Antique 1800s Art Nouveau Victorian Ornate Embossed BREAD Plate Tray Dish Silver

$80.38 Buy It Now or Best Offer, Click to see shipping cost, 30-Day Returns, eBay Money Back Guarantee
Seller: Top-Rated Seller cosmic_goods ✉️ (3,624) 100%, Location: Freeport, Maine, US, Ships to: US & many other countries, Item: 186282191083 Antique 1800s Art Nouveau Victorian Ornate Embossed BREAD Plate Tray Dish Silver.
  • Antique late 1800s
  • Silverplate
  • Ornate, fine, fancy, embossing
  • 12.5" L x 5.75" W
  • I package well and ship out daily!

Art Nouveau 84 languages
  • Article
  • Talk
  • Read
  • Edit
  • View history
Tools
From Wikipedia, the free encyclopedia Art Nouveau
Clockwise from top left : Paris Métro  station Abbesses , by Hector Guimard  (1900); cover of Jugend  magazine, by Otto Eckmann  (1896); wall cabinet, by Louis Majorelle ; interior of the Hôtel Tassel  in Brussels , by Victor Horta  (1892–1893); lamp, by Louis Comfort Tiffany  (1900–1910)
Years activec. 1883–1914
CountryWestern world

Art Nouveau  (/ˌ ɑː r (t )  n uː ˈ v oʊ /  AR(T)  noo-VOH , French:  [aʁ  nuvo]   ⓘ ; lit.  'New Art') is an international style  of art, architecture, and applied art , especially the decorative arts . It was often inspired by natural forms such as the sinuous curves of plants and flowers.[1]  Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines , and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces.[2]  It was popular between 1890 and 1910 during the Belle Époque  period,[3]  and was a reaction against the academicism , eclecticism  and historicism  of 19th century architecture and decorative art.

One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work. The style responded to leading 19-century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc  (1814–1879) and British art critic John Ruskin  (1819–1900). In Britain, it was influenced by William Morris  and the Arts and Crafts movement . German architects and designers sought a spiritually uplifting Gesamtkunstwerk  ('total work of art') that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents.[2]

The first Art Nouveau houses and interior decoration appeared in Brussels  in the 1890s, in the architecture and interior design of houses designed by Paul Hankar , Henry van de Velde , and especially Victor Horta , whose Hôtel Tassel  was completed in 1893.[4] [5] [6]  It moved quickly to Paris, where it was adapted by Hector Guimard , who saw Horta's work in Brussels and applied the style to the entrances of the new Paris Métro . It reached its peak at the 1900 Paris International Exposition , which introduced the Art Nouveau work of artists such as Louis Tiffany . It appeared in graphic arts in the posters of Alphonse Mucha , and the glassware of René Lalique  and Émile Gallé .

From Britain, Belgium and France, Art Nouveau spread to the rest of Europe, taking on different names and characteristics in each country (see Naming section  below). It often appeared not only in capitals, but also in rapidly growing cities that wanted to establish artistic identities (Turin  and Palermo  in Italy; Glasgow  in Scotland; Munich  and Darmstadt  in Germany), as well as in centres of independence movements (Helsinki  in Finland, then part of the Russian Empire; Barcelona  in Catalonia , Spain).

By 1914, with the beginning of the First World War , Art Nouveau was largely exhausted. In the 1920s, it was replaced as the dominant architectural and decorative art style by Art Deco  and then Modernism .[7]  The Art Nouveau style began to receive more positive attention from critics in the late 1960s, with a major exhibition of the work of Hector Guimard  at the Museum of Modern Art  in 1970.[8]

Naming [ edit ]

The term Art Nouveau  was first used in the 1880s in the Belgian journal L'Art Moderne  to describe the work of Les Vingt , twenty painters and sculptors seeking reform through art. The name was popularized by the Maison de l'Art Nouveau  ('House of the New Art'), an art gallery opened in Paris in 1895 by the Franco-German art dealer  Siegfried Bing . In Britain, the French term Art Nouveau  was commonly used, while in France, it was often called by the term Style moderne  (akin to the British term Modern Style ), or Style 1900 .[9]  In France, it was also sometimes called Style Jules Verne  (after the novelist Jules Verne ), Style Métro  (after Hector Guimard 's iron and glass subway entrances), Art Belle Époque , or Art fin de siècle .[10]

Art Nouveau is known by different names in different languages: Jugendstil  in German, Stile Liberty  in Italian, Modernisme  in Catalan, and also known as the Modern Style  in English. The style is often related to, but not always identical with, styles that emerged in many countries in Europe and elsewhere at about the same time. Their local names were often used in their respective countries to describe the whole movement.

