Art Nouveau

-Arts and Crafts-

William Blake, John Ruskin
Pre- raphaelite Brotherhood
William Morris, Ed.Burne Jones
Philip Webb, C.F.A Voysey
Charles Rennie Mackintosh si
Scoala din Glasgow
.
John Ruskin i Fria
Prerafaelit

Fria Prerafaelit ia fiin n 1848, sub patronajul intellectual al lui
Dante Gabriel Rossetti, care, mpreun cu William Holman Hunt i
John Everett Millais, se revolt mpotriva convenionalitii artei
opera lui William Blake, literature romantic i estetica lui Ruskin -
primelor volume din Modern Painters(1843 i 1846) ale lui John
Ruskin(* trirea numinoas descris n vol. III) vor constitui fermenii
noii micri artistice n care se nscriu tinerii creatori
In creatia picturala a lui Dante Gabriel Rossetti se intalnesc toate
trasaturile acestei arte sau in general a intregii arte de la 1900. Are
loc o exacerbare a sensibilitatii si repunerea in prim plan a
personajelor feminine(Dantis Amor-1859, Proserpina-1877
,Mnemosyne-1881, etc)
Prerafaelismul va fi orientat ctre lupta mpotriva uniformizrii pe
care industrializarea o anuna din ce n ce mai agresiv


Considerndu-se exclusive artiti, arhitecii i concepeau cldirile aa
cum pictorii i creau tablourile, fiecare urmrind s-i exprime
personalitatea i individualitatea creatoare.
Exemplul cel mai potrivit al acestei noi atitudini fa de art l
constituie poetul mistic englez William Blake (1757-1827), fiind
primul artist dup Renatere care s-a revoltat n mod deschis contra
tuturor canoanelor tradiionale
La Blake, relaia dintre textul verbal i cel visual este una chiar mai
strns dect n cazul lui Michelangelo, ale crui sonete, spre
exemplu, ntregesc viziunea lui plastic.
La Blake, imaginile din gravurile lui sunt proiectii ale unor viziuni
criptice descrise n poeme, tot asa cum unele dintre aceste imagini
vizuale se asociaz direct, pe aceeai fil, cu cele coninute de
versuri.
Blake abordeaz tema precum echilibrul( prin alaturarea
elementelor aflate n opozie- spre ex, Marriage of Heaven and Hell),
opresiunea, ciclicitatea lucrurilor-considerat a fi un lucru natural,
precum rotaia Pmntului sau alternana anotimpurilor., iar ca
virtui, acesta preamrete mila, compasiunea, pacea si dragostea.



Micarea arts&crafts apare n 1860 n Marea Britanie avnd spre finalul
evoluiei sale, n anii 1920, influene puternice pe plan modial. Persoana
care iniiaz acest curent artistic i promoveaz ideologia arts&crafts este
William Morris un artist, designer i scriitor, care a trit n perioada 1834-
1896. Influenat de concepiile enunate n operele scrise ale lui John
Ruskin, Morris lanseaz un nou sistem de gndire n ceea ce privete arta
i modul n care aceasta este creat.

n linii mari Ruskin, sursa de inspiraie a ntregului curent artistic, a
devenit cunoscut prin studiile sale aprofundate asupra arhitecturii i
artelor plastice i a condiiilor istorice i sociale n care acestea se
dezvoltau. Scriitorul considera c cele mai remarcabile realizri ale artei
trecutului sunt legate de existena unor condiii favorabile n societate i
afirm c numai o societate nobil poate genera o art de nalt elevaie
spiritual.

Lucrrile artistice asociate cu micarea arts&crafts se caracterizeaz
printr-o estetic de factur personal, a prelucrrii manuale de tip
meteugresc. Arts&craft are scopul de a distruge barierele dintre
arhiteci, artiti, designeri i mestesugari. Toate acestea au dat via
principiilor fondatorilor : C.R. Ashbee, W.R. Lethaby i William
Morris. Acetia considerau c actul artistic este corupt sub influenele
negative ale industrializrii n ntreaga societate britanic.
Filosofia pe care o promovau fondatorii era bazat pe critica produciei de bunuri,
calitativ inferioare pe care o susinea revoluia industrial n detrimentul
calitii i valorilor artistice adevrate. Ca rspuns fa de mecanizarea
rapid pe care o impunea industrializarea, micarea A&C dorea reintroducerea
pe pia a produselor realizare n manufacturi i reafirmarea meritului i
poziiei meteugarilor n domeniul designului-artistic.
Scopul principal al liderilor arts&crafts era orientarea interesului societii
asupra obiectului de art creat de designeri individuali, pus puternic n
balana n acea perioad de profitabilitatea mainismului. O revoluie mpotriva modei
vremii, i o ncercare de a schimba dezumanizarea n cretere a muncii n societate.
Puterea micrii provenea din convingerea fondatorilor c arts&crafts
poate schimba via oamenilor, scopul puternic moral al curentului i-a
asigurat continuitatea si influenta ulterioara.

