ART NOUVEAU

(1880-1905)
Art Nouveau (French for 'new art'),
is an international movement and style of art,
architecture
and applied artespecially the decorative artsthat
peaked in
popularity at the turn of the 20th century (18901905).
A reaction to academic art of the 19th century,
it is characterized by organic, especially floral and other
plant-inspired motifs, as well as highly-stylized, flowing
curvilinear forms.
Art Nouveau is an approach to design according to
which

ORIGIN
The origins of Art Nouveau are found in the
resistance of William Morris to the cluttered
compositions and the revival tendencies of the
Victorian era and his theoretical approaches
that helped initiate the Arts and crafts
movement,
However, Arthur Mackmurdo's book-cover
for Wren's City Churches (1883), with its
rhythmic floral patterns, is often considered
the first realization of the Art Nouveau,
Offshoot of industrialization,
Inadequate living conditions, streets devoid
of trees led to a backlash, and
Back to nature movement came into
being, thus started Art nouveau known as Art
Nouveau in France, England, Belgium and Low

Inspiration
Art Nouveau new and highly decorative style arose during the
era La Belle Epoque. Nurtured by late Baroque and Rococo,
Gothic revival, Arts and Crafts movement, Celtic revival and
Arts of China and Japan.

Inspired By
Late Baroque and Rococo
The Gothic Revival
The Arts and Craft Movement
The Celtic Revival
The Arts of China and Japan

The name 'Art Nouveau' derived from the

name of a shop in Paris, Maison de l'Art
Nouveau, at the time
run by Siegfried Bing, that showcased
objects that followed this approach to
OTHER
design. NAMES..
Style Moderne, in France
Style Nouille (Noodle Style), in France
Jugendstil, in Germany
Sezession, in Austria
Stile Liberty, in Italy
Arte Noven, in Spain

Philosophy and Thoughts....

Art Nouveau was underlined by a particular way of

thinking about modern society and new production

methods, attempting to redefine the meaning and nature
of the work of art, so that art would not overlook any
no matter
how
everyday
Essence object,
of Art nouveau
was
theutilitarian.
focus on Nature,
Described by sensuous lines and subtle light, feminine
figures, curly hairs, vegetal curves and willow leaves,
twisting waves and evanescent smoke,
It was also described by controlled lines, geometric
details and colourful new shapes ,
Art Nouveau Movement was strongly felt throughout
Europe in countries like France, England, Belgium, Spain
and Germany. In Austria it was named as the Viennese
Secession.

Art...
Spearheaded by artists like

Charles Rennie Mackintosh, William

Morris, Henry van de Velde,
New materials like metal, glass
wood were used and combined
together,
Nature and Life were chosen as
inspiring sources creating emotions
and feelings

French Door

Window Glass

A broach

Fireplace

Art Nouveau made use of many technological

innovations of the late 19th century,
exposed iron
large, irregularly shaped pieces of glass
The style was richly
ornamental and asymmetrical,
characterized by
a whiplash linearity of syncopated rhythm,
reminiscent of twining plant tendrils.
Its exponents chose themes fraught with
symbolism, frequently of an erotic nature.
They imbued their designs with dreamlike and
exotic forms. Dynamic, undulating, flowing.

Another feature is the use of

hyperbolas and parabolas in
windows,
arches, and
doors.
Conventional moldings seem to
spring to lifeand 'grow' into
plant-derived forms.
Like most design styles, Art
Nouveau
sought to harmonize its forms.

Architecture
Salient features:
Asymmetrical shapes
Extensive use of arches and curved forms
Curved glass
Plant-like embellishments
Japanese motifs
Stained glass

Honesty of
construction and
materials.

Constructions of the Era

Flowing, Dynamic,
Graceful and Ethereal
forms.
Sculpture form of
buildings.

Mackintosh,
Glasgow School of
Art

Hector Guimard,
Metro Entrance,
Paris

Mackintosh, Hill
House

Architects
Art Nouveau was also a movement of distinct individuals
such as
Gustav Klimt,
Charles Rennie Mackintosh,
Alfons Mucha,
Antonio Gaud,
Hector Guimard,
Victor Horta,
Louis Comfort Tiffany
each of whom interpreted it in their own individual manner.