  • In Austria and the neighbouring countries then part of the Austro-Hungarian Empire , it was called Wiener Jugendstil  ('Viennese youth style'), or Secessionsstil  ('Secession style'), after the artists of the Vienna Secession  (Hungarian : szecesszió , Czech : secese , Slovak : secesia , Polish : secesja ).
  • In Belgium, it was sometimes termed Style coup de fouet  ('Whiplash style'), Paling Stijl  ('Eel Style'), or Style nouille  ('Noodle style') by its detractors.[10]
  • In Britain , besides Art Nouveau, it was known as the Modern Style , or, because of the works of the Glasgow School , as the Glasgow style .
  • In Denmark, it is known as Skønvirke  ('Work of beauty').
  • In Germany and Scandinavia, it was called Reformstil  ('Reform style'), or Jugendstil  ('Youth style'), after the popular German art magazine Jugend ,[10]  as well as Wellenstil  ('Wave style'), or Lilienstil  ('Lily style').[9]  It is now called Jugend  in Finland, Sweden, and Norway; Juugend  in Estonia ; and Jūgendstils  in Latvia . In Finland, it was also called Kalevala Style .
  • In Italy, it was often called stile Liberty  ('Liberty style'), after Arthur Lasenby Liberty , the founder of London's Liberty & Co , whose textile designs were popular. It was also sometimes called stile floreale  ('floral style') or arte nuova  ('new art'; not in use anymore).[10]
  • In Japan, Shiro-Uma .[11]
  • In the Netherlands, Nieuwe Kunst  ('New Art'), or Nieuwe Stijl  ('New style').[12] [9]
  • In Portugal, Arte nova  ('New Art').
  • In Romania , Arta 1900  ('1900 Art'), Arta Nouă  ('New Art'), or Noul Stil  ('New Style').[13]
  • In Spain, Modernismo , Modernisme  (in Catalan) and Arte joven  ('Young art').
  • In Switzerland, style sapin  ('fir-tree style').[9]
  • In the United States, due to its association with Louis Comfort Tiffany , it was sometimes called the Tiffany style .[2] [12] [9] [14]
  • The term Modern  was used in then Russian Empire  and still used in current successor states such as Azerbaijan , Kazakhstan , Russia , and Ukraine , while it is called Modernas  in Lithuania . For painting, the name of the Mir Iskusstva  ('World of Art') movement was also used.

History [ edit ] For a chronological guide, see Timeline of Art Nouveau .

Origins [ edit ]

The new art movement had its roots in Britain, in the floral designs of William Morris , and in the Arts and Crafts movement  founded by the pupils of Morris. Early prototypes of the style include the Red House  with interiors by Morris and architecture by Philip Webb  (1859), and the lavish Peacock Room  by James Abbott McNeill Whistler . The new movement was also strongly influenced by the Pre-Raphaelite  painters, including Dante Gabriel Rossetti  and Edward Burne-Jones , and especially by British graphic artists of the 1880s, including Selwyn Image , Heywood Sumner , Walter Crane , Alfred Gilbert , and especially Aubrey Beardsley .[15]  The chair designed by Arthur Mackmurdo  has been recognized as a precursor of Art Nouveau design.[16]

In France, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc , a declared enemy of the historical Beaux-Arts architectural style , whose theories on rationalism were derived from his study of medieval art :

  • Function should define form.[17]
  • Unity of the arts and the abolition of any distinction between major art (architecture) and minor arts (decorative arts).[18]
  • Nature's logic is the model to be used for architecture.[19]
  • Architecture should adapt itself to man's environment and needs.
  • Use of modern technologies and materials.[20]