John Ruskin painted by the
Pre-Raphaelite artist John
Everett Millais
Theorists and practitioners in a
broad range of disciplines
acknowledged their debt to
Ruskin.
Architects including Le
Corbusier, Louis Sullivan,
Frank Lloyd Wright and Walter
Gropius incorporated Ruskins
ideas in their work.
Ruskin first came to widespread attention with the
first volume of Modern Painters (1843), an
extended essay in defence of the work of J. M. W.
Turner in which he argued that the principal role of
the artist is "truth to nature".
From the 1850s he championed the Pre-
Raphaelites who were influenced by his ideas. His
work increasingly focused on social and political
issues. Unto This Last (1860, 1862) marked the
shift in emphasis.
Arhitectura din picturi:
Joseph Mallord William Turner(1775-1851)
Pictor si grafician de facture romantica, a reusit sa faca din pictura de peisaj un rival al
picturilor cu teme istorice. Inca din copilarie deseneaza, realizand schite ale oraselor si
imprejurimilor. Primele scchite ale lui sunt de facture arhitecturala. Lucreaza alaturi de
arhitecti precum James Wyatt, insa renunta atunci cand este sfatuit sa renunte la
arhitectura si sa se orienteze catre picture.
A calatorit mult si a desenat ce a vazut, insa a avut intotdeauna o parere subiectiva asupra
lumii, nerespectand fenomenul optic in care redarea imaginii corespunde cu informatia
captata.
Stilul sau este unul in care predomina o paleta cromatica vie, in care redarea atmosferei
este redata prin diferite tehnici. Primeaza redarea difuza a atmosferei, in care lumina si alte
elemente naturale au rolul cel mai important.
Abordeaza cel frecvent teme precum fenomene si catastrophe naturale, in care furtuna,
focul, marea sau ceata joaca rolul principal.

Lumina, considera Turner, era manifestarea spiritului lui Dumnezeu.
Reprezentarea omului era dovada puterii lui Dumnezeu, iar Turner a mizat pe frumusetea
bruta a acestora, infatisandu-I constant in ipostaze naturale, lumesti.

Ca grafician, Turner a realizat mai multe studii( Liber Studiorum) menite sa prezinte
convingerile sale in ceea ce priveste picture de peisaj. Acest amplu studio este intocmit pe
categorii, precum Peisajul Marian, Montan, Istoric sau cel Arhitectural.


A View of the Archbishop's Palace, Lambeth

Transept of Ewenny Priory, Glamorganshire


Vasul de linie Temerarul remorcat la ultima ancorare pentru a fi distrus (1838)

