1900 / Art Nouveau

O mișcare care cuprinde arhitectura, artele frumoase și artele decorative

1880 – 1910 (aproximare)

1884 – 1914 de la primul Salon des Indépendents la primul Război Mondial, după
organizatorii expoziției Les Sources du XXe siècle, Musée National d’Art Moderne,
Paris, 1960

Caracteristici principale:
– dorința de eliberare față de canonul clasic / istorismul și eclectismul sec. XIX
– promovarea meseriilor / a măiestriei operei
– scopul explicit de a ridica meseriile la același statut cu artele frumoase
– modernizare a modului și mediului de viață
– Gesamtkunstwerk – opera de artă totală

– linii organice, libere, curgătoare – forme care se aseamănă tulpinilor sau

inflorescențelor plantelor, dar și forme stilizate geometrice

Surse:
– tradiția Arts and Crafts și scrierile lui John Ruskin
– raționalismul lui Viollet-le-Duc și abolirea distincție dintre structură și expresie
– fascinația pentru artă orientală, în particular japoneză – Japonisme
Mișcări contemporane cu denumiri locale diferite :
– Franța: Art Nouveau, Style Jules Verne, Le Style Métro (după construcțiile de metal și
sticlă ale lui Hector Guimard pentru intrările în metrou), Art belle époque, Art fin de
siècle.
– Belgia: Style nouille sau Style coup de fouet.
– Germania: Jugendstil, după revista Die Jugend.
– Spania/Catalonia: Modernista
– Italia: Arte nuova, Stile floreale, sau La Stile Liberty după firma londoneză Liberty &
Co., care aducea ceramică și textile orientale începând cu anii 1870 și producea obiecte
originale (renaștere celtă)
– Austria și Ungaria: Secessionstil
– Rusia: Stil’ modern.
– SUA: Tiffany Style după legendarele proiecte în sticlă ale lui Louis Comfort Tiffany
Mai multe la: Gontar, Cybele. “Art Nouveau.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum
of Art, 2000–. http://www.metmuseum.org/toah/hd/artn/hd_artn.htm (October 2006)
Art Nouveau

A movement that encompassed architecture, the fine – and the decorative arts

1880 – 1910 (approximation)

The main features:

– the desire to break free from the historical styles of the 19th century
– the (technical) focus on good workmanship
– the aim to raise the status of the crafts to a similar level to that of the fine arts
– Gesamtkunstwerk – the total work of art

– organic, flowing lines – forms resembling the stems and blossoms of plants – as
well as geometric forms such as squares and rectangles

– with roots both in the Arts and Crafts tradition and in the preference for oriental
art, in particular Japanese – Japonisme
Contemporary movements with different names:
– Art Nouveau style was particularly associated with France, where it was called
variously Style Jules Verne, Le Style Métro (after Hector Guimard’s iron and glass
subway entrances), Art belle époque, and Art fin de siècle.
– In Belgium, it was called Style nouille or Style coup de fouet.
– In Germany, it was Jugendstil or “young style,” after the popular journal Die Jugend.
– Part of the broader Modernista movement in Barcelona, its chief exponent was the
architect and redesigner of the Sagrada Familia cathedral (Barcelona, begun 1882),
Antoni Gaudí (1852–1926).
– In Italy, it was named Arte nuova, Stile floreale, or La Stile Liberty after the London
firm of Liberty & Co., which supplied Oriental ceramics and textiles to aesthetically
aware Londoners in the 1870s and produced English Art Nouveau objects such as the
Celtic Revival “Cymric” and “Tudric” ranges of silver by Archibald Knox (1864–
1933).
– Other style centers included Austria and Hungary, where Art Nouveau was called the
Sezessionstil.
– In Russia, Saint Petersburg and Moscow were the two centers of production for Stil’
modern.
– “Tiffany Style” in the United States was named for the legendary Favrile glass
designs of Louis Comfort Tiffany.
Gontar, Cybele. “Art Nouveau.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–.
http://www.metmuseum.org/toah/hd/artn/hd_artn.htm (October 2006)
Arthur Heygate Mackmurdo,
1851-1942
Copertă
Wren's City Churches, 1883
Belgia – Art Nouveau
Victor Horta
(1861 – 1947)

1892 - 1893 : Hôtel Tassel

1895 - 1898 : Hôtel Solvay
1895 - 1898 : Hôtel van Eetvelde
1895 - 1898 : Maison du Peuple (demolat/demolished 1965)
1898 : Maison Atelier Horta
Victor Horta
Hotel Tassel (1893-1894)
Victor Horta
Hotel Tassel (1893-1894)
Victor Horta
Hotel Tassel (1893-1894)
Victor Horta
Hotel van Eetvelde (1895-1898)
Belgium – Art Nouveau
Victor Horta, Hotel van Eetvelde (1895-1898)
Belgium – Art Nouveau
Victor Horta, Hotel van Eetvelde (1895-1898)
Victor Horta
La Maison du peuple (1899)

