'

-.

All art is at

once surface

and symbol

Oscar Wilde: The

Picture of Dorian

Gray

TRUSTEES OF THE MUSEUM OF

MODERN ART

FINE ARTS COMMITTEE OF THE

BOARD OF TRUSTEES

OF CARNEGIE INSTITUTE
Henry Allen Moe, Chairman of the Board; William S. Paley, ViceChairman; Mrs. John D. Rockefeller 3rd, President; Alfred H.
Barr, Jr., Mrs. Robert Woods Bliss, William A. M. Burden,
*Stephen C. Clark, Ralph F. Colin, *Mrs. W. Murray Crane, Rene
d'Harnoncourt, Mrs. C. Douglas Dillon, Mrs. Edsel B. Ford, A.
Conger Goodyear, *Mrs. Simon Guggenheim, Wallace K. Harrison, Mrs. Walter Hochschild, *James W. Husted, Philip C.
Johnson, Mrs. Albert D. Lasker, Mrs. Henry R. Luce, Ranald H.
Macdonald, Mrs. Samuel A. Marx, Porter A. McCray, Mrs. G.
Macculloch Miller, Mrs. Bliss Parkinson, Mrs. Charles S. Payson,
*Duncan Phillips, David Rockefeller, Nelson A. Rockefeller,
*Paul J. Sachs, James Hopkins Smith, Jr., James Thrall Soby, Mrs.
Donald B. Straus, *Edward M. M. Warburg, Monroe Wheeler,

Honorary Aiembers

David

L.

Lawrence,

Thomas

L. Orr, A. L.

Wolk

Term Alembers
Frederick

J.

James H. Heroy, Jr., C. McKenzie Lewis,

Mrs. William C. Robinson, Jr., Mrs. George

Close, Mrs.

Henry Oliver,
Magee Wyckoff
Jr.,

Jr.,

Staff

John Hay Whitney

*Honorarv Trustee

Roy A. Hunt, Chairman; James H. Beal, James M. Bovard, Samuel

Henry J. Heinz II, James F. Hillman, William R. Oliver,
Charles J. Rosenbloom, John C. Warner
B. Casey,

Gordon Bailey Washburn,

for Life

Director; Leon Anthony Arkus, AsHerbert P. Weissberger, Curator of Decorative

Roberts, Executive Secretary; Anne K. Stolzenbach,

sistant Director;

Arts; Emily

J.

Registrar

TRUSTEES OF THE BALTIMORE MUSEUM OF ART

LOS ANGELES
Frederick

J.

Singley,

Jr.,

President; Robert G. Merrick, Vice-Presi-

dent; Fred L Archibald, Edward M. Benesch, George Boas, J. R.

Herbert Boone, Alexander S. Cochran, George W. Constable,
William A. Dickey, Jr., Laurence Hall Fowler, Alexander B. Griswold, George B. Hess, Mrs. Arthur U. Hooper, Richard H.
Howland, Mrs. Harold Duane Jacobs, Francis H. Jencks, Adolf
Katzenellenbogen, Trafford P. Klots, Mason F. Lord, Herman
Maril, Mrs. William McMillan, Francis D. J. Murnaghan, Jr.,
Mrs. Reuben Oppenheimer, J. G. D. Paul, Philip B. Periman,
John H. Scarff, Mrs. Harry R. Slack, Jr., W. Cameron Slack,
Eleanor P. Spencer, Mrs. John C. Taliaferro, Jr., Alvin Thaiheimer,
Henry E. Treide, S. Bonsai White, Eloise H. Wilson, Mrs. Harold

H. Wrenn, Alan Wurtzburger

Frontispiece: Behrens:
105/8

The

Kiss. 1896-97. Color

X SVz". Private collection.

New

York

woodcut.

Board

COUNTY MUSEUM

of Governors

William T. Sesnon,

Jr.,

President

Board of Directors of Museum Associates

Howard

Ahmanson, Sidney

F. Brody, Richard F. Brown, EdJohn Jewett Garland, Mrs. Freeman

Gates, Ed N. Harrison, David W. Hearst, Roger W. Jessup, Joseph
B. Koepfli, Mrs. Rudolph S. Liebig, Charles O. Matcham, J. R.
Pemberton, Vincent Price, William T. Sesnon, Jr., William J.
Sheffler, Norton Simon, Maynard J. Toil, Dr. Rufus B. von KleinSmid, Mrs. Stuart E. Weaver, Jr.

ward

W.

F.

Carter, C. V. Duff,

ART NOUVEAU
Art and Design at

is^e^

the

Edited by Peter Selz

xi'ith articles

Turn of the Century

and Mildred Constantine

by Greta Daniel,

Russell Hitchcock

and

Alan M. Fern, Henry-

Peter Selz.

The Museum of Modern Art,

Distributed by Doubleday

& Company,

Inc.,

New

Garden

City,

York

New York

Collaborating

Museums and

The Museum

of

Modern

Exhibition Dates

Art,

New York

];ine 6

September

Carnegie Institute, Pittsburgh

October 13

December

Museum

January 17

March

Los Angeles County

The Baltimore Museum

of Art

April

Library of Congress Catalog Card

The Museum
11

West

of

53 Street,

Modern

New

Printed in the U.S.A. by

Number

May

15.

5,

12,

1960

1961

1961

60-11987

Art, 1959

York

19,

N. Y.

The Plantin

Press,

New

6.

York.

Book design by Charles Oscar; cover design by Susan Draper

I960

CONTENTS
Acknowledgments

Introduction by Peter Selz

Graphic Design

^}' y4/< yVf.

Fe;7/

18

Painting and Sculpture, Prints and Drawings

by Peter Selz

Decorative Arts by Greta Daniel

46
86

Architecture by Henry-Russell Hitchcock

122

Notes to the Text

148

Bibliography by James Grady

152

Biographies and Catalogue of the Exhibition

162

Index

186

ACKNOWLEDGMENTS

It is

important to note that as early as 1933, at a time

Art Nouveau was

still

considered

little

when

but the extravagant

conclusion of a tasteless era, Philip Johnson directed a small

exhibition at the
title

Museum

of

Modern

Art, which, under the

Objects 1900 and Today suggested an early re-evalua-

tion of the style.

Design and the Department of Painting and Sculpture Exhibitions at the

edgments are due

a comprehensive Art

Nouveau

New

response. Shortly after the

War

the

Museum

Modern

Art. Special acknowl-

Arthur Drexler for his valuable sug-

York, and to Alicia Legg and Use Falk for their ediassistance,

and the preparation of the catalogue,

biographies, and index.

little

The

collection of

greatly

exhibition was proposed by Alfred Barr but aroused

to

of

gestions and his brilliant installation of the exhibition in

torial

During the same spring

Museum

editors

and authors of

book have benefited

this

from the advice and courtesy of European museums

Art Nouveau objects began to grow with the encourage-

whose

ment of Edgar Kaufmann, and in 1949 the Museum exhibited a special gallery of Art Nouveau accessions, including work by Guimard, Tiffany, Munch, Lautrec and others.
Today the collection has increased to such an extent that it

nary research and making their collections and documents

has provided over

special mention: Charles Alexander, Alfred

fort)-

loans for the present exhibition.

Scholarly investigations on Art

published in the 1930s but

it

Nouveau began

was not

until

1952

to be

that the

movement was organized by the Kunstgewerbemuseum in Zurich. The recent

turnabout in the evaluation of Art Nouveau calls for renewed interpretation and, above all, a definition of this

first all-inclusive

elusive style. It

exhibition of the

is

hoped

that this collection of essays will

stimulate further investigation and discussion toward defin-

staffs

worked

available to us.

We

have, in addition, received the most

generous help from a great many individuals

the United States,

among whom

and the Baltimore

of Modern Art, The Carnegie

The Los Angeles County Museum,

Museum

of Art,

is

largely a result of the

collaboration between the Department of Architecture and

S.

Lieber-

man, Maurice Malingue, A. Hayatt Mayor, Carroll

Meeks, G.

W.

L.

V.

Ovink, Nicolaus Pevsner, John Rewald,

Willy Rotzler, Herwin Schaefer, Darthea Speyer, Gordon

Washburn, James N. Wells, and

For special assistance

On
Museum

Jr.,

A. Halbey, Thomas Howarth, Agnes Humbert, Harold

we owe

to Siegfried

& Co.,

behalf of the Trustees of the

Art and of the collaborating museums,

sincere appreciation to the

and dealers

who

Wichmann.

thanks to Jacques Stoclet

O. H. B. of Frankfurt and to Liberty

Institute, Pittsburgh,

H. Barr,

Joachim, Robert Koch, John Jacobus, William

and L. Wittamer deCamps of Brussels,

exhibition at the

Europe and

Leonard Baskin, Edgar Breitenbach, Bernard Dorival, Hans

the historicism of the past to prepare the ground for the

This book, issued in conjunction with the Art Nouveau

in

the following deserve

ing this style in which a specific creative force broke with

art of this century.

our prelimi-

tirelessly assisting us in

museums,

to

Museum
I

J.

Hembus

of London.
of

Modern

wish to express

my

libraries, collectors,

graciously lent to the exhibition.

Peter Selz
Director of the Exhibition

INTRODUCTION

In February 1894 Claude Debussy played his "Quartet in

movement, whose aim Walter Crane defined

G Minor" and "La Damoiselle Eiue"

our

(after the

poem "The

artists into

as

"turning

craftsmen and our craftsmen into

artists."^

Damozel" by Dante Gabriel Rossetti) at the opening of the first exhibition of La Libre Esthetique in Brussels.

many

In the exhibition were paintings by Puvis de Chavannes as

Behrens, turned from painting to architecture and design.

Blessed

Indeed during the

good
Henry van de Velde and Peter

late eighties

painters such as

and the

nineties a

well as Camille Pissarro, Renoir, Gauguin, and Signac, and

Redon, Toorop, and Ensor. In addition

also

ings, selected with

on

to the paint-

remarkable catholicity, there were shown

the same level with "fine arts"

William

Morris'

illuminated books of the Kelmscott Press, Aubrey Beardsley's

illustrations

for Oscar Wilde's Salome, posters by

The Arts and Crafts Movement

painter, poet, craftsman, lecturer,

William Morris,

and militant pamphleteer,

had been clamorous enough in his demand for a

and

tion of all the arts

crafts to bring

unifica-

about important

re-

forms in architecture, interior design, furniture, chintzes,

Toulouse-Lautrec, Cheret, and Eugene Grasset, tapestries

carpets, wallpapers,

and typography,

by Maillol, woodcuts by Vallotton, an interior designed by

such

in

to accomplish indeed

his

workshop. Similarly, Arthur

Gustave Serrurier-Bovy, spoons, cups, buckles, and bracelets

Mackmurdo, who founded

the Century Guild in 1880-81,

which Charles Ashbee had designed for the Guild and

emphasized the indivisible unity of the

School of Handicraft in London.

must have been struck by the

The

guests at this opening

diversity of the objects. Yet,

listening to Debussy's music, gazing at Gauguin's paintings,

and examining Ashbee's metal

craft, they

may

also have

perceived a purposeful attempt on the part of the exhibitors

to manifest a relationship

which was soon

between

to be spelled out in

the arts, an effort

all

Henry van de Velde's

lecture "L'art futur" scheduled during the exhibition.

Three years

later, in

May

1897, the

Alexander Koch called for "the need of

German

nical artists.

same
in

first

tion,

all

architect

and

tech-

belong intimately together in the

place, each thinking individually, yet

hand

the

They

working hand

for a larger whole. "^

This appeal was published in

issue of the journal

Deutsche Kimst und Dekora-

which almost immediately became the voice of

movement

in the visual arts.

The statement using

unification

new

approxi-

arts

and

crafts, as

did the Art Workers' Guild, established by Walter Crane

and Lewis Day two years

bition Society,

founded

later.

in

The

Arts and Crafts Exhi-

1888 with Crane

as president,

brought a comprehensive program to the attention of a

wide public by means of

An

strations.

was the

its

belief, first expressed

and demon-

and

life

by John Ruskin and con-

by Morris, that true

of man's pleasure in his

when

exhibitions, lectures

integral concept of the unity of art

stantly reiterated

a complete integra-

tion of all artists, architects, sculptors, painters,

work and

art

was the expression

that therefore the arts,

honest, were simultaneously beautiful and useful.

So they seemed to have been

the medieval period the

in the

men

Middle Ages, and from

of the nineteenth century

learned that high artistic achievement might best be accom-

communal effort. The men of the Arts and

movement would have fully agreed with Tolstoy,

plished by
Crafts

who
it is

postulated in

What is Art? (translated in 1899) that

among men, joining them together

"a means of union

same

and indispensable for the

and

mately the same wording as the First Proclamation of the

in the

Bauhaus,- which

progress towards well-being of individuals and of hu-

it

preceded, however, by twenty-two years,

was largely the outgrowth of Morris' Arts and Crafts

manity."^

feelings,

life

No

The "Decadence"

greater

be

could

contrast

encouraged

make

imagined than that between the old Tolstoy and the young

to

Oscar Wilde. The

ing.

as

he had for

latter

had

utility. Artifice

as little use for social

and

reform

affectation, perversity

and

egoism were the very essence of Wilde's world and of the

whole movement known

brilliant conversationalist

attitude

had

as

The Decadence. To Wilde,

and cultivated dandy, the

was more desirable than the work of

early

announced the intention of living up

and-white china, and to him and his

circle a

artful

He

art itself.

to his blue-

doorknob could

and craftsmen

architects, painters, designers,

similar efforts toward unifying

This unity of the

arts

the arts of

all

was most evident

in the

liv-

com-

prehensive design of the house. There the wallpaper design

is

and the

related to the light fixtures

and the

cutlery;

design of the book carefully echoes that of the cabinet. For

their

predominantly decorative qualities murals,

and stained glass are preferred

which,

when

tapestries,

to paintings and sculpture

introduced, are intended to be seen as part of

a larger whole.

The

jewelry corresponds to the furniture.

be as admirable as a painting; the necktie, the boutonniere,

Henry van de Velde and Hector Guimard followed Wil-

the chair, were of essential importance to the cult of living.

liam Morris by actually designing their wives' costumes so

We

find then a strange encounter in the

socialists

and moralists of the Arts and Crafts movement

an ethical obligation to reconcile

felt

to create a better

working

fn de

drawing into an

way

of

life.

of the Aesthetic

and

society

Movement

on the other hand, were eager

sophistication far

the

and

environment for themselves and for the

The Decadents

siecle,

art

with objects of more honest design and

classes

production.
the

1890s: the

to

keep

of

their

removed from popular culture by with-

esoteric

The

world in which

art

was

to

become

Yelloiv Book, that great journal of the

Decadence with Aubrey Beardsley

as its art editor, seems,

would become an integral part of the

It even went so far that when
Toulouse-Lautrec was invited to a luncheon at van de
that the very gesture

environment

(right).

Velde's house in Uccle, the choice of food,

its

color

and

consistency was harmonized with table-setting, curtains,

and the whole

tions

among

interior.*'

floor,

Horta abolished any

wall,

clear distinc-

and ceiling by creating

a fluid

baroque space based on plant ornament. The similarity be-

tween the composition of a printed page and the facade of

a building
easily

is

remarkable, and the

title

page of a book may

be transposed into a portaF (see page 44)

however, related to Mackmurdo's Arts and Crafts publication,

The Hobby Horse,

typography (page 26),

terial,
artists,

and

in the

in

its

its

freshness of approach to

use of original illustrative ma-

combination of

stories,

drawings by new

advanced poetry, and essays on music and other

cul-

The Search for the New

The 1890s was

a period

of boldness in experimentation, a time which not only

tolerated

new

ideas but

was eager for novelty,

if

not the

sensational. Disgusted with the old naturalistic formulas

The two

whether in the imitation of nature on canvas, or the imita-

journals were strikingly different in purpose and appear-

tion of craftsmanship in cheap, machine-produced furnish-

ance, but even so the Decadents

ings

tural aspects catching the fancy of the editors.

seemed

to agree with the

moralists that a synthesis of the arts was utterly desirable.

people seemed

to have

tinism which characterized so

had

their

much

fill

of the philis-

of life and taste of the

The flagrantly inequitable social conditions made a great many artists and intellectuals turn
toward socialism and anarchism. The success of technology
nineteenth century.

Synthesis of the Arts

Motivated by

this desire,

both

groups shared an admiration for Richard Wagner,^

who

combined a rather synthetic but nevertheless clearly pronounced belief in folk art with the actual creation of the
Gesamtkunstwerk. Indeed the German composer's attempt
at synesthesia of music and drama for the "total theatre"

as the great benefactor of the

faith in materialism

There was

also a

masses was questioned, and

grew shaky.

move toward

religion

and mysticism.

Both Beardsley and Wilde were penitent converts to the

Roman

Some

Catholic Church before their deaths.

of the

Nabis became ardent Catholics, Jan Verkade even joined a

monastery. Others turned toward Buddhism; the Rosicruand Theosophists had many followers among the

cians
artists

^^^^Ik^B^I

and

writers.

Symbolism
quotidian

Shunning narrative and

concerned with the veiled essence of

disinterested in

writers and soon other artists

affairs,

became more

with the idea

reality,

behind the shape. In 1886 Jean Moreas had published the

Symbolist Manifesto,^ summarizing concepts which per-

meated the poetry of Verlaine and Mallarme and the prose

of Huysmans. Realism in art and naturalism in poetry were
i

ifVHffl

rejected in innumerable "little reviews" of the avant garde.

1

The aim

of art was not to describe observ^ed

"To name an

rather to suggest felt reality.

Mallarme, "that

is

reality,

but

object," said

to suppress three-quarters of the enjoy-

ment of the poem which comes from the delight of divining

little

by

little: to

suggest

Verse dissociated

that's the

it,

itself

from established

instead of describing nature

and sensations,

dream. "'-

it

patterns,

and

attempted to externalize ideas

to reveal the true

meaning of

and nature

life

by evoking a direct response through the use of sounds,

rhythms and associations. The symbol gives concrete form

to the ideas
itself to

something

it is

not didactic like the allegory;

the emotion, not the intellect;

else, it is close to

(c.

1896).

it

addresses

does not stand for

both the key to the

his personal

in close association with the Symbolist poets.

dream
Their

means of
evocative and decorative form was adopted by a group of
painters at Pont-Aven dominated by Paul Gauguin. ^^ Soon
this attitude found its expression in the painting of the
program of expressing

de Velde: Dress

it is

meaning and the meaning itself.-^"

In France, Odilon Redon developed
world

Van

myth;

it

Nabis

in France,

Munch

in

subjectively an idea by

Ferdinand Hodler in Switzerland, Edvard

Norway, Gustav Klimt

in Austria,

and

in the

drawings of Aubrey Beardsley in England and Jan Toorop

in Holland.

Almost

in the vases of

at

once

Emile Galle

it

appeared in the applied

arts:

significantly called etudes

in

which shape, color and texture created

symbohst decor,

see

it

in the

whole poster movement of France, and

or represent nothing, recall nothing, yet

been able to do."^^

it is

noteworthy that the Symbolist periodical, La Plume, after

Terminology

This was the ultimate formulation of

devoting special issues to the work of Verlaine, Mallarme,

the chief esthetic characteristic of a

Huysmans, and Baudelaire,

veloped simultaneously

in

1894 inaugurated poster

special issue to the

ex-

and devoted a

hibitions sponsored by the Salon des Cent,

work of Eugene Grasset (page 39), one

new poster movement. ^-

artists

relationship between Symbolist writers

was intimate. They published

in France,

all

movement which deover Europe. By the late nineties

"Art Nouveau" had achieved a remarkable international

and the avant garde. In the

success as the style of fashion

of the chief exponents of the

The personal

various countries

and

it

went by

different

names and was,

in

ambivalently considered a national style or else an

fact,

same journals

import from a foreign country, depending on a positive or

Belgium, Holland, England, and Germany. Fre-

negative attitude toward the mode. Only fairly recently has

quently the

artists illustrated

in the

the poetry and prose of their

it

avant-garde companions. ^^

been generally recognized

At

The

The place occupied by sound in

was now held by line in the new art

Symbolism of Line
Symbolist poetry

(frontispiece). Line

became melodious,

ing, flowing, flaming.

The symbolic

first,

nobody seemed

as

an international movement.

to

know where

themselves had

made

especially in graphic design

agitated, undulat-

called

quality of line as an

bolist

it

it

was referred

to occasionally as

is

of the characteristics of the

new

upon the

staffs

sible for

of line

these subway entrances

furniture of Paris

Edmond

line determinative, line emphatic, line delicate, line ex-

pressive, line controlling

a great

de bouche de Metro." Hector Guimard, the

all-important. Let the designer, there-

fore, in the adaptation of his art, lean

and went under

and uniting. "^^ At the same time

preferred

"Modern

many names at first, such as

more literally, "Style

Style,"

many

and

Art Nouveau. In France, the country of the Sym-

movement,

the graphic "Style nouille," or, even

movement: "Line

originated.

never really participating in the full-blown movement,

Crane, whose work, although in the William Morris tradition, anticipated

it

English, not realizing the major contributions they

evocative force was expressed as early as 1889 by Walter

which

can stimulate our souls as deeply as the tones of music have

We

Verlaine, or Maeterhnck that were fired into the glaze.

mean

w^hich

underhned further by aphoristic phrases from Baudelaire,

his

this

own

man

respon-

odd-looking
"Style

street

Guimard."

de Goncourt, aware of the streamlined elements,

pejoratively called

it

"Yachting Style." Eventually the name

Seurat and Signac, following the researches of Charles

Art Nouveau was adopted. In Germany

Henry, spoke of complementary line as well as comple-

ously called "Belgische" and "Veldesche" after the Belgian

mentary color and then van de Velde, himself originally a

Henry van de Velde, who, upon coming to Germany in

1897, had assumed leadership of the movement there. Or

Neo-impressionist painter, wrote of the line as "a force

which

is

This

active like all elemental forces. "^^

is

it

the esthetic basis of Horta's abstractions of

cate linear loops in the Tassel

House;

it

is

Metro

worm

stations, or of Endell's facade of the Atelier Elvira

Munich. Endell saw the ultimate meaning of the new

Symbolism of form when he wrote in 1898: "We stand at

new

art,

an

art

was

at first vari-

to as "Studio-Stil" after the English publi-

reflected the

Society.

work of the Arts and Crafts

Other more whimsical names were

"Schnorkelstil" (flourish-style) and "Bandwurmstil" (tape-

Guimard's

in

the threshold of an altogether

which

Exhibition

the essential

quality of the fantastic vegetative ornaments of

was referred

cation

intri-

it

style). It was,

the highly popular

the vocabulary.

with forms

stir

10

'

however, the term "Jugendstil," from

Munich magazine ]ugend, which entered

The

Austrians referred to

it

as "Secessions-

because of the Vienna Secession which, under the

leadership of Klimt, Hoffmann, and Olbrich, was holding

highly cosmopohtan exhibitions in Vienna.

The

1897

who

Scots,

call

which was acclaimed

in Dresden,

new

inaugurating a

time."^''

The

"The trumpet

as

special pavilion,

"Art

undoubtedly had a considerable influence on the Viennese,

Nouveau Bing"

named

1900, stressed the work of Colonna, de Feure, and Gaillard,

"The Glasgow School." In Spain

their corollary

was called "Modernismo,"

in Italy

it

went by the

title

it

and though

of

"Stile fioreale" but, generally, as "Stile Liberty" after Libert)''s

it

London

store

offered for sale.

of the double

and the printed, often Oriental,

The

meaning

called "Paling stijl"

St)'le

Italians,

no doubt, were

epoch-making, showed a refined

less

which seemed lacking

in

most of the

taste

exhibits.

textiles

fully

name. In Belgium

in this

the Paris Exposition Universelle of

at

aware
it

Anti-Historicism

was

{Paling: Flemish for "eel") or "Le

des Vingt" or "La Libre Esthetique" to identify

In an article which Bing wrote

about the term Art Nouveau, he says that

it

the

name of an

for

all

it

was "simply

establishment opened as a meeting ground

ardent young

artists

anxious to manifest the mod-

with the names of these exhibition groups which, under

ernness of their tendencies,"-'^ and, taking issue with the

the brilliant guidance of Octave Maus, were the most ad-

historicism

vanced anywhere in Europe and were largely responsible

for the leadership Brussels

assumed

in the

"Amidst

new movement.

which was
S.

finally accepted in

The term Art Nouveau,

in Paris. Bing, a native of

at 22,

The

ously been primarily concerned with Japanese art as connoisseur, publisher,

and

dealer.

Vincent van

York branch
For his

Salon de

I'

Ibels, Roussel, Serusier,

ton,

and Vuillard

to

States.

The Salon

artists as

ing the applied arts on an equal basis

Otto

Vienna that the new

Wagner wrote

ten years

style

was not a renaissance,

life

alone must be the sole

and

that all else

is

on the building he designed for

1898: Der Zeit ihve Kunstr*

and the preface

to the

Munich

and

indeed gave the

name

to the style in

Paris

"We

want

we have

published an

also intro-

duced van de Velde to Paris by inviting him to send four

series on the

completely designed rooms to the establishment. Less than

that there

two years

all

to

And

plac-

says all

Bing had van de Velde invited

of

and will also change

suited to the day,

the Vienna Secession in

part:

later

is

inscribed in large letters

and Mackintosh. In 1896 Bing presented the

Munch. He

much an earmark

as

starting point of our artistic creation,

Tiffany, jewelr)' by Lalique, posters by Beardsley, Bradley,

exhibition of paintings by Edvard

was

archaeology.-^ Wagner's student, Joseph Maria Olbrich,

itself

glass by Galle

first

an astonishing

striving toward the synthesis of the

but a naissance, that modern

well as Car-

Denis, and Khnopff, sculpture by Rodin, and

its

day changes."-^

later in

in

Grasset,

designs for stained glass executed

included paintings by most of these

was

as

art if for the day,

Toulouse-Lautrec, Ranson, Vallot-

make

by Louis C. Tiffany in the United

riere,

New

as the

December 1895, Bing commissioned Bonnard,

different habits

What

As early as 1885 Louis Sullivan, whose work predicted

so many characteristics of Art Nouveau, proclaimed: "Our

Gogh was one

Art Nouveau, which opened

when

arts.

of his establishment.^^

first

centuries,

anti-historical attitude

Art Nouveau

previ-

of his customers^' and Louis C. Tiffany patronized the

vogue in previous

in

anachronism!"-^

rue de

Hamburg, had

scientific discoveries

and different masters were current.

most countries, derives from

Bing's shop Maison de l'Art Nouveau,

Provence

upheaval of

this universal

the decoration of the day continued to be copied from what

was

Maison de l'Art Nouveau

so prevalent at the time, he continued:

still

Germany

to call the

to say."--^

article

was

little

new weekly Youth. This

When

in

in the

United

agreement among

common was

which

Germany, reads

really

in the first critical

States,
its

he pointed out

adherents and that

"an underlying character of

protest against the traditional and the commonplace."^^

to participate in the large international art exhibition of

11

in

1902 A.D.F. Hamlin

on Art Nouveau

movement

they had in

periodical Jugend,

Acceptance of Modern Technology

this

As

self said: ".

part of

break with historicism and in contrast to the attitude

of the Arts and Crafts movement, van de Velde defended

the machine as an acceptable tool for the designer.

sidered the engineer

new

"the creator of the

ments, just as

He con-

Hankar and Horta, made wide use of

buildings, and Horta displayed the structural

Rococo

is

to

that Horta's sense of design

and

It

would seem more

esthetic feeling

murdo, Khnopff, Toorop, and Beardsley

use of iron.

and

One

like

style,

Celtic Art

without, however, elevating

Nouveau artists were convinced that

new and contemporary st}le in which

In general, the Art

was "advanced" and

the attitude of epater le bourdesirable.

The

culture.

magnificent

is

individuality of Art

partly

Nouveau

due to revivals of

specific

Nancy School seemed inspired by the

of the Celt attracted the Glasgow designers

the

The

flat

of

patterns

Celtic

tangled interlace and coiled spirals

geometry

is

manuscript pages,

is

rigidly controlled by

echoed in the early drawings and repousse de-

signs by Mackintosh

in the theatre pro-

new

Art Nouveau claimed to be the

new

iron ornament of the

art

avowed break with tradition was

never complete. In certain ways Art Nouveau actually betime.

Yet

page

9 ) and the Macdonald

sisters

century had earlier run the

first

at the

Empire

styles.

gamut from the Egyptian

to the

merged with

Gothic

The

a rococo revival.

The

fascination with the Celtic

more comprehensive

interest in the

is

part of the

Middle Ages which

spanned the nineteenth century. The Gothic Revival had

revival

baroque revival of the second.

end followed Art Nouveau which,

at least, often

Glasgow School of Art (page 145).

its

longs with the nineteenth-century historical

Now

its

page 18) and appears again in the murals of the Buchanan

(
Street Tearooms of 1897 (page 69) and in the wrought-

Historicism

of the

Nancy with

brooches and chalices in which intricate linear design of

scathing social

grams.

of the

closest to the gracefulness

of the nineties in their search for an independent national

impudence of the unconventional Art Nou-

veau whiplash ornament that appeared

If

rococo, the cult

accusations of Ibsen's plays found, in a certain sense, a

parallel in the

came

The marked

in different countries
traditions.

the flouting of convention

from eighteenth-century draftsmen

Saint-Aubin and Debucourt. Galle, Majorelle, and

eighteenth-century Place Stanislas.

Nouveau was
means

geois

in

however, have substituted a

of rococo design, working in

functionalism to an esthetic principle.

they were evolving a

characteristics can be observed

Vallin, however, probably

his

the acceptance of technology' and the machine as a

toward creating a new

a preference for a light, high-keyed

Rococo

culled quite consciously

pos-

dictate his fluid,

of the essential aspects of Art

part of the general decor. Painters and

showed

more abrupt termination for the easy, elegant flow of the

eighteenth century. Aubrey Beardsley in his last drawings

organic forms, iron was a fitting material for the architect's

purpose.

develop-

"29

his vigorous curves which,

likely

determined

But although the metal did not

grace, ele-

Horta's flowing space, in his asymmetrical ornamentation,

qualities

with drawings and designs by Mack-

sibly his familiarit)'

new

Art Nouveau shared with the rococo a desire

color scheme.

iron in

not to stay that iron construction was actually one

of the sources of Art Nouveau.-^

it

the thread [of the French tradition] had

make painting

decorators

House with ornamental emphasis.

of iron in his Tassel

This

up the thread of

architec-

whose boldness has surpassed even the daring of

the builders of cathedrals, and who now works in metal
and glass instead of stone and wood. His Belgian contheir

if

not been broken.

ture,"-"

temporaries,

try to pick

gance, sound logic, and purity, and give

begun

in France

Hill,

As Bing him-

in the

1750s with

and continued

Sir

Horace Walpole's Strawberry

to flourish

under the aegis of A.W.N.

Pugin, Ruskin, Morris, and Viollet-le-Duc.

12

The

latter, in-

deed, advocated the use of iron as a

and the unconcealed display of

new

building material,

members

structural

in the

Gothic may well have inspired Horta's daring use of iron,

while van de Velde was proud to admit his conscious use
of Gothic space concepts.^" But in addition to their admiration for the rational nature of Gothic architecture, Art

Nouveau

were

artists

also

intrigued

by the ornament,

These

especially in the late manifestations of the Gothic.

with their observations of natural growth,

late buildings

and

their flamelike

leaflike tracery,

double curved ogee

arches and flowing shapes, are called Curvilinear in Eng-

land and Flamboyant in France, and even their names are

descriptive of the very elements

which appealed

to the

Art Nouveau. Guimard's Castel Beranger and Horta's

Hotel Solvay, for instance, exemplify the relationship of

Art Nouveau to the Flamboyant Gothic.

Blake

similar flowing, undulating Gothic linearity

appears in the book illuminations and temperas of William

Blake, and there

no doubt

is

that

he exerted a major

influ-

ence on Art Nouveau,^ ^ although the fervent feelings, conditioned by his visions, are not reflected. There

is

in

The Songs

of Innocence page 15), for example, not only the smoothly

flowing line, but also a comprehension of the page: the in(

terrelationship of typography

Hobby Horse had

frontispiece of the

Blake motifs. "^^

who produced
acteristics

It

the

good many references

first

issue

Initial for Book, of Kells. Celtic illumination,

and ornament. Mackmurdo's

is

to Blake,

century A.D. Victoria and Albert

and the

"obviously a pastiche of

was Mackmurdo, the admirer of Blake,

first

work which combined

all

the char-

of Art Nouveau: the chair designed in 1881,^^

and the second, the

title

page of his book Wren's City

Churches (page 27) published in 1883.^*

Exotic Art

The

nineteenth century, having

to exhaust nearly all sources of inspiration in the

past,

turned

Nouveau
flat

at last

beyond Europe and the Near

designers, for example,

batiks introduced by

can sculpture was

first

managed
Western
East.

became interested

Dutch importers from

reproduced as "art"

Art

in the

Java. Afri-

when Dekorative

13

8th or 9th

Museum, London

tween Japanese

art

and Art Nouveau.

Whistler was followed in his interest in Japanese

art

by

Manet, Monet, Renoir, Degas, Gauguin, van Gogh, and

Toulouse-Lautrec; each took what he needed. Japanese tex-

and

and prints began entering

fans, lacquers,

tiles,

it is

Art Nouveau
fany,

men

noteworthy that

as intimately

Arthur L. Liberty, Louis C. Tif-

as S. Bing,

Aubrey Beardsley, Otto Eckmann, and Toulouse-

Lautrec are to be counted

lectors of

Most

Japanese

among

the important early col-

art.

significant for

Art Nouveau was the two-dimen-

sional planar aspect of the Japanese color

itself

collections,

connected with

an expression of a

woodblock

late cultural phase; its

central perspective in favor of broad,

absence of

homogenous, reced-

ing planes; the division of the picture space into large,

unified areas; the evocative quality of the line in establish-

Windovv, 13th century

St. Severin, Paris.

ing a linear rhythm; the expressive contour; the use of color

for

flat

pattern effect instead of illusionistic modeling; the

asymmetry of the composition and energetic diagonal move-

ment of

linear design, frequently originating in the corner

of the picture; and the simplification of natural forms for

Kunst published a number of Benin bronzes

some five years

in Dresden and

prior to

its

in 1899^^

the sake of the picture.

discovery by the Expressionists

Art Nouveau and Nature

the Fauies in Paris.

The Japanese were

to deal intimately with nature without ever

Japanese Art

surface

But of greatest importance especially

and the graphic arts was the impact of Japanese

Here was a completely new esthetic expression in

appearance.

had great

in painting

course,

art.-'*'

Nouveau

artist,

spiration,

found

which each Western

own
to

artist

could find inspiration for his

individual style. Whistler was the

show the

are used in

first

The whole

faith in the

nineteenth

its

century,

of

world of nature and the Art

going to nature for a major source of

Japanese

in

art a

way

very forces of nature in energetic, rhythmic line. Unlike

major painter

the Impressionist, he was no longer concerned with

La

tary visual stimuli

64; the famous Peacock

du Pays de

Room

la

Porcelaine of 1863-

of IS16-11

is

in-

to re-experience the

direct influence of Japanese art. Japanese motifs

Princesse

able

copying

fallible

entirely deco-

code of

on the

all

retina.

Nature was

still

momen"the in-

laws of beauty,"^' but he wished to

rated in a design inspired by Japanese interiors. Moreover,

explore the forces of growth and to represent them sym-

Whistler also often placed his models against plain light

bolically.

walls and

showed

a similar preference for sophisticated

simplicity in contrast to the burly heaviness of the arts

and

Whistler was extremely important to

men

crafts of the day.

like Beardsley

Art Nouveau

artists

were often careful students

of botany: Galle wrote scientific articles on horticulture,

Grasset realized the applications of plant study for the

ornament,^* Obrist started his career as a natural

and was perhaps the chief intermediary be-

Ernst Haeckel, the

14

German

biologist

new

scientist.

and explorer who con-

m^^'"r,
Plate 18, The Songs of
The Metropolitan Museum of

Blake, author and printer:

Innocence.

Wood

Art,

engraving. 1789.

New

York

Utamaro (1753-1806): Snow, Moon, Flowers

Compared to Women. Color woodcut, Publ.
Murataya

15

and who

tributed significantly to the theory of evolution

wrote a great many monographs on lower forms of

published in 1899
Natur.^^ This

his

work

consisted mainly of greatly enlarged

which had never

in nature

exclusion of men,

were suddenly made available

it is

Nouveau world and

epoch-making Kunstformen der

pies the artist

the

her hair

is

configuration. Loie Fuller's serpentine dances

to the artist

and were further-

terfly,"

desire to be able to contribute motifs to the arts

and

erotic function as the flowing tresses of

female. This girl-woman, to a great ex-

from the hothouse creature of the Pre-

Raphaelites, has the same ambivalent eroticism of a small-

Indeed, the Art

Nouveau

interior at

breasted, narrow-shouldered, virginal, indeed often boyish

culmination

its

Almost emaciated, her body

creature.

low Tearoom, Guimard's Humbert de Romans Building,

languorous in

woman who

wood, stone and

Beardsiey, Toorop,

clinging tendrils

climbing stalks and

plaster, suggesting

produces the effect of a suddenly

fossil-

set,

It

which appealed

comed motifs of

was nature

its

most unexpected

Art Nouveau

to the

creatures

in

Thorn

interest in the

found

at the

artist.

He

from what

as-

seemed

wel-

bottom of the

own

tours corresponded to his

he used a flower,

it

is

bud and the young

fulfillment; there

Beardsiey, and

graphy: the

lily,

the Aesthetic
is

Art Nouveau icono-

its

more often than the whole

bird,

and soon the

style,

pad

is

more

interesting than

triguing than the blossom.

in popularity. Equally a

its

never

Eckmann died

early.

Horta and Mackin-

Prikker, Bernard and Denis, even

to a conservative style

and were

Hector Guimard continued in his Art Nouveau

Some

of

the

architects,

like

Hoffmann,

Behrens, and van de Velde, were able to develop beyond

in-

Art Nouveau to become important in the "Modern Move-

surpasses the peacock

ment" which followed, while painters such as Bonnard,

Vuillard, Kandinsky, and Picasso found their own unique

leaves, the

The swan

it

but his buildings of the twenties and thirties are

anachronisms.

and stem take precedence over the flower. The tendril of the
vine

He

never able to follow through on the brilliant promise of

occur

lily

removed

perhaps eager expectation, but

Toorop and Thorn

their youth.

regular,

less frequent, the peacock's tail feathers

is

Edvard Munch, reverted

peacock and sunflower are adopted from

Movement, but the sunflower with

far

Nineties."

to

tosh,

and pale blossoms he found exquisite.

in

was

"Gay

go beyond the threshold. And indeed the whole

movement only makes beginnings. Toulouse-Lautrec,
seems

feeling for the flowing

was not the ordinary garden

recurring

artist

girl suggests that

to prefer a melancholy, nostalgic expression to un-

whose long

Certain motifs keep

Nouveau

usually thought of as the

or field variety but rather the languid, exotic hothouse plant,

stalks

Prikker, Bernard, Denis, Gras-

bridled gaiety or joy. Everything remains in a state of un-

sea,

the shapes of their tentacles or general con-

if

the

appears in different disguises in the world of

the ideal world of the Art

Iconography

is

Macdonald, Mackintosh, and Klimt.

The

ized conservatory.

extremely

yet

is

sexually suggestive poses. This

its

Endell's Atelier Elvira, with their sinuous shapes of iron,

form

veils per-

Nouveau

tent descended

crafts

Her

formed the same

the Art

Horta's house for Baron van Eetvelde, Mackintosh's Wil-

radial

Lily"

pression of certain art impulses at the time.

of his time.

curves. If

"The

Fire,"

"The wavy
Butenjoyed

the highest popularity and can be seen as the most apt ex-

and he expresses the

role in the compilation of the book,

"The Orchid," "The

which may

a general

been seen before

introduction that esthetic considerations played a major

especially

long, flowing hair

really

more presented in a layout and graphic style that was very

much in the visual idiom of the period. Haeckel says in his

pects

woman who dominates the Art

woman which pre-occu-

the aspect of

merge with the drapery or become part of

and polyps.

color drawings of amoebae, jellyfish, medusae,

Forms

gins to flow, partakes of constant movement. Almost to the

life,

symbol of pride, he

of gliding with the utmost grace, and

now

bud more

is

also capable

expressive forms after their Art

everything be-

16

Nouveau

apprenticeship.

By 1900

fashionably chic
it

filtered

than to vegetative growth. Whenever used, ornament be-

become generally accepted, even

among the elite. Within the next two years

the style had

comes geometric: the right angle takes the place of the

down, and the international exhibition of deco-

rative arts

sinuous curve; the square, the

held in Turin in 1902 showed the popular

triumph and the concomittant decline in

taste.

Art Nouveau

buildings such as Mackintosh's

was always an ornamental style, but at its best its ornament

grew from a desire for symbolic-organic structure. But
when it was merely applied, it tried to make up in ornateness for what it lacked in conviction.

Hoffmann's Palais
tially

rests

With almost sudden

to a halt.

"Organic" will

material, to fitness

and

now

still

on

its

tion of an "anti"

comes

Nouveau

movement.

more rectangular

whose evocative power

fulfilled the liberating funcIt

discarded the old, outworn

century.

Peter Selz

to the function of the object rather

IM/iil
t

Haeckel:

line for a

adhere to the Art Nouveau principle

followed with such extraordinary rapidity in the twentieth

refer to the nature of the

Ernst

(pages 142-143), while par-

conventions and set the stage for the developments which

deliberation the inventive-

rr.^.

a Connoisseur or

linear rhythm.

Historically Art

began to look in a different

ness of ornament, the playfulness, the organic feeling

the rhomboid, the

House of

of a two-dimensional decoration

Having been able to create a unified style and to shake

heavy hand of nineteenth-century imitative compul-

direction.

Stoclet

abandoning the wavy

ornamentation,

off the

sion, the avant-garde designers

circle,

oval are preferred to the stalk, the wave, the hair. But

Palephyra

Primigenia,

Kunstformen der Natur, 1899- Bibl.

lection New York Public Library

17

from

54. Col-

Macdonald:

Frances

Left.

1894.

Pond.

Book cover

Jan Toorop:

Delftsche Slaolie.

Poster. 361/4 X

2A%".

Stedelijk

1895.

Museum,

Amsterdam

Left,

Behrens;

Feste des Lebens

Dedication

und

page

for

der Ki/nsl, 1900

Beardsley:

Are Atque Vale from The

Savoy No.

7.

1896. Ink. Collection the

Honorable and Mrs. John Hay Whitney,

18

London

GRAPHIC DESIGN

In the graphic
style

Art Nouveau was a tremendously varied

arts,

which encompassed

a considerable diversity of ex-

pression ranging from the spidery, linear

'4

tosh

work of Mackin-

and the Macdonalds through the

(left)

rectilinear

borders of Peter Behrens to the sinuous illustrations of

Beardsley

opposite )

In the hands of Toorop and a few

other Dutch and Belgian

artists,

Beardsley's whiplash line

new expressive
Koloman Moser and Rudolf

proliferated and elaborated itself into a

element, and such designers as

von Larisch (page 20) asserted the power of

spatial

and

value contrasts in their lettering.

Through

the

work of graphic designers Art Nouveau

extended beyond national boundaries into areas where, for

Li

reasons of

the

new

shop

economy

style

signs,

or taste, the

more

might never have been

elaborate works of

The new posters,

became so much a

seen.

and lettering for buildings

part of the everyday scene that they could not fail to be

noticed even by those

who might

furniture and household objects.

try to

avoid the

new

Books and magazines

could be circulated far more easily than paintings or sculpture,

THE SCOTTISH
MUSICAL REVIEW

and through work such

as

van de Velde's designs for

Tropon (page 23), the

of industrial design where a

the prepared food,

into the field

decorative concept was imposed

artist

entered

characteristic

upon everything

associated

with a product.
Considering the interest of the Art Nouveau
transforming
Mackintosh: Scottish AUaical Revieti:

1896. Poster. 97 x 39".

Museum

of

Modern

Art,

New

all

things which might possibly be important

in the visual world,

The
York

artist in

it is

scarcely surprising that

he should

have turned his attention to graphic design. Moreover, the

Symbolist writers
artists

who were admired

of the 1890s had

by so many of the

shown the expressive possibilities

The stock-in-trade of Huysmans

inherent in graphic design.

and Oscar Wilde, for example, was the single object, exquisitely displayed, which served in their novels to elicit

19

from the

extraordinarily deep responses

finely attuned ner-

vous system of the sensitive beholder. Time and again in

f?0OTQ-Ti^llM?JL2O5K)

Reboiirs} or in

object

The

Picture of Dorian Gray,^ this single

a jewel, a bowl, a flask, a flower, or a

off a chain of reflection

QUCikaSRUETRUf^D

gonist far

PSV(nQi^GOFncmj

writers, this object

rPCTUHIII)V^UHDCR@

the

book

is

moods

is

sets

and how often the binding of

a book,

A Rebours,

books

in his library

contents in the

its

Huysmans has

shapes,
fitted

on the

his hero,

basis of the different

expressed by various type faces.

out Civilite (left), with

1900

book

carries the prota-

Esseintes, concern himself with the t)'pographical suita-

bility of the

face.

which

even more important than

process of evocation. In

Moser: Type

activity

from the everyday world of philistinism.

remarkable how often, in the works of the Decadent

It is

Des

and

Huysmans

singled

swelling curves and curious

its

The

for special mention.

finicky

Des

Esseintes

the typography of his specially printed books to their

texts according to a principle of aptness, so that Civilite

gleicherv. dr iich

in

seiner

beim Buchsiabr\

Doppelei^enschaft

als

Zierde und als ZwccK ergibl und

es wird in jedem einzelnea Fall*
di? fTa^t zu teien sin.ob der ZicrodcT der ZwecVgedankc zu betonen
ist die
LeserhchKeit
ist. Obngens
cm mit der Zeit sich vcrandemder
Begri^f ,vne oder die andere Buchslabengeslalt die noch vor wemg
Jahren argen Ansioss erregle. hat
5ich heule vdllig emgelebt und lasst
sogar die damAls gebrauchliche
Form verallel erscheinen Das tntitehen cmer neuen Schnftgatlung
bnngl geradezu zeitweilig die oermgcre LeseHichKeit einielner Such
siabcn mil sich Man vcrseize sich
z. B. in die Zeit der tntwickelung
.

"... whose peculiar hooks and

der goihischen Schnft aus der

flntiqui
o o o
Der urspTundlwhe Plan.diese Sammlung

mil

a special edition of

vriehen.

zu.

wurde im Imeresse der Gesammt

wirWung des Wcrkes einslwcilen
untedassen So ansehnlich auch die
der

Zahl

Werke

Kunsiler

isi

die

in

1884 anticipated by

ich docH noch auf Seine weilere

Ausgestaltung Dann wird Sith auch
das Lehrhafle
ubrdiei auf einer
b'eiteren Grundlag meihodischcr
trfahrungen
pas&ender cinfugeo/Aoge das Inleresse der betheiUoten
Krcise bald die Moghchkcit bieien.
diese Absichien zur That werden
zu Ussen.
o o o

(WoVjTc,

coil c<;c

fciT )amCt(9
cfo^^

f"^
,t

1.

fit_

Oscar Wilde went so far

as to

no fewer than nine copies of

1900

have Dorian Gray procure

his favorite

book (obviously

Reborns), bound in various colors and fashions to

changing moods and

was

(V

r-fo iMC^

rc|>cc.--

.^a

"C-

(-

ef' rc^c

^e<^

(J

r" C-

"(9-

>C 1(9-

tcnc-^

C.tr,

tic-'

cote

^u
aui

'^roi

I--,

desires.

that the bindings of Art

we

can understand

Nouveau books

pCM

^^anca-

f^

(,L.-

how

among

style

it

the

(right).

and masterful contrasts of color and materials, remaining

quite free

from the demands of

textual reference or the

limitations of advertising communication.

signs,

(cS incom mo^ec,

J

are

fof..,o.|

(cS- ra-,
U.,

parfcl^

suit

Here the designer could indulge himself to the fullest in

his love of expressive linear movement, elegant flat spacing,

corpi<^ C0iiffrt_',
(o,

FOI>V

>>

>a M-r

several years

underlay the whole art of graphic design in Art Nouveau.

most lavish and impressive works of the

t:.aM,_

or

up

the formulation of the principles of visual symbolism whicli

In this esthetic atmosphere,

face.

was used

Barbey d'Aurevilly's Les Diaboliques.

Huysmans' conception

dem

ihrc Kraft gclieKtn. so hoffe

his

von Larisch: Type

up

to print

flourishes, curling

a satanic appearance,"

einem Anhange schul

Beispieie

massiger

down, assume

moreover, were not restricted to the

The new

commissioned handbinding (opposite above), so close

encore' ^Tnoinl^

de-

costly, separately

in

conception to jewelry and other decorative objects, but were

conceived as well for edition bindings (opposite below)

La

Cntlite.

Type

face. French. l6th

to be

century

20

done

entirely by machine.

Beardsley: Binding for Le Aiorle

1893. Klingspor

d' Arthur.

Museum, Offenbach

Beardsley: Binding for Salome.

1907.

Klingspor Museum, Offenbach

Cobden-Sanderson:
Areopagitica.
fiir

bmding

1907-08.

Kunsthandwerk, Frankfurt

MAKEBCLItvr:.
1-

11^

^ if)

^^
.\

^
^

J
IMMXJWIW
T-

Binding

for

Ahilvaney

Stories.

1897. University of Chicago Library

Ricketts:

Binding for In the Key of

The University of Chicago

Robinson:

Binding

for

Aiake

John Lane. Uniof Chicago Library

Blue. 1893.

Believe. 1896.

Library

versity

21

for

Museum

THE CHARACTERISTICS OF ART NOUVEAU

GRAPHIC WORKS
What

is it

that

makes

a twisting, living thing, enclosing or even swallowing

book or poster Art Nouveau? Some

is

works. While this

is

appropriate, the

in

many

is

tempting in

its

simplicity,

same kinds of curving

out of

many which might be

found

with Beardsley,

and

tional effect

cited, is the dotted print of

After

fifteenth

The serpentine curves are there, to be sure, but

somehow they do not evoke the same response as the lines
(below)
fill

The arabesques

in the

German

print

seem only

static in its

the

is

composition.

exoti-

shares

its

clearly

fits

emo-

presence

not sufficient to define the

work of Mackintosh

utilizes

The mere

it

style.

into Art

the linear rhythms which he

to Beardsley's.

another of the characteristics which

has been cited as peculiarly Art Nouveau: the flattening of

space,

and the consequent importance given (in two-dimen-

sional works, such as prints

to

upon which the work

two

is

and paintings)

to the surface

done.^ In the Beardsley page this

rhythm

flattening of space can certainly be observed, especially in

work they remain apart from the other elements in

As Beardsley uses the curve, however, it becomes

the border which seems to be a screen of interlocking white

angels; although they are part of the over-all linear

of the

all,

Mackintosh

illustration for the Alorte d' Arthur

the spaces behind the figures of Christ and the upper

remarkably straightforward in

Nouveau (page 19) and yet

used are by no means similar

centur}'.

in

is

print, despite the curving lines

of the serpentine curve

Christ as the Alan of Sorrow with Four Angels (below),

Aubrey Beardsley's

German

itself

to entangle a neighboring form. Beards-

evoked a feeling of sensual weirdness and

cism; the

One example,

done by an anonymous German printmaker of the

engulfed by the curving branches which surround

is

Nouveau

lines are

by any stretch of imagination or chronology.

is

tration

ley has

and often

other works which cannot be called Art

whatever

and then move out

the one thing which most clearly characterizes these

up

illus-

him, and each line in the border seems to loop in upon

observers^ have suggested that the serpentine or whiplash

curve

nearby; the figure in the upper left of the

lines over a black

the picture.

background. In other works

this is

even

King Arthur.

-wb<ci.ia>.

^t

iii.i

y ft^ rb iiMia jcn

r.^M,. ifi*7.*J.

22

11

Anonymous, German: Christ as

the Man of Sorrow xvith Four Angels.
15th Century. Dotted print. The Art In-

Far

left,

stitute of

Left,

Chicago

Beardsley:

from he Alorte

Text

and

d' Arthur.

Van de Velde: Tropon.

18% X \2W- Museum

illustration

1892

c.

1899. Poster.

fiir

Kunst und

Gewerbe, Hamburg

23

more

evident, for

example

in

Henry van de Velde's Tropon

than are the serpentine line and

poster, where the powerfully repeated linear motifs pull

It

should be clear by

now

flat

spatial arrangement.

will not be yielded by formal analysis alone.

gesting that the design might occupy a third dimension.

istics

Yet even

not

this is

tlie

exclusive property of Art Nouveau,

as a look at a Celtic illumination of the eighth or ninth

century (page 13) will establish.

The

style,

particular

way

ment and mood

lines), but has further con-

firmed the flatness of the design by using a whole series of

gest a shallow space,

fill

and to

(page 15)
in

common

most

we

can find

major figures

cance.

The

is

in the revival of interest in the design

man who was

awakening of

evident in both the

interest in the decorative arts

Beardsley and the van de Velde works; in the Beardsley

nineteenth century than William Morris.

border the "lines" which intertwine are not really lines

Art Nouveau designer acknowledged a debt

all

at

but are actually the spaces left between dark areas, and

forms are

is

Tropon poster some of the most important

similarly in the
really

ambiguit}' about the

drawn

line

is

and

''

in the re-

during the

Almost every
to him,^ so

it

of some importance that in the course of his career Morris

turned his attention to the design and execution of printed

books. During his

blank paper surrounded by closely related

shapes and lines of contrasting value. There

scarcely interested

THE REVIVAL OF ORIGINAL DESIGN

IN THE GRAPHIC ARTS
No single person had been more influential

accidental formal signifi-

use of this technique

had been

of the

those white shapes, surrounded by lines or forms, which

more than

it

in projecting this evocative content in his works.

forms in the Utamaro are the negative spaces:

are nevertheless of

in his work.

production of books was a

another formal characteristic

Some

evoke a peculiar sense of move-

primary concern for Huysmans and Wilde. Yet one of the

two women by Utamaro

with Art Nouveau graphic works.

telling

his predecessors, to

graphic designer of Art Nouveau, just as

to sug-

assert the integrity of the plane

still

Nouveau

Evocation, then, was of the utmost importance for the

areas of his illumination.

of the picture, and in a woodcut of

but there appears to be something in the

these are handled by the Art

an abundance of serpentine

show the same tendency

character-

graphic designer which depends upon a desire, shared with

Irish illuminator not

few of

Japanese prints often

The

already enumerated are revealing for an understand-

ing of the

only has rejoiced in the use of repeated linear motifs (with

small, over-all patterns to

Nouveau

that the secret of Art

the eye back and forth across the page without ever sug-

more than two decades of work

designer of textiles, household

a calculated

equally present in the

furniture,

objects,

wallpaper,

as a

and

Morris had been an enthusiastic collector of

Japanese woodcut and in Art Nouveau graphic works

incunabula and medieval manuscripts. As a writer, he had

which makes

paid more than the usual attention to the form in which

what the

it

artist

to construct.

impossible for the observer to be sure of

has

drawn and what he has

left for

our eyes

his

Moreover, in these works we constantly shift

poems and

stories

collection of books,

were printed and, inspired by his

he had even attempted some manuscript

our attention from the drawn shape to the empty space

writing. Until

(although not empty of visual meaning) which reinforces

were for him little more than the avocation of a busy man;
but when in that year he looked over his books to decide

the feeling of flatness, and emphasizes the importance of

the surface on which the

work of

whether any were suitable for inclusion

art exists. In fact, the

no longer merely a support for the work of art

but plays an active part in it. Again, this particular use of
surface

tion of the Arts

is

negative space

is

1888 these excursions into the graphic

in the first exhibi-

and Crafts Exhibition

Society,

forced to the realization that none would qualify.

not peculiar to Art Nouveau, any more

for the

24

first

arts

he was

He

saw

time that printing had lagged far behind the

other crafts, and that the books of his time were as shoddy

elaborate initial letters, and

and poorly designed as furniture had been thirty years

two-page spread in a Kelmscott Press book

before.

a single unit.