Viollet-le-Duc was himself a precursor of Art Nouveau: in 1851, at Notre-Dame de Paris , he created a series of mural paintings typical of the style.[21]  These paintings were removed in 1945 as deemed non academic. At the Château de Roquetaillade  in the Bordeaux  region, his interior decorations dating from 1865 also anticipate Art Nouveau. In his 1872 book Entretiens sur l'architecture , he wrote, "Use the means and knowledge given to us by our times, without the intervening traditions which are no longer viable today, and in that way we can inaugurate a new architecture. For each function its material; for each material its form and its ornament."[22]  This book influenced a generation of architects, including Louis Sullivan , Victor Horta , Hector Guimard , and Antoni Gaudí .[23]

The French painters Maurice Denis , Pierre Bonnard  and Édouard Vuillard  played an important part in integrating fine arts painting with decoration. "I believe that before everything a painting must decorate", Denis wrote in 1891. "The choice of subjects or scenes is nothing. It is by the value of tones, the coloured surface and the harmony of lines that I can reach the spirit and wake up the emotions."[24]  These painters all did both traditional painting and decorative painting on screens, in glass, and in other media.[25]

Another important influence on the new style was Japonism . This was a wave of enthusiasm for Japanese  woodblock printing , particularly the works of Hiroshige , Hokusai , and Utagawa Kunisada , which were imported into Europe beginning in the 1870s. The enterprising Siegfried Bing  founded a monthly journal, Le Japon artistique  in 1888, and published thirty-six issues before it ended in 1891. It influenced both collectors and artists, including Gustav Klimt . The stylized features of Japanese prints appeared in Art Nouveau graphics, porcelain, jewellery, and furniture. Since the beginning of 1860, a Far Eastern  influence suddenly manifested. In 1862, art lovers from London or Paris, could buy Japanese artworks , because in that year, Japan appeared for the first time as an exhibitor at the International Exhibition  in London. Also in 1862, in Paris, La Porte Chinoise  store, on Rue de Rivoli , was open, where Japanese ukiyo-e  and other objects from the Far East were sold. In 1867, Examples of Chinese Ornaments  by Owen Jones  appeared, and in 1870 Art and Industries in Japan  by R. Alcock, and two years later, O. H. Moser and T. W. Cutler published books about Japanese art. Some Art Nouveau artists, like Victor Horta , owned a collection of Far Eastern art, especially Japanese.[11]

New technologies in printing and publishing allowed Art Nouveau to quickly reach a global audience. Art magazines, illustrated with photographs and colour lithographs , played an essential role in popularizing the new style. The Studio  in England, Arts et idèes  and Art et décoration  in France, and Jugend  in Germany allowed the style to spread rapidly to all corners of Europe. Aubrey Beardsley  in England, and Eugène Grasset , Henri de Toulouse-Lautrec , and Félix Vallotton  achieved international recognition as illustrators.[26]  With the posters by Jules Chéret  for dancer Loie Fuller  in 1893, and by Alphonse Mucha  for actress Sarah Bernhardt  in 1895, the poster became not just advertising, but an art form. Sarah Bernhardt set aside large numbers of her posters for sale to collectors.[27]

Development – Brussels (1893–1898) [ edit ]

The first Art Nouveau town houses, the Hankar House  by Paul Hankar  (1893) and the Hôtel Tassel  by Victor Horta  (1892–1893),[4] [5]  were built almost simultaneously in Brussels . They were similar in their originality, but very different in their design and appearance.

Victor Horta was among the most influential architects of early Art Nouveau, and his Hôtel Tassel (1892–1893) in Brussels is one of the style's landmarks.[28] [29]  Horta's architectural training was as an assistant to Alphonse Balat , architect to King Leopold II , constructing the monumental iron and glass Royal Greenhouses of Laeken .[30]  He was a great admiror of Viollet-le-Duc , whose ideas he completely identified with.[31] [32]  In 1892–1893, he put this experience to a very different use. He designed the residence of a prominent Belgian chemist, Émile Tassel, on a very narrow and deep site. The central element of the house was the stairway, not enclosed by walls, but open, decorated with a curling wrought-iron railing, and placed beneath a high skylight. The floors were supported by slender iron columns like the trunks of trees. The mosaic floors and walls were decorated with delicate arabesques  in floral and vegetal forms, which became the most popular signature of the style.[33] [34]  In a short period, Horta built three more town houses, all with open interiors, and all with skylights for maximum interior light: the Hôtel Solvay , the Hôtel van Eetvelde  (for Edmond van Eetvelde ), and the Maison & Atelier Horta . All four are now part of a UNESCO World Heritage Site .