Joseph Mallord William Turner 1775-1851
Venice, The Grand Canal

Venice, San Giorgio Maggiore in the Morning
William Blake by Thomas Phillips
William Blake (28 November
1757 12 August 1827) was
an English poet, painter, and
printmaker. Largely
unrecognised during his
lifetime, Blake is now
considered a seminal figure
in the history of both the
poetry and visual arts of the
Romantic Age.
His prophetic poetry has been
said to form "what is in
proportion to its merits the least
read body of poetry in the
English language". His visual
artistry has led one
contemporary art critic to
proclaim him "far and away the
greatest artist Britain has ever
produced".
Blake's The Great Red
Dragon and the Woman
Clothed with Sun (1805)
Blake a ajuns sa fie considerat
una dintre primele i cele mai
mari figuri ale Romantismului,
unul dintre cele mai mari genii
ale lumii moderne. A fost
ignorant ns n mare msur
de contemporani, care l
considerau nebun, pentru c
era sincer i idealist. A trit
aproape toata viaa n srcie
i a murit n timp ce nc lucra
la gravuri(cele ce ilustrau
Divina Comedie a lui Dante)
William Blake Night of Peace
William Blake Pity
William Blake Songs of Innocence
William Blake St. Gregory and The British Captives
William Blake The Accusers of Theft, Murder and Adultery
William Blake The Ancient of Days
William Blake The Angel Of Revelation
William Blake The Angel of the Divine Presence
William Blake The Great Dragon and the Woman Clothed in Sun
William Blake The Whirlwind of Lovers
William Blake Self -portrait
William Blake Blakes God
William Blake The Ancient of Days
Burne-Jones with William
Morris, 1874
Photogravure of a portrait of Edward
Burne-Jones by his son Philip Burne-
Jones, 1898
Edward Burne-Jones and William Morris
met whilst at Oxford taking Holy Orders.
Here they gained inspiration from the
writings of John Ruskin, and decided they
wanted to become artists. Ruskin saw the
work of Rossetti and the Pre-Raphaelite
Brotherhood as 'the dawn of a new era of
art', and Burne-Jones went to London to
seek out Rossetti. Ruskin became a great
friend of Rossetti, Burne-Jones and Millais
(who later married Ruskin's wife Effie), and
was an eminent artist himself.
Burne-Jones's garden studio at the Grange, 1887
Illuminated manuscript of the Rubaiyat of Omar
Khayyam by William Morris, illustrated by Burne-
Jones with a variant of Love Among the Ruins, 1870s
The Arming and Departure of the Knights, one of the Holy Grail
tapestries, 1890s, figures by Burne-Jones.
Portrait of Georgiana Burne-Jones, with
Philip and Margaret, 1883
The Golden
Stairs, 1880
The Beguiling of Merlin, 1874
"King Cophetua and the
Beggar Maid", 1884, currently
in the Tate Gallery, London.
Margaret, daughter of Edward Coley Burne-
Jone
Cartoon for Daniel window, St. Martin's-on-the-
Hill,
David 1872, in St Michael
and All Angels,
East Rounton
south window by
Burne-Jones for
Morris & Co
Nativity
by
Burne-
Jones
Detail of west
window by
Burne-Jones,
Morris & Co
1879
Empress St
Helena of
Constantinople
The Star of Bethlehem, 1890
Dante Gabriel Rossetti Self-portrait 19 years
John Everett Millais, William
Holman Hunt and Dante Gabriel
Rossetti had established the Pre-
Raphaelite Brotherhood in 1848.
The Pre-Raphaelite commitment
to naturalism "paint[ing] from
nature only",[43] depicting nature
in fine detail had been
influenced by Ruskin.
Dante Gabriel Rossetti Astarte Syriaca
Dante Gabriel Rossetti The Girlhood of Mary Virgin
Dante Gabriel Rossetti Beata Beatrix
Dante Gabriel Rossetti Lady Lilith
Dante Gabriel Rossetti Pandora
Proserpine (187377) by Dante Gabriel Rossetti Mnemosyne (1881) by Dante Gabriel Rossetti

Cele dou picturi sunt de o certa inspiratie antic, ntruchipndu-le
pe Persefora, fiica lui Zeus i a Demetrei, ct i pe Mnemosina,fiica
titanilor Uranus si Gaia si mama celor 9 muze inspiratoare ale
artelor.
n mitologia greac, memoria era personificat de titanida
Mnemosina, mama celor nou muze ce stau la originea cunoaterii
manifestate prin arte. Mnemosyne este i unul dintre cele 6 ruri
din Infern- cel al memoriei, alaturi de Lethe-raul uitrii,
Acheron,etc.

Ca stpnitoare a lumii umbrelor, Persefona e reprezentat de
obicei mpreun cu Hades, pe un tron dublu. Atributul ei este o
fclie, simbol al iniierilor eleusine, ns Rossetii o nfieaz aici
innd n mn fructul care a legat-o de mpria de jos.
Rentoarcerea sa pe pmnt era nsoit de venirea primverii, de
renaterea naturii i de plenitudinea verii.

