17. Mucha, two advertisements for Job cigarette papers
18. Alphonse Mucha
19. Henri de Toulouse-Lautrec,
Bruant Aux Ambassadeurs, 1892
Henri de Toulouse-Lautrec,
Jane Avril, 1890s
20. Henri de Toulouse-Lautrec, “At the Moulin Rouge,” 1892-95
21. Aubrey Beardsley
"Salome" by Oscar Wilde, 1895, title page illustration The Peacock Skirt
22. Aubrey Beardsley
“Salome and the Head of John the Baptist “ “ The Peacock Skirt”
23. Aubrey Beardsley, two book cover designs
“Le Mote d’Arthur” "Salome”
24. Bradley, cover for The Chapbook
25. Bradley, cover for The Chapbook
The Chapbook magazine
27. Henry van de Velde, title page “Ecce Homo” by Nietzsche, 1908
28. GE logo, c. 1890
29. Coca Cola logo, c. 1900
30. Gibson, Gibson Girl illustration
31. Gibson, wallpaper: for a bachelor's
32. Charles Voysey ,”Teasels” and “Water snakes” wallpaper, 1896-98
33. Macmurdo, “Wren’s City Churches,” title page
34. Macmurdo, chair, 1881
(seaweed and protozoa design)
35. Hermann Obrist, “Cyclamen”
36. Tiffany studios, Wisteria Lamp Monet painting
37. Tiffany studios, Wisteria lamp and Peony Lamp
38. Rookwood Pottery Company,
Ovoid vase with Peacock Feathers
39. George Ohr
40. Ohr, Vases
41. Ohr, "Pitcher with Snake" and "Vase"
42. "Set of Brothel Tokens"
43. Konrad Hentschel, Cup and Saucer With Jugendstil Décor
44. Henry Van de Velde,
45. Behrens, Fish Slice and Serving Fork Prince Bogdar Karagerovevitch,
Silver Guilt Spoons, c. 1900
46. Henry Van de Velde, Belt Buckle, silver and amethyst, 1898
47. Feuillatre, "Brooch;" Lalique, "Butterfly Necklace," c. 1890s
48. Lalique, Dragon Fly corsage ornament
49. Vallin, "Sideboard," 1903-06, and photo of dining room
50. Surrurier-Bovy, "Buffet," c.1900
Stop & Draw
51. Surrurier-Bovy, "Buffet," c.1900
Stop & Draw
52. Guimard, "Cabinet," c. 1899
53. Guimard, Paris Metro entrances, 1899-1904
54. Hector Guimard, Castel Beranger entrance gate, 1894-1898
55. Guimard, Castel Orgeval
(exterior front entrance)
56. Castel Orgeval (exterior rear)
57. Victor Horta
Belgium Art Nouveau architect and designer
58. The Belgian architect Victor Horta was the initiator and leading exponent of Art Nouveau in Belgium.
In Brussels Victor Horta built a great many private houses as well as public buildings, which are
among the most important examples of Art Nouveau.
Born the son of a shoemaker in Ghent in 1861, Victor Horta began studying architecture at the
Académie des Beaux-Arts in Ghent; from 1874 until 1877 he attended the Royal Athenaeum there.
In 1878 Victor Horta went to Paris, where he worked until 1880 in the studio of the interior decorator
Victor Horta would later write in his memoirs: "My stay in Paris, the walks I took, the monuments
and museums I visited, awakened my artistic sensitivity. No academic education could have
inspired me so strongly and lastingly as "reading" monuments.”
In 1881 Victor Horta moved to Brussels and finished his studies there at the Académie des Beaux-
Arts. From 1881 Victor Horta also worked in the practice of the Neo-Classical architect Alphonse
Balat. Victor Horta was particularly inspired by the French architect and theorist Eugène Viollet-le-
On the one hand, Viollet-le-Duc clamored for protecting and restoring medieval buildings; on the
other he was a passionate advocate of the new engineering in architecture and was committed to
the use of the new building materials, particularly cast iron, and modern building techniques. In
"Entretiens sur l'architecture" (published 1863 and 1872) Viollet-le-Duc drew a comparison between
the Gothic skeletal method of construction and 19th-century cast-iron construction, emphasizing the
close relationship between them.
