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Essays on art nouveau
Essays on art nouveau
Arts nouveau 1880-1910
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Art Nouveau was a movement that aimed to depart from the traditional style as well as allow decorative artists to have as much prestige as painters and sculptors. It is seen as the predecessor of modernism, with a desire to create beautiful, high-quality products. As industrial production became more and more widespread, the world was dominated by badly made objects. A strong belief that evolved from Art Nouveau was that the purpose of an object should dictate its form and design. (Art Nouveau Movement) Art Nouveau started in the late 19th early 20th century - roughly around 1890-1905 in and took its main inspiration from the uncontrollable aspects and beauty of nature. The movement for new art took different forms around Western Europe and the US. Art Nouveau …show more content…
Vases were very popular during Art Nouveau, as it was highly decorative and had a great utility. The vase I picked was made by Emilé Galllé, a French artist who worked mainly with glass and was seen as a strong presence in the French Art Nouveau Movement. Even though he had mixed influences, he mainly focused on nature but always adapted his work to the personality of the owner, often times inscribing the vases with poetical sentences. This particular vase is inscripted with a quatrain by Robert de Montesquiou, a French poet. The vase, composed of layered blown crystal, glass, and gold dust, is decorated with images of lilies and daisies. Inspired by nature, Galllé created a beautiful vase which makes a statement about simplicity, flow, and freedom. He is known to have patented several new techniques for glass work, and liked to create unique visual effects by the play of the transparency in glass. (Emilé Galllé) The beauty of the glass used can still be seen in the processed material, and the layered look gives the vase depth. The colors used are peaceful, with a blue-green blurred background layered with more detailed, gold
The ‘Teacup Ballet’ is one of the first and best artworks Olive Cotton has exhibited outside Australia. It was created in 1935, a Gelatin Silver, 37.3cm x 29.6cm, photograph. Six identical teacups are laid out precisely, they each have pointed, triangular handles and slender bodies. Each teacup is placed on a circular saucer. In the centre, background two teacups are placed diagonally to each other, their handles pointing in the same direction, on the left hand side. In the middle ground, three teacups are placed in a diagonal line, parallel to teacups in the background. This time the teacup handles all point to the right hand side. In the foreground, right hand corner, there stands alone one teacup, its handle facing towards the left, pushed a little more inward, than the others. In the background, there is a light shining through lighting up the teacups, and shadows are formed. A curved line is also shaped contrasting the light from dark.
The first painting analyzed was North Country Idyll by Arthur Bowen Davis. The focal point was the white naked woman. The white was used to bring her out and focus on the four actual colored males surrounding her. The woman appears to be blowing a kiss. There is use of stumato along with atmospheric perspective. There is excellent use of color for the setting. It is almost a life like painting. This painting has smooth brush strokes. The sailing ship is the focal point because of the bright blue with extravagant large sails. The painting is a dry textured flat paint. The painting is evenly balanced. When I look at this painting, it reminds me of settlers coming to a new world that is be founded by its beauty. It seems as if they swam from the ship.
Art Nouveau is the Decorative style of the late 19th century and the early 20th that flourished principally in Europe and the USA. Although it influenced painting and sculpture, its chief manifestations were in architecture and the decorative and graphic arts. It is characterized by sinuous, asymmetrical lines based on organic forms; in a broader sense it encompasses the geometrical and more abstract patterns and rhythms that were evolved as part of the general reaction to 19th-century historicism. There are wide variations in the style according to where it appeared and the materials that were employed
Imagine pondering into a reconstruction of reality through only the visual sense. Without tasting, smelling, touching, or hearing, it may be hard to find oneself in an alternate universe through a piece of art work, which was the artist’s intended purpose. The eyes serve a much higher purpose than to view an object, the absorptions of electromagnetic waves allows for one to endeavor on a journey and enter a world of no limitation. During the 15th century, specifically the Early Renaissance, Flemish altarpieces swept Europe with their strong attention to details. Works of altarpieces were able to encompass significant details that the audience may typically only pay a cursory glance. The size of altarpieces was its most obvious feat but also its most important. Artists, such as Jan van Eyck, Melchior Broederlam, and Robert Campin, contributed to the vast growth of the Early Renaissance by enhancing visual effects with the use of pious symbols. Jan van Eyck embodied the “rebirth” later labeled as the Renaissance by employing his method of oils at such a level that he was once credited for being the inventor of oil painting. Although van Eyck, Broederlam, and Campin each contributed to the rise of the Early Renaissance, van Eyck’s altarpiece Adoration of the Mystic Lamb epitomized the artworks produced during this time period by vividly incorporating symbols to reconstruct the teachings of Christianity.
Arwas, V., Newell, S., Museum, S. & Gallery, A., 1996. The art of glass. 8th ed. Paris: Andreas Papadakis Publisher.