VICTOR HORTA
Victor, Baron Horta
(January 6, 1861 - September 9, 1947)
was a Belgian architect.
Horta is one of the most important names in
Art Nouveau architecture; the construction of
his Hotel Tassel in Brussels in 1892-93 means
that he is sometimes credited as the first to
introduce the style to architecture from the
decorative arts.
The French architect Hector Guimard was
deeply influenced by Horta and further
spread the "whiplash" style in France and
abroad.

Tassel House
ARCHITECT
: VICTOR HORTA
LOCATION
: BRUSSEL, BELGIUM
DATE
: 1892-93
BUILDING TYPE : LARGE HOUSE
CONSTRUCTION : IRON,WOOD,CUT
STONE FACADE
SYSTEM.
CONTEXT
: URBAN
NOTES

: Elegant urban house

with facade defined around

centered, stacked oriel bay windows
and balcony.
Generally regarded as the first
complete building in fully-fledged
Art Nouveau style. It is narrowfronted and deep, the rooms
planned rather more freely than was
normal at this time .

Generally regarded as the first complete building in fully-fledged

Art Nouveau style. It is narrow-fronted and deep, the rooms
planned rather more freely than was normal at this time
and with some exploitation of floor levels.

HOTEL VAN EETVELDE

ARCHITECT
: VICTOR
HORT
LOCATION
: BRUSSELS,
BELGIUM
DATE
: 1895-98
BUILDING TYPE : HOTEL
CONSTRUCTION : MASONARY
AND
METAL SYSTEM.
CONTEXT
: URBAN
NOTES
: Rich lofty spaces
on a restricted site the interiors
become of great importance as
centre of light, which permeates
through the filigree domes and
skylights usually in the centre of the
building.
Horta handled the situation and used
it to highlight the imposing staircase,
which leads up to the first-floor
reception rooms.

The interiors become of great importance as centre of light,

Which permeates through the filigree domes and skylights
usually in the centre of the building.
Horta handled the situation and used it to highlight the imposing
staircase,
which leads up to the first-floor reception rooms."

HECTOR GUIMARD
1867-1942

DOMINANT ART NOUVEAU ARCHITECT IN FRANCE.

TRAINED AT ECOLE DES ARTS DECORATIFS AND THEN FROM
1885 AT ECOLE DES BEAUX-ARTS, WHICH HE LEFT IN 1889
WITHOUT DIPLOMA TO WORK FOR A CONSTRUCTION COMPANY.

Guimard created unassuming and conventional early works,

but after familiarizing himself with some of the architectural
theories circulating in the late 1800s, he began to produce
some exceptional avant-garde works. The radical ideas of
Viollet-Le-Duc.
Guimard's visit to Horta's Hotel Tassel in 1895 acted as a
catalyst to his creativity and inspired a radical re-evaluation
of his design approach. The fluid, curvilinear lines that
characterize Guimard's designs became synonymous with the
Art
movement
TheNouveau
Metro Entrance
was. constructed like the Crystal Palace
out of interchangeable, prefabricated cast iron and glass parts,
Guimard created his metro system in opposition to the ruling
taste of French classical culture.

FAMOUS WORKS:
ECOLE DU SACRE COEUR, PARIS (1895)
CASTEL BERANGER (1894-99)
METROPOLITAIN, PARIS (1900-13)
SALLE HUMBERT DE ROMANS, PARIS (18971901; DEM. 1907)
MAISON COILLIOT, LILLE (1898-1900)

ECOLE DU SACRE COEUR, PARIS

(1895)
INSPIRED BY
WORK OF
VAUDREMER
AND DE
BAUDOT.

UPPER FLOORS ARE SUPPORTED ON IRON V-SHAPED STILTS, DERIVED

FROM ILLUSTRATIONS IN VIOLLET-LE-DUCS ENTRETIENS.

CASTEL BERANGER (1894-99)

INFLUENCED BY HORTAS
WORK, IMMEDIATELY
CHANGED HIS DESIGNS FOR
A LUXURIOUS APARTMENT
BLOCK CASTEL BERANGER.
IT EMERGED WITH A
STRIKING STAIRCASE HALL
DESIGNED AS A METAL
CAGE OF IRON, GLASS
BRICKS AND FAIENCE,
APPROACHED THROUGH A
MEMORABLE ENTRANCE
GATE OF WROUGHT IRON
AND COPPER FORMING A
VIVACIOUS COMPOSITION
WHICH SOMEHOW UNITED
GOTHIC, ROCOCO,
JAPANESE EFFECTS.

