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Henry van de velde 
(3/4/1863-25/10/1957) 
Henry Clemens Van de Velde 
was a Belgian Flemish painter, 
architect and interior designer. 
Together with Victor Horta 
and Paul Hankar he could be 
considered one of the main 
founders and representatives 
of Art Nouveau in Belgium.
OEducation: Royal Academy of Fine Arts 
OPeriod: Neo-impressionism 
OStructures: Kröller-Müller Museum 
OVan de Velde spent the most important 
part of his career in Germany and had a 
decisive influence on German 
architecture and design at the beginning 
of the 20th century.
O Van de Velde was born in Antwerp, where he 
studied painting under Charles Verlat at the 
academie des Beaux-arts,antwerp (1882-84) and 
with painter Carolus Duran,paris (1884-85). 
O He worked as a painter & interior decorator in 
atwerp & brussels, 1885-94. 
O He produced his first architectural work in 
brussels,1894 i.e., he built his house for himself 
("Bloemenwerf"). 
O He designed every detail. As he never studied 
architecture and he was paying for his house, he 
could feel free from the old styles more than other 
architects.
Bloemenwerf
Henry van de velde
OThe early years of Henry van de 
Velde’s career, until he was 30, were 
spent as a painter then as an interior 
decorator. 
OAs a painter he was much influenced 
by the neo-impressionists,especially 
Seurat & Van Gogh. 
OWhen he turned to interior decoration 
he designed almost everything for 
home from tea-cups to furniture.
Henry van de velde
Henry van de velde
Henry van de velde
OHe was associated with the 
beginnings of Art Nouveau ,which 
was essentially the search for a 
contemporary non-historical style. 
OThe linear patterns so conspicuous in 
Art Nouveau designs were also 
distinctive feature of much of van de 
Velde’s furniture, decoration and 
architecture, but he made an effort to 
link them with natural forms and with 
sense of structure.
Henry van de velde
Henry van de velde
O His association of linear rythms with structure 
and lines of force is seen in his staircase 
designs & furniture, as in many of his early 
houses and in Folkwang museum at Hagen.
Stair case in 
Folkwang museum 
Hagen.
Van de Velde. Entrance 
Hall Folkwang Museum, 
Hagen (1902)
O Van de Velde’s early practice of painting & interior 
decoration & furniture design influenced his whole 
approach to architecture, so that however 
functional his building succeeded in being, there 
is always strongly present the decorative 
character with linear motifs. 
O He designed many houses several of them fairly 
large. 
O Most of his houses are heavy massive structures 
with curved forms introduced in a variety of ways 
shaped as the frequent use of elliptical &circular 
shaped dormer windows, curved roofs, curved 
porch entrances and bow windows.
Henry van de velde
O The plan of these large houses approximated 
mostly to a symmetrical arrengement of rooms on 
either side of main axis , & hall was often in the 
centre with rooms all round reached by corridor 
from entrance. 
O He sometimes used 1st floor gallery round the hall. 
O For fairly large houses this central hall proved to be 
a functional arrangement.
O One of his earliest non-domestic architectural 
works was the remodelling of the interior of the 
Folkwang Museum at Hagen, where in the 
teatment of arches, columns and capitals , 
balustrading and furniure , his introduction of 
linear forms is seen to good effect.
O He appointed the art director at Weimer n 1901, 
he founded and built the famous art school there, 
a long building with central hall flanked by long 
corridors with an elliptical staircase at rear. 
O The top floor has large studio windows, while 
flanking the centre of façade there are bow 
windows between heavy plasters. 
O It became a famous school design . 
O Van de Velde remainned its head until the First 
World War and was succeeded, on his own 
recommendation, by Walter ropius in 1919, when it 
was re-organized & became the celebrated 
Bauhaus.
Henry van de velde
Henry van de velde
O Van de Velde was a member of Deutscher 
Werkbund and took a prominent part together with 
other notable architects in Cologne Exhibition of 
1914 for which he designed a theatre(now 
destroyed). 