In the University Of Arizona Museum Of Art, the Pfeiffer Gallery is displaying many art pieces of oil on canvas paintings. These paintings are mostly portraits of people, both famous and not. They are painted by a variety of artists of European decent and American decent between the mid 1700’s and the early 1900’s. The painting by Elizabeth Louise Vigee-Lebrun caught my eye and drew me in to look closely at its composition.
Baim, Joseph. "Past and Present in D. H. Lawrence's 'A Fragment of Stained Glass.'" Studies in
The movement art nouveau was established during the 1890s .It lacked the grandiose aura about its presence and techniques that art deco possessed but made up for this with longevity in its impact and success as an art movement. Art nouveau is a movement that has been inspired by forms of nature itself and this was represented in the results of nouveau inspired products such as curtains with excessively frilly trimmings and the influx of indoor gardens or greenhouses. the main forms of this natural influence on this art for was vegetation which what basically flowers petals branches etc. At this early stage, mass publications of art and design were being shown in museums and also public and local galleries which was the fragile start of art nouveau cultural life.
The main symbols in The Glass Menagerie are the glass menageries themselves. Laura, the daughter in the story, collects little glass figurines or animals; these figurines are called menageries. The small, glass, figures represent numerous elements of Laura’s personality. Both Laura and the figurines are fragile, whimsical, and somewhat behind the times. As Anita Gates writes, in her article "When Appearances Aren't What They Seem" Laura “is as delicate as the tiny glass animals she collects” (10). Laura is very fragile and weak in body, mind, and spirit. The menageries are weak also because they are made of glass. Therefore, both the figurines and Laura have to be cared for and treated lightly because of the possible damage that could be done to them if they were not properly taken care of.
The use of materials to complement a design’s emotional reaction has stuck with the modernist movement. His implementation of these materials created a language that spoke poetically as you move through the structure. “Mies van der Rohe’s originality in the use of materials lay not so much in novelty as in the ideal of modernity they expressed through the rigour of their geometry, the precision of the pieces and the clarity of their assembly” (Lomholt). But one material has been one of the most important and most difficult to master: light. Mies was able to sculpt light and use it to his advantage.
Neoclassicism and the Enlightenment The Enlightenment was a time of great innovation and evolution. One of the most significant movements which owes at least the majority of its beginnings to the Enlightenment is the architectural and artistic movement of Neoclassicism. This Neoclassicism of the mid eighteenth to mid nineteenth centuries is one that valued ancient Greek, Roman, and Etruscan artistic ideals. These ideals, including order, symmetry, and balance, were considered by many European generations to be the highest point of artistic excellence. Although many movements in European art were largely devoid of classical characteristics, they were always looked to as sources of inspiration and were revived as significant movements at least three times throughout European history, in the twelfth century, during the Renaissance, and during the age of the present topic, the Enlightenment, with its development of Neoclassicism.
During the 19th century, a great number of revolutionary changes altered forever the face of art and those that produced it. Compared to earlier artistic periods, the art produced in the 19th century was a mixture of restlessness, obsession with progress and novelty, and a ceaseless questioning, testing and challenging of all authority. Old certainties about art gave way to new ones and all traditional values, systems and institutions were subjected to relentless critical analysis. At the same time, discovery and invention proceeded at an astonishing rate and made the once-impossible both possible and actual. But most importantly, old ideas rapidly became obsolete which created an entirely new artistic world highlighted by such extraordinary talents as Vincent Van Gogh, Eugene Delacroix, Paul Gauguin, Paul Cezanne, Toulouse-Lautrec, and Claude Monet. American painting and sculpture came around the age of 19th century. Art originated in Paris and other different European cities. However, it became more popular in United States around 19th century.
Modernism can be defined as the post-industrial revolutionary era, where which the western world began to see a change in all spheres of living. The effects of the industrial revolution became prevalent towards the end of the nineteenth century and the modernist movement drew inspiration from this widespread change. Artists, writers, architects, designers and musicians, all began to embrace the changing world and denounce their pre-taught doctrines and previous ways of producing work. Society felt the urge to progressively move forward toward a modern way of thinking and living.
Modernism began as a movement in that late 19th, early 20th centuries. Artists started to feel restricted by the styles and conventions of the Renaissance period. Thusly came the dawn of Modernism in many different forms, ranging from Impressionism to Cubism.
Towards the end of the nineteenth century, the Art Nouveau style became an international movement. For the first time in decorative arts history there was a simultaneous movement throughout Europe and America. Art Nouveau brought the finest designers and craftsmen together in order to design buildings, furniture, wallpaper, fabrics, ceramics, metalwork and glasswork. Art Nouveau was considered more than a style, it was a philosophy. From this philosophy carefully designed articles for the home were designed intended to fit into the scheme of the whole Art Nouveau style. Line was the most important aspect of the Art Nouveau period. Art Nouveau was a rebellion against machine made articles of the 19th century that were copies of past designs. Art Nouveau was also a reaction against the old Victorian tradition. Art Nouveau designers borrowed from the past but because of the emphasis on line and adaptation of natural forms to design. Art Nouveau is easily distinguishable from any other period in decorative arts.