THE FACADE CONTAINS

PARTICOLOURED BRICK,
RUBBLE, MILLSTONE,
SANDSTONE AND GLAZED
CERAMIC TILES IN A RATHER
FRENETIC ADVERTISEMENT
FOR HANDCRAFTED
MATERIALS.

THIS VERNACULAR
ROMANTICISM WAS HIGHLY
POPULAR IN FRANCE AROUND
THESE YEARS.

METROPOLITAIN, PARIS (1900-13)

GUIMARDS STRANGE
IRON METRO
STATIONS WITH THEIR
PROTECTIVE GLASS
CANOPIES LIKE
DRAGONFLY WINGS,
AND THEIR GREENPAINTED STALKS LIKE
ANTENNAE, SETTLED
ON THE CITY LIKE A
CLOUD OF LOCUSTS.
THESE SEEMS AS AN ESSENTIAL PART OF TRADITIONAL PARISIAN
SCENE,BUT THEY WERE DESIGNED AS A DELIBERATE AFFRONT TO
THE BEAUX-ARTS CLASSICISM OF THE DAY.

THEY WERE MADE OUT OF INTERCHANGABLE PREFABRICATED PARTS

OF METAL AND GLASS.
GUIMARD WAS NOT REALLY INTRESTED IN ARTS AND CRAFTS
DOCTRINE OF TRUTH TO MATERIALS AND HIS FLUID DESIGNS
COULD BE EXECUTED IN ANY MATERIAL.

SALLE HUMBERT DE ROMANS, PARIS

(1897-1901; DEM. 1907)

REMARKABLE CONCERT
HALL WITH EIGHT METAL
SUPPORTS, SHEATHED IN
MAHOGANY, LEANING
INWARDS LIKE JUNGLE
TREES TO SUPPORT THE
YELLOW GLASS CUPOLA.

THIS STRANGE
GROTTO-LIKE
ROOM, PART
GOTHIC PART ART
NOUVEAU, WAS
DESIGNED AS
THE FOCUS OF A
SCHOOL OF
DIVINE ART.

MAISON COILLIOT, LILLE (1898-1900)

HOUSE AND A SHOP FOR A
CERAMICS MERCHANT.
FACED WITH GREEN
ENAMMELLED LAVA BLOCKS,

 FAADE RECEDES IN ITS UPPER STOREYS BEHIND

CURVILINEAR MEMBRANES OF TIMBER AND CERAMIC TO

PRODUCE AN ALMOST SHOCKING EFFECT.
ONE OF THE MOST POPULAR AND SUCCESSFUL OF ALL ART
NOUVEAU ARCHITECTS, GUIMARD DESIGNED NUMEROUS
APARTMENT BLOCKS AND VILLAS.
WITH THEIR CURVED WINDOWS, FLAMBOYANT BRACKETS,
RANDOM RUBBLEWORK AND OVERHANGING EAVES, THEY ALL
areTOO EASY TO IMITATE.

ANTONIO GAUDI
ANTONIO GAUDI
(June 25, 1852-1926)
was a Catalan Architect.
He graduated as architect in 1878.
Almost his entire professional activity took place in Barcelona,
where the greater part of his work is found.
He was influenced by the writings of Ruskin who began as a
Gothic Revivalist.

CASA MILA

ARCHITECT
: ANTONIO GAUDI
LOCATION
: BARCELONA, SPAIN
DATE
: 1905-1907
BUILDING TYPE : MULTIFAMILY
HOUSING
CONSTRUCTION : MASONARY AND
CONCRETE SYSTEM
CONTEXT
: URBAN

NOTES
: Expressionistic,
fantastic, organic forms in undulating faade
and roof line, light court. "La Pedrera-the
quarrywas the name an astounded
population gave to this completely unique
building. It could be compared with the
steep cliff walls in which African tribes build
their cave-like dwellings. The wavy facade,
with its large pores, reminds one also of an
undulating beach of fine sand, formed, for

CHURCH OF SAGRADA FAMILIA

ARCHITECT
: ANTONIO
GAUDI
LOCATION
: BARCELONA,
SPAIN
DATE
: 1882-1926
BUILDING TYPE : CHURCH
CONSTRUCTION : MASONARY
SYSTEM
CONTEXT
: URBAN
NOTES
the Holy Family.