– birouri, cafenea, magazine, sală de întâlniri și petreceri

– oțel, cărămidă și sticlă
Belgium – Art Nouveau
Victor Horta, La Maison du peuple (1899)
Belgium – Art Nouveau
Victor Horta, La Maison du peuple (1899)
Victor Horta
La Maison du peuple (1899)
Belgium – Art Nouveau
Victor Horta, La Maison du peuple (1899)
Belgium – Art Nouveau
Gustave Strauven
(1878 – 1919)

1893 : Maison Saint-Cyr

Franța / France
Louis Bonnier
Siegfried Bing, (Maison) L’Art Nouveau, 1895
Hector Guimard
1898 : Castel Béranger imobil de apartamente
Hector Guimard
1898 : Castel Béranger

Aprecieri oficiale,
Prix au concours des facades de la ville de Paris,
și critici dure,
… ideea fixă [a lui Guimard]… de a rupe toate tradițiile și
de a protesta împotriva tuturor convențiilor
[André Hallays]

Official appreciation by receiving the first prize in the

competition of facades of the city of Paris
and
harsh criticism:
…[Guimard’s] singular idea … to break all traditions and
to protest against all conventions.
[André Hallays]
Hector Guimard
1898 : Castel Béranger
Paris – Art Nouveau
Hector Guimard
Paris – Art Nouveau
Hector Guimard
Paris – Art Nouveau
Hector Guimard
Paris – Art Nouveau
Hector Guimard
Hector Guimard
1899 : Pavilion de intrare metrou Porte Dauphine
Paris – Art Nouveau
Hector Guimard
Paris – Art Nouveau
Jules Lavirotte
Immeuble Lavirotte, 29 Avenue Rapp, 1901
Jules Lavirotte
Hotel Ceramic, 34 avenue de Wagram, 1904
Frantz Jourdain
La Samaritaine, Paris 1905-10
René Binet
Printemps, Paris 1907
Henri Sauvage
Villa Jika / Casa Louis Majorelle, Nancy, 1902
Henri Sauvage
Villa Jika / Casa Louis Majorelle, Nancy, 1902
Art Nouveau — Style Guimard
Hector Guimard
Julien Guadet
1834 – 1908

1864 : Grand Prix de Rome

1871 : Profesor EBA
1894 : Profesor de teoria arhitecturii | Professor of architectural theory
1895 : Code Guadet
1901 : Éléments et théorie de l'architecture, Paris, 1901, 4 vol.
Julien Guadet
1834 – 1908

1880-88 : La Poste Centrale du Louvre

Julien Guadet
1834 – 1908

1895 : Code Guadet — principii ale profesiei

— principles for the future establishement of the architectural profession

I. – DEVOIRS DE L'ARCHITECTE ENVERS LUI-MÊME ET ENVERS SES CONFRÈRES.

1. L'architecte est [...] à la fois un artiste et un praticien. Sa fonction est de concevoir et étudier la composition d'un
édifice, d'en diriger et surveiller l'exécution, de vérifier et régler les comptes des dépenses y relatives.
2. Il exerce une profession libérale et non commerciale.
4. L'architecte, n'étant ni commerçant, ni agent d'affaires, s'interdit toute opération qui donnerait lieu à des remises ou
commissions". […]

II. – DEVOIRS DE L'ARCHITECTES ENVERS SES CLIENTS.

9. L'architecte consacre à son client [...] tout son dévouement à la défense des intérêts qu'il lui a confiés.
10. Toutefois, l'architecte ne se prête pas à des opérations, même exigées par le client, qui seraient de nature à léser les
droits des tiers. [...]
12. Il est rénuméré par son client, et par son client seul, au moyen d'honoraires.
13. Il remet à son client une expédition des plans, cahiers de charges et marchés ayant servi à la passation du contrat ...
15. L'architecte se récuse s'il est nommé expert dans une affaire où l'un de ses client est en cause.

III. – DEVOIRS DE L' ARCHITECTE ENVERS LES ENTREPRENEURS ET LE PERSONNEL DU BATIMENT.

16. L'architecte emploie son autorité morale en vue de rendre aux ouvriers les travaux de leur profession le moins
pénible possible, et d'assurer la bonne harmonie, la cordialité et l'honorabilité dans les rapports entre toutes les personnes
occupées sur ses travaux.
19. A moins d'une mission spéciale du client, il ne se charge pas des payements. [...]
21. L'architecte qui se fait entrepreneur ou commis d'entrepreneur, métreur, vérificateur, perd la qualité d'architecte.

