Documente Academic
Documente Profesional
Documente Cultură
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
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.
– 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: Sezessionstil
– 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)
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)
Catalonia
Antoni Gaudi (1852 – 1926)
Francesc Berenguer (1866 – 1914)
Josep Maria Jujol (1879 – 1949)
Cèsar Martinell (1888 – 1973)
Lluís Domènech I Montaner (1850 – 1923)
Josep Puig i Cadafalch (1867 – 1956)
Catalonia – Modernisme
Lluís Domènech I Montaner (1850 – 1923) – Palau de Música Catalana
Catalonia – Modernisme
Lluís Domènech I Montaner (1850 – 1923) – Palau de Música Catalana
Catalonia – Modernisme
Lluís Domènech I Montaner (1850 – 1923) – Casa Lleó Morera
Catalonia – Modernisme
Cèsar Martinell (1888 – 1973)
Catalonia – Modernisme
Cèsar Martinell (1888 – 1973)
Catalonia – Modernisme
Cèsar Martinell (1888 – 1973)
Catalonia – Modernisme
Cèsar Martinell (1888 – 1973)
Catalonia – Modernisme
Josep Maria Jujol (1879 – 1949)
Catalonia – Modernisme
Josep Maria Jujol (1879 – 1949)
Catalonia – Modernisme
Josep Maria Jujol (1879 – 1949)
Catalonia – Modernisme
Josep Puig i Cadafalch (1867 – 1956)
Catalonia – Modernisme
Josep Puig i Cadafalch (1867 – 1956)
Catalonia – Modernisme
Josep Puig i Cadafalch (1867 – 1956)
Catalonia – Modernisme
Josep Puig i Cadafalch (1867 – 1956)
Catalonia – Modernisme
Josep Puig i Cadafalch (1867 – 1956)
Catalonia – Modernisme
Josep Puig i Cadafalch (1867 – 1956)
Catalonia – Modernisme
Antoni Gaudi (1852 – 1926)
1889 : Der Städtebau nach seinen künstlerischen Grundsätzen / Arta construirii orașelor
Camillo Sitte
1843 – 1903
1889 : Der Städtebau nach seinen künstlerischen Grundsätzen / Arta construirii orașelor
Vienna – Sezession
– Fondat în 3 Aprilie 1897 de artiștii Gustav Klimt, Koloman Moser, Josef Hoffman, Joseph Maria Olbrich, și alții.
– 1905 se fondează Wiener Werkstätte — o societate de arte frumoase care își propune să reformeze artele decorative
Vienna – Sezession
Joseph Maria Olbrich (1867 – 1908) – die Sezession
Vienna – Sezession
Joseph Maria Olbrich, die Sezession
Vienna – Sezession
Joseph Maria Olbrich (1867 – 1908) – die Sezession
Vienna – Sezession
Joseph Maria Olbrich (1867 – 1908) – die Sezession
Vienna – Sezession
Joseph Maria Olbrich (1867 – 1908) – die Sezession | Gustav Klimt – Friza Beethoven
Josef Hoffman (1870 – 1956)
1900-1911 : Hohe Warte colonie de artiști, Viena
1900-1901 : casă dublă pentru Koloman Moser și Carl Moll, Viena
1905–1911 : Palatul Stoclet, Bruxelles, Belgia
The Stoclet Palace was the first residential project of the Wiener Werkstätte, that Hoffman co-founded in 1903.
Josef Hoffman and his colleagues designed every aspect of the mansion, down to the door handles and light fittings. The
interior is as spartan as the exterior, with upright geometric furniture and minimal clutter.
The integration of architects, artists, and artisans makes Stoclet Palace an example of a Gesamtkunstwerk.
Josef Hoffman (1870 – 1956)
1905–1911 : Palatul Stoclet, Bruxelles, Belgia
Josef Hoffman (1870 – 1956)
1905–1911 : Palatul Stoclet, Bruxelles, Belgia
Josef Hoffman (1870 – 1956)
1905–1911 : Palais Stoclet in Brussels, Belgium
Josef Hoffman (1870 – 1956)
1905–1911 : Palais Stoclet in Brussels, Belgium
Vienna – Sezession
Otto Wagner (1841 – 1918)
1898 : Pavilion Karlsplatz
Vienna – Sezession
Otto Wagner (1841 – 1918)
1898 : Pavilion Karlsplatz
Vienna – Sezession
Otto Wagner (1841 – 1918)
1898 : Pavilion Karlsplatz
Vienna – Sezession
Otto Wagner, Pavilion Karlsplatz, 1898
Vienna – Sezession
Otto Wagner, Pavilion at Karlsplatz, 1898
Vienna – Sezession
Otto Wagner, Majolica House (Majolikahaus), Vienna (1898–1899)
Vienna – Sezession
Otto Wagner, Majolica House (Majolikahaus), Vienna (1898–1899)
Vienna – Sezession
Otto Wagner, Majolikahaus, Viena (1898–1899)
Vienna – Sezession
Otto Wagner, Majolikahaus, Viena (1898–1899)
Vienna – Sezession
Otto Wagner, Majolica House (Majolikahaus), Vienna (1898–1899)
Vienna – Sezession
Otto Wagner, Majolica House (Majolikahaus), Vienna (1898–1899)
Vienna – Sezession
Otto Wagner, Banca de Economii a Poștei, Viena (1894–1902)
Vienna – Sezession
Otto Wagner, Banca de Economii a Poștei, Viena (1894–1902)
Vienna – Sezession
Otto Wagner, Postal Office Savings Bank Building, Vienna (1894–1902)
Vienna – Sezession
Otto Wagner, Banca de Economii a Poștei, Viena (1894–1902)
Vienna – Sezession
Otto Wagner, Banca de Economii a Poștei, Viena (1894–1902)
Jugendstil — Darmstadt / Mathildenhöhe
Deutscher Werkbund, German Association of Craftsmen, important organization of artists influential in its attempts to
inspire good design and craftsmanship for mass-produced goods and architecture. The Werkbund, which was founded in
Munich in 1907, was composed of artists, artisans, and architects who designed industrial, commercial, and household
products as well as practicing architecture.