Paul Hankar was also an innovator of early Art Nouveau. Born at Frameries , in Hainaut , the son of a master stone cutter, he had studied ornamental sculpture and decoration at the Royal Academy of Fine Arts  in Brussels from 1873 to 1884, whilst working as an ornamental sculptor. From 1879 to 1904, he worked in the studio of the prominent architect Henri Beyaert , a master of eclectic  and neoclassical architecture . Through Beyaert, Hankar also became an admirer of Viollet-le-Duc.[35]  In 1893, Hankar designed and built the Hankar House, his own residence in Brussels. With a goal to create a synthesis of fine arts and decorative arts, he brought together the sculptor René Janssens and the painter Albert Ciamberlani  to decorate the interior and exterior with sgraffiti , or murals. The façade and balconies featured iron decoration and curling lines in stylised floral patterns, which became an important feature of Art Nouveau. Based on this model, he built several houses for his artist friends. He also designed a series of innovative glass display windows for Brussels shops, restaurants and galleries, in what a local critic called "a veritable delirium of originality".[36]  He died in 1901, just as the movement was beginning to receive recognition.[37]

Henry van de Velde , born in Antwerp , was another founding figure in the birth of Art Nouveau. Van de Velde's designs included the interior of his residence in Brussels, the Villa Bloemenwerf  (1895).[38] [39]  The exterior of the house was inspired by the Red House , the residence of writer and theorist William Morris , the founder of the Arts and Crafts movement . Trained as a painter, Van de Velde turned to illustration, then to furniture design, and finally to architecture. For the Villa Bloemenwerf, he created the textiles, wallpaper, silverware, jewellery, and even clothing, that matched the style of the residence.[40]  Van de Velde went to Paris, where he designed furniture and decoration for the German-French art dealer  Siegfried Bing , whose Paris gallery gave the style its name. He was also an early Art Nouveau theorist, demanding the use of dynamic, often opposing lines. Van de Velde wrote: "A line is a force like all the other elementary forces. Several lines put together but opposed have a presence as strong as several forces". In 1906, he departed Belgium for Weimar  (Germany), where he founded the Grand-Ducal School of Arts and Crafts, where the teaching of historical styles was forbidden. He played an important role in the German Werkbund , before returning to Belgium.[41]

The debut of Art Nouveau architecture in Brussels was accompanied by a wave of Decorative Art in the new style. Important artists included Gustave Strauven , who used wrought iron to achieve baroque effects on Brussels façades; the furniture designer Gustave Serrurier-Bovy , known for his highly original chairs and articulated metal furniture; and the jewellery designer Philippe Wolfers , who made jewellery in the form of dragonflies, butterflies, swans and serpents.[42]

The Brussels International Exposition  held in 1897 brought international attention to the style; Horta, Hankar, Van de Velde, and Serrurier-Bovy, among others, took part in the design of the fair, and Henri Privat-Livemont  created the poster for the exhibition.

Paris – Maison de l'Art Nouveau (1895) and Castel Beranger (1895–1898) [ edit ]

The Franco-German art dealer and publisher Siegfried Bing  played a key role in publicizing the style. In 1891, he founded a magazine devoted to the art of Japan, which helped publicize Japonism  in Europe. In 1892, he organized an exhibit of seven artists, among them Pierre Bonnard , Félix Vallotton , Édouard Vuillard , Toulouse-Lautrec  and Eugène Grasset , which included both modern painting and decorative work. This exhibition was shown at the Société nationale des beaux-arts  in 1895. In the same year, Bing opened a new gallery at 22 rue de Provence  in Paris, the Maison de l'Art Nouveau , devoted to new works in both the fine and decorative arts. The interior and furniture of the gallery were designed by the Belgian architect Henry van de Velde , one of the pioneers of Art Nouveau architecture. The Maison de l'Art Nouveau  showed paintings by Georges Seurat , Paul Signac  and Toulouse-Lautrec , glass from Louis Comfort Tiffany  and Émile Gallé , jewellery by René Lalique , and posters by Aubrey Beardsley . The works shown there were not at all uniform in style. Bing wrote in 1902, "Art Nouveau, at the time of its creation, did not aspire in any way to have the honor of becoming a generic term. It was simply the name of a house opened as a rallying point for all the young and ardent artists impatient to show the modernity of their tendencies."[43]