O This was probably his most famous building. The 
design makes a satisfactory whole with an efficient 
integration of its various parts: its is one of the 
modren theatrs where traditional sharp separation 
between the stage and auditorium by means of 
proscenium wall and arch is eliminated and whole 
is conceived as one room. 
O Curved orms like the ogival roof help to give a 
unifying rhythm to building.
Henry van de velde
O Van de Velde’s last buildning is the largest Kroller- 
Muller Museum at Otterlo. This represents a 
departure from his usual work . 
O Here are few curves and very linear emphasis; 
instead , it is a design of lage rectanglar masses, 
with plain walls and simple windows, with nicely 
calculated balance of verticals and horizontals, 
while simple columns of interior are without 
embellishment. 
O The whole creates a feeling of classic repose.
Kroller-Muller Museum 
at Otterlo
O Van de Velde was essentially an individualist who 
believed that architecture should be a matter of 
individual artistic expression. 
O He was opposed to standardization & team work. 
O When Muthesius advocated at Deutscher 
Werkbund Congress of 1911 that perfection of 
form could be reached by mathematical 
calculation , & made possible the acceptance of 
machine & of standardization, he met with strong 
opposition from Van de Velde who contended that 
an artist was always an individualist who could not 
be sebservient to rules and standards.
Five fascinating facts about Henry van de 
Velde*: 
O 1. “A line is a force” was Henry van de Velde’s 
guiding artistic principle. As a result, he worked 
primarily with lines, initially sweeping and later 
straighter. 
O 2. He was very much an all-round designer, 
painter and architect, whose repertoire ranged 
from art nouveau silver cutlery to streamlined letter 
steamers. 
O 3. Henry van de Velde exhibited works with the 
then unknown Vincent van Gogh and was among 
the first admirers of his paintings.
O 4. In Weimar, Henry van de Velde established the 
Grand Ducal School of Arts and Crafts. The school 
was closed in 1915 but became the Bauhaus 
School in Weimar from 1920 under the 
directorship of Walter Gropius. 
O 5. When the ceramics industry hit troubled times, 
Henry van de Velde was transferred to the 
Thuringian village of Bürgel at the request of the 
Duchy of Saxe-Weimar. His input gave the local 
workshops a new lease of life.
Villa Esche in Chemnitz 
(1902/1911)
Villa Quisisana in Chemnitz 
(around 1908)
Ernst 
Abbe monument in Jena 
(1909-11),
Villa Koerner in Chemnitz 
(1913/14)
Henry van de velde
WORKS 
O 1894 Hotel Otlet interiors,Brussels 
O 1896 Interiors and furnishings for Libre 
Esthetique exhibition,Brussels 
O 1897 Director’s office interiors, Ixelles, Belgium 
O 1898 Loeffler Office interiors, Berlin .Keller und 
Reiner Art Gallery interiors, Berlin. 
O Dining Room, Salon of Arts and Crafts, The 
Hague study/Workroom interiors, Secession 
Exhibition,Munich 
O 1898/99 Maison Moderne interiors, for Julius 
Meier graefe, rue Pergolese, Paris 
O 1899 Habana Company shop interiors, Berlin
O 1900 Stern House atlernations ,Berlin 
O 1901 Haby Coiffures interiors, Berlin 
O 1901/02 Folkwang Museum interiors, Hagen, 
Germany 
O 1902 Herbert Esche House, Chemnistz, now 
Karlmarxstadt, Germany 
O 1902/03 Leuring House, Scheveningen, 
Netherlands 
O 1903 Deutsche Bank Building interiors,Augaburg, 
Germany
O 1903/04 Museum of Fine arts ,Weimar 
O 1903/05 Louise Durnont Theater ,Weimar 
O 1904 Webcht Restaurant ,Weimar. 