Under the guidance of his friend and fellow-sociaHst,

Emery Walker, Morris designed a type face (below) (the

combine into a

first

of three he was to do)

based on the

Roman

inks. In

1891 his

first

much

in keeping with his

and dense areas of

printed in rich black on roughened

He had shown

Composed with

handmade paper

letters

taken years for

contain no striking thick

own

that

it

of

all

which

work was extremely

influential.

was proper for a designer

to concern

the type face, a book could

sity for

almost

space between words and lines,

the areas of type hold their

first

trolling the design of every element of the book, including

of

obvious that in designing his type,

little

book existed

himself with the appearance of books, and that by con-

type, all

and thin elements, but rather are of even weight throughout.

art.

that a

volumes which he designed and

of the fifteenth century, his

Morris had striven to bring the over-all value of picture

harmony; the

as

which

Morris demonstrated in imitating the appearance of books

fested in the flowered borders

text into

composed

despite this inconsistency, and despite the interest

book" appeared, bearing the im-

Morris' printing was very

and

is

Every

printed almost overpower the texts which they contain. But

other work. His love of pattern and rich design was mani-

It is

illustrations.

a series of related units

work of

to be read, the lavish

letter

print of the Kelmscott Press.

superlative quality.

total

is

Although Morris asserted

of Nicolas Jenson, and set about purchasing a press, paper

and

The book

woodcut

to

reform

as

artists

become

and craftsmen

work of

art. It

had

to realize the neces-

in the design of other decorative arts; but

soon as Morris and his contemporaries had begun

work with books, the

revival of printing spread through-

out Europe and America.

with the bold borders,

GOLDEN TYPE
Kctrmcon Prei^ IS90

and a type of importance in the history of modern

which has taken place in the design of our types
the first book in which it was used was the Oohlfit
us that there was only one source in which to find a
the fifteenth century and especially Nicolas Jenson
We have already described the characteristics of the Venetians. The goldfs ivpr is not so
close a copy of Jf nson as some of those already described Morris reinforced the type, made it
blacker face and in particular weighted the serifs on the lower case The g is a narrower letter
and has an incorrect ear. The American Typefounders made a copy of this type before 1900 and
called It NICOLAS jenson. All Morris's punches and matrices and some of the types are now in
the possession of the Cambridge University Press.
first type designed by William Morns
typography, since it began the revolution
The punches ucrc cut by E P. Prince and
Leiiend, 1892, hence the name. Morns tells
model for roman, the printers of Venice in

The

.i

ABCDEFGHIJKLMNOPQ_RSTUVWXYZ
^ CE & Qu .,;:!?.'.,.()
fi

ff

fl

ffi

abcdefghtjklmnopqrstuvwxy:
i2345b789o C eeeeo

ffl

acoc

Morris: Border (decoration and text for

Morris: Golden Type. 1890

of Boloyne. 1893. Kelmscott Press

25

The History

of

Godefry

PROTO-ART NOUVEAU: BLAKE,

MACKMURDO AND OTHERS

he

utilized

no need
forms

During the nineteenth

century, even before Morris

started his "t}'pographical adventure," a

had

were exploring the possibihties of new expressive

means

in the graphic arts.

forecast the

Some

in such a

way

as to give the

Rossetti

the

Rossetti,

first

undertaken a study of the ways in which objects of nature

Artistic

work

this

of

art,

and

maximum

He

meaning

which give plants

closely related to Art

and

arts

Nouveau, but

literary journals

these journals,

and the

must be found elsewhere.^

played an important role in

the development and spread of Art

in a

had led him to become most sensitive

to the rhythmic distinctions

ticular forms. ^

decorative

viewer a strong sense of

instance of real connection between Blake

Art Nouveau graphic

their

felt

had deeply admired the work of William Blake,

which seems even more

with his friends of the Pre-Raphaelite Brotlierhood, had

might be given

where he

decorative motifs.

of them seem almost to

work of Art Nouveau. Dante Gabriel

in a context

the rhythmic and linear harmonies which constitute the

number of other

artists

some of these forms

to suggest literary subject-matter, spacing the floral

Nouveau;

The Hobby Horse, we can

in the first of

trace the impact

of Blake's work on the later nineteenth century.

their par-

The Hobby Horse was

explored the way in which the growth

the journal of the Century Guild

and abundance of nature might become a subject for the

of Arts and Crafts, a group which

was founded

him by

and grew out of William Morris'

efforts in the decorative

arts.

These

Ruskin, give

lines of investigation,

him

new foundation

suggested to

for his painting, but

Rossetti's paintings themselves, although

Art Nouveau designers, are scarcely in the

Nouveau. However,

in his

arts.

admired by many
spirit

in

1880-81

The Hobby Horse was dedicated to the exploration of

work in the literary, visual and musical arts of

significant

of Art

all

bookbinding designs (below)

periods; in keeping with their interest in putting forth

the best and most meaningful

26

work

in a

form which would

<j(utle

^OMfkeScalop

nd cLes men me Ocean po/seli

ht^ prcmcstnb. brave
Ltt^e^ctltA
}Vho dtSplMy-a.Ln. a. scene cf cLstre/s-.
^SucA liru&rnjCiS'. Ccura^e and Irutn. ;
.

Jem ts
yeuj^v nrC

J-.tIne

Mls

3ut''th

WitA

a.

a Cotta^e^^ sScn ;
u/nountu^ to ten.

Da^'n of Ills J^tnhcod ht^lin.

Scul Lke Hte nch/est a/' Men

In an Tiaspital .cicstunt -om. Mome

He wst hiS imJvrCunLLte ^wc
And his T-J^tJtej- Ktuy tkmpTad tc roam.

',

Sat

ts sree tJiat

y^ depart Iram.
^

hnd

}u:r

TatJier expire

Ccttu^e

knrd

u'.ty

To desert the dear d^tn^ t^as worse

JJic

She Add

^Ind

a,

ut

S'tck Lttle

Jdrot
In/ant

ay

^uard

to /turse

.'

,
-

JAe brd^'e ufti Jam trted to c/u:ar

,t^^e Gnef that /fe -ahuddcrd tc see
GoJ^ J^lctker ( Mi- suj.d) Kuhnut Fear

Go and

leave these Poor Lrpatures

^Ojxyou jny ^uJc raOxer re^/ye

yind J will taJie Care ot these bvo

'

'
.

tij

/ne

Iwilliu}t stu- out of tkti Door

for mute wUheiU me could they do ?
.

Blake: Section from broadsheet. Little

Opposite

left,

D. G.

Opposite

center,

Opposite

right,

Rossetti;

Image:

Ricketts:

Tom

Mackmurdo: Title page for Wren's

and Albert Museum, London

the Sailor. 1800

Binding for Atalanta in Calydon. 1865

Cover for The Hobby Horse. 1887

Cover for The Dial. 1889

27

City Churches. 1883. Victoria

express their feelings about the necessity of fine craftsman-

make

ship, the editors decided to

their

magazine

attractive

Foreshadowing Morris'

in appearance as well as in content.

The

active interest in designing for print, the editors of

Hobby Horse commissioned

a newly-designed type for the

and issued

text of the magazine,

it

in a large format, printed

on handmade paper, with wrappers of new design (page

26).

number

In the second

The Hobby Horse, which

of

ap-

Mackmurdo published an article

Mackmurdo reproduced
poem (page 27), and Gilchrist wrote: "What

peared in 1886, Arthur H.

by Herbert H. Gilchrist on Blake.

a broadsheet

a marvelous sample of typewriting

with a brush,
Whistler: Butterfly

mark

the Ballad written out

is

while as legibile as ordinary types, every

has naive expression, capital letters flaunt capriciously

letter

down
With

the page each giving a defiant

all

directly

little

kick of

its

own.

the charm of decorative fitness the print answers

its

purpose

as a broadsheet.

Mackmurdo, one of

"^"^

the founders of the Century Guild,

had designed some of the decorative vignettes for The

Hobby

Horse, and even before his association with the

journal had designed a chair and

title page (page 27)

which are astonishing anticipations of Art Nouveau con-

sidering that they were

own

made

became widespread. ^^

itself

Mackmurdo

work,

vitality

It

ten years before the style

seems obvious that in his

tried to incorporate

and expressiveness he had found

while keeping within the framework of

tionalism to which

all

some of

in Blake's

the

work,

and func-

fitness

the followers of Morris had assented.

Mackmurdo knew Whistler more than casually,^- and it is

possible that Whistler showed him the way to achieve the
decorative

power which he

ested in Japanese woodcuts,

(above) shows

Mackmurdo: Monogram
The Century Guild. 1884

how

few areas of
it

which

it is

it

butterfly

is

few

conjured up;

inter-

mark

lines against a
it

has character,

relates to the surface of the

drawn but

also has a life of

Whistler's influence

28

famous

By placing

tone, the insect

has movement,

his

well he had understood the Oriental

use of space and outline.

for

was

desired. Whistler

and

its

paper on

own.^^

upon Mackmurdo may

possibly be

seen in the

latter's

Guild designed
of

monogram

in 1884,

(opposite) for the Century

which was used on the

The Hobby Horse. As with

murdo's vignette

book

woodcut (intended

material printed on the letterpress)

As

more

The

decorative

group of young Englishmen founded

"L'art

1888

est-il utile.^

much quoted by

use the

word

work of

The Dial
Hobby Horse

brought to

work of a very different group

The guiding force of The Dial, Charles Ricketts,

work of

it

holder, but the feeling must result

Morris." Like Whistler, Ricketts admired Japanese

collection of subjects

century
press,

in the

work of

objected to the absence of a formal

asms for

group of Continental

artists

we know

graphic art which

who more

as

directly

in their work.

formulation of

might com-

promise their independence and temperamental

but Denis

felt that this

and coherence.

his enthusi-

he came close to the ideas of

earlier art. In this

method

strict a

fixed principles, fearing that in so doing they

his private

of visual poetry through the non-literal use of line and

which followed naturally from

artist represents.

They had purposely avoided too

fifteenth-

he departed from Morris by introducing an element

form,^'' a notion

which the

In evaluating his predecessors, the Impressionists, Denis

interested

Gustave Moreau

and he was intrigued with

German woodcuts. Even

art,

from something which

within the work and not from some literary allusion or

is

Botticelli,

This statement,

art,

shared with the Century Guild people an admiration for

and Sandro

I'art."^'^

from another aspect of life. The purpose of

for Denis, was to arouse feeling in the be-

of

in the art of the Greeks, the painting of

was pre-

the artists of the nineties, indicates with

He was

it

degree of unity

Baudelaire once wrote,

art.

Oui. Parce qu'il

but carried to the public the

but his enthusiasms went far beyond that.

art.

today, tends to be a term

economy the basis of Denis' esthetic. Meaning, like utility,

was a quality intrinsic to the work of art, not something

a journal.

(page 26), which was based largely on The

we

and beauty possible in

to be better

in reputation. In

he took account of the true nature of

cisely the opposite, signifying the highest

contrasts of value

its

movement came

known. The Hobby Horse grew

artists.

work

make them

of deprecation. For Denis and his associates

accompany

to

if

Decoration as

lines

striking than those in Whistler's mark.

the Arts and Crafts

to be a

rative in the distant past; the artist could again

have a more purely decorative force than Whistler's, and

are even

Denis asserted, ought

ant) vehicle for transmitting a text. Books had been deco-

terms of the contrasts of

black and white shapes, and also utilizes a rhythmically

A book,

Whistler's butterfly, Mack-

curving line which weaves through the design.

is

whole.

of decoration and not simply a neutral (or even unpleas-

exists entirely in

since the vignette

as a

baclc covers

He

sincerity,

caused their work to lack meaning

preferred the

more rigorous technique

Henry and

of Seurat and his group who, following Charles

shaped the

others,

had evolved

a linear

language in which various

kinds of lines and forms served as equivalents for a few

Art Nouveau.

rather general experiences.

Upward-moving

lines

were ex-

pressive of joy, downward-curving lines were inhibiting

MAURICE DENIS: SYMBOLISM IN THE

GRAPHIC ARTS

and depressing, and so

forth.

Denis

carried even further; elaborating

felt that this

on the

ideas of

could be

Gauguin

In 1890 a group of young French painters called the Nabis

and several of the Symbolist

became interested

each emotion, each thought, there exists a plastic equivalent,

their talents.
bers,

One

in the decorative arts as

of their most vocal and intellectual

Maurice Denis,

set

down

essays^ in

which he observed

pictures in

most

with the

text,

and

an outlet for

illustrated

in so

mem-

he asserted that for

a corresponding beauty. This, suggested Denis,

makes the work of

his ideas in a series of

(as Morris

writers,

had) that the

a fifteenth-century

book

is

illustrator

what
seem

so meaningful; unconcerned with exact representation or

books competed unpleasantly

with an overly

doing destroyed the feeling of the

strict

attempt to put literary meaning into

his work, the earlier artist

29

had allowed the

lines

and forms

re-expansion of the
those
the

artist's

who undertook

first

to attempt

was precisely

range. "^^ Denis was

this re-expansion,

it

among

and he was one of

systematically in the graphic arts. It

in Denis' conception of the decorative con-

tent of the work of art that the way was shown for the Art
Nouveau artist to carry illustration and graphic design into
a new range of expressiveness.
In 1890 when the first of his theoretical essays appeared,
Denis was at work on a series of illustrations for Verlaine's
Sagesse (left), which embodied his ideas. The drawings
for Sagesse, which are among the earliest Art Nouveau

book

illustrations,^'' are

conception.

daring in the simplicity of their

The forms used

are expressed entirely in

are never round or massive, but

flat

shapes.

Only the simplest

contours are used, and no variation of value occurs within

any shape. Since

this

method

applied to everything in the

between near and distant objects

picture, the distinction

obliterated; the

is

image remains

is

a part of the picture-plane,

value contrasts are scarcely more complicated than

Denis: Illustration for Sugesse, Vollard edition.

and

1911

those of the accompanying printed text. In the illustration

its

reproduced, there

is

a sense of almost mystical peacef uiness,

of quiet contemplation,

of his

initial letters

and borders

to carry an emotional mes-

sage to the viewer.

When
power

line, a color, or a

shape has the

to arouse specific feelings in the observer,

restricting himself to paintings; this

it

painting; to the extent that a useful object

Ideally, suggested Denis, there

it

To

who have

ceased to be

^^'ork

of

Morris was in the position of

keeps alive an obsolete

mean much

Graham Hough

book thus occurs not only through the

of

to the

skill,

world he

is

correct
.

which hardly seems

lives in,

nevertheless be keeping the door open for

one

its

The

unity of the

visual harmonization

parts but also through the similar processes of evoca-

and

wide variety of expression

illustrator.

is

expressive content of the work,

likely

but which

to join those

This new concept of visual meaning is the basic characteristic of Art Nouveau graphic design and illustration. A

in estab-

".

and aspired

already found that peace. Denis has evoked the

tion used by both poet

William Morris may have been instrumental

life,

out depending upon story-telling details.

art.

was no difference between

lishing this unity of the arts, but

of Sagesse,-^ Verlaine glimpsed the peace and

depth of Verlaine's image of the religious experience with-

was composed

became a

poems

sadness, and evil of everyday

the fine and useful arts in this respect.

to

evoked

comfort of deep religious feeling through the formlessness,

power of form could

the extent that painting became literary,

of visually meaningful forms,

the

he was not

be present in a vase, or chair, or wallpaper just as well.

who

is

our experiencing the shapes and values of the picture. In

Denis stated that a

in observing that

and of harmony, which

without exact reference to the text but results instead from

may

possible, but
it

results

of the evocative power of the formal

some necessary

isolated

30

and described

from

whatever the
a recognition

qualities

which were

earlier in this essay. Significantly,

this particular

embodiment of meaning
and painting, where

in graphic design

form originated

in

difficulties

much

later

new

the

style

began

of pro-

although

not

to affect architecture

and

duction and cost were least vexing; later

other areas of design, and by the mid-nineties the

of a

new

style for all things

was near

to realization.

dream
As the

reader can see elsewhere in this book (pages 54-61), the

work of Denis and

DE LA Vir EXPOSITION ANNUELLE

would have been impossible

his circle

without the guidance of Gauguin and Seurat, but even

more important

for the

Khnopff: Cover for Les

XX,

1890

Lemmen: Cover

XX.

1891

development of Art Nouveau was

the impact of these French artists

upon

a small

Belgian ex-

hibition society called Les Vingt.

VAN DE VELDE AND THE BELGIAN CONTRIBUTION

In 1884-85 Henry van de Velde had come into contact

with the work of the Impressionists in Paris; in 1889,

he

first

exhibited

at

when

Les Vingt, he became acquainted

with the work of Seurat, Signac, and the other French

painters

who

appeared in the international exhibition of

the society.-^

Like Denis, van de Velde came to admire Seurat's theo-

and

retical principles,

in his

own

painting adopted the

formal techniques which the Neo-Impressionists had developed.

The

other

members

of Les Vingt, not

all

of

whom

for Les

were followers of Seurat, brought other new ideas to bear

on the work they did for the

society.

Khnopff (above), for example, done

new

catalogue cover by

1890, shows a

in

aspect of the influence of Oriental art in the decorative

handling of the lettering (especially the word "Bruxelles"

and

in the

massing and overlapping of the several

tangular areas of the composition.

murdo's work

is

closer to

Lemmen's catalogue cover

the exhibition of 1891 in

as swirling curves

Much

(right)

for

which sea and sun are rendered

with swelling and shrinking

ing before the Beardsley illustrations of

Morte d' Arthur, and at the same time

Natura Naturans,-- Lemmen's catalogue
est truly

rec-

Mack-

as
is

lines.

Com-

1892 for the

Robert Burns's

among the

earli-

Art Nouveau works.

31

Van

de Velde: Illustration for Domini-

cal.

1892

In 1899, van de Velde himself had been forced by a

mental breakdown to stop painting for a time; during his

period of convalescence, he developed a strong and decisive

His

interest in the decorative arts.

first

work

in graphic

design was done in 1892, even before he showed his

designs for tapestries and furniture; this was a

Max

for

Dowinkd

Elskamp's

most of the other works

forms of

this vignette are scarcely explicable in

natural objects.

We

ence a reference to

sense that

sea, sky,

catalogue cover the

vignette

(page 31). In contrast to

have examined so

\\'e

is

such that

we

we

quality

cannot

an

Lemmen

Dominical

what force

it is

We respond more and

to the rhythmic repetition of actively curving lines

activity'

less

the

in

exactly

tell

that penetrates into the composition.

more

the

far,

terms of

are invited to experi-

and shore, but as in the

abstract

first

vignette

title

in

which the

lettering also plays a part

and

are

concerned with the recognition of the objects repreRoland Hoist: Cover for van Gogh catalogue.
Boymans van Beuningen, Rotterdam

sented.

'fit

^~ib

drIuWict. Ml

TVcmtnitM

j cttmrt

1892.

Museum

iftKomf

leseritlofweM

4inn it BO Affwics

A*
1

1<

pitfi

lM BM>acBi ^w

c! n en ^ 4-

rcio-.t i

tori

Ml.

arfera.

la

u 'cnuUe mdi(n ar<MOr. rtmX* qv ,.; (.Utw piir^ ki bfwiion. doei k ^au> rv n
(CMWK kun BlM it WM fWUfC dC I Ct qui DOBt 1 WW'ik lOVt
Are k hoftt rwtfcdlif TAft tot U pirtit dt *oa ctwr ft
I

.i&--^C-:^

dc

iM npM

tUni

El

Van

qoi

pwuc An
t

k eaaacKc ?(

kt dccdet>n

1 dtfr J3ii:ik ttvi Ivi rt. <(u*ad

In hattiaa cacM>4i<cai dc fkm

dmowBt d

BditM(>

Ih *c

Van

de Velde: Ornaments for Deblaiemeni d'art

de Velde: Initials for Vafj

Slraks. 1893

32

Nu En

Like Denis, van de Velde was concerned with

of form and

meaning

work of

in the

art,

tiie

unity

artists

but he carried

even further in his writing than Denis did, asserting

this

means a new decorative totahty of the

which would provide a new and healthier

that through these

would

arts

result

environment for contemporary

were

had shown the way towards

his heroes, for they

formulation of the relationship between art and

Denis and Seurat had led him

qualities of line

The

and

and form.

much a part
Huysmans was

enervating.-^

art lazy

nouveau"

art

reference to the

perhaps

work we

and moral, in the

the

first

POSTERS AS A SOURCE FOR ART

are discussing)

new

art

it is

as

which would be

spirit of the great decorative art

number of works

new

art,

William Morris

poster design.-^

he

Denis had turned

in the graphic arts: the illustra-

".

which surpass

characters in decorative beauty.

all

initial letters

its

the older

work provide

".

Tropon poster of

designs for

Van

Nu

c.

(his only poster),

this as far as

it

its

and

Even

demanding

in

to be seen

it.

one of Cheret's early posters (page 34),

how

it is

etfectively this could be ac-

complished by the use of strong color harmonies, vibrant

linear rhythms,

and bold, free

color lithography

was

The

lettering.

ideal for this kind of

process of

work; the

artist

could work unrestrained by technical problems, almost as

in the

we

or Morris or

Cheret had started

nature, the poster does not take

out for particular attention

obvious that he realized

oppo-

of expressive lines. "^^ In

en Straks of 1893 (opposite)

van de Velde carrying

letter

1899

By

in contrast with all that surrounds

an embroidery of arabesques

on the page, an accompaniment

Mackmurdo

to the graphic arts,

art of

part in a harmonious and unified scheme of things, but

calls

'-'

and page ornaments

Cheret did more

to use the infant art of poster design as his vehicle for

which are perfectly consonant with Denis' demand

that such

style; for

towards originating the modern

fifteen years before

personal expression.

For a reprinting of Deblaiement d'art van de Velde designed a series of

artist

of

About
in this

artist

most revealing that he should have mentioned Cheret

one of the sources for the new

than any other

of Walter Crane, the posters of Jules Cheret, which

faces of

the

NOUVEAU

Considering van de Velde's importance as a graphic

captured a childlike gaiety and flamboyance, and the type

site)

seems indicated.

literary sort

use of the phrase in

Looking about him for inspiration

Roman

seems not to have con-

and

the past without copying older forms.-*'

tions

accessibility of content

such as poster design in which more direct appeal of a

In his essay, Deblaiement d'art,

arts.

written in 1894, he urged the formulation of a

cited a

catalogue to respond to

cerned van de Velde and Denis, but there are situations

Van de Velde was concerned with the creation

human understanding"-'' of the world

through the visual

vital

Gogh

"healthy

of the

{"un

work (opposite) contains the most simple

drooping sunflower and halo. Clearly Hoist did not

lem of the

dependence upon past works of

turned their attention

the subtle visual suggestion of his forms alone. This prob-

excessive refinement and sensibility so

their

style

symbolism. For example, R. N.

literary sort of

expect the reader of his van

to realize the significative

of the world of Decadent writers such as

new

direct kind of literary reference to the deceased painter,

in the

deeply offensive to van de Velde, particularly because he

found

more

of van Gogh's

and

life,

in the

Roland Hoist's catalogue cover for a memorial exhibition

Ruskin and Morris

life."^

who worked

towards a more obvious kind of evocation and relied upon

see

if

can go, swallowing

he were drawing on paper, and he need not

self to using the available type faces if

he

restrict

him-

felt that his

own

hand- lettering would be more harmonious and

forms in the compelling linear rhythm of the work,

effective.

Cheret did not derive his poster style directly from any

and creating almost entirely non-objective shapes.

At the other extreme from van de Velde and Denis, some

of the other

33

arts;^*'

he,

and the other men who made posters

BETTE-TINPUEOX-L EZREIWS
BUREAU Di REPRESENTATIONS

8,RUEDEii8LY Paris
Cheret: Folies-Bergere, Les Girard. 1877. Poster. Bibliotheque

Bonnard: France-Champagne. 1891. Poster. 305^ x 19%". Cleve-

Nationale, Paris

land

34

Museum

of Art

TbUS LES SOIRS

Cheret: Yvette Guilbert. Poster.

341/2"- Private collection.

New

48%

York

\
; aim*

Dumont: Tons les soirs

The Museum of Modern

Toulouse-Lautrec: Yvette Guilbert. Lithograph.

1894. Metropolitan

Museum

of Art. Rogers fund

35

bin

Poster. 1900. 8OV2 x

Art,

New York

31%'

of exhibitions, articles, and collections through the late

1880s and into the

nineties.

boundaries of poster

art;

There were few national

Toulouse-Lautrec designed a

poster for an English bicycle maker; Grasset

was commis-

sioned by an American magazine publisher to design both

covers and posters. Furthermore,

many

artists

who were

primarily interested in other things turned to poster design (beginning around the end of the 1880s) as a means
of earning extra money, and in this

way became

familiar

with the work of Cheret and his colleagues.

Bonnard's
is

first

Champagne (page 34),

outgrowth of Cheret's work. Where

poster, France

obviously a direct

Cheret had delighted in using complicated shapes which

move

out from the figures in his posters to activate the

background spaces, Bonnard translated these rhythms into

twisting lines which enclose areas of texture or

The movement
and into
Behrens:

Title

page for Der Binite Vogel.

1899. Klingspor

(page 34)

Museum, Offenbach

in Cheret

is

background which we sense

;

flat

tone.

around the form of the figure

as existing in

depth

movement in Bonnard's poster is across the

design, as we follow the rolling activity of

the

surface of the

the heavy lines which at once simplify and complicate the

before 1885, seem to have evolved their formal language

as they

worked, without apparent adaptation of

style

painting or print making. Thus, the fact that Art

shapes of objects depicted.

from

Since Bonnard was closely allied with Denis and the

Nouveau

Nabis

elements are present in poster designs cannot be explained

by reference to any theories on the

total

design of arts and

crafts, or

by a search for the relationship between form and

meaning

in

book

illustration.

Art Nouveau developed,

it

As

the poster as in everything else; but

found expression

since

posters

it is

possible to

on the other

before 1890,^^

it

arts

show

from the

on the other hand,

independent development which

later joins,

result

upon Bonnard;

at least,

we

Bonnard may have introduced Tou-

style.

louse-Lautrec to the art of poster making;^^ Lautrec began

make

to
his
its

could scarcely have been strong

we have

likely

it

posters of the 1880s towards a fully-developed

Art Nouveau

in

that the actual influence of

seems clear that

is

was partly the

can observe in his work the next stage in the movement

some of the formal elements of Art Nouveau entered into

the style from posters, where they had long been evident.

And

time he did France Champagne,

of the influence of his friends

the formal language of

naturally

at the

that this modification of Cheret's style

first.

posters in 1891, shortly after

With

Lautrec the art of the poster perhaps reached

highest point of development.

to simplify so far, to

a case of an

shapes to

and reinforces,

The
most

Goldwater and Koch^- have discussed the international

character of poster styles, and have chronicled the spread

Guilbert

directly by

artists.

36

command

No other artist had

depend so much upon

few

dared

lines

and

the viewer's attention.

full force of Lautrec's

Art Nouveau.

Bonnard had done

power can be experienced

comparing one of

his lithographs of Yvette

(page 35) with posters for her by two other

Both Cheret and Dumont (page 35) have

relied

%.^

ia3
Toulouse-Lautrec: ]ane Avril. 1899. Poster. 22 x 14". The

Museum

of

Modern

Art,

New York

Bonnard: La Revue Blanche. 1894. Poster.

Modern

37

Art,

New

York

29%

x 23".

The Museum

of

upon

the singer's

famous black gloves

sonality they advertise,

pun out of
tom of

and Dumont has even made a visual

the design elongates into the

The transformation
page for O.

of objects

J.

is

tail

of a black

tail

characteristic of

found

'ogel of

Art Nou-

which

was able

and on hand-lettered
designers to

by rendering typographical border and illustration with the

But

face

show

which burst forth

for the

no longer conventionally

pretty, but

is

his

world

is

Hi St one

and

movement, the

populated by strong personalities powerfully

Nothing could be more

pages. One of the first new

way towards an Art Nouveau

style

title

the

type

Grasset.^*

in his first poster of 1885. In his designs

cles

Quatre Fils

element;

expressive

design. Behind
Paris,

to

work seemed conservative comwhich were being used in posters

Aymon

(opposite)

Grasset

an

overlapping

rectangular

clearly in imitation of Oriental scrolls, cuts across the

of the stage.

demi-monde of

Morris

displayed his virtuosity in the use of spatial division as an

twisted

grotesquely by her arching eyebrows and the footlighting

Lautrec's art celebrated the

style.

was possible

was another famous poster designer, Eugene

from anything suggested by the other artists. Her gloves

become part of a tense system of strong linear movements;
is

new
it

Grasset had been at work since 1880 evolving the style

in Lautrec's portrayal of

Yvette Guilbert, she assumes a personality totally different

her face

yet yielded to the

pared to the letter-forms

of a peacock changes into a border

linear rhythms.

1890 had not

itself,

re-design types, but their

without destroying the unity of his composition,

same strong

in

which had

was the appearance of the type face

and the Century Guild had shown that

1899 (page

artist

aspect of the book, as well as poster design,

to be controlled

cat.

in Peter Behrens" title

on the page. The Art Nouveau

for the type

this

is

Bierbaum's Der Bunte

36) in which the

do

One

the skirt of Yvette's costume which at the bot-

veau and another instance

to

ART NOUVEAU TYPE FACES AND LETTERING

to suggest the per-

it,

panel,

whole

and almost completely independent in

pattern of horses,

flattened

and

riders,

clouds surges to the right of the composition.

Weaving

from the elegant

over and under the long panel and the main illustration,

decoration of van de Velde, or the vaguely unhealthy

borders with Celtic and classical motifs close in the entire

depicted.

different

sensualism of Beardsley, than Lautrec's virile

transformation of content by form

it

art, yet

in

design, and assert the proportion of the page

its

clearly belongs to

placed. Grasset's lettering

Art Nouveau.

positional

More even than Bonnard,

shape to give impact to his posters

page 37 ) and he often

dom

echo in the

maximum

zontal,

free-

of combination to the various shapes he was using

and to make depth one of the expressive

design.

It is

it is

com-

his design; the artist has used letter

letters

themselves the linear movements (hori-

and from lower

left to

upper right) of the

design. In his posters, Grasset

pictorial

was somewhat more

re-

qualities of his

strained in his use of lettering, but remained keenly aware

perhaps worth noting here that both Lautrec

of the necessity to relate the bold, clear lines of his pictorial

and Bonnard were deeply concerned with harmonizing

lettering in the total

nard's

on which

closely tied in with the

forms derived from Celtic models, which allow him to

Lautrec used the silhouetted

took an unusual viewpoint in order to give

movement of

is

scheme of

their posters;

matter with a comparable kind of lettering. His

compare Bon-

France Champagne with his La Revue Blanche

(page 37) to see

how

rhythms in

themselves can be

letters

different kinds of proportions

made

Magazine

opment

and

to reinforce the

artist,

in

889 was one of the milestones

of poster art in the United States.

Will Bradley, was one of the

composition and become part of the visible poetry of the

ful exponents of the

whole work, not

work served

just the

work was

exceedingly influential;^^ a poster-like cover for Harper's

message-carrying part of a poster.

38

as

new

earliest

and most force-

style in his country,

an influence.

in the devel-

The American
and Grasset's

The young Bradley was

also

tremendously impressed by the work of Lautrec, Bonnard,

and Beardsley (page 40) and in his book designs his interest in the work of Morris, Ricketts, and the other private
,

press designers can be seen.

By 1894 about

the same time

Art Nouveau designs, Grasset's

that Bradley did his first

reputation had spread so far that he was given a

show of
bolist

La Plume,

posters (below) in Paris by

one-man
the

Sym-

magazine, which also published an issue devoted en-

tirely to his work.^*''

The

year before, in 1893, Grasset was commissioned by

the publishers of the

Revue

for the journal. This

illustree to

first effort

was further

face^'

type began."*

refined,

The

and

in

1898 the casting of

Grasset type (page 41

departure from previous type faces;

St)'le t)'pes in

thick

and thin

that

it

1,

i,

The

is

this

only a subtle

informality

its

we

Grasset: Cover for Histoire des Quatre

closely related to

Fits

does not utilize strong contrasts of

Aymon. 1879-85. Rijlcsmuseum

Amsterdam

Library,

by

sloping lines atop the lower-case

clearly related to

etc., it is

more strongly

it is

lines (a characteristic possibly suggested

Morris' types), but in

d,

title

letter

which would be appropriate for an Art Nouveau type

st)'le

Old

design a drawn

towards evolving a

hand

sense in Grasset's type

in a t}'pe design of

S.ALON

lettering.

CFNT.

seen even

is

1901 (page 41) by

c.

Georges Auriol, which obviously was meant

to

imitate

The rhythmic freedom and swelling lines

of Auriol's types made them particularly useful to the Art
Nouveau designer, and for many years after Art Nouveau
had ceased to be a living style, they were among the standbrush lettering.

ard faces for French compositors

who wished

to appear

"up-to-date."

As Grasset and Auriol must have

way of

considerable difficulties in the

discovered, there are

the artist

who

wishes

new forms, not the least of which

made up of highly traditional forms,

to transform letters into

is

that the alphabet

admitting of
tion through

little

is

variation, if the process of

words

is

to occur at

all.

communica-

In a poster, where

only a few words are used, this problem

may be

Expcn..-

E.

GRASSET

relatively
Grasset: Poster for Exposition, Salon

unimportant; Grasset ranged far afield in his search for

unusual and expressive display

letters, as in his

de Cent. 1894. 21 x W^/^"

cover for

seum of Modern Art

39

The Mu-

Histoire des Quatre Fils

sign a type face, which

Aymon;

but

when he came

would appear

in

to de-

massed form on

page, he seems to have reahzed that he could not expect his

readers to struggle with unfamiliar letter forms.

The Art Nouveau

Oriental colleague,

letter

designer looked with envy at his

who had

the option of radically altering

the rhythms and forms of his written symbols for purely

expressive purposes, as in "grass writing" (opposite), pro-

vided only that he preserve a fundamental relationship of

Khnopff had

strokes in each ideogram.

specifically imitated

the Oriental extension of strokes to enliven his letters, but

clearly this

would not do

for a type face intended for use

in the printing of textual matter.

Huysmans' concern for

the expressive character of typographic design helped focus

some of the most intriguing type faces of the

But now the need was for contemporary forms in type

attention on
past.

as well as in illustration; the

new

types had to be at once

more readable than the obsolete Cnilite and more harmonious with Art Nouveau borders and illustrations than Morris'

types were.

Yet another ancestor of Art Nouveau types is the German Centralschrijt (page 42) of 1835 which was an early
attempt to modify the traditional Fraktur so that
not so different from
schrift

Roman

letter forms.'*"

The

had considerable expressive character, with

it

was

Cetitralits

swell-

ing lines, rhythmically ascending and descending elements,

and heavy

color.

As

work of designers from other

the

countries penetrated into

Germany, the need

for replacing

became more pressing;

the spiky and debased Fraktur

in

1888, Konig produced the Romische Antiqua^^ types, based

on the same materials which Morris and The Hobby Horse

designers had used, and from this time on, the way was
clear for

newly designed German

types.

In France, Grasset and Auriol had led the way; in Ger-

many

few years

after Grasset's

published, a young

German

Revue

artist

illustree design

began to publish vignettes and borders

Jugend and Pan. Eckmann,

like

was

named Otto Eckmann

many

in the

Bradley: Whiting's Ledger Papers,

magazines

tisement. 20 X 9V4"

of his contemporaries

40

The Art

(c.

Institute of

1900.) Adver-

Chicago

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deco-

plus importante lacune restant a

combler etait celle dun caractere typographique synthetisanf, pour I'lmprimerie, le gout
moderne, comme jadis les Aide, les Elzevir, les
Didot furent, typographiquement, I'emanation de
I'art de leur epoque.

Grasset:

Type

face.

<.!

IP

Part of a Japanese scroll showing "grass writing,"

elongated,

cursive

style.

Kunstgewerbe Museum, Basel

F^^n

1898

41

18th-I9th

century.

in

Germany, had

enthusiastically

Beardsley, and furthermore had

in Japanese woodcuts.''^

Around 1896,

beginning to work in the graphic

studies for a type face

first

admired the work of

become deeply
arts,

which was

interested

Jlad)

when he was
Eckmann made his
just

utterly different

erfliulen,

from

he executed the

imiqua

(below), and

page for D/e W^ocbe in 1900

title

as a result of this

M|\id)en

urn)

fo

l|l

es

rnir

componJren, daB

dIefeUie eben fo deullld) als

anything ever done before. His lettering became famous

after

blelfa(t)en

OfeUingen, dlefe neue eit)rl|1ffattungf ^a

luid elgnet

ertennen und

fli!)

fractur u^ic

lefen

ifl,

borjuffUd) als Btelfd)ri|l

he was commissioned by

Karl Klingspor,^- the head of the Rudhardschen Schriftin

giesserei

Offenbach-am-Main, to design

Schoppe: Cenlralschrift. 1835

type face

which would be appropriate for the printing of books

the

new

stj'le.

been produced in Germany. Clearly based on the

alphabet,

ings

it

Roman

shared with the Ceutralscbrijt a few borrow-

from other alphabets;

a, h,

m, and n

for instance,

notice,

maintain rhythmic activity in every

a lower-case

in

Eckmann's type (opposite) could only have

letter,

Eckmann used

in the upper-case alphabet.

also took over the upper-case

T from

nell

20

that to

DiewocHe

He

Most

unical lettering.

of the letters are not closed forms, but contain a channel

which connects the white paper of the page with the smaller
open spaces within the

letters, a

play of positive and nega-

tive spaces exactly

comparable to what

veau posters and

illustrations.

The

is

found

in

Art Nou-

shapes of the

once based on regularly curved and straight

letters,

lines, are

here

undoubtedly derived from the serpentine curves of Beards-

and van de Velde. The swelling and thinning of Eckmann's line in these types adds further to the linear activity

ley

he desired, and stands

lines of

MODCRNe ILLUSTRieRie ZeiTSCHRIPT

RWt sUb<n Tagt tin Htfl-

in striking contrast to the regular

even the most distorted earlier type faces such as

Ebony and French Antique (opposite)

Obviously letters such as Eckmann's could be just as well
executed in sheet metal and used for lettering on buildings
(opposite).

With

BCRLin
TI

tecture.

1900
H

Prls:25Pf-

W.

their broad flat forms, the type designs

Eckmann:

and harmonized perfectly with Art Nouveau

This translation was not limited to

letter

archi-

forms

either; the borders

designed by Behrens (page 18) and

Mackintosh were conceived in a way which would allow

them

Dnxk lot Vcrlog k* Auf u) St^irt

provided no problems of translation into different materials,

MIHIn

to be executed equally well in

wrought

iron.

Even

42

Title

page

for

Die Woche. 1900

ITALIENNE
Fonderie Typographique Frart^aise

revival of an early reversed Egyptian The founders give ihe date as 1820. The English
fdunderscalledthedesignFrench Antique and the earhesiEnghsh fount, according to Mrs, Grey's
Nmeieenlh Century Ornamental Types, was considerably later than 1820.

furieu:e temp^te dans les

mers du sud

IMPRESO GOMfiRGIAL, PUBUGITARIO

INTELUGENZBLATT
ITALIENNF

Type

face,

French Antique. 1820

Chica^^o
Eckmann:

Letters

from alphabet. 1896

Horta: 224. Numerals for Hotel Sol-

Type

face.

Typ^

Ebony. 1890

Eckmann: Studies

vay, Brussels

43

for type face

Eckmann Schmuck

Behrens:

Doorway

for

house

at

Horta: Maison du Peuple. Brussels. 1897-99. Fatade

Mathildenhohe, Darmstadt. 1901

Pankok: Border

44

illustration

Horta's portal of the Maison du Peuple in Brussels might

have been a design for a

title

page rather than a part of an

ity" lacking in the esthetic

The

architectural scheme.

Van de

Velde's

initials

for

Van nu

(page

en Straks

and moral meaning

it

should

have had.**
artist

of Art Nouveau, whatever his views on the

relation of art to society,

began

his

work with

the desire

evoke meaning and intense feeling through the forms

32) are intimately related to his jewelry (below) in their

to

use of coordinated positive and negative spaces and ex-

of the work

pressively swelling areas, and even Macmurdo's chair and

in your houses

book cover display

might have been rewritten by the Art Nouveau designer,

this

interchangeability of the design

Thus, the graphic

arts

do not follow an independent

course through Art Nouveau.

worked out

architecture

were enriched. Just

as

and

Pankok had surrounded

an illustration utilizing traditional spatial organization with

a radically different border,

so the

same conception of

framing by contrast was used in architecture

The

unity of the arts went further in Art

opposite )

Nouveau than

just the adaptation of decorative motifs; the

of composition and feeling seemed to spring

whole sense

from

similar

in your

to be beautiful,"*^

world which you do not

feel to

be

meaningful."

To

Through the formal innova-

in the graphic arts, the arts of design

William Morris' dictum, "Have nothing

which you do not know

"Have nothing

elements.

tions

itself.

in

a certain extent the Art

doing

ingful use of
ism.

Nouveau

designers succeeded

but especially in the graphic arts the mean-

this;

new forms soon degenerated

However, the "straight line"

into

style of

mere

styl-

Behrens and

Mackintosh and the Viennese Secessionists seems to connect directly to the architecture of Frank Lloyd
to the

Dutch work of the

But perhaps

it is

Wright and

1920s.**'

a mistake to see in the graphic arts of

Art Nouveau only a few outmoded forms which seem,

to-

sources in architecture, furniture design, jewelry, and the

day, to be delightful or horrible or redolent of a period

graphic

long past. Actually, the positive contribution of Art Nou-

Some

arts.

of the innovators of Art

repudiate

it.

Nouveau were soon

to

Walter Crane, whose work had impressed

veau far surpasses

this;

van de Velde, saw nothing healthy about what he called

available to the graphic

"that strange decorative disease."** Maurice Denis, within

graphic

few

years after writing his essays setting forth a basis for

new art, decided

Nouveau had become
the

that in the

form

it

had taken Art

only a display of "pretentious

facil-

Van

through the work of these

came an expansion of the range of expressive

artist

artist.

was encouraged

Through Art Nouveau,

of materials and forms he used. This

^ ^

de Velde: Design

for a pendant. 1899

the

to re-examine the function

is still

going on today,

and may be one of the main sources of the

graphic arts in our time.

artists

possibilities

vitality of the

> , rAlan M.
Fern
,

Redon: "La Mort:

211/2

Mon

ironie depasse toules les autres!" (After 1905). Oil on canvas,

X ISVa"- Collection Mrs. Louise R. Smith,

46

New

York

PAINTING

"Art

AND

Nouveau,"

floreale,"

"Jugendstil,"

whatever one

decorative

arts. It

"Secessionsstil,"

calls the style,

colored pastels of his maturity.

"Stile

the emphasis on

cursors of the style of the nineties.

Yet many Art Nouveau

the evocative

They no longer narrated

but evoked a mood: in this they became important pre-

belongs to the

it

was largely a way of designing, not of

painting, sculpting, or building.

elements

AND DRAWINGS

SCULPTURE, PRINTS

Less evident but equally important was the contribution

power of an un-

of Seurat,

who

exhibited his

first

The

Bathers,

this as in his later

work he

masterpiece,

dulating line, the insistence on creating a two-dimensional

at the

decorative surface, the affinity to Symbolism in the

used a quasi-scientific method to investigate the structural

desire to suggest rather than to describe

in painting before
if

there was

being used in the applied

no Art Nouveau painting

so encompassing that

many

were

it

anticipated

elements of color and line for the sake of constructing

Moreover,

pictures which, instead of producing an effect of verisimili-

arts.

as such, the style

their

was

tude,

did have a great impact on a good

painters born in the sixties and seventies,

what direction

artist's

work was

would make the viewer conscious of a

tectonic

no matter

literal

ultimately to take.

organization.

Impressionism,

the

deliberately

but

sensitive

recording of visual data, was transformed by the

application of these analytic theories into a

Impressionism was no longer the unchallenged prota-

when

Independants in 1884. In

investigation of visual experience. Art

more

rational

was no longer Zola's

1884 two highly conse-

"corner of nature seen by a temperament," but a conscious

quential exhibition societies were formed: Les Vingt in

attempt to stimulate a predetermined emotion by the direc-

Brussels and the Societe des Artistes Inde pendants in Paris.

tion of lines

The Independants was broad enough to include both

use of line and color and the geometric arrangement of

gonist of the avant garde

in

Odilon Redon and Georges Seurat in

its

leadership.

Redon

was on intimate terms with the Symbolist poets and,

them, used the dream for inspiration. While

still

and the juxtaposition of

color.

forms in a flattened space in Seurat's

Parade, Le Chahut, Le Cirque

like

working

seemed

tion to the prevalent search for a

new

This deliberate

La

late canvases

to provide a solu-

style.

with the visible world, he endowed his reality with fantasy,

In 1884, the same year as the foundation of the Inde-

proposing to "use the logic of the visible in the service of

pendants, Les Vingt was formed in Brussels under the per-

the invisible."-'

Redon

felt that the Impressionists

ceptive leadership of the lawyer. Octave

were

As Mallarme was concerned with

the "mysterious meaning of life" and Lautreamont and
Rimbaud with the exploration of the irrational world, so
Redon was fascinated by the "little door opening on mys-

out advanced

"parasites of the object."

tery."^ Still in touch

a visionary

duced black

with Romantic

sensibility,

exhibitions of Les

charter

he created

and fantasy with

their

to the

members who exhibited

The adoption

regularly. Seurat's

Sun-

event. Redon' s drawings

glowing

47

artists.

Theo
from this

of the Neo-Impressionist technique by

van Rysselberghe and Henry van de Velde dates

combination of

him

provided meeting places for the

the public but an enthusiastic response from the

an essential color and established his form

frontier of reality

XX

The

day Afternoon on the Island of La Grande Jatte had been

shown as early as 1887, arousing violent opposition from

by definite contour. His drawings and lithographs, on the

the precise and the vague, were to lead

Maus, who sought

in all countries of western Europe.

innovators of the time. Ensor, Toorop, and Khnopff were

imagery in his graphic work. There he introas

work

and lithographs had appeared

in

Seurat; Le Cncjtie. (1891). Oil on canvas, 731/4 x 395/8".

Musee

Gauguin:
wood,

du Louvre, Paris

Still Life

361/8

xcith

X 245/3". The

Three Puppies. 1888. Oil on

Museum

of

York, Mrs. Simon Guggenheim Fund

48

Modern

Art,

New

writer, musician,

1886; Toulouse-Lautrec exhibited in Brussels in 1888. In

founded and edited by Edouard Dujardin,

1889 Gauguin showed twelve

Aesthete, and close friend of Mallarme and Debussy.

Symbolist Vision after the Sermon.

who had

Cezanne,

tures to Brussels,

show of

not

The following

Les

year

of

in Paris since 1877, sent pic-

XX.

first

time,

all

the

arts.

Bernard's painting and probably even more his ability

made a
Gauguin, who was moving

for theoretical formulation

In 1892 and 1893 the deco-

were shown, probably for the

The

whole period points in many aspects toward an integration

and van Gogh had the one important

his lifetime at

rative arts

shown

including his

canvases,

on equal

older

great impression on the

same

in the

direction.

terms with painting and sculpture, a policy which was em-

The two men admired

phasized even more strongly by La Libre Esthetique, the

poets they believed that ideas and emotional experiences

successor to Les

The

XX.

could be suggested by "equivalents" or "correspondences"

in

enterprising spirit of these exhibitions, together

gium and the accompanying awareness

to

new

Nouveau movement.

1893 the

first

It

full-fledged Art

and

in color

a style of painting

known

Synthetism but became

building

and which must be recognized

needs and materials, were largely responsible for Brussels

taking the lead in the Art

sound and rhythm, or

They evolved

with the process of industrialization then sweeping Bel-

there, indeed, that in

each other's work. Like the Symbolist

as

as

respectively.

line,

which was

first

Symbolism

after

called

1890

one of the important com-

ponents of the Art Nouveau movement.

was

Among

Nou-

Gauguin's paintings, the

shows the

veau building, Victor Horta's Tassel House (page 129)

Puppies

was

style to his Symbolist

erected.

opposite

Still

Life with Three

from

transition

manner of

this period.

his earlier

The

fruit

and

tablecloth in the lower part of the canvas with the visible

brushmarks and the use of advancing and receding color

DEVELOPMENTS IN FRANCE

still

Paul Gauguin, whose Vision after the Sermon had

made

XX

pies, set against the steep

exhibition of 1889, had the great advantage

rare in the nineteenth century

of having never

an academic training. Starting to paint

had worked

in the

most advanced

at a

style.

flower on

mature age, he

the tablecloth

Gauguin and

al-

outline.

most from the beginning. Early in 1888 he returned from

ing,

it

was possible for him

to indulge in his romantic craving for a

of

life.

In the

summer he was

more primitive way

was applied

is

and boldly patterned

critics

expressed,

and familiar with

for

instance,

their artistic

in

the

in

favor of non-

interest.

foreshorten-

used, they were

They reduced depth

plane on which a decorative pattern

"Don't copy nature too

to his friend Schuffenecker,

"Art

an abstraction; derive this abstraction from nature while

actual result.
as

The

it,

but think more of creating than of

only way to

rise

our divine Master does, create.

towards

God

is

by doing

."^
.

was

In 1888 and 1889 Gauguin affirmed the principle of

Wagnerienne,

two-dimensionality in the Symbolist Vision after the Ser-

program

Revue

flat

way

art of bold, abstract

colors

They allowed no

in rhythmic lines.

dreaming before

"Cloisonisme" after the medieval enamel tech-

nique. Bernard was in close touch with the Symbolist poets

and

local

ornamental

much," Gauguin wrote

joined by the youthful Emile

in a rigorously simplified

style, called

their

of composition to a

Bernard who, together with his friend Anquetin, had been

working

developed an

no modeling, and when shadows were

employed for

world and where

In a disarmingly naive

repeated in the head of a dog.

naturalistic color harmonies.

roundings allowed him to work in comparative isolation

Paris art

his friends

is

They abandoned

Martinique to Pont-Aven in Brittany where the rural sur-

from the

upper part

plane of the tablecloth are simpli-

fied in a child-like fashion.

suffered

Impressionism,

influence, whereas in the

of the painting, the three goblets, three apples, three pup-

such a strong impression on the Belgian public in the

Les

show Cezanne's

as

it

49

Gauguin

or

(1889).

Oil

School of Pont-Aven:

on wood,

33%

Dec or alive Landscape.

Nationalmuseum,

221/2".

Stockholm

Above

right:

Gauguin: Leda. 1889. Design

lli%6 x 10%6". The

for a plate. Lithograph,

Metropolitan

Museum

of Art, Rogers Fund.

Gauguin: Vase. Glazed stoneware, 11 ys"

high.

Musees Royaux d'Art

et

Brussels

50

d'Histoire,

Gauguin: Manao Tupapau (Watched by the

with

stencils, 9

mon and

the

x ZOyg".

Yellow

The Art

Christ. It

Institute of

Spirits of the

Dead),

(c.

becomes even more evident

in the Decorative Landscape, originally a

was conditioned by the technique, may have affirmed

him

door panel in

at Le Pouldu and probably painted by

Here decorative flatness is carried to an extreme.
no horizon, the surface is piled up with tree trunks,

Gauguin's studio
himself.

There

is

outlined trees and houses,

1893-95). Woodcut, printed in black and colored by hand, partly

Chicago

and the seemingly

the wish to extend this

new

in

style into his painting.*

In his woodcuts, too, he abandoned the conventional

method of making
blocks to give

prints

them

and began to cut and gouge

his

hard-hewn appearance,

re-

a coarse,

arbitrary

sulting in designs of unusual expressive power. Gauguin's

choice of colors helps to emphasize the effect of the plane,

craftsman-like preoccupation with the material in these

relating the

whole

Gauguin made,

to

Art Nouveau in

spirit.

painted bucolic scenes on vases,

among them

by the famous ceramist Ernest Chaplet,

well.

guin's

At

time

this

in fact, designs for decorative plates

the one

whom

prints relates

and

in this field,

as closely to

Art Nouveau

There was a tendency among the painters

made

he knew

to extend their activities

beyond

as does his

at

Pont-Aven

easel painting.

Emile Ber-

nard, for instance, was designing glass

convincing argument has been advanced that Gau-

work

him

starkly formalized stylization.

windows and carved

polychrome furniture (page 52). Often the subject matter

where the simplification of form

51

for the decoration of these objects

By redesigning

peasant motifs.

and distorting

figures

was derived from

and landscapes, the

local

environment

their physical

responded

artists

to their inner need of expressing states of mind. Bernard's

painting, Bathers, of

1889 (opposite) reminds us of the

sixteenth-century Florentine Mannerists with

of figures whose stance

is

its

up

piling

not defined in space; with the

repoussoir of cut-off figures in the frontal planes; with the

elongation of bodies, the use of the lost profile, the erotic

symbolism. Objects change their meaning in

garment becomes an

a root or

amazement

that the

cline suddenly

erotic symbol.

this picture:

We observe in

lawn on which the nudes stand or

becomes a wall for the figure

in the

re-

upper

margin of the painting.

place in Gauguin's

Life ivith Three Puppies in which

the tablecloth

Still

similar flattening of space takes

interchangeable with wallpaper. There

is

is

an ambiguity, or rather, a conscious desire on the part of

Bernard

with dichotomies of depth and

to play

horizontality

and

lightness

verticality,

flatness,

and darkness; a

tendency to suspend definition of an object in order to express the purely decorative value of

shape. These factors

Nouveau
in the

its

two-dimensional

become extremely important

decoration, while figures like the seated

upper right make their reappearance

woman

in the early

work of Matisse who will, however, recast the scene

more joyous, less constrained manner.

The

esthetics of

by Paul Serusier, to

Gauguin and Bernard were

whom

in a

carried

on

the purpose of art was the "evo-

cation of an idea without expressing

at this

Art

in

it.

concept independently. In the

'''

He

did not arrive

summer

of 1888 he

returned from Brittany with a landscape painted on a cigar

box

lid,

him

the product of a lesson by

which he called

strated to

his "talisman." It represented for

him the importance

Gauguin who had demon-

of the free reign of the

artist's

thought in which emotions and impressions were translated into constructions of simplified forms, eloquent outlines, structural color,

following these

Bernard: Bretonnerie. Corner cabinet.

(1888). Carved polychromed wood, 9' high.
Collection Mr. and Mrs. Samuel Josefowitz,
New York

slow movement. The pictures painted

rules, rather

than repeat visual impressions,

evoked the spectator's quiet contemplation and led to what

52

Bernard: Bathers. (1889). Oil on canvas, 36 x 28" Wildenstein

53

&

Co.,

New

York

Denis: April. (1892). Oil on canvas,

14%

x 24". Rijksmuseum Krolier-Muller, Otterlo,

The Netherlands

Gauguin

called "the mysterious centers of thought."

Serusier,

who, together with Denis, Bonnard,

Ranson, had been a student of Bouguereau

demic Juhan, was instrumental

to Paris a

group ^hich called

in

at the

forming upon

itself

the Nabis.

close to the allegorical

Prophet,

is

derived from the

his return

new

art in their time. In the

the

influence

artists

who

felt

a scene

for

They

also

horse, a female

nude or

is

which expressed a major mood through

contrast

is

went

allegory of the older master by composing

restful

yellow-green lawn

admired Redon,

before being
some anecdote

literal

ering flowers

Cezanne, and the Japanese printmakers. In the famous

formulation by Denis, "a picture

very

as a theorist for the

been pointed out (pages 29-31

equivalent. White-clad ladies

the need to renew

beginning they deliberately courted

of Gauguin.

style has already

beyond the

and the Nabis considered themselves a pure

brotherhood of initiated

But Denis, whose importance

eration.

They were

Hebrew word

is still

symbolism of Puvis de Chavannes,

and Puvis was indeed greatly admired by the younger gen-

Aca-

soon to be joined by Vuillard, Roussel, Seguin, Vallotton

and Maillol. Nabi

true that a painting like April (above)

It is

and

Ibels,

walk

quietly, bending, gath-

white shapes

along

a broad,

a decorative

set against a

joyous

amply curved path.

created by the complementary orange color of

the horizontal fence, zigzagging sharply across the paint-

a battle

essentially a flat

surface covered with colors assembled in a certain order. "^

and by the

left.

But these are only minor disturbances that point up

more

54

bush in the lower

ing,

efl^ectively

linear agitation of the

the essential meaning of the painting,

which

is

pastoral,

measured harmony.

Denis stressed the primacy of the

whether

actually mattered little

low

screen,

and

surface,

flat

designs for stained glass, mosaics,

relief,

tapestry, posters or stage sets. In fact, most of the

made

it

was a canvas or a

this

stained glass designs for

S.

Nabis

Bing's L'Art Nouveau,

which were executed by Louis C. Tiffany

When-

in 1895.

ever possible, they wished to go beyond the limitations of

endeavor to make painting part of a

easel painting in their

environment. This desire was vividly expressed by

total

one of the Nabis, Jan Verkade: "About the beginning of

the year 1890, a war cry was issued from one studio to the

No

other.

more

objects! Painting
it

are

with these useless

must not usurp the freedom which

from the other

There

Down

easel paintings!

arts.

isolates

Walls, walls to decorate.

no paintings, there are only

decorations.'"'

Largely because of their close connection with the Symbolist writers

most of the Nabis were passionately involved

in the small, experimental theater of their time.

They made

marionettes for the avant-garde puppet theatres and they

designed scenery and programs for plays by Rimbaud and

Hauptmann, Wilde,

Maeterlinck, Ibsen and Strindberg,

and Gide. Perhaps the climax of their concern with the

was the performance of Alfred

stage

with Claude Terrasse's music

L'Oeuvre

Bonnard, in his

posters,

is

towards the

all

worked on the decor and

activities as a painter,

is

at the
lily

book

An

early painting such as

primarily a piece of wall decora-

painted thinly on heavy cloth.

gesting

sculptor,

perhaps typical of the all-embracing attitude

bellished with a repeat pattern of

merge

cos-

and designer of decorative screens

arts of this period.

