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1. ART
NOUVEAU
1890-1910
Kirsty Phillips
Mia Dahl
Sampa Subba
Bukola Bankole
Maryam Ali

2. 2013 H I S T O R Y O F S T Y L E G R O U P U P D A T E
Introduction
ART NOUVEAU
Art Nouveau was a brief movement that swept through Europe, Russia and the US. It
had many names: Le Style Jules Verne, Le Style Metro, in France. In Germany it was
known as Jugendstil ‘young style.’ In the US it inspired the Tiffany style, best known in
the Tiffany lamps.
Art Nouveau was inspired by wild nature, by biological discoveries of deep-sea
creatures, and gothic revivals. It was a reaction to Industrialization, a conclusion of the
Arts and Craft and Aesthetic movements and in Glasgow and Barcelona, it was also
used to express independence of thought.
There was also an element of Japanese art: Japonisme. Women were depicted as
‘Femme Nouvelles’, modern and emancipated, or ‘demimonde’ like the girls from
Moulin Rouge. The symbolic bird of the movement was peacock. References also
included Indonesian Batik techniques, as well as Islamic and African Art.
Art Nouveau in France, Belgium, Italy and Spain was curvilinear, characterized by the
use of lines that were sinuous, giving the effect that was organic and fantastical, with
“whiplash” curves.
Art Nouveau in Germany, Britain and Austria was rectilinear, represented by rigid lines
and a clean look that foreshadowed Modernism.

3. Development of
Art Nouveau in Europe
The Late 19th century was a period of relative peace and prosperity in continental Europe.
Economic growth meant that large upper and upper-middle classes were generated that
could support new and experimental design.
Many of the developments of Art nouveau seemed unrelated at the time and only now
in retrospect can we see the link between the styles that emerged in France, Germany,
Spain and Scandinavian countries.
VICTOR HORTA HOUSE INTERIOR
BELGIUM
Architect Victor Horta produced an extensive body of work showing off the
qualities that are typical of art nouveau design. Examples include his own house
and adjacent office In Brussels, the designs included tiled walls and ceilings,
built in cabinets with stained glass inserts. For the staircase, the slim column
shows the acceptance of metal as a legitimate metal while the hanging light
fixtures show the possibilities of the then new electric light.

4. FRANCE
In France Art Nouveau developed in two main centre, Paris and the smaller city of
Nancy. In the latter Eugene Vallin was the designer of interiors for a house, which
included a dining room, built in woodwork of the cabinet, fireplace that are regarded as
art nouveau style. The school of Nancy included other designers such as decorative
craftsman Emile Galle.
SCHOOL OF NANCY INTERIOR
A R T N O U V E A U I N
E U R O P E

5. GERMANY
In Germany a style emerged called Judenstil was formed in 1896 which is
derived from the word youth, which was identical to the Art Nouveau
directions practiced elsewhere in Europe.
Atelier Elvira was a small two story building with overwhelmingly powerful
decoration, windows were of a curious shape as if they were made
from stems of vines.
ATELIER ELVIRA EXTERIOR & INTERIOR
A R T N O U V E A U I N
E U R O P E

6. A R T N O U V E A U I N
E U R O P E
PENDANT, CA. 1901
RENÉ-JULES LALIQUE (FRENCH)
WASHSTAND, 1904
CHARLES RENNIE MACKINTOSH
SCOTTISH DESIGNER

7. Art Nouveau spread quickly throughout Europe thanks to photo illustrated art
magazines, as well as exhibitions and advertisements.Here are some of the
remarkable arts and prints from the Art Nouveau movement.
art & prints
POSTERS BY FRANK BRANGWYN
This poster was made for Siegfried Bings exhibition L’Art Nouveau
which was held in Grafton Galleries in London 1899. Frank Brangwyn
was a prominent british Art Nouveau designer, he provided a bridge
between the simple elegance of Arts and Crafts movement and the more
dynamic character of Art Nouveau.
POSTER, 1899 BY FRANK BRANGWYN

8. art & prints
PRINT BY AUBREY BEARDSLEY
His most well known work is this illustration for Oscar Wilde’s show
Salome. His prints were in black and white ink and influenced by
Japanese art. You can recognise his style on the long curvy lines and
strong sense of visual design, often erotic and considered shocking by
many people.
THIS PRINT(1893) BY AUBREY BEARDSLEY,
ENGLAND.