Dante Gabriel Rossetti Ecce Ancilla Domini
Dante Gabriel Rossetti Monna Vanna
Dante Gabriel Rossetti Self-portait - 53 years
William Holman Hunt Self-portrait
James Collinson The Holy Family
Illustration by Holman Hunt to Woolner's "My Beautiful Lady poem
John Everett Millais
John Everett Millais - Ophelia
John Everett Millais Boyhood of Raleigh
John Everett Millais Blind Girl
John Everett Millais Christ In The House Of His Parents
John Everett Millais Princes
William Holman Hunt The Hireling Shepherd
William Michael Rossetti
Thomas Woolner - "Virgilia Bewailing the Absence of Coriolanus"
William Morris by George Frederic Watts
William Morris Queen Guinevere
William Morris Red House - Frontdoor
n ceea ce privete arhitectura, micarea arts&crafts promova sinceritatea
i adevrul; cu alte cuvinte o cldire trebuia s exprime clar structura,
funciunea i materialitatea. Limpezimea unei relaii dintre exterior i
interior, lipsa unor decoraii care s obtureze structura era considerata a fi
modul firesc de compunere arhitectural. Noiunea onestitii i a
claritii n arhitectur contrasta puternic cu estetica perioadei curente
Victoriene n vog n Anglia, care promova n mare parte decoraiile
multicolore, realizate industrial, dominate de acelai design arhitectural.
n concluzie, estetica simpl arts&crafts reda veridicitate
arhitecturii i contrasta cu falsa art creat de maini.
William Morris Red House
Red House in Bexleyheath in
southeast London, England, is a
major building of the history of the
Arts and Crafts style and of 19th
century British architecture.
It was designed during 1859 by its
owner, William Morris, and the
architect Philip Webb, with wall
paintings and stained glass by
Edward Burne-Jones. Morris
wanted a home for himself and his
new wife, Jane. He also desired to
have a "Palace of Art" in which he
and his friends could enjoy
producing works of art. The house
is of red brick with a steep tiled roof
and an emphasis on natural
materials. Red House is in a non-
historical, brick-and-tile domestic
style. It is now a Grade I listed
building.
Numele casei provine evident de la crmida roie din care este construit.
Designul Red-House evita toate
decoraiile mprumutate de la modele victoriene i satisface perfect
cerinele funcionale ale lui Morris i familiei sale.
Picturile murale,
tapetul, tapieriile creaz mpreun o atmosfer medieval i ambiana
clduroas a unui cmin. Sunt folosite adesea motivele naturale (animale,
psri, flori, i arbori) preluate din planul local sau a Regatului Britanic.

Conceput i realizat de Morris, soia sa Jane, Phillip Webb i prietenul
lui Morris Dante Gabriel Rosetti, locuina exprim o atmosfer relaxat,
Informal, medieval, unde diversitatea mediilor artistice conlucreaz la
estetica ntregului ansamblu.

Arhitectura arts&crafts se baza pe influenele istorice locale i regionale
pentru a asigura apartenena i ncadrarea n sit a fiecrei case construite
n acest stil.
"The Arts and Crafts, together with the
English Free Style of architecture, has
its origins in this joint work by Morris
and Webb which took the format of
William Butterfield's Gothic Revival
vicarage and used its general character
as the point of departure for the short-
lived but influential Pre-Raphaelite
domestic style...For Webb,...the Red
House was merely the first of a
series of houses in which he
endeavoured to engender an
authentic ahistorical style, through
the direct expression of local
materials and craftsmanship. Webb
adopted the Gothic Revival syntax of
Pugin and Butterfield, that is, clay tiling,
corbelled brick work, rubbed brick
arches and circular openings, as a way
of articulating an open-ended form of
vernacular expression."
Kenneth Frampton and Yukio
Futagawa. Modern Architecture 1851-
1945. p22.
William Morris Red House
Previously hidden wall paintings by
pre-Raphaelite artists that have
been discovered at the Red House.
Photograph: Linda Nylind
believed to represent the joint work
of Edward Burne-Jones, Dante
Gabriel Rossetti, his wife Elizabeth
Siddal, Ford Madox Brown and
Morris.
William Morris Red House
William Morris Red House Window detail
William Morris Red House
William Morris Red House
Acanthus Wallpaper
Designed by William Morris