Le Peignoir (right)
tion,

Ubu Roi

this extraordinary play.^

illustrator, lithographer,

and

Jarry's

Lugne-Poe's Theatre de

1886: Serusier, Bonnard, Ranson, Vuillard

in

and Toulouse-Lautrec
tumes of

at

The gold

brown

robe

crescents,

is

em-

which

top of the garment into the background, sug-

pads floating on water.

Its

sumptuous jewel-like

Bonnard: Le Peignoir,

execution, held to the plane without any depth, and the

on

motif of the white flower petals are close to Japanese

tional d'Art

55

(c.

velvet, 605/8 x 211/4".

1892). Oil

Musee Na-

Moderne, Paris

56

Bonnard:
(published

Screen.
in

Color

1899).

lithograph

Four

panels,

18%" each. The Museum of

Modern Art, New York, Mrs. John
54

D. Rockefeller,

57

Jr.

Fund

The Nabis had nicknames

decoration.

for their

members

^yussnnie^wsu>.o^

Denis was called the "Nabis aux Belles Icones" and Bonnard was the "Nabi Japonard." Bonnard, following a long

1860s to come under Japanese

line of painters since the

had a profound understanding of the

influence,

While

sense of Japan.

esthetic

France Cham-

his first poster for

pagne (page 34) still shows Cheret's influence, the famous

one for the Revue Blanche of 1894 (page 37) is closely
related to Japanese woodcuts.

(published in 1899), which

In the decorative screen,

composed of four mounted

is

color lithographs, the geometrically ordered design

and leaves large

with incredible

areas blank. Color

sensitivit)-.

The

is

is

sparse

subdued and spaced

verticality

comes

to a subtle

but definite stop with the horizontal frieze of the carriages.

This screen no longer relates to a single Japanese print, but

in

its

restraint

and understatement

an entire Japanese

effect of

in the four decorative panels

in

found

which Armand Seguin painted

this

characteristics are

free arabesque

is

Le Pouldu (opposite). These panels are

interesting

especially

Nouveau

gives the viewer the

work by Bonnard

close kinship to the earlier

for the inn at

it

interior.

is

context because here Art

pronounced so emphatically.

the essential element: the figures of the

women,

the skaters on the

leaves,

lampshade,

hats.

ice,

the sheet of music, the fowl,

Flowing water and

cigarette

Ranson:

smoke, usually associated with fleeting transparency, have

Vfomen Combing Their

5iy8". Collection

become

curvilinear shapes, firmly

rative scheme. All

forms

embedded

relate to each other

Mme

Sylvie

Hair.

1892. Distemper, 63 x

Mora-Lacombe, Paris

in the deco-

much

like the

wildly indented, yet carefully cut out pieces of a picture

puzzle.

Within these contours, Seguin has applied bright

and strong colors in

a rather

years after these panels

improvised fashion.

less

in the preface to the catalogue that

do not say

'literary'

Seguin

artist,

"is

above

all

harmony of

in

over-all ara-

besque."^

The arabesque

coming together

1890 made cartoons for

embroidery by
Maillol,

is

also the

again, but never rest. Fully con-

Ranson

scious of the decorative quality of his work,

as

which becomes part of an

movement

apart and

that he expresses

not what he sees but what he thinks by means of an original

line

slowly, are

which extends beyond the picture frame. These undulating

lines, like running water or burning flames, keep moving

were painted, on the occasion of

an exhibition of Seguin's work in 1895, Paul Gaugin wrote

cerebral

move more

nervous, and suggest a perpetual serpentine

Ranson's work, but here the curves

few

his wife,

who was

tapestries

as early

which were executed

France Ranson.

also primarily

engaged

in tapestry de-

sign before 1895, achieved the desired flatness but gave

predominant factor in Paul

58

Seguin:

The Pleasures

(1890-91).

Two

of Life.

of four panels.

Oil on canvas, 60 x 221/2" each.

& Adler
New York
Hirschl

Galleries, Inc.,

59

his wall

hangings

a richer surface

with more resonant color.

His space, much more complex than Ranson's,

a series of overlapping
late

consists of

Much

and autonomous planes.

like

medieval mille-fleurs tapestries which he must have

studied, he assigns his figures to a space quite separate

from

the flowered background and relies on color and texture

for his unifying effect (opposite).

Trouble with his eyes forced Maillol to abandon tapestry

design and painting. His
in

wood

were

modeling

in the

is

sculptures

similar to his tapestries.

round

at the

cally simplified his forms.

(right)

first

reliefs

When

carved

he began

turn of the century, he radi-

His small bronze W^asheriiomau

conceived in large, basic planes. These planes

with their definite curvature and undulating rhythm

Art Nouveau, but even more important

is

recall

the stress on the

clearly outlined, negative space enclosed by the girl's arms,

head and garment which becomes

an element

as essential

in the sculpture as the solid mass, acting as

its

Washerwoman, (c. 1893). Bronze, 8"

The Hon. and Mrs. John Hay Whitney, London

Maillol:

necessary

complement. The firm but swinging curve of the contour

formed by the back and

to

skirt of the

kneeling

woman

have been particularly dear to Maillol since

curs almost identically in a painting of the

it

seems

also oc-

same year

bed w

op-

posite).

Sculpture of a very different kind was produced by

to extend his activities

I'art.

ith

human

life as its

symbolic theme. Birth forms the

and death the

subject of the footboard, copulation

Georges Lacombe, known

as

he carved, around 1892, four decorative

I' art

sides,

the headboard provides a "dream," indicating, no doubt,

"Nabi sculpteur." Also eager

beyond the confines of

high. Collection

the belief that the irrational and mysterious preside over

pour

The Dream

reliefs for a

(left)

is

represented by the ancient meta-

phor of the serpent biting

itself into a

tions.

its

own

tail.

The

serpent rolls

face by forming the eyes in a great double loop.

Nose and mouth

ster face,

life.

which

are fitted in

below

to

Influenced directly by Gauguin

guin's sculpture

complete the mon-

surrounded by linear and wavy decora-

is

this

low

relief

is

particularly

one of the

Gau-

earliest pieces

of sculpture which shows the awakening interest in primitive art

We

during the

know

last

decade of the nineteenth

patron of the Nabis. had

Columbian

art

Columbian

art

sure

Lacombe: The Dream. Headboard of bed (1892). Carved wood,

2714" high X 55" long. Musee National d'Art Moderne, Paris

at the Paris

and

brought a collection of Pre-

from South America as

was again seen still

early as 1880.^ Preas a curiosity, to

World's Fair of 1889. All

the anti-classical attitude of

60

centur}'.

that the Councillor Coulon, close friend

Gauguin and

this

be

confirmed

his friends: the

Maillol:

Women

Tapestry. Det

Playing

Guitars,

(c.

1897).

Dansk Kunstindustrimuseet, Copen-

hagen

Maillol:

The Washeruomen.

(c.

1893). Oil on

canvas, 251/4 x 311/2". Collection Mr. and Mrs.

Samuel Josefowitz,

New

York

61

exotic forms are used in a decorative

they become

way almost immedi-

part of a feeling for

ately

ornament which, although very different

lated to Art

flat

in style,

is

in his posters

retain a

yet re-

more

his figures

of Art

Nouveau appears

character of an individual, or the quickest gesture, by the

slightest

modulation of

1865 and came to Paris in 1882, was drawn

delicate,

becomes an almost independent

around 1890. This painting of 1892,

emotion.

The

in a pointilist technique of rather large dots, abstracts

cates her

into the

in

Nabi

circle

in a continuous whirl.

The

head, placed off center in the

at a

lower right-hand corner, as well as the dancing couple

in the private studio of

in

1887

restaurant

The following

ties

more deeply

him than

in the life of Paris,

success

act,

"sculptured by the
contracted

air,

their

like espaliered trees.""

became absorbed by the expressive

At the Nouveau Cirque: The

Dancer and the Five Stiff Shirts he yields completely to an
Art Nouveau arabesque, which moves here with a spirited

1900.

He had

to Picasso

when he

discussed Nietzsche and

Wagner,

recited

Gaudi had been working on the Church of the

first drawings were

the time.

backwards to create a sharply exaggerated curve. The broad

Sagrada Familia since 1884. Picasso's

handling of the

published

and the highly decorative pattern

ably a design for a stained glass

window

it

French Symbolist

poetry and was familiar with the most progressive art of

and dress of the lady have

of this painting lead us to the conclusion that

arrived in Paris in

been part of the Barcelona avant garde which

taken on bizarre shapes, as has the dancer bending her body

areas

make a small
pour upward in

of Loie Fuller and the art of Toulouse-Lautrec

were no surprise

his contemporaries. In his

flat

goblets

symbol of movement.

The world

Indeed he went further than most of

flow. Hat, hair,

for

an irregular billowing rush, transforming the object into

Like his friends, like most of the important painters of

and vivacious

swelled and

to

bronze of La Fuller in which her scarfs

of this period which gave birth to Art Nouveau.

she danced,

and frames of desks

Soon the sculptor Pierre Roche was

life

fell,

predilection

tulips, grills like ramblers,

possibilities of line.

When

recalling the fluid, tenuous lines of art

nouveau designers with

more

but the embodiment

the cloth rose and

shaped like

his generation, Lautrec

the

performances the

to the fact that in her

of arabesque, of sinuous decoration.

Gogh

through taboos and depict the

their serpentine

phantom of

on every European stage during the nine-

may be due

and screens

incisive eye cut

which she would

on

to be a

earnest discussions about the pur-

mind and

dancer. Indeed,

at a

veils,

pose of art and the language of form. His unprejudiced

interesting to

and

distilled to the essence

lights played

dance seems no longer a physical

for Aries and Bernard for Brittany, while Lautrec

steeped himself ever

is

flame or a puff of smoke rather than

nomenal

on the Avenue
year van

precise

carrier of the

dance rather than an actual performer. Loie Fuller's phe-

Clichy during that year and referred to themselves as the

"Ecole du Petit Boulevard."

line,

glance the viewer seems to be looking

movements, must have appeared

Gogh, Bernard, and Anquetin. The four painters had

little

first

Loie Fuller in her long iridescent

Fernand Cormon together with van

small joint exhibition in a

Here the

dance by a contour which

swing while multicolored

margin, proves again the strong hold

w hich Japanese composition had on these artists.

Never a Nabi. Toulouse-Lautrec was studying

line.

lithograph of Loie Fuller (page 64) indi-

of movement. At

the dancers into rhythmic S-curs-es, which keep gyrating

sliced off by the right

solidly than

tonal quality.

who was born

Lausanne

left

more

modeled

and lithographs, and the paintings usually

In his graphic work he was able to suggest the total

The undulating movement

done

and linear

Nouveau.

again in Vallotton's \Valtz. Felix Vallotton,

in

his paintings Lautrec

in

foventut,

Munich fugend, and he was

was prob-

man who

or for a poster. In

62

magazine modeled
a friend of

Ramon

after

the

Casas, the

successively edited Quatre Gats, Pel y Plotna,

Vallotton:

The Waltz. (1893). Oil on canvas, 24 x 19Y4"

Toulouse-Lautrec: At the

and the Five

Private collection, Paris

45%

63

Stiff Shirts.

Nouveau

Cirque:

The Dancer

(1891). Oil on paper on canvas,

X 331/2". Philadelphia

Museum

of Art

Toulouse-Lautrec: Loie Fuller. (1893). Color lithograph, 14^4 x

Roche: Loie Fuller,

X 10%".

Arts Decoratifs, Paris

The Ludwig and

Erik Charell Collection

(c.

1900). Bronze,

21%"

high.

The End

des

the

Opposite:

Picasso:

Road.

(c.

1898). Watercolor,

11 Vz"-

Mr. and Mrs. Justin K. Thann-

hauser

Collection,

lent

Thannhauser Foundation

64

Musee

of

17%

through

The

and Forma, and whose own

portraits resembled those by

Lautrec and especially Steinlen. Picasso's friends, Isidor

Nonell and Carlos Casagemas, worked

it is

in this

manner and

not surprising that Picasso pinned Lautrec's poster of

Jane Avril to the wall of his Paris studio in 1901.

His Courtesan with ]eweled Collar

linear, decorative character

(left) has this bold,

and shows the great

interest in

the play of positive and negative areas typical of Art

veau.

Yet we can consider

peripheral to Art Nouveau.

the purpose,

it

this early

work

as

Nou-

being only

The form is still the same but

While he must have

seems, has changed.

enjoyed the daring curve of the feather, Picasso was also

human

occupied with the

solitude of the

woman and

with

the statuesque, plastic forms of her head, shoulder, and

arms.
Picasso: Courtesan iiith ]eueled Collar.

(1901). Oil on canvas

25%

The

x 211/2"-

earlier

End

Los Angeles County Museum. Mr. and

two-dimensional plane,

Mrs. George Gard de Sylva Collection

contour, and

its

Road (below), however,

Nouveau movement with its

of the

the full spirit of the Art

its

great emphasis

heavy symbolic content.

is

in

steep

on the curvilinear
It is

out of this

feeling for universal tragedy, expressed here before the end

of the century, that the somber figures of Picasso's Blue

Period were to grow.

THE BRITISH CONTRIBUTION

England lacked the
bolist poetry

London
virile.

brilliant expressions of

occurred

Yet, there

later,
is

was

less original

and

in

certainly less

no minimizing the influence of the

English Pre-Raphaelites after their

at the

French Sym-

and painting. The Aesthetic Movement

first

exhibition in Paris

World's Fair of 1855. The Symbolists, and especially

Mallarme and Verlaine, showed much interest in their

work, while Huysmans was most enthusiastic. They most
admired Edward Burne-Jones

who had

discarded

minute naturalism of the early Pre-Raphaelites

the

in favor of

an elaborated surface design. His gentle melancholy and

languid silences were esteemed on both sides of the Channel,

and

as late as

1911 Burne-Jones and

his teacher

Dante

Gabriel Rossetti are mentioned by such an advanced

as

Wassily Kandinsky

way

65

of the external."^-

artist

as "searchers for the inner life

by

Burne-Jones was the outstanding connecting link be-

tween the Pre-Raphaeiites and the new

indulgence of the

Life-long

st)-le.

friend and collaborator of William Morris and partner of

Morris
time,

&

Co., he

made

was a painter who,

in the spirit of the

transintel-

and made degradation seem

these sardonic drawings

where a stunning

attractive in

facility

In 1894 the young

of

artist

became

The Yellow Book, which he

of the tensions resulting from the

in-

Edward

one year because

Wilde

trial,

newly founded Savoy, contributing drawings

liant

artist's

and sophisticated journals of Aesthetes, Symbolists,

Morris and Burne-Jones. Yet

tions into his work,

to see

is

and Decadents.

to

His

the liberating influence of the

in

and use the most recent \\ork of Whistler and Lautrec.

complete

command

he continued

to incorporate elements of past styles,

which by the time of

1898 had already become

Beardsley's illustrations were quickly

nition to

in

The Decadence,

or, as

his early death

known throughout

He had given visual defiMax Beerbohm called it,

"The Beardsley Period." Almost simultaneously

of both line and concept. His dra-^\ings

illustra-

Art Nouveau.

less typically

Europe and the Western world.

the drawings for Oscar Wilde's

Salome he had matured into an accomplished draftsman

underwent several more changes. Always an

style

eclectic,

already visible. Soon Beardsley was also

By 1893 when he did

and the

to these bril-

such as Greek vase painting or eighteenth-century

Japanese print

successively art editor

left after

him as "the greatest

"^^
He then managed to complete
living artist in Europe.
350 illustrations for Sir Thomas Malory's Aiorte d' Arthur,
which were still to some extent in the medievalist style of
encouragement that he referred

and

penetrating archness act to exclude emotion.

which was the Kelmscott Chaucer.

Burne-Jones and was so delighted by the older

contemporary

as his

He

decorations and illustrated books, the most important of

In 1892, Aubrey Beardsley, then a nineteen-year old

And,

Arthur Symonds had already recognized, Beardsley

lectualized evil

cartoons for stained glass and designs for

surance clerk, showed a series of drawings to Sir

siecle.

figured "sin" by the abstract beauty of his line.

and needlework, painted wall panels, did mosaic

tapestry

de

fin

the impact

but are com-

of his drawings was felt by Klimt in "Vienna, Bradley in

mentaries which start where the text ends. His cold, biting

Chicago, Horta in Brussels, Toorop in Antwerp, "Vallotton

no longer
line
its

illustrate specific scenes in the play

no longer delineates

realistic

forms, but leads a

life

in Paris, Bakst in St. Petersburg,

of

young men and women

own. The disposition of the white areas of the paper in

relation to the fiUed-in black areas creates a

most intriguing

This

latter

in

and by a few adventurous

Glasgow.

group, "The Four," as Charles Rennie Mack-

Mac-

intosh, Herbert

MacNair, and

formal meaning of the voids, creating an abstract pattern

donald

were

of black and white as a vital part of the composition, had

with the work Toorop was doing in Holland, and the

never before been so important.

trations by Carloz Schwabe for Zola, besides sharing the cur-

interrelationship

of negative

and positive shape. This

Its significance in Art

sisters,

Nouveau typography has already been noted (page 42),

and it was an essential phenomenon of Art Nouveau prints

had repercussions

beginning with the woodcuts of Felix "Vallotton.

rent interest in Celtic

Beardsley's work, like that of his French contemporaries,

consists primarily of flat decorative patterns, but

in content. Beardsley

was a

satirist

it

called,

their future wives, the

were evidently also familiar

and Japanese

in their

art.

remarkably independent and original character. Their

drawings, book plates, gesso panels, repoussoir metal work,

murals,

differs

who loved the grotesque.

all

show

a stylized linear pattern

aspects of late Victorian culture, not exposing

Beardsley,

as entering

more

its

which must be

seen as an integral part of a total ensemble. ^^

line recurs in their work, but while

much

All these elements

work which, however, develops

Preoccupied with eroticism, he unmasked the suppressed

tion so

illus-

corrup-

fully into the intellectual

it

of the Scots.

66

it

is

The

Beardsley

virulent with

has become coolly sophisticated in the work

The

line

is

stretched vertically,

making

the

i\vBRvEAROSLEY^
Burne- Jones:
Pastel,

5'

The

71/2"

Beardsley: "fai baise ta houche Jokanaan." Preliminary drawing

Pelican.
(1881).
X 22". The William

for

Salome by Oscar Wilde. (1893). Ink and watercolor,

5%". Princeton University

Morris Gallery, Walthamstow, England

67

Library, Princeton,

New

Jersey

10%

figures quite abstract; indeed,

it

from the ornamental

ures themselves often derive

The

attenuation

is

due to a strong sense of

the rectilinear design.

Mackintosh's furniture,
figure

line.

within

The same elongation appears in

and a representation of the human

Mackintosh designed the

first

in themselves nuclei of the

for Miss Cranston

ciled

verticality

fig-

becomes simply a part of the linear pattern.

When
rooms,

seems that the female

on Buchanan

on the wall large murals

Reform Movement

Street in

in

of a series of tea-

which

Glasgow, he
tall,

stern

sten-

women,

with roses and other conventionalized flowers as their

at-

surrounded by an entrelac line and carefully

tributes, are

spaced so as to leave a major part of the wall blank. Identi-

appear

cal figures

at regular intervals in a

rhythmic repeat

pattern which reminds us of the "parallelism" developed

by Ferdinand Hodler (page 76)

The

light colors

mauve, and

"The

especially white

delicacy of the murals

which arouses
measured

Four" preferred pale

and the whole

interior,

a feeling that can best

austerity.

olive,

are an essential part of the

an ensemble

be described as a

A visitor to one of Miss

Cranston's tea-

rooms designed by Mackintosh must have responded also

to the extraordinary grace

and refinement of the space

kind alluded to by another

total decorative effect of the

contemporary Glasgow designer, Jessie Newbery,

who

wrote in 1898: "I believe in everything being beautiful,

pleasant,

and

if

need

be, useful. "^^

BELGIUM AND HOLLAND

Henry van de Velde, who, more than any other single
individual, was responsible for both the theory of the Art
Nouveau stj'le and for its dissemination throughout Europe,
began

his career as a painter. After a brief period of study

at the

academy of

Gogh was

his native

Antwerp, where Vincent van

his fellow student,

he went to

Paris.

There he

studied painting with the academic portraitist Carolus-

Duran but

established personal contact -with the Symbolist

68

Charles Rennie Mackintosh: Prehminary design for mural decoration of Miss Cranston's Buchanan Street Tearooms, Glasgow. (189^).

Watercolor on tracing paper, 14 x 29V4"- University of Glasgow, Department of Fine Arts

69

poets and the Impressionist painters.

turn to

Antwerp

When,

and more exploited by

after his re-

he began painting on his own,

in 1885,

satisfaction of

he followed the most recent trend of Neo-Impressionism.

and

No doubt this style appealed

as not

to

him because

seemed

it

to be

based on a rational system, and while van Gogh's dynamic

line did impress him,

he

tried to reconcile

rational outlook. All his life

power of reason and man's

it

as

own

with his

mind

worked

familiar with Charles Henry's hypotheses

on the

He

1892 he seems to have arrived

The

Museum

(opposite)

at

for the

still

more

for the

and sinuous rootlike forms

Boys
lines

an ambiguous space. Here,

as in the

all

writer,

its

aspects.

He

and designer. His

ambassador and spokesman

(van de Velde preferred not to

call

it

later also in

life to

v*

Switzerland and

designing objects, or rather

ould lead to a more liberal and a

in

page 95)
1900-1902 van de Velde designed the

Folkwang Museum

installed in the

main

interior

for Karl Ernst Osthaus in

gallery

tvith

Kneeling

where the attenuated

and geometric structure form an integral part of van

de Velde's design.

almost totally

non-objective woodcuts he contributed to the Flemish peri-

Nu en Straks

he

social moralist,

Hagen, he had Georges Minne's Fountain

creates a picture suggesting organic growth. Abstract shapes

shift in

rational life (see

When,

a pastel in strong

no descriptive function. The

relationship of elliptical planes

style

an environment, which

shades of orange-yellow, purple, green, black, blue, and

pink, yet these colors have

new

Holland, he devoted his

appears to derive from nature and

It is

as the international

gium, France, Germany and

as

almost total ab-

Abstract Composition in the KroUer-Miiller

suggests gourd and bulb motifs.

was not long before van de Velde

Art Nouveau) cannot be overestimated. Working in Bel-

soon

abandoned the demanding technique of pointillism, and

it

as architect, educator,

importance

direct psy-

chological effects of color and line (see page 29)

straction.

a matter of fact,

of the industrial arts in almost

field

prodigious reader, van de Velde was undoubtedly

early as

with any other kind of consumer goods. "^'^

followed the example of William Morris and entered the

to the creation of better forms.

as often

without the least regard to their eventual destination

gave up easel painting altogether.

problems of

creating a better environment by applying his logical

In the form of "easel pictures'

were now being executed

"salon statuary', both

As

van de Velde believed in the

ability to solve the

self-interest or prostituted to the

human vanity.

comparison of one of these kneeling figures of 1898

1893 (page 32) van de Velde

with an earlier bronze by Auguste Rodin, The Sirens of

achieves the culmination of the Symbolist attitude of evok-

1889 (page 72), dramatically points at two seemingly opposite aspects of Art Nouveau: the earlier, curvilinear and

odical

Van

in

ing an emotion without resorting to

allegorical description,

the Art

and indeed,

literal

this

statements or

was the

the slightly later rectilinear or "'counter-Art Nouveau. "^^

furthest

Nouveau group moved toward non-objective

The almost

art.

In his theoretical writings, also, he declared his opposition

to naturalistic decoration

and championed a new

ornament, which he

be intellectually and emotionally

felt to

and

certainly the vignettes for

Van

Nu

still

be-

left

long in the realm of decoration rather than of pure painting. "Little

by

little,"

that the reason

why

he

recalls, "I

the fine arts

It is precisely this linearity

which evokes a

specific

emotional response in the viewer. Both Rodin and Minne

Composition

en Straks

linearity, a

great emphasis on the contour which outlines an unbroken

mass.
totally abstract, the Abstract

Minne's figure seems to be

Rodin. Yet both sculptures share an essential

abstract

invigorating.^^

While almost

rigid angularity of

in complete contrast to the fluid, light-reflecting bronze of

the naturalism of their predecessors in their concern

for expressing a symbolic idea.

came to the conclusion

had fallen into such a

While

this idea

may

be

sensuousness in Rodin's group and ascetic austerity in

Minne's adolescent boy, they do share a mood of weariness

lamentable state of decay was because they were being more

and

70

passivity, so typical of the fin

de

siecle.

Van

de Velde: Abstract Composition. (1890). Pastel,

Otterlo,

The Netherlands

71

18%

x 20". Rijksmuseum Kroller-Miiller,

Minne, who

illustrated plays by

Maeterlinck and poetry

by Verhaeren, was, like his compatriot van de Velde,

inti-

mately connected with the Symbolist movement emanating

from

owe

Paris. In contrast, the

their greatest debt to

Dutch painters of the period

England: the work of Toorop

and Thorn Prikker would be unthinkable without Blake,

the Pre-Raphaelites, and Beardsiey.

Jan Toorop,

who was born

in Java in 1858, divided his

time in the eighties between London, where he was subject

same

to the

Aubrey Beardsiey, and

influences as

Brussels,

where he exhibited with Les XX as early as 1884 and became a friend of Maurice Maeterlinck, who inspired him
to work in a Symbolist manner.
His drawings of the early nineties

perhaps

his greatest

contribution and certainly the most important in this context

suggest

the

mood

of melancholy mystery achieved

by ambiguously combining an elaborate

metaphor

literary

with evocative form. Renouncing color almost entirely, his

powerful drawings might almost be a programmatic

Minne:

Kneeling

Boy

(1898).

Bronze,

30^/,"

at

the

high.

Fountain.

tration of Symbolism. In the

Musee des

large

Beaux-Arts, Ghent, Belgium

line

own

its

and pencil

in chalk

used not only to delineate the

is

figures but also to denote

illus-

significant of these, the

Three Brides (opposite) of 1893,

on brown paper,
press

most

sound and

at the

same time

to ex-

abstract force. In order to read the mystic

content of this picture, representing the contrast between

good and

The
the

evil,

an almost

literal analysis is necessary:

nun bride of Christ on

the lilies as attribute; the human, innocent, virgin
the center, surrounded by roses; and the bride of

three brides stand for the

left,

bride in

Satan on the right with a collar of skulls and a basin of

blood. Below, female figures with closed eyes
rived

from Javanese shadow

floating

around a

background a
a chorus of

stylized

frieze

is

disembodied

puppets -are

clearly de-

shown

chrysanthemum. Above

formed by heads of young

spirits

and

as

if

in the
girls

in the corner the ring-

ing bells from which long skeins of maidens' hair are flowing,

The Sirens. (1889). Bronze,

The Cleveland Museum of Art

Rodin:
high.

seem

to allude to the prophetic tolling of the bells in

the writings of Maeterlinck and Poe whose

17'

was

72

illustrating at the time.

But the hair

work Toorop

strains translate

Jan Toorop: The Three Brides. 1893.

Black chalk and pencil, ^0% x 381/2"-

Rijksmuseum KroUer-Miiller,

Otterlo,

The Netherlands

into visual terms the

rising

on the

left

waves of sound:

softly

rounded and

fluence

time. Its strictly symmetrical composition,

embody

slender bodies, unrealistic grouping of figures and objects,

movement.

and mysterious mood corresponded well with the demands

"the evil" in an apparently

downward

falling

The iconography

of a medieval Last Judgment representa-

tion clearly finds

its

first

Nouveau movement.

was

illustrated in the

volume of the The Studio}^ and the

early drawings of

of the Art

echo in this pedantic Symbolist com-

It

Frances Macdonald and C. R. Mackintosh are directly

position.

picture as a

its

attenuated curves, all-over pattern, sparse use of color,

right the dropping, shrill, angular "noise lines"

The

on

they indicate "the good," while on the

whole

as both too sentimental

which

and too

certainly strikes us today

literal,

particularly

traceable to this source.^"

when

The younger Thorn

contrasted with the simple directness of van de Velde's

Abstract Composition,

had,

however, an immediate

Prikker

who

painted in a dark Im-

pressionist vein before turning to religious

the winter of 1892-93 he painted

in-

73

The

symbolism

in

Bride, which relies

considerably less on figurative allegory than did Toorop's

painting and depends upon the suggestive use of form.

The

clustered shapes in the background are not actually candles,

but suggest them; there

lines infer

herself

is

it.

is

There are no

bridal vi'reath, but twining

no

facial expressions,

and the bride

implied by a long shape in a veil-like garment

patterned with decorative forms derived from flowers.

spiral line connects her

on the one hand with the larger

form symbolizing the crucified Christ and on the other

with the flanking group of oversized bud shapes. The picture is painted in soft greys and greens and light violets,
and

a gentle sensuality

lines

is

evoked by the melodiously curving

and budding shapes.

Its

undefined growing forms,

rotating motion, subdued color,

the paintings which Marcel

twenty years

its

and general mood, suggest

Duchamp was

do some

to

later.

There were strong cross-influences among Thorn Prikker,

Toorop, and van de Velde. Thorn Prikker was the
these artists to exliibit with Les
first

XX

in

last

met van de Velde and contributed drawings

Straks. Van de Velde also stimulated him

Van N// en

engage in the applied

arts:

of

when he

1893,

he did batik designs as well

to
to
as

wallpapers and furniture. In his paintings and drawings at

the turn of the centur)', however, he renounced

considered the Symbolist fallacy. In 1904 he

Germany and began

what he

moved

to devote himself primarily to

for the Catholic Church, designing stained-glass

to

work

windows

and painting murals. Jan Toorop also became more conservative in his later work, was converted to Catholicism

1905,

and

turned

to

more conventional

Thorn Prikker: The Bride. (1892-93). Oil on canvas,

571/2 X 34%". Rijksmuseum Kroller-Miiller, Otterlo,

liturgical

The Netherlands

painting.

74

HODLER, KLIMT,
The general

AND MUNCH

revival in religious feeling

emphasis on the repeat pattern of the stylized

Hod-

figures.

ler saw in man and nature a constant recurrence of the

same phenomena which led him to develop his theory of

and the turn toward

mysticism in the nineties accounts for the success of the

"parallelism." According to this concept, the repetition of

movement under the leadership of the Sar

Peladan. With the financial backing of the Count de la

forms serves to intensify emotion by creating a unified

rhythm and thus give an image

Rochefoucauld, the Sar Peladan brought together transcen-

darity within a pantheist cosmos.

Rosicrucian

and Aesthetes,

dentalists

spiritualists

and charlatans and

succeeded in holding his Salon de la Rose-Cro/x

Ruel's in

feel in certain

Durand-

beings

1892, mingling paintings by the Nabis and

Symbolists with
ler,

at

more academic

exercises.

lowed

his canvas to Paris in 1891,

and feted by the Rosicrucians for

and death, and, in

turn,

came

When

in 1890.

he

fol-

pression of a philosophy of

he

felt,

raries,

spell.

a decorative pattern,

should express his mystical feelings of

cryptic

earlier tapestry.

unified Art

interpreted as a

small nude boy

is

He

is

the

air,

its

if in

ritualistic figures

to the utmost,

and

their

transitory, or accidental.

brilliant

cepts,

and

is

used only as a

tern of the figures.

The

all naturalistic

foil to set off the

Nouveau from

the

fame was

1904 was so successful that

assured.

The way

for his great

his other friends of the Secession.

and colorful

The Vienna

1897, and the following year

official

its

organ, Ver Sacrum, began

From then on developments

in Austria, start-

with great rapidity. In the mid-nineties Austrian design

was

elicits

still

in the grip of

heavy-handed eclecticism.

few

years later, at the Universal Exposition in Paris in 1900,

rhythmic patfill

large, mural-like

ing later than in Western Europe, succeeded one another

space con-

light color serves merely to

acted as an integral part of a

Vienna had been prepared for him by Gustav

in

publication.

accessory,

The landscape background

no feeling of atmosphere, avoids

in

Secession was founded in

answer to the

is

Vienna Secession

Klimt and

garments are simplified

eliminating everything that

the

triumph

supplication of the "chosen" boy before the leafless tree.

The

it

Nouveau composition. His

thereafter his

growth.

almost to be fastened to their columnar

garments. They hold tender flowers as

in the

A retrospective exhibition of Hodler's large figure pieces

at

fenced in by a group of angels, standing sturdily on

who seem

becomes the impor-

realm of the decorative into that of the monumental.

seen kneeling in a symbolic

garden, planting a small tree and praying for

line

The Chosen One was placed

structure tried, in fact, to transpose Art

Angels' Guard (page 94)

reference to a specific time or place, even to the Biblical

Art Nouveau contempo-

compositions with their severe symmetry and precise linear

which was on the same theme, Hodler wanted to avoid any

event.

to the

rather than an intensely-

where a tense

Osthaus in Hagen, where

commentary on the "Adoration of the Child." Like

van de Velde's

idealist

Hohenhof,-- which van de Velde designed for Karl Ernst

several large figure compositions, such as

The Chosen One (page 76) which may be

The

Hodler worked in terms of the plane enriched with

tant carrier of emotion.

pantheism in the universe.

Hodler created

life,

felt visual experience. Yet, like his

Philosophically inclined, Hodler strove for a transcendental

art that,

relate

world of the Pre-Raphaelites. They are essentially an ex-

his allegory of sleep, love,

under their

still

strike us as

Hodler

rhetorical, passive gestures.

purpose and allegoric imagery

he was greatly admired

briefly

that that

stronger than that which separates us."^^

overburdened with

Geneva, painted, after naturalistic beginnings, the large

The Night

moments

"We know

Often Hodler's large figure compositions

Ferdinand Hod-

born of Swiss peasant stock in Berne and active in

Symbolist composition

is

human soliand we all

which unifies us human

to his idea of

in

the clearly delineated contour which again puts supreme

the Austrian pavilion, designed by

Hoffmann and

was the best example of the new

style

markably elegant

75

and

Olbrich,

in itself a re-

structure. Klimt, the president of the Se-

Hodler: The Chosen One.

(c.

1903, replica oi painting of

c.

1894). Oil on canvas,

7'

2V2" ^

9'

10". Karl Ernst Ostliaus

Museum, Hagen, Germany

Opposite: Klimt: Salome.

(1909). Oil on

canvas, lOVs x ISVs"- Galeria Internazionale

d'Arte Moderna, Venice

76

cession, had worked originally in the fashionable academic

manner of Hans Makart and had not become familiar with

contemporary European

art until

The foundation

1895.

of

the Secession immediately opened the doors to advanced

European

Klimt was especially impressed by Jan

Toorop, the Belgian Symbolist Fernand Khnopff and Franz
artists.

von Stuck, who worked

in a similar vein in

Munich. Most

important, however, was the influence from Britain: BurneJones, Beardsley, and especially Mackintosh.

By 1900 Klimt had

an

artist

his

so typical of art nouveau that a

example of
If art

own style. He was

own country

established his

"famous well beyond the borders of

more

characteristic

that international style could hardly be found.

nouveau was an

ornamented surface

and

art of the surface

a beautifully

of flowing curves and delicate figures,

of ephemeral beauty and rich ornamentation of poetical,

sometimes symbolic

Klimt was

its

Klimt was

subjects, a

feminine and decadent

art

quintessence."-^
in great

demand

a painter of

as

mutedly

elegant portraits; and he painted allegorical pictures of

voluptuous young

women

set off against richly

textured

backgrounds, often applying gold and silver sequins to the

canvas. This application of metal to the picture plane was

probably inspired by Byzantine mosaics, but in some ways

it

anticipates the

modern

collage.

He

did landscapes and

flower pieces, covering the picture with a linear, strongly

colored carpet in which representational elements are in-

terwoven with freely invented geometric ornaments

whole canvas being executed with

the

a festive ornateness sug-

gestive of the handicraft products of the other Secessionists.

Klimt had ambitions for making large wall decorations.

Between 1900 and 1903 he created imposing murals for
the faculties of philosophy, medicine, and jurisprudence at
the University of Vienna, which met with severe popular

disapproval because of the radical character of their symbolism. Then, to surround Klinger's Beethoven
at the Secession in

1902, Klimt

whose sentimental it}'

is

ho-w^ever,

Monument

allegorical frieze

as refined as Klinger's

His most successful work,

77

made an

was the

is

bombastic.

frieze

he de-

""

Klimt: Decorative frieze for dining room of Palais Stoclet, Brussels,

78

(c.

1905-08). Mosaic and enamel on marble.

>

>

signed for Josef Hoffmann's Palais Stoclet (opposite). In

only the general melancholy of the

keeping with the quiet elegance of Hoffmann's designs,

additional intense anxiety, whether of

Klimt's murals for the dining

room

tion of geometric forms.

wall,

To

Hoffmann framed

is

no longer any

three-

tree of

dimensional illusion in Klimt's mural. The motifs

dancer, lovers

are subordinated to a

flat,

structure of triangles, ovals, curves, volutes,

besques.

The

'Perhaps Edvard

80) of 1893 uses a

ara-

elements.

and

stones, majolica, white marble, metal,

Byzantine mosaics and, indeed, the stylized tree with

in

mind

the

work of

the

The

delicate

decorative nature of Art

Nouveau was not

convoluted form

sized by

of descriptive or narrative

repeated throughout the land-

is

its

line

Munch

truly

has painted what might be called sound waves, and

make the human

to express a total anxiety that evokes

from the observer. "^^

which the emotional quality of the whipbeyond the purely decorative to a genu-

ine expression of deep psychological involvement. This

in 1889,

He

paintings

tional life

He

impressed by Seguin's prints, he

series of

1892 he traveled

few days

after precipitating

controversies of this period which

number and
ever,

the intensity of

its

is

the pioneer

drypoint and aqua-

to recapture the atmos-

In his woodcuts he profited by

work of Vallotton and Gauguin, became greatly

medium

itself,

and, stressing

The breadth and freedom of lithography, however,

permitted him the closest approach to recasting the flowing
osity.

notorious for the

Munch, how-

qualities of his paintings.

The Madonna

remained to become a central figure of the progressive

cultural life of Berlin.

began

the grain of the woodblock, he reached a remarkable virtu-

one of the great

art scandals.

oils.

intrigued by the nature of the

show

made

which he managed

pheric quality of his

to Berlin

for an exhibition of these paintings, only to see the

close within a

tint etchings in

dealing with man's emo-

his suffering. In

He

experimenting with the different print media in 1894 and,

gallery he

began working on a

the Frieze of Life

and

The Cry

to exploit these

versions or by turning to graphic reproduction.

looked at van Gogh's paintings, and was especially impressed by Gauguin.

year.

elements by repeating the same themes in various painted

saw the work of

Theo van Gogh's

an immediate response

ments themselves. Munch then proceeded

intellectual

he made contact with the

in France.

Seurat and Lautrec and at

merge with the landscape

was able to communicate emotion through the visual ele-

fermentation and libertine radicalism of Oslo's bohemia.

most advanced painting

figure

Unlike Toorop's Three Brides of the same

was

true of the

Then, coming to Paris

empha-

scape like a stone creating centrifugal ripples in water.

were examples

work of Edvard Munch.

As a young man. Munch was part of the

strongly

the central figure seems to be uttering pervades the land-

frieze

these lines

in

is

contrast to the straight, rapid diagonal cutting

conducive to a monumental conception. However, there

lash line could rise

without

through the imaginary space of the painting. The cry that

beyond arts-and-crafts embellishment.

rises

its

minimum

itself

The Cry (page

A writhing figure emerges from the picture plane,

rhythm of the clouds. The curved

its

Ravenna. But compared with the majestic dignity of the

hardly

closest to a pictorial reali-

scape in the sinuous line of the shore and the equivalent

Orthodox Baptistry

Ravenna mosaics, Klimt's beautiful and

Munch came

response through the use of the plastic form

and enamel. They approach the decorative splendor of

spirals brings to

and confronted by

the intermediary factor of didactic allegory.

designs were executed in a mosaic of glass

and semi-precious

rela-

zation of the symbolist's endeavor to evoke an immediate

ornamental

and free

man-woman

the terror of death.

white surfaces with a

his plain

heavy gold border. Similarly, there

life,

figures threatened by the forces of life

repeti-

value of the wall as

stress the

but an

siecle,

tionships fraught with desire and suffering, or of individual

possess a restrained

and graceful repose achieved through the rhythmic

fn de

nude painted

His paintings and prints express not

79

in

certainly a startling title for the languid

1894

was

repeated in a color lithograph

Munch: The

Oslo
Cry. (1893). Oil on cardboard, 33 x 261/2". Nasjonalgalleriet,

80

the following year. But in the lithograph a border

which

in

Madonna

allude to the role of the

The

is

added

and spermatozoa appear shockingly

a foetus

to

as the creator of life.

sperms, while resembling the cells seen under the

microscope, serve to form the decorative border and have

assumed the sinuous

paintings at his
significant that

new

it

When Munch

Art Nouveau.

line of

returned to Paris in 1896,

was

Bing who exhibited

S.

L'Art Nouveau, and

gallery,

it

his

seems

Munch's friend August Strindberg wrote a

review of the show in the most important organ of the

Nabis, the Revue Blanche?^

THE SITUATION IN GERMANY

Germany produced no
ture during

the

its

Germans took

literally

and too

earlier Arts
artists in

truly outstanding painting or sculp-

Jugendstil period. This

is

certain principles of

seriously.

Much

and Crafts Movement

probably because

Art Nouveau too

in the

manner of the

in England, the

German

the nineties felt a great moral responsibility for

the creation of objects of fine

workmanship and individual

value to counteract the cheap products of a debased mass

culture. Historicism,

in

Germany

was

so

which had remained firmly entrenched

much

finally rejected

longer than

it

had across the Rhine,

and academic convention repudiated.

Functional and beautiful objects were

Munch: Madonna. (1895). Color lithograph, 21^4 x llVz" The

Museum of Modern Art, New York. Purchase

made which would

The arts

carry the personal imprint of the artist's hand.

crafts, therefore, became the center of interest for

some of the best German artists Peter Behrens, Otto
Eckmann, August Endell, Hermann Obrist, Bernhard Panmost of whom had begun
kok, Richard Riemerschmid

and

their careers as painters.

The

which they devoted most of

level of the applied arts, to

their activities,

meet the highest standards. Painting

itself

was raised to

was

to

become

mostly embellishment of a well-appointed space, and was

to "fit into a

room

like a

gem

into a ring."^^

Periodicals w^hich covered literature, politics, and social

satire as well as art

81

became the rallying points of the new

Barlach:

Cleopalia.

(1904). Ceramic, 9" high. Collection

Kurt Reutti, Berlin

Wilke: Ueberbreltl. Drawing for Simplicissimus,

1903. Ink, tempera and watercolor, ISVa x 11 Va"Staatliche Graphische

Sammlung, Munich

Kirchner:

m'\%"

82

Before the People.

Allen Art

(1900).

Museum, Oberlin

Woodcut,

7i5/i6

College, Oberlin,

Ohio

movement. The erudite vanguard quarterly Pan, which

founded

Julius Meier-Graefe

lowed

in

in Berlin in 1895,

was

and hardened her structure but never

simplified her forms

fol-

her understanding of symbolically decorative form.

lost

1896 by the more popular Munich weeklies

Typical of the Jugendstil

artists

of Munich, which had

Jugend and Simplicissimus. These magazines sponsored a

whole group of extraordinary illustrators, among whom

become the center of the movement, was the tendency

Thomas Theodor Heine, Olaf Gulbranson, Bruno

even the

restrict

Paul,

and Rudolf Wilke produced some of the most vigorous

work.

Many

sign.

and ornaments, and

it

was

in Jugend,

files,

for example, that Ernst Barlach began his career. Soon

after his Jugenstil

human

figure to nothing but an ornamental de-

The Kiss by Behrens (frontispiece) of 1898 is a good

this. The two severe, almost classical pro-

example of

of the talented artists of the time contributed

cartoons, illustrations,

to

every form to a two-dimensional plane, reducing

surrounded by a dense arabesque of

warm,

drawn

rhythm of dynamic balance. Nothing of the

in a delicate

drawings and covers for Jugend, Barlach

hair, are

embrace of Rodin's Kiss of 1886 remains;

life-like

which the

began doing sculpture, designing plaques, small fountains,

all that is left is

and decorative ceramics. His Cleopatra (opposite) of 1904,

pointed meeting of the mouths forms the abstraction of a

with

typical

its

Art Nouveau kidney shape,

is

a sensuous

nude completely surrounded by a sweeping cloak

movement

the busy

of

smooth surface of the

its

delicate ripples

in

intricate interlace of lines in

kiss.

which

It

was

in

Munich

in the nineties that the philosopher

Theodor Lipps, advocate of the theory of empathy, held

lectures at the University on the evocative meaning of line

opposes the

These early decorative Art

figure.

an

Nouveau sculptures, however, bear little resemblance to

the monumental carvings of archetypes for which Barlach
is remembered and which began after his trip to Russia

and performed experiments on the

in 1906.

abstractly in his embroideries, like

Many

of the

German

leading figures in the

had

painters

who

German

Expressionist

their start in Jugendstil.

Kirchner's

early

acknowledge

woodcuts

were

the People (opposite) the

a ridge

had been trained

he

later

Art Nouveau. In

man and woman

refused
his

end-all of sculpture

to

on

Isolated in the artists' colony of

group of staring

Worpswede,

and urged

is

a diagonally rising

The

August Endell, a student of Lipps in philosophy and

tive relief

naturalism

on

describing objects with what she re-

its

on

as

green wall.

yet free abstract sculpture

development of
page 10).

83

artist,

designed the imagina-

(page 138). Based on a

floats

with exuberant fury

It is still architectural

of the decorated tablecloth, the convoluted curves of the

own. Later she

an

his Atelier Elvira

ferred to as "runic writing." In her enthusiastic treatment

life of their

a swift con-

the angel on the

dragon motif, the purple form

embroidery take on an organic

eliminate.

yet in close

had already gone

Worpswede and was

wedge with
figures

eyes.

under Obrist' s influence

of

no longer the

sculptors to parallel nature

(page 84)

own personal Art Nouveau forms in this German Pont-Aven. In her Still Life of c. 1900 (page 84) she
lyric

is

summit of the spiral, for instance are banal literary

vestiges which the next generation (cf Tatlin) could easily

evolved her

beyond the regional

the declaration, revo-

human form

growing forms. His Design for a Monument

contact with the art of Paris, Paula Modersohn-Becker

far

used organic forms

The Whiplash (page

in creating

tinuous spiraling movement.

equivalent on the left side of the print in the abstract forms

movement and

He made

lutionary for 1901, that the

above the crowd. This scene finds a symbolic linear

suggesting dance

as a natural scientist,

and funerary monuments.

Before

are dancing

move-

113), and then again in his sculpture designs for fountains

became

movement
For example, Ernst Ludwig

which

typically

like Barlach

effect of linear

ments on the human psyche. There Hermann Obrist, who

not

decoration

but Endell already foresaw the

new non- representational

art

form

(see

Modersohn-Becker:
111/2"- Collection

Still Life.

(c.

Stephen Radich,

1900). Oil on cardboard,

14%

Desig)i for a Monument. (Before 1902).

Kunstgewerbemuseum, Zurich

Obrist:

New York

84

Plaster.

"It
to

was a great time of

Munich

to study in

"Jugendstil began in

ism and to devote

when

renewal

artistic

came

1901," Gabriele Miinter remembers.

its

own way to

itself to

destroy the old natural-

pure line."^^

Gabriele Miinter's friend and teacher, Wassily Kandinsky,

made

fairy-tales.

In these he must have been influenced by the

ballet design

and stage decor of Bakst, Benois, and Somov,

whose work he saw on

In

The Mirror

ture plane

is

his frequent return visits to Russia:

of 1903, the two-dimensionality of the pic^

predominant; almost

But an

tive are eliminated.

ground and background

negative forms.
at the

on romantic, medieval

a series of woodcuts based

is

The white

same time

to

all

vestiges of perspec-

between fore-

intricate play

stressed by the use of positive

and

of the paper, for instance, serves

shape the clouds in the sky behind the

fairy-queen and the long veil floating

curvilinear forms of

its

down

in a zigzag line

figure.

Yet the small broken-up

folds tie

up with the grey ones on

advancing in front of the

the hanging sleeves, located

somewhere between

veil

and

clouds. Again, an all-over pattern of white flowers spreads

evenly over skirt and lawn;

it

is

only by means of these

flowers that the shape of the skirt

line separates its black

is

recognizable since no

from the black of the

sky. It

is

this

interpenetration of multiple space values creating suspen-

sion of space and tension of surface which

Kandinsky: The Mirror. (1903).

cut, 121/4

X GVg,"

Lenbachgalerie,

Wood-

Stadtische Galerie

is

so characteris-

Nouveau design from Vallotton to Kandinsky.

This was one of the means of visual expression which
tic

und

of Art

Kandinsky was

Munich

to explore further in his

breakthrough from

Art Nouveau to Non-Objectivism.

Many

of the Art

Nouveau

artists

As

tributions to this unified style.

there were those

ticipation

in

who came

to their

the movement,

of

Germany made

in the rest of

con-

Europe,

peak during their par-

but sank back again into

mediocrity, after the hold which the vital elements of the

new

style

had on

their talents

were also those who, beginning

of Art

Nouveau

itself far

had weakened. But there

their careers, took aspects

as a starting point, to leave the

behind them on their way to

movement

artistic maturity.

Peter Selz
85

Victorian drawing room. Residence of the Hon. Hamilton Fish,

Riemerschmid: Music room. German Art Exhibition, Dresden.

New

1899

York.

(c.

1880)

86

DECORATIVE ARTS

room

In the 1880s a living

of the upper bourgeoisie in

almost any European or American

tain

home was

Dresden, must have appeared bare and cold to the average

likely to con-

an odd assortment of upholstered, heavily carved furni-

ture.

and a

large table draped with a tasseled rug,

One

"room within

The windows, sheathed

trickle

in

This mixture of

High Victorian

decade

one of the

and decoration were shown

room of

new

essence,

influential inter-

would

clear,

set into a

even light

accentuated by parallel

wood frames and

wide window
chairs

sill

in several

Wallpaper patterned with

hori-

was for

It

this

all

much

from

the

sense

of

the

New

elements in

it,

was the lighting

fixture

combination of shadowless

from thin brass

they seemed

rods.

Hanging from

suspended from the

shading.

swung

two

their electric wires,

lines

their use

heightened

effect

achieved

flat

Form was

shapes.

way

outline, cut into

that the space too be-

were placed next

and con-

to each other without

often indicated by a mere outline or by

parallel lines of different weights. In fact, parallel

became a common device serving equally well for

abstract

This room, created by Richard Riemerschmid for the

German Art

an

a shape. Color played an important role; flat

trasting color tones

like the ribs of a tent.

applied arts section of the 1899

However,

These shapes, given a highly evocative

the other

center of the ceiling: a circle of individual bulbs

tapestries,

through continuous curvilinear movement and through

came

all

woods,

Style, they

two-dimensional

section carried a stenciled frieze of gently swaying vertical

room, like

its

reason that wallpapers,

inlaid

attention.

the surrounding space in such a

this particular

basically planar,

that in earlier "period" rooms. Pre-

zontal swirls covered the lower part of the wall; the upper

Designed for

center of gravity

its

was

from country
be noted. In

important elements in the furnishing

through overlapping. In the

lines

it

to

in the

viously they had served to create an illusion of depth

extended deeply into the room. Arm-

to the total composition.

lines.

were

ornament;

Because

re-

the arts, had be-

all

European countries

stained glass, mosaics,

differed basically

thin lead strips

around the table contributed elegantly flowing

style of

of a room, received

shape

was not a separate element but was instead part of

a de-

an outcome of a great process of

arts.

and embroideries,

gracefully following the fan-shaped upper section. The

table

elements.

architect.

was a

face decoration.
stencils,

window which flooded the

(opposite). The window had
its

it

purest manifestation appeared in graphic design and sur-

find

and chairs had been moved from

deep, softly curved wall embrasure,

it

was the applied

tendencies in design

the center to a large, undraped

been

an

Style,

early 1890s. Its specific characteristics differed

quite different character: in a large, compara-

tively bare space, the table

room with

as

New

gun simultaneously

the basis for

to an eager public,

its

who had become

to country, but certain generalities

later a visitor to

revealed, as

degree of coherence

juvenation affecting attitudes towards

design.

national exhibitions, in which

known

This

the empty spaces.

periods and styles formed

all

well

potted palms, assorted

filled

it

signer of furniture and decorative objects, was eventually

room" draped with shawls.

velvet and lace, allowed only a

lamps, and copies of Greek statuary

Style

uncommon

Riemerschmid, a Munich painter

Vases,

of diffused light.

New

through the coordination and interrelation of

set of

corner might be transformed by a balustrade

into a romantic

an

does to us today,

high-backed chairs, dominated the center of the room (opposite).

followers of the

visitor; to the

embellishment or the evocation of a

specifically

poetic content.

Since these efforts to develop a

Exhibition in

87

new and

unified style

were

Here were the

"minor"
arts

man's environment, the con-

to affect ever)- aspect of

ditions for urban living

were probed and re-examined.

^K

^t

^k

^fe

roots of the return of the decorative or

arts to the le\'el

had occupied.

It

and importance which the

why

helps to explain

painters

fine

were
^^^^ik''* *^^^^^^lL^^^^t-4^^K^IC&- ^^E

willing to leave their easels to turn craftsmen, using their

talents to design the objects

and environment of daily

life.

IwlJII

ENGLAND
Industrialization in the nineteenth century provided goods

which previously few people had been able

produced

in quantity

to

WIms

own. Easily

by machines, such things as

textiles

artist-craftsman as a

HQ

to reunite all the

William Morris Gallery, Walthamstow

and household furnishings, heretofore

reflecting the crafts-

^1

man's close contact and personal understanding of his cus-

now generally

tomer's needs and tastes, were

visual

form of these

earlier st)des.

The

objects continued in the

used

who owned

more

manner of

new population

wealthier part of the

the substantial bourgeoisie

directed industr)-

available. Tlie

the factories and

costly versions of the

same

prototypes in furnishing their elaborate homes.

In protest against this insensitive imitation and mixing

John Ruskin had declared that such imitation

the destruction of all art and that the foundation of art

of

styles,

truth.

William Morris, the

philosophy into action, aimed

first

translate

to

is

is

Ruskin's

at the re-establishment of the

Mackmurdo:

member of the community'. He wished

arts much as had been done in the Middle

Ruskin and Morris recoiled from what they regarded as

the destructive effects of the industrial revolution, but they

the

new

technology.

To

made

possible by

them, salvation from what they

considered a debased civilization lay in the return to the

principles of

hand craftsmanship. In

Renaissancethey remained
historic st)'les

their preference for

the arts of the Middle

Ages and the

early

true to the esthetic conceptions

of the early nineteenth century.

The

artists

jHK^Biwi

Two-sectioned

fmt

screen.

panels, satinwood frame, 28 x 24".

Ages.

failed to see the advantages to the arts

^^L

of the next generation were prolific writers on

88

1884.

Made

Embroidered

silk

by the Century Guild.

Mackmurdo: Cromer

Bird.

(c.

1884.)

Voysey:

Printed cotton fabric.

William Morris Gallery, Walthamstow

Albert

89

Woven

silk

and wool

Museum, London

fabric.

1897. Victoria and

these problems. In interminable discussions, they eventually

denounced Ruskin and Morris for having withdrawn

from the

present, but they accepted Morris' theories for the

unification of the arts.

These ideas soon led to the

among them Arthur H. Mack-

lishment of craft guilds,

murdo's Centur)' Guild

1880-81 and C. R. Ashbees

in

Guild and School of Handicrafts

Mackmurdo remains one

in 1888.

of the most surprisingly origi-

nal personalities of his time.

While

drew from nature, and of the

freedom of expression. In

on the Con-

plants,

st)'lized foliage

and Romanesque decoration. His

tional

traveling

had made extensive studies of

tinent he

art

which he
of Gothic

reached an unconven-

his design for a chair

in 1881, followed by a similar design for the title

Wren's City Churches

maturit}- of the

come

New

(page 27),

St}'le,

to full flowering a

dented in

its

estab-

back

page of

he anticipated the

which on the Continent would

decade

free rhythmic feeling

Ashbee: Bowl.

Similarly unprece-

later.

his

is

(c.

1893.) Silver, 8" high.

Made

by the Guild of Handicrafts. Victoria and Al-

embroidered

bert

screen decoration of 1884 (page 88). Exaggeratedly long

Museum, London

flower stalks with thin leaves and wind-swept petals are

set

w ithin narrow framed

panels,

w here they undulate

like

smoothly dynamic in

tongues of flame.