The style was quickly noticed in neighbouring France. After visiting Horta's Hôtel Tassel, Hector Guimard  built the Castel Béranger , among the first Paris buildings in the new style, between 1895 and 1898.[nb 1]  Parisians had been complaining of the monotony of the architecture of the boulevards built under Napoleon III  by Georges-Eugène Haussmann . The Castel Beranger was a curious blend of Neo-Gothic and Art Nouveau, with curving whiplash  lines and natural forms. Guimard, a skilled publicist for his work, declared: "What must be avoided at all cost is...the parallel and symmetry. Nature is the greatest builder of all, and nature makes nothing that is parallel and nothing that is symmetric."[45]

Parisians welcomed Guimard's original and picturesque style; the Castel Béranger was chosen as one of the best new façades in Paris, launching Guimard's career. Guimard was given the commission to design the entrances for the new Paris Métro  system, which brought the style to the attention of the millions of visitors to the city's 1900 Exposition Universelle .[10]

Paris Exposition Universelle  (1900) [ edit ] Main article: Exposition Universelle (1900)

The Paris 1900 Exposition universelle  marked the high point of Art Nouveau. Between April and November 1900, it attracted nearly fifty million visitors from around the world, and showcased the architecture, design, glassware, furniture and decorative objects of the style. The architecture of the Exposition was often a mixture of Art Nouveau and Beaux-Arts architecture : the main exhibit hall, the Grand Palais  had a Beaux-Arts façade completely unrelated to the spectacular Art Nouveau stairway and exhibit hall in the interior.

French designers all made special works for the Exhibition: Lalique  crystal and jewellery; jewellery by Henri Vever  and Georges Fouquet ; Daum  glass; the Manufacture nationale de Sèvres  in porcelain ; ceramics by Alexandre Bigot ; sculpted glass lamps and vases by Émile Gallé ; furniture by Édouard Colonna  and Louis Majorelle ; and many other prominent arts and crafts firms. At the 1900 Paris Exposition, Siegfried Bing  presented a pavilion called Art Nouveau Bing , which featured six different interiors entirely decorated in the Style.[46] [47]

The Exposition was the first international showcase for Art Nouveau designers and artists from across Europe and beyond. Prize winners and participants included Alphonse Mucha , who made murals for the pavilion of Bosnia-Herzegovina  and designed the menu for the restaurant of the pavilion; the decorators and designers Bruno Paul  and Bruno Möhring  from Berlin; Carlo Bugatti  from Turin ; Bernhardt Pankok from Bavaria ; The Russian architect-designer Fyodor Schechtel , and Louis Comfort Tiffany  and Company from the United States.[48]  The Viennese architect Otto Wagner  was a member of the jury, and presented a model of the Art Nouveau bathroom of his own town apartment in Vienna, featuring a glass bathtub.[49]  Josef Hoffmann  designed the Viennese exhibit at the Paris exposition, highlighting the designs of the Vienna Secession .[50]  Eliel Saarinen  first won international recognition for his imaginative design of the pavilion of Finland.[51]

While the Paris Exposition was by far the largest, other expositions did much to popularize the style. The 1888 Barcelona Universal Exposition  marked the beginning of the Modernisme  style in Spain, with some buildings of Lluís Domènech i Montaner . The Esposizione internazionale d'arte decorativa moderna  of 1902 in Turin, Italy, showcased designers from across Europe, including Victor Horta  from Belgium and Joseph Maria Olbrich  from Vienna, along with local artists such as Carlo Bugatti , Galileo Chini  and Eugenio Quarti .[52]

