Can someone explain?

Question

What was the Art Nouveau Movement? Please. I have no clue. Thanks!

Answer 1

"An international style of decoration and architecture which developed in the 1880s and 1890s. The name derives from the Maison de l'Art Nouveau, an interior design gallery opened in Paris in 1896, but in fact the movement had different names throughout Europe. In Germany it was known as 'Jugendstil', from the magazine Diejugend (Youth) published from 1896; in Italy 'Stile Liberty' (after the London store, Liberty Style) or 'Floreale'; in Spain 'Modernista', in Austria 'Sezessionstil' and, paradoxically, in France the English term 'Modern Style' was often used, emphasizing the English origins of the movement.

"In design Art Nouveau was characterized by writhing plant forms and an opposition to the historicism which had plagued the 19th century. There was a tension implicit throughout the movement between the decorative and the modern which can be seen in the work of individual designers as well as in the chronology of the whole. Its emphasis on decoration and artistic unity links the movement to contemporary Symbolist ideas in art, as seen in the work of the Vienna Secessionists, but the movement was also associated with Arts and Crafts ideas and, as such, Art Nouveau forms a bridge between Morris and Gropius (recognized by Pevsner in his book, Pioneers of the Modern Movement, 1936).

"In Britain the style was exemplified by the architecture of Rennie Mackintosh, and the design work of the Macdonald sisters. The lingering impact of Morris in England slowed down the progress of the new style in design although Mackmurdo, Godwin, Townsend and even Voysey were influenced towards Art Nouveau. It was in illustration that the ideas were most keenly felt, through the new periodicals and presses - the Yellow Book, the Studio, the Savoy, the Hobby Horse - and though the work of Beardsley, Ricketts and Selwyn Image.

"In France, despite Guimard's famous glass and iron Metro designs, the movement was best expressed in the applied arts, especially the glassware of Lalique (1860-1945) and Galle (1846-1904). In Belgium, the style was promoted through the Societe des Vingts (Les Vingt) established in 1884, and including Ensor as well as the more characteristically Art Nouveau architects Horta and Van de Velde in its members. In Spain the style was concentrated in the eccentric hands of Gaudi in Barcelona. In Vienna, architects like Wagner, Hoffmann and Olbrich, and artists such as Klimt gathered to promote the style through the Secessionist magazine Ver Sacrum. In Germany, the movement split between the decorative tendencies of Otto Eckman (1865-1902) and the Pan magazine, and the streamlined design of Behrens. In America architects like Sullivan and Wright were influenced by European ideas but conceived Art Nouveau in different terms, whilst designers like Tiffany enthusiastically embraced the movement.

Answer 2

The Art Nouveau style is characterized by strong compositions, natural colors, sensuous curves derived from nature and graceful flowing lines. Reality and stylization are integrated throughout the entire composition. Art Nouveau first appeared in the mid 1880s, lasting into the early 1900s. The style developed in Paris. Alphonse Mucha, Gustav Klimt and Théophile Steinlen are most closely associated with the Art Nouveau style. Artists of this style emphasized intensely erotic themes. Favoring: Eve, birds, flowers, butterflies, Lilith , serpents and nature. Art Nouveau designs influenced jewelry, architectural design, wallpaper and furniture posters, magazine and calendar illustration.

Answer 3

Here's the wiki explanation:
http://en.wikipedia.org/wiki/Art_Nouveau

Answer 4

type the word on yahoo.com and read carefully

Answer 5

French for "The New Art." An international art movement and style of decoration and architecture of the late nineteenth and early twentieth centuries, characterized particularly by the curvilinear depiction of leaves and flowers, often in the form of vines. These might also be described as foliate forms, with sinuous lines, and non-geometric, "whiplash" curves. Gustav Klimt (Austrian, 1862-1918), Alphonse Mucha (Czechoslovakian, 1860-1939), Henri de Toulouse-Lautrec (French, 1861-1901), Aubrey Beardsley (English, 1872-1898), Antonio Gaudí (Spanish, 1852-1926), and Hector Guimard (French, 1867-1942) were among the most prominent artists associated with this style. The roots of Art Nouveau go back to Romanticism, Symbolism, the English Arts and Crafts Movement and William Morris (English, 1834-1896). In America, it inspired, among others, Louis Comfort Tiffany (1848-1933). The name is derived from "La Maison de l'Art Nouveau," a gallery for interior design that opened in Paris in 1896. Art Nouveau is known in Germany as Jugenstil and in England as Yellow Book Style, and epitomizes what is sometimes called fin de siècle style. It reached the peak of its popularity around 1900, only to be gradually overtaken by art deco and other modernist styles.