59. From 1892 Victor Horta designed several houses and public buildings (short video) in Brussels, for
which he used cast iron for structural and decorative reasons. In 1892-93 Hôtel Tassel was built,
with an interior featuring exposed cast-iron construction and glass elements. Further, it was notable
for the richness of its decoration, shaped by organic forms and soft lines.
Victor Horta conceived his buildings as total works of art in the Art nouveau style.
Between 1896 and1899 Victor Horta designed Maison du Peuple, the headquarters of the Belgian
Socialist party, with a façade entirely constructed of cast-iron and glass - the first of its kind in
Horta was a leading Belgium Art Nouveau architect until Art Nouveau lost public favor. At this time
he easily assumed the role of a neoclassical designer. Although many of Horta's buildings have
been needlessly destroyed, his former assistant Jean Delhaye has worked to preserve what
remains of his work. Delhaye has also secured the Horta residence as a permanent museum.
Horta died in Brussels in 1947.
60. Victor Horta, Hotel Tassel, 1893
Stair hall before bad remodeling in 1958
61. Victor Horta, Hotel Tassel, 1893
Stair hall before bad remodeling in 1958
62. Victor Horta,
Solvay House, 1894-1903
Now, like Frank Lloyd Wright’s Fallingwater,
Take a tour of the interior of this exquisite Art
Nouveau extravaganza! Imagine yourself living
here. What would you wear? How would you
behave if this were your home?
63. Solvay House number
64. Solvay House Grand Staircase,
first floor landing.
At right, the dining room.
At left, the drawing room.
Ahead, the light well.
65. Mirror at the foot of the Grand Staircase,
On the ground floor.
With the main living quarters on the second
floor, all guests would use this staircase to
reach the dining or sitting rooms. Imagine
watching yourself descend the stairs on your
way to the front door.
66. The straight line and curve at the base of the grand staircase, ground floor. Note painting at top left.
67. Beginning of the handrail viewed from above.
Grand hall on the ground floor.
Imagine the feel of the smooth curvilinear wood as
you walk down the stairs. Not the floor below.
68. "Reading in the Park" 1902. Painting by Theo van Rysselberghe,
on the wall of the first mezzanine of the grand staircase.
69. Solvay House
Stairwell seen from the second floor
landing. Note the ceiling.
70. Mosaic ceiling, second floor landing
Note this curvilinear design above.
See the curvilinear floor design in next slide.
71. Floor in green Italian, sienna yellow (brocatelle), and Numidia rose-yellow marble.
Second floor landing.
72. Solvay House, painted walls
73. interior view, the hall, banisters along with the roof covered in stained and leaded glass
74. North light well photographed from the
stairway leading to the third floor.
Light wells are important for bringing
sunlight to the interior of a large building.
75. Drawing rooms seen from the music
room. Second floor.
Note the curvilinear design on the ceiling,
floor, the furniture, the wood work, the
76. Chandelier in the central second floor drawing room,
photographed in front of black cloth to show the design.
77. Solvay House, dining room on second floor.
Horta designed all the furniture.
Note the painting through the folding glass doors. Note the painted ceiling, the rug, the chandelier .
78. Dining room chandelier, and detail
79. Sculpture-radiator cover in the music
room. Gilded bronze on a base of
Numidian yellow marble.
80. Metal door handles in the Solvay House, three of the designs.
The handle on the right includes Mr. Solvay’s monogram, “A S”
81. Hand carved wood paneling in the Solvay House.
Think of the craftsmanship and labor in this entire house!
82. Solvay House (diagram)
83. Victor Horta’s own home in Brussels, Belgium, built in 1902.
84. Antoni Gaudi
Spanish Art Nouveau architect
85. Antoni Gaudi, Finca Guell, Dragon Gate, 1885
86. Architect Antoni Gaudí was born in Catalonia on the Mediterranean coast of Spain on June 25,
1852. His father and both his grandparents were boilermakers, and, as Gaudí himself recounted, he
learned his special skill in dealing with three-dimensional space by observing boilermakers at work.