Design for "Tulip and Willow" indigo-discharge wood-block printed
William Morris Self-portrait
Standen is an Arts and Crafts house located near East Grinstead,
West Sussex. The house was designed between 1892 and 1894 by
Philip Webb
Charles Francis Annesley Voysey
C.A.F. Voysey The Orchards
C.A.F. Voysey The Orchards first plan
The Orchards
C.A.F. Voysey The Orchards upper plan
The Orchards
C.A.F. Voysey The Orchards
C.A.F. Voysey The Orchards
C.A.F. Voysey The Orchards
C.A.F. Voysey The Orchards
C.A.F. Voysey The Orchards
Broadleys house, Lake Windermere, Cumbria by C F A
Voysey (house built 1898)
1898-1900 MOORCRAG 2
Charles Rennie Mackintosh
Maeterlinck (1862-1949), a prezentat lucrarea intr-o maniera aparte: Sunt
inalte, figuri fara trup, dizolvate sau tesute in delicate retele de nuiele impletite,
ce au numai capurile umane sau mai bine zis ca a unui sfant, incet inclinate, la
fel si urmatorul, cu ochii inchisi si intunecati - asa sunt figurile pe o panza de un
verde pal si roz - pentru Cranstons Tea Room in Glasgow, realizat de
Chareles Rennie Mackintosh si sotia sa, Margaret in anii 1900.
Unele dintre cele mai
frumoase interioare
realizate de Mackintosh au
fost salile pentru muzica,
cu decoratii formate din linii
subtiri, vibrate precum
corzile unei harpe
intinzandu-se de-alungul
peretilor peste un fond pal
de culoare.
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Charles Rennie Mackintosh Glasgow School of Art
Queen cross church
Tot cu acele bete subtiri ei au realizat tipul de scaun cu spatar extrem de inalt; si
aceste straturi subtiri de piele se desfac prin fata oglinzii, distribuind suprafete
violet pal, contururi libere care nu inchid nimic in ele, ca si cum ar fi desenate de o
mana obosita. Bufetele sunt albe, iar toate culorile sunt pale. Toate formele si
obiectele, fie ca sunt pentru uz sau doar ornamentale, sunt suple, cu structuri
firave, fragile, fara grosimi, dar spiritual de vis - o singura sfera apare
fantomatic,abstracta.Aceasta este ca un filtru dinspre figurile angelice ale fratiei
pre-rafaelite: aceasta este fizionomia Scolii Scotiene. Prinicipalele trasaturi ale
formei Anglo- Saxone se refera la forme fine, alungite si se extinde in arhitectura,
ca fiind insiruite si cu proportii lineare - acest gen era in voga in traditia intacta din
Glasgow. Ritmul liniilor rotative de tip celtic, desparte severitatea cubica. In
conceptia sa de baza, stilul Glasgow a existat inainte de a fi raspandit in Europa.
Margaret
MacDonald
"Margaret
has genius, I
have only
talent."
"Summer" c.1894
(watercolour)

MACDONALD, Margaret; ( 1864-
1933)
Amestecul formelor pure cu o forma aproape
disparuta liric in lipsa oricaror valori necesare
sunt profund translate in mitologia celtica,
transmisa din generatie in generatie si in
umbra simbolisticii atmosfere scotiene.
Lucrarile de inceput ale surorilor MacDonald
includeau figuri in ceata si ornamente mistice
specifice tezaurului de legende celtice. Aceste
trasaturi le-au adus numele de Spook
School.
Muzica a jucat un rol important in opera lui
Mackintosh, a carui viziune artistica implica
toate simturile.
Charles Rennie Mackintosh Hill House
Un alt exemplu de arhitectur de la nceputul micrii arts&crafts este
Hill House, din Helensburgh, Dunbartonshire, Scoia, unde Charles
Rennie Mackintosh i propune reliefarea influenelor medievale prin
refolosirea formelor structurale locale potrivite acestui stil.
Ca i la Red-House, faada acestei locuine este plan, caracterizat de o
ornamentaie minimalist. Exteriorul este marcat de suprafee finisate plane
completate de contrastante streini joase, ferestrele i porticurile sunt adnci.
Aici apar i contrafori drept elemente mprumutate de la bisericile medievale rurale
aflate n vecintate.

La interior, Hill-House este expresia unei totale lucrri de art, observndu-se
atenia sporit acordat tuturor aspectelor spaiului, de la elementele structurale
pn la cele mai mici detalii de finisaj. Pereii sunt decorai n forme simple i liniare
cu lemn nchis la culoare, n timp ce grinzile care susin etajele superioare sunt
lsate la vedere. Mobilierul lucrat manual n contrast cu pereii albi-simpli, lumina
filtrat prin ecranele ferestrelor i abajururile-lmpilor de lemn creaz un efect
scenografic i dau o ambian clduroas personalitii interiorului.