9. art & prints
MAGAZINE ADVERTISEMENT BY HENRY VAN
DE VELDE
In this advertisement Van de Velde offers various materials for use in
interiors design, including papers and paints, textiles, tiles and light fixtures
which was available from his shop in Brussels. The design of the
advertisement with its flowing curves, is evidence of of Van de Velde’s
commitment to Art Nouveau.
MAGAZINE ADVERTISEMENT FOR BELGIUM ART
NOUVEAU ARTIST HENRY VAN DE VELDE AND HIS
ATELIER, 1889.

10. Art Nouveau In
Barcelona
Catalan Art Nouveau from (1878 -1910)
Art Nouveau was known as Modernisme in Catalonia, Spain. Barcelona is one of the
most outstanding cities in terms of European Art Nouveau capitals because it contains
most of Antoni Gaudí's work and that of other major Modernista architects.
The era of Modernisme left the city with a unique cultural heritage. This is proven by the
fact that no other city has as many buildings on the UNESCO World Heritage List as
Barcelona. The list for Barcelona contains nine entries, and all of them are works from
the Modernisme.
Development of Modernisme in Barcelona
The development of Modernisme in Barcelona has a political and economic background.
The Modernisme was an expression of Catalonia’s strive for independence. This is a
contrast to the art nouveau in other parts of Europe which was rather an expression of the
Zeitgeist at the time.
Modernisme in Barcelona goes beyond the work of a few specific architects, because its
industrialists and promoters also enthusiastically embraced this new style, which
transformed the formal language of architecture and took risks in the use of new
technologies while recovering old handicraft skills.
Modernisme was thus the architectural style that best defined the aims of a new
entrepreneurial middle-class who was using this new style to search for a political
identity that would differentiate it from official artistic tastes and trends.
Context of the Catalan Modernism:
During the nineteenth century, Barcelona had a large and growing number of wealthy
upper class people. In such an environment, the rich upper class used their interests and
means to promote new styles. They patronized Catalan artists and, most of all, architects
who invented their own style and thus became wealthy and popular. The construction of
buildings in the new modernist style was not only a question of prestige but also an
indicator of the Catalan patriotism of the patron.

11. LLUÍS DOMÈNECH I MONTANER
Lluís Domènech i Montaner (1850-1923) was the founder of
this movement. He often used Moorish elements in his
constructions (Casa dels tres dragons, Hospital de Santa Creu
i de Sant Pau).Lluís Domènech i Montaner also used Art
Nouveau in buildings such as the Casa Lleó Morera (1905).
JOSEP PUIG I CADAFALCH
The works of Josep Puig include Cadafalch (Casa Amatller,
next to Gaudí's Casa Battló, and the Casarramona which
today houses the CaixaForum) can be recognized by their
clear and simple lines. He was the modernist artist who could
best adjust to the epoch of Noucentisme which broke with the
playful forms of the Modernisme.
ANTONI GAUDÍ
Antoni Gaudí, played a special role in the
Modernisme due to his creativity and genious, preferred
organic forms inspired by nature (Casa Milà, Casa Batlló,
Parc Güell).
The vast extent and the extensive construction activities
in the new city part were the ideal “playground” for the
modernist architects to live their fantasies.
Representatives of the
Modernisme