The 1884 Cromer Bird

perhaps the strongest
surrealist

its

of birds and leaves are arranged in wide horizontal bands

qualit)' of fantasy. Its strangely proto-

against a striated background, dissected by the tips of leaves

excitement unexpected in

reaching out from each band to flow together across the

motif produces an

air of

so modest an object as a simple cotton cloth and marks

striated area. Voysey,

Mackmurdo

tecture, created for his

as a

aspects of the

prophet of one of the most significant

New

Stj'le.

the Pre-Raphaelites, and

is

The design

recalls the spirit of

ture

also an example of his extraordi-

one of the pioneers of modern

Equally well

known on

architect C. R. Ashbee.

colored seaweed float from left to right, accompanied by

developments

However, the blossoms of the

The design

is

Another
is

textile,

by the architect Charles

much more

simplified in detail

F.

its

new-

in

the European continent was the

How closely the continent followed

England can be seen

in the

many

tury and

from the constant flow of

exhi-

European

articles in

magazines. In the Dekorative Kunst of 1898,

organized on

two planes: a swaying but stationary background and a

moving foreground pattern with its own internal rhythm.
Voysey,

by

artists

bitions held during the last decade of the nineteenth cen-

floating plants strain in the opposite direction, providing a

disquieting counter-rhythm.

archi-

graceful, undecorated furni-

which greatly inspired Continental

of geometrically arranged flower patterns, rows of darker-

birds.

homes

uncluttered "English" character.

nary talent for decoration. Over a light-toned background

groups of small swift

elements (page 89). Flat outlines

design (page 89) has

textile

Muthesius, attached to the

German Embassy

in

Herman

London

study and report on English housing, described a

to

visit to

Ashbee's Guild and School of Handicrafts w^here students

Annesley

and perhaps more

were trained

90

as

craftsmen to execute his designs under his

personal supervision. Muthesius remarked on the fact that

Voysey. Mackintosh's furniture (below) was primarily rec-

through such guilds the long existing gap between studio

tilinear, simple, squarish,

and workshop had been closed. In his appraisal of Ashbee's

concepts underlying his

work, he commented on Ashbee's preference for forms

furniture distinctly

based on the actual function of the object (opposite)

prototypes which had also served as inspiration for the

The English Arts and

lyst

on the creative forces

Crafts
in

movement

to the

ensemble

furniture designs of William Morris. But in Mackintosh's

acted as a cata-

Europe and America, where

and subordinate

room designs. The character of his

stems from Gothic chairs and cabinets,

hands these designs underwent fascinating transformations.

in

fact

subsequent work seems unthinkable without the Eng-

Some

lish

impetus. Continental commissions received by English

of decoration for which no precedent existed. Supporting

and designers contributed

architects

spread of a

who had

new

style. Baillie Scott,

received

many commissions on
Duke

designed furniture for the Grand

stadt in 1898.

centuated by the spare but unerring use of white orna-

architect

the Continent, also

of Hesse in

Darm-

This much-publicized commission was prob-

ably responsible for the Duke's invitation to seven

and Austrian

elements, joints, and the centers of doors were often ac-

significantly to the

an important

of them were painted white and adorned with a kind

artists to

form an

artists'

German

colony in Darmstadt,

Mathildenhohe (page 116).

called

At the time of the great Paris 1900 Exhibition, the English public was unaware of the fact that a New Style, now
was sweeping the Continent. For

this reason

George Donaldson, an English member of the

Paris jury,

fully matured,

made

a considerable bequest of

Albert

Museum

money

to the Victoria

for the purchase of furniture

exhibition, because he felt that

it

and

from the

displayed a "superior in-

genuity and taste" which he wanted to bring to his country's attention.

SCOTLAND

small group of artists in Glasgow, working independ-

ently of the English

movement, produced an

terpretation of the arts

and

crafts idea.

element of pure geometry was added to the

floral

Of

original in-

Through them an

New

Style's

and abstract-linear trends.

Glasgow group, the architect Charles Rennie

Mackintosh emerged as the most powerful, imaginative
personality. Not only his architecture, but with equal
this

lucidit)' his interiors, furniture,

call that

and decorative objects

Mackintosh: Cabinet,

re-

(c.

1903.)

Wood,

painted white, decorated

with carvings and inlaid figures of enamel and leaded

"sense of fitness" which permeated interiors by

high.

91

The University

of

Glasgow Art

Collections,

glass,

Glasgow

5'

ments, rising from a

flat

white surface,

trefoil or softly

oval in form. Rectangular chairs are like thrones, overscaled in size, often decorated with stenciled flowers,

and

designed for formal elegance rather than comfort. Together with subtly colored mural decorations, light fixtures

suspended from beaded

strings,

and

vitrines with doors

which, like those of shrines, conceal their delicate ornamentation

on

they contributed to the symbol-

their insides,

laden, fairy-tale atmosphere of Mackintosh's interiors.

Most

of the decorative elements were the

Macdonald

sisters

Margaret,

who became

and Frances,

McNair. The

who

from

and repousse

dream world, with small

enigmatic faces and expressively clasped hands. Their

listic

sty-

origin reaches back to the Pre-Raphaelites, but their

literary content

uitously

found

is

diffused and vague (pages 68-69)

Mackintosh

in

thinly flowing draperies

and

the

the wife of his partner, Herbert

sisters executed, in glass, gesso,

metal, strange thin figures

work of

married Mackintosh,

trickling

blood.

The

interiors,

move among

fountains

stylized rose

symbolically

Ubiq-

these figures in

bowers

dripping tears or

glittering decorations suggest precious

gems

but were achieved with commonplace, often cheap materials.

Gilded and sculptured gesso was inlaid with

jet beads,

and metal plaques and tinted with

string,

soft greys,

pinks, apple green, olive, and shades of rose and blue. Yet

these rooms in their severely architectonic arrangement and

sophisticated color combinations revealed a continuity and

control of means.

Even with

all their rich detail,

they

re-

tained a delicate, carefully controlled linearity, which fused

each part into a unified whole. This sense of unity was per-

haps the one characteristic found in each of the national

versions of the

new

style.

BELGIUM
Like a stepping stone between England and continental

Europe, Belgium became for a time a moving force in the

Horta: Electric light fixture from a fireplace.

Hotel

Solvay,

Brussels.

bronze. L. Wittamer-de

1895-1900.

development of the

Gilded

at a fully

Camps, Brussels

92

New

Style.

One

developed mastery of the

of the

first

to arrive

New

Style

was the

Horta (see 125-135). In the

architect Victor

House (page 129), completed

the Tassel

staircase of

Horta

in 1893,

achieved an intensity of expression comparable to the

Mackmurdo

equally unprecedented

The

ten years before.

design of

title-page

framed on

all

sides by

exuberantly curving and snapping ribbons which

rise like

stair hall is

flames from the bottom of the

stairs,

asymmetrically cov-

ering a section of the wall and reaching

landing. This painted decoration

wrought-metal

stair rail

clusters of lines painted

mosaic pattern on the

column sprouts

cast

up

to the next

paralleled in the

is

open

of similar design, and echoed in

on the ceiling and repeated

floor.

The supporting

in a

cast-iron center

Horta: Inkstand

fro.-n

the Hotel Solvay, Brussels.

1900. Gilded bronze. Collection La

intertwined with the

iron tendrils

ceiling decoration. All materials are subordinated to the

demands of

a linear decoration. This continuity suggestive

of organic growth eventually became Horta's chief interest.

In the Hotel Solvay even stone relinquished

reticence,

bending and softening

mand. The

interior

shows

natural

its

at the architect's

com-

remarkable unity inasmuch as

the completely furnished house reflects a single creative

impulse even in the smallest

details.

All the lighting fixtures were consistently designed as

up and wind themselves

flowering plants;

they climb

around

rise gracefully

stair rails,

places, or

droop in elaborate

light over the carved

wood

from the

clusters

from

sides of fire-

ceilings,

pouring

furniture and walls (opposite)

Horta's decorative elements are like bundles of individual

bound together by interwoven

strands
a

ribbons.

footstool,

photograph stand, and an inkwell (right) become orna-

ments of complex abstract design. Their function

is

almost

completely subordinated to the expression of willful

ele-

gance and sophisticated whimsy.

The work

of the architect and furniture designer Gus-

tave Serrurier-Bo\y provided a link between

Belgium and

England. In his furniture shop in Liege he sold English

designs as well as his own.
tically

conceived

surfaces

into

The

inventions,

latter,

were

unlike Horta's plas-

flat

two-dimensional

which he inserted tensely drawn curved

arches (right).

The

visual tension thus expressed

was a

Serrurier-Bovy: Dining

93

room

1895-

Baronne Horta, Brussels

buffet.

1898

Van

de Velde: Angels' Guard. 1893. Wall hanging: wool and

que. 55 X

silk

embroidered appli-

91%". Kunstgewerbemuseum, Zurich

Van

de Velde: Side chair from the

artist's

house in Uccle. 1895.

seum of Modern

Van

de Velde: Desk.

189'?.

Ashwood. Osterreichisches Museum

fiir

Angewandte Kunst, Vienna

94

Art,

Mu-

New York

feature taken over by van de Velde and transformed by

of utilitarian pursuits, he designed and exhibited in 1893

him

an applique wall hanging. Angels' Guard

into one of his

Van de Velde

most

characteristic design elements.

The

of Belgian interior design.

work

An

after

London

latter's studies in

in the fields of wallpaper, textiles,

his

which

rightfully considered Serrurier a precursor

the

he returned to Belgium.

New

Style,

made

flat color.

the

lines

observation that Serrurier, like Horta, had been trained as

an

architect;

On

advantage, created difficulties in terms of esthetics.

who were

however, foretell

the

to say, "It will

the

be

difficult to

The

article

No

doubt,

it

is

encompassing

necessary as

who

Velde,

it is

moment

rare. It

is

to

do so appears

owes

are his

van de

Henry van de Velde was

a gifted painter

Deeply absorbed

in the doctrines of

objects,

made

way he

signs.

lectual abilities.

rated;

large

His work cannot be separated from his

Style.

Although he had

Bloemenwerf was

a complete

interiors created for

Made

entirely

Bloemenwerf

New

The

Style.

example of the

from individual

fur-

staves

These

skeletal shapes already possess

In this chair the eye perceives the surrounding

its

ornamental quality

ashwood desk of

ture consists of

is

The

furniture

inherent in the

members

is

undeco-

movement

c.

1897 (opposite). Here,

The

sweeping oval top

is

in a

too,

no

large struc-

two inner consoles with outer open

sections at each end; a

shelf

surmounted by

tapering shelf-boards at both ends and forces unity by a

projected ideas which carried the organic away from the

became the

proponent of the curvilinear abstract variation of the

all-

and free from

in spirit

surface ornamentation has been applied.

emphatic and emotion-charged language, he

He

house he created an

These same principles are more forcefully expressed

Velde's gifts were

imitation of nature toward the abstract.

house, Bloemenwerf,

of the lines.

twofold: his creative talents were matched by his intel-

theories. In

first

new

and voids into a complex entity.

one of the pioneers in the complete renewal of form and

Van de

surfaces,

space as a complementary form, fusing the solid

XX and Le Libre Esthetique, he became

arts.

Gauguin

the characteristic springiness and energy of his later de-

Ruskin and

liveable with beautiful furniture,

ornament in the applied

to

and

seats, their

structural necessity.

even clothing. Calling for new esthetic ideas in the

avant-garde of Les

There

somewhat harsh form goes back to

peasant prototypes; each line and joint exists because of

Morris, he found a personal fulfillment in the creation of

an environment

lines

which indicate the

first interiors

with rush

who became

figures.

owner, even to the styling of his wife's

The

nishings (opposite).

could best fight against what he considered the world's

ugliness.

a fore-

of van de Velde's mature work.

chairs, for instance, are a characteristic

his brilliant development."-'

designer and architect because he felt that in this

its

clothes (page 9).

to be as

to this combination that

much

style of living,

unit designed by

only by

with great forcefulness has appropriated the

technical basis,

is

with vibrating parallel

which can be traced

inherited conventions. Life at

is

combining both elements that something worthwhile can

be created, and at this

filled

in Uccle near Brussels. In this

went on

decide which of these two

more valuable background.

is

In 1895 van de Velde built his

well-trained painters, origi-

nally lacked technical understanding.

This curved shape

which completely envelop the kneeling

and the Symbolists. The dynamic play of

other hand, van de Velde, Alfred William Finch, and

Georges Lemmen,

The winding road

story.

are stylistic resemblances

although technically of great

this training,

meaning of the

shortened curve of color, contrasting with other areas of

Dekorative Kunst, one of the magazines so

article in

important in the propagation of the

(opposite),

essentially a picture. Simplified flat planes

still

with strong areas of unbroken color are used to intensify

seriously influenced

etc.,

is

sculptured heavily flowing outer band. This curving outline

New

not only holds

all

parts together but also serves as brace

and support to carry the shelves while

discarded easel painting in favor

95

it

models the shape.

Van

de Velde: Candelabrum,

(c.

1902.) Silver-plated bronze.

21%"

dustrimuseum, Trondheim

96

high. Nordenfjeldske Kunstin-

Van de
is

Velde's silver candelabrum of

1902 (opposite)

c.

almost a pure sculptural arabesque, with flowing, curv-

ing and upward-thrusting elements. Exploding outward

from the stem are

six individual

candle holders which are

an integral part of the design.

Bloemenwerf
found himself

wide

attracted

and van de Velde

attention,

in the center of an internationally spreading

movement. Introduced by

Julius Meier-Graefe to S. Bing,

van de Velde was invited in 1895 to design four complete

room
the

newly opened shop. Bing was one of

settings for the

men

instrumental in spreading knowledge of the

Europe which was ready

Style to a

to absorb

its

New

message.

For several years Bing's Paris shop in the rue de Provence

Galle: Shell-shaped crystal bowl engraved with seaweed and shell

(remodeled by the architect Bonnier) was the center of

the

new movement

and, in

fact,

designs. 1899. llVa

diameter.

'

Musee de

I'Ecole de

Nancy

became so

activities

its

completely symbolic that the shop's name, L'Art Nouveau,

was

finally

given to the movement.

The rooms which van de Velde

nothing
signs.

created for Bing had

Bloemenwerf

of the sparse lightness of his

They were

rich

and sonorous in

their

with

from the Nabi painters

the design.

The rooms

see

at

55

became

De

his

of linear fantasies. This architectural setting became a

stimulating background for the

Goncourt's term,

studies

As

a matter of fact, the term

included

work

practical experience in his father's

was well taken since

where

England, he opened

as a result of a logical appraisal of functional re-

quirements furniture had become an inseparable part of

the wall.

in

artistic

for ceramic

factories in the Saar

invention. Galle had studied the technique of Chi-

nese and Japanese glass snuff bottles during his visit to the

FRANCE

Victoria and Albert

artists

had been working

before van de Velde arrived in Paris.

New

and

from further studies in Germany and

his own workshop in Nancy in 1874.
Art Nouveau was one of the last great craft movements
which the skill of execution matched and enhanced

Valley. Returning

of the

Galle's

literature,

workshop

and glass and in the Meisenthal glass

the rooms had a striking resemblance to ship interiors,

Many French

new movement.

philosophy,

in

botany; his training included the sketching of plants and

in

newspaper reviews was quoted to ridicule the Belgian

imports.

Nancy had been transformed by rococo

work into a beguiling maze

facades and gilded iron grill

a part of

"Yachting Style" with which he described the rooms

developed around the work of Emile Galle. In

ski the center of

Bing's galleries shocked the

ultra-conventional upper bourgeoisie.

it

the eighteenth century under the reign of Stanislas Leczin-

which Bing commissioned

page

glass industry dating back to the fifteenth century

where

de-

ornamentation

and of a unity which was completely new and extraordinary. Stained glass decorations

its

Style

were formed

in

in the

Two

France

new idiom

veloped and refined

The

one

become

in

in Paris

Nancy

layer.

97

in

London.

known

He

further de-

as overlay glass.

top layer of colored glass was cut away in parts to

distinct centers

around Bing's L'Art Nouveau and the other

Museum

this technique,

a raised decoration

Galle used

many

on the surface of the bottom

layers of glass to achieve various

wheels, or layers

was done with small

Tlie cutting

combinations.

color

were eaten away by

acid.

This simpler

technique was largely used in his later production ^^hen

employed well over 300 workers.

his shops

third tech-

nique consisted of fusing onto the multi-colored layers

small drops of glass, or bits of metal or mother-of-pearl,
treated further by engraving

and polishing to create im-

mensely rich and variegated surfaces. Galle's plant forms,

insects,

own,

and floating seaweeds seem to have

as if

a life of their

responding to a force outside the viewer's realm.

Executed in delicate tones they are completely blended

within the shapes to which they are applied (page 97).

Unlike the abstract arabesques of van de Velde's designs,

Galle's pieces create a poetic
are engraved

mood. Often evocative words

on the surface and

to the organic images

float like tendrils

whose moods

attached

they parallel.

Less daring in concept than his glass, Galle's furniture

in general follows the

tury

it

is

French

stj'les

of the eighteenth cen-

always precious and fragile (right). But he

reveals his originality by the

way

in

which he uses the

decorative qualit)' of the background wood,

raised, carved,

and

flat

combining

inlaid patterns of plants in freely

asymmetrical arrangements.
Galle's

st)'le

Daum

tories.

was soon adopted by other Nancy

glass fac-

Freres produced designs which in shape and

decoration closely approximated those of Galle but v^ere

often sentimental in feeling and coarser in execution.

How-

drawn necks and

sculp-

ever, their painted vases with long

ted asymmetrically-shaped bodies are surprisingly bold

original.

surfaces

and
Galle: Screen. 1900. Ashwood, carved and inlaid with various
3' 6" high. Victoria and Albert Museum, London

They resemble in form and in their textured

the natural rock from which they seem to be hewn.

woods.

Louis Majorelle, the other noteworthy furniture designer

in

Nancy, produced neo-rococo adaptations and began

work

in the Galle

to

idiom about 1897. However, the shapes

Majorelle employed were

less traditional,

and

in the sculp-

tured, smoothly flowing silhouettes of his furniture, braces

and

structural elements

posite)

Metal

details

became shoots and branches (op-

were purely ornamental, and

in these

98

Majorelle: Bannister,

(c.

1900.) Forged iron.

Musee des Arts Deco-

Charpentier: Revolving music stand,

(c.

1900.)

Carved hornbeam. 48" high. Musee des Arts

ratifs, Paris

Decoratifs, Paris

99

Wolfers:
chain.

eled gold
tion L.

100

Me J ma.

Pendant on gold

1898-99. Carved ivory, enam-

and opal.

c.

4" high. CoUec-

Wittamer-de Camps, Brussels

he revealed

common

On

his debt to

Japanese stylization as well as to

local flora.

French Art Nouveau had two major

the whole,

the art of Japan and

roots:

own

its

form. While in other centers of the

eighteenth-century

new movement

the

battle for the rejuvenation of the applied arts involved

moral

concerned with a

new

expression of beauty in the applied

rather than with their social values.

arts

was more

as well as esthetic re-examination, Paris

Without ever

relinquishing completely the formal elegance and sophisti-

new form proved

much more sensuous. The

cation of eighteenth-century design, the

to

be equally elegant and

dynamic world of organic growth introduced by the theoretical

that

writings of Grasset and others was used in a

stemmed from Japanese

manner

seemingly distributed

art:

random, plant forms were controlled with care for

poetic,

ship

and visually graceful

made

it

possible to

Traditional craftsman-

effects.

embody

the most evanescent

images in any medium. Such extreme refinement also

tracted those fn-de-siecle tendencies

at-

through which the

became known

period, not without justification,

at

fresh,

Lalique: Shallow bowl.

"the

as

opals.

mauve decade."

9"

diameter.

1900.

Opal glass with

Osterreichisches

Museum

silver
fiir

mounting,

Angewandte

Kunst, Vienna

Designs of entire rooms and their accessories by de

Feure, Gaillard, Colonna, Selmersheim, and

produced
lery.

in Bing's

In the same

workshops to be sold

way

Nouveau

duced some of the purest examples of the

art.

lyric quality

it

cre-

had proJewelry permitted another pure expression of the

style in the field

work has

Sophisticated and sensuous, their

overwrought content with which

tic

artists

unhampered by the edifying and

countries. Furniture

had

that French Impressionists

ated pure painting, French Art

of applied

Plumet were

later in his gal-

Style.

was charged

artis-

statements and never merged completely into a unity.

Charpentier's music stand

is

good example of

fixed height

from

and

were used

subtle colors

and because they

imagery. In

many

lent themselves to symbolic

instances jewelry

was

also treated like

The most original jewelry designer was Rene Lalique.

At the age of twenty-five he opened a workshop in Paris.
Although he had exhibited anonymously at the 1889
World's Fair in Paris, his first real recognition came at the
1895 Salon du Champ de Mars, where since 1891 the ap-

was solved with powerful, furrowed

like the stalks of a plant, rising

intricate

insect motifs

miniature sculpture (opposite)

this

New Style (page 99) The problem of providing slanting shelves for music scores at a

complete mastery of the

and

with the greatest freedom. Materials were chosen for their

in other

and objects remained individual

Purpose and scale allowed the most

fanciful play of lines. Plant

occasionally

New

strands,

a coil to hold aloft

the double shelves.

101

shown
From 1895 on,

and

plied arts had been

side by side with painting

sculpture.

Lalique's exhibitions, like Tif-

were

fany's,

which were so

characteristic at the turn of the century.

In response to the opening up of the

mond

shows

in the international

attractions

vital

new African

dia-

jewelry design of the Second Empire had con-

fields,

centrated exclusively on the massing of brilliantly cut dia-

monds. Lalique re-introduced the beauty of semi-precious

colored stones, particularly the shimmering opal.

gold

many

in

He

used

shades, enamels, both opac|ue and trans-

irregularly shaped pearls, as well as the

modest

horn which he handled with the same imagination

as ivory

lucent,

(abundantly supplied by the African colonies)

these materials Lalique created designs

may be compared

quality

freedom of expression

ment of

fantastic

to Galle's

is

Combining

whose emotional

work. Unconventional

combined with formal arrange-

images and depends on complete mastery

make each

of a technique to

may be

piece an entity. This

seen in one of Lalique's decorative combs (left), a favorite

ornament of the period.

naturalism,

In contrast to Lalique's fanciful

"Velde created jewelry based

on

three-dimensional translations of his

powerful plays of

lines occasionally

rowed bands. They

flat

van de

His

abstract form.

pieces,

ornament, are

broadening into fur-

exercise an almost hypnotic attraction

by the relentlessness with which they suggest motion (opLalique: Decorative comb.

(c.

and enamel.

Det Danske Kunstindustri-

GVs"

long.

1900.) Carved horn, gold

posite)

His work created a

style of abstract linear jewelry

which spread throughout Europe.

museet, Copenhagen

most important Art Nouveau

France's

architect

was

Hector Guimard whose powerfully expressive cast-iron

orchid-like stalks for the Paris

Metro

stations

were

of the street scene in the late 1890s and today

still

a part

form

the entrances of several stations (page 136).

In an article in the June 1902 Architectural Record (a

special issue
it

to

acknowledging the

Velde next

cited

introducing

Horta and van de

to himself as the co-founders of Art

This selection of
that all three

102

New Style and

American readers), Guimard

artists is interesting

employed

as

Nouveau.^

considering the fact

an essential structural element

the energetically flowing, tensely coiling line charged with

power and

force.

Guimard, however, added exaggeration.

Legs and braces of a casual side

example, no

table, for

longer remain the simple plant forms carrying an Art

Nou-

veau table top; they have become botanical specimens, a

heightened expression of energy and tension (page 104).

Two pieces,

own house

designed for Guimard's

are especially noteworthy.

The frame

in Paris,

of a desk chair has

completely shed traditional characteristics; branches thrust

out from a center spine to form a bold curve for back and

arm supports and continue downward

large top of the desk

wood. The squarish

bridge,

is

to

form the

legs.

The

an asymmetrically shaped plane of

down

narrows

left side

widening into an oval tongue

at the

into a center

extreme

right.

Van

This early version of "free form" seems to be kept in endless

rhythmic flow.

The

de Velde: Belt buckle,

Collection Stikforth, Gars

top rests on two free-standing

(c.

am

1898.) Silver, amethyst.

Inn

pedestal cabinets which face each other at right angles.

Their paneled walls in branch-like frames seem to be

of

some

made

wave pattern which

ductile material pulled into a

outlines the shape of the panel (page 104).

In the design of his upholstered furniture,

Guimard

also

openly acknowledges inspiration from French eighteenthcentury tradition. Uniquely his own, however,

and degree of transformation

the kind

the voluptuously sculptured

upholstery and the flowing quality of his

decorations.

is

Guimard's furniture

is

wood frames and

eminently functional,

"a complement of logic and harmony which leads by emotion to the highest expression of art."^

By 1900 -the

New

had reached

Style

its

zenith and domi-

nated the enormous Exposition Universelle in Paris.

Many

countries were represented with national exhibitions clearly

showing

their variegated

language.

It

involvement with the new form

was obvious

that the

New

Style

had become

generally accepted and indeed reached a popularity

made mass

production profitable.

ciples of craftsmanship, S.

which

Holding out for the prin-

Bing had

built a small pavilion

which was pure decoration rather than an architectural

pression, a jewel case in

ex-

which he exhibited the elegant,

Stamp: Hatpin (detail). 1908.

Silver.

Made by

Horner. Ltd., Halifa.x. Private Collection,

luxurious products of the artists around him.

103

Charles

New York

Guimard: Detail of

side

in Paris, (c. 1908.)

high.

The Museum

Gift of

Mme

table

8'5"

(c.

long.

104

artist's

1903.) Carved ashwood.

The Museum

York. Gift of

artist's

Hector Guimard

Belou. Guimard: Desk from the

Paris,

from the

Carved pearwood. 43 V2"

of Modern Art, New York.

house

Mme

of

Modern

Hector Guimard

house

2S%"

in

high x

Art,

New

AMERICA

John La Farge, in the Heidt glass factories in Brooklyn.

His early experiments with glass date from 1873; his first
actual products

At the turn of the century Europe had already seen the most
important American expression of the New Style. Bing had

shown Tiffany

glass in his Paris shop as early as 1895,

Tiffany was also prominently represented in the

and

ligious,

900 expo-

was considered superior

In the United States, heads of industry, banking, and

commissioned the design and furnishings of

(steel

and reinforced concrete) were used,

new

in

to that

produced in Europe. Win-

the Tiffany

painters were commissioned by

their

shops from designs by

Bing and shown

Louis H. Sullivan, an exponent of this

Beyond the

effect of opalescence

he tried to achieve those

glowing colors that erosion and exposure

had caused on the surface of

architec-

to mineral salts

glass buried in the

it

new

on

plicated process of simultaneously

architecture,

His horizontal bands of ornament,

flower clusters,

scrolls, leaves,

But

cally arranged within a defined space.

symmetry, they were strangely alive in

sessed a kind of organic flow

and

flourish

their deceptively traditional appearance

at a type

all

symmetri-

in spite of this

detail;

they pos-

which enlivened

(page 122).

Sulli-

of decoration which

prophetically heralded European trends of a decade later.

Closer to the European trends, yet wholly original,

is

the

work of Louis Comfort Tiffany. Beginning his career as a

''

student of George Inness, Tiffany studied further in Paris

and traveled

in the

crafts (his father's firm.

^^JEICENEN ZEICMNWNCEN!*
TEWlCtlE.STorrE.dte.

A close association with the

Tiffany & Company, produced and

Near

OEKORATIVE
KVNST&ECENSIAKOe
AU.ER ART EICENS rvR#

East.

1,'Ar.t-NovveavCEFlERTlCT.
VEKTRETUNC VON*
-

and decorative objects) and fascination

with the inherent beauty of materials led him to abandon
painting for the decorative arts. In the 1876 Centennial Exsold silverware

hibition in

rim. Et>ROPA.

Philadelphia, Tiffany saw decorative objects

from many countries and found himself

attracted

originated with technique.

chemistry of glass and

worked with

CEAVVLDE

SCVl,-pTVltW<I-

at this early date

by English and Japanese design. Tiffany's

like Galle's,

ground

blowing the glass and

his buildings in

placed between the vertical elements of structure, were

van arrived, in the 1880s,

shop

for centuries. In his shops and under his direction a com-

used ornament importantly, placing

composed of

at his

in 1895.

was coming into being.

carefully selected areas.

re-

his glass

Toulouse-Lautrec, Bonnard, Vuillard, and other French

town houses and country estates in neo-Gothic, neo-Renaissance, and neo-rococo styles. In office buildings, department stores, and warehouses for which the new materials
ture

and decorative windows. The quality of

dows executed

still

one branch of his expanding firm was

devoted exclusively to the manufacture of memorial,

sition.

trade

were decorative windows, subtly opalescent

in color. Eventually

He

art,

studied the

Lemmen: Advertisement for Bing's L'Art

Nouveau. 1898. From Dekoratite Kunst

his friend, the painter

105

exposing

it

and fumes from molten metals

to chemicals

resulted in brilliant hues

Unlike Galle,

who

and

a ravishing iridescence.

cut decorations

from various

layers

of colored glass superimposed on each other. Tiffany's

technique was to control the way in which the layers of

made

color were

opaquely

to flow either transparently or

over each other, bringing about an abstract play of line and

color

and

He would

(left).

oriental

often

go back

to

traditional

and European prototypes for the shapes of bowls

but most forms he used were uniquely his

vases,

own and

as extraordinarily inventive

as the iridescent colors with

and unconventional

which they were decorated.

Graceful images of exotic flowers on attenuated stems,

twisted fruit forms or lumps of oddly shaped glass with

dream world

casual openings created a

tion

and

detail

glass the exotic

in

which propor-

had been strangely transformed. In Tiffany

and the irregular became the norm.

When

Tiffany combined metal with glass, he produced objects in

which structure and decoration were eloquently integrated

(opposite). Tiff^any's

work

affects the viewer's sensibilities

through an evocative sophistication. His colors and forms

suggest the quality of a

mood

as

summer

is

suggested by

the pearly iridescence on the wings of a butterfly.

idiom of the

New

many workshops
Tiffany:

Group

of vases,

plated bronze. Center

Modern

Art,

(c.

and

Grueby

1900.) Lejt: Favrile glass and silver-

right: Favrile glass.

The Museum

in

was

like those of

Boston,

master of the

of

Style

but

The

reflected in the products of

Rookwood

Tiffany

in Cincinnati

and

remains the American

style.

New York

HOLLAND
The work
the

New

of the Dutch artists

Style in

pressed mainly

who formed

the nucleus of

The Hague and Amsterdam was

ex-

was

dif-

in painting

and graphic design.

It

ferent in character

from other expressions on the Conti-

nent and so were

sources.

The

its

nineteenth century was shaped not only by scientific

discoveries

and

industrialization, but also by the

enormous

wealth which poured into Europe from colonial possessions.

106

This wealth included rare African and eastern woods,

Tiffany:

Table lamp.

(c.

1900.)

Favrile glass and bronze. 2^" high.

Lillian

Nassau

Antiques,

New

York

107

Colenbrander: Plate. 1886. Glazed pottery, abstract

plant design.

10%"

diameter.

Made

by Rozenburg,

The Hague. Gemeentemuseum, The Hague

Kok (form) and Shelling (decoration): Bottlevase. Made by Rozenburg, The Hague. Osterreichisches Museum fiir Angewandte Kunst, Vienna

108

from

opals

India,

and ivory from the Congo. The

influx

of foreign cultures was equally evident, and soon the mu-

seums of archeology and anthropology

storehouses for artifacts

The

from the

at

home became

colonies.

old Dutch colonies, particularly Java, provided for

Dutch

new idiom

artists a

in the ancient technique of batik

printing on textiles. This technique produced

flat

patterns

with wavy outlines of markedly abstract quality streaked

over with an erratic network of thin veins formed by the
folding lines where the fabric had been sectioned off for
the dyeing process. These batik designs corresponded to
the concepts of the

New

Style

Workshops and group

tions.

and inspired fresh

varia-

enterprises styled after the

English craft guilds of the post-Morris period sprang up

in various

Dutch

most

Among them

were a number of

whose decorated wares became one of Hol-

pottery firms
land's

centers.

Best known of
The Hague which

characteristic contributions.

these companies

was Rozenburg

was in operation from 1894

until

in

1916 and had

its

Van

first

de Velde:

Lounge. Decorative Arts Exhibition, Dresden.

1897. Executed by S. Bing, Paris

foreign showing in the Paris 1900 Exhibition. T. A. C.

Colenbrander, the company's most important designer, was

the

first

to realize that the batik style could also be applied

to the decoration of objects.

His pottery consists of heavy

forms and strongly colored exotic decoration on white

J.

(opposite). His ornament combines solid abstract

glaze

Shelling further stresses the fluidity of the total form.

Strands of plant forms glide up from the bottom and are

shapes with trailing and tapering strands which merge

like feathery trails of

with each other in complicated patterns. These forms range

smoke.

freely over the white surface causing the white to appear

as

form rather than background.

Another derivation

vase which

made

Kok

designed for Rozenburg.

In 1897 Bing exhibited

It is

at

the Decorative Arts Exhibition

character-

Dresden the four rooms which van de Velde had originally designed for his Paris Art Nouveau shop. There they

of an entire group of pottery (opposite). These de-

received the enthusiastic response they had missed at their

rather than poured into the

signs depart

addition of
the

GERMANY

represented by a type of bottle-

of extremely thin and glassy ceramic which had to be

blown
istic

Juriaen

J.

is

from

flat

main body

central

mold and

traditional Far Eastern

is

in

forms by the

first

handles which seem to be pulled away from

in a

showing

in the

Dresden exhibition

convex curve. They flow back into the

more tradition-bound Paris. For the

lounge was added which em-

a central

bodied many of the basic ideas of the

New

Style as

van de

Velde had conceived them (above). Around the walls ran

form and the empty space between body and handle

becomes part of the sculptured shape. The decoration by

a stenciled frieze divided into identical rectangles.

109

Above

the doors the rectangles were filled with colored glass

panels separated from each other by protruding ribs which

curved into the ceiling.

The main motif

a fireplace boldly projected

were subject

from the

room was

of the

wall. All furnishings

to the general scheme; the curves of the sofas

corresponded to those of the ribbed

undulating

frieze, the

pattern of their upholstery to the abstract ornament of the

The curving

stenciled pattern.

walls led to a decorated

skylight which shed an even light over the entire room.

There had already been many signs of the new movement

in Germany, but van de Velde's lounge was the first ex-

ample seen
whole.

It

in that country of a

was not

1899

until

room conceived

as a unified

that the earlier

mentioned

music room by Riemerschmid achieved an even greater

harmony,

in

which controlled daylight was an important

part (page 86).

While

the Dresden exhibition

fully conscious of the

to

Dresden

Style,

made
it

new movement

the center of the

about 1895

New

the

German

public

was Munich which was

in

Germany. There

at

two
before van de Velde's introduction
group of young
had been working
years

to

artists

The nucleus of this group was

formed by Otto Eckmann, Hermann Obrist, August Endell,

achieve similar results.

Richard Riemerschmid, Bruno Paul, Bernhard Pankok,

and Peter Behrens.

Many

of

them had been

painters who,

escaping from the decline of easel painting in Germany,

had turned toward the applied

nomenon

of the period

arts,

we have

thus repeating a phe-

already observed in other

countries.

To mark

the turning point in his career. Otto

had auctioned

off his paintings in 1894.

Germany's foremost graphic

artists

Eckmann

He became

of the

New

one of

Style (see

page 43), but during his short lifetime he was equally

prolific as a designer of textiles, wallpapers, metal work,
rugs,

Eckmann:

Five

hanging.

10" X 30".

7'

Swans.

1896-9"'.

Webschule

and furniture. His ornamental

style,

based on natural

forms, differs radically from that of van de Velde or Horta

Wall-

but

in Scher-

Det Danske Kunstindustrimuseet,

Copenhagen

rebek.

is

also impressive

and

original.

Often

identified as the

purest example of Jugendstil, Eckmann's narrow vertical

wall-hanging (woven in 1897 in the north

110

German

tapestry

signers, especially

through the example of his rooms

1897 Dresden exhibition. Above

man

the desire these Ger-

all,

of life could be

artists felt to participate in all aspects

expressed through interrelated design.

the space

the whole

and

encloses,

it

longing to

it

To

conceive a room,

the furniture and objects be-

all

the most modest

part being as important as

gave a new meaning to their vocation

The 1897 Dresden

at the

as artists.

exhibition was followed by one in

1899

where, in addition to the already discussed Riemerschmid

music room (page 86), there were important rooms by

Pankok and Bruno

Paul.

These examples of

interrelated

design took their place alongside similar accomplishments

by van de Velde and the Glasgow group.

The

smoking room which Pankok created for the

large

1900 Exposition, and which was

Paris

later

shown

in the

Decorative Arts Exposition in Turin in 1902, was heavily

sculptural

(left). Its

sition of the

paneled walls with carved decora-

were

tions of plant motifs

tightly

bound

room, as was the ribbed

into the

ceiling.

suspended by chains and wires from carved

compo-

Light fixtures,
ribs,

added

to

the effect of fantasy.

An

armchair by Pankok

sculptural,

Smoking room, International Exposition, Paris 1900.

Executed by the Vereinigte Werkstatten fiir Kunst und Handwerk,
Munich

illustrates his

undulating shapes with

into

one another (page 112). The sides are laced through

in part

formed by carved

into the arms,

The back

plants.

on whose surface

is

form

that characteristic Art

as the

The

front legs flow

carved ornamentation.

has two large tear-shaped openings whose pointed

ends slant to\Aard the center. This

a serpentine

preference for

elements flowing

and

Pankok:

workshops of Scherrebek) uses

all

Nouveau

is

another example of

shape, suggesting growth

Whereas in van de Velde's apphque tapestry the winding road becomes a bold abstract
form, here the image is more literally conceived. The poetic

and organic

mood

decoration of the faq:ade of the Atelier Elvira

central motif (opposite).

in

Eckmann's

silent forest interior

with

its

which

is

a recurring

August Endell,

color

Germany

element in German

in

shape but

made

elements (page 112)

known

Glasgow group

for the bold, completely free

fantastic
.

An

each detail

had considerable influence on German de-

is

is

(1897)

basically simple

through heavily sculptured

example

is

these elements are ostensibly used to

to

in 1900, his convictions about the relationship of

art to daily life

best

(page 138), designed furniture which

art of this period.

Even before van de Velde had moved permanently

so often used by the

(page 91).

harmonies of autumn yellows and browns comes close to

the sentimentality

life,

an armchair in which

mark the

joints.

But

symbolic: the joints become claws and knees.

This disquieting aspect of an otherwise rational design

111

is

Pankok: Armchair. 1899. Mahogany, woven tapestry

the Vereinigte Werkstatten

fiir

seat.

Made

by

Endeil:

Armchair.

1899. Carved

elmwood, wool upholstery.

33V2" high. Collection Dr. Siegfried Wichmann, Starnberg

Kunst und Handwerk, Munich

112

Obrist; Whiplash. 1895.

Wall hanging,

silk

embroidery on wool.

museum, Munich

Endell:

Decorative metal mounting on a

bookcase. 1898

113

46%

x liy^" Miinchner Stadt-

characteristic of

EndeU's proto-surrealist work.

The same resemblance

rine

to the rhythmically

world that characterizes

his extraordinarily

made

often

ground

his Elvira

"dragon" pervades

animated furniture mountings, which

become merely

the furniture itself

a back-

page 113). Here the inventiveness of the

was matched by the craftsman's

that

moving ma-

seem two-dimensional but

skill in

artist

executing designs

are in fact alive with intri-

cately sculptured detail.

Closer to naturalistic forms are the energy-laden em-

Von

Debschitz:

Inkstand.

1906.

broidered plant fantasies which the Swiss

Bronze. 2" high.

developed as early

Landesgewerbemuseum, Stuttgart

Hermann

Obrist

1892. Originally trained as a sculptor,

as

Obrist had turned to embroidery as a means of expression

before returning to sculpture in his later years. In 1894 he

moved

his

where

his unusual

embroidery workshops from Florence to Munich

work soon drew

younger generation of

the attention of the

His large wall-hanging

artists.

(page 113) depicting a winding cyclamen plant (called

"The Whiplash" by

a critic)

naturalistic detail used to

is

an impressive example of

form an

abstract composition.

Like the springy curves of van de Velde's abstract line patterns Obrist's

found

"Whiplash"

in the plant

is

tense with an energy not to be

on which the design

is

based.

In 1902 in Munich, Obrist, together with the sculptor

Wilhelm von Debschitz, opened workshops devoted

to

training and experimentation in the fine and applied arts.

While

this school

based

stylization of nature,

work

as a

it

much

of

its

design on a dynamic

could also include such abstract

bronze inkwell by von Debschitz, which

is less

decorative object than a sculpture in the round (left).

The Seventh

International Art Exhibition of 1897, fol-

lowing the Paris example, devoted two small rooms in the

Munich

Glaspalast to the applied

schmid was one of the

a painter
textiles,

Riemerschmid: Side
holstery.

New

30%"

high.

The Museum

York. Gift of Liberty

&

of

Co., Ltd.,

Modern
London

Richard Riemer-

to

designing furniture, metal, glass,

wallpapers, and typography. His lettering for the

German Reichsbahn

1899. Oak, leather up-

chair.

he too turned

arts.

thirty artists represented. Originally

is still

in use today.

In the spirit of the English arts and crafts reform move-

Art,

ment, workshops were formed in Munich and

114

later in other

Riemerschmid: Table flatware. 1900.

museum,

parts of

Silver.

Van de Velde: Table flatware. 1902-03.

Made by Theodor Miiller, Weimar. Karl-Ernst-Osthaus-Museum, Hagen

Landesgewerbe-

Stuttgart

Silver.

Germany where

turers joined in

tlie

artists,

craftsmen, and manufac-

was exceptional for the period. In

production of everyday goods. Riemer-

who was one

compared with such

of the founders and a most active

lar steel chair

two of these organizations, possessed artistic

sensitivity but also a sober mind. To him design was a mission. The period's tendencies toward functional design and

of the 1940s.

schmid,

contributor to

honest)' of materials led

ture.

The

him

Riemerschmid's 1900

Velde

own

as for

the individual piece.

example the small side chair

sign

room settings in the Paris 1900 Exhibition

opposite) The chair has a deep but traditional seat and a

quently used in
(

frame the entire

to support.

seat.

The back

The emphasis on

its

rounded

set

designed by van de

latter design,

low

relief

modified to the size and shape of

The van de Velde

flatware appears

while the Riemerschmid de-

surprisingly functional as well as decorative. It

the

contemporary analysis of

use.

Riemer-

fork with a cutting edge, the squared-off spoon, the hal-

The

front legs turn and

berd-shaped cheese knife, and the grip-handled dinner

flows

down

knives correspond to contemporary concepts.

to

become the

With the spread of the movement throughout Germany

Munich group gradually dispersed; teaching assign-

bracing which acts like a vise and holds the structure together.

with

chair

schmid's dinner fork with short tines and bowl, the cake

upward

is

anticipated

highly unconventional broadly curving back which the rear

legs slant

is

to offer traditional solutions

designed in 1899 for the Dresden exhibition and subse-

may be

molded plywood

silver flatware,

1902-03 (above). In the

abstract ornamentation

work. Riemerschmid's solutions are straightforward and

sometimes original,

in

it

bevel-edged spoon and fork handles,

flat,

seems plain when compared to the

to the study of peasant furni-

unself -conscious "rightness" and functional logic

inherent in these designs became the basis for his

of the 1920s and the

knife handles and

this respect

later solutions as the cantilevered tubu-

clarity of structure in this

design

the

115

designed the building for the Vienna Secession.

The Mathildenhohe group showed

time

at the Paris

publicly for the

first

1900 Exhibition, for which Olbrich had

designed a reception room with furnishings by the other

Their formal presentation, however, occurred in

artists.

1901 when the Mathildenhohe colony was

"A Document

with an exhibition called

Instead of

still

officially

of

opened

German

Art."

another international exposition in specially

designed temporary buildings,

it

was the colony's perma-

town which stood review.

Olbrich, the only professional architect in the group, was
nent villas

the outskirts of the

at

responsible for the architecture of

all

the buildings with

one exception, while the other members had shared

in the

design of the interiors. Only Peter Behrens had both designed and furnished his

and
Behrens: Dini n^

111

house.

The work

from

of Behrens

the curving, richly

floral style characteristic of Jugendstil.

Darmstadt. 1901

in ;he liouse of the artist,

own

Olbrich differs significantly

Peter Behrens' house

shows

tect

him

in

the

marked

work of an untrained

archi-

and

contrast to the elegant

imaginative Olbrich. Behrens, like the others, was a painter,

a designer of furniture, metal, glass, graphics,

phy
ments called many of the

(frontispiece, pages 18, 36, 44).

He

and typogra-

still

used flow-

Berlin,

ing lines in the design of his interiors, but these were con-

where van de Velde worked from 1898 to 1900, became

an important center. In the important industrial towns of

tained in areas sharply defined as rectangles, squares, and

Hamburg and

There

Krefeld,

dissemination of the
lectures. In

Duke
and

artists to

museum

New

cities.

Style through exhibitions

and

the

movement was

of

but

as

were the doors and

chairs.

rectangular boards, these chairs assumed a

stiff

grace which pointed back to van de

This other pole of the

oc-

cise

New

Style

designing with
had already
pre-

geometric elements in rhythmic patterns

cit)' of Darmstadt (page 91). In 1899 the

young Grand Duke Ernst Ludwig of Hesse called together
seven young artists to work and live as a group. Among

proved

colony at Mathildenhohe were

derous

artists'

areas.

(left)

Velde's 1895 Uccle chairs (page 94)

in

cupied by the

those invited to the

flat

room

modular nature. The straight-sided wall

were painted white,

strangely affected

which van de Velde designed.

special place in the history of the

a unity of a

Made

immediate predecessor of the Bauhaus

in the building

is

unity in the design of his dining

is

cabinets

School for Arts

which opened under the direction of Walter Gropius

1919

it

1901 van de Velde was invited by the Grand

Weimar

and they no longer moved onto adjacent

circles,

directors encouraged the

of Saxe- Weimar to head the

Crafts,

other

artists

its

attraction to the

Glasgow group

as

it

did to the

of the Vienna Secession where Mackintosh exhibited

with acclaim in 1900. Behrens's rich and somewhat pon-

who came from Munich and Joseph Maria

who came from Vienna where in 1898 he had

style,

although similarly geometric, seems to have

Peter Behrens

developed simultaneously and to have led him toward the

Olbrich

restraint

116

and

clarity of the

modern movement.

AUSTRIA
The modern movement in Austria was almost entirely
As early as 1897 Arthur von Scaia,

concentrated in Vienna.

Director of the Austrian

Museum

for Art and Industry,

exhibited copies of recent English furniture

made by

local

craftsmen under his direction, in an effort to break with

and inspire enthusiasm for the new

tradition

In

style.

re-

viewing these exhibitions Adolf Loos wrote his scathing

exhortations comparing the technically perfect and func-

sound examples of English and American design

tionally
to the

ornamental fantasies of his Viennese contempowith

raries,

whom

nevertheless he shared the

same

princi-

pal ideas about the regeneration of life through the arts."

The

architect

Otto Wagner, in his publication Moderne

Architektur (1895), had expounded on the interrelationship between

modern

among them

Josef

life

and architecture and

his students,

Hoffmann, Joseph Maria Olbrich,

Alfred Roller, and Koloman Moser, responded with enthusiasm to his theories and work. They were

among

the

founders of the Vienna Secession, which in 1897 united

the avant-garde artists into a central organization and exhibited local and international art in carefully designed
installations reflecting the

The
the

Viennese

taste.

elegance characteristic of this Viennese corollary of

New

Style appears not only in Olbrich's architecture

but also in his decorative objects. His pewter candelabrum

has a tapering silhouette embellished only by abstract line
decoration (page 118)

way

in

a design

more

This

is

which Olbrich arrived

a revealing

at a fresh

problem that van de Velde was

brilliantly

example of the

formal solution of
to solve perhaps

(page 96) but also more traditionally.

Gertraud von Schnellenbiihel offered a solution (page 119)

which was a peculiarly Germanic exaggeration of the

The Vienna

Secession, with

tinctive for

graphics,

its

its

its

headquarters in Olbrich's

publication,

square format as well as

its

Ver Sacrum,

dis-

advanced use of

became an international center of new

Woven silk and wool

hausen

&

directions

117

fabric. 1899.

Made by BackMuseum fiir

Sohne, Vienna. Osterreichisches

Angewandte Kunst, Vienna

New

Style's fantasy.

cube-shaped building, and

Moser:

Olbrich: Candlestick,

(c.

1900.) Pewter. 14V8" high.

Museum

fur

Kunst und Gewerbe, Hamburg

118

Von

Schnellenbiihel: Candelabrum. (After 1911.)

Silver-plated brass,

119

c.

19" high. Miinchner Stadtmuseum.

Munich

Moser: Liqueur

glass, (c. 1900.) Clear

glass bowl, red stem

high.

Osterreichisches

and

base. 6V4"

Museum

fiir

Angewandte Kunst, Vienna. Gift of

Kopping: Decorative flower

glass.

1895-96. Tinted blown glass,

c.

12" high. Det Danske Kunstindustrimuseet,

Copenhagen

R. Steindl

120

Lotz Witwe: Bottle-vase.

iridescent
isches

Vienna

glass.

Museum

HVs"
fiir

(c.

high.

1902.)

Gold

Osterreich-

Angewandte

Kunst,

in art

and design. Koloman Moser,

to the French
as

is

other Moser design, a liqueur glass,

is

is

on the whole

geometric. His interior spaces are rectangular; there

and Belgian exponents of curvilinear form,

evident in his suave textile design

work

the curvilinear vein, Josef Hoffmann's

a talented designer of

posters and decorative objects, was Austria's closest parallel

evidence of the characteristic Art

is

no

Nouveau device by which

page 117). An-

the wall glides into the ceiling or curves into another wall

stripped of orna-

by omitting right-angled intersections (page 143). Hoff-

ment but made decorative by the shallowness of its clear

bowl perched on an attenuated stem rising from a flat,

mann's furniture

burgundy-red base (opposite). This amusing form may be

planes and decorated with rows of identically framed glass

compared

squares. His wall decoration consists of small geometric

(opposite).

With

its

Kopping

forms placed

unexpectedly twisted stem erratically

New

Style.

elry

At the

Witwe

quite measure

Although

up

in Klostermiihle,
(

The

silver

is

and the decoration of

ornamentation of so

rich

his

famous jew-

often a grid of rectangles framing char-

much

below

of Art

Nouveau

de-

Bohemia, arrived

being treated as a unique event. The simpler relationships

opposite) which, however, did not

work included

rows on otherwise white walls. His fabrics

pended on a continuous flow of invention, with each object

glass.

of

flat

way

to Tiffany's free-flowing fantasies.

his early

and

rectangular

flat

Only the

emulate the shapes and colors of Tiffany

at interesting solutions

angular in design; the fronts of

acteristically heart-shaped leaf patterns

turn of the century the European glass industry tried to

factory of Lotz

in

are usually striped,

sprouting leaves, Kopping's too-fragile glass shows a personal inventiveness characteristic of the

is

sideboards or vitrines are articulated by

to a similarly undecorated but delicately tinted

decorative glass by the Berlin graphic artist Karl

also

beautiful examples in

surfaces, such as

Hoffmann

favored, pointed the

to the next generation's esthetic of

unembellished geo-

metric form.

Greta Daniel

Hoffmann: Brooch,

(c.

1908.)

Gold,

moonstones,

l^xzyg"- Made by Wiener Werkstatte,

Vienna. Collection Mrs. F. Beer-Monti, New York

opals, pearls,

121

Sullivan:

1903-04.

Sullivan:

Carson

Pirie Scott

&

Co., Chicago.

&

Co., Chicago.

Main entrance

Carson

Pirie Scott

1903-04. Detail

122

ART NOUVEAU ARCHITECTURE

For

all

the fragility of

its

fluttering

forms the rococo of the

torical studies.^

eighteenth century was a sturdy plant, surviving for half a

century. In comparison, Art

Nouveau, although

of a major change in architectural style, had a very brief

and uncertain

life.

siecle episode,

The

architects involved in this fin

which lasted only for some

(1890-C.1905) or even

less in

Among

most of the countries of

Many

in different countries

more

the

descriptive designations, usually applied

in derision, such as

"Paling (eel)

Belgium and

stijl" in

and "Band-

"Style nouille" in France, or "Schnorkelstil"

wurmstil" in Germany, only the Italian "Stile floreale" has

of

them, moreover, soon came to regard their early work as

retained any general currency, while the genetically

the wild oats of youth.

accurate terms, "Eigne beige," "Belgische

It is

actually possible to recount the history of

modern

much

years ago

which was

Nouveau (and until a few

did just that). The individual con-

attention to Art

most writers

tributions of

Voysey

certainly the locus of birth

Nouveau

of Art

if

in England, of Berlage in Holland,

and original

as a novel

artistic

manifestation, to have em-

Germany, and of Loos

traditions by using terms such as "Art

after

beginning around 1890

1900, certainly seem more relevant

to the architecture that

was

to

become widely accepted

in

the rather similar architecture of Sullivan in America (op-

Art Nouveau, and that of Gaudi in Spain

\\

lel to,

not an integral part

later,

of, the international

usually, "Stile Liberty")

Style" in France,

and

own

Nouveau

'

national
in

Eng-

"Stile inglese"

in Italy.

(or,

The Spanish and

The

situation

as

regards

is

also rather

different

Germany and

and also more

One

Austria.

cannot

sionsstil" as alternative terms identical in

Art Nouveau

Nouveau, nor even

as

mere national

meaning

to

Art

variants like the Italian

'

"Stile floreale.

no matter how circumscribed the Art Nouveau

episode in architecture
tain

more

alien to their

simply accept the local names "Jugendstil" and "Seces-

are paral-

movement.
Hov\'ever,

"Modern

tation.

pages 124-125

hose peak of achievement came somewhat

was

land,

complex

major phase with

its

it

Catalan term "Modernismo," however, has no such conno-

the western world by the mid-thirties of this century. Even

posite), almost contemporaneous in

critics in

each country' seem, in naming what they early recognized

phasized the feeling that

and especially

not of conception

contemporary

architecture, the

of Wright in America, of Ferret in France, of Behrens in

in Austria,

more

or "Stile

stil,"

inglese," have long been forgotten. Except in Belgium,

architecture over the last seventy or eighty years without

paying

and

each of those names suggests a somewhat different aspect.

de

fifteen years

but a general desire to break with the past.

Nouveau is difficult to set

it was known in its own

nevertheless, especially as

day by a great variety of names

western Europe, shared with other contemporary innovators

little

precise definition of Art

down

initiatory

is

number of buildings of

real distinction

exclusively to that stylistic category.

Yet

which belong

Nouveau with

increased notably since

World War

II,

in a

worms, moreover, suggest also the biomorphic

a full generation

qualities of

the semi-naturalistic, semi-abstract decorative elements that

generally affected certain structural elements as well.

either pleasure or ap-

proval. Serious interest, both scholarly

if

teristically

passed before anyone could look again at the architectural

productions of Art

and tapeworms do all serve to suggest,

humorous and pejorative way, the characsinuous linearity of Art Nouveau. Eels and tape-

Eels, noodles,

however,

considered to be, there exist a cer-

and popular, has

floral, if it is

The

considered to refer to the total forms of plants

including leaves, stalks, and roots and not merely to their

leading to a series

of exhibitions in several countries and also to detailed his-

blooms,

123

still

better epitomizes conceptually

if

not always

the sort of organic expression that was always

visually)

aimed

at

and

fairly often achieved.

In contrast to the

Nouveau

teenth-century architecture, Art

tent

and in form, an

Nouveau one

art of

two approaches:

sent this floral-eel-and-noodle style in

was very

architectural episode that

or to look forward to what

1900 many European

was, both in

in-

growth. In writing about Art

torn between

is

of most traditional nine-

static qualities

its

brief

happened

architects

to pre-

purest state as an

and very confined;

Around

a bit later.

who had been more

or less

deeply involved in Art Nouveau in their youth turned

sharply away

both

in their

handling of large architectural

forms and in their attitude toward decoration

linear to the planar,

and from the sinuous

from

to the geometric.

Wright's organic architecture of the "Prairie

1900

is

"organic

"

Nouveau even though he

still

became an

in Chicago.

architect,

Nouveau designer

was

late as

as

1899

in his

Behrens in his youth, before he

a painter

and

a distinguished

of decorative and graphic

soon after settling in Darmstadt

yond

from Art

used rather rich curvilinear

ornament derived from Sullivan

Husser house

years after

"

a sense very different

in

the

art.

Art

Yet very

1901 he went well be-

in

his Austrian mentor, Olbrich, in rejecting organic

curves in favor of plane-surfaced cubic forms in his build-

Gaudi: Casa Mila, Barcelona. 1905-07. Detail of facade

complicated and often ambiguous

ings. In justice to the

stories of

many

of the protagonists

it is

life

wiser, therefore, to

allow a fuller definition of Art Nouveau to develop from

a description of a

few

to attempt to set

down

characteristic

monuments

rather than

verbally anything of the sort at this

point.