: Church of

Partly inspired by the Catalan

gothic, showing traces of Cubism,
and commonly associated with Art
Nouveau, the Sagrada Familia fits
into no

ARCHITECT
: ANTONIO GAUDI
LOCATION
: BARCELONA, SPAIN
DATE
: 1900-1914
BUILDING TYPE : PARK, SCULPTURED GARDEN
CONSTRUCTION : EARTH, PLANTINGS, MASONARY
SYSTEM
CONTEXT
: URBAN
NOTES
housing site,

: Commercially unsuccessful planned

given to the city as a permanent park in

1923.

As in all of Gaud's work, there is a strong element of playfulness.

The caretaker's lodge, shown in this photo beyond the mosaic wall,
suggests a house a child would imagine, like the gingerbread cottage
in Hansel and Gretel. Guell Park demonstrates Gaudi's high regard for
nature.
He used recycled ceramics rather than firing new ones.
To avoid leveling the land, Gaudi designed meandering viaducts.
Finally, he planned the park to include numerous trees.

CHARLES RENNIE
MACKINTOSH
CHARLES RENNIE MACKINTOSH
(1868-1928)
ATTENDED GLASGOW SCHOOL OF
ARTS
In 1884 he began an apprenticeship
with John Hutchinson.
In 1889 he became an architectural
assistant with Honeyman & Keppie.
In 1890 he won a traveling scholarship
and toured Italy before settling down
into practice.

GLASGOW SCHOOL OF ARTS

ARCHITECT
: CHARLES RENNIE
MACKINTOSH
LOCATION
: GLASGOW, SCOTLAND
DATE
: 1897-1909
BUILDING TYPE : COLLEGE
CONSTRUCTION : BEARING MASONARY
SYSTEM
CONTEXT
: URBAN
NOTES
: West
wing
The building has an eclectic
unity
withbuilt
second,
to 1909
.
influencesfrom
from1907
Scottish
baronial
architecture
(volumetric masses of heavy masonry),
art nouveau motifs and modern materials and
techniques,
the building massing and facades reflect its
context richly.
The building plan is a long "E" with corridors
along the spine.

HILL HOUSE
ARCHITECT
: CHARLES RENNIE MACKINTOSH
LOCATION
: HELENSBURG, SCOTLAND
DATE
: 1902-1904
BUILDING TYPE : LARGE HOUSE
CONSTRUCTION : BEARING MASONARY
CONTEXT
: URBAN
NOTES
: Asymmetrical massing.
The narrow building stretches west to east with an entrance off
the road to the west, so that all major rooms face south to the
view of the estuary.
At the eastern end of these major rooms a wing extends north,
with rooms for the kitchen and services and the children. Out of
these simple wings volumes extend, a curving stair volume to
the north, a sunny drawing room bay to the south, a curved bay
for the bedroom, compositional extrusions in the simple major
volumes which focus views and bring in light.

Art Nouveau's fifteen-year peak was

strongly felt
throughout Europe
from Glasgow to Moscow to Spain
but its influence was global.
By the start of the First World War,
however,
the highly stylized nature of Art
Nouveau design
which itself was expensive to
produce
began to be dropped in favour of more
streamlined, rectilinear modernism
that was cheaper and thought
to be more faithful to the rough, plain,

Bibliography
The Story Of Architecture From Antiquity To The

Present by Jan Gympel,page-80-82

History Of Art by Sir Lawrence Gowing, page-828
A History Of Western Architecture by David
Watkin,page 537-564
The Story Of Architecture by Patrick Nuttgens, page
255-257
Buildings Across Time by Marian Moffet,Michael Fazio
and Lawrence Wodehouse,page-452-460
Essential History Of Art. Parragon Publishers

Bibliography
Charles Rennie Mackintosh by Charlotte And Peter

Fiell. Taschen Publishers

Art Nouveau by Robert Schmutzler. Harry N.
Abrams Inc Publishers, page number- 125 and 260
The Art Nouveau by Henry F. Lenning
Art Nouveau 1890-1914, by Paul Greenhalgh
Certain facts have been
taken from the History Channel
Others
Sources:
Wikipedia