Preamble
for your convenience I have listed the other post in this series:
Art Nouveau (Part II)
Art Nouveau (Part III)
Art Nouveau (Part IV)
Introduction [1]
No epoch in European Art history has ever undergone such radical, rapid and far-reaching changes as that which marks the years around 1900. Within a period of twenty to thirty years, art transitioned from Classical to Modernism as it stepped into a new century.
Classical Art: Sleeping Venus and Cupid by Nicolas Poussin.
Art schools throughout the nineteenth century taught Classical Art. In order to transition, the new generation of artists had to first reject the traditional forms of art such as the courtly rococo, the Biedmeier style of the bourgeois, a classicism founded in antiquity, and the historical paintings, which glorified the national heroes past and present.
Biedmeier style furniture.
The French revolution of 1789 had democratised society and together with the industrial revolution in the century that followed, the merchant class sharply rose into monetary prominence, creating the middle class, which demanded new constraints as it shed itself from the past. Mass production coupled with mass consumption created new forms of exhibitions with the Great Exhibition in London in 1851, showcasing technology. This crude form of materialism also needed to be rejected by artists if they were to survive and not be replaced by technology itself. They needed to harness the new technology to create their own artistic musings.
Dickinson's Comprehensive Pictures of the Great Exhibition of 1851.
In protest against the traditional view of art, new groups of artists were founded. Art Nouveau surfaced in various guises: in Germany it was named "Jugendstil" (which in Germany is still known by this name); in Italy "Stile Floreale" or "Stile Liberty"; in Holland "Nieuwe Kunst"; in Britain "Modern Style"; and finally in France, "Art Nouveau" which is now its well-known label.
Nieuwe Kunst carpet design attributed to Theo Nieuwenhuis the Netherlands.
Art Nouveau [1]
Josef Maria Auchentaller (1865 - 1949)
Josef Maria Auchentaller, largely forgotten nowadays, was one of the founding members of the Viennese "Secession" to which he belonged until 1905. His main period of artistic production lies between 1898 - 1909. During this time he created numerous posters - pen-and-ink drawings and lithographs for the periodical "Ver Sacrum", the organ of the Viennese "Secession".
A Winter's Tale, 1901 (Detail).
Technique: Pen and ink, color.
Size: 18.6 x 18.1 cm.
Published: "Ver Sacrum" (February 1901).
Aubrey V. Beardsley (1872 - 1898)
No other representative of Art Nouveau has made such an impact as Aubrey V. Beardsley. Dozens of book illustrators, especially in Germany, have looked to his work for direction (e.g. advertising graphics etc.) His long time success is especially remarkable since he died at the age of 26 and was artistically active for only six years and moreover, he was self-taught. He made a living as an insurance agent! His work can seem stilted and artificial to some, but to most others it exerts an inexplicable fascination, which one cannot not readily escape.
Book illustration for "Le More d'Arthur" by Thomas Malory.
Technique: Autotype, 1883/94, (Detail).
Size: 18.2 x 12.7 cm.
Book Illustration for "Salomé" by Oscar Wilde.
Technique: Autotype, 1894 (Detail).
Size: 17.8 x 12.7 cm.
William H. Bradley (1868 - 1962)
The World Exhibition in Chicago in 1893 proved to its European visitors that Art Nouveau had also caught on in America. Its most outstanding proponent was William H. Bradley, a printer by trade, who had been working since the beginning of the 1890s as a draughtsman, illustrator and poster-artist. His works caused controversy as they followed in the immediate footsteps of Beardsley. However they concentrated more on the decorative element than on the pictorial statement, and so arrived in this independent and artistic form.
The Chap Book.
Cover Illustration, 1895 (Detail).
Hugo L. Braune (1872 - 1940)
Little is known of him. We only know that after studying at the art school in Weimar, Bruane lived in Berlin and was active as a war painter during WWI. He was published in a magazine "Pan", which is a periodical that was an important podium for the artistic books of the German "Jugendstil".
Illustration for a Heroic Saga.
Technique: Autotype, 1900 (Detail).
Size: 36 x 28 cm.
Edward Burne-Jones (1833 - 1898)
Edward Burne-Jones studied theology and moved to Exeter College in Oxford in 1853. Burne-Jones took the step from the Pre-Raphaelites to Art Nouveau, from the symbolic to the decorative. Above all, this development found expression in his work on artistic books.
The Well at the World's End, 1896 (Detail).
Technique: Wood-engraving.
Size: 27.8 x 19 cm.
The Golden Legend, 1892 (Detail).
Technique: Wood-engraving.
Size: 24 x 17.5 cm.
Harry Clarke (1890 - 1931)
Clark was heavily influenced by Beardsley. He acquired early fame between 1911 and 1913 with his designs for glass windows, which were awarded gold medals. He was born and buried in Dublin.