Nouveau
World War I

In evaluating the general importance of Art

its

wide and long-continued survival down to

should not be ignored. Such survival balances to a considerable extent the serious failure of Art

convinced adherents

among

the architects

Nouveau

to

win

of England and

America, despite the notable contribution that the graphic

and decorative work of

murdo (pages

26,

at least

27), made

one Englishman, Mack-

in the

1880s and the closely

related approach of the American, Tifl?any,

124

whose

activity

was

also largely restricted to the fields of design

and deco-

ration (seepages 106, 107).

The
and

small selection of Art

illustrated in this essay

Nouveau buildings discussed

are among those that may be

considered to have equal rank, say, with the Casa Mila of

Gaudi- of 1905-07 in Barcelona or even with Sullivan's

Guaranty Building of 1894-95

With

the exception of the department stores in Brussels

and other European

readily
est

cities
pages 1 26-1 28 ) which are most
measured against Sullivan's big buildings, the larg,

and the most prominent

Nouveau
sels.

in Buffalo.

is

architectural

monument

of Art

Horta's Maison du Peuple of 1897-99 in Brus-

Although not perfectly maintained,

this still serves its

multiple purposes as the headquarters of the Belgian Socialist

Party. It also

makes evident

that Art

Nouveau was not

considered suitable only for millionaires'

mansions, as

Horta's houses for the head of a great chemical enterprise

and for the entrepreneur of the Belgian

Congo might seem to indicate.

The ideals of Morris appealed

interests in the

Gaudi: Casa Mila, Barcelona. 1905-07. General

view-

strongly to most of the

innovators of Art Nouveau, both as regards the inclusiveness of his principles and his emphasis on the social purpose

Belgian magazines'' by van de Velde, was actually used by

Horta

of design. So also did the ideals of a Viollet-le-Duc as re-

gards the frank use of

modern

ment of new forms of expression appropriate to those

materials. But theory alone rarely creates an architecture;
nor do the implications of theory have

much

quality of that architecture's visual aspects

quality

is

to

in the Tassel dining

than that Horta was

materials and the develop-

Nouveau

room. This
with

familiar

fact proves

English

design, although to the art historian

no more

proto-Art
it

is

sug-

gestive of a major source of influence. But otherwise Horta,

who had been

do with the

Balat,

at least as that

evaluated by later generations.

to

trained by the Brussels

and for some years

actually

Academy

professor

employed by him, seems

have owed his inspiration more to Viollet-le-Duc than

The multiple ingredients of Art Nouveau have been

much analyzed of late years and most of them specifically
identified, particularly by the Norwegian art historian

to the English.

Madsen.^

(page 129). But the character of the linear decoration in

fact that

Its essential

novelty

no amount of

is

attested,

analysis* can

Art Nouveau came into being

which are

however, by the

wholly explain

how

the stair

signed his epoch-making Tassel house.

An

when Horta

Antwerp

that winter of

at

rail,

tive range.

de-

English Century

the Tassel house follows

once structural and decoratively elaborated

on the

floor,

and especially on the wall,

is

Here we must accept

that

something quite new

began.

Guild wallpaper by Heywood Sumner, one of those shown

in

stair hall of

quite beyond the mid-nineteenth-century medievalist's crea-

in architecture, five years

before the Maison du Peuple was begun,

The

Viollet-le-Duc in the emphasis given to the metal element-s,

Close relationship to VioUet-le-Duc's ideas for a

1892-93 and praised in two

architecture

125

new

conceptual, fortunately, rather than visual

Horta: Grand Bazar Anspach, Brussels. 1895

Saintenoy: Old England Store, Brussels, 1899

126

Horta:

I'Innovation, Brussels. 1901

Jourdain: Samaritaine Store, Paris. 1905

127

Messel:

\\

ertheim Store, Berlin. 1896

128

Horta:

Tassel

house,

rue

Paul-Emile

Janson, Brussels. 1892-93. Stair hall

-|"

iP

129

very evident in the frankness with which exposed

is still

metal construction

auditorium of the Maison du Peuple. As

of Art
side

is

that

used both on the fagade and in the

is

Nouveau
more successful than

Yet

generally true

is

buildings, the auditorium (opposite) in-

structurally expressive

tinction

stair-hall.

between the firm

Yet there

The

very simply with what

is,

in effect,

Thus the emphasis,

years later.
turally,

is

commonplace

by a curvilinear
It is

principals,

and

which incorporates similar curves

arbitrary

the unusual

how

a section of the circular Place van de

streets in the positive

way

known

plastic;

is

seen at

its

two examples,

best not in

whole
stair

house (pages 92, 129), the salon of the

Gros Waucquez Building of 1903-05

in the

du Sable (page 133) or the Hallet house of 1906

rue

in

Nouveau architecture
himself seemed already to be leaving Art Nouveau behind.
Some architects of distinction outside Belgium were more
loath than Horta to desert Art Nouveau. Gaudi may not
be, strictly speaking, an Art Nouveau architect; yet cer-

Here Art Nouveau,

not plastic in the decorative sense

is

own house of 1898 in the rue AmeriMoreover, when he ceased to use metal

his

the avenue Louise, the inventor of Art

provided by

but at full architectural scale. If the whole fagade

of Horta

windows of

detail, as in the

generally considered to be linear and two-dimensional,

becomes wholly

even more considerably affected

externally and drastically restrained his use of curvilinear

Velde and two entrant

of Horta.

Nouveau

caine (page 133).

far less

is

Viollet-le-Duc would hardly have

site,

studio

Even granted

to exploit the irregular sequence of curves

department store

the

(page 127) in the rue Neuve.

van Eetvelde house (page 132), or the balcony and the

in the external periphery,

and also far more open (opposite)

a fortiori true of Horta's

esthetic.

hall of the Tassel

to the only other large building of this period

Gaudi's Casa Mila (page 125), Horta's facade

is

buildings but in particular features, such as the early

solid

elements play no part in the general composition.

Compared

of the production of

to define the architecture

nevertheless true that except for these

the Art

sixty

visually as well as struc-

on the openwork metal

However

structural elements of the metalwork, externally

as well as internally, are

the "curtain-wall,"

destined to become such an architectural

no other way

rinnovation of 1901

Here the

handled

is

much

applied to

is

Art Nouveau; and the same

foliate patterns of the

actual enclosure of space

may be

other large building in Brussels,

major architectural

lines of these

members and the lusher and more

balcony railing.

as

a clear dis-

is

only a form of applied decoration.

of such a large-scale work, outside as well as inside, except

even more

and boldly decorative than the metal

elements in the Tassel

it is

also provides answers to these contentions.

the period, there

supports, carrying the side galleries at half their height,

in curves that are

it

justly they

the exterior. There the slanting

bend gracefully across the top

not an architectural "style," but only an interior

it is

mode;*^ and two, that

a con-

tainly his

most extreme use of curved forms dates from

opening of the new

tinuous undulant curve in plan, few curves interrupt the

precisely these years well after the

matter-of-fact structural pattern of metal stanchions and

century (pages 124, 125). Guimard, the leading exponent

girders or the narrow but solid stone-and-brick piers that

of Art

mark

the major subdivisions of the fagade.

trance,

it

is

true, has a

en-

to

members have a slightly

but elaborate Art Nouveau decoration

Nouveau

as late as

architecture in France, continued faithful

1911

in the

apartment houses he built

are,

bottom

the

Metro entrances of 1898-1900 and the

Nouveau work,
interior of

in the

demolished Humbert de Romans Building

the railings and the entrance grill (see page 44)

rue

Didier.

Thus this major work of Horta lends some support to

two negative contentions concerning Art Nouveau: one.

Peuple.

line;

is

restricted to

St.

The

130

latter rivaled

With

its

at

however, consider-

ably chastened compared to his finest Art

and the longer

rising

it

17-21 rue Fontaine in Paris. These

clumsy arch of metal awkwardly

rising out of plant-like carved stone imposts,

horizontal metal

The main

1902

in the

Horta's auditorium in the Maison du

centralized plan

and markedly curved

Horta: Maison du Peuple, Place

Brussels. 189"-99.

Horta: Maison du Peuple. Place

Brussels. 1897-99.

Van

de Velde,

Van

de Velde,

Auditorium

Fagade

131

Horta:

Van

Eetvelde House, 4 Avenue Palmerston, Brussels. 1895. Salon

132

Horta:

Own

Horta: Gros

house, rue Americaine, Brussels. 1898. Balcony

Waucquez

Building, rue

Brussels. 1903-05. Fagade detail

133

du

Sable,

Guimard: Humbert de Romans Building, rue

St.

Didier, Paris. 1902. Auditorium (demolished)

134

supports,

was perhaps

it

Art Nouveau

more

(opposite).

clumsy and ambiguous, hke his

16 rue

la

striking manifestation of

The

exterior,

Beranger

earlier Castel

troducing the Belgian

Nouveau the responsibility

"Modern Style" into France.

Although some of the

at least

finest of

at

rests

on

most

to

fame

New

These are

such as that

at the Place

still

de

definitely buildings.

As

136)

work of the
may even in some
rative

in Horta's work, construction in

at this

modest

Nou-

more

later years,

not in

arts,

little

although usually de-

resemblance to the deco-

nineties that imitated

and rivaled

instances have preceded

veau production of Brussels and

Paris.

and

the Art

Nou-

Such German de-

signers have a place in the general story of Art

scale a close integration

of structural and decorative forms was

in the nineties

opening years of the twentieth century.

scribed as Jugendstil, bear

were

metal and glass encouraged full exploitation of Art

veau ideals; while

them

of the decorative and graphic

Their buildings of those

and the one

la Bastille

to be at the Place de I'Etoile (page

field

tecture after the

certainly not primarily interiors, yet the larger of them,

which used

as true of the missionary

them were quite active as architects

after the height of the Art Nouveau movement was over;
Behrens and Olbrich, whose background in the nineties
was similar, became real leaders of advanced German archi-

an Art Nou-

as

is

architecture. Several of

them have disappeared,

his Metropolitain stations.

School. But what

characteristic production of all of

was in the

for in-

has reached America to rise again in

York' (below), Guimard's claim

veau architect

Munich

from Brussels and Paris as of native practitioners like

Eckmann, Obrist, Pankok, and Riemerschmid is that the

Fontaine completed in 1897, which shared with

Bing's Maison de I'Art

and one

the

was

however,

Nouveau

feasible than

in Horta's larger buildings.

Similar qualities are present,

if

less consistently devel-

oped, in two Paris department stores of the opening years

of the century, Jourdain's Samaritaine on the rue de

la

Monnaieof 1905 (page 127) and Gutton's Grand Bazar de

now Magasins Reunis) The Samaritaine
la rue de Rennes
(

combines colored faience marquetry with the metal-work,

thus employing a material especially popular in Paris, not

among

only

Nouveau such

vulgarizers of Art

as Lavirotte

and Schoellkopf, but even used on one notable occasion by

Perret.**

floral

Moreover, the relative lushness and realism of the

decoration on the Samaritaine links this Parisian

with that variant of the Art Nouveau

floreale " in Italy.

decade of the

known

as

work
"Stile

This flourished very widely in the

new

century

autochthonous distinction

first

and achieved considerable

at the

hands of such architects

as

D'Aronco, Sommaruga, and Campanini.

The situation is rather diff^erent and also more complex
as

regards

Germany and

Austria.

Some

aspects

of the

Jugendstil and of the "Secessionsstil" are certainly true

manifestations of Art Nouveau, whether represented by

the

Guimard: Metropolitain entrance gate.

of Modern Art, New York

work of the Belgian van de Velde or by the work of

Museum

135

c.

1900. Collection

The

N-

P^ ill---

'
1,

' ^

-:l

Guimard: Metropolitain
de

la Bastille, Paris.

Guimard: Metropolitain
de

136

I'fitoile,

Paris.

Station, Place

1900

Station, Place

1900 (demolished)

because of their early contribution, but as architects they

belong rather to the next phase of the history of modern

architecture.

Very much the same must be

said of the Viennese. Al-

though Otto Wagner was a long-established academic

architect by the nineties

and even a professor

at

the Akade-

mie, he was strongly though briefly influenced by Art

Nouveau.

Among

the Karlsplatz

his

Stadtbahn stations in Vienna, that

(right)

panels, curved outlines,

with

and

comparable to Guimard's

light metal frame,

its

at

thin

floral stencilings is especially

and even a year or two

in Paris

his

The bold floral ornament on the facade of

Majolika Haus is also Art Nouveau; but the smooth

flat

plane that the shiny faience

earlier in date.

from the

produce (so different

tiles

plasticity of the glazed terra cotta fagades

by
Wagner: Karlsplatz Stadtbahn

French architects around 1900 with neo-rococo and neo-

baroque leanings )

Station. Vienna,

c.

not to speak of the rectilinearity of the

ironwork, are premonitory of the later style of his major

works of 1904-06, the Postal Savings Bank

in

Vienna and

Sankt Leopold in Hietzing.

Quite naturally the young

men

associated with the revolt

much

of the Secession against the academy went

The pages

than Wagner.

which

first

appeared in 1898, are

acceptance of Art

mann

little

of

stadt in 1900,

There

is

Hoff-

as Olbrich,

German

When

they began to

as early as

1898, Olbrich

yet architects.

just before

and

con-

primarily design-

Loos completely

just after his

in

move to Darm-

and Hoffmann and Moser a year or two

later.

one German work of architecture of the nineties

that deserves

more extended

ambiguities as for
in

still

Art Nouveau behind

Goldmann haberdashery shop

more gradually

evidence of the

architectural. Like their

young men were

and decorators, not

build, they left

his

Nouveau by such men

it is

temporaries, these
ers

full of

and Moser, and even perhaps by Loos,

(right),

but very

further

of their magazine Ver Sacrum,

its

discussion, if as

much

for

virtuosity, the Atelier Elvira of

its

1897

Munich by Endell (page 138). Remove the enormous

decorative relief, abstract and yet strangely suggestive of

several sorts of natural

forms and

forces,

Hoffmann: Project
Sacrum, July 1898

and the smooth

137

for an entrance.

Ver

1897

EJ3

Endell: Atelier Elvira, Munich. 1897. Fagade (destroyed)

138

Endell: Atelier Elvira, Munich. 1897.

Stair hall (destroyed)

139

Germany,

off^ers

new modes
stil

Majolika Haus

of the nineties in

Vienna of how the

in

Germany and

Austria, Jugend-

and "Secessionsstil," both overlapped and

rapidly

Wag-

an even more cogent example than

ner's slightly later

away from the

moved

also

international style of the day as

centered in Brussels and Paris. Schmalenbach in 1935 referred to the Jugendstil in his

an

is.

What

art of surfaces.

"Flachenkunst," that

title as

the

Germans and Austrians

certainly retained for about a decade in architecture

was an emphasis on

their early Jugendstil of the nineties

flat

surfaces.

surfaces

the

But very shortly they dropped from those

ornament

curvilinear

large-scale

that links

such things as the Atelier Elvira and the Majolika

tightly to
fore,

from

Art Nouveau. Considered

even early manifestations of Jugendstil

basic conception

Haus

so

as architecture, theredifi^er

from Belgian and French work

in their

in

which

the structural elements themselves are always organic and

often curved as well.

Yet the

relief

on the fagade of the Atelier

Elvira, al-

though developed from modest embroidery patterns by

Endell: Buntes Theatre, Berlin. 1901

Obrist of some years earlier under the reinforcing influence

of Brussels and Paris,
flat

stucco surface with

its

crisp cornice

what

is

is

fully architectural in scale

more

characteristic of

Nouveau. In Endell's Buntes Theater

"Modern Move-

four years later the Art

is

far

Nouveau

ment" than of the Art Nouveau of Horta and Guimard.

clearly evident. After that, influence

Paris rapidly disappeared, even in

Guimard

well have inspired the decoration here but inside,

with the eyes half closed, one seems to see in the

as

Germanic

lands, despite the specifically Art

Art

in Berlin of

from Brussels and

the work of those most

involved in importing that mfluence into

stair hall

Germany such

van de Velde.

Although Wagner was responsible for the major Aus-

(page 139) the spiky rococo of the mid-eighteenth century

in

(left)

cer-

relationship remained

The
may

decorative panels on the Castel Beranger by

and

tainly pulls that building well within the orbit of

broadly called the

ings asymmetrically disposed

a certain stage of

and sharp-cut open-

Nouveau

trian architectural

monuments

of the early years of the

characteristics of particular elements such as the lighting

twentieth century, his pupil Hofi^mann was the continuing

much

leader of the "Secessionsstil." His executed architectural

fixture.

But

this

was

a tour-de-force all the same,

superior to the conspicuous works of the day by French

architects

who attempted

to

make

work, beginning soon after 1900, seems

their revival of the rococo

oflfer

more piquant by introducing coarse reflections

of certain aspects of Art Nouveau.
The facade of the Atelier Elvira, which has long been
recognized as the most striking example of Art Nouveau in
fresher and

no such potent

links with

at first sight to

Art Nouveau

as are so evi-

dent in the Atelier Elvira and the Majolika Haus. Yet the
basic

conception

founded

of

the

in 1903, the

decorative

Wiener Werkstatte, in continuing

movement, continued

the line of the English Art and Crafts

140

workshops that he

Nouveau

also the similarly derived Art

the sanctions of art to

ideal of extending

of design.

all fields

As

however, Hoffmann offered in his

tecture,

work, a Convalescent

Home

at

years,

69) from 1897 on,

large-scale

first

Purkersdorf of 1903-04,

even though

an even more stripped example of "Tlachenkunst" than

anything by Wagner. This, one might

Majolika Haus would be like

patterns were

removed from

Yet Hoffmann's

finest

say,

Nouveau

the Art

if

its flat

ascetic

The flat surfaces consist

Wagner was also using at this

by a long shot.

plates, like those

Whether

Art Nouveau

seems to derive in the main from various

it

few major works, such

one not already interested

work, the Palais Stoclet (pages

is

Tearooms (pages 68-

closer to the continental

as those selected for

discussion and illustration in this essay, will persuade any-

floral

geometrical surface.

142, 143) which he began in Brussels a year later,

is

British sources.

what the

is

however, notably the murals executed in collabora-

tion with his wife in Miss Cranston's

regards archi-

in

veau of the importance of

modern

history of

less

of marble

rejection of

point, but

the

and familiar with Art Nou-

this brief

architecture

what seemed

more considered

after

is

episode in the early

hard to guess. The early

1900 only

a fashion or fad;

rejection in the 1920s of

what was

they are framed by rather rich moldings of gilded bronze

judged a false turning from the straight path "vers une

modeled

architecture"; the Surrealist acceptance by a

in small curvilinear patterns

bounding

lines are rigidly straight.

nitely links this

even though their

But what most

house back to Art Nouveau are various

more revolutionary
and even

fifties

smooth marble walls of the dining room which

Klimt (pages

are perhaps the masterpiece of

78, 143

The

is

is

and given

at

once parallel to

that of the

critics

Germans and Austrians

for that influence on the Continent,

all

we

a figure

fashion quite as embarrassing to

against the continuance of Art

and historians

whom

Nouveau

in

common

lending a

The
more

with the Brussels building. Built of

its

there

semi-traditionalism.
is

very

little,

especially the curious curved

that lean

inward from the

Webb's

sills

Nouveau

in the twenties

The

thirties.

and

historians

ahead of the public in their acceptance of

relevance to a re-examination and re-evalua-

Nouveau.

Nouveau

lies

rejection of the International Style of the

One may

note in

many

recent buildings the return

preference for types of expressive structure

appearance,

flavor,

members with knotted

still

and singleminded

of curves in section, in plan, and even in elevation, and the

Only the ironwork, of which

has a positively Art

the

than in any consistency of ideals or real similarity

of forms.

in

we were

Freudian than in the

mere

in a

matter-of-fact studio windows, the architectural treatment

rather

less puritanical

relationship of these trends to Art

thirties

work but

Nouveau through

the prestige of at least relative age. Moreover,

new

tion of Art

precisely

stone, with concrete lintels over the regular ranges of large

of the entrance recalls not Horta's

it

on the whole

are perhaps

contemporaneous with Horta's Maison du Peuple, has very

few points

these attitudes

Art Nouveau but current developments in architecture are

in architecture.
,

are

less naively

he influenced;

of time has carried Art

about architecture today than

as

from about 1900, was

Mackintosh's Glasgow School of Art (page 145

none of

valley of disrepute that follows almost every artistic episode

whose development
and divergent from Art Nouveau in a
is

and unemotional study

quite relevant any more.

The march

no such continuing

echoes of the curvilinear decoration of the nineties.

Mackintosh in Glasgow

of a phase of recent art history considered worthy of

objective

architecture of Loos during these years,

his richest interiors, include

in the

undertones; the more scholarly acceptance of the 1940s and

aspects of the interior decoration, particularly the mosaics

inset in the

few

an architecture reputedly instinct with Freudian

thirties of

defi-

looser and

tops

against the windows.

if

not in

more

the mid-century

Mackintosh's more purely decorative work of these early

more organic

it

in

than the reticulated cage. In this

eclectic climate of taste that has

fully the virtues of

141

fact,

come with

should be possible to appreciate more

Art Nouveau architecture. But

it is

well

HoflFmann: Palais Stoclet, Brussels. 1905-11. Street facade

142

Hoffmann: Palais
View from rear

Stoclet, Brussels. 1905-11.

Hoffmann: Palais

Stoclet, Brussels. 1905-11.

Dining room with Klimt mosaics on walls

143

to consider why it was so brief an episode and also why so

few major works were produced; otherwise Art Nouveau

however, rather exceptional so

may

more

no more than an irrelevant

easily be dismissed as

his-

commonplace of modern

theory, curiously inap-

slim,

the last thirty-five years, that architecture

Nouveau

interiors

not only

ties

Rene Binet

"interior decoration" (like the

various exhibitions by Art

The

as

As

those of lead-

and early 1900s) but

Nouveau

and

rooms contributed

Even the

to

department

more

satisfying to the observer than

later interiors.

The

mod-

own

If

but

light-courts of the

department

stores,

The

effects

that of the glass marquees, for ex-

stores, if

somewhat

is

equally true of the best

so of the

less

Maison du

).

one thinks forward

to the glass

and metal

industrial

much more

in the

all

lie

curves,

diminution of organic emphasis in

the scaling and the profiling of the structural elements of

these

novel and essential features combine to create a kind of

space unexploited earlier and not repeated since.

(page 136)

merely in the disappearance of decoration and of

of enclosure stretched like membranes at the outer confines

stations

1909, 1910, and 1911, the notable difference in esthetic

elements

of a volume that the structural elements penetrate

it

spatial qualities of the interiors.

principle will be evident. That difference does not

are joined

at the top, the transparent or patently screen-like

surfaces of marble

work of Behrens and of Gropius dating from the years

most comparable

where they

new

to Horta's interiors. This

Peuple (page 131

thin lines of the isolated metal struc-

tural elements, curving organically

flat,

taken as a whole they are certainly closely related in their

prime visual

(page 134) or even of the salon in the van Eetvelde house

right,

smooth and

Guimard's Metro

largest of

ample

ern architecture but wholly mature and assured in their

if

an external expression parallel to and, as

offer

Peuple (page 131) and the Humbert de Romans Building

later

if

with

hardly have interiors of independent consequence; but

nine-

auditoriums of the Maison du

(page 132) are not tentative or premonitory of

in terms of solid,

interiors a link

Art Nouveau exteriors, only those largely of metal

were, symbolic of the

as architecture in the fullest sense.

spatial qualities of the

to

and glass

not as

artists in the late

is

(page 143).

ing designers such as Horta and Guimard, but of more

commercial architects such

mid- 1900s. The

Hoffmann's two-storied

and in the other

piers;

of some of the solid,

primarily an

is

This can justify a high esthetic evaluation of

the larger Art

mere

characteristic articulation of

marble

This interior was,

Art Nouveau remains only in the mosaic or other decoration

plicable to the greater part of the advanced production of

art of space.

at all.

late as the

hall in the Palais Stoclet of 1905-11

torical fluke.
It is

Art Nouveau character

specifically

metal.

Granted that Art Nouveau was capable on occasion of

tall

even though they had

creating

monuments almost wholly

sui generis, neither to

a technical lineage of two generations and more, share these

be passed off as late examples of nineteenth-century ferro-

novel qualities; they are also present in more dilute form in

vitreous construction nor as premonitions of later

most of the

Even

interiors of Horta's houses.

in a building otherwise

more

architecture,

representative of the

time.' It

Viennese reaction against Art Nouveau, Wagner's Postal

Savings

Bank

The

why

are there so

few

that stand the test of

in this respect that the transitional character of

the episode

is

most apparent. Art Nouveau could

be,

and

most often was, used even by the most conscientious de-

of 1904-06, the principal interior space con-

tinues to manifest these qualities (page 146)

is

modern

signers merely as a superficial stylization of traditional

tapered

aluminum supports penetrate the transparent planes of the

glazed roof which rise in delicate curves to mold the space,
and the surrounding walls are flat and apparently weightless. Yet the minimal decoration is all geometric, with no

structure

when

they were obliged

to

build

largely

in

masonry. Unlike the Late Gothic masters, the Art Nouveau

architects

had no

talent for etherealizing stonework. It

the undeniable evidence of the unsuitability of Art

144

was

Nou-

Mackintosh: School of Art, Glasgow. 189^-99

Horta: Hotel Solvay, 224 avenue Louise. 18951900. Dining

145

room

Wagner:

Postal Savings Bank, Vienna. 1904-06. Court

146

veau to stone and brick,

still

the most widely used building

materials, that logically led to

its

made

walls could be most effectively

vice that stressed the flatness

as was, of course, to be

and

later in the twenties

and

to appear light

thin by using plaquage (page 143, top) or

the organic ideal of their esthetic, and a

some other

silverware, glassware, pottery

Nouveau

and equal

grew

architects evidently

method of design so inapplicable

rapidly tired of a

Guimard, using members of metal

Most

perfection of execution.

Equally important, perhaps, was the excessive amount

required.

capable of highly expres-

tectural elements of equal invention in design

bit

thirties.

of invention that even a modest Art

that con-

sive treatment could hardly consent to deprive larger archi-

de-

and smoothness of the surface

done even more consistently a

mode

sidered the smallest elements of domestic furnishings

Solid

early rejection.

to

much

of the actual building they were required to do; while at

the same time they were discovering that their capacity for

structure

invention had flagged after only a few years of practice.

cast in series,

could produce his Metro stations in considerable quantity

Such considerations are necessarily hypothetical, but they

Nouveau was

without any loss of quality. But one of Horta's houses, and

suggest that the early abandonment of Art

a fortiori large buildings such as the Maison du Peuple or

only partly a reaction to the faddish vulgarization that set

L'Innovation, required a tremendous amount of special de-

in

signing. Art

Nouveau

inevitably implied in the hands of

devoted designers a custom-made,

sarily a

if

culty of living

men

by no means neces-

handmade, method of production. The

around 1900.

traditional

At

up

may

equally have been the extreme

to their

own

least, in

looking

at

to turn

away from

Art Nouveau architecture,

architects

and decorators of the period, although they had

well to consider the enormous difficulties that

to adapt

and not merely to copy the

production entailed, however easy

borrowed from the

originate.

Those

vowed almost from

that simplicity

and

was

the

first to

all

most of the
century,

to be

architecture

were

everyone but Loos. Even

to

do

fruition in architecture, despite

minor

once

it

was increasingly the ambition of

that

as the
trate.

came

from a stanchion

architects

d'art,

had

element

not speak of
every time they undertook

to a door-frame

furniture and accessories

to design each
to

all

in

But there

tvas

rarely

its

an Art Nouveau architecture, and

was capable of distinguished achievement,

few buildings dealt with in

For

all

full

extensive success in the

this essay certainly illus-

the relatively greater profusion of decorative

design of the period in interiors, in furniture, in objets

to the fore in the twenties.

But Art Nouveau

arts.

that architecture

leaders after the opening years of the

and even more of the next generation

integral

the Manoeline Portugal

very
reached

and of course the French rococo

such

if

so

it is

traditional

style-phases of the earlier past

element of one of their

were on the whole able

at least that

new

tially

though

simplicity, relative

to design afresh every

early buildings, they

and for

need to

to appear to later critics in the twenties

thirties in the case of

men had

modern

little

who were

architects of the period

fathers of later

the spiritual

had

its

it

it was to slap on to essenwork a few quirks and squiggles that

passed muster for a few years as in the latest fashion.
One must finally conclude that Art Nouveau, like certain

they

stylistic detail

past, nevertheless

difi5-

highest aspirations that led

Horta and van de Velde

like

early.

It

and

in the graphic arts, the

architecture at

the

since. It

new

its

best

therefore takes

had
its

major monuments of that

qualities not seen before

proper place

among

nor

the minor,

but significant, phases of the art ma'itresse.

Henry-Russell Hitchcock

commission. Standardization would have been contrary to

147

NOTES TO THE TEXT

INTRODUCTION
1

Alexander Koch, "Aufruf an die Deutschen Kiinstler und

Kunstfreunde," Deutsche Knnst und Dekoration, Vol. 1.
1897-1898, p.

the 1885 Sorbonne lectures of Charles Henry.

of Seurat and

First

Walter Crane, Transaction of the National Association for

the Advancement of Art and Its Application to Industry,
Liverpool, 1888, p. 216
Leo Tolstoy, What Is Art? Translation from the Russian by
Aylmer Maude, New York, Crowell, 1899, p. 43

p.

Ser. 6, Vol. 53, March 1959, p. 179-190

Karl Ernst Osthaus, Van de Velde, Hagen, Folkwang Verlag,

20

S.

See p. 44

Jean Moreas, "Le Symbolisme," Figaro

1886

Stephane Mallarme, "Reponse a une enquete," in J. Huret,

Enquete sur I' evolution litteraire, Paris, 1891, reprinted in
L'Art moderne. Aug. 9, 1891

10

Litteraire. Sept.

12

13

Ibid. p. 285.

18,

24

"Each time

Preface to Vol. 1, No. 1 of Jugend, 1896

A. D. F. Hamlin, "L'Art Nouveau: Its Origin and Developarticles in this series are:

27

p.

cf. to

other
Line,"

the contrary; Sigfried Giedion, Space,

Time and Archi-

Cambridge, Harvard University Press, 1946,

p. 224-

cit. p. 285
de Velde, "Das Ornament als Symbol," Die Renaissance
im modernen Kunstgeuerbe, op. cit., p. 94-96
The spirit of Blake's work was carried on by Samuel Palmer.
Blake's illuminated books were exhibited in the Print Room
of the British Museum from the 1850s on. Dante Gabriel
Rossetti acquired Blake's Notebook (formerly in Palmer's

S.

30

Van

31

Kunstgeuer-

Bing, "L'Art Nouveau," Architectural Record, op.

29

VI

Hermann Seemann,

The

Wavy

225

202-220

"Prinzipielle Erklarung,"

p. 129.

"The

Guimard, "An Architect's Opinion of L'Art Nouveau," The

Architectural Record, Vol. 12, June 1902, p. 127-133.
Van de Velde, "Die Rolle der Ingenieure in der Modernen
Architektur," Die Renaissance im modernen Kunstgewerhe,

tecture,

Art, 1889, Transaction of the Art Con-

Edinburgh, 1889,

Henry van de Velde,

Dec. 1902,

Berlin, Cassirer, 1903, p. Ill

28

Crane, lecture delivered before the National Association for

gress.

15

3,

Irene Sargent,

The Craftsman, Vol. 2, June 1902, p. 131-142; Jean Schopfer,

"L'Art Nouveau: An Argument and Defence," The Craftsman, Vol. 4, July 1903, p. 229-238; S. Bing, "L'Art Nouveau,"
The Craftsman, Vol. 5, Oct. 1903, p. 1-15; see also Hector

Expressionist Painting, Berkeley and Los

Advancement of

its art."

ment," The Craftsman, Vol.

For a discussion of the relationship of Symbolist literature and

painting: John Rewald, Post-Impressionism from van Gogh
to Gauguin, New York, Museum of Modern Art, 1956, and

the

Otto Wagner, Moderne Architektur, Vienna, 1895 (4th edition published as Die Baukunst unserer Zeit, Vienna, 1914)

25

26

Angeles, University of California Press, 1957, Ch.

14

Nouveau," The Architectural Record, Vol.

August 1902, p. 281

p. 58

Armand Colin, 1959

G. Albert Aurier, "Symbolism en peinture: Paul Gauguin,"
Aiercure de France, March 1891
Robert Koch, "The Poster Movement and 'Art Nouveau',"
Gazette des Beaux-Arts, Ser. 6, Vol. 50. November 195^, pp.
285-296

German

3,

Louis Sullivan, "Characteristics and Tendencies of American

Architecture," Inland Architect and Builder, 6, Nov. 1885,

For a more thorough discussion of Symbolist theory see Guy

Michaud, La Doctrine Symboliste (Documents), Paris, 1947
and Jacques Letheve, Impressionistes et Symbolistes devant

Peter Selz,

No.

21

la presse, Paris,

11

1920, p. 19
Bing, "L'Art

22

23

319-320

paintings

19

12,

One of the important Symbolist reviews in Paris was the

Revue Wagnerienne. founded in 1885 by Edouard Dujardin.
Among its famous contributors were Stephane Mallarme,
Stuart Merrill, and Theodor de Wyzewa.
Gerstle Mack, Toulouse-Lautrec. New York, Knopf, 1938,

The

van de Velde

18

17

1938, p. 16

also antedate

August Endell, quoted in Selz, op. cit. p. 55-56

Van Gogh "was permitted to roam through Bing's entire
building, including cellar and attic, and his enthusiasm knew
no limits." Rewald, op. cit. p. 72
Robert Koch, "Art Nouveau Bing," Gazette des Beaux-Arts,

16

Proclamation of the Weimar Bauhaus, in Bayer, Gropius

and Gropius, Bauhaus, New York, Museum of Modern Art,

Gauguin

1902, p.

possession) in 1847, and prints by Blake were reproduced in

de Velde's theory of the expressive forces and emotional values of the line is preceded by the researches and

Alexander Gilchrist's Life of William Blake (2 vols., London,

1863). Swinburne's William Blake (London, 1868) must also

bliche Laienpredigten, Leipzig,

188.

Van

148

have had a considerable influence on writers and artists of the

time. The influence of Blake on Art Nouveau is clearly traced
in a recent article by Robert Schmutzler, "Blake and Art
Nouveau," Architectural Review, Vol. 118, No. 704, August

Werk, Vol.
article,

p. 3;

1955, p. 90-92

32

Schmutzler, op

33

Reproduced in Stephan Tschudi Madsen, Sources of Art

Nouveau, New York, Wittenborn, 1956, p. 276, fig. 151
Nikolaus Pevsner, Pioneers of Modern Design, New York,
The Museum of Modern Art, 1949, p. 55, and other scholars

34

cit.

p.

92

following Pevsner, such as Henry-Russell Hitchcock, Archi-

35

S.

The Craftsman, Vol.

5,

10

11

39

et ses

Clay Lancaster, "Oriental Contributions to Art Nouveau."

The Art Bulletin, Vol. 34, No. 4, 1952, p. 300-301
Charles Ricketts and Lucien Pissarro, De la typographie

Ibid., p.

Maurice Denis, Theories, 1890-1910.

I''

Quoted

18

Graham Hough, The

19

pioneering study, ]ugendstil: Ein Beitrag zu Theorie

der Flachenkunst. Wiirzburg, Triltsch, 1935.

as the epigraph to Ricketts

Paris,

Rouart

et

Watelin,

and Pissarro,

op.

cit.

Last Romantics. London, Duckworth,

1949, p. 133
Eleanor M. Garvey, "Art Nouveau and the French Book of
the Eighteen-Nineties," Harvard Library Bulletin, Vol. 12,
No. 3, Autumn 1958, p. 379. As printed in the 1911 edition
of Sagesse. Denis' illustrations are rendered as woodcuts by

reproduces one of the illustrations as a lithograph. The colophon of the 1911 book states that Denis originally made the

drawings
cited are

Beltrand. John Rewald, in Post-Impressionism from van Gogh

to Gauguin. New York, Museum of Modern Art, 1956, p. 519,

Mackail, The Life of William Morris. New York,

Oxford University Press, 1950, and H. Halliday Sparling,
The Kelmscott Press and William Morris Master-Craftsman.
London, Macmillan, 1924, for the best accounts of Morris's

W.

and work.
Three of the many examples which could be

16-17

15

16

life

et metiers, Paris,

1920, p. 10-11

1891; reprinted in Penguin Books

Notably Henry F. Lenning, The Art Nouveau. The Hague,
NijhofT, 1951, and Stephan Tschudi Madsen, Sources of Art
Nouveau, New York, Wittenborn, 1956.
This point is made most forcibly by Dr. Fritz Schmalenbach,

J.

p. 90-97.

Mackmurdo, a Pioneer
The Architectural Review, Vol. 83, 1938, p. 142.

William Morris et son influence sur les arts

Floury; London, Hacon and Ricketts, 1898

K. Huysmans, A Rehours 1884 translated by Robert Baldick

Against Nature, Penguin Books, 1959. This book was aptly
called "The breviary of the decadence" by Arthur Symons.
Oscar Wilde, The Picture of Dorian Gray, London, Ward,

See

August 1955,

704,

Herbert H. Gilchrist in The Century Guild Hobby Horse,

No. 1, 1886, Nescio Quae Nugarum, p. 160
This book, and its relationship to Art Nouveau, was first

J.

in his

No.

31, Introduction

13

und Geschichte
5

Note

Roswitha Riegger-Baurmann, "Schrift im Jugendstil," Borsenblatt fiir den Deutschen Buchhandel (Frankfurter Ausgabe)
Vol. 14, No. 31a, April 21, 1958 p. 495-7. Dr. Riegger-Baurmann cites Pevsner's article on Mackmurdo which appeared
in the Journal of the Royal Institute of British Architects,

14

as

New York, Phaidon, 1948.

For a comprehensive treatment of the Proto-Art Nouveau,
and the relationship of Blake to Art Nouveau, see Robert
Schmutzler's two articles: "The English Origins of Art Nouveau," Architectural Revieu, Vol. 117, No. 698, February
1955, p. 108-117, and "Blake and the Art Nouveau," Archi-

Vol. 49, 1942, p. 94.

GRAPHIC DESIGN

William Gaunt, The Pre-Raphaelite Dream, London, The

Reprint Society, 1943, p. 33. On Rossetti and the PreRaphaelite Brotherhood, see Robin Ironside, Pre-Raphaelite

12

applications ornamentales,

Beaux-Arts, 1897-1899
Ernst Haeckel, Kunstformen der Natur, Leipzig and Vienna,
Bibliographisches Institut, 1899-1904.

The Kelm-

noticed by Nikolaus Pevsner, "A. H.

Paris, Libraire Centrale des

Staatsdruckerei, Vienna, 1950, p. 23.

Hammersmith, The Story of the Glittering Plain,

See also

Oct. 1903,

Eugene Grasset, La Plante

'

"Karl Klingspor," The Fleuron Number Five, 1926,

L. W. Rochowanski, Josef Hoffmann, Osterreichische

tectural Revietv, Vol. 118,

p. 3

38

8,

and

Designer,"

Bing, "L'Art Nouveau,"

No.

Painters,

Nineteenth and Twentieth Centuries, Baltimore,

Penguin Books, 1958, p. 285, and R. Schmutzler, op at., seem
to indicate that the book, rather than the earlier chair is the
first Art Nouveau object.
Dekorative Kunst, Vol. 4, No. 8, 1899, p. 81 ff.
For an early treatment of the Japanese influence on Art
Nouveau see Ernst Michalski, "Die entwicklungsgeschichtliche Bedeutung des Jugendstils," Repertorium fiir Kunstwissenschaft, Vol. 46, 1925, p. 133-149. For a more recent and
thorough treatment: Clay Lancaster, "Oriental Contributions
to Art Nouveau," Art Bulletin. Vol. 34, No. 4, 1952, p. 297310

37

36,

scott Press, 1891

tecture:

36

Das
la forme pure utilitaire,
August 1949, p. 244; Julius Rodenberg's

Velde's article, "Formes: de

van de

20

149

The

in 1889.

illustration

reproduced

is

for the

poem "Sagesse d'un

Louis Racine," number

IX

of the

first

series

in

Verlaine,

43

Siigesse. Paris, Vollard, 1911, p. 19

21

Van

44

Denis, op.

Crane

45

WiUiam

46

Robert Koch, "Art

de Velde had shown with Les Vi'igt along with Walter

in 1891. Robert Koch, "A Poster by Fernand Khnopflf,"
Marsyas, Vol. 6, 1950-53, p. "4

For a reproduction of the Burns

23

Sources of Art Nouveau, p. lAly.

Van de Velde, Dehlaieniet}t d'art. Brussels,
p.

Ibid., p. 1~

25

Van
Van

illustration,

see

Madsen,

Monnom,

29

For example, see Charles Hiatt, Picit/re Posters. London, Bell,

1895, Ch. in, and Robert J. Goldwater, " 'LAffiche moderne':
A Revival of Poster Art After 1880," Gazette des Beaux-Arts.

p. 11

cit..

December

Ser. 6, Vol. 22,

Goldwater, op

31

Art
Ibid., and Robert Koch, "The Poster Movement and
Nouveau" ", Gazette des Beaux-Arts. Ser. 6, Vol. 50, Novem-

cii..

p.

1942, p. I"'3-182

30

182
5

Koch, "The Poster Movement and Art Nouveau," op. cit..

p. 285-296; Koch, "A Poster by Fernand KhnopflF," p. ^2-^4;

Goldwater, op. cit.

The date of Bonnard's poster

is

in question.

p. 181, suggests that the poster

may

Goldwater, op.

date from 1889 and

commonly believed.
As Robert Koch points out, in his article "The
Poster Movement and 'Art Nouveau'" (p. 287), Grasset
opposed Art Nouveau on the grounds that it represented a
not 1891 as

Ibid., p. 180.

9
10

break with historical tradition; yet his works partake so

strongly of the stylistic qualities of the period that they seem
to deserve mention here. Besides, like so many of the other
men who denied a connection with Art Nouveau, Grasset
deeply impressed a number of artists who were more central
to the

Koch, op.

36

Ibid.

37

F.

38

This

"The Beauty of Life" (1880), quoted in

Selected Writings of William Morris, ed. William Gaunt,
London, Falcon, 1948, p. 42

Nouveau Bing," Gazette

March 1959, p. 187

des Beaux-Arts.

cit..

Au Bureau

note

de I'Edition, 1924,

p.

14

119

the date given by Berry

Rodenberg, op.

cit.,

Paris, Bibliotheque de
rOccident, 1913, p. 1
Jan Verkade, Le Tourment de Dieii, Paris, Librairie de I'Art
Catholique, 1923, p. 94

Agnes Humbert in her book, Les Nabis et leur epoque.

Geneva, Cailler, 1954, evokes the life of the artists in a vivid
manner.
Gauguin, Preface to exhibition catalogue, Armand Seguin.
Paris, Bare de Boutteville, February-March 1895, p. 9-10
Humbert, op. cit. p. 106
Lincoln F. Johnson, Jr., "The Light and Shape of Loie Fuller,"'
The Baltimore Museum of Art Neus, Vol. 20, No. 1, OctoWassily Kandinsky, Uber das Geistige
Letter by
Ironside,

and Johnson, Encyclopaedia

of Type Faces. London, Blandford, 1953, p. 75, presumably
from information furnished by the typefounder.
Riegger-Baurmann, op. cit., p. 486, pi. 3
is

Maurice Denis, Theories 1890-1910,

15

16

p. 6

Schmutzler, "The English Origins of Art Nouveau," op.

p. 110, and Schmalenbach, op. cit., p. 25

in der

Kunst, Munich.

Piper, 1912, p. 30
13

p. 286,

Odilon Redon, A Soi-Meme. Paris, Floury, 1922, p. 30

I bid., p. 89
Paul Gauguin to Schuffenecker, August 14, 1888. Quoted in
John Rewald, Post-Impressionism from Van Gogh to Gauguin, New York, The Museum of Modern Art, 1956, p. 196
Merete Bodelsen, "The Missing Link in Gauguin's Cloisonism," Gazette des Beaux Arts, Vol. 53, May 1959, p. 329-344
Paul Serusier, ABC de la peinture, correspondance, 3rd ed.

ber 1956, p. 13
12

Thibaudeau, Alanuel francais de typographic moderne.

Paris,

42

movement.

35

41

149

Paris, Floury, 1950, p. 164

ber 195'', p. 285-296

cit..

39
40

p.

PAINTING AND SCULPTURE, PRINTS AND DRAWINGS

de Velde, Personlichkeit and \X' erk. p. 14

der Velde, Deblaiement d'art. p. 18
Ibid., p. 20, 24
Denis, op.

34

cit..

Morris,

Ser. 6, Vol. 53,

1894,

28

33

Whistler, London, Bell,

24

32

to

1911, p. 232.

22

26
27

Walter Crane, William Morris

Aubrey Beardsley to A. W. King. Quoted by Robin

"Aubrey Beardsley," Horizon, Vol. 14, No. 81, Sep-

tember 1946, p. 193

For an excellent recent analysis see Thomas Howarth, Charles
Rennie /Mackintosh and the Alodern Movement, London,
Routledge and Kegan Paul, 1952
Quoted by Gleason White, "Some Glasgow Designers and
Their Work," Part III, The Studio, Vol. 12, 1898, p. 48

Van

de

Velde,

"Prinzipielle

Erklarungen,"

in

Kunst ge-

uerbliche Laienpredigten, Leipzig, 1902

17

cit.,

Van

de Velde, "Extract from His Memoirs:

1891-1901,"

Architectural Revieti, Vol. 112, No. 669, September 1952,

Karl Klingspor, Uber Schonheit von Schrift und Druck.

Frankfurt-am-Main, Schauer, 1949, p. 17-20

p.

18

150

146

The term

"counter- Art

Nouveau" was suggested by John M.

Jr. in his review of Madsen's Sources of Art Nouveau {The Art Btdletin, Vol. 40, No. 4, 1958, p. 371). It
seems to be a very useful term for the rectilinear and later

Jacobus,

201
Hector Guimard, "An Architect's Opinion of 'I'Art Nouveau'."
The Architectural Record, Vol. 12, 1902, p. 127-133.

also refer to a sculptor like Minne.

Ibid.

Sparrow, "Herr Toorop's: The Three Brides," The

Studio, Vol. 1, 1893, p. 247-248

Gabriele

aspects of the style especially the

and Vienna, but

19

20

199-206

p.

W.

it

would

work coming from Glasgow

S.

Thomas Howarth,

op.

cit.,

p. 228.

Toorop himself,

to

Zola's Le

Reve,

which appeared

"Bildteppiche,"

Der Weg

ins 20.

in

Helmut

Seling,

ed.,

jahrhundert, Heidelberg, Keyser,

1959, p. 370-371

as well as

in

Howaldt,

fugendstil,

the Scots, were probably also influenced by Carloz Schwabe's

illustrations

Ibid., p.

Paris

Adolf Loos, Ins Leere Gesprochen (a collection of

ten between 1897-1900). Paris, Cres, 1921.

articles writ-

in 1892.

21

22

Ferdinand Hodler, quoted in Fritz Burger, Cezanne iind

Hodler, Munich, Delphin, 1919, Vol. 1, p. 50
The Chosen One was completed in 1894 and shown at the
Champ de Mars in Paris that year. It was exhibited again in
Vienna in 1901 where it was greatly admired, and as the
original version,

now

in the

Kunstmuseum

in Berne,

ARCHITECTURE
1

was then

24

poor repair, Hodler made a replica for a Vienna patron

about 1903, which soon reached the Osthaus collection and
now belongs to the Karl-Ernst-Osthaus Museum in Hagen.
Edith Hoffmann, Kokoschka, Boston, Boston Book and Art
Shop, 1947, p. 30
Peter Selz, German Expressionist Painting, Berkeley and Los

25

August Strindberg, "L'Exposition d'Edward Munch," Revue

26

Blanche. Vol. 10, 1896, p. 525-526

Arthur Rossler, Neu-Dachau, Bielefeld and Leipzig, Velhagen

in

23

Angeles, University of California Press, 1957,

&
27

p.

England and America the turn of the tide came with

Pevsner's Pioneers of the Modern Movement, published in
London in 1936. Pevsner's active interest reflected SchmalenIn

bach's fugendstil, published the previous year in

2

52

York, The Museum of

Modern Art, 1957, and George Collins, Gaudi, New York,
Braziller, I960
Stephen Tschudi Madsen, Sources of Art Nouveau, New York,
Wittenborn, 1956.
A humble culinary analogy may help to explain this point:
If you wish to describe the taste of curry, it does not help very

much

to

know

the ingredients.

of curry; and Art

Klasing, 1905, p. 85

the whole

from "Bekenntnisse und Erinnerungen,"

quoted in Miinchen 1869-1958 Aufbruch zur Modernen Kunst,
Munich, Haus der Kunst, 1958, p. 304
Gabriele Miinter,

Germany.

New

See H. R. Hitchcock, Gaudi,

is

The

Nouveau has

flavor of curry

is

the flavor

a similar idiosyncratic identity:

certainly something diff^erent

from the sum of

its

parts.
5

L'art moderne,

150-151.

p.

13,

The

1893, p. 193-195; L'Emulation.

of the article

title

was

18,

in English:

1893,

"Artistic

wallpapers."
6

DECORATIVE ARTS

and 20th

In Architecture: 19th

Nouveau

is

Centuries.

wrote,

"The Art

not primarily an architectural mode." For correct

emphasis, the word "primarily" and not, by implication, the

1

In the letter with

which George Donaldson made

word

his gift oflFer,

he also stated: "However much this New Art may conflict

with our Classical standards or ideas of architectural basis, I
am forced to the conclusion that we are in the presence of a
distinct development. Where it will lead to none can foretell.
But, in these competitive days, ... it occurs to me that it is of

"

rately be considered,
a

'New

and placed before

them." Victoria and Albert Museum, Registry 1900. File No.
130, as quoted in Stephan Tschudi Madsen: Sources of Art
Nouveau. New York, Wittenborn, 1956, p. 299
"Belgische Innendekoration," Dekoratire Kunst, Vol. 1, 1898,
Art' should be purchased

151

The

question

a true "style" or
It

can most accu-

more specifically
long-continuing "Modern Style" of which
believe, as a style-phase,

an initiatory episode.

garden of the Museum

York.
His epoch-making apartment house of 1903 at 25 bis rue
Franklin employs plain faience elements to clad the structural
frame of reinforced concrete, but the foliate marquetry of
faience that fills the wall-panels still suggests Art Nouveau.

An
of

subcategory of that

it is

great importance to our people that the best models of the

style called

"architectural" should be italicized there.

whether in architecture the Art Nouveau is

merely a "mode need not be explored here.

original portion

Modern Art

in

is

New

installed in the

A BIBLIOGRAPHY OF ART NOUVEAU

by James Grady

PREFACE

A bibliography of Art Nouveau is complex

of the movement.

Moiiernista Catalan, produced with

despite the short period

Art

must contain material that shaped the varied

expressions of Art Nouveau, publications of the period, and an
increasing number of studies which began appearing about thirty
years ago after an interlude of some twenty years of indifference
It

Section
of Art

The following bibliography has been grouped in three sections.

The first indicates sources of Art Nouveau, and recent studies of
these influences, as well as surveys of the movement and articles
specific aspects of

Art Nouveau.

more

interest are the assess-

this,

declared that he

was

the

first

to consider

Nouveau architecture as the most original and the most

nary phenomenon in the history of art. Art Nouveau

monographs on and writings by leading

its

precursors.

Many

figures

of these were written

men

as

Horta and Guimard have had

new

were carried on, there were essays on the artists and

on the multifarious national and international exhibitions.
In fact, it was largely the magazines which spread the style beyond local and national boundaries.
Exact temporal and esthetic limits have not yet been defined for
Art Nouveau, and this bibliography is in no sense comprehensive.
Rather, it is set within the framework of the exhibition to give a
survey of the movement.
style

reports

Art

extraordi-

slowly

the richness of an original

Section III is devoted to a listing of the periodicals of the movement. These publications formed an essential part of Art Nouveau,
not only from the point of view of graphic design itself, but also
as exponents of the style. Here discussions about the nature of the

ments of Art Nouveau which began with Dali's courageous and

perceptive article, "The Terrifying and Comestible Beauty of the
'Modern Style'," of 1932, when most advanced esthetic opinion
was concerned with the geometries of Constructivism, Suprematism, and de Stijl, which by then had been given academic dispersal
by the Bauhaus. Art Nouveau seemed a dead and completely unimportant episode of no interest to future developments. Dali, in
opposition to

II lists

Nouveau and

Howarth. Such important

only outline investigations.

Several items, particularly those of the Secession, are contempo-

rary with the movement. Perhaps of

all

book.

during the period, and the majority concern painters or decorative

artists. Major publications on Art Nouveau architects are few. A
notable exception is the excellent study of Mackintosh by Dr.

to the style.

on

Nouveau

James Grady

at-

tracted the serious attention of scholars. Schmalenbach's doctoral

School of Architecture
Georgia Institute of Technology

and Henry Hope's Harvard dissertation.

Sources of Art Nouveau, of 1942, became essential documents in
future research. Unfortunately, Dr. Hope's study has not been
published. The chapters on Art Nouveau in the surveys of modern
architecture by Pevsner and Giedion had a wider and more popular influence. By 1950 Art Nouveau was assuming an importance
that would have seemed impossible thirty years before. Pels' L'Art
Vivant is a comprehensive survey of Paris during the period and
gives the ambiance of the style in most manifestations except
architecture. Lenning's The Art Nouveau was the first book in
English given to the movement. It is disappointing, with the illustrations of more interest than the text. The most complete investigation, within the limits set by the author and with architecture
receiving minor attention, is Sources of Art Nouveau, by S. T.
Madsen. A comprehensive study of Art Nouveau architecture is in
Hitchcock's Architecture, Nineteenth and Twentieth Centuries.
The most lavish recent publication is Cirici-Pellicer's La Arte
thesis JugenJstil, of 1934,

Atlanta

As

anthology in English treating the subject on a major

has been fortunate to have its basic documentation prepared by an American scholar of Art Nouveau.
Mr. Grady has already made available a comprehensive report on
the

first

scale, this publication

his literature in the Journal of Architectural Historians (bibl. 49).

References used by the authors of this book and other relevant
books and articles in the Museum Library have been added to his
evaluated listing. Such addenda, as well as technical supervision

of the bibliography, have been the responsibility of Mrs. Annaliese

Munetic, Reference Librarian.

Bernard Karpel
Librarian,

152

Museum

of

Modern Art

SOURCES

AND SURVEYS
Thomas

Abbott,

K. Celtic Ornament from the Book of

Hodges, Figgins, 1893-

19

Kells. 100 p. 50 pi. 9 parts Dublin:

Oct.

ill.

20

Plume

L'Affiche Internationale illustree.

155: 409-462

um

21

1900. 137 p.

Stilwende, Aufbruch der

pi. Berlin:

ill.,

Mann,

ill.

1941. 2d ed.,

22

New

The Modern

others.

Poster. 117

23

York: Scribner, 1895.

L'Art Decoratif aux Expositions des Beaux-Arts, 1903. 4e

ill. in folio. Paris: Guerinet, 1903.

Nouveau

what

and what is thought of it

symposium. Magazine of Art (New York) March June
L'Art

AsHBEE,

it

is

Charles Robert. An Endeavour towards

J.

Ruskin and

W.

24

the

Bahr, Hermann.

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Sezession. 266 p. Vienna:

Decoration

ment. Ser.

1-2.

48

pi. in 2 folios. Paris:

Schmid, 1898.

Bayard, Jean Emile. El Estilo Moderno. 367

Paris: Garnier Hermanos, 1919.

11

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170

p.,

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modern'style.^ Arts (Paris)

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Bing,

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Cobden-Sanderson,

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London: Bell, 1911.

28

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1800-1900.

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Herman Seemann, 1902.

Velde, Henry van de. Der Neue

Freiheit eine Gasse.

Sept. 1959. Preceded by Rich-

Leipzig:

274

Stil.

101

p.

Wolfers, Philippe.

Leipzig:

2T>

276

Velde, Henry van de. Die Renaissance im Modernen

Kunstgewerbe. 147 p. Berlin: Cassirer, 1903.

ZuERiCH. Kunstgewerbemuseum.
83 p.

ill.,

pi. Ziirich,

Pica, Vittorio. Philippe Wolfers.

287
288

Inselverlag, 1907. Laienpredigten, pt. 2.

Pierron,

bibl.

Emporium 27:1-23

Henry van de Velde.

1958. Exhibition catalog: bibliography.

SELECTED PERIODICALS

2i4-

L'Art Decoratif, Paris, 1898Villon. Jacques.

Ill

Paris.

Art

Bibliotheque Nationale. Jacques

Grave. Preface by Jean Vallery-Radot. 75

Villon: L'Oeuvre
p.

ill.