Another key fact in the architect's childhood was his delicate health which forced him to spend long
periods convalescing at home in Riudoms. There he spent many hours contemplating nature,
drawing lessons that he was to apply later in his architecture. He showed an early interest in
architecture, and went to study in Barcelona—Spain's most modern city at the time—circa 1870.
In 1878, after his studies were interrupted by military service, Gaudí graduated from the Provincial
School of Architecture in Barcelona, the city that would become home to most of his great works.
Gaudí's rise to be one of the most outstanding architects of the first Modernista generation was
meteoric. was part of the Catalan Modernista movement, eventually transcending it with his nature-
based organic style. In the final decades of the nineteenth century when he completed the
Güell Palace and Park Guell he was already one of the most famous architects in Barcelona.
In 1914 he abandoned all other work to concentrate on the Sagrada Familia. Aware that he would
not live to see it completed, he did his best to leave it at an advanced stage for coming generations.
In fact, Gaudí was only to see one of its towers in its final form. On 10 June 1926 the architect died
from injuries suffered after being run over by a tram. Two days later he was buried at the
Sagrada Familia (click link to see very short video) after a massive funeral in which most of
Barcelona took to the streets to pay homage to the most brilliant and universal architect that the city
had ever seen.
87. Sagrada Familia, Basilica and Expiatory Church of the Holy Family, Barcelona, Spain.
View of the Passion Façade (Western side) in September 2009
Original construction began in 1882. Antoni Gaudi became main architect in 1883 and worked on
until his death in 1926. Worked has continued and reached the midway point in 2010!
The anticipated completion date is 2026.
88. View (perspective) of the completed
church by Francisco Valls.
89. Antoni Gaudi combined Gothic forms with Art Nouveau style in the design of Sagrada Familia.
90. Chartres, Cathedral of Notre Dame
France 1134-1220, Gothic Architecture
Spain,1882-present, Art Nouveau +
91. Facade of Nativity Transept
(Apostle Bell Tower)
Seen from the Northwest through
pinnacles of wall of North apse.
92. Facade of Nativity Transept (Apostle Bell Tower)
R: One of the glass and ceramic mosaic spires crowned with a boss in the form of a bishop's mitre.
L: Floral-star form finial of a canopy over an apostle statue.
93. Facade of Passion Transept
(Apostle Bell Tower)
detail of glass & ceramic mosaic
decoration of one of the spires
(work restarted in 1956).
94. Sagrada Familia is covered with sculptures. Consider the craftsmanship and time involved.
95. Antoni Gaudi, Sagrada Familia, covered in intricately carved sculpture telling
religious stories from the Catholic Chursch.
96. Facade of Nativity Transept
(portal of hope). Gable:
Betrothal of the Virgin and St. Joseph.
97. Facade of Nativity Transept
(portal of hope).
The Massacre of the Innocents.
98. Facade of Nativity Transept
(portal of charity).
The Gable: The Coronation of the Virgin.
99. Facade of Passion Transept,
Calvary group over the central portal
100. Facade of Nativity Transept (Apostle Bell Tower)
L: Looking down the spiral staircase in one of the towers.
R: Looking up, room was left in middle of spiral staircase for a cylindrically shaped bell.
101. Sculptural studies, head sculpture Lorenzon Matamala
photographed in analytic method devised by Gaudi in the preparation of casts.
102. Sculptural studies, life casts of models for nativity façade,
the casts of babies were made by Lorenzo Matamala from still born infants at Santa Cruz Hospital.
103. Sculptural studies, anatomical studies using skeletons obtained by Lorenzo Matamala.
104. Construction, the state of the nativity
façade at Gaudi's death in 1926 with only
the Barnabas Bell Tower completely
105. Interior view of the Nativity Transept
showing unfinished state in photo
taken years after Gaudi’s death.
106. Facade of Passion Transept general view
the west front constructed after the death of
Gaudi. (1991 photo)
Note cranes, construction is ongoing.
107. Shell model, Gaudi said that "the form of the church's towers, vertical and parabolic is a
union between gravity and light."
108. If you are interested to see another Gaudi building:
Antoni Gaudi’s Casa Battlo
109. The End
Peter Behrens, “The Kiss,” color woodcut, 1898