Afinitatea lui Mackintosh pentru materiale naturale i onestitatea
expresiei structurii prin forme plane transform Hill-House ntr-un
exemplu reprezentativ al idealurilor micarii arts&crafts.
Charles Rennie Mackintosh Hill House
Charles Rennie Mackintosh Hill House
Charles Rennie Mackintosh Hill House
Charles Rennie Mackintosh Hill House
Charles Rennie Mackintosh Hill House
Charles Rennie Mackintosh Hill House
Charles Rennie Mackintosh Hill House - detail
Charles Rennie Mackintosh Hill House - detail
Charles Rennie Mackintosh Hill House
Charles Rennie Mackintosh Hill House
Charles Rennie Mackintosh The Willow Tearooms
Charles Rennie Mackintosh The Willow Tearooms
Anul 1900, odata cu aparitia celor patru la
Expozitia din Viena a devenit memorabil
datorita senzatiilor create de acestia.
Camera scotiana a fost transformata in
salon pentru ceaiuri, mobilata astfel incat
centrul acesteia sa fie liber. Un vas de flori
aranjat in stil ikebana (specific japonez)
era singurul element central. Aceste
incaperi spirituale nu au insuflat un
entuziasm general privitorilor, astfel incat
artisti vienezi au inceput sa adapteze idea
in propriul stil.
Charles Rennie Mackintosh The Willow Tearooms
The Room de Luxe at The Willow Tearooms features furniture and interior design by
Mackintosh and Margaret Macdonald
Charles Rennie Mackintosh The Lighthouse Glasgow Herald Building
1895 date -Charles Rennie Mackintosh's Glasgow
Herald Building: section of drainpipe / rainwater
hopper
Charles Rennie Mackintosh - Scotland Street school in Glasgow
Charles Rennie Mackintosh - Chair
Charles Rennie Mackintosh Shop
House for an Art Lover
Charles Rennie Mackintosh - House
In concluzie, stilul Glasgow
sustinut intr-un mod special de cei
patru (Mackintosh, surorile
Macdonald si Herbert Macnair)
are la baza elemente de art
nouveau, dar pastreaza si
traditionalul stil scotian. Acesta ia
amploare odata cu participarea
acestor reprezentanti la diverse
expozitii, in urma carora fie sunt
respinsi, fie atrag priviri incantate.
Cert este insa ca in timp artistii din
diverse zone ale Europei incep sa
aprecieze si chiar sa-si adapteze
propriul stil la trasaturile specific
Glasgow.
Henry van de Velde in der Bauhaus-Universitt

Van de Velde at
'Bloemenwerf' house,
1896
Henry Van de Velde ( 1863 1957) a
fost un arhitect, decorator de interioare,
designer, pictor i designer de mobilier
belgian, care este cel mai cunoscut pentru
artefactele, piesele de mobilier i cldirile
sale realizate n stilul Art Nouveau.
Ulterior, Van de Velde a adugat
portofoliului su artistic i artefacte
realizare n maniera Art Deco.

Alturi de Victor Horta, Van de Welde este
considerat unul din fondatorii i printre cei
mai importani reprezentani ai stilului i
curentului artistic Art Nouveau din Belgia.

Henry Van de Velde a petrecut cea mai
mare parte a vieii sale de maturitate
artistic n Germania, avnd o influen
decisiv asupra arhitecturii i designului
german de la nceputul secolului al 20-lea.

Du Mont Theatre,
Weimar 1903
Werkbund Theater Commentary "In this reinforced concrete theatre, built expressly for
the Werkbund Exhibition, van de Velde succeeded in creating a theatrical space which
was capable of accommodating a wide variety of dramatic performances ranging from
modest pageant plays to symbolist and realist pieces which were more suited to the
proscenium stage. Its mass wall and reinforced concrete frame construction, rendered
over so as to form an homogenous and plastic expression, was to serve as a point of
departure for the postwar work of Eric Mendelsohn; above all for the small observatory
that Mendelsohn built for Einstein in Potsdam in 1920. The brooding telluric mass of the
Werkbund theatre, reminiscent in many respects of Rudolf Steiner's anthroposophical
form, was to mark that point in van de Velde's career when the more animate 'form force'
aesthetic of his early furniture gave way to the much more solid, not to say ponderous
expression." Kenneth Frampton and Yukio Futagawa. Modern Architecture 1851-1945.
p191.

Bloemenwerf HouseBloemenwerf
House
BseBloemenwerf House, at Uccle,
near Brussels, Belgium, 1895 to 1896
Huis Deprez-
Van de Velde,
Brussel

ChemniChemnitztz, Germany: Villa Escher
Main building of the Bauhaus-University in
Weimar
Van-de-Velde-Building in Weimar, home of the art faculty of the Bauhaus-
University
Chair designed for house "Bloemenwerf", 1895