Paris, 1959.

The Chap Book, Chicago, 1894-1898

The Craftsman, Eastwood, N.Y., 1901-

Vallier, Dora. Jacques Villon; oeuvres de 189^-1956. 120

ill.
(pt. col.) Paris: Cahiers d'Art, 1957. Text also in

Dekorative Kunst, Munich, 1897-

p.

Deutsche Kunst und Dekoration, Darmstadt, 1897-

English; bibliography.

The
Voysey, Charles Francis Annesley.
ll')

Decoration, Paris, 1897-

L'Art Moderne, Brussels, 1881-

Exhibition catalog with bibliography.

278

et

Betjeman, John. Charles

architect of individualism.

Dial, London, 1889-1897

Die Graphischen
Francis Annesley Voysey:

the

Kiinste, Vienna, 1879-

Hobby Horse, London, 1884

Architectural Review 70:93-96

Die

Insel, Berlin/Leipzig,

(no. 1), 1886-1892,

n.s.

1899-1902

1931.

280

Jones,

John Brandon.

Jugend, Munich, 1896-

C.F.A. Voysey. Architectural As-

journal (London)
Chronology; bibliography.

sociation

72:239-262

ill.

May

Die Kunst, Munich, 1897-

1957.

Kunst und Kunsthandwerk, Vienna, 1898Pan, Berlin, 1895-1900

Vuillard,

Edouard

see bibl. 234.

La Plume,

Paris, 1899-1913

Revue des Arts Decoratifs,

Wagner, Otto.

Paris,

282

Lux, Joseph August. Otto Wagner: eine Monographie.

167 p. ill., 79 pi. Munich: Delphin, 1914.
TiETZE, Hans. Otto Wagner. 16 p., pi. Vienna: Rikola,

La Revue Blanche,

1922.

Simplizissimus, Munich, 1896-

283

Wagner, Otto.

281

284
285

Paris,

Revue Wagnerienne,

1880-1902

1891-1903

Paris,

1885-1888

The Savoy, London, 1896

Einige Skizzen, Projekte und Ausgefiihrte

The

Bauwerke ... 4 v. ill., 216 pi. Vienna: Schroll, 1892-1922.

Wagner, Otto. Moderne Architektur. 138 p. ill. Vienna:
Schroll, 1895. 4th ed.: Die Baukunst unserer Zeit, 1914.
Wagner, Otto. 1902 Wagner-Schule. 84 p. ill. Leipzig:

Studio, London, 1893-

Van Nu

en Straks, Brussels, Antwerp, 1892-1901

Ver Sacrum, Vienna, 1898-1903

The Yellow Book, London, 1894-1897

Zeitschrift

Baumgartner, 1902.

161

fiir

1908.

Philippe Wolfers. Revue des Arts Decoratifs

21:153-160. 1900.

Ill

Verkade, ]an see

S.

Innendekoration, Darmstadt, 1890-

1893

LENDERS TO THE EXHIBITION

Mrs. Alfred H. Barr, Jr., New York; Leonard Baskin, Northampton, Massachusetts; Mrs. F. Beer-Monti, New York; Mile H.
Boutaric, Paris; Stephan L. Bruce, New York; Dominique Denis,
St. Germain-en-Laye, France; Joseph H. Heil, New York; H.R.H.
Ludwig, Prince von Hessen u.b. Rhein, Wolfsgarten-Langen,

Kunsthandwerk. Frankfurt-am-Main; Musee des Beaux-Arts,

Ghent; The Glasgow School of Art; The University of Glasgow;
Karl-Ernst-Osthaus-Museum, Hagen; Gemeentemuseum, The
Hague; Museum fiir Kunst und Gewerbe, Hamburg; Victoria and
Albert Museum, London; Los Angeles County Museum; Miinchner Stadtmuseum, Munich; Stadtische Galerie und Lenbachgalerie,
Munich; Staatliche Graphische Sammlung, Munich; Musee de
I'Ecole de Nancy; Butler Library, Columbia University, New
York; Cooper Union Museum for the Arts of Decoration, New
York; The Metropolitan Museum of Art, New York; Morgan
Library, New York; Museum of the City of New York; The Museum of Modern Art, New York; New York Public Library, Berg

Mme La Baronne Horta, Brussels; Thomas Howarth,

Toronto; Louis James, New York; Mrs. Sidney Janis, New York;
Mr. and Mrs. Samuel Josefowitz, New York; R. Stewart Kilborne,
New York; Dr. and Mrs. Robert Koch, South Norwalk, Connecticut; Mme Sylvie Mora-Lacombe, Paris; Mr. and Mrs. Hugo Perls,
New York; Robert Pincus-Witten, Chicago; Easton Pribble, Utica,
Germany;

York; Stephen Radich, New York; Kurt Reutti, Berlin; John

Rewald, New York; Gerd Rosen, Berlin; Hans Schmithals,
Munich; Mrs. Louise R. Smith, New York; Theodoros Stamos,
New York; Herbert Stuart Stone, Jr., Wallingford, Connecticut;
Mr. and Mrs. Justin K. Thannhauser, New York; Mr. and Mrs.
Harold Uris, New York; Mrs. Charles Vidor, Beverly Hills, California; Carl Weinhardt, New York; The Hon. and Mrs. John
Hay Whitney, London; Dr. Siegfried Wichmann, Starnberg, Germany; Mr. and Mrs. Harry Lewis Winston, Birmingham, Michi-

New

gan;

L.

Museum, Oberlin College, Oberlin, Ohio;

Klingspor Museum, Offenbach; Nasjonalgalleriet, Oslo; Rijksmuseum Kroller-Miiller, Otterlo, The Netherlands; Musee des
Collection; Allen Art

Arts Decoratifs,

Philadelphia

Rijksmuseum Library, Amsterdam; Stedelijk Museum, Amsterdam; Bibliotheque Royale de Belgique, Brussels; Musees Royaux
d'Art et d'Histoire, Brussels; The Art Institute of Chicago; NewKunstrat,

hagen;

Cologne;

Hessisches

BIOGRAPHIES

Museum

of Art;

Darmstadt;

Museum

AND CATALOGUE OF THE

Works marked uith an

New

Peter Deitsch Gallery,

Deutscher
Kunstindustrimuseet, Copen-

Det Danske
Landesmuseum,

Paris;

of Art; Princeton University Library;

Mu-

seum Boymans van Beuningen, Rotterdam; Nationalmuseum,

Stockholm; Landesgewerbemuseum, Stuttgart; Nordenfjeldske
Kunstindustrimuseum, Trondheim; Galerie Internazionale d'Arte
Moderna, Venice; Osterreichisches Museum fiir Angewandte
Kunst, Vienna; The William Morris Gallery, Walthamstow, England; Kunstgewerbemuseum, Zurich.

Wittamer-de-Camps, Brussels.

berry Library, Chicago; Cleveland

Musee National d'Art Moderne,

Paris;

Museum

Inc.,

stein

New York;
& Co., New

Lillian

York; Hirschl and Adler Galleries,

New York; Wilden-

Nassau Antiques,

York.

fiir

EXHIBITION
Anonymous

asterisk are illustrated. In the dimensions

of the objects, height precedes uidth. Architecture photographic

enlargements are listed on page 185.

Cafe sign. (c. 1900.) Bronze. 16 x

H. Heil, New York

251/2"- Collection

Joseph

Anonymous
4

Anonymous
1

1900.) Abstract arabesque of silver-plated

metal, decorated with multicolored enamel. 5y4" long. ColBelt buckle,

lection

(c.

Mrs. Sidney Janis,

Anonymous

New York

Anonymous
2

maple seed decoration

green enamel. 9V8" long. Collection Joseph H. Heil,

Letter opener, (c. 1900.) Ivory, with

in

Figurine; girl throwing ball.

(c.

1900.) Bronze. 5Vs" high.

Signed "Burger." Collection Joseph H. Heil,

162

York

States.')

1900.) Gold, enamel, pearls, diamonds, aquamarines. 15" long X 51/2" wide. Collection Dr. and Mrs.
Robert Koch, South Norwalk, Connecticut

Necklace,

Anonymous

New York

(United

New

(c.

(Austria?)

Wall hanging,

(c.

1900-10.)

Applique

embroidery

of

silk

metal and

reichisches

Anonymous
"

cord on grey satin. 871/2 x 491/2"- Ostet

silk

Museum

School of Handicraft, of which he was chief designer, and

in 1904 the School of Arts and Crafts which continued

Angewandte Kunst, Vienna

fiir

until

(Austria)

1^%"

wide.

Museum

Osterreichisches

fiir

Angewandte

(Austria)
17

Table lamp. Iridescent

Pribble, Utica,

Anonymous

New

glass. 21 1/4" high. Collection

Easton

10

18

Museum

(c.

1900.) Multicolored pattern of trees

(c.

12

1900.) Bronze. 2" high x

New

Art,

c.

8%"

long.

York. Phyllis B. Lambert

*19

picture

chrysoprase.

2%

frame,

2%".

Silver

with

Collection Carl Weinhardt,

New

(c.

1895-1905.)

Die Halbinsel. 1900. Single

issue of a satirical
artists'

size 12% X 6%"- Collection Gerd

Anonymous (Germany?)

Developed

his

own

style after

North Germany

and became one of the great Expressionist

sculptors.

Cleopatra. (1904.) Ceramic. 9" x 2614". Collection Kurt

///.

p.

82

architect, designer and graphic artist. Studied with

P.J.H. Cuypers. With Nieuwenhuis, Lauweriks and Cachet
he created the Dutch version of Art Nouveau. His book

magazine

illustrations

Book

club in Munich.

(c.

mounting.

15"

1900.)

Clear

Rosen, Berlin

crystal;

high. Collection Mrs.

cuts

metal

silver-plated

New

Sidney Janis,

done around 1894.

Prospectus

Woodcut.

Tydschrijt voor Ercieringskunst.

x 4". Gemeentemuseum, The Hague

for
61/4

1896.

Beardsley, Aubrey Vincent (1872-1898)

York

artist and illustrator. Self-taught; as a

young boy made caricatures and illustrations. At the age of

English graphic

Anonymous (Germany?)
Rug. (c. 1900.) Knotted wool; abstract feather design on
green background. 12'7" x 9'8". Museum fiir Kunsthandwerk, Frankfurt

nineteen, after a visit to Burne-Jones' studio, decided to

dedicate himself completely to his

am Main

English architect, designer and writer. Influenced by Morris,

but advocated the use of the machine in applied
all

art.

Con-

aspects of interior design, including furni-

ture and silverware.

One

of the original

members

In

Illustrations

for

missal after the

Wilde

case, of the

Savoy

in 1895. Prolific

production until his early death at the age of 26. One of

the most important and influential graphic artists of Art

of the

Arts and Crafts Movement. Influential in the improvement

factory workshops.

art.

Malory's A\orte d' Arthur (1892), show the influence of

the Pre-Raphaelites and William Morris. Fully developed
his own style in the illustrations for Oscar Wilde's Salome.
1894 art editor of the Yellow Book, and, following his dis-

AsHBEE, Charles Robert (1863-1942)

centrated on

show some influence of Egyptian design and

Symbolism in Holland is evident in his wood-

the impact of

20
Decanter,

of

style.

a trip to Russia in 1906. Lived mainly in

Dutch

published by the Cococello

15

&

Bazel, Karel Petrus Cornelis de (1869-1923)

Anonymous (Germany)

14

by the Guild of Handicraft.

silk; Japanese abstract wave patbrown and olive. 231/2 x 17". Made by
Meyer, Krefeld. Landesgewerbemuseum, Stutt-

Reutti, Berlin.

York

13

90

Woven

German Art Nouveau

The

(France)

Miniature

p.

German sculptor, printmaker and playwright. Received his

education in Hamburg, Dresden and Paris. Contributor to
jiigend from 1897 to 1902, Barlach worked at first in the

Fund

Anonymous

Made

///.

decorated with semi-

Barlach, Ernst (18"70-1938)

Stuttgart

Modern

of

Museum, London.

Silver,

gart

(France?)

Ink stand,

1900.)

& Meyer, Krefeld

Pillow case. 1908.

Audiger
(England?)

werbemuseum,

(c.

tern in shades of

and flowers on white background. 31 1/2" long. Landesge-

11

Mustard spoon,

AuDiGER

1900.) Gilded brass with three faience plaques.

high X 121/2" at base. Collection Louis James, New
(c.

Printed cretonne,

Anonymous

1893.) Silver, embossed and chased with a leaf

cast legs. 8" high. Made by the Guild of

and with

Kunstgewerbe Museum, Zurich

York

Anonymous

(c.

precious stone. 4" long.

York

(Birmingham, England)

Sconce,

19%"

Bowl.
design,

Handicraft. Victoria and Albert

Anonymous

ran the Essex House Press, for which he

From 1919-23 he was Civic Advisor

to the Palestine Administration.

*16

Kunst, Vienna

He

1914.

designed a type face.

Miniature chest. (1905-06.) Inlayed wood with enamel

plaques showing two women seen in profile. I6ys" high x

Nouveau.

1888 founded the Guild and

163

*21

22

"]'a'i baise la boiiche jokanaan." Preliminary drawing for

Salome by Oscar Wilde. (1893.) Ink and watercolor. 10%
X 5%". Princeton University Library. ///. p. 67

A. E.G., the

The Black Cape.

in

Illustration

important

from Salome by Oscar Wilde.

Ave
X

4I/8'

///.

24

p.

27

(1896.) Ink.

Art,

New

d' Arthur

Binding for Salome by Oscar Wilde.

X "". Klingspor Museum. Offenbach.

Binding for i'uder the

berry Library, Chicago

Behmer, Marcus (18^9-

German graphic

artist.

Hill.

Book

190"'.

Book

///.

21

size,

p.

101/4

New30

delicate style full of fantasy in

28

Title

'Vignettes for Pan. Published in Vols.

fiir

Kunst und Gewerbe,

W and

'V,

1899. Ink.

Hamburg

*31

Salome
Developed a very rich and
his designs for book plates,

32

Title page for Schrift und Zierat. 1902. Published by Rudhard 'sche Giesserei, Offenbach. Book size, 11 x 8%".
Klingspor Museum, Offenbach

33

Darmstadt A\a/-Okt. 1901. E/n Dokunient Deutscher

Kunst: Die Ausstellung der Kiinstler Kolonie. Poster. 49%

Ver Sacrum. Also painter, designer, and watercolor-

ist. Still

The Kiss. 1896-97. Color woodcut. \0% x 81/2"- The Museum of Modern Art, New York. Frontispiece

German book

as master of

greeting cards and books. Contributed to Simplicissimus.

Insel.

He was

steel in

Museum

design. In 1903 designed a luxury edition of Wilde's

for the Insel Verlag in Leipzig.

in Berlin.

Gropius and Mies van der Rohe.

*29

Noted

combine

School of Architecture at the 'Vienna Academy and in 1936

taught advanced architecture at the Prussian Academy of
Art in Berlin. Among his pupils were Le Corbusier, Walter

9Y4 x

size, 8I/2

x 73/4".

electrical

advertising and typography, as well as de-

was the first monumental building of glass

Germany, a pioneer work in modern construction, using exposed steel beams, and also designed many
other buildings for A. E.G. 1922 he became head of the

\\%" The Musize,

all

in Europe and at the St. Louis

1907 appointed director of design for

factory which

York. Purchase

by

German

charge of

and

Thomas Malory. 1893. Book

Klingspor Museum, Offenbach. ///. p. 22

Morte

6%

The Hon. and Mrs. John Hay Whitney, London.

Publisher. Children's Books. Poster. 30 x

8".

*26

''.

18

seum of Modern
*25

The Savoy. No.

Atqiie Vale from

in 1904.

signer of street lamps, appliances such as electric fans,

heaters and kitchen utensils. 1909 built the A. E.G. turbine

(1893.) Ink. Princeton University Library

*23

expositions

World's Fair

active in 1950.

page for Rubaijat des Omar Chajjam. 1907. Book

Klingspor Museum, Offenbach
8V4 X 61/2

Title page for Der Bunte Vogel. 1899. Book

7%". Klingspor Museum, Offenbach. ///. p. 36

size,

8I/4

X 17". Deutscher Kunstrat, Cologne

34

Two banners. Painted oilcloth. 25' x 3', each. Made for the
Behrens house at the opening of the Mathildenhohe artists'
colony, Darmstadt, 1901. Collection Ludwig Prince von
Hessen u.b. Rhein, Wolfsgarten-Langen

and designer. 1896-97 made a series of

woodcuts and book jackets in the Art Nouveau style
of curving lines on a fiat-patterned surface. 1898 first work
in applied art
glassware, porcelain, jewelry and furniture.

35

Bench. 1901. Pine, Painted white, with embroidered seat.

45%" high X 48 1/2" wide. Replica of bench in Behrens
house dining room. Museum fiir Kunsthandwerk, Frank-

Represented in the exhibition of the Munich Vereinigte

Werkstatten fiir Kunst im Handwerk at the Glaspalast in

36

Two

size,

Behrens, Peter (1868-1940)

German
of the

architect

Munich

and designer. 1893 one of the founders

Secession. First active as a painter, later as

a graphic artist

color

1899.

Member

furt

am Main
wine

glasses.

1898. Clear crystal. 81/4" high, each.

Made

by B. v. Poschinger. Collection Dr. Siegfried Wichmann, Starnberg

of the artist's colony of Mathildenhohe in

Darmstadt from 1899-1903. The

original group "Die Sieben" also included Olbrich, Habich, Bosselt, Biirck, Christiansen, and Huber. His first building was his own house in
Darmstadt for which he also did the interior design and
furniture. Here his style begins to turn away from the
curvilinear to the more simple and geometrical. This is
evident in the type face he designed in 1902. Represented at
the Turin Exposition of 1902 where he came in contact
with the work of Mackintosh. Through Muthesius was appointed head of the Diisseldorf Kunstgewerbeschule, where
he remained from 1903-07. Active in all aspects of architecture, interior and landscape design, and represented in

Bernard, Emile (1868-1941)

French painter. 1884 pupil at the Academie Cormon, where
Gogh and Toulouse-Lautrec, he formed
the "Ecole du Petit Boulevard" in 1887. Joined the PontAven group in 1888; close collaboration with Gauguin.
One of the originators of Synthetism and Symbolism; also
close friend of Cezanne. After 1893 long trips through the
Mediterranean countries. Later turned to conventional
together with van

naturalistic painting.
*i'^

Bathers. (1889.) Oil on canvas. 36 x 28". Wildenstein

Co.,

164

New

York.

///.

p.

55

&

*38

Bretonnerie. Corner cabinet. (1888.) Carved polychromed

9' high. Collection Mr. and Mrs. Samuel Josefowitz,

*44

wood.

New

York.

///.

p.

52

architect,

graphic

artist

45

Working

each.

The Museum of Modern

and designer. He was dismodern Danish arts and

in ceramics,

Jr.

Fund.

///.

p.

of

Modern

Art,

New

York.

56-57

7%

Horse Cabs. (1897.) Color lithograph.

Museum

x 17%". The

Gift of Mrs. John D. Rocke-

Art.

feller, Jr.

tinguished in the development of

crafts.

18%"

Mrs. John D. Rockefeller,

B1NDESB0LL, Thorvald (1846-1908)

Danish

Screen. (Published in 1899.) Color lithograph. Four panels.

54 X

*46

bookbinding, furniture design,

La Revue Blanche. 1894. Poster. 29%

Modern Art, New York. Purchase.

of

metalwork, embroidery. Principal architectural work: Society for Post Office and Telegraphic Employees in Copen-

x 23".
///.

p.

The Museum
}7

BONVALLET

hagen, 1901.
39

Designer for the Silversmiths Cardeilhac

1893. Glazed pottery with incised abstract decora-

Plate.
tion, c.

Made

47

llVs" diameter. Signed and dated "Th.B. 1893."

Valby. Det Danske Kunstindustri-

Musee

museet, Copenhagen

BocciONi,

Umberto

porcelain.

8%"

des Arts Decoratifs, Paris

(1882-1916)

German

who

Kunstinstitut in Frankfurt

the

Julian in Paris. 1899

Ernst

The

introduced

40

Mr. and
Mrs. Harry Lewis Winston, Birmingham, Michigan

41

Stians and Lovers,

studied

at

the

am Main and at
called by Grand Duke

Stadelsche

Academie
Ludwig

in

Darmstadt. From 1904 pro-

fessor at the academies of decorative arts in Diisseldorf

(1904-1911), Magdeburg (1911-1925), and Braunschweig

(1928-1931); then settled in Berlin. Mainly worked in
small sculpture, bronzes, medallions, plaques and jewelry,

1905.) Color etching. 8V4 x llVs"

but later also in large sculpture.

48

ham, Michigan

Girl Disrobing,

(c.

1900.)

Bronze.

13" high. Hessisches

Landesmuseum, Darmstadt

BoNNARD, Pierre (1867-1947)

Bradley,

French painter. After earlier law studies he enrolled at the

Academie Julian in 1888 where he met Denis, Vuillard,
Ranson and Serusier and became a member of the Nahi
group. 1890 shared a studio with Vuillard and Denis, later
joined by Lugne-Poe. Besides painting, he did some sculpture, worked on decorative panels and theater decorations
together with the other Nabis. Designed posters as early as
1891 and in 1893 contributed lithographs to the Revue

in Bos-

began work as a printer's

devil in 1879 and worked in printing plants in northern

Michigan and Chicago. In 1893 opened a studio in Chicago
from which his posters and designs won him international
acclaim; exhibited at the World Columbian Exposition in

Chicago. Following early influence of Beardsley, he attained

He contributed to the Chapbook. edited in

Chicago by Stone & Kimball, along with Beardsley, Beerbohm and Toulouse-Lautrec. In 1895 founded his own

great originality.

Wayside Press, in Springfield, Mass.,

which published seven issues of his magazine Bradley: His
Book and which, three years later, moved to Cambridge
and was made part of the University Press, John Wilson &
Sons. He then worked for the American Type Founders
Company, setting styles in typography for decades, and
printing press, the

somewhat apart

from the avant-garde currents of the Paris School, in a

prolific production of paintings, illustrations and graphic
works.
211/4".

(1868-

ton, the son of a cartoonist, he

major group exhibitions at Vollard's and Bernheim-Jeune's.

Dividing his time between the Seine valley and the south

-^

Will

American graphic designer and typographer. Born

Blanche. First large one-man show of paintings at DurandRuel's in 1896. In the following years participated in all

Le Peignoir, (c. 1892.) Oil on velvet. 605/8

National d'Art Moderne, Paris. ///. p. 55

1891-97

denhdhe ("Die Sieben")

Collection Mr. and Mrs. Harry Lewis Winston, Birming-

of France, he developed an original style,

sculptor.

of Hesse-Darmstadt to join the artists' colony at Mathil-

Recital, (c. 1903.) Ink. 7 x 71/4". Collection

(c.

high.

for Silversmiths Cardeilhac.

Italian painter.

ment. 1910 signed the "Manifesto of Futurist Painting."

Chief theoretician and leading painter of Futurism.

43

Dark brown

mounting by Bonvallet

BossELT, Rudolf (1871-1938)

1898 came to Rome where he met Balla,

him to Neo-Impressionism. Friendship
with Severini. 1902-04 in Paris and Berlin. From 1907 in
Milan. 1909 met Marinetti and joined the Futurist move-

*42

Bottle-vase. (c. 1900.)

Silver

at Lervarefabrik,

in Paris.

Musee

was

active as art director of the Century Alagazine. In 1904

he wrote and designed twelve American Chapbooks for the
American Type Founders Company and in 1906 he wrote,
illustrated and designed the type for Peter Poodle, Toy-

Table centerpiece, (c. 1904-05.) Bronze. 5%" high x 32"

diameter. Musee National d'Art Moderne, Paris

165

maker to the King for Dodd, Mead. He became art editor

of Collier's in 190"' and in 1910 organized a service to reand handle

style

art

direction

for

many

magazines.

Carriere,

In

1915 was appointed supervising art director of the Hearst

worked
and continued to write
books. He retired in 1930, but has remained active in his
field. 1954 awarded gold medal by the American Institute
of Graphic Arts. Lives in California.
publications and motion pictures, after which he
in

49

the Symbolist

1894. Poster. 19 x 13". Collection Herbert

Stuart Stone,

Wallingford, Connecticut

Jr.,

Nouveau. Very

close to

in painting, as well as in literature

and

restricting his palette to

dark colors, highlighted by

sharp contrasts.

9V2 ^ 6". Collection HerWallingford, Connecticut

The Chap-Book.

movement

and music, he developed a style in which a fog-like transparency seems to envelop his figures, eliminating all lines

Girls. 1894. Ink.

bert Stuart Stone, Jr.,

50

hibited at S. Bing's gallery L'Art

the motion picture industry,

Three Dancing

Eugene (1849-1906)

French painter. 1870-76 studied in Paris at the Ecole

Nationale des Beaux Arts with Cabanel. Founding member
of the Societe Nationale des Beaux Arts in 1890. 1896 ex-

56

Woman's Head. Lithograph. 13'A

of Modern Art, New York. Gift

seum

16%". The Mu-

of Peter H. Deitsch

Charfentier, Alexandre (1856-1909)

51

The Chap-Book. Thanksgiving number. 1895. Poster. 20%

X 14". The Museum of Modern Art, New York

52

Charles Scribner's Sons,

New

1895. Poster, 20 x 121/2"-

The Art

French sculptor, graphic artist and furniture designer. Famous for his bronze plaques and active in the early 1890s

York. The MoJern Poster.

Institute of Chicago

in the applied art field. Exhibited decorative objects

Les

XX

Felix

Brouwer, William Coenraad (1877-1933)

in Brussels in

1893. In 1895, with Jean

with

Dempt,

Tony Selmersheim and Moureau-Nelaton,

Aubert,

in Paris called Les Cinq, which the following year was joined by Charles Plumet and the name
was changed to Les Six. Charpentier"s furniture, at first
simple and rectilinear, influenced by the Arts and Crafts

formed the group

Dutch

and sculptor. Studied in Leiden and after

working for an interior decorator and learning pottery in
a pipe manufactory, specialized in that craft and founded
his own pottery works in 1901 in Leiderdorp, which developed into a flourishing business and produced innumerable
potter

decorative terracotta sculptures for buildings

land,

among them

all

Movement, took on Art Nouveau decorative elements and

he often added carved reliefs of nude figures.

over Hol-

*57

the Peace Palace in the Hague.

Revolving music stand,

high.

53

Milk

raised geometric design in

owl
lust,

dark brown with

green. Pouring lip in form of
by earthenware factory Vrede-

pitcher. (1901-03.) Pottery, glazed

face. 5^-8" high.

Leiderdorp.

Blirne-Jones,

Made

58

(c.

1900.) Carved hornbeam. 48"

des Arts Decoratifs, Paris.

///.

p.

99

Poems de Maeterlinck. C. Mau19V2 ^ 12%"- Museum fiir Kunst und

Sonalines Senlimenlales.
clair.

1894. Poster.

Hamburg

Gewerbe,

Gemeentemuseum, The Hague

Cheret, Jules (1836-1932)

Edward (1833-1898)

English painter. Belonged to the second generation of PreRaphaelites; close friend of William Morris and

Gabriel Rossetti with

Musee

Dante

Born

in Paris.

First

worked

lished his

whom

he shared an admiration for

William Blake. Influenced the French Symbolist movement between 1884 and 1893, during which time he exhibited major works in Paris. Greatly admired by Aubrey

own

nator of the

French graphic

artist

and scenery painter.

and estab-

in a lithographic printing plant,

Known

as the origi-

From 1893 under

the influence

printing press in 1866.

modern

poster.

of Toulouse-Lautrec he turned toward decorative

terns. After 1900,

flat

pat-

however, he reverted to a mid-impression-

ist style.

Beardsley.

*54

The

59

Brampton Church,
x 22". The WiUiam

Pel/can. Design for stained glass at

Cumberland. (1881.)

Pastel. 671/2"

Morris Gallery, Walthamstow, England.

///.

p.

Loie Fuller. Poster. 471/4 x 32 Ys"- Victoria and Albert

Mu-

seum, London
CissARZ,

67

Johann Vincenz

German

(1873-1942)

and designer. 1903 joined

where
he served as professor of book design at the Lehr-und Versuchswerkstatte. 1916 head of advanced painting class at
the School of Applied Art in Frankfurt am Main. Cissarz
did mural decorations and stained glass for churches and

Cachet, C. A. Lion (1864-1945)

painter, graphic artist

the artists' colony at Darmstadt. 1906 to Stuttgart

Dutch graphic

artist. Learned the batik technique from

Dijsselhof about 1890. Designed advertisements, book cov-

ers,

55

woodcuts, posters, bank notes.

Binding for Oranje Nassau catalogue. 1898. Book

8% X 714". Stedelijk Museum, Amsterdam

size,

public buildings in

166

many German

cities.

His graphic work

includes designs for posters, bookbinding and illustrations.

He

also designed furniture

and household

Unierstrom, the Story of Helene Voight-Diedericks. 1901.

Book size, 8 x 6". Klingspor Museum, Offenbach

61

Type specimen

(1896-1900.)

German

J.

and Crane. Active in development of modern English

book design. 1900, with Emery Walker, founded the Doves
Press, which advocated the use of the plain unadorned type
face. Designed and e.xecuted parchment book covers, ornamented in gold. Illustrated for Dekoratite Ki/nst and
Deutsche Kunst unci Dekoratton.
ris

Dancers. (1895.) Soft-ground etching.

Dalpayrat, Adrien-Pierre (1844-

.'

5%

1%"

Stadti-

Munich

French ceramist. Born in Limoges. The firm, Dalpayrat et

Lesbros in Bourg-la-Reine specialized in pottery with sculptured shapes and highly developed glazes. He was awarded
a gold medal at the World Columbian Exposition in Chicago in 1893.

Dutch pottery and textile designer. One of the leaders of

the modern applied-art movement in Holland. Early work
in architecture, but by mid- 1880s had created a new style
derived from Javanese batik for the Rozenburg porcelain
works in The Hague. His highly refined style combined
exotic elements with bold linear patterns and colors. 1895
became head of the Amersfoorter wall-paper factory.

68

Plate, (c. 1900.) Pottery with multicolor glaze. 13"

ter.

69

Musee

Vase.

(c.

led glaze,

diame-

des Arts Decoratifs, Paris

1900.) Pottery; sculptured shape, grey-red speckc. 6" high. Made in Bourg-La-Reine, probably

by Dalpayrat. Osterreichisches
Kunst, Vienna.

Museum

fiir

Angewandte

1886. Pottery decorated with abstract plant design

Plate.

70

on white. 10%" diameter. Made by earthenware factory Rozenburg, The Hague. Gemeentemuseum,
The Hague. ///. p. 108
in brilliant colors

Saucer.

1886.

Daum

Pottery decorated with abstract design in

CoLONNA, Eugene
French interior and furniture designer and decorative artist.
Lived in Paris and worked for S. Bing. In 1900 together
with Eugene Gaillard and Georges de Feure designed S.
Bing's L'Art i^outeau pavilion at the Paris Universal Ex-

71

1900.) Gilded metal, green agate, pearl.

high. Made for L'Art Nouveau shop in the

rooms. Musee des Arts Decoratifs, Paris

S.

Freres

Group

of vases, (c. 1900.) Sculptured glass, hand painted.

Designed and made by Daum Freres, Nancy. The Museum
of Modern Art, New York. Phyllis B. Lambert Fund

Debschitz,

Munich

Wilhelm von

German

1899 and in the Turin International exhibition in 1902.

(c.

Obrist in

Bing work

fiir

Royal Porcelain Factory, Copenhagen

in the eighteenth century,

freie

ware,
it

(1871-1948)

painter, illustrator

and

designer.

Mainly

self-

knew the work of Morris and Crane. 1902 with

Munich founded the Lehr-und Versuchsateliers
und angewandte Kunst, which became widely

taught, but

2%"

known
Founded

Bing

August

Hague

Pendant,

S.

Daum (1854-1909) and his brother Antonin,

French glass manufacturers of the Nancy group, which was
founded by Emile Galle. The Daum glass was less extravagant than Galle's and the technique less refined. Typical
floral motifs were poppies and snowdrops.

on white. 6" diameter. Made by earthenware

factory Rozenburg, The Hague. Gemeentemuseum, The

position. Participated in the Secession exhibition in

Vase in the shape of a squash. (1908.) Stoneware with

rough-textured glaze (gres flamme). 8" high. Musee des
Arts Decoratifs, Paris. Gift of

brilliant colors

nition

painter and printmaker. Studied at the academies

Konigsberg,

sche Galerie und Lenbachgalerie,

COLENBRA.NDER, ThEODORUS A. C. (1841-1930)

65

fiir

see landscapes.

67

Binding for Areopagilica by John Milton. (1907-08. ) Book

9% X 5%". Museum fiar Kunsthandwerk, Frankfurt
am Main. ///. p. 21

in

Museum

Osterreichisches

turned to Expressionism. It was at this time, from 1918 on,

that he painted, during the summers, his famous Walchen-

size,

64

high.

1876-80, and Munich, 1880-84. After

spending a few years first in Paris, then in Konigsberg and
Munich, he finally settled in Berlin in 1902. One of the outstanding representatives of German Impressionism, he later

English bookbinder, illustrator and printer. Friend of Mor-

"63

decorated with green-black

Porcelain;

6%"

glaze.

Corinth, Lovis (1858-1925)

Klingspor Museum,

of

Cobden-Sanderson, T.

1899.)

(c.

Angewandte Kunst, Vienna

Offenbach

"62

Vase.
crystal

60

sheet.

66

utensils.

shown

gained world recog-

won

the last decades of the nineteenth century.

167

workshops for metaland ceramics. The work of this school was

the Jubilee Exhibition in Nuremberg in 1906 and

as the Debschitz School with

textiles
at

a gold

medal,

c.

1908 Debschitz established, with

H. Loehner, the Ateliers und Werkstatten fiir Angewandte

Kunst in Munich. He later became director of the Stadt
Handwerkers u. Kunstgewerbeschule in Hanover.

*72

8OV2 X 31%". The

/// p.

Museum

Modern

of

Art,

New

York.

55

Frau Dl'nsky

Ink stand. (1906.) Bronze, triangular shape. 2" high x

8%" wide. Landesgewerbemuseum, Stuttgart. ///. p. 114

80

Tablecloth.

(1901.)

Woven

with stylized peacock

linen

and white. 50 x 45y4". Made by

Museum fiir Kunsthandwerk, Frank-

feather pattern in yellow

Demachy, Robert

-1938)

Carl Faber, Stuttgart.

furt-am-Main

French photographer. One of the greatest influences in pictorial photography in the 1890s and the early twentieth
century. With C. Puyo led the French section of the Linked
Ring Brotherhood, one of the secession groups which concentrated on photography. Specialized in landscapes and
figure studies. 1894-95, with A. Rouille Ladeveze brought
gum bichromate process to high perfection; exhibited at the
Paris Photo Club in 1895. Introduced modern transfer

method
73

EcKMANN, Otto (1865-1902)

German graphic artist and
painter.

(c.

Gum

1900.)

photograph.

print

8%". The Metropolitan Museum

of Art,

New

51/2

Academie

the

and theoretician. 1888 pupil

Leader and theoretician of the

artist

Julian.

Nabi group. Joined

81

the Pont-Aven painters in whose Symhe participated. Contributed to the Reiue

Blanche. Developed a neo-Catholic style in connection with
the painting school of Kloster Beuren. Close friend of
Claudel and Gide.

74

Portrait of

35 x I""/}

Mme

Paitl Ransoti.

82

St.

Germain-en-

76

(1892.) Oil on canvas. 14^/4 x 24". Rijksmuseum

April.

The Netherlands.

Women

(c.

in a

Landscape,

Design for wallpaper,

19%
*78

"

The Museum

(c.

of

///.

1894.) Lithograph.

Collection Robert Pincus-Witten,

77

p.

x 3V2

Art,

New

"

York. Purchase

(1889-1910.) Vollard edition, 1911, copy no. ^6. Book size,

X 8%". Collection Dominique Denis, St. Germaine///.

(1859-

p.
?

Museum

fiir

7%

87

Page from type-specimen book Schriften und Zier-Material.

published by Rudhard'sche Giesserei. (c. 1903.) lli/t x
8%". Klingspor Museum, Offenbach

88

Plant

forms.

(c.

1896.)

Design from portfolio Neue Formen.

Museum, Offenbach

Announcement

of

1903.) Klingspor

in Paris as painter,

Eckmann tapestry exhibition,

Museum, Offenbach

90

Announcement for Die Woche.

Museum, Offenbach

paintings of flower

91

Woven

designer

les

1898-1902.) 21V8 x

Title page for Schrijten und Zier-Matenal. published by

Rudhard'sche Giesserei. (c. 1903.) Book size, 111/4 x 8y4".
Klingspor Museum, Offenbach

and etcher (signing his work at times

Henry). From 1893 on almost exclusively dedicated to

Tos

(c.

Kunst und Gewerbe, Hamburg

86

89

life.

Exhibited at the Exposition

Universelle in Paris in 1900.

*79

of marbleized endpapers,

(c.

1900.) 171/2 X llW'- Klingspor

still

Kunst und

Book jacket for Johannes by Sudermann.

X 4%". Klingspor Museum, Off^enbach

30

French painter and printmaker. Active

poster

fur

85

by Denis.

111/4

en-Laye, France.

Museum

designed for Pan. 1895.

Initials

ink. 9 x

Group

New York

wood engravings

(c. 1896-98.) Crayon and

Kunst und Gewerbe, Hamburg

84

54

6%

fiir

AEG Prospectus for the Paris 1900 Exhibition. 1899-1900.

9% X 12%". Museum fiir Kunst und Gewerbe, Hamburg

1900.) Color lithograph. 355/8 ^

Modern

Sagesse by Verlaine. Colored

DuMONT, Henri

Museum

141/2" each.

Kroller-Miiller, Otterlo,

publication

83

Laye, France

*75

own

Gewerbe, Hamburg

1890.) Oil on canvas.

Dominique Denis,

Collection

"

(c.

his

Sketch for book cover,

6".

style

bolist

in

Dekoratire Entuiirje of 1897 exerted a great influence on

German graphic artists. He was the designer of the best
known Art Nouveau typeface and he also designed tapestries, furniture and metal work. 1897 he became a teacher
at the Kunstgewerbeschule, Berlin.

Denis, Maurice (1870-1943)

at

designer. Began as a landscape

Hamburg, Nuremberg and at the

trations of stylized plant motifs

York. Gift

of Alfred Stieglitz, 1933

French painter, graphic

in

Munich Academy. After 1894 abandoned painting and concentrated on applied art. Belonged to the Munich school of
Art Nouveau. The influence of Japanese prints is evident
in graphic work he did for the magazines Pan and ]iigend.
He was the leader of the German "floral style"; his illus-

in oil printing, 1911.

Brittany,

Studied

Sons aux Ambassadeurs. Yvette

silk

background,

fabric; grey-blue
(c.

industrimuseet,

Giiilbert. Poster.

16C

(c.

wave

1898-

1898-1903.) Klingspor

pattern on grey-blue

1900.) 27 Vs x 215/8"- Det

Copenhagen

(c.

Danske Kunst-

92

Woven

silk

ground,

(c.

fabric; black flower pattern on black back1900.) 271/8 X 215/8"- Det Danske Kunstindus-

trimuseet, Copenhagen.

Both

fabrics

important long

were part of a series

from artists by the

96

called "Kiinstlerseide," commissioned

manufacturer, Deuss

&

In the Square,
collection.

Oetker, Krefeld

North

Africa.

Died

at the age of

27

(c.

1895.) Color lithograph. 13 x 9". Private

New York

Gaillard, Eugene

Endell, August (1871-1925)

German

trip to

before reaching a mature style.

French interior and furniture designer and decorative artist.

Designed, in 1900, together with Eugene Colonna and
Georges de Feure, S. Bing's L'Art Nouveau pavilion at the
Paris Universal Exposition. Wrote A propos du Mobilier,

and designer. Self-taught as an artist.

Strongly influenced by Obrist in Munich where he belonged
to the group of architects and interior designers in the
architect

Vereinigte Werkstatten. Principal buildings in Art

Nou-

Paris,

veau style: Elvira Studio, 1897-98, designed for a Munich

photographer; Sanatorium in Fohr, 1901; Buntes Theater,
Berlin, 1901. Also designed textiles, jewelry, furniture, and
was a writer. 1918, Director of Akademie fiir Kunst und
Kunstgewerbe in Breslau.

1906.

One

of the foremost furniture designers of

Art Nouveau.
97

Velour with printed flower pattern in four colors, (c. 1899.

6OV4 X 34V4". Purchased from Universal Exposition, Paris
1900. Museum fiir Kunst und Gewerbe, Hamburg

Gaillard, Lucien

*93

Armchair. (1899.) Carved elmwood with upholstered seat.

33V2" high. Collection Dr. Siegfried Wichmann, Starnberg,

Germany. (Exhibited
94

in

New

York only).

///.

p.

French jeweler. Contemporary of Rene Lalique; used insect

and flower forms in his silver work. Participated in the

112

Glasgow International Exhibition of

Wrought-iron ornaments from a desk designed for H.

Heiseler, Munich, (c. 1899.) Mounted on board. Executed
by R. Kirsch. 28^/4 x 37". Collection Dr. Siegfried Wichmann, Starnberg
See list of architecture photographic enlargements on
page 185.

98

lard."

99

1901.

Decorative comb. (c. 1900.) Horn, carved in the shape of

blossoms with pearl centers. 6%" long. Marked: "L. Gail-

Museum

fiir

Decorative comb.

Kunsthandwerk, Frankfurt

(c.

am Main

1900.) Carved horn with gold mount-

ing in the form of maple seeds. 6^4" long. Exhibited at

Salon des Artistes Fran^ais, 1906. Musee des Arts Deco-

Ensor, James Sydney (1860-1949)

Belgian painter and graphic

ratifs, Paris

1877-1880 studied

at

Academy, under Portaels and others. 1880

his native town, Ostend, where he lived all

re-

artist.

the Brussels

turned to

100

his

which the ironic use of masks played a major

Although acknowledged as a master in his own country, being named baron by the Belgian King in 1929, it is
only recently that he has gained full world-wide acclaim
as a true originator.

Demons. Salon des Cent. Poster. 20% x

The Museum of Modern Art,
York. Gift of Ludwig Charell

Self Portrait tvith

New

Silver

frame

in the

shape of

des Arts Decoratifs, Paris

French designer-craftsman and pioneer in glass-making.

Early studies in philosophy and botany. Trained in his
father's pottery works in Saint Clement and at glass works
in Meisenthal. 1874 added faience workshop to the family
plant, which by 1900 employed approximately 300 workers
in glass production and furniture, ending operations in
1913. Founder of Nancy School, a center for decorative art
influenced by the Symbolist movement and based on a deep
belief in nature as the source of inspiration. Galle's glass
work is unconventional in form, with original techniques
such as relief decoration, etching with acid, and overlaying
of colors. His furniture was noted for inlay work. In both
glass and furniture he incorporated inscriptions of Symbolist poetry. He was an important and prolific contributor
to Bing's Paris shop L'Art Nouveau. With Galle's death in
1904 the vitality of the Nancy School diminished.

believe in

15%" (without

Musee

Galle, Emile (1846-1904)

XX

role.

95

glass, (c. 1900.)

a beetle. 5" long.

1884 founding member of Les

in Brussels, but in
1889, a major work of his. The Entry of Christ into Br//ssels, was refused exhibition by Les XX. 1898 exhibited in
Paris under the auspices of La Plume. Edgar Allan Poe
was his favorite author. Developing out of sixteenthcentury Flemish painting, but influenced by Impressionism
and Symbolism, he painted a haunted world of makelife.

Magnifying

lettering).

EvENEPOEL, Henri (1872-1899)

*101

Belgian painter. Early studies in Brussels; 1892 pupil of

Gustave Moreau in Paris; friendship with Matisse; frequented the studios of many painters; under the influence
of Manet, Toulouse-Lautrec, Forain and Steinlen. 1897

Screen (1900.) Ashwood with carved plant decoration and

in various woods. 42" high. Shown at Universal

marquetry

Exposition, Paris, 1900. Signature in marquetry, lower

Victoria and Albert

169

Museum, London.

///.

p.

98

left.

102

Side table. 1898. Carved supports, triangular top decorated

with marquetry in various woods.

103

.^45/8"

I'Ecole

1900.) Glass, colored violet, yellow, white and

*112

Hand, covered with

paste (pate de verre).

sea plants,
c.

oats.

11%"

10" high. Signed.

high.

*113

*114

106

'Vase in the shape of a fish head, decorated with seaweed

in

relief.

1900. Colored glass.

"Galle Expos 1900.

fjeldske Kunstindustrimuseum, Trondheim

10"

Signed underside:

"

Vase, in shape of flat-sided

oil jug.

"

erosion. 9T'8

115

108

arti-

*117

art.

Fils

poem by de Montauban, Histoire des

Aymon. Grasset was one of the originators of

Exposition E. Grasset. Salon des Cent.

X l43^". The

Ludwig

Museum

Charell.

Histoire des Quatre Tils

///.

of

p.

(c.

Modern

1898.) Poster,

Art,

New

York.

39

Aymon,

tres nobles et tres raillans

Montauban. 1883.

Paris,

H. Launette

edi-

Color lithographic illustrations by Charles Gillot after

designs in color by Grasset. Book size, 10% x 9". Rijksmution.

seum

Library,

Amsterdam.

///.

p.

39

Guimard, Hector (1867-1942)

French architect and furniture designer. Studied at Ecole
des Arts Decoratifs and Ecole des Beaux-Arts, Paris, where
he also taught. Though influenced by Horta, he was one
of the most original and interesting Art Nouveau architects. His style is based on nature with decorations that
are functional parts of the construction. His furniture and
jewelry display a similar harmony of design and sophistication of detail. Guimard's three principal architectural
works are the Castel Beranger, a group of apartment houses

by the Spirits of the Dead).

1893-93.) 'Woodcut, printed in black and colored by

The Art

various fields of applied

in

and books on typography and ornament

theorist, advocated respect for materials and

chevaliers by de

Manao Tupapau (Watched

Worked

articles

of objects, but in his decorations he used motifs

Gift of

with Three Puppies. 1888. Oil on wood. 36V8 x

Art, New York. Mrs.

9 x lO^s"

art.

the medieval

231/4

The Museum of Modern

Simon Guggenheim Fund. ///. p. 48

stencils.

colony in Glatigny near

Artists'

poster design.

116

in 1903.

hand, partly with

Chicago. ///. p. 51

as

Quatre

French painter and printmaker. Began his painting career

around the age of thirty-five, after having been a sailor in
his youth and then a business man. Friendship with Pissarro; from 1880, he participated in the exhibitions of the
Impressionists. Friendship with van Gogh. 1886 first sojourn in Pont-Aven. 188^ trip to Martinique. 1888 again
in Pont-Aven, close relationship to Bernard and a group of
artists including Denis and Serusier. Visited van Gogh in
Aries in 1888. 1889-90 sojourns in Pont-Aven and Pouldu.
Back to Paris in 1891, departed for Tahiti. Came back once
more to France in 1893, but then returned to Tahiti in 1895
and settled finally in the Marchesas Islands where he died

(c.

Nationalmuseum,

221/2"-

derived from nature. In 1883 he designed the illustrations

for

*110

(c. 1900.) Coffee pot; creamer; sugar bowl;

cup and saucer. Porcelain, shaped like sea fauna, glazed
blue. Signed "Glatigny." Det Dansk Kunstindustrimuseet,

utility

Gauguin, Paul (1848-1903)

Versailles.

33%

Coffee service,

and

(c. 1900.) Translucent glass shaded white, blue and

amber; decorated with dragonfly and water lillies. 8 high.
Signed. Collection Joseph H. Heil, New York

Still Life

Brussels.

50

or School of Pont-Aven: Decorative Landscape.

Japanese
Published

Vase.

2Ay^"

p.

French graphic artist. Born in Lausanne, Switzerland where

he was trained as an architect. To Egypt in 1869 and Paris
in 18^1. Studied with VioUet-le-Duc, and also a student

high- Inscription: "Descendre au fond

'

^109

///.

Grasset. Eugene (1841-1917)

1900. Grey-green glass

Det Danske Kunstindustrimuseet, Copenhagen

"

York only).

by Ernest

d'Histoire,

Copenhagen

de son propre destin, savoir ce se qui se passe en cette mer

sans fin." (Rodenbach.) Signed and marked: "Expos. n.
1900.

New

Made

high.
et

Versailles.

Norden-

decorated with carved sea fauna, shells and spots of

ficial

Gauguin

Studio Glatigny,

back: "Et nul vent ne detruit son fragile univers. Rodenbach.

The MetroYork. 'Whittelsey Fund, 1952

Glazed stoneware, liys"

Musees Royaux d'Art

Vase.

(1889.) Oil on wood.

Stockholm. ///. p. 50

h'gh- Inscription on

51/2"

New

Leda. Design for a plate. Cover for Dessins lithograph11% x lOVs"- The Metropolitan Museum of
Art, New York. Rogers Fund, 1922. ///. p. 50

(Exhibited in

de Nancy

Shallow bowl in the shape of a shell, engraved with seaweed and small shells. (1899.) Clear crystal. IIV2" long.
Signed. Musee de I'Ecole de Nancy. ///. p. 97

of Art,

Chaplet.

Musee de lEcole

*105

Misery. (1895.) Woodcut. 9 x 11%".

Museum

iques. 1889.

1900.) Colored glass

(c.

Human
politan

de Nancy

Musee de
(c.

111

Signed.

Vase.

brown. Decorated with engraved sheaf of

Signed. Musee de I'Ecole de Nancy
104

higii.

Institute of

at

170

16 rue de la Fontaine, Paris, 1894-98, the cast-iron en-

and the Humbert

Building, rue St. Didier, Paris, 1,902. He came
to the United States in 1938 and died in New York in 1942.
trances to the Paris Aietro stations, 1900,

de

ban by the Nazis in 1933. Master of satirical illustration,

he was noted for his cartoons. 1898 imprisoned for political
offence. 1933 emigrated to Prague, and worked for a newspaper. Later connected with journals in Oslo and Stockholm, where he died.

Romans

Corner cupboard from a bedroom suite. (1900.) Carved

pearwood. 67" high. Musee des Arts Decoratifs, Paris

118

*119

Desk from

own house, (c.

28%" high
101"

the architect's

African and olive ash.

seum of Modern Art,

Guimard. ///. p. IO4

.x

New

1903.

Carved

Mme

York. Gift of

Hector

Desk chair from the architect's own house, (c. 1903.)

Carved walnut, with leather upholstery. 32V4" high. The

120

Museum

of

Modern

New

Art,

Mme

York. Gift of

128

Feuerhestattung.

129

Friihlitigsgedichte, eine Redaktionsidylle.

The Mu-

wide.

130

Hector

131

Guimard
Side table from the architect's own house, (c. 1908.)
Carved pearwood. 43^2" high. The Museum of Modern
Art, New York. Gift of Mme Hector Guimard. ///. p. 104

*121

132

for the Arts of Decoration,

Umbrella stand from the

123

Bronze.

32%"

York. Gift of

Balcony

124

high.

Mme

railing.

The Museum
bert Fund

of

The Museum

of

house,

(c.

Modern

Art,

New

architect's

bition of

house,

(c.

Munich and "Vienna and became Switzerland's

most important artist. Painted landscapes, portraits and
major Symbolist compositions of simplified form and bold
outline. Major muralist of his generation.
hibited in

1909.)

Gilded bronze. 21 x lOyg". The Museum of Modern Art,

New York. Gift of Mme Hector Guimard

*133

Standing cabinet frame with photograph of the artist. 1907.

Bronze. 10^/2" high x 6%" wide. Signed and dated. Cooper

126

Union Museum
See

list

of

for the Arts of Decoration,

photographic

architecture

New

York

enlargements

The Chosen One.

(c. 1903, replica by the artist of painting

Oil on canvas 7'2V2" x 9'10". Karl-ErnstOsthaus-Museum, Hagen, Germany. ///. p. 76

of

134

on

c.

1896.)

XIX

Secession.

page 185.
reichisches

sculptor

and

medalist.

Kunstinstitut in Frankfurt

of Karlsruhe and Munich. 1900-06

stadt artists' colony.

Studied

am Main, and

From 1910

member

painting at

DarmAcademy

Wagner
new

Bathing Woman. (1900.) Bronze, c. 6" high. Collection

H. R. H. Ludwig, Prince von Hessen, u.b. Rhein, 'Wolfsgarten-Langen

Heine,

Thomas Theodor (1867-1948)

German draftsman, illustrator, painter and writer.
at Diisseldorf Academy. After 1889 in Munich

fiir

Angewandte Kunst, Vienna

(1870-1955)
artist

and designer. Studied

Munich Academy and architecture with Otto

Vienna. Took prominent part in the founding

of the Vienna Secession in 1897, and

of Fine Arts in Stuttgart.

127

in

Vereinigung Bildender
37% x 251/4" Oster-

1904. Poster.

Austrian architect, graphic

academies

of the

professor at the

Museum

Hoffmann, Josef

Stadelsche

at

at the

Ausstellung der

Kiinstler Osterreichs.

Habich, LUDWIG (1872-1949)

German

1900.) "Water-

Participated in the World's Fair exhi1889 in Paris. Sojourns in Paris and Belgium.
Member of the Rosicrucian esthetic movement in whose
exhibition at Durand-Ruel's he participated in 1892. Ex-

New

York. Phyllis B. Lam-

own

(c.

13%"- Stadtische Galerie und Lenbachgalerie,

Thun and Geneva.

(1907.) Cast iron. 39y8" high x 63" long.

Modern

Advertising design for Simplicissimus.

Swiss painter. Studied with Swiss landscape painters in

1902.)

Art,

1897. ink. 9V2 ^

Munich

Hector Guimard

Oval frame from the

125

own

Stadtische

HoDLER, Ferdinand (1853-1918)

New York

architect's

81/2"-

15%". Stadtische Galerie und Lenbachgalerie, Munich

Die Lebenunueden. (1895.) Four ink and crayon drawings. Stadtische Galerie und Lenbachgalerie, Munich
Die Einzige Moglichkeit. 1900. Published in Simplicissimus
1910. Ink. 101/2 X 9". Stadtische Galerie und Lenbachgalerie, Munich
color, 65/8 x

Vase. (c. 1908.) Glazed porcelain. lOS/g x 51/4". Made by

Manufacture Nationale de Sevres. Cooper Union Museum

122

(1908.) Ink. 11^/4

Galerie und Lenbachgalerie, Munich

movement. His

art

showed

his characteristic

became leader of the

Ver Sacrum first

illustrations for

ornamentation, stressing geomet-

was also evident in his designs for architecture, furniture and decorative objects, paralleling the
work of Mackintosh in Glasgow but retaining his own
ric

forms. This

Studied

Viennese

as con-

the

style.

1899 appointed Professor of Architecture

Wiener Kunstgewerbeschule; he was

at

a brilliant teacher

With Olbrich
he designed the Austrian pavilion at the 1900 Paris Universal Exposition. In 1903, with Moser and Warendorfer

tributor to Ftiegende Blatter and ]ugend. 1896 founder

and co-editor of Simplicissimus with Albert Langen and
Ludwig Thoma. Remained with this publication until its

of great influence throughout Central Europe.

171

founded the Wiener Werkstatte. Two important early

works in architecture are the Sanatorium at Purkersdorf,
1903-04 and the Palais Stoclet, Brussels, 1904-11, for
which he also did the interior decoration, furnishings, and
gardens. In 1912 he founded the Osterreichische Werkbund
which he left in 1920 to take the lead of the "Gruppe
Wien" of the Deutsche Werkbund. He continued to practice and teach until 1950 and died at the age of 85 in 1955.
135

Table flatware,

1903.)

(c.

Handwrought

approved for the Palais des Beaux-Arts, Brussels,

after World War I, between 1923-28.
140

tion L.

Mrs.
136

*13"

F.

Made

Beer-Monti,

Ring. Gold, with

flat

statte. Collection

Mrs.

F.

Wall

Made

143

by VC'iener Werk-

New

York

1895-1900.)

(c.

Door handles from Hotel Solvay. (c. 1895-1900.) Gilded

bronze. 17%", 11", ^" high respectively. Collection L. Wit-

*144

Ink stand,

(c.

"

138

139

New

York.

///.

Wittamer-de-Camps, Brussels

tamer-de-Camps, Brussels

Brooch, (c. 1908.) Gold, with moonstones, milk opals,

baroque pearls and handwrought gold leaves. 2% ^ide.
Made by Wiener Werkstatte. Collection Mrs. F. BeerMonti,

shape of two flowers from Hotel

Gilded bronze and glass. I8I/2"

light fixture in the

Solvay.

high. Collection L.

Beer-Monti,

p. 121

1900.) Gilded bronze. 4I4" high x ISVs"

long.

With

Mme

La Baronne Horta,

See

Flower container. (1903-04.) Perforated pewter, painted

white. 81/2" high. Made by Wiener Werkstatte. Kunstgewerbemuseum, Zurich

initials

of

list

(Armand Solvay).

