Boulevard Saint-Martin. Mucha volunteered to produce a lithographed poster within two weeks, and on 1 January 1895, the advertisement for the play Gismonda by Victorien Sardou was posted in the city, where it attracted much attention. Bernhardt was so satisfied with the success of this first poster that she began a six-year contract with Mucha.
Mucha produced a flurry of paintings, posters, advertisements, and book illustrations, as well as designs for jewelry, carpets, wallpaper, and theatre sets in what was termed initially the Mucha Style but became known as Art Nouveau (French for 'new art'). Mucha's works frequently featured beautiful young women in flowing, vaguely Neoclassical-looking robes, often surrounded by lush flowers which sometimes formed halos behind their heads. In contrast with contemporary poster makers he used pale pastel colors. The 1900 Universal Exhibition in Paris spread the "Mucha style" internationally, of which Mucha said "I think [the Exposition Universelle] made some contribution toward bringing aesthetic values into arts and crafts." He decorated the Bosnia and Herzegovina Pavilion and collaborated with decorating the Austrian Pavilion. His Art Nouveau style was often imitated. The Art Nouveau style however, was one that Mucha attempted to disassociate himself from throughout his life; he always insisted that rather than maintaining any fashionable stylistic form, his paintings were entirely a product of himself and Czech art. He declared that art existed only to communicate a spiritual message, and nothing more; hence his frustration at the fame he gained by his commercial art, when he most wanted to concentrate on more artistic projects.
Mucha's work has continued to experience periodic revivals of interest for illustrators and artists. Interest in Mucha's distinctive style experienced a strong revival during the 1960s (with a general interest in Art Nouveau) and is particularly evident in the psychedelic posters of Hapshash and the Coloured Coat, the collective name for British artists Michael English and Nigel Waymouth, and Bob Masseю
It is a strongly acknowledged influence for Stuckist painter Paul Harvey.
The Japanese manga artist Naoko Takeuchi released a series of official posters depicting five of the main characters from her manga series Sailor Moon mimicking Mucha's style. Another manga artist, Masakazu Katsura, has also mimicked Mucha's style several times. Comic book artist and former Marvel Comics Editor in Chief Joe Quesada also borrowed from Mucha's techniques for a series of covers, posters, and prints.
The band Soilent Green used a picture by Mucha for the cover art of their album Sewn Mouth Secrets.
Mucha's work is also a visible influence on heavy metal cover artist/guitarist John Baizley.
One of Mucha's paintings, Quo Vadis or alternately Petronius and Eunice, was the subject of a legal dispute in 1986. The judgment by Richard Posner describes parts of Mucha's life and work biographically.
Among his many other accomplishments, Mucha was also the restorer of Czech Freemasonry.
On 1 January 2010, his published works went out of copyright and entered the public domain.
On 24 July 2010, he was honored with a Google Doodle in memory of his 150th birthday.
Category:1860 births Category:1939 deaths Category:19th-century painters Category:20th-century painters Category:19th-century Czech people Category:20th-century Czech people Category:Czech painters Category:Art Nouveau Category:Poster artists Category:Stamp designers Category:People of the Edwardian era Category:Alumni of the Académie Julian Category:Czech Austro-Hungarians Category:Czech expatriates in France Category:People from Ivančice Category:Academy of Fine Arts, Munich alumni
ast:Alfons Mucha be:Альфонс Марыя Муха br:Alfons Mucha bg:Алфонс Муха ca:Alfons Mucha cs:Alfons Mucha da:Alfons Mucha de:Alfons Mucha el:Άλφονς Μούχα es:Alfons Mucha eo:Alfons Mucha fr:Alfons Mucha gl:Alfons Mucha ko:알폰스 무하 hr:Alphonse Mucha id:Alfons Mucha is:Alfons Mucha it:Alfons Mucha he:אלפונס מוכה ka:ალფონს მუხა la:Alphonsus Mucha lt:Alfons Mucha hu:Alfons Mucha nl:Alfons Mucha ja:アルフォンス・ミュシャ no:Alfons Mucha pl:Alfons Mucha pt:Alfons Maria Mucha ru:Муха, Альфонс Мариа simple:Alphonse Mucha sk:Alfons Mucha sl:Alfons Maria Mucha sr:Алфонс Муха fi:Alfons Mucha sv:Alfons Mucha tr:Alphonse Mucha uk:Альфонс Марія Муха zh:阿爾豐斯·慕夏This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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