Julien-Azaïs Guadet, Code des devoirs professionnels de l'architecte présenté au nom de la Société Centrale des Architectes
Français au Congrès des architectes de 1895 à Paris, L'Architecture, n° 33, 17 août 1895, p. 288-289.
Ferdinand Dutert & Victor Contamin
Galerie des Machines, Exposition Universelle, Paris 1889
René Binet
Pavilion de intrare, Exposition Universelle, Paris 1900
Paris
1900 Grand Palais, arh. Henri Deglane, Albert Louvet, Albert Thomas și Charles Girault
Paris
1900 Grand Palais, arh. Henri Deglane, Albert Louvet, Albert Thomas și Charles Girault
Paris – Art Nouveau
1900 Grand Palais
Paris – Art Nouveau
Hector Guimard
Eugène Hénard
1849 – 1923

1889 : Projet de train continuu

1900 : Le Palais de l’Electricité
1903-09 : Études sur l’architecture et les transformation de Paris
— intersecții
— strada viitoare
— strada cu retrageri
1911/1914 : Société française des architectes urbanistes (SFAU)
Eugène Hénard
1849 – 1923

1910 : Les Villes de l’Avenir

Royal Institute of British Architects, Town Planning Conference London

All the evil arises from the old traditional idea that "the bottom of the road must be on a level with the ground in its original
condition." But there is nothing to justify such an erroneous view. As a matter of fact, if we were to establish as a first
principle the idea that "the pavement and carriage-way must be artificially constructed at a sufficient height to allow
thereunder a space capable of containing all the installations needed for the service of the road," the difficulties I have just
pointed out would disappear altogether. This, of course, implies an additional floor underground for the neighbouring
houses, inasmuch as the ground floor would thus be raised to the level of the street.
...
But a still more important function to be performed by these terraces is that in the near future they will be used as landing
stages for aeroplanes... Perhaps it may be found necessary, even in the open country, to mark out the great high-roads of the
air by means of air-buoys which would take the form of captive balloons. As regards the cities, they will probably have to be
subdivided into three sections. The first, consisting of the heart of the city, would include the principal buildings, historic
monuments, museums, theatres, &c. No flying machine of any kind whatsoever would be allowed to fly or to "plane" above
this section of the city. The second section would consist of all such portions of the city as are built over with houses and
other erections of a modern type, with terrace roofs of sufficient strength to bear without injury the fall of a light aeroplane.
Over this section only aeroplanes of the bee-type would he allowed to fly. The third section, accessible to all machines would
contain the landing stages for large aeroplanes of the bird-type and for all heavy machines.

The city as a whole will be traversed by wide roads radiating from the centre, and partly occupied by elevated platforms kept
continually in motion, so that by this means rapid intercommunication between the several zones will be assured. These
platforms will be terminated by revolving turn-tables, erected over the point of intersection of the principal streets. Lastly, the
city will be planted with large parks and flower gardens, forming centres wherein rest, health, and beauty may each-be
pursued.
Auguste Perret
1874 – 1954

– beton armat ca soluție economică

– absența ornamentului, dacă nu ca rezultat al structurii
– «frame and fill»
– beton aparent
Auguste Perret
1874 – 1954

1903 : 25b Rue Franklin

At the Rue Franklin apartment the reinforced-concrete frame is for the first time clearly expressed, if not exposed, on the
exterior. The frame is covered with smooth ceramic tiles, whereas the nonstructural wall panels are covered with tiles bearing
a foliate pattern. The structural frame, in addition, creates point supports that eliminate stationary, load-bearing partitions
within the apartments, and this results in potentially flexible, open plans.
www.encyclopedia.com/topic/Auguste_Perret.aspx
Auguste Perret
1874 – 1954

1903 : 25b Rue Franklin

Auguste Perret
1874 – 1954

1905 : garage at 51 Rue de Ponthieu

The facade of the garage is an exposed reinforced-concrete frame filled in with glass and arranged according to classical rules
rather than by inner structural logic.
www.encyclopedia.com/topic/Auguste_Perret.aspx
Tony Garnier
1874 – 1954

1903 | 1917 : Une Cité Industrielle

Cité Industrielle, oraș ideal proiectat de Tony Garnier (in 1917) în timp ce era pensionar la Villa Medicis.

The Cité Industrielle was to be situated on a plateau in southeastern France, with hills and a lake to the north and a river and
valley to the south. The plan takes into consideration all the aspects necessary to running a Socialist city. It provides separate
zones for separate functions. These zones—residential, industrial, public, and agricultural—are linked by location and
circulation patterns, both vehicular and pedestrian. The public zone, set on the plateau much in the manner of the Hellenistic
acropolis, is composed of the governmental buildings, museums, and exhibition halls and large structures for sports and
theatre. Residential areas are located to take best advantage of the sun and wind, and the industrial district is accessible to
natural power sources and transportation. The “old town” is near the railroad station to accommodate sightseers and tourists.
A health centre and a park are located on the heights north of the city, and the cemetery to the southwest. The surrounding
area is devoted to agriculture. The plan itself is clearly in the Beaux-Arts tradition, tempered by a natural informality possibly
derived from the ideas of the Austrian town planner Camillo Sitte. The plan lacked jails, courthouses, and hospitals, as
Garnier believed that they would not be necessary under Socialism.
"Cite Industrielle". Encyclopædia Britannica. Encyclopædia Britannica Online