"A.S."

architecture

///.

p.

on

Kandinsky, Wassily (1866-1944)

Russian painter, and printmaker. Worked in Germany and
France. After early law studies in Russia, he settled in
Munich in 1896 where he studied under Azbe and Stuck.
1900-1903 teacher at and president of the private art school
Phalanx. Member of the Berlin Secession since 1902. 190319O8 traveled in France, Tunisia and Italy. Settled in

HoRTA, Victor (1861-1947)

Munich and Murnau

1909 founded the Neue

1911 was co-founder (with
Blaiie Reiter. First non-objective

in

1908;

Belgian architect. Early studies in Ghent and Paris, and at

Kiinstlervereinigung and

Academie des Beaux-Arts, Brussels. Worked in office of

the classicist architect Alphonse Balat. The constructive

painter (1910). Returned to

principles of VioUet-le-Duc, neo-baroque elements of form,

the

Franz Marc)

of

Der

Moscow Academy

in

Moscow

in

19n. Professor

at

1918. Emigrated to Berlin in 1921.

Teacher at the Bauhaus 1922-33. Emigrated to France

1933 and settled in Neuilly-sur-Seine, where he died

and plant-motifs were his chief sources of inspiration. 189293 designed a house for Professor Tassel at 12, rue de
Turin (now 6, rue Paul Emile Janson), Brussels. With
this first example of Art Nouveau architecture Horta's
style was established and much imitated for its refinement
of ornamentation. His use of iron enabled great freedom

in
in

1944.

*145

The

146

Nou-

(1903.) Woodcut. 121/4 x

und Lenbachgalerie, Munich. ///.

Mirror.

Galerie

of form, especially notable in the staircase of the Tassel

house. Other buildings in Brussels in the mature Art

Collection

93
photographic enlargements

Brussels.

page 185.

Flower container. (1903-04.) Perforated pewter, painted

white. 9%" high. Made by Wiener Werstatte. Kunstgewerbemuseum, Zurich
See list of architecture photographic enlargements on
page 185.

()V&"
p.

Stadtische

85

Phalanx: First Exhibition. 1901. Poster. 18 x 231/4"- The

Museum of Modern Art, New York. Gift of Mme Wassily

Kandinsky

Hotel van Eetvelde, Avenue Palmerston, 1898, the Hotel Solvay, 224 Avenue Louise, 18951900, two houses for himself, 22-23, rue Americaine, 1898;

veau

Carved

long. Collec-

142

York

round opal.

1895-1900.)

Photograph display stand from Hotel Solvay. (c. 18951900.) Gilded bronze. 605/8" high. Collection L. Wittamerde-Camps, Brussels

by Wiener Werkstatte. Collection

New

(c.

wool tapestry. I6V2" high x 22"

Wittamer-de-Camps, Brussels

141

silver. Spit; serv-

ing fork; fish fork; dinner knife; dinner fork; dessert spoon;
sherbet spoon.

Foot rocker from Hotel Solvay.

cherry, with

built

style include the

KiNDEREN,

ANTOON JOHANNES

DER (1859-1925)

Dutch painter, muralist and illustrator. 1880-82 studied at

the academies of Amsterdam, and (together with Toorop)
of Brussels. 188"' trip to Italy and Paris, where he was
strongly impressed by Puvis de Chavannes. Mainly active
in monumental mural painting and stained glass window
designs, but also as book illustrator, especially during the

and the Maison du Peuple, 1895-1900, a building for a

group of cooperatives for working-class organizations, important architectually for its facade of iron and glass. 1902
represented at the Turin Exposition. About 1905 Horta
abandoned the Art Nouveau style. 1913 became director
of the Brussels Academy, which he reorganized. 1914 plans

nineties.

172

147

Two-page fly-leaf for Gedenbock, Keuztentoonstelling von

Hollandsche Schilderkunst. 1893- Lithograph page one:
131/2 X 8%"; lithograph page two: 12% x 8I/2". Gemeente-

*150
*151

museum, The Hague

King, Jessie

Marion

Salome. 1909. Oil on canvas. 701/8 x

nazionale d'Arte Moderna, Venice.

(Mrs. E. A. Taylor)

Scottish illustrator

Portrait of a Woman. (1897.) Pastel. 20V8 x 10%"- Allen

Art Museum, Oberlin College, Oberlin, Ohio

and decorative

(1876-1949)

artist.

152

/.

Kun.Uaii.istellung

Osterreichs.

1894-1900 studied

Glasgow School of Art. Won a traveling scholarship

to Germany and Italy. Taught bookbinding at the Glasgow
School of Art. Designed mural decorations for schools in
Lanarkshire and specialized in book illustrations, among
them for works by Kipling, Morris, Milton, Spenser and
at the

1.

153

Jewel box.

1900.)

(c.

ing.

to

Munich (1903-04). Greatly impressed by

*149

paint-

old masters.

seeing

p.

The Museum

of

&

Modern

Co., Lon-

Art,

New
Jr.

From 1896 one

of the editors of Pan.

He

ferring the Japanese technique of

fusing different color

glazes from earthenware to glass.

*154

Group

of

glasses

Tinted blown glass,

in
c.

shape of flowers. (1895-96.)

12" high. Det Danske Kunstindus-

the

trimuseet, Copenhagen. Acquired

from the

artist. ///. p.

120

Lacombe, Georges (1868-1916)

French painter and sculptor. Pupil

member of
ties; made

Expressionism.

Before the People, from Man and Wife cycle. 1900. Wood7% X 7%". Allen Art Museum, Oberlin College,
///.

31/4".

also developed a very delicate style of glass design, trans-

the

*155

Klimt, GusTAV (1862-1918)

Austrian painter and muralist. Studied oil and glass painting, mosaics and ceramics at the Kunstgewerbeschule in
Vienna. After important mural commissions for the Burgtheater he was in 1897 co-founder of the Vienna Secession
and its first president. Collaborated also with the Wiener
Werkstatte. Chief exponent of Art Nouveau painting in

Academie

made

decorative objects; faithfully

sell their

work.

Headboard of bed (Le Reve). (1892.) Carved wood.

high X 55" long. Musee National d'Art Moderne,
///.

Lalique,

p.

Julian,

in all their activi-

marionette heads for theatrical performances;

adhered to Nabi dogma not to

82

at the

Nabi group. Participated

painted, sculpted and

cut.

Oberlin, Ohio.

decorated with mother-of-

German painter, etcher and designer craftsman. After early

chemistry studies enrolled at the Akademie der Bildenden
Kiinste in Munich where he studied painting and etching,
he evolved a superb technique in making etchings after

woodcuts in Nuremberg, he began making woodcuts around 1900 and became one of the most important
printmakers of the century. Co-founder with Ernst Heckel
and Karl Schmidt-Rottluff of Die Briicke in 1905. Wrote
the chronicle of Die Briicke in 1913. Settled in Berlin in
1911 and moved to Frauenkirch near Davos, Switzerland
after World War IL Died by his own hand in 1938. One

German

Silver,

Koepping, Karl (1848-1914)

Dijrer's

of the outstanding painters of

(first

Angewandte Kunst,

York. Gift of the family of Mrs. John D. Rockefeller,

Mainly self-taught but studied also with Hermann

Obrist in

fiir

and enamel. Made by Liberty

pearl, turquoise

After early studies in

Dresden (1901-03), he turned

Museum

Vienna

KiRCHNER, Ernst Ludnjcig (1880-1938)

painter and printmaker.

K tins tier

Knox, Charles

Binding for Le Reve by Zola. (c. 1900.) Book size, llVi

X 8". (This edition contains an original ink drawing frontispiece by Jessie King and illustrations by Carloz Schwabe.
Collection Thomas Howarth, Toronto

architecture in

77

Fassung. 1898. Poster. 255/8 x I8I/2"

don. IIV4 X 6 X

German

p.

Vereinigung bildender

der

state). Osterreichisches

Wilde. Also designer of jewelry, pottery, and batik work.

148

181/8"- Galerie Inter-

///.

271/4"
Paris.

60

Rene

(1860-1945)

Vienna, he created the wall decorations for Josef Hoffmann's Palais Stoclet in Brussels. His three huge murals
for the auditorium of the University of Vienna caused

French jewelry designer. Studied at the Ecole des BeauxArts. By 1885 he had established his own jewelry workshop
in Paris. Lalique was the outstanding French Art Nouveau
artist working in jewelry, gold and silver. The asymmetrical settings for his jewelry were primarily derived from
floral motifs. He also designed glassware and decorative

public and official furor. Klimt resigned from the Secession

objects.

He was represented anonymusly at the Paris

World's Fair of 1889 and awarded a prize. He first became
known and his work attracted attention, at the Salon des
Champ de Aiars in 1895. He was represented at the opening of S. Bing's shop L'Art Nouveau and he became one of
Bing's regular contributors. His work was acclaimed with

which he had dominated and formed a new group "Kunstschau" in 1908 in which he showed together with Egon
Schiele and Oskar Kokoschka. Internationally famous as
portrait and landscape painter at the turn of the century,
his influence extended beyond Central Europe.

173

*156

enthusiasm at the Paris University Exposition of 1900, and

he exhibited at the Turin exhibition in 1902.

tional Oriental vase forms, heightening their effect by the

Shallow bowl. (1900.) Semi-translucent opal glass decorated with silver mounting depicting the heads of three
cocks in low relief; four opals. 9" diameter. Signed: "La-

first

Museum

lique." Osterreichisches

Vienna. Acquired from the

15~

Hand

artist,

placing and the color of his plant motifs. 1908 in

1900.

///.

p.

101

mirror in silver frame; enameled handle in the shape

back,

beetle;

(Before 1903.) Brown glazed pottery, decorated

with black and green plants in relief. 8V4" high. Marked:
"MLK." Museum fiir Kunsthandwerk, Frankfurt am Main
Vase.

Dutch decorative and graphic

Necklace (choker),
long

Frankfurt
159

(c.

167

1900.) Twelve rows of opal beads

2%"

wide.

Museum

fiir

Kunsthandwerk,

German
reuth.

(c.

1900.) Flower spray surmounted by bees.

and gold.

Brooch,

(c.

*163

^1/2"

'^^'ide.

Musee

p.

Four dragon

1900.)

169

Type specimen
Offenbach

Rock

flies

of enameled gold,

Jr.,

New

Loie Fuller,

(c.

1900.) Photograph. 61/2 x 41/4".

ber of the group La Libre Esthetique. 1899 designs for

magazine Die Insel. Also designed jewelry, metal fittings,
bookbindings and tapestries.

*170

Museum

and Dela-

Scherrebek near Brussels.

the Salon from 1884 on.

171

Table lamp; dancer with

veils, (c. 1900.) Gilded bronze.

13" high. Signed. Collection Mrs. Sidney Janis, New York

Max

(1864-1952)

German

architect.

Studied and taught

artist.

p.

55/8"- Biblio-

31

Made

Studied painting in

H. Hendrick. Active
posters and lithographs.

L.

Poster. 1897. 42V8 x 3^/2"- Stedelijk

in

Museum, Amsterdam

LOTZ WiTWE, JOH.

Glass factory in Klostermuhle,

at

5%

Belgian painter and decorative

Brussels with A. Bourson and

planche. Active in Paris. Participated in the exhibition of

Lauger,

Title page for catalogue Les XX. 1891.

theque Royale de Belgique, Brussels. ///.

Livemont, Privat (1861-

Larche, Raoul Francois (1860-1912)

Fr. JoufTroy, Falguiere

Klingspor Museum,

(1896-1900.)

pendents, Paris. 1893 contributed to Van Nu en Straks.

1894-97 associated with van de Velde in Brussels and mem-

New York

French sculptor. Pupil of

sheet.

Belgian painter, graphic-artist and designer. In painting influenced by Seurat. 1889-92 exhibited at Salon des Inde-

102

of the City of

165

Berlin.

Lemmen, Georges (1865-1916)

York

Langfier (?)
164

at

in

page for Der Teppich des Lebens und die Lieder von
Traiim und Tod mit einem Vorspiel by Stefan George.
1899. Book size, 15 x HVz ' Klingspor Museum, Offenbach

Title

des Arts Decoratifs,

wide. Collection Mrs. Alfred H. Barr,

///.

1900 represented

168

Decorative comb. (c. 1900.) Carved horn in the shape of

a branch surmounted by a bird with enameled gold body.
61,8" long. Det Danske Kunstindustrimuseet, Copenhagen.
Acquired from the artist at Universal Exposition, Paris,
1900.

1884 studied at the

1886 in Baythe Exposition Vniverselle in

Bildende Kunst

1907.

translucent enamel and diamonds; large opal in center.

2%"

fiir

by the Pre-Raphaelites and

book designs by Morris. Friend of the German poet
Stefan George, all of whose books he designed from 1897-

Paris

162

painter and book designer.

in his

(c. 1900.) Carved horn in the shape of a woman's

with hair and wings of gold and enamel; pearl drop,
4" wide. Musee des Arts Decoratifs, Paris

Brooch,

scrolls;

Paris. Influenced in his painting

Brooch,

crystal

and

rose.

Hochschule

face,

161

etc.

Lechter, Melchior (1865-1936)

am Main

Necklace (choker. (1900.) Gold, enamel and opaque glass

in the shape of flowering bean vine; white velvet ribbon.
W4" long X 2%" wide. Museum fiir Kunsthandwerk,
Frankfurt am Main. Acquired at Universal Exposition,

c.

glassware, posters,

3iy2 x 29V'2"- Made by t'Binnenhuis, Amsterdam. Det Danske Kunstindustrimuseet, Copenhagen

Paris, 1900

160

Besides woodcuts and

Silk scarf, (c. 1904.) Batik design of animals

white on

rectangular inserts of enameled gold and opals.

five

13"

artist.

lithographs, specialized in designs for industrial art, textiles,

with

Munich

Deutsche

1900

sition, Paris,

158

at the

Lebeau, Joris Johannes Cristiaan (Chris) (1878-1946)

carved glass with wisteria blossom.

(1900.) 9" long. Signed: "Lalique." Museum fiir Kunsthandwerk, Frankfurt/Main. Acquired at Universal Expoof

Germany

in

Werkstatten.
166

Angewandte Kunst,

fiir

comprehensive exhibition

Bohemia, following the

example of Tiffany.

Kunstgewerbe172

schule, Karlsruhe. Specialized in ceramics. Simplified tradi-

174

Vase.

(c.

1900.) Silver iridescent glass, with onion-shaped

base and green onion leaf decoration. 8V2

"

1~8

high. Landes-

gewerbemuseum, Stuttgart
1"3

Vase.

1900.)

(c.

Dark purple

seum

fiir

1^9

iridescent glass with light

blue abstract decoration. 8i/t" high. Osterreichisches

*1^4

Mu-

(c.

*180

Sculptured shape; gold iridescent

1902.)

*181

14V8" high. Osterreichisches Museum fiir Angewandte Kunst, Vienna. Gift of Max Ritter von Spaun.
///. p. 120

glass.

n5

leaf rosette in center,

c.

41/2" high. Osterreichisches

182

Mu-

176

The

Ritter

designer

each. Collection

Two

plaques, metal repousse. 20y2 x 6^/2

Thomas Howarth,

184

p.

p.

Wood, carved and

painted white; linen up-

5' high. The University

Glasgow Art Collections
Fish knife and fork. (c. 1900.) Silver-plated nickel. 9"
long. The Museum of Modern Art, New York. Gift of The
University of Glasgow
Wall mirror, (c. 1903.) Surface overlayed with leaded
stained glass design. 31V4 x 9%". The University of Glas-

Art Collections
list

of architecture photographic enlargements on

Educated

and watercolor-

at the

glass.

185

Motherhood. 1902. Painted gesso

Glasgow School of Art

186

Menu

for

relief.

42 x 42".

Miss Cranston's White Cockade Tea

The

Room

The

International Exhibition, Glasgow, 1901. 9V8 x

(opened). University of Glasgow Art Collections

at

12%"

Mackmurdo, Arthur Heygate (1851-1942)

English architect, graphic artist, craftsman and economist.
About 18^0 induced by Ruskin to train as architect. In 1882
(or a little earlier), together with Herert Home, Selwyn

Image and Bernard Creswick, founded the Century Guild,

a

loose cooperative

style of

association of

artist-craftsmen.

The

the products of the Century Guild formed the

and Mackintosh's art. 1883

produced book Wren's City Churches with woodcut title
page. From 1884 edited the magazine of the Century Guild
The Hobby Horse which in its printing style is the forerunner of the Kelmscott and the Doves Press work. Around
1900 gave up architecture and retired to Essex devoting
himself to research in economics in which field he pubesthetic foundation of Voysey's

first-

Tea Rooms,

Glasgow. 1897. Watercolor on tracing paper. 14 x 29V'\"

The University of Glasgow, Department of Fine Arts.
///.

///.

Married C. R. Mackintosh 1900, and afterwards collaborated in all his work and considerably influenced his decoration. Her later work includes gesso panels and stained

Keepie of which he became a partner in 1904. Developed an individual style in architecture, interior design
and furniture during the nineties and became the leader of
the internationally-known group called The Four: Herbert
McNair, Margaret and Frances Macdonald, and himself.
Together they explored the decorative arts, evolving in the
Glasgow style, a very important element of Art Nouveau.
His short architectural career included Windy Hill (18991901) and Hill House (1902-03) and culminated in the
building of the Glasgow School of Art (189^-1909), a
number of tearooms for Miss Cranston (1897-1910) and
the Scottish Pavilion at the Turin Exhibition 1902. Later he
dedicated himself mainly to furniture design and decoration. Gave up architecture and moved to Port Vendres,
France, and painted watercolors.
Street

Collections.

Glasgow School of Art. Designed and

executed decorative metalwork with her sister Frances.

man &

Buchanan

Chair. 1900.

ist.

1885 evening classes at the Glasgow School of Art. 1889

of Miss Cranston's

Glasgow Art

Scottish decorative designer, metalworker

and watercolorist. 1884 apprento the architect John Hutchison and attended, from

room

of

Mackintosh, Margaret Macdonald (1865-1933)

".

Toronto. (N.Y.

Preliminary design for the mural decoration in the

The University

page 185.

joined as draftsman the architectural firm of John Honey-

floor

high.

See also

Scottish architect, designer

*177

5y4 x 7%".

The Scottish Musical Rerieu: 1896. Poster. 7'8" x 3'2".

The Museum of Modern Art, New York. ///. p. 19
Cabinet, (c. 1903.) Wood, painted white, decorated with

gow

Mackintosh, Charles Rennie (1868-1928)

ticed

Watercolor.

Thomas Howarth, Toronto

of

of Margaret Macdonald. Educated at the

Iliad. 1899.

1894.

Mu-

holstery with stenciled decoration.

and metalworker. Younger

Glasgow
School of Art. Worked both alone and with her sister.
Married the architect J. Herbert McNair in 1899 and afterwards collaborated with him in the design of furniture and
stained glass. Taught enameling, gold, silver, and metalwork at Glasgow School of Art from 1907.
decorative

Conversazione program.

5'

183
Scottish

New

91

Macdonald, Franxes (1874-1921)

sister

Art,

carvings and inlayed figures of enamel and leaded glass.

Bowl. (1899.) Green iridescent glass with scalloped edge;

seum fiir Angewandte Kunst, Vienna. Gift of Max

von Spaun

9% x 2". The Metropolitan

York. Whittelsey Fund, 1956

Year's Card. Pencil.

Collection

Angewandte Kunst, Vienna

Bottle-vase.

New

seum of

68-69

lished several books.

175

*18"

Mikne, George (1866-1941)

page for Wren's City Churches by A. H. Mackmurdo,

Book size, 12 x 9". Victoria and Albert
Museum, London. ///. p. 2^
Title

A.R.I.B.A. 1883.

*I88

Two-sectioned screen. 1884. Embroidered silk panels with

satinwood frame. 4~ x 42^4 Made by The Century Guild.
William Morris Gallery, Walthamstow. ///. p. 88

*189

Cromer

Bird.

(c.

1884.) Printed cotton. 36 x 32".

Belgian sculptor and draftsman. Studied at the academies

of Ghent and Brussels. Member of the Les
in Brussels.
Close contact with Symbolist poets and friend of Materlinck whose work he illustrated. Major sculptural work

XX

in

by The Century Guild. William Morris Gallery. Walthamstow.

///.

p.

*194

89

German

she settled and married the painter Otto Modersohn, friend

of Rainer Maria Rilke. Four study trips to Paris between

1900 and

*191

sionist style of her

York.

195
8" high. Collection

Hon. and Mrs. John Hay Whitney, London.

///.

p.

The

60

own

which specialized in making period

designs were in the rococo man-

more

handling of iron

plastic.

This

is

196

cline,

192

Nancy

School, but with

its

III/2

".

Col-

84

(1868-1918)

of

14

vignettes

reichisches

Galerie

La Fayette in Paris. The essential characteristic of his work

is the dynamic line. His work was represented at S. Bing's
Paris shop L'Art Nouveau, which opened in 1895, and the
Turin Exposition of 1902. He is considered the leading
furniture producer of the

U% x
p.

bookbinding, glassware and jewelry. In 1903, with Hoffmann and Warndorfer established the Wiener Werkstatte.

true also of

in the stair rail for the

///.

illustration, textile design, posters, frescoes, stained glass,

he adopted the Art Nouveau style in 189"-98

under the influence of Galle. Majorelle made use of Galle's
plant shapes but instead of a flat surface treatment of floral
ner, before

his free

York.

artist. Founding
Vienna Secession, 189''. Began teaching at
Wiener Kunstgewerbeschule in 1899 and became an influential force in Austrian applied-art movement, working in

member

first

elements, his design was

New

Austrian painter, designer, and graphic

French furniture designer. After attending the Academie

des Beaux-Arts in Paris, he returned to Nancy to take over
furniture. His

Stephen Radich,

KOLOMAN

MOSER,

own, cut short by her early death.

1900.) Oil on cardboard.

Still Life. (c.

lection

Majorelle, Louis (1859-1926)

his father's business,

including a trip to Brittany; experienced

ered Cezanne in 1901. Developed a strong proto-Expres-

31V2".

-^

New

61

Washeruoman. (1893.) Bronze.

190"',

the impact of French painting: Serusier, Gauguin; discov-

The \Y'asheriiomen. (1893.) Oil on canvas. 25V4

Collection Mr. and Mrs. Samuel Josefowitz,

Bremen and Berlin, then

Worpswede near Bremen where

painter. Early studies in

at the artists's colony of

portant sculptors of the early twentieth century.

p.

Kneeling Boy at the Fountain. (1898.) Bronze. 30^^" high.

des Beaux-Arts, Ghent, Belgium. ///. p. 12

Modersohn-Becker, Paula (1876-1907)

French sculptor. Started out as painter and tapestry designer. 1882-1886 pupil at the Ecole des Beaux Arts in
Paris. Strongly influenced by Gauguin and the Pont-Aven
group and also member of the Nabi group. 1893-95 workshop for tapestries in Banyuls-sur-Mer. From 1898 on
devoted himself to sculpture, becoming one of the most im-

///.

now

Musee

Maillol, Aristide (1861-1944)

*190

Folkwang Museum fountain formerly in Hagen,

Essen 1898. Returned later to classical style.

the

Made

197

7 initials for

Ink.

for

Ver Sacrum. (1898-1903.) Ink. Osterfiir Angewandte Kunst, Vienna

Museum

Ver Sacrum; one head

Osterreichisches

Museum

in profile.

(1898-1903.)

Angewandte Kunst,

fiir

Vienna
198

de-

Marbleized end paper,

reichisches

he returned to classicism.
199

Table lamp in the shape of a cluster of water lilies, (c.

1902. Gilded brass base; sculptured glass shades by Daum
Freres. 31%" high. Made by Majorelle Freres & Cie.,
Nancy. Collection Theodoros Stamos, New York

Woman.
Museum

Museum

(1901.)
fiir

fiir

(c.

1900.)

13^/8

9V4". Oster-

Angewandte Kunst, Vienna

Embossing,

5%

x 5". Osterreichisches

Angewandte Kunst, Vienna

200
201

Martin, Camille (1861-1898)

Desk
and
la

folder. 1893. Leather repousse design of

thistles; inscribed: "Feuilles

melancolie quand

Musee de

I'Ecole de

le

bonheur

d'Automne

"

37%

Klingspor Museum, Offen-

Kiinstler

Osterreichs

X 12%". Osterreichisches

Secession.

Museum

fiir

1901.

Poster

Angewandte

Kunst, Vienna

maple leaves
and "II reste

s'en est alle."

sheet. 1896-1900.

Ver Sacrum. V. Jahr. XIII Ausstellung. D. Vereinigung

Bildender

French painter and decorative artist. Pupil of Devilly and

Lechevallier-Chevignard. Active in Nancy.
193

Type specimen
bach

202

20 x 13".

Fabrik von Wiener Aloeheln, A. G. Jacob, Josef Kohn (text

in Russian). Poster. 37% x 2A%" Osterreichisches Mu.

Nancy

seum

176

fiir

Angewandte Kunst, Vienna

*203

Liqueur glass,

(c.

Museum

Kunst, Vienna. Gift of R. Steindl.

204

Textile. 1899. Silk

room

Neree tot Babberich, Karel de (1880-1909)

1900.) Clear glass bowl, red stem and

base. 6y4" high. Osterreichisches

///.

p.

fiir

Angewandte

Dutch

draftsman. Self-taught, influenced by Toorop,

Beardsley and the Japanese, excellent draftsman of nudes.

120

and wool double weave; abstract mushMade by Backhausen & Sohne,

211

pattern. 48 x 48".

Vienna. Osterreichisches

Museum

fiir

NiEUWENHUIS, Th. (1866-1951)

Museum

Vienna. Gift of the manufacturer.

206

Dutch graphic

artist, designer and ceramist. Pupil of the

H.
Cuypers, he was active in the Dutch Art
J.
Nouveau movement with Lion Cachet and G. W. Dijsselhof. Among the influences on Dutch artists in the 1890s
were Japanese art, the English Arts and Crafts Movement
and the batik technique from the East Indies. Nieuwenhuis'
work reflects these trends in emphasizing the linear with
designs of coiled snakes, peacock feathers and other elements taken from nature. He designed pottery for the De
Distel earthenware factory which operated in Amsterdam
from 1895-1923.

and wool double weave; abstract flower

37%". Made by Backhausen & Sohne,

Textile. 1899. Silk

pattern. 48V2 ^'

Vienna. Osterreichisches

fiir
///.

architect P.

Angewandte Kunst,
p.

17

and wool double weave; leaf and

peacock feather pattern. 50 x 48%". Made by Backhausen
& Sohne, Vienna. Osterreichisches Museum fiir Angewandte Kunst, Vienna. Gift of R. Steindl
Textile, (c. 1899.)

Silk

MucHA, Alfons Maria (1860-1939)

Czech painter, graphic and decorative artist. Studied in
Munich, Vienna and in Paris at the Academic Julian 18901894. Became famous through his posters for Sarah Bernhardt (the first in 1894), and for others. Also active as
book designer and illustrator. Contributed to La Plume

among

207

212

De

Distel factory,

Made

Amsterdam. Gemeentemuseum, The

Hague

other magazines. Also did wall paintings for the

Hermann

(1863-1927)

and designer.

geology and

Swiss sculptor

1900, and later for theaters and public buildings in Berlin

chemistry, but after attending the Karlsruhe Kunstgewer-

and Prague.

beschule, he devoted himself to applied art, although he

XXme

worked independently

(1863-1944)

but highly inventive shapes.

From 1885 extensive travels to

Germany and Italy. Saw work of Toulouse-Lautrec,
Gauguin and van Gogh in Paris. Exhibited in S. Bing's
L'Art Nouveau in 1896 and also made decorations for the
Theatre de I'Oeuvre. First woodcuts in 1896. Shown in
exhibition in Oslo.

The

German

work had

*213

the greatest single influ-

Expressionist painting.

Woman.

///.

p.

in

wandte Kunst

(1895.)

in

80

New

embroideries

Munich.

p.

silk

113

Ornamental plant composition.

Wichmann,

Pencil, I6I/8 x 10". Collec-

Starnberg,

Germany

131/2".

Olbrich, Joseph Maria (1867-1908)

York

Madonna. (1895.) Color lithograph. 23% x

of Modern Art, New York. Purchase.

series of his

1895. Embroion grey wool, 46% x 721/4".

Initialed "HO." (The original title is Cyclamen. The name
Whiplash derives from an article by Fuchs in Pan. 1896.
Miinchner Stadtmuseum. (Exhibited in New York only).
///.

214

Drypoint and aquatint. Iiy4 x

Wall hanging. Peitschenhieb (Whtplash).

tion Dr. Siegfried

Private Collection.

Museum

was published

dered in gold colored

Cry. 1893. Oil on cardboard. 33 x 261/2"- Nasjonal-

galleriet, Oslo.

Exhibition

Pan. 1902, with Wilhelm von Debschitz,

founded the Lehr-und Versuchateliers fiir freie und Ange-

Paris,

ence on

at Paris

of 1900. His motifs are derived from nature with stylized

and formal power. One of the chief pioneers of the

modern print movement. 1881-188-4 studied in Oslo. 1889

Berlin since 1892, his

studied

embroideries in "Salle Riemerschmid"

sight

first

First

in sculpture for a time in Paris. 1892

with Berta Ruchet founded an embroidery workshop in
Florence, which he moved to Munich in 1894. 1897 founding member and regular collaborator in the Munich Vereinigte Werkstatten fiir Kunst im Handwerk. Represented by

Exposition dii Salon des Cent. 1896. Poster. 241/2

X 16%". The Museum of Modern Art, New York. Gift of

Norwegian painter and printmaker. Closely related to Art

Nouveau, he used the style with great psychological in-

*210

design in relief on white background. 12 1/4" high.

by

South-Slavic pavilion at the Universal Exposition in Paris,

Munch, Edvard

209

Bottle-vase. 1916-17. Glazed pottery with plant a:nd butterfly

Obrist,

Ludwig Charell

*208

1901-1909. Watercolor and ink. 141/4 x SS/s"-

Angewandte Kunst,

Vienna. Gift of R. Steindl

*205

Two Women.

Gemeentemuseum, The Hague

171/2".
///.

p.

Austrian architect, draftsman and designer. Studied with

The

Otto

81

177

Wagner

at

Vienna Academy. Began career

as illus-

trator, contributing to

\ei Sacrum.

With

Josef Hoffmann,

Paul,

leader of Vienna Secession which he helped found in 1897.

Type specimen
Offenbach

sheet.

(1896-1900.)

(18^4-

Made

Cover for Jugend. Vol.

liy4 X 9V8".

Picasso,

Pablo (1881-

of

Darmstadt

Museum

1900.

*217

Two-armed

Artists' colony,
fiir

candlestick,

HVs"

and

manufacturer's

1819.

Museum

'

fiir

(c.

Universal Exposition, Paris,

Paris. Early

On

size

lives in France.

work strongly

"Modernismo"

related to the

Nouveau

in

style in

Paris.

bottom: Artist's mark

^222

"Edehinn E. Hueck.
Kunst und Gewerbe, Hamburg. ///. p.

The End

of

the Road.

Watercolor.

1898.)

(c.

173/,

llVz"- Mr. and Mrs. Justin K. Thannhauser Collection,

lent through Thannhauser Foundation. ///. p. 65

identification

118

'223

Courtesan uith Jeweled Collar. (1901.) Oil on canvas.

X 211/2". Los Angeles County Museum. Mr. and Mrs.
George Gard de Sylva Collection. ///. p. 65

25%

Orley
218

August 1896. Book

Barcelona and the Symbolist and Art

1900.) Pewter, with abstract

high.

35,

Public Library

to

first visit

Kunsthandwerk, Frankfurt/Main

incised decoration.

No.

1,

New York

Early studies in Barcelona;

France in 1900. Traveled back and forth between Barcelona and Paris up to 1904 when he settled in

by*

room

Julius Gliickert, Darmstadt. Designed for reception

1886-94 studied

artist.

in Berlin. Lives in Berlin.

221

Klingspor Museum,

Sculpture stand. (1900.) Mahogany. 56" high.

decorative

Kunstgewerbeschule in Dresden and, from 1894 on,

at the Academy in Munich. Contributed to ]ugend. 1897
co-founder of the Vereinigte Werkstiitten fiir Kunst in
Handwerk. 190"' head of the Unterrichtsanstalt of the
Kunstgewerbemuseum in Berlin, and 1924-32 director of
the Vereinigte Staatsschule fiir freie und angewandte Kunst
at the

Spanish painter,

216

German printmaker and

Designed Secession building 1898-99. Summoned by the

Grand-Duke of Hesse to the artists' colony at Mathildenhohe, Darmstadt in 1899 for which he designed almost all
the buildings. Designed an entire room for the 1900 Paris
Exhibition and was represented in the Turin Exhibition of
1902. Designed the fountain court of the German pavilion
at the St. Louis Worlds Fair of 1904. His death at the age
of 41 ended a promising career at a vital point in development.
215

Bruno

Textile. (1902.)

36V2".

seum

Made

Woven

silk;

by Backhausen

&

abstract swirl pattern. 49 x

Sohne. Osterreichisches

Angewandte Kunst, Vienna. Gift

fiir

of the

Prendergast, Maurice (1859-1924)

Mu-

American

manu-

facturer

Pankok, Bernhard

German

and graphic

artist.

Active in

Munich

and

York

to

practice

wood

carv-

by Italian masters, particularly

exhibition. 1913 exhibited in the

his reputation

The Red Cape.

tion

(c.

Prouve, Emile Victor (1858-

first

New

Armory Show from

began to grow.

1900.) Monotype.

Mr. and Mrs. Harold

Uris,
?

14%

x 10". Collec-

New York

French sculptor, medalist, graphic and decorative artist.

Pupil and later close friend and collaborator of Galle. At
the age of nineteen decorated a Galle vase with inscription

from de Musset. Asked

work
225

high.

End papers

for Weltausstellung in Paris 1900. Amtlicher

226

1899.

Katalog der Auistellung des Deutchen Reichs. Book

9V2 ^ ^Vi" Klingspor Museum, Offenbach

1889,

in

gilding.

which time
224

Mahogany, with woven tapestry seat,

Landesgewerbemuseum, Stuttgart. ///. p. 112

29%"

Winchester, Mass.,

frequent trips to Italy,

Stuttgart.

220

Academic Julian

Carpaccio, and the decorative arts of Italy. 1905

forms to furniture and ornaments. Rooms he

designed were shown at the VII International Art Exhibition at the Glaspalast in Munich. A founder of the Miinchner Vereinigte Werstatte fiir Kunst in Handwerk. 1899
furnished a room at the Munich Secession exhibition. Designed and decorated the catalogue for the German section
of the Paris Universal E.xposition of 1900, for which he
also furnished a room. After 1902 active in Stuttgart. 1904
represented at St. Louis World's Fair with a music room.
1913-37 Director of the Staatliche Kunstgewerbeschule in

organic

Armchair.

in

ing

1892-1902. Contributed to jugend. His style transposed

*219

Paris,

Maurice returning to Europe in 1897,

was strongly influenced by Cezanne and Seurat and, on

(18''2-1943)

designer

painter. 1884-89 studied at the

together with his brother Charles. Both settled

in

in

1889 by Galle to design inlay

for a table with quotations

from Tacitus.

Ring. 1910. Gold with baroque pearl, small diamonds and

emeralds. Signed and dated.

Triangular box.

(c.

1900.)

Musee de lEcole de Nancy

Leather repousse design of

enamel inlaid in
IOV2 X 12". Signed. Musee de I'Ecole de Nancy

leaves;

size,

178

butterfly

in

colored

leather,

c.

Ranson, Paul (1864-1909)

whom he also illustrated several

books with woodcuts in the early nineties, among them
Oscar Wilde's A House of Pomegranates (1891) and
Daphnis and Chloe (1893). 1896 founded the Vale
Press, illustrating most of its publications in the following
years. In his graphic work he was close to William Morris
and the Pre-Raphaelites. As a painter he was a follower of
Delacroix, as a sculptor of Rodin. He also made jewelry
and small bronzes and was one of the reformers of English
stage and costume design. 1922 member of the Royal
Charles Shannon, with

French painter and decorative

artist.

Enrolled as a student

at the Academic Julian in 1880. 1889 co-founder of the

Nabt group. 1892 worked together with Bonnard, Vuillard

and Serusier on the decorations for the Theatre d'Art. ConRevue Blanche: designed tapestries. Close
friend of Georges Lacombe. Academie Ranson founded by
his wife in 1908 with the help of the Nahia who all taught
there in the following years (Bonnard, Denis, Maillol,
tributed to the

Serusier, Vallotton, etc.).

*227

Collection

228

Mme

Their Hair. 1892. Distemper. 63 x ^iVs".

Sylvie Mora-Lacombe, Paris. ///. p. 58

Girl Sewing (La

211/4 X 171/2

New
229

"

Mansarde)

233

Samuel Josefowitz,
234

York

Tiger in the jungle. 1893. Color lithograph,

Cover

for

lAYg,

x 11".

New York

L'E.xpos/lion

tie

1900

1862-69 studied art in

236

*236

Alon ironie depasse tontes

les

autresl

*237

(1896-1900.)

sheet.

Klingspor

Museum,

Oak, with brown leather upholstery.

Designed for Riemerschmid's music room,
Dresden Exhibition of Decorative Arts, 1899. The Museum
of Modern Art, New York. Gift of Liberty & Co., Ltd.,
London. ///. p. 114
Side Chair.

1899.

high.

Table flatware. (1900.) Silver (oyster fork, dessert spoon,

dessert fork, dessert knife, cheese knife). Landesgewerbe-

museum,

Stuttgart.

///.

p.

115

Roche, Pierre (1855-1922)

French sculptor, medallist and ceramist. Pupil of Roll,
Dalou and Rodin. Participated in the Salon des Artistes
Framais; received a silver medal at the Exposition Univer-

(after

selle in 1900.

1905.) Oil on canvas. 21V2 x 181/2". Collection Mrs. Louise

R. Smith, New York. ///. p. 4G

*238

Loie Fuller,

(c.

1900.)

Arts Decoratifs, Paris.

RrcKETTs, Charles (1866-1931)

English painter, sculptor, printmaker and decorative

Type specimen
Offenbach

30%"

Aior/:

8%

Designs for furniture and silver flatware are typical of his

and functional style. 1902-05 taught at
the Nuremberg Art School. 1912-24 Director of the School
of Applied Arts in Munich. 1926 Director of the Cologne
Werkschule.

Le Buddha. (1895.) Lithograph. 12y8 x 9^^" The Museum of Modern Art, New York. Gift of Mrs. John D.

La

size,

distinctively simple

Rockefeller, Jr.

*232

for Sphinx by Oscar Wilde. 1894. Book

X 7". Morgan Library, New York

architect and designer. Studied painting at Munich

Academy. 1897 founding member of the Munich Vereinigte
Werkstatten fiir Kunst in Handwerk, with Pankok, Obrist
and Bruno Paul, and collaborated with these artists in designing the Salle Riemerschmid at the Paris Exposition of
1900. 1901 interior design for the Munich Schauspielhaus.

Bordeaux and in Paris at the Ecole des Beaux Arts. Friendship with Rodolphe Bresdin whom he later acknowledged
as his teacher; met Corot, Delacroix and Fromentin. 18711878 painted in the forest of Fontainebleau and in Brittainy. 1879 published his first volume of lithographs Dans
le Re re. 1886 participated in the Salon Jes XX, Brussels.
1888 friendship with Mallarme, interested in the Belgian
and French Symbolist movement. 1890 lithographs for
Baudelaire's Les Fleur.f du Mai. 1891 L'Oeuvre lithographiqtie d'Odilon Redon published in Brussels by Jules
Destrees. 1904 retrospective exhibition of Redon's work at
the Salon d'Automne. The visionary "dream world" of
Odilon Redon and its symbolist and anti-realistic implications were of prime importance in the formation of Art
Nouveau, although Redon himself in his highly personal
and intimate style stayed aloof from the movement proper.
231

Bmdmg

German

Collection

51/2".

Redon, Odilon (1840-1916)

artist.

Marlowe

RiKMERSCHMID, RiCHARD (1868-1957)

I'lmpressionisme by

et

Andre Mellerio. (published 1900).

John Rewald, New York

French painter and graphic

and Shannon: Hero and Leander by Chris1894. Book size, 8 x 51/2". Collection Mr.
and Mrs. Leonard Baskin, Northampton, Massachusetts
Ricketts, Charles

topher

1893. Distemper on canvas.

Collection Mr. and Mrs.

Peter Deitsch Gallery,

230

Academy.

Women Combing

///.

Bronze. 215/8" high.

p.

Musee des

64

Rodin, Auguste (1840-1917)

artist.

Born in Geneva, he grew up in France. 1889-97 editor of

the magazine The Dial, together with his pupil and friend

French sculptor. 1855-64 studied

ratif.

179

1864-71

active

in

the

at the

porcelain

Ecole d'Art Deco-

manufactory of

Sevres.

IS'^l-V?

Belgium;

in

with

friendship

Meunier.

This type of Rozenburg porcelain was primarily designed

by J. Juriaen Kok and decorated by J. Schelling and R.

Rome and 18^^ through France

for the study of cathedrals. Moved to Bellevue near Sevres
in 1890. Settled in Meudon in 1894. Initiator of the revival
18"5 trips to Florence and

of

modern

The Sirens. (1889.) Bronze, l"" high. Cleveland

of Art. ///. p. 72

and

painter, graphic artist

essayist.

244

page

for

Book

size, ^

x 8^ 4".

German

Dante Gabriel

(1900.)

JOHANN

Wood

Hugo

engraving.

Perls,

New

15%

York

(1854-1938)

Operated a prosperous workshop in

experiments in underglaze painting. Strongly

ceramist.

Munich.

First

influenced by Far Eastern ceramics.

245

Vase.

1900.) Earthenware, with four wing-like projec-

(c.

ornament under brown and black glaze.

Det Dansk Kunstindustrimuseet, Copenhagen

tions. Incised plant

6V'8" high.

SCHMiTHALS, Hans

Museum

German

Boymans van Beuningen, Rotterdam

RossETTi,

Member

Collection Mr. and Mrs.

SCHARVOGEL, JULIUS

van Gogh exhibition catalogue, Amsterdam,

1892. Lithograph, GV^ x "'Vs"-

LiiJy before a Mirror.

6%".

Studied at the

of Fine Arts in Amsterdam. Influenced by van

Gogh, the Pre-Raphaelites and Beardsley, he developed a
predominantly decorative style in his graphic art. Contributed woodcuts to Van Nu en Straks in 1893. After 1894
fell under the influence of Charles Ricketts and Charles
Shannon's illustrations. From 1896 on turned more and
more to nature and became the propagandist of the Socialist movement.
Title

Studied at the acade-

artist.

of Les XX. From

1898 on spent much time in Paris. Introduced Neo-impressionism into Belgium, but was also closely related to the
Belgian Art Nouveau.

Museum

Academy

240

(1862-1926)

Belgian painter and graphic

mies of Ghent and Brussels.

Roland Holst, Richard Nicholals (1868-1938)

Dutch

Theo van

Rysselberghe,

more closely to
Art Nouveau, neveron the New Style.

sculpture. His sculpture related

Impressionism and Symbolism than to

theless exerted an important influence

*239

Sterken.

(IS'^S-

architect, painter

and decorative

the Obrist-Debschitz school in Munich,

and then

(1828-1882)

artist.
first

as teacher. Trips to Paris in 1909

1902 joined

as a student

and 1911. De-

signed interior decorations. Lives near Munich.

English painter and poet.

1846-48 studied

Academy schools where he took

Madox Brown and, later, shared

in

instruction
a

the Royal
from Ford

studio with

246

Binding for Atalnnta

G%".

New York

in Cctlydon.

1865.

Book

size,

Public Library, Berg Collection.

8%

///.

p.

243

the glassworks in

247

fiir

high.

Osterreichisches
///.

p.

Museum

to the

1907 became director of

Darmstadt founded by the Grand Duke

(c.

1908.) Iridescent gold glass, with bluish spatter

12%"

Angewandte Kunst, Vienna

Schnellenbuhel, Gertraud von (1878-

26

German

painter

and designer.

First

studied painting in

Munich. Turned to applied art in 1902 and attended classes

in metalware at the Debschitz school. 1911 joined the workshop of the silversmith Adalbert Kinzinger. Represented at
the Deutsche Werkbund exhibition in Cologne in 1914.

*248

Candelabrum
brass,

(c. 1900.) Semi-porcelain,

decorated with green and yellow flower design on white

15%"

glassware.

high. Made by the Grossherzoglich Hessische

Edelglasmanufaktur, Darmstadt. Osterreichisches Museum

Landesgewerbemuseum, Stuttgart

Angewandte Kunst, Vienna.

Vase.

design,

Bottle-vase with two handles,

background.

fine

of Hesse.

Bottle-vase with four handles, (c. 1900.) Semi-porcelain,

decorated with birds and flowers on white background.
high.

Munich Academy. After 1898 devoted himself

at

manufacture of

Porcelain and earthenware factory, founded 1883.

15%"

The

New

Sculptor and designer-craftsman. Born in Romania. Studied

RozENBURG, Haagsche Plateelbakkery. The Hague

*242

Glacier. (1903-04.) Oil on paper. 45V4 x 291/2"of Modern Art,

York. Purchase

Schneckendorf, Josef Emil (1865-

Hunt. Rossetti and Hunt, together with John Everett Millais, formed a secret association which developed into the
Pre-Raphaelite Brotherhood of artists combining poetic and
religious fervor with truthfulness to reality in their paintings. Rossetti was instrumental in re-awakening interest in
William Blake and was a close friend of John Ruskin. He
became the outstanding painter of this group which was
to influence profoundly the younger generation, among
them Edward Burne-Jones, and through him, the formation
of Art Nouveau.

*24l

The

Museum

Holman

New
Seguin,

fiir

c.

for 24 candles. (After 1911.) Silver-plated

19" high. Miinchner Stadtmuseum. (Exhibited in

York only).

Armand

///.

p.

119

(1869-1904)

French painter and printmaker. Friend and pupil of Gau-

108

180

Pont-Aven group. 1895 exhibition of

work at the Bare de Boutteville in Paris for which
Gauguin wrote an introduction.

*249

guin, belonged to the

Stamp, Percy

his

*252

The Pleasures of Life, 4 panels. ( 1890-91.) Oil on canvas.

60 X 221/2" each. Hirschl and Adler Galleries, Inc., New
York. ///. p. 39

Hatpin. (1908.) Silver. Made by Charles Hornep, Ltd.,

Halifax, England. Private collection. New York. ///. p. 103

Steichen. Edward (1879-

249a Farm in Brittany. 1894. Etching and aquatint. 9 x 9yi6".

The Museum
Serusier,

of

Modern

Art,

New

York

Paul (1863-1927)

Stieglitz

in

establishing

the

Gallery of Photo-Secession,

French painter. After early philosophy studies joined the

Academic Julian in 1886. Met Bernard and Gauguin in
Pont-Aven in 1888. Co-founder of the Nabi group and its
most outspoken theoretitian. Wrote A. B.C. de la Peinti/re.
Between 1895 and 1907 frequent trips to Italy and Ger-

which showed works of Rodin, Matisse,

Brancusi, Cezanne, John Marin and Gordon Craig. During
World War I commanded Photograph Division, Air Service, U.S. Army, A.E.F. 1923-38 chief photographer for
Conde Nast publications. One-man retrospective exhibition

many. Strongly influenced by the ecclesiastical art school of

Kloster Beuren. 1903 settled in Brittany where he retired
in 1914, after teaching at the Academie Ranson.

at Baltimore Museum of Art, 1938. 1941 commissioned to

do photo-murals for new Radio City Center Theater. 1941
commissioned as Lieutenant Commander, U-S.N.R., organized and directed Naval aviation photographic unit; attained rank of Captain. 1947 to the present. Director of
Department of Department of Photography at Museum of
Modern Art. Organized Family of Man exhibition which
opened in 1955 at Museum of Modern Art. Lives in Ridge-

Le Bois Sacre. (c. 1895.) Oil on canvas.

lection Mile H. Boutaric, Paris

250

Sloan,

John

later called "291,"

361/4 x 28I/4". Col-

(1871-1951)

American

painter, illustrator and printmaker. 1891 attended night drawing class at the Spring Garden Institute
in Philadelphia and in 1892 entered the Pennsylvania
Academy of Fine Arts where he worked under Thomas P.

Anschutz, (a pupil of

Thomas

Eakins).

Worked

field,

and the Philadelphia

Press.

Under

the

print, 8 x 31/4".

brilliant

ern Art,

New

The Museum

of

Rodin

Le Penseur. Photograph. 11 x 14". Copy of photogravure in Camera Work. No. 11, July, 1905. Original
print (1902), I6I/4 x 20y8", owned by Mr. and Mrs. Hans
Hammarskiold. Stockhold, Sweden

Swiss-French designer and graphic artist. Studied art in

Lausanne, then active as textile designer in Mulhause
(Alsace). 1882 moved to Paris, where he became an illustrator, with biting social criticism, for many magazines and
newspapers (partly under the pseudonyme Petit Pierre and

Jean Caillou). 1901 naturalized French

255

1895. Poster. 18y4 x 8".

Photograph. Original pigment

of Modern Art, New York.

Steinlen, Theophile Alexandre (1859-1923)

Winter,

(c.

1896.)

Museum

of

Modern

citizen.

Color lithograph. 191/4 x 231/4". The

Art, New York. Ludwig Charell Be-

quest

Thorn

Prikker, Johan (1868-1932)

Dutch painter and decorative artist. Studied at the academy

of The Hague. Influenced by Maurice Denis and Gauguin.

in 1931.

The Echo.

(1902.)

The Museum

Gift of the photographer.

254

guidance of Robert Henri, who had spent several years in

Paris, Sloan became familiar with the contemporary art of
Europe. In his early posters and prints he was strongly
influenced by Walter Crane, William Morris and Japanese
art. From 1900 on he exhibited paintings regularly in the
major American annual art exhibitions. 1902 he started on
a series of etched illustrations and drawings for a de luxe
edition of the novels of Paul de Kock. In 1904 he moved to
New York and, although his chief source of income was
illustrating for magazines such as Collier's and The Century, he dedicated himself more and more to painting and
etching. In 1908 he formed the group known as The Eight.
whose members Sloan, Glackens, Luks, Shinn, Lawson,
Henri, Davies and Prendergast were pioneers in the movement for freedom in art. He was prominent in organizing
the Society of Independent Artists in 1917 and was its
president in 1918. From 1916-24 he taught at the Art
Students' League in New York and became its president

Connecticut.

Figure ivith his.

253

for twelve

years on newspapers as illustrator for the Philadelphia Inquirer

251

American photographer, born Luxembourg. First exhibited

photographs at Philadelphia Photographic Salon, 1899.
First one-man show of paintings and photographs at the
Maison des Artistes, Paris. 1905 collaborated with Alfred

Impressed by meeting Paul Verlaine in 1892, he turned to

Symbolism. Exhibited with Les
in 1893 and contributed
ornamental designs to Van Nu en Straks. Friendship with

XX

Mod-

York

181

Verhaeren and van de Velde through whose influence he

applied himself to industrial art. From 1904 on in Germany: taught in Krefeld, from 1910 at the Folkwangschule
in Hagen and Essen and later in Munich, Diisseldorf and
Cologne. Influential in the development of frescoes, mosaics
and stained glass windows for Catholic churches.

*256

The

BriJe. (1892-93.) Oil on canvas. 571/2 x

museum

KroUer-Miiller, Otterlo.

///.

p.

34%".

Rijks-

New

York,

ton Hall in Oyster Bay, Long Island. Tiffany Studios and

Tiffany & Company continued to produce and sell objects
in various

media, including glass, pottery, enamels, metalware, as well as memorial windows. In 1911 he designed a

mosaic glass curtain for the National Theatre in Mexico

The Louis Comfort Tiffany Foundation at Laurelton
Hall was established in 1918, providing fellowships for
young arstit.s to live and work on the estate. In 1932 the
Tiffany Studios went bankrupt. Tiffany died in 1933. The
collection of Laurelton Hall were sold at auction in 1946.
City.

74

Tiffany, Louis Comfort (1848-1933)

American

glass designer and jeweler.

Born

in

257

the son of Charles Tiflfany, goldsmith and jeweler. Instead

of joining the family business decided to

become

16V8" high.

and

windows and

258

Chicago, later installed in the Cathedral of

*260

new

blown

261

263

bronze.

New

York. Marked
of Modern Art, New York.

p. 106, left

1900.) Favrile glass with irregular textured sur-

Jr.

Fund.

///.

The influence of
was also apparent. S. Bing in
European distribution rights to Tiffany

*265

p. 106, center

'Vase. (c. 1990.) Favrile glass, calla lily decoration

I6y8" high.

Candlestick, (c.
glass. 6" high.

Made

encased
by Tiffany Studios, New

New

York

1900.)

Bronze, lined with opaque green

Made

by Tiffany

New

Studios,

New

York.

York. Phyllis

(c.
1900.) Bronze. Tripod base with root
motif; Favrile glass jewel decoration. 12'/4" high. Made by

Candlestick,

Heil,

Hand

New

York. Marked. Collection Joseph H.

New York
mirror with peacock motif,

sapphires.

101/4"

(c.

1900.) Silver, enamel,

Collection Joseph H.

long.

Heil,

New

York

descent, brilliant or deeply toned colors.

art

Table lamp. (c. 1900. Base and shade forming wisteria

Bronze and Favrile glass. 27" high; shade 18" diameter. Lillian Nassau Antiques, New York. ///. p. 107
)

vine.

Europe, notably

lamps
grand prize at the Turin Exposition in 1902. After
his father's death that same year. Tiffany concentrated on
designing jewelry and building his own residence. Laurel-

won

(c.

Tiffany Studios,

264

in

Vase.

silver-plated

by Tiffany Studios,

Marked. The Museum of Modern Art,

B. Lambert Fund

glass factory in 1892 Tiffany concen-

had exclusive
glass but it was soon widely imitated
by Bohemian glassmakers. One of his

Made

metal stand. Favrile

high.

York. Collection Joseph H. Heil,

262

and bowls. Each piece produced was personally approved by him before it was sold.
He gave the trade-mark "Favrile," meaning handmade to
this glass which was distinctive for its shapes and its iri-

Paris

in

15%"

in clear glass.

glass vases

Near and Far Eastern

Glass flower

1900.)

translucent white and green;

York. Edgar Kaufmann,

John the

in New York. In this, his first architectural work,

the influence of Richardson, Sullivan and the Romanesque
are evident. However, Tiffany's ornamentation incorporating Art Nouveau motifs in glass and mosaics had developed into an original and wholly contemporary style.
Because of the superb quality of his glass he received commissions to execute a series of windows designed by French
artists, including Bonnard, Vuillard and Toulouse-Lautrec
which were shown in the Salon of 1895 in Paris. With the

trated on

(c.

glass,

face. 45/8" high. Made by Tiffany Studios, New York.

Signed and marked. The Museum of Modern Art, New

Divine

building of a

York. Phyllis B. Lambert Fund

'Vase.

and stamped. The Museum

Phyllis B. Lambert Fund. ///.

Exposition in
St.

opaque with abstract raised

IOV2" h'gh- Made by Tiffany Studios, New
York. Signed and marked. The Museum of Modern Art,
'Vase. (c. 1900.) Favrile glass,

New
*259

in 1885, specializing in stained

World Columbian

York.

decoration.

related interiors. 1893 Tiffany designed

built a chapel for the

New

Phyllis B.

and landscapes. Turned to decorative arts. First experimented with glass and learned chemistry, working in the
Heidt glass works in Brooklyn. First ornamental windows
of opalescent glass in 18^6 and by 1880 he had applied for
the patents on the metallic iridescent glass for which he
became noted. 1879 formation of Louis C. TiflFany Company, Associated Artists, which decorated interiors for
many private homes and public buildings, including the
White House in Washington, D. C. in 1882-83. Tiffany
Glass Co. was incorporated

Flower form. Favrile glass, iridescent gold.

by Tiffany Studios, New York. Signed

Made

and marked. The Museum of Modern Art,

Lambert Fund

a painter.

1866 apprenticed to George Innes. Studied in Paris and

active in painting, up to 1878, specializing in genre scenes

glass

'Vase. (c. 1900.)

266

"lily-cluster"

Leaded picture window depicting wisteria vine on

trellis

against blue and purple sky from William Skinner House,

36 East 39 Street,

New

York.

tion R. Stewart Kilborne,

182

New

(c.

1905.) 73 x 67". Collec-

York

TOOROP, Jan (1858-1928)

Dutch painter and graphic artist. Born in Java. Studied in
Amsterdam and Brussels where he joined the group Les

277

XX in

1887. Influenced by Ensor and Redon, he associated

1890 with the Dutch literary group of the "Tachtigers,"
with Maeterlinck and Verhaeren, and for some time with

Velde,

in

the Rosicrucian

movement and turned

to Symbolism, reproduction mainly to drawings. 1905

converted to Catholicsm.