(pr. art noo-voh')




Examples:



Vilmos Zsolnay (Hungarian, 1828-1900), Vase, 1899, earthenware with iridescent metallic luster glaze, Minneapolis Institute of Arts. See Hungarian art.














Agathon Léonard (French, 1841-1923) for Sèvres, Royal Porcelain Factory, Dancing Figure from the Table Centrepiece 'Dance with Scarves', 1900, bisque porcelain, height 47.5 cm, Hermitage Museum, St. Petersburg, Russia. This figure is one of fourteen in a set of female figures dancing and playing music. See drapery.





Émile Gallé (French, 1846-1904), Dragonfly Coupe, La Libellule, layered, inlaid, blown, and trailed glass, internal metal-foil decoration, cut, engraved, height 18.3 cm, Corning Museum of Glass, NY.







Émile Gallé, Bat Vase, c. 1903-1904, wheel-cut and acid-etched glass with applied cabochons over silver foil, Victoria and Albert Museum, London.










American (Tiffany Studios?), Window in the Winchester "Mystery House," c. 1890s (house built 1884-1922), colored and beveled glass, San Jose, CA. Sarah L. Winchester, a wealthy widow — heiress to the Winchester Rifle fortune — began the construction of what became a 160-room mansion, ending only at her death 38 years later. This may be one of the stained glass windows she commissioned Tiffany Studios to produce for the house.





Louis Comfort Tiffany (American, 1848-1933) for Tiffany Glass and Decorating Company, Three-panel screen, c. 1900, leaded Favrile glass in bronze frame, Lillian Nassau Ltd., NY.








Louis Comfort Tiffany, manufactured by Tiffany Studios, New York, NY, Vase, 1913, favrile glass, 20 1/2 x 11 x 4 1/2 inches (52.1 x 27.9 x 11.4 cm).






Antoní Gaudí (Spanish, 1852-1926), manufactured by Gaudí's workshop, Prayer Bench, 1898-1914, wood and wrought iron, 32 5/8 x 44 1/2 x 26 inches (82.9 x 113 x 66 cm), seat height 16 5/8 inches (42.2 cm), Museum of Modern Art, NY.










Antoní Gaudí, Wall clock from the Casa Milá, Barcelona, 1906-1910, gilded wood, private collection. See architect, architecture, horology, and Spanish art.






Ferdinand Hodler (Swiss, 1853-1918), Study for Day, c. 1898-99, oil on canvas, 106 x 100 cm (42 x 39 1/2 inches), Detroit Institute of Arts, MI. See Swiss art.






Ferdinand Hodler, Day II (Der Tag. 2. Fassung), 1904 / 06, oil on canvas, 163 x 358 cm, Kunsthaus Zurich, Switzerland.






Ferdinand Hodler, Der Niesen, 1910, oil on canvas, 83 x 105.5 cm, Kunstmuseum Basel, Switzerland. See landscape.





Louis Majorelle (French, 1859-1926), Armoire, c. 1900-1910, fruitwood and tropical veneers, oak, mirror, Columbia Museum of Art, SC. See furniture and wood.








Louis Sullivan (American, 1856-1924) and George Grant Elmslie (American, 1871-1952), Main entrance to the Schlesinger and Meyer Department Store (now Carson Pirie Scott & Co.), Chicago, featuring Art Nouveau style cast iron decor, 1899-1901 (additions 1901-1904). Detail: cast iron over one doorway. See Prairie school.





Louis Sullivan (American, 1856-1924) and George Grant Elmslie (American, 1871-1952), Elevator medallion from the Schlesinger and Mayer Department Store (now Carson Pirie Scott & Co.), Chicago, 1898-1899, copper-plated cast iron, Seymore H. Persky collection.






Giovanni Segantini (Italian, 1858-1899), Love at the Fountain of Life (L'amore alla fonte della vita), oil on canvas, 72 x 100 cm, Civica Galleria d'Arte Moderna, Milano. See Segantini stitch.






Théophile Alexandre Steinlen (French, 1859-1923), Chat Noir, color lithograph. This poster advertised an event at the Chat Noir, a Paris cabaret from 1881 to 1897.