Local variations [ edit ]

Art Nouveau in France [ edit ] Main articles: École de Nancy  and Art Nouveau in Paris

Following the 1900 Exposition, the capital of Art Nouveau was Paris. The most extravagant residences in the style were built by Jules Lavirotte , who entirely covered the façades with ceramic sculptural decoration. The most flamboyant example is the Lavirotte Building , at 29, avenue Rapp  (1901). Office buildings and department stores featured high courtyards covered with stained glass cupolas and ceramic decoration. The style was particularly popular in restaurants and cafés, including Maxim's  at 3, rue Royale , and Le Train bleu  at the Gare de Lyon  (1900).[53]

The status of Paris attracted foreign artists to the city. The Swiss-born artist Eugène Grasset  was one of the first creators of French Art Nouveau posters. He helped decorate the famous cabaret Le Chat Noir  in 1885, made his first posters for the Fêtes de Paris  and a celebrated poster of Sarah Bernhardt  in 1890. In Paris, he taught at the Guérin school of art (École normale d'enseignement du dessin ), where his students included Augusto Giacometti  and Paul Berthon .[54] [55]  Swiss-born Théophile-Alexandre Steinlen  created the famous poster for the Paris cabaret  Le Chat noir  in 1896. The Czech  artist Alphonse Mucha  (1860–1939) arrived in Paris in 1888, and in 1895, made a poster for actress Sarah Bernhardt in the play Gismonda  by Victorien Sardou  in Théâtre de la Renaissance . The success of this poster led to a contract to produce posters for six more plays by Bernhardt.

The city of Nancy  in Lorraine  became the other French capital of the new style. In 1901, the Alliance provinciale des industries d'art , also known as the École de Nancy , was founded, dedicated to upsetting the hierarchy that put painting and sculpture above the decorative arts. The major artists working there included the glass vase and lamp creators Émile Gallé , the Daum  brothers in glass design, and the designer Louis Majorelle , who created furniture with graceful floral and vegetal forms. The architect Henri Sauvage  brought the new architectural style to Nancy with his Villa Majorelle  in 1902.

The French style was widely propagated by new magazines, including The Studio , Arts et Idées  and Art et Décoration , whose photographs and colour lithographs  made the style known to designers and wealthy clients around the world.

In France, the style reached its summit in 1900, and thereafter slipped rapidly out of fashion, virtually disappearing from France by 1905. Art Nouveau was a luxury style, which required expert and highly-paid craftsmen, and could not be easily or cheaply mass-produced. One of the few Art Nouveau products that could be mass-produced was the perfume bottle, and these are still manufactured in the style today.

Art Nouveau in Belgium [ edit ] Main articles: Art Nouveau in Brussels  and Art Nouveau in Antwerp

Belgium was an early centre of Art Nouveau, thanks largely to the architecture of Victor Horta , who designed one of the first Art Nouveau houses, the Hôtel Tassel  in 1893, and three other townhouses in variations of the same style. They are now UNESCO World Heritage sites . Horta had a strong influence on the work of the young Hector Guimard , who came to see the Hôtel Tassel under construction, and later declared that Horta was the "inventor" of the Art Nouveau.[56]  Horta's innovation was not the façade, but the interior, using an abundance of iron and glass to open up space and flood the rooms with light, and decorating them with wrought iron columns and railings in curving vegetal forms, which were echoed on the floors and walls, as well as the furniture and carpets which Horta designed.[57]

Paul Hankar  was another pioneer of Brussels' Art Nouveau. His house was completed in 1893, the same year as Horta's Hôtel Tassel, and featured sgraffiti  murals on the façade. Hankar was influenced by both Viollet-le-Duc  and the ideas of the English Arts and Crafts movement . His conception idea was to bring together decorative and fine arts in a coherent whole. He commissioned the sculptor Alfred Crick and the painter Adolphe Crespin  [fr ]  to decorate the façades of houses with their work. The most striking example was the house and studio built for the artist Albert Ciamberlani at 48, rue Defacqz /Defacqzstraat  in Brussels, for which he created an exuberant façade covered with sgraffito  murals with painted figures and ornament, recreating the decorative architecture of the Quattrocento , or 15th-century Italy.[30]  Hankar died in 1901, when his work was just receiving recognition.[58]