The Three

museum
*268

Brides. (1893.)

51%

Drawing.

KroUer-Miiller, Otterlo.

///.

Museum, Amsterdam.

///.

p.

XX

active with the group Les

in Brussels; under the influence of van Rysselberghe turned to nco-impressionism;

x 381/2". Rijks-

2AW

Through Willy Finch came to know the English Arts and

and Morris movements. After a period of indecision, followed by a nervous breakdown, he gave up painting and turned to the decorative arts. 1893 showed embroidery Angels' Guard at the Les
exhibition; illustra-

Stedelijk

Crafts,

18

269

Binding for Babel by L. Couperus. (1901.) Stedelijk Museum, Amsterdam. Book size, 8% x 6%".

270

Binding for Psyche by L. Couperus. (1898.) Stedelijk

seum, Amsterdam. Book size, 8I/2 x 61/4".

XX

tions for

Mu-

painter

p.

Ludwig and Erik Charell

Collection.

14%

///.

p.

274

Jane Avril. 1895. Lithograph, IOI/2 x

of Modern Art, New York. Purchase

*275

The Ludwig

by Meier-Graefe to design interior for new Paris showroom

La Alaison Aloder/ie. 1900 commissioned by Karl Ernst

Osthaus to design the interior of the Folkwang Museum at

Hagen, completed in 1902. I9OI publication of Die Renaissance in Alodernen Kunstgeuerbe. Invited to Weimar
School of Applied Art, introducing his own methods of art
instruction. 1907 took part in the founding of the Deutsche
Werkbund. 1914 built theater for the Deutsche Werkbund

The Museum

Jane Avril. 1899. Poster. 22 x 14". The Museum of Modern

New York. Mrs. John D. Rockefeller, Jr. Fund. ///.

Art,
p.

37

exhibition in Cologne.

Vallotton, Felix (1865-1935)

Academic

artist.

1882 settled in

ganized

and

first

Germany.
The Waltz. (1893.) Oil on canvas. 24 x

Russia, Italy and

*276

collection, Paris.

///.

p.

of

World War

I,

as

Bauhaus. 1917 allowed to leave Germany

where he came in contact with
Romain Rolland and E. L. Kirchner. 1921 moved to Holland on invitation of the art collector Kroller-Miiller to design the Kroller-Miiller Museum in Otterlo, which opened
officially in 1938. 1926-35 head of the Institut Superieur

Julian. Contact with the

woodcuts. Contributed to the Revue

Blanche. 1908 taught at the Academic Ranson. Trips to

Nabi group. 1890

With outbreak

Belgian dismissed from all positions. His post in Weimar

was taken over by Walter Gropius and the school reora

Swiss-French painter and graphic

Paris. Studied at the

XX

Van

The

and Erik Charell Collection

&W

furniture designs. 1894

Les

and furniture he emphasized functional

and furnished his own house at Uccle,
near Brussels, which served as a model to demonstrate his
theories of design. Visit by J. Meier-Graefe and S. Bing
brought van de Velde to the attention of world outside of
Belgium; in 1896 he was asked by Bing to create four
rooms for his new Paris shop, L'Art Nouveau, that met
with a mixed reception in France. These, with an additional
room were sent to the Applied Art Exhibition in Dresden
in 1897, leading to many commissions in Germany. 1898
took charge of graphic design and advertising for Tropon
works, Mulheim; contributed to Pan. 1899 commissioned

x 101/2"-

Loie Fuller. 1893. Color lithograph, 14 x 91/8"-

d' Art at

unity. 1895 built

64

2^3

first

In his interiors

63

Loie Fuller. 1893. Color lithograph,

en Straks;

which was pubde Velde, as a theorctitian, writer

and lecturer, became the most articulate advocate of the
new ornamental style and an ardent partisan for applied
art. His abstract design was distinctive for its tense energy.

and printmaker. 1878 accident which

him for life. 1881 settled in Paris. Studied at the
studios of Bonnat and Cormon. Formed the "Ecole du
Petit Boulevard" together with Anquetin, Bernard and van
Gogh. 1891 first posters, 1892 first color lithographs. 1893
contributed to the Revue Blanche; visited van de Velde in
Brussels in 1894. 1895 trips to London where he met Wilde
and Beardsley. One of the most important figures in the development of French Art Nouveau.
At the Nouveau Cirque: The Dancer and the Five Stiff
Shirts. (1891.) Oil on paper on canvas, 45% x 33V2"Philadelphia Museum of Art. Exhibited in Neiv York only.
III.

*2^2

Nu

lished as a brochure.

crippled

^2~1

Van

gave lecture Deblaiernent

Toulouse-Lautrec, Henri de (1864-1901)

French

de (1863-1957)

Verlainc, Debussy. 1885 returned to Belgium, and by 1889

p. 7.5

Delftsche Slaolie. (1895.) Poster. 361/4 x

Henry VAN

Belgian painter, architect and designer. Studied painting

in Antwerp and in Paris with Carolus-Duran. In contact
with impressionist painters and the symbolists Mallarme,

stricting his artistic

*267

The Flute. (1896.) Plate II from the series Six Instruments

de Musique. Woodcut. 8% x 7". The Museum of Modern
Art, New York. Gift of Victor S. Riesenfeld

19y4"- Private

63

183

at the

settled in Switzerland

des Arts Decoratifs, Brussels and Professor of Architecture

294

University of Ghent from 1926-1936. 1938 collaborated

on the Belgian pavilion for New York World's Fair. 194^
settled in Oberageri, Switzerland.
at

2^8
*2''9

Abstract composition. 1890. Pastel.

283

284

195/'8".

*286

28"'

x 20". Rijksmu-

Deuss

Maison

Nu

en Strttks. 1893. Book size III/2

Bibliotheque Royale de Belgique, Brussels

Tropon.

1899.)

(c.

Poster.

18^4 x

Museum

12y8"-

295

9%

-^

"^Va"

Duchamp-

heim.

289

p.

1899.) Polished paduk. 341/4" high.

in

296

early

law

this

time

297

and lithographer;

Paris.

of Solitaire. 1903. Color aquatint and etching.

New

York.

Le Gnllon: American Bar. 1899. Poster. 51 x 37". The Muof Modern Art New York. Purchase

seum

English architect and designer. Pupil of J. P. Seddon,

strongly influenced by Mackmurdo. Specialized in building
small country houses which were partly based on the tradi-

96

Inkstand. 1898. Polished brass, 81/4" long. Acquired from

at

Puteaux near

The Game

illustrator, cartoonist

VoYSEY, Charles Francis Annesley (1857-1941)

the Universal Exposition,

and in designing furniture, tapeswallpapers and useful objects. His style is characterized by its clean line and graceful simplicity. One of the
tion of the English house,

Paris,

tries,

Trondheim

1900. Nordenfjeldske Kunstindustrimuseum,

291

Duchamp. After
Cormon in 1895. At

13% X llVs"- The Museum of Modern Art,

Mrs. John D. Rockefeller, Jr. Fund

Woven

for 6 candles, (c. 1902.) Silver-plated bronze.

La Alaison Moderne

*290

Villon and Marcel

mainly occupied as

high. Nordenfjeldske Kunstindustrimuseum, Trond///.

6%". Musee des

close to Toulouse-Lautrec. In 1911 turned to Cubism. Lives

industrimuseum, Trondheim

21%"

Carved horn, decorated with

French painter and printmaker. Oldest brother of

Side Chair from the artist's house in Uccle. 1895. Paduk

with rush seat, 3''" high. The Museum of Modern Art,
New York. Purchased from van de Velde estate. ///. p. 94

Candelabrum

(1900.)

Villon, Jacques (Gaston Duchamp) (1875-

upholstery, decorated with abstract batik pattern (executed

by Thorn Prikker, Amsterdam). Chair executed in van de
Velde's own workshops in Ixelles. Nordenfjeldsk Kunst-

*288

Decorative comb.

Homo by Friedrich Nietzsche. 1908.

1%" The Museum of Modern Art, N.Y.

size,

(c.

'Vever

studies, joined the Atelier

page for Ecce

Armchair,

by the manufacturer

Oetker, Krefeld

by Friedrich Nietzsche. 1908. Book

Klingspor Museum, Offenbach

Title

a series called "Kiinstler-

artists

Arts Decoratifs, Paris

fiir

Homo

Book

9%

&

from

mistletoe in enameled gold and pearls.

Kunst und Gewerbe, Hamburg. ///. p. 2}

Title page for Dominicul by Max Elskamp. 1892. Book
size, 8% X 51/2"- Bibliotheque Royale de Belgique, Brussels
Binding for Ecce

commissioned

French jewelry manufacturers. Next in importance to Rene

Lalique in producing Art Nouveau jewelry. Firm begun by
Ernest Vever who withdrew in 1880. It was carried on by
Paul 'Vever (1851-1915), and Henri Vever (1854-1942).

94

from \^an

design on rose background.

21%". Det Danske Kunstindustrimuseet, Copen-

hagen. Both fabrics were part of

from Win Nu en Straks. 1893. Book size, llVa

19%". Butler Library, Columbia University, New York.

size,

285

p.

silk fabric; abstract rose

seide,"

Illustration
.\

*282

///.

Illustration

281

2''Vg,

seum KroUer-Miiller, Otterlo

Angels' Guiird. 1893. Wall hanging; wool and silk embroidered applique. 55 x 91%". Kunstgewerbemuseum,
Zurich.

280

18%

Woven

leading English designers contemporary with Art Nouveau.

Table flatware. 1902-03. Silver (dinner knife and fork,

soup spoon, serving spoon, carving fork, grapefruit spoon).
Signed. Made by Theodor Miiller, Weimar. Karl-ErnstOsthaus-Museum, Hagen. ///. p. 113
Belt buckle. 1898-1900. Silver, with plant ornament in re'^
2%". Exelief; moonstones and rose diamonds, c. lyg
cuted in the artist's workshops in Ixelles. Nordenfjeldske
Kunstindustrimuseum, Trondheim
Coffee service, (c. 1903.) (Demi-tasse pot, sugar bowl,
cups and saucer, plate). White porcelain, grey and greyblue decoration. Made by Royal Meissen Porcelain Works.
Collection Stephen L. Bruce, New York
Woven silk fabric; black abstract scrolls on purple background, (c. 1900.) 231/4 x 26". Det Danske Kunstindustri-

*298

Textile. (1897.) Silk and wool double cloth; bird and leaf
pattern in green and white. 55 x 49". Made by Alexander

Morton

&

Co., Carlisle, England. Victoria

seum, London.

///.

p.

and Albert Mu-

89

"

292

293

VUILLARD, Edouard (1868-1940)

French painter. 1886 began

art

studies at the Ecole des

Beaux Arts in Paris; changed to the Academie Julian

where he met as fellow students the painters with whom
he joined in the Na/pi group in 1889. 1890 shared a studio
with Bonnard, Denis and Lugne-Poe. 1893 together with
Roussel, Bonnard and Ranson worked on the scenery of
Ibsen's Rosmersholm at the Theatre de I'Oeuvre. 1894
decorations for the house of the Natanson brothers. 1896

museet, Copenhagen

184

ARCHITECTURE

Bonnard with La Lihre EsAcademie Ranson.

in his paintings and also pro-

exhibited with Lautrec and

thetique in Brussels. 1908 teacher at the

299

Developed an intimate style

duced several series of decorative panels for private houses
and theaters. 1938 elected to the Institute.

Photographic Enlargements

The Dressmakers. (1891.)

Victor Horta

19%

Oil on canvas.

x 515/8"-

Collection Mrs. Charles Vidor, Beverly Hills

Worked

for

Rorstrand,

porcelain

factory

Tassel House, 6 rue Paul-mile Janson, Brussels; stair hall; 1892in

Stockholm

93.

around 1890.

Vase.

(c.

strand,

Stockholm.

c.

8%"

Osterreichisches

German

avenue Palmerston, Brussels;

4,

Brussels, 1895.

///.

p-

Husband

Metropolitain Station, Place de

of sculptor Renee Sin-

///,

p.

End papers for Gugelme by E. R. Weiss.

8 X 5%". Klingspor Museum, Offenbach

Book

size

torium (demolished

302

Binding for Die Fischer und andere Gedichte by A.

Heymel. 1899. Collection Gerd Rosen, Berlin

W.

1899.

Modern

Art.

after its inception in 1896, and

Outstanding caricaturist of the period.

Atelier

Josef

p.

x
82

W-f-i'

127

1900 (demolished).

(c.

1900).

The Museum

of

135
Building, rue

). ///.

p.

St.

Didier, Paris, 1902; audi-

134

Elvira,
///.

Munich; facade and

stair

hall;

1897-98

(de-

pp. 138, 139

Hoffmann
and

interior;

1905-11.

///.

pp.

142, 143

to Simplicissimiis.

Charles Rennie Mackintosh

School of Art, Glasgow; facade and hbrary; 1897-99.

Staatliche Graphische

///

p.

145

Antoni Gaudi
Casa Mila, Barcelona; facade, balcony

WoLFERS, Philippe (1858-1929)

ration; 1905-07.

Foremost Belgian goldsmith and jeweler, whose family

firm had been prominent for two generations. Philippe
Wolfers studied under Isidore de Rudder and first worked
in the neo-rococo style, but by 1895 had turned completely
to Art Nouveau floral and insect motifs. He introduced the
use of ivory from the Belgian Congo in creating brooches,
combs and decorative objects of extreme refinement. By
1900 his style had become more symmetrical and abstract.
He was represented at the Turin Exposition of 1902.
304

p.

Palais Stoclet, Brussels; exterior

for Simplicissimus. 1903- Ink, tem-

181/2
///.

p.

August Endell

WiLKE, Rudolf (1873-1909)

German caricaturist. Born in Braunschweig, he studied in
Munich and, 1894-95, at the Academie Julian in Paris.
Active in Munich where he contributed continuously to
Jugend

///.

Humbert de Romans

stroyed).

Sammlung, Munich.

///.

I'Etoile, Paris,

301

pera and watercolor.

126

136

Metropolitain Station, entrance gate

Drawing

p.

131

rinnovation, rue Neuve, Brussels, 1901.

Contributed to Pan. After 1897 active in all forms of

book design (for publishers Eugen Diederichs, die Insel
and S. Fischer). 1907-33 taught applied art in Berlin.

"Ueberbrettl."

///.

Hector Guimard

painter, graphic artist, designer. Studied in Karls-

tenis.

*303

stair hall;

132

facade; 1897-99.

ruhe, Stuttgart and Paris.

p.

Maison du Peuple, place van de Velde, Brussels; auditorium and

Made by RorMuseum fiir Angeh'gh.

wandte Kunst, Vienna

Weiss, Emil Rudolf (1875-

///.

Grand Bazar, Anspach,

1900.) Porcelain, representing a starfish in relief,

partly submerged in the sea.

129

p.

Eetvelde House,

1895.

Wallander, Alf
300

///.

Van

///.

detail, plaster ceiling deco-

pp. 124, 125

Alfred Messel
Wertheim

Store, Leipzigerstrasse, Berlin; 1896.

///.

p.

128

C.R.-F.M. Jourdain
Samaritaine Store, rue de

Medusa. 1898-99. Pendant on chain. Carved ivory, enameled gold and opal, c. 4" high. Signed. Collection L.
Wittamer-de Camps, Brussels. ///, p. 100

185

la

Monnaie, Paris; 1905.

///.

p.

127

INDEX
by Use Falk

Page numbers

in italics denote illustra-

tions

Abstract, Abstraction, 10,

"'0,

93, 95, 98,

102, 114, 13"'

Academie

Julian, 54

Aesthetes, Aesthetic

Movement,

66,75

19, 22, 24, 31, 38, 39, 42,

16,

Antwerp,

66, 68,

ta

d' Arthur,

21, 22,

67; Aiorte

..

66; Salome,

31,

The Yellou Book,

Beerbohm, Max, 38, 66
21, 67;

8,

Behrens, Peter,

Der Bunte Vogel,

36; Dining room,

116; Feste des Lebens

.,

18: Kiss.

Mathildenhohe,

83;

10,

Book

of Kells, 13

Boston, 106

16, 19, 38, 42, 45, 81,

7,

Blanche, 37. 38, 58; Screen, 56-57

Bonnier, Louis, 97
Bonvallet, 165
Bosselt, Rudolf, 165

44. 116

""0,

125

Botticelli, Sandro, 29
Bouguereau, William, 54
Bradley, William H., 11, 38, 39, 66, 165;
Whiting's Ledger Papers, 40

Brittany, 49, 52, 62

Brouwer, William Coenraad, 166

Brussels, 7, 11, 31, 45, 47, 49, 66, 72, 125,

"Belgische," "Belgische

Nouveau Bing, see Bing

L'Art Nouveau Gallery, see Bing
The Art Workers' Guild, ^
Arts and Crafts movement,

^,

Belgium (Belgian),

12, 29,

7, 10,

24, 81

163;

90, 91,

Bowl, 90
Auriol, Georges, 39, 40; type face,

124,

9,

121,

123,

123

19,31,49,
125,

130,

-tl

10, 75, 91,

IH-

135, 137, 140-141; see

Buntes Theater, Berlin, see Endell

Burne-Jones, Edward, 65, 66, 77, 166;
Kelmscott Chaucer, 66; The Pelican.

Berlage, H.

P.,

123

Bernard, Emile,

16,

49,

67

51-52, 62,

164;

Bathers, 52, 5}; Bretonnerie, 51, 52

Bierbaum, O. J., Der Bunte Vogel. 36, 38
Bmdesb0ll, Thorvald, 165
Binet, Rene, 144; Printemps Store, 125,

S.,

105,

11, 12, 14, 55, 81, 97, 101, 103,

Nouveau,

109; L'Art

L'Art

Nouveau

Bakst, Leon, 66, 85

Exhibition

Paris

Balat, Alphonse, 125

Exhibition

Munch

Diabo-

Les

1900,

Barcelona, 62, 125

163; Cleopatra. 82.

55, 81, 97;

International
11,

103,

1896, 11, 81;

11,

97,

101,

see

Horta

Beardsley, Aubrey Vincent,

de, 163
"',

8,

9,

11,

Campanini, Alfredo, 135

Carolus-Duran, 68
Carriere, Eugene, 11, 166

Carson

Pirie Scott Building, Chicago, see

Sullivan

Casagemas, Carlos, 65
Casa Mila, see Gaudi
Casas,

Ramon, 62

Catalan, 123

Province, Paris, see Bing, Maison de

Catholicism,

L'Art

Nouveau

9,

Guimard

74

Celtic art, 12, 13, 24, 38, 66

Tom

13

Baudelaire, Charles, 10, 29

Cachet, C. A. Lion, 166

shop L'Art Nouveau, 22 Rue de

S.,

the Sailor, 27; Songs of Innocence, 13,

109

Bauhaus, 7, 116
Bazel, Karel Petrus Cornelis

105,

Burns, Robert, Natura Naturans, 31

Byzantine mosaics, 77, 79

Castel Beranger, see

Blake, William, 13, 26, 28, 72; Little

83

Baron van Eetvelde house,

Baroque revival, 12

105;

Maison

109, 135

Bing,

liques, 20

Barlach, Ernst, 83,

Bing,

de L'Art Nouveau,

"Bandwurmstil," 10, 123

Barbey d'Aurevilly, Jules,

tosh

Buddhism, 9

Benois, Alexandre, 85

Bing,

Avril, Jane, i7, 65

XX

Buffalo, 125

126, 144

Vienna

Academy, 125; see

La Libre Esthetique and Les
Buchanan Street Tearooms, see Mackin130, 135, 140, 141;

also

Benin bronzes, 14

Berlin, ^9, 83, 116, 121, 140

",

Atelier Elvira, see Endell

Austria (Austrian),

10,

135, 140

8,

Arts and Crafts Exhibition Society,

Ashbee, Charles Robert,

"

Stil,

10, 11, 12,

68, 70, 77, 92-97,

81, 91, 114, 140, 141

"74,

7,

66

Belgian Socialist Party, Headquarters, see

Horta, Maison du Peuple

L'Art

Batik, 13,

Vale. 18.

Architectural Record, 102

123,

bouche

}'ai baise

frontispiece.

Anquetin, Louis, 49, 62

Anti-historicism,

Are Atque

163;

83, 110, 116, 123, 124, 135, 144, 164;

America (American), see United States

Amsterdam, 106

121,

14,

Behmer, Marcus, 164

8, 16, 65,

Africa (African), 13, 102, 106

also

12,

66, 72. 77,

Bloemenwerf, see van der Velde

Boccioni, Umberto, 165
Bonnard, Pierre, 11, 16, 36, 38, 39, 54,
55-58, 105, 165; France Champagne,
54, 36, 38, 58; Le Peignoir. 55; Revue

186

Centennial Exhibition,

1876,

see

Phila-

delphia
Centralschrifi. see Schoppe
Century Guild of Arts and Crafts,

7, 26,

28, 29, 38, 90, 125

Cezanne, Paul, 49, 54

Chaplet, Ernest, 51
Charpentier,

Alexandre,

101,

166;

Re-

volving Music Stand, 99

Cheret, Jules,

7,

Dresden,
166; Folies-

33, 36, 58,

German

Bergere. i4: Yvette Giiilbert, 35

Chicago, 66, 124, 125

Chinese glass, 9"
see

Gaudi

110; International

"The Four,"

66, 68

111;

Fraklur, see

Type

109,

11,

110,

Art Exhibition, 1899, 87, 111,

.,

36,

Tons

168;

38,

les

Durand-Ruel Gallery, 75
Dutch, see Holland

Classical motifs, 38

Gaillard, Eugene, 11, 101, 169

Cobden-Sanderson, T.

J.,

16"';

binding for

Gaillard, Lucien, 169

Eckmann, Otto,

14,

Aeropdgitica, 21

Colenbrander, Theodorus A. Chr.,

109,

faces, 43; Title

11, 101,

for

Type
Die Woche,
110;

"Ecole du Petit Boulevard," 62

Egyptian revival, 12

167

Eighteenth century, 101, 103, 123, 140;

furniture, 98; illustrations, 66
Elskamp, Max, 32; Dominical, 31

Cormon, Fernand, 62
Coulon, 60

Counter-Art Nouveau, 70, 150

Crane, Walter, 7, 10, 33, 45

Curvilinear Gothic, 13

Empire, 12
Endell, August,

Elvira, 10,

110, 111,

Armchair, 112: Ate-

16,

83,

111,

114,

72,

81,

Ensor, James,

Daum

Ernst Ludwig,

Freres, 98, 16"'

105,

109,

114,

117, 123, 124, 125, 141

7,

114, 167; Ink-

stand, 114
Debucourt, P. L., 12
Debussy, Claude, 7, 49
Decadence, Decandents, 8, 20, 33, 66
Degas, Edgar, 14
Decorative Arts Exhibition, 189", 1899,
Dresden, see Dresden
Decorative Arts Exposition, 1902, Turin,
see Turin
Dekoralive Ktinst, 13-14, 90, 95

102,

crystal bowl, 97
Gaudi, Antonio y Cornet, 62, 123, 125,
130; Church of the Sagrada Familia,
62; Casa Mila, 123, 124, 125. 130
Gauguin, Paul, 7, 9, 14, 29, 31, 49-54,

Manoa

Sermon. 49; Yellow Christ.

or School of Pont Aven,
Decorative Landscape. 50. 51
Geneva, 75
Germany (German, Germanic), 10, 11,

47, 77, 169

Grand Duke

51;

Gauguin

116, 117, 123, 135-140, 141; Art Exhibition Dresden, 1899, see

Christ as the
of Hesse, 91,

Dresden; Cen-

Type faces; prints:

Man of Sorrow with Four

see

tralschrift,

116

Wilhelm von,

14, 97-98,

40, 42, 70, 74, 81-85, 87, 91, 97, 109-

10, 29, 36, 65-68,

9,

88-91, 93, 97,

Darmstadt, 91, 116, 124, 137; Artists'

colony, 91; Mathildenhohe, 91, 116
D'Aronco, Raymondo, 135

137,

140:

140;

England (English),

Dalpayrat, Adrien-Pierre, 167

12,

Tiipapau, 51; Still Life with Three

Puppies, 48, 49, 52; Vase, 50: Vision

Buntes Theater,
Decorative metal mounting, 113
138-139,

11,

9,

105, 106, 169; Screen, 98: Shell-shaped

after the

10, 81, 83, 85,

114, 13^-140, 169;

lier

Galle, Emile,

58, 60, 62, 79, 95, 170; Leda, 50:

Elvira Atelier, see Endell

n. 18

Cranston, Miss, Tearooms, 68, 68-69, 141

"Curtain-wall," 130

Day, Lewis,

page

110-

42

Corinth, Lovis, 167

Debschitz,

40-42, 81,

16,

Fne Swans,

111, 135, 168;

167; Plate, 108

Councillor

Fuller, Loie, 16, 62, 64: Serpentine dance,

16,62

35

Cloisonisme, 49

Collage, 77
Colonna, Eugene,
Congo, 109, 125

9, 10, 12, 29, 31, 39, 40,

130, 135 ,137, 140, 147

Freud, Sigmund, 141

Dujardin, Edouard, 49
soirs

40

faces

France (French),

49-65, 66, 70, 79, 97-103, 105, 121, 123,

Dumont, Henri,

V., 166

Cirilite. 20.

1897,

115

Cincinnati, 106
J.

87,

14,

Duchamp, Marcel, 74

Church of Sagrada Familia,

Cissarz,

11,

Exhibition,

Angels. 22: Reichsbahn, lettering, 114;

woodcuts, 29

Evenepoel, Henri,

J. E.,

Exhibitions, see under

169

"Gesamtkunstwerk." 8

cities, e.g.

Dresden

Gide, Andre, 55

Exposition Universelle Pans, see Paris

Gilchrist,

Exotic

Glasgow,

art, 13,

62

Expressionism and Expressionists,

14,

83

Herbert H., 28, 148

12,

Buchanan

66,

Street

68,

n. 31

HI,

91,

Tearooms,

141;

12, 68, 68-

69

Glasgow group,

Fauves, 14

Far Eastern, 109; see also Oriental

8, 66, ^0, 101,

91, 111, 116;

School," 11; see also

"The Glas"The Four"

and Mackintosh

Feure, Georges de, 11, 101

Fin de siede.

gow

123

Finch, Alfred William, 95

Glasgow School of Art, see Mackintosh

Gogh, Theo van, ^9
Gogh, Vincent van, 11, 14, 33, 49, 62, 68,

Demachy, Robert, 168

"Flachenkunst," 140, 141

Denis, Maurice, 11, 16, 29-31, 33, 36, 45,

54-55, 58, 168; April. 54; Sagesse, 50

Flamboyant Gothic, 13
Flemish, see Belgium

Esseintes, see Huysmans, A Rebours

Deutsche Kunst ujid Dekoration, 1

Florence, 114

70, 79
Goldwater, Robert, 36
Goncourt, Edmond de,

Florentine Mannerists, 52

Gothic, 12, 13, 90, 91, 144, 146; Gothic

Des

The

Dial, 26.

2"',

Folkwang Museum,

29

Donaldson, George, 91, 151

n.

see

Forma, 65

Hagen

architecture,

13,

10,

9^

see also St. Severin,

Paris; Gothic Revival, 12, 13

187

Grand Bazar Anspach, see Horta

Grand Duke of Hesse, see Ernst Ludwig
Grand Duke of Saxe-Weimar, 116
Grasset, Eugene,
40,

150

101,

Ouatre

Typefaces,

n.

HO;

34,

Aymon,

Fils

Sal on

Exposition

Greek

^, 10, 11, 14, 16, 36.

13",

Palais Stoclet,

Histoire des

Cent.

39:

10,

17,

Wiener

I4l,

79,

10,

9,

13,

Horta, Victor,
95.

93,

102,

8,

12,

110,

16,

13,

141,

8, 10, 16,

144,

147,

102-104, 130,

170;

147;

Apartment
104:

Desk

Humbert de Romans

Build-

135,

Desk,

140;

ing, 16, 130, 134. 135, 144;

Metro,

10,

102, 130, 135. 136. 13^, 144, 147; Side

table. 104

Gulbransson, Olaf, 83
Gutton, Andre, Grand Bazar (Magasins

14, 16, 17

Museum),

70, 151

Hohenhof, 75
The Hague, 106, 109
n. 22;

own

house,

93
Hotel Solvay, Brussels, see Horta

Hough, Graham, 30
House of a Connoisseur, see Mackintosh
Humbert de Romans Building, see Gui-

mard

11,

62,

14, 24, 28, 29, 42,

97,

66,

101,

19,

Reboitrs, 20

28, 42, 58

Ubu

Rot, 55

Java, 13, 72, 109

Jenson, Nicolas, 25

Jourdain, Franz, Samaritaine Store, 125,

127, 135, 144
]oientut, 62

Jugend,

10, 11, 40, 62,

83

Jugendstil, 10, 47, 81, 83, 85, 116, 123.

135, 140

Kandinsky, Wassily, 16, 65, 85, 172; The

Mirror, 85
Kelmscott Chaucer, 66
Kelmscott Press, 7, 25, 66
Khnopff, Fernand, 11, 12, 31, 40, 47, 77;
Cover for Les XX. 31
Kinderen, Antoon Johannes der, 172
King, Jessie Marion (Mrs. E. A. Taylor),

the People, 82. 83

Klimt, Gustav,

9,

11,

16, 66,

Henri-Gabriel,

11,

54

143: Salome,

l4l,

77;

Iconography, 16
Image, Selwyn, The Hobby Horse, 26
Impressionism and Impressionists, 14, 29,

Klinger,

Max, Beethoven Monument, 77

Klingspor, Karl, 42

Koepping, Karl,

121,

173;

Koch, Alexander, 7
Koch, Robert, 36
Juriaen, 109; Bottle-vase, 108. 109

India, 109

Kok,

Inness, George, 105

Krefeld, 116

Kunstformen der Natur.

Heidt Glass factories, Brooklyn, 105

Heine, Thomas Theodor, 83, 171
Henry, Charles, 10, 29, 70, 148 n. 15

International Art Exhibition, 1897, Dres-

The Hobby Horse,

8, 13,

I'lnnovation, Brussels, see Horta

Munich,

see

Exhibition,

1897,

Munich

40

Hodler, Ferdinand, 9, 68, 75, 171; The

Night, 75; The Chosen One, 75, 76,
151 n. 22

see Paris

International

of

Decorative

Arts, Turin, 1902, see Turin

International Style, 141

188

60, 173;

Haeckel

The Dream,

60
Lalique, Rene, 11, 101-102, 173; Decorative

Exhibition

see

La Farge, John, 105

International Exhibition of 1900, Paris,

26, 28, 29,

J.

Lacombe, Georges,

den, see Dresden

Art

Decorative

flower glass, 120

Harper's Alagazine, 38
Hauptmann, Gerhart, 55

International

University of

Vienna, 7^

Ibsen, Henrik, 12, 55

dependants, Paris

see also Victorian

75-79, 141,

173; Frieze for Palais Stoclet, 78. 79,

Independants, see Societe des Artistes In-

Historicism, 11, 12, 81

54,

glass,

173

20, 24, 33, 40, 65;

11

High Victorian, 87;

105;

Kirchner, Ernst Ludwig, 83, 173; Before

31, 47, 49. 70, 73, 101

116

Hamlin, A. D. F.,
Hankar, Paul, 12

art,

58,

125,

44, 45,

129. 130; Objects: Electric light

125,

Hallet House, Brussels, see Horta

11,

Maison du Peuple,

fixture, 92. 93; Inkstand,

Ibels,

Folkwang Museum (now

Karl-Ernst Osthaus

Hamburg,

Gros

Building. 130, 133: Hallet

130, 133; Tassel house. 10, 12, 49, 93,

Habich, Ludwig, 171

Haeckel, Ernst, Kuntsformen der Natur.
70, 75;

130, 132. 144;

Husser house, Chicago, see Wright

Huysmans, J. K. (Joris-Karl), 9, 10,

Reunis), 135

Hagen,

Baron

125, 126;

130, 131, 141. 144. 147; his

house, rue Fontaine, 130; Castel Beran13,

140,

135,

London, 7, 90
Guimard, Hector,

chair, 103;

45, 49, 66,

house, 130; Hotel Solvay, 13, 43. 93,

i4^,rinnovation, 125, 127, 130, 144,

Hand/craft.

55,

"Grass writing," 41; Scroll, 41;

Utamaro, 15. 24; woodcuts, 14, 15, 24,

19, 45, 66,

14^, 172; Buildings:

144,

Japanese
97;

125-133,

Waucquez

ger,

143,

Jarry, Alfred,

Guilbert, Yvette, 35, 36, 38

140,

142,

van de Velde

see

van Eetvelde house, 16,

Grand Bazar Anspach,

135,

Italy (Italian), 11, 123, 135

an entrance, 137;

Horta
Gruebe workshop, Boston, 106
Guaranty Building, Buffalo, see Sullivan
of

Irish,

68, 72, 106-109, 123

Gropius, Walter, 116, 144

Gros Waucquez Building, Brussels, see

24

121,

121;

Werkstiitte, 140-141

Hohenhof, Hagen,
Holland (Dutch),

8^; vase painting. 66

The Guild and School

m^

ni; Brooch,

144, 147; Project for

39, 40; Poster for

des

Josef, 11, 16, 75, ^9,

140-141, 144,

Convalescent Home, Purkersdorf, 14 1;

38-

-?i

art, 29,

Hoffmann,

comb, 102: Shallow bowl, 101

Larche, Raoul Frangois, 174

Larisch, Rudolf von, 19, 20

Lauger, Max, 174

Lautreamont, Isidore Ducasse,

Comte

le

de, 47

Lavirotte, Jules

Washerwoman
Washerwomen

Women

Aime, 133

(bronze),

The

60;

(painting),

61;

60,

Playing Guitars, 60, 67

114, 115, 116, 137; Glaspalast, 114;

International Art Exhibition, 1897, 114;
University, 83

Lebeau, Joris Johannes Christiaan (Chris),

174

Maison d I'Art Nouveau, see Bing

Maison du Peuple, Brussels, see Horta

Munich

Lechter, Melchior, 174

Majolika haus, see Otto Wagner

Majorelle, Auguste, 12, 176

Muthesius, Hermann, 90, 91

Lemmen, Georges,
vertisement for

AdBing's L'Art Nouveau,

31, 32, 95, 174;

105; Cover for Les

XX,

Nabis,

Majorelle, Louis, 98; Bannister, 99

Liberty (Style), see "Stile Liberty"

Makart, Hans, 77
Mallarme, Stephane, 9, 10, 47, 49, 65
Malory, Thomas, iWorte d' Arthur, 66
Manet, Edouard, 14
Manoeline Stile, 147

Liberty, Arthur L., 14

Martin, Camille, 176

31

Le Pouldu, 51, 58
Le Pouldu, Inn, 58
Leczinski, Stanislas, 97

London, 11

Liberty's,

La Libre Esthetique,

1 1,

"Ligne beige," 123

Lipps, Theodor, 83
Livemont, Privat, 174

Witwe glass

factory (Klostermiihle,

Loos, Adolf, 117, 123, 137, 141, 147

Macdonald

sisters,

16, 66, 73, 92, 175;

12,

16, 19, 66,

19, 22, 42, 45, 66, 68,

116, 141,

175;

11,

92
12,

16

73, 77, 91-92

Buchanan

Street

Tea

rooms murals, design for, 68-69, 68

Cabinet, 91: Glasgow School of Art
l4l, 145: House of a Connoisseur
17; Reform movement, 68; Scottish
Musical Review. 19: Willow Tea
Room, 16
Mackintosh, Margaret Macdonald, 12,
16, 19, 66, 141,

175
7, 8, 12, 13,

26, 28, 29, 31, 33, 45, 90, 93, 124, 175;

The Hobby Horse.

Monogram, 28; Two-

Bird, 89:

8, 13, 26, 28,

29;

sectional screen, 88. 90;

Churches,

13, 27, 45, 90,

W^ren's City

93

MacNair, Herbert, 66, 92

Madsen, Stephan Tschudi, 125
Aristide,

7,

54,

58,

176;

Stations,

Newbery,

New

Jessie,

York,

68

135

11,

Nietzsche, Friedrich, 62

Nieuwenhuis, Th., 177

Guimard

Nonell, Isidor, 65

Middle Ages, 7, 12, 24, 49, 60, 73, 88

Minne, Georges, 70, 72, 176; Fountain

Non-Objectivism,

"Modern

Style," 10, 123, 135

Modersohn-Becker, Paula, 83, 176; Still

Life, 83, 84
Monet, Claude, 14
Moreas, Jean, Symbolist Alanifesto, 9
Moreau, Gustave, 29
Morris, William, 7, 8, 10, 12, 24-25, 26,
28, 29, 30, 33, 38, 39, 40, 45, 66, 70,

88, 90, 91, 95, 109, 125;

The

History

of

Golden Type,
Godefry of

Boloyne, 25; Kelmscott Press, 7, 25, 66

Moser, Koloman, 19, 20, 117, 121, 137,
176; Liqueur glass, 120. 121; Woven
silk and wool fabric. 111

Mucha, Alfons Maria, 177

Munch, Edvard, 9, 11, 16, 75, 79-81, 177;
The Cry, 79, 80: Exhibition Berlin,

Munich,

10,

1896,

Madonna,

11, 62, 77, 83, 85, 87,

189

11,

79, 81

110,

33, 70, 85

Norway (Norwegian),
Obrist,

Wagner

"Modernismo," 11, 123

"Modern Movement," 16, 140

81; Frieze of Life, 79;

60,

East, 13, 105

10, 31, 47, 70

Neo-Renaissance, 105
Neo-Rococo, 98, 105, 137
Neree tot Babberich, Karel de, 177
Netherlands, see Holland

Paris, 10, 102, 130, li5, 156, 137, 144,

ivith Kneeling Boys. 70, 12

Aloderne Architektur. see Otto

Place Stanislas, 12

12, 97, 98;

School, 12

Neo-Baroque, 137
Neo-Gothic, 105
Neo-Impressionism,

Store, Berlin,

1892, 79; Exhibition Paris,

Maeterlinck, Maurice, 10, 55, 72

Maillol,

Wertheim

Underground

Metropolitan

25;

Mackmurdo, Arthur Heygate,

Cromer

Near

125, 128

147; see also

Lugne-Poe, 55

Mackintosh, Charles Rennie,

Messel, Alfred,

29, 36, 54, 55, 58, 60, 62, 75,

Nature and Art Nouveau, 14-16

Meier-Graefe, Julius, 83, 97

Meisenthal glass factories, 97

Bohemia), 121; Bottle-vase, 120

London, 7, H, 65, 72, 90, 95, 97; Victoria
and Albert Museum, 91, 97

Macdonald, Frances,
A Pond. 18

Nancy

Maus, Octave, 11, 47

"The mauve decade," 101

Liege, 93

Lotz,

Nancy,

Matisse, Henri, 52

49, 95

9,

81, 97

Mathildenhohe, see Darmstadt

7,

School, 135

Miinter, Gabriele, 85

Hermann,

14,

9,

125

81, 83,

110,

114,

Design for a Monument.

83, 84; The Whiplash (also called
Cyclamen), 83, Hi. 114
Offenbach-am-Main, 42
Olbrich, Joseph Maria, 11, 75, II6, 117,
135, 140, 177;

124, 135, 137, 177; Candlestick, 118

Oriental Art, 11, 15. 28, 31, 38, 40, 41.

106,

109; see also Chinese glass and

Japanese art

Orthodox Baptistry, Ravenna,

venna

see

Ra-

Oslo, 79

Osthaus,

Karl Ernst, 70, 75; see also

Hagen, Folkwang
Palais Stoclet,
see also

Museum

Brussels,

see

Hoffmann;

Klimt

"Paling Stijl," 11, 123

Pan. 40, 83
Palmer, Samuel, 148 n. 31
Pankok, Bernard, 45, 81, 110, 111, 135,
178; Armchair, 111, 112: Border illustration, 44:

Smoking room. 111

Paul, Bruno, 83, 110, 111, 1^8

Renoir, Auguste,

Parallelism, ^5, see also Hodler

65, 66, 68, 72, 75, 79, 81, 83, 91, 97,

La Revue Blanche, 38, 58, 81

Revue illustree. 39, 40
Revue Wagnerienne, 49, 148 n.

101, 102, 103, 105, 109, 111, 135, 13^;

Ricketts, Charles, 29, 39, 179;

Paris, 10, 11, 14, 31, 38, 39, 47, 49. 62,

1889. 60,

101;

1900.

105,

111,

115,

109,

1855.

65;

11, 73, 91,

103,

Metro

Sta-

Exhibitions,

International

116;

tions, 10, 102, 130, 155. 136, 13^, 144,

147; Sii/on

(ill

Champ

de M<us. 1895,

Pel y Ploma, 62
Ferret, Auguste, 123, 135, 151 n. 8
Philadelphia, Centennial Exhibition, 1876,
105
Pablo,

Period,

62,

16,

1^8;

65,

Courtesan

65;

Blue

with Jeweled

End of the Road, 65

Picture of Dorian Gray, see Wilde
Pissarro, Camille, 7
Collar, 65;

The

Place Stanislas, see

Nancy

La Plume,

Exhibition of Grasset

10, 39;

Scharvogel, Johann Julius, 180

Scherrebek, North Germany, 110
5

The

Dial,

of Blue, 21

Robinson, Charles, binding for Alake Believe, 21

Roche, Pierre, 62, 179; Loie Fuller. 62, 64

Rochefoucauld, Count de la, 75

Rococo, 12, 97, 123, 140, 147
Rodin, Auguste, 11, "^O, 83, 179; Kiss. 83;
The Sirens. 70, 72
Roland Hoist, Richard Nicholaiis, 33,
180; Cover for van Gogh catalogue,
Roller, Alfred, 117

Type

see

Wagner

faces

9,

Cincinnati, 106

n. 31, 180;

7,

26,

148

65,

Atalanta in Calydon, 26

Rozenburg, The Hague, 708, 109

Rudhard'sche Schriftgiesserei, OffenbachRuskin, John,
n.

Rysselberghe,

7,

12, 26, 33, 88, 90,

95

Purkersdorf

W.

Theo van,

47, 180

54,

^9,

58,

180;

The

ing

room

7,

93, 95;

Din-

93

buffet,

Seurat, Georges, 10, 29, 31, 33, 47, 79;

The

Bathers, 47; Le Chahut, 47; Le

48; La Parade, 47; A Sunday Afternoon on the Island of La

Grande

Jatte,

J.,

47

109; Bottle-vase, 108

Signac, Paul,

7,

10, 31

Societe des Artistes Independanis. Paris,

Home,

see

Hoffmann
Puvis de Chavannes, Pierre,

54

7,

Quatre Gats, 62
54,

55,

58,

60,

n9;

Women Combing Their Hair, 58

Ravenna, Orthodox Baptistry, 79
Redon, Odilon, 7, 9, 47, 54, 179; "La
.," 46
Aiort: A\on ironie depasse
Reform movement, 68, 114
Renaissance, 88
.

47
Solvay house, see Horta
Sommaruga, Guiseppe, 135

Saint-Aubin, Gabriel de, 12

St.

Petersburg, 66

St.

Severin, Paris,

Saintenoy,

11,

Armand,

Sloan, John, 181

Sagesse. see Verlaine

N., 12

Convalescent

Ranson, Paul,

Second Empire, 102

Simplicissimus, 83

Prouve, Victor, 178

Pugin, August

117, 137

Shelling,

Russia, 83, 85

Proto-Art Nouveau, 26, 125, 149

141

"Secessionsstil," 10, 47, 123, 135, 140

Cirque, Al

am-Main, 42

26, 65, 66, 72, 75,

60

11, 66, 91-92,

Secession Vienna, 10, 11, 45, 75, 77, 116,

Serusier, Paul, 11, 52, 54, 55, 181

75

Dante Gabriel,

Pre-Columbian

art,

Scotland (Scots),

Fuller; form. 111; line, 24

Roussel, Ker-Xavier, II, 54

90,92

20

n.

Scott, Baillie, 91

Pleasures of Life, 58, 59

Selmersheim, Tony, 101

Poster movement, 10; Posters, 33-38

Primitive

Schwabe, Carlos, 66, 151

Serrurier-Bovy Giistave,

Rosicrucians,

16,

faces

Serpentine curve, 22, 42; dance, see Loie

Rossetti,

Pre-Raphaelites,

Type

Schuft'enecker, Emile, 49

Romantic, 47
Rumische Antiqua. see Type faces

Portugal, 147

60
Prendergast, Maurice, 178

Candelabrum, 119
"Schnorkelstil," 10, 123

Romanesque, 90

Postal Savings Bank, Vienna, see Otto

art,

Schnellenbiihel, Gertraud von, 11^, 180;

Seguin,

letter,

n. 4

Schoellkopf, Xavier, 135

Schoppe, Cenlralschrift. 40, 42; see also

47, 55

Rookwood Workshop,

83

Schmalenbach, Fritz, 140, 141, 149

Schmithals, Hans, 180
Schneckendorf, Josef Emil, 180

ware, 115

Roman

Pointillism, 70
9, 49, 51,

Key

in

Scala, Arthur von,

32

posters, 39
Plumet, Charles, 101
Poe, Edgar Allan, 72

Pont-Aven,

14

Riemerschmid, Richard, 81, 8^, 110, 111,

114, 115, 135, 179; Music room, 86.
Ill; Side chair, 114, 115; Table flat-

Rimbaud, Arthur,

101; St. Severin, 14

Picasso,

26, 29; In the

7,

Paul,

window, 14
Old England

Store,

Brussels, 125, i 26
Salome, 7, 66, 77
Salon des Cent, 10, 39
Salon de la Rose-Croix, 75
Salon du Champ de Aiars, 1895, see Paris
Sankt Leopold, Hietzing, see Otto Wag-

Somov, Constantine, 85
Songs of Innocence, see Blake
Spain, 11, 123

Stadtbahn

stations,

Vienna,

Wagner
Stamp, Percy, hatpin, 103
Steichen,

Edward, 181

Steinlen, Theophile, 65, 181

"Stile floreale," 11, 47, 123, 135

ner

Sar Peladan, 75

"Stile inglese," 123

Savoy, 66

"Stile Liberty," 11, 123

190

see

Otto

Strawberry

Type

Hill, 12

24-25,

faces,

38-45;

Auriol,

41;

Strindberg, August, 55, 81

Ebony, 42, 43; Eckmann, 42, 43; Ger-

Stuck, Franz von, 77

man

The

French Antique, 42, 43: Grasset, 41;

Morris, Golden Type, 25: Old Style,

Studio, 73

"Studio-Stil," 10

Centralschrift. 40, 42; Fraktur. 40;

Roman

"Style de bouche de Metro," 10

39;

"Le Style des Vingt,"

"Style Guimard," 10

Romische Antiqua. 40; Schoppe, 42;

Uncial, 42; see also von Larisch

11

letter,

25,

42;

40,

33,

"Style nouille," 10, 123

Vbu

Carson Pirie Scott & Co., 122,

125; Guaranty Building, 125
Sumner, Hey wood, 125
Surrealism and Surrealists, 114, 141
Swinburne, Algernon Charles, 148 n. 31

Uccle,

181;

9, 70, 75,

Symbolism and Symbolists,

8,

95

United States

11, 25, 36, 38, 87, 91, 102,

105-106, 117, 123, 124, 135

Universal

Exposition,

9-10, 19, 20,

Utamaro,

Compared

Vallotton, Fehx,

Symonds, Arthur, 66

7, 8, 10, 11, 12, 13,

16, 19, 24, 31-33, 38, 42, 45, 47, 68-70,

1

10,

111, 114, 115, 116, 117, 125, 135, 140,

Tatlin, Vladimir ., 83

147,

Tearooms,

Guard. 75, 94, 95; Belt

Bloemenwerf, 95, 97;
Candelabrum, 96, 97; Deblaiement
d'art, 32; Design for pendant, 45:
Desk, 94, 95; Dresden exhibition, 109,
110, 111; Dress design, 8, 9: Dominical.
31, 32; Hohenhof, 75; Lounge, 109.
110; Side chair, 94. 116; Table flat-

see (Miss) Cranston; see also

Glasgow
Terrasse, Claude, 55
12, 55

Theatre de L'Oeuvre, 55
Theosophists, 9
Prikker, 16, 72, 73-74, 181;

The

Bride, 73, 74

Tiffany, Louis Comfort, 11, 14, 55, 102,

Group

of vases,

106: Tablelamp, 107; Tiffany

& Com-

pany, 105
8
12, 16, 19, 47, 66, 72-

73, 74, 77, 79, 151 n. 20, 183; Delftsche

Three Brides, 72,

Toulouse-Lautrec, Henri,

75, 79

7, 8, 11, 14, 16,

183;

Abstract Composition,

Shirts, 62,

6i

poster, see

van de Velde

Turin, 17; International Exhibition, 1902,

17, 111

89

fabric,

137,

33;

Van

Nu

141;

Leopold, 137
8,

62

Walker, Emery, 25
Walpole, Sir Horace, Strawberry

Webb, Philip, 141

Weimar School for

Hill, 12

the Applied Arts, II6

Weiss, Emil Rudolf, 185

ment, 12; see also Obrist
Whistler, James MacNeill,

ware, 115; Tropon poster,

l4l,

140,
140,

137,

Whiplash curve,

22; line,

19,

^9; orna-

14,

28,

14;

Ld Princes se du Pays de

29,

Room,

66; Butterfly mark, 28; Peacock

la Force-

laine. 14

Wiener Werkstatte,
Wilde, Oscar,

7,

Hoffmann

see
19,

8,

20,

24,

55.

G6\

19, 23, 24,

Picture of Dorian Gray. 20; Salome,

en Straks. designs for, 32,

7, 66
Wilke, Rudolf, 83, 185; Ueherbrettl. 82

70
Van Eetvelde house, see Horta
Van Nu en Straks, 32, 33, 45, 70, 74
"Veldesche," 10
Ver Sacrum. 75, 117, 137
33, 45,

Verhaeren, Emile, 72
Verkade, Jan, 9, 55

see

Mackintosh

Wolfers, Philipe, 185; Medusa. 100

World's Fair Paris 1855, 1889, 1900,

see

Worpswede, 83

9, 10, 30,

Victoria and Albert

Willow Tea Room,

Die Woche, 42, 42

Paris

Vever, Maison Vever, 184

Tropon

70,

103:

Jane Avril, 37, 65; Loie Fuller, 62, 64:

Yvette Gu'ilbert, 35: At the Nouveau
the Five Stiff

117,

11,

Majolika haus,

144;

buckle,

Verlaine, Paul,

The Dancer and

and wool

Vuillard, Edouard, 11, 16, 54, 55, 105,

71, 73; Angels'

36-38, 49, 55, 62, 65, 6G, 79, 105, 183;

Cirque:

Annesley, 90, 91, 123,

F.

silk

Wagner, Richard,

Tassel house, see Horta

Slaolie, 18:

12,

Architektur (1895), 117;

Karlsplatz Stadtbahn, B^, 137: Postal
Savings Bank, 137, 144, 146: Sankt

72, 73, 74, 75, 95-97, 98, 102, 109,

7, 9,

(cover), 31

Eugene-Emmanuel,

Moderne

15

7, 11, 54, 62, 66, 79, 85,

van de Velde, Henry,

Synthetism, 49

Woven

Wagner, Otto,
Flouers,

183; Waltz, 62, 63

Synesthesia, 8

Toorop, Jan,

Lemmen

184

Moon.

Woman.

to

Vallin, Eugene, 12

7,

(cover), 31:

Viollet-Le-Duc,

see

1900,

Paris,

Snow,

24;

103; Symbolist Manifesto, 9; see also

Tolstoy, Leo,

International Exhibition, 31; Khnopff

Paris

La Plume

105-106, 121, 124, 182;

XX

XX

184;

68, 70, 72, 73, 74, 75, 77, 83, 95, 101,

Thorn

Secession

see

Villon, Jacques, 184

Les Vingt, see Les
Les
(vingt), 31, 47, 49, 72, 74, 95;

Voysey, Charles

Roi. see Jarry

University of Vienna, see Klimt

114

29, 33, 39, 47, 49, 54, 55, 62, 65, 66,

Theater,

Secession,

125, 130

Sullivan, Louis H., 11, 105, 123, 124, 125,

Switzerland (Swiss),

117;

try,

Vienna; University, 77; see also Austria

65; Sages se. 30

Museum,

Wright, Frank Lloyd,

45, 123, 124;

Hus-

ser house, Chicago, 124

see

London

Wren's City Churches,

see

Mackmurdo

Victorian culture, 66; Victorian drawing

room, 86
Vienna (Viennese),
117,

137,

Austrian

140,

10, 11, 66, 75, 116,

144;

Museum

Akademie, 137;
and Indus-

for Art

191

"Yachting Style," 10, 97

The Yellou Book, see Beardsley
Zola, Emile, 47, 66; Le Reie. 150 n. 20

PHOTOGRAPH CREDITS
Paris, pp. 44 top right, 50 bottom; Archives Photographiques, Paris, p. 55; Art Institute of Chicago, pp. 21 bottom
row, 12 left, 40, 51; George Barrows, New York, pp. 19, 103,

A.C.L.,

10",

106,

James

120,

121,

135; Walter Binder, Zurich, p. 94 top

Blair, Chicago, p. 122 top;

Bober, p. 14; Brenwasser,

New

New

left;

Photo B.N., p. 34 left; Photo

York, p. 59; Brown Brothers,

86 right; Photo Cauvin, Paris, p. 53; Cleveland

Museum of Art, pp. 34 right, 72 bottom; Dienst voor Schone
Kunsten der Gemeente, The Hague, p. 108 right; Edizioni ArtisYork,

p.

fiir Fotografie GewerD. Galland, Brussels, p. 145 bottom

Gemeente Musea van Amsterdam, p. 18 right; Len Gittleman
Chicago, p. 122 bottom; Franz Grol, Hagen, p. "6; Ernst Hahn

tiche Fiorentini, Venice, p. 77; Fachklasse

beschule, Zurich, p. 96;

Zurich, p. 133 bottom; Friedrich Hewicker, Kaltenkirchen/Hol

stein, p. 82 top; Klingspor Museum, Offenbach, pp. 21 top left
21 top center, 22 right, 42 bottom, 43 top

Kunstgewerbemuseum, Zurich, pp.

left,

43 bottom

left

9, 15 right, 2"' right, 64, 68,

69
99 right, 103 top, 104 top, 119; Landesge
werbeamt, Baden-Wiirttemberg, pp. 112 left, 115 top left, 117
Louis Laniepge, Paris, p. 60 bottom; Los Angeles County Museum,

84, 91, 94 top right,

9"',

D. S. Lyon, Walthamstow, England, p. 67 left; Foto

Marburg, pp. 126, 132; Foto Mas, Barcelona, p. 124; Paul Mayen,
New York, pp. 43 bottom left, 133 left, 133 right; Metropolitan
Museum of Art, New York, pp. 15, 35 left top, 50; Foto Studio
Minders, Genk, pp. ^g^ 143 top, 143 bottom; Photo Monsieur
Delhaye, p. 93 top; Morain Photographe, Brussels, p. 100; Galerie
Mouradian, Paris, p. 63 left; Musee des Beaux Arts, Ghent, p. "'2;
Museum of Decorative Art, Copenhagen, pp. 61 top, 99 left, 102,
110; Museum fiir Kunst und Gewerbe, Hamburg, p. 118; Museum
fiir Kunsthandwerk, Frankfurt am Main, pp. 21 top right, 114
bottom; Nationalmuseum, Stockholm, p. 50 left; The New York

p. 65 top;

Public Library, pp. 25 right, 26 all, 27 left, 30; Osterreichisches

fiir Angewandte Kunst, Vienna, pp. 94 top right, 101,

Museum
108

120

120 right; Pierre d'Otreppe, Brussels,

p. 92;
of Art, p. 63; Princehorn, Oberlin, p. 82
bottom; Princeton University Library, p. 6^ right; Percy Rainford,
left,

Philadelphia

left,

Museum

New

York, pp. 56, 5^; Rijksmuseum KroUer-Miiller, Otterlo, pp.

39 top, 54, 71, 73, 74; Walter Rosenblum, New York, p. 61 bot-

tom; David Royter, New York, p. 104 bottom; John D. Schiff,

York, pp. 18 bottom right, 60 top; Statliche Graphische
Sammlung, Munich, p. 82 left; Dr. Franz Stodtner, Diisseldorf,
pp. 126, 127, 128, 129, 131 top, 136 bottom, 138, 139, 140, 142,
146; Adolph Studly, New York, pp. 23, 37 right, 39 bottom;
Soichi Sunami, New York, frontispiece, pp. 15 right, 35 left, 3^
left, 48 right, 64 left, 81, 84 left; O. Vaering, Oslo, p. 80; Victoria
and Albert Museum, London, pp. 13, 89 left, 89 right, 90, 98;
Photo Viollet, Paris, p. 136 top; William and Morris Gallery,
Walthamstow, England, p. 88.

New

192

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