Illustration for Edgar Allan Poe, 1910 - 1920 (Detail).
Technique: Autotype.
Size: 35 x 25 cm.
Reference
[1] P. Bramböck, Art Nouveau, Tiger Books Internation, London (1988).
for your convenience I have listed the other post in this series:
Art Nouveau (Part II)
Art Nouveau (Part III)
Art Nouveau (Part IV)
Introduction [1]
No epoch in European Art history has ever undergone such radical, rapid and far-reaching changes as that which marks the years around 1900. Within a period of twenty to thirty years, art transitioned from Classical to Modernism as it stepped into a new century.
Art schools throughout the nineteenth century taught Classical Art. In order to transition, the new generation of artists had to first reject the traditional forms of art such as the courtly rococo, the Biedmeier style of the bourgeois, a classicism founded in antiquity, and the historical paintings, which glorified the national heroes past and present.
The French revolution of 1789 had democratised society and together with the industrial revolution in the century that followed, the merchant class sharply rose into monetary prominence, creating the middle class, which demanded new constraints as it shed itself from the past. Mass production coupled with mass consumption created new forms of exhibitions with the Great Exhibition in London in 1851, showcasing technology. This crude form of materialism also needed to be rejected by artists if they were to survive and not be replaced by technology itself. They needed to harness the new technology to create their own artistic musings.
In protest against the traditional view of art, new groups of artists were founded. Art Nouveau surfaced in various guises: in Germany it was named "Jugendstil" (which in Germany is still known by this name); in Italy "Stile Floreale" or "Stile Liberty"; in Holland "Nieuwe Kunst"; in Britain "Modern Style"; and finally in France, "Art Nouveau" which is now its well-known label.
Art Nouveau [1]
Josef Maria Auchentaller (1865 - 1949)
Josef Maria Auchentaller, largely forgotten nowadays, was one of the founding members of the Viennese "Secession" to which he belonged until 1905. His main period of artistic production lies between 1898 - 1909. During this time he created numerous posters - pen-and-ink drawings and lithographs for the periodical "Ver Sacrum", the organ of the Viennese "Secession".
Technique: Pen and ink, color.
Size: 18.6 x 18.1 cm.
Published: "Ver Sacrum" (February 1901).
Aubrey V. Beardsley (1872 - 1898)
No other representative of Art Nouveau has made such an impact as Aubrey V. Beardsley. Dozens of book illustrators, especially in Germany, have looked to his work for direction (e.g. advertising graphics etc.) His long time success is especially remarkable since he died at the age of 26 and was artistically active for only six years and moreover, he was self-taught. He made a living as an insurance agent! His work can seem stilted and artificial to some, but to most others it exerts an inexplicable fascination, which one cannot not readily escape.
Technique: Autotype, 1883/94, (Detail).
Size: 18.2 x 12.7 cm.
Technique: Autotype, 1894 (Detail).
Size: 17.8 x 12.7 cm.
William H. Bradley (1868 - 1962)
The World Exhibition in Chicago in 1893 proved to its European visitors that Art Nouveau had also caught on in America. Its most outstanding proponent was William H. Bradley, a printer by trade, who had been working since the beginning of the 1890s as a draughtsman, illustrator and poster-artist. His works caused controversy as they followed in the immediate footsteps of Beardsley. However they concentrated more on the decorative element than on the pictorial statement, and so arrived in this independent and artistic form.
Cover Illustration, 1895 (Detail).
Hugo L. Braune (1872 - 1940)
Little is known of him. We only know that after studying at the art school in Weimar, Bruane lived in Berlin and was active as a war painter during WWI. He was published in a magazine "Pan", which is a periodical that was an important podium for the artistic books of the German "Jugendstil".
Technique: Autotype, 1900 (Detail).
Size: 36 x 28 cm.
Edward Burne-Jones (1833 - 1898)
Edward Burne-Jones studied theology and moved to Exeter College in Oxford in 1853. Burne-Jones took the step from the Pre-Raphaelites to Art Nouveau, from the symbolic to the decorative. Above all, this development found expression in his work on artistic books.
Technique: Wood-engraving.
Size: 27.8 x 19 cm.
Technique: Wood-engraving.
Size: 24 x 17.5 cm.
Harry Clarke (1890 - 1931)
Clark was heavily influenced by Beardsley. He acquired early fame between 1911 and 1913 with his designs for glass windows, which were awarded gold medals. He was born and buried in Dublin.
Technique: Autotype.
Size: 35 x 25 cm.
Reference
[1] P. Bramböck, Art Nouveau, Tiger Books Internation, London (1988).
No comments:
Post a Comment