12. Peculiarities of the
Modernisme
Today, there are still more than 2,000 buildings that can be attributed to the
Modernisme or that contain modernist elements.
The works of the Modernisme were viewed in the context of a nationalist
attitude that stressed the independence of Catalonia. This is why the works
contain countless hints and symbols of Catalan identity:
• Many historic forms and motives of Catalan folk art can be found in and on
buildings of modernist patrons. Some examples are the usage of the Catalan
coat of arms or the depiction of the Catalan patron Saint Jordi (George) and the
legend of George which can be found in many works by Gaudí.
• One important characteristic is the combination of forms and colors with
materials and construction methods.
• The buildings of Domènech I Montaner contain many ceramic works on the
façades. He worked a lot with forms made of steel and glass in combination
with specifically Moorish elements.
• Also, the traditional crafts were driven to perfection in the Modernisme, e.g.
the brick construction or the decorative ironwork.
• The works of Gaudí play a special role. He went beyond the boundaries of
modernism. His works are dominated by organic forms. His techniques for the
deduction of statically optimized structures were as revolutionary and
ingenious as they were simple. He used ropes to connect pillars and then
inversed the arch form resulting from the hanging rope to obtain an organic
form for e.g. a portal arch.
ART NOUVEAU IN BARCELONA IS A
WONDERFUL EXAMPLE OF THE COMBINATION
OF ARTISAN TRADITION AND RICHNESS OF
FORMS AND COLOUR THAT EXEMPLIFIES ART
NOUVEAU.

13. B A R C E L O N A
London is famous for Big Ben; Paris for the
Eiffel Tower; Rome for the Colosseum.
Barcelona, on the other hand, is not
identified by one or two famous buildings as
these other European cities, but rather by an
entire movement of turn-of-the-century
architecture known simply as Modernisme.
Familiar to others as art nouveau, its most famous
practitioner was the artist and architect Antoni Gaudi, but
the city is filled with superb examples of art nouveau in

14. 2013 H I S T O R Y O F S T Y L E G R O U P U P D A T E
The most excellent representative of the
Modernisme:Antonio Gaudí
Antoni Gaudí, architect and designer, managed to immortalize his technical solutions in
the Catalan architecture by his audacity. He was able to synthesise the modernisme
tradition with new and technical solutions. He understood how to include brilliant
plastic decorations into his buildings.His decorative architectural style is so personal that
he is sometimes considered as practising an artistic style different from Art Nouveau,
nonetheless he uses Art Nouveau's floral and organic forms.
Famous structures such as the Sagrada Familia characteristically contrast the
modernising Art Nouveau tendencies with revivalist Neo-Gothic. However, his designs
from about 1903, the Casa Batlló (1904–1906) and Casa Milà (1906–1908), are most
closely related to the stylistic elements of Art Nouveau.
Antoni Gaudí helped the Catalan architecture to worldwide fame and reputation.
Case Study

15. CASA MILA
1906-1910
FEATURES:
1. STONE MOULDINGS
2. AQUATIC LOOK
3. BOTANICAL MOTIFS
4. PATTERNS OF LEAVES
5. VEGETABLE LIKE MOTIFS
Located down the road from Casa Batlló is Casa Milà.
The building was designed and built from scratch,
from 1906 to 1910 and was Gaudí final commercial
project. Gaudí devoted a great deal of energy into
planning the façade of the Art Nouveau building,
which he made by moulding it in stone creating a
curtain wall effect, giving the building a very aquatic
look. Similar to other works by Gaudí, the balconies in
Casa Milà are designed with botanical motifs,
characterized with undulating and sinuous leaves. Two
large courtyards are pierced in the centre of the
building, which the wavy inner walls are decorated
with colourful frescoes of abstract botanical and
vegetable-like motifs.