Gustave Strauven  began his career as an assistant designer working with Horta, before he started his own practice at age 21, making some of the most extravagant Art Nouveau buildings in Brussels. His most famous work is the Saint-Cyr House  at 11, square Ambiorix /Ambiorixsquare . The house is only 4 metres (13 ft) wide, but is given extraordinary height by his elaborate architectural inventions. It is entirely covered by polychrome  bricks and a network of curling vegetal forms in wrought iron , in a virtually Art Nouveau-Baroque style.[59]

Other important Art Nouveau artists from Belgium included the architect and designer Henry van de Velde , though the most important part of his career was spent in Germany; he strongly influenced the decoration of the Jugendstil . Others included the decorator Gustave Serrurier-Bovy , and the graphic artist Fernand Khnopff .[5] [60] [61]  Belgian designers took advantage of an abundant supply of ivory  imported from the Belgian Congo ; mixed sculptures, combining stone, metal and ivory, by such artists as Philippe Wolfers , was popular.[62]

Nieuwe Kunst  in the Netherlands [ edit ]

In the Netherlands, the style was known as the Nieuwe Stijl  ('New Style'), or Nieuwe Kunst  ('New Art'), and it took a different direction from the more floral and curving style in Belgium. It was influenced by the more geometric and stylized forms of the German Jugendstil  and Austrian Vienna Secession .[62]  It was also influenced by the art and imported woods from Indonesia , then the Dutch East Indies , particularly the designs of the textiles and batik  from Java .

The most important architect and furniture designer in the style was Hendrik Petrus Berlage , who denounced historical styles and advocated a purely functional architecture. He wrote, "It is necessary to fight against the art of illusion, to and to recognize the lie, in order to find the essence and not the illusion."[63]  Like Victor Horta  and Gaudí , he was an admirer of architectural theories of Viollet-le-Duc .[63]  His furniture was designed to be strictly functional, and to respect the natural forms of wood, rather than bending or twisting it as if it were metal. He pointed to the example of Egyptian furniture, and preferred chairs with right angles. His first and most famous architectural work was the Beurs van Berlage  (1896–1903), the Amsterdam Commodities Exchange, which he built following the principles of constructivism . Everything was functional, including the lines of rivets that decorated the walls of the main room. He often included very tall towers to his buildings to make them more prominent, a practice used by other Art Nouveau architects of the period, including Joseph Maria Olbrich  in Vienna and Eliel Saarinen  in Finland.[64]

Other buildings in the style include the American Hotel  (1898–1900), also by Berlage; and Astoria  (1904–1905) by Herman Hendrik Baanders  and Gerrit van Arkel  in Amsterdam ; the railway station  in Haarlem  (1906–1908), and the former office building of the Holland America Lines  (1917) in Rotterdam , now the Hotel New York .

Prominent graphic artists and illustrators in the style included Jan Toorop , whose work inclined toward mysticism  and symbolism , even in his posters for salad oil. In their colors and designs, they also sometimes showed the influence of the art of Java.[64]

Important figures in Dutch ceramics and porcelain included Jurriaan Kok and Theo Colenbrander . They used colorful floral pattern and more traditional Art Nouveau motifs, combined with unusual forms of pottery and contrasting dark and light colors, borrowed from the batik decoration of Java.[65]

Modern Style and Glasgow School in Britain [ edit ] Main article: Modern Style (British Art Nouveau style) See also: Glasgow School

Art Nouveau had its roots in Britain, in the Arts and Crafts movement  which started in 1860s and reached international recognition by 1880s. It called for better treatment of decorative arts, and took inspiration in medieval craftmanship and design, and nature.[68]  One notable early example of the Modern Style is Arthur Mackmurdo 's design for the cover of his essay on the city churches of Sir Christopher Wren , published in 1883, as is his Mahogany chair from the same year.[69]

Other important innovators in Britain included the graphic designers Aubrey Beardsley  whose drawings featured the curved lines that became the most recognizable feature of the style. Free-flowing wrought iron  from the 1880s could also be adduced, or some flat floral textile designs, most of which owed some impetus to patterns of 19th century design. Other British graphic artists who had an important place in the style included Walter Crane  and Charles Ashbee .[70]

The Liberty  department store in London played an important role, through its colourful stylized floral designs for textiles, and the silver, pewter, and jewellery designs of Manxman  (of Scottish descent) Archibald Knox . His jewellery designs in materials and forms broke away entirely from the historical traditions of jewellery design.