The group’s intellectual leaders, architects Hermann Muthesius and Henry van de Velde, were influenced by William Morris,
who, as leader of the 19th-century English Arts and Crafts Movement, proposed that industrial crafts be revived as a
collaborative enterprise of designers and craftsmen. Van de Velde and Muthesius expanded Morris’ ideas to include machine-
made goods. They also proposed that form be determined only by function and that ornamentation be eliminated.
Soon after the Werkbund was founded, it divided into two factions. One, championed by Muthesius, advocated the greatest
possible use of mechanical mass production and standardized design. The other faction, headed by van de Velde, maintained
the value of individual artistic expression. The Werkbund adopted Muthesius’ ideas in 1914.
"Deutscher Werkbund". Encyclopædia Britannica. Encyclopædia Britannica Online
Hermann Muthesius
1861 – 1927
Deutscher Werkbund, German Association of Craftsmen, important organization of artists influential in its attempts to
inspire good design and craftsmanship for mass-produced goods and architecture. The Werkbund, which was founded in
Munich in 1907, was composed of artists, artisans, and architects who designed industrial, commercial, and household
products as well as practicing architecture.
The group’s intellectual leaders, architects Hermann Muthesius and Henry van de Velde, were influenced by William Morris,
who, as leader of the 19th-century English Arts and Crafts Movement, proposed that industrial crafts be revived as a
collaborative enterprise of designers and craftsmen. Van de Velde and Muthesius expanded Morris’ ideas to include machine-
made goods. They also proposed that form be determined only by function and that ornamentation be eliminated.
Soon after the Werkbund was founded, it divided into two factions. One, championed by Muthesius, advocated the greatest
possible use of mechanical mass production and standardized design. The other faction, headed by van de Velde, maintained
the value of individual artistic expression. The Werkbund adopted Muthesius’ ideas in 1914.
"Deutscher Werkbund". Encyclopædia Britannica. Encyclopædia Britannica Online
– sub conducerea arhitecturii, toate artele proiectării trebuie să evolueze către stabilirea
de noi standarde (tipuri, norme) ale unui stil omogen
– DIN (Deutsche Industrie-Normen)
Charles Voysey, Prior's Field, © RIBA Drawings Collection
Critica ornamentului — Adolf Loos
Adolf Loos
1870–1933
Chiar și mai mare este râul pe care oamenii unei culturi productive îl suferă din cauza
ornamentului. De vreme ce ornamentul nu mai este un produs natural al civilizației
noastre, el a ajuns să reprezinte înapoiere sau degenerare: munca făuritorului de
ornamente nu mai este adecvat răsplătită.
Așa cum ornamentul nu mai este legat organic de cultura noastră, tot așa el numai este
expresia culturii noastre. Ornamentul, în felul în care este realizat astăzi, nu mai are
nici o legătură cu noi, cu vreo altă ființă omenească, sau cu lumea așa cum este ea
alcătuită. Nu are potențial de dezvoltare.
https://www.scribd.com/doc/97339197/Adolf-Loose-Ornament-si-Crima
Adolf Loos
1870–1933
1924 On Thrift
Photographs dematerialize reality, but precisely what I want is for people in my rooms
to feel the material around them. I want it to have its effect on them I want them to be
aware of the enclosing room, to feel the material, the wood, to see it, touch it, to
perceive it sensually, to sit comfortably and feel the contact between the chair and a
large area of their peripheral sense of touch, and say: this is sitting as it should be.
How can I demonstrate on a photograph how good my chairs are to sit on? How can I
make a person who sees the photograph feel it, however well the chair is
photographed?
“On Thrift” (1924)
Adolf Loos
1870–1933
Arhitectura mea nu este concepută prin desene, ci prin spații. Nu desenez planuri,
fațade sau secțiuni… Pentru mine parterul, etajul întâi nu există… Nu există decât
spații, camere, saloane, terase în continuitate, interconectate… Fiecare spațiu are
nevoie de o înălțime diferită… Aceste spații sunt interconectate astfel încât urcarea sau
coborârea nu sunt doar nesesizabile, ele devin funcționale.
A.Loos (Shorthand record of a conversation in Pilsen, 1930)
http://socks-studio.com/2014/03/03/i-do-not-draw-plans-facades-or-sections-adolf-loos-and-the-villa-muller/
Adolf Loos
1870–1933