16. Casa Batlló
1904-1906
FEATURES:
1. ORGANIC SHAPES
2. WOODEN ELEMENTS LOOK
LIKE ROOTS
3. DECORATIVE FEATURES
GROWING FROM BOTTOM
TO TOP LIKE VINES
4. ROOF RESSEMBLES
DRAGON BACK
5. COLOURFUL SCALE-LIKE
TILES
In 1904, Gaudí was hired by by Josep Batlló to
redesign the originally mundane building Casa
Batlló, known locally as Casa del los ossos
(House of Bones), which he completely
transformed inside and out. Art Nouveau elements
are expressed throughout, with detailed organic
shapes even found in the banisters and wooden
doors or the building, which look like the roots of
trees or vines. The impressive roof also resembles
a dragon’s back, which colourful scale-like tiles
cover and continue down the complex façade.

17. Park Güell
1900-1914
FEATURES:
1. ORGANIC SHAPES
2. WROUGHT IRON ENTRANCE
GATE
3. NATURE
4. ELEGANCE
5. COLOURFUL MOSAIC
ORNAMENTS
Set up at the top of a rocky hill overlooking the
city of Barcelona, Park Güell features excellent
examples of Gaudí’s Art Nouveau work. Upon
arriving in the park are wrought-iron entrance
gates designed in the shape of palmetto leaves,
which beautifully show a balance of nature and
elegance. Undulating and organic shapes go
throughout the park, which can be seen in the
serpentine bench, viaducts and walkways.

18. 2013 F O C U S
Art Nouveau Legacy Around us...
Visit to theV& A museum
Sampa & Bukky: blackfriars pub
Mia: Harrods food court
PRIMARY RESEARCH
The Patrons of this movement created a legacy by helping to develop the artists of Art
Nouveau and the Arts and Crafts movement. Through the evident works of artists like
Antonio Gaudi, Art Nouveau legacy lives on, They made a name for the modern style as
well as for the buildings. It is therefore worthwhile to go on a pilgrimage to different
sites around us, that have made the Art Nouveau movement familiar with the everyday
people.

19. HARRODS FOOD HALL
We went to Harrods food Hall to look at the Art
Nouveau Interior. As it was early in the morning and
almost no people, we could clearly see the Art Nouveau
Style and the bigger picture, the impact of the room.
We could clearly see the characteristics of Art Nouveau,
with the inspiration from wild nature, Japanese and gothic
influences, organic and curvy shapes, even ironworks and
the symbolic peacock that we talked about in the
introduction.
Something we found interesting was that in Britain a more
rectilinear style was developed but Harrods food hall looks
more inspired and similar to traditional Art Nouveau, such
as the Belgium style and the example we saw earlier by
Viktor Horta.
FEATURES:
1. WILD NATURE
2. JAPANESE AND
GOTHIC INFLUENCES
3. ORGANIC & CURVY
SHAPES
4. IRON WORKS
5. PEACOCK MOTIF

20. THE BLACKFRIARS PUB
The old pub is a wonderful historic space with lots
of marble and gold mosaic tiles. Initially, it came
across as a medieval- gothic style because of the
bright pane stained glass windows, what appeared to
be sculptures of monks and intricate friezes. There
are also relatively pronounced decorative writings in
ceramic mosaic tiles and brass panes on the exterior
that are very peculiar to art Nouveau font style.
Overall it had an old fashioned ambience, did not
have curved and organic surfaces as we expected but
we suspect this is a feature similar to the description
of art nouveau with neo- gothic influences.
FEATURES:
1. MULTI-COLOURED MARBLE
2. MOSAICS,
3. BRONZE RELIEFS
4. ELABORATE FIRE-BASKET
5. STAINED GLASS WINDOWS
6. A BEAUTIFUL ARCHED
MOSAIC CEILING

21. VICTORIA AND ALBERT
MUSEUM

22. Conclusion
Although it was truly an international phenomenon it was brief, brilliant one. An apt
crescendo to Victorian love of decoration. It was a precursor to Modernism which
emphasized function over form and minimal embellishment. It did not fade away
forever however, as it influenced Art Deco in the 1920s and 30s and posters in the
style of Art Nouveau were popular in 60s.
Thank you.