For Art Nouveau architecture and furniture design, the most important centre in Britain was Glasgow , with the creations of Charles Rennie Mackintosh  and the Glasgow School , whose work was inspired by Scottish baronial architecture  and Japanese design.[71]  Beginning in 1895, Mackintosh displayed his designs at international expositions in London, Vienna, and Turin; his designs particularly influenced the Secession Style in Vienna. His architectural creations included the Glasgow Herald Building (1894) and the library of the Glasgow School of Art  (1897). He also established a major reputation as a furniture designer and decorator, working closely with his wife, Margaret Macdonald Mackintosh , a prominent painter and designer. Together they created striking designs that combined geometric straight lines with gently curving floral decoration, particularly a famous symbol of the style, the Glasgow Rose".[72]

Léon-Victor Solon , made an important contribution to Art Nouveau ceramics as art director at Mintons. He specialised in plaques and in tube-lined  vases marketed as "secessionist ware" (usually described as named after the Viennese art movement ).[73]  Apart from ceramics, he designed textiles for the Leek silk industry [74]  and doublures  for a bookbinder (G.T.Bagguley of Newcastle-under-Lyme), who patented the Sutherland  binding in 1895.

George Skipper  was perhaps the most active Art Nouveau architect in England. 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.

Jugendstil  in Germany [ edit ] See also: Jugendstil

German Art Nouveau is commonly known by its German name, Jugendstil , or 'Youth Style'. The name is taken from the artistic journal, Jugend  ('Youth'), which was published in Munich. The magazine was founded in 1896 by Georg Hirth , who remained editor until his death in 1916. The magazine survived until 1940. During the early 20th century, Jugendstil  was applied only to the graphic arts.[75]  It referred especially to the forms of typography  and graphic design  found in German magazines such as Jugend , Pan , and Simplicissimus . Jugendstil  was later applied to other versions of Art Nouveau in Germany, the Netherlands. The term was borrowed from German by several languages of the Baltic states  and Nordic countries  to describe Art Nouveau (see Naming  section).[12] [76]

In 1892 Georg Hirth  chose the name Munich Secession  for the Association of Visual Artists of Munich . The Vienna Secession , founded in 1897,[77]  and the Berlin Secession  also took their names from the Munich group.

The journals Jugend  and Simplicissimus , published in Munich, and Pan , published in Berlin, were important proponents of the Jugendstil . Jugendstil  art combined sinuous curves and more geometric lines, and was used for covers of novels, advertisements, and exhibition  posters. Designers often created original styles of typeface  that worked harmoniously with the image, e.g. Arnold Böcklin typeface  in 1904.

Otto Eckmann  was one of the most prominent German artists associated with both Die Jugend  and Pan . His favourite animal was the swan, and so great was his influence that the swan came to serve as the symbol of the entire movement. Another prominent designer in the style was Richard Riemerschmid , who made furniture, pottery, and other decorative objects in a sober, geometric style that pointed forward toward Art Deco.[78]  The Swiss artist Hermann Obrist , living in Munich, illustrated the coup de fouet  or whiplash motif, a highly stylized double curve suggesting motion taken from the stem of the cyclamen  flower.

  • Brand: Unbranded
  • Pattern: 1800
  • Composition: Silverplate
  • Style: Victorian
  • Age: 1850-1899

PicClick Insights - Antique 1800s Art Nouveau Victorian Ornate Embossed BREAD Plate Tray Dish Silver PicClick Exclusive

  •  Popularity - 1 watcher, 0.0 new watchers per day, 55 days for sale on eBay. Normal amount watching. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 3,624+ items sold. 0% negative feedback. Top-Rated Plus! Top-Rated Seller, 30-day return policy, ships in 1 business day with tracking.

People Also Loved PicClick Exclusive