Théophile Alexandre Steinlen, Compagnie Française des Chocolate et des Thés, 1895, color lithograph poster, Cleveland Museum of Art, OH.










René Jules Lalique (French, 1860-1945), Necklace, c. 1895-1905, gold, enamel, Australian opal, Siberian amethysts; overall diameter 9 1/2 inches (24.1 cm); 9 large pendants: 2 3/4 x 2 1/4 inches (7 x 5.7 cm), 9 small pendants: 1 3/8 x 1 1/4 inches (3.5 x 3.2 cm), Metropolitan Museum of Art, NY. See Art Deco.






Alphonse Marie Mucha (Czech, 1860-1939), Job, 1898, lithograph in five colors: red, yellow, blue green, dark violet, and black, 54 1/2 x 36 1/2 in. (138.43 x 92.71 cm). This poster advertised a brand of cigarette papers. See Czech art.












Alphonse Marie Mucha, Maude Adams (1872-1953) as Joan of Arc, 1909, oil on canvas, 82 1/4 x 30 inches (208.9 x 76.2 cm), Metropolitan Museum of Art, NY.





Victor Horta (Belgian, 1861-1947), Tassel House, Brussels, 1893. First floor landing with view towards staircase.








Agostino Lauro (Italian, 1861-1924), Sofa, 1900-1901, mahogany with silk moiré, the Mitchell Wolfson Jr. Collection, The Wolfsonian-Florida International U, Miami Beach, FL. See furniture and wood.





François Rupert Carabin (French, 1862-1932), Chair, 1896, wood, private collection. See furniture.










Gustav Klimt (Austrian, 1862-1918), Serena Lederer (died 1943), 1899, oil on canvas, 75 1/8 x 33 5/8 inches (190.8 x 85.4 cm), Metropolitan Museum of Art, NY. See Austrian art, emphasis, portrait, and secession.








Gustav Klimt, Portrait of Hermine Gallia, 1904, oil on canvas, 170.5 x 96.5 cm, Tate Gallery, London.






Gustav Klimt, Hope, II, 1907-08, oil, gold, and platinum on canvas, 43 1/2 x 43 1/2 inches, (110.5 x 110.5 cm), Museum of Modern Art, NY. See pattern.










Gustav Klimt, The Park, 1910 or earlier, oil on canvas, 43 1/2 x 43 1/2 inches (110.4 x 110.4 cm), Museum of Modern Art, NY.





Paul Signac (French, 1863-1935), Portrait of Félix Fénéon, 1890, oil on canvas, private collection.








Henry van de Velde (Belgian, 1863-1957), Tropon, 1897, color lithograph, 31 x 20 cm, Tehran Museum of Contemporary Art, Iran.






Henry van de Velde, Desk, 1898, wood and metal, German National Museum, Nurnberg.










Henry van de Velde, Candelabrum, 1898-1899, electroplated bronze, Musées Royaux d'Art et d'Histoire, Brussels. See candelabrum.





Henry van de Velde, designer (Belgian, 1863-1957), for Meissen Factory (German), Plate, c. 1903, glazed porcelain, Cleveland Museum of Art, OH.










Henri de Toulouse-Lautrec (French, 1864-1901), Divan Japonais, 1893, color lithograph, complete: 31 5/8 x 23 7/8 inches (80.3 x 60.7 cm), Museum of Modern Art, NY. This poster advertises a cabaret in Montmartre, Paris. In the center sits the famous cancan dancer Jane Avril, whose elegant black silhouette dominates the scene. Lithographed posters proliferated during the 1890s due to technical advances in color printing and the relaxation of laws restricting the placement of posters. Dance halls, café-concerts, and festive street life invigorated nighttime activities. Toulouse-Lautrec's brilliant posters, made as advertisements, captured the vibrant appeal of the prosperous Belle Époque. See a page about Toulouse-Lautrec and Post-Impressionism.












Designed by Hector Guimard (French, 1867-1942), Panel, c. 1900, early 20th century, silk and paint on silk, width 18 inches (45.7 cm), length 27 inches (68.6 cm), Metropolitan Museum of Art, NY. See curvilinear.








Hector Guimard, Side Chair, c.1904, pearwood with leather upholstery, 47 X 18 X 17 1/4 inches (119.4 X 45.7 X 43.8 cm), Carnegie Museum of Art, Pittsburgh, PA. See furniture and wood.