Good
friends like to tease me about my attention to my special interests. When asked,
I’m always quick to note that I have three (in no particular order): my love of
elephants, my devotion to opera, and my joy in discovering the subtle — and
sometimes not-so-subtle — pleasures of Art Nouveau.
The
first comes up pretty often, as demonstrated in my last post. Opera, too, gets written
about frequently in these posts. My third interest, though, hasn’t had much
coverage in the past. If you search the term “Art Nouveau” in the upper
left-hand corner, just above the blog’s title bar, you’ll find I have written
only twice about Art Nouveau, in a description of the style in Brussels when I
visited there in 2010 (Art Nouveau, February 24, 2010) and
a longer, very admiring post from Paris (Pierre Cardin’s Art Nouveau Museum at Maxim’s, January 26, 2014). Obviously I have a way to go if I’m going to
catch up and give greater attention to Art Nouveau in the future.
Siegfried Bing's Maison de l'Art Nouveau, Paris |
The
term (and the style) came about in reaction to what had preceded it. After all,
there can’t be a “new” art/architecture without there having been an “old” one
before it. Until the advent of Art Nouveau, almost all styles of architecture
and decorative arts drew heavily on historical precedent. The 19th
century was rife with revivals: Gothic, Romanesque, Greek, Renaissance (adapted
with Beaux Arts) and more. Connected to this attraction to earlier forms and
contributing to the need for and development of a new direction in art was the
fact that the 19th century also saw a huge growth of wealth as a
result of the industrial revolution, the expansion of the railroads, and other
technological improvements. In most cases, wealth was concentrated in
relatively few hands. In the United States, the period went under the name of
the Gilded Age. In France it was La Belle
Époque (the “beautiful era”), and other countries had their own names for
this period. Many of these newly rich (the nouveau-riches)
sought extravagant examples of these same revival styles. Others, sometimes but
not always younger, sought a style that did not look to the past. They wanted
something new. Art Nouveau fit the bill.
Sadly,
and despite its earlier success, the popularity of Art Nouveau began to wane as
early as the First World War (though certainly examples of fine Art Nouveau
came later). And it spread out, turning up almost all over Western Europe (and even
in Russia, as I discovered when I was in St. Petersburg a few years ago). Not
surprisingly, there were many variations, and these variations were based on many
factors, including geography, national interests, styles, and the specific
tastes of many of the movement’s patrons.
One of the Paris Metro entrances designed by Hector Guimard |
Victor Horta Entrance Hall to His Home (Brussels) |
Eugène Gaillard cabinet displayed at the Bröhan-Museum, Berlin |
And
they — many of them — took the idea of “surrounding themselves” seriously, to
such an extent that some critics and scholars in the field came to recognize
that with Art Nouveau its creators and patrons saw the movement as an “ideal”
or “total” work of art and design (connecting, perhaps, with Wagner’s Gesamtkunstwerk, in which all elements
of the art combine to provide a unifying experience, all supporting a single
form of expression). That idea might be a little grand but in fact with Art
Nouveau the style (as short-lived as it was) became an almost universal way to
think about architecture, art, design, furniture, jewelry, household utensils,
silver, and a vast array of other art and craft applications. Indeed, the word “universal”
is used in the current digital exhibition, through mid-May, Art
Nouveau: A Universal Style at the Europeana Collections site, a delightful little
display that provides considerable pleasure in and of itself. Had those of
us who have so much fun with Art Nouveau today lived in the movement’s heyday, we
too would have loved surrounding ourselves with Art Nouveau all over the place
(or at least visiting places where it was available to be seen, even if we were
not in the financial bracket for acquiring it for ourselves.
So with all that background, how do we define Art Nouveau? The best definition, to my way of thinking, comes from looking at examples. As I say, it’s not all the same, but the similarities are there: the focus on nature and natural structures and, in particular, botanical shapes, the curving, almost sensuous lines, and, a special joy to me, the many bold and dynamic color combinations. Like any artistic movement, Art Nouveau did not develop in a vacuum. Indeed, it was in many ways made possible by technological changes in fields as varied as building, printing, furniture production, and more. Thanks to the openness of architects, designers, and artists (especially in reaction to what had come “before”), new opportunities to aesthetic possibilities led to graceful, eye-pleasing forms, demonstrated in what we have in our minds’ eye when we think about Art Nouveau.
So with all that background, how do we define Art Nouveau? The best definition, to my way of thinking, comes from looking at examples. As I say, it’s not all the same, but the similarities are there: the focus on nature and natural structures and, in particular, botanical shapes, the curving, almost sensuous lines, and, a special joy to me, the many bold and dynamic color combinations. Like any artistic movement, Art Nouveau did not develop in a vacuum. Indeed, it was in many ways made possible by technological changes in fields as varied as building, printing, furniture production, and more. Thanks to the openness of architects, designers, and artists (especially in reaction to what had come “before”), new opportunities to aesthetic possibilities led to graceful, eye-pleasing forms, demonstrated in what we have in our minds’ eye when we think about Art Nouveau.
[Guy St. Clair is the
author of Knowledge Services: A Strategic Framework for the 21st
Century Organization (Munich and Boston: De Gruyter, 2016). His
Amazon author page is amazon.com/author/guystclair. For this blog, Guy thanks Andrew Berner for his subject matter expertise and his editorial assistance.]