O institute de sociologie,Parc Leopold,Brussels 
O 1904/06 Kunstgewerbeschule,Weimar 
O 1906 Boardroom, for Hagener Textilindustrie, 
Hagen ,Germany 
O 1907 Springmann House, Hagen, Germany Esche 
House, Lauterbach ,Germany 
O 1908 Monument ,Jena , Germany 
O 1909 Frose House , Hanover,Germany 
O 1910 Vicrage, Riga
O 1912 Durkheim House , weimar .Nietzsche 
Monument, Weimar 
O 1913 Baron Henneberg House, Chemnitz, 
Germany 
O 1914 Baron de Golubeff House ,Paris 
O 1921 Van de velde House , Wassenaar ,near 
Hamburg 
O 1925 Fyffes Company Offices, Rotterdam 
O 1926 Plan for Left Bank of Antwerp Schinckel- 
Blankenese House ,near Hamburg 
O 1927 “La Nouvelle Masion” Tervueren, Belgium 
O 1929 Old people’s housing ,Hanover Germany 
O 1930 Wolfers House, Brussels
O 1931 Colman/Saverys Duplex House,Zoute, 
Brussels 
O 1932 Marquis de Brion Apartment interiors , 
O 1937 Belgian Pavilion, World’s Fair ,Paris 
O 1939 Belgian Pavilion,World’s Fair , New York 
O 1939/40 Library ,University of Ghent
Henry van de velde
Henry van de velde

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Henry van de velde

  • 1. Henry van de velde (3/4/1863-25/10/1957) Henry Clemens Van de Velde was a Belgian Flemish painter, architect and interior designer. Together with Victor Horta and Paul Hankar he could be considered one of the main founders and representatives of Art Nouveau in Belgium.
  • 2. OEducation: Royal Academy of Fine Arts OPeriod: Neo-impressionism OStructures: Kröller-Müller Museum OVan de Velde spent the most important part of his career in Germany and had a decisive influence on German architecture and design at the beginning of the 20th century.
  • 3. O Van de Velde was born in Antwerp, where he studied painting under Charles Verlat at the academie des Beaux-arts,antwerp (1882-84) and with painter Carolus Duran,paris (1884-85). O He worked as a painter & interior decorator in atwerp & brussels, 1885-94. O He produced his first architectural work in brussels,1894 i.e., he built his house for himself ("Bloemenwerf"). O He designed every detail. As he never studied architecture and he was paying for his house, he could feel free from the old styles more than other architects.
  • 6. OThe early years of Henry van de Velde’s career, until he was 30, were spent as a painter then as an interior decorator. OAs a painter he was much influenced by the neo-impressionists,especially Seurat & Van Gogh. OWhen he turned to interior decoration he designed almost everything for home from tea-cups to furniture.
  • 10. OHe was associated with the beginnings of Art Nouveau ,which was essentially the search for a contemporary non-historical style. OThe linear patterns so conspicuous in Art Nouveau designs were also distinctive feature of much of van de Velde’s furniture, decoration and architecture, but he made an effort to link them with natural forms and with sense of structure.
  • 13. O His association of linear rythms with structure and lines of force is seen in his staircase designs & furniture, as in many of his early houses and in Folkwang museum at Hagen.
  • 14. Stair case in Folkwang museum Hagen.
  • 15. Van de Velde. Entrance Hall Folkwang Museum, Hagen (1902)
  • 16. O Van de Velde’s early practice of painting & interior decoration & furniture design influenced his whole approach to architecture, so that however functional his building succeeded in being, there is always strongly present the decorative character with linear motifs. O He designed many houses several of them fairly large. O Most of his houses are heavy massive structures with curved forms introduced in a variety of ways shaped as the frequent use of elliptical &circular shaped dormer windows, curved roofs, curved porch entrances and bow windows.
  • 18. O The plan of these large houses approximated mostly to a symmetrical arrengement of rooms on either side of main axis , & hall was often in the centre with rooms all round reached by corridor from entrance. O He sometimes used 1st floor gallery round the hall. O For fairly large houses this central hall proved to be a functional arrangement.
  • 19. O One of his earliest non-domestic architectural works was the remodelling of the interior of the Folkwang Museum at Hagen, where in the teatment of arches, columns and capitals , balustrading and furniure , his introduction of linear forms is seen to good effect.
  • 20. O He appointed the art director at Weimer n 1901, he founded and built the famous art school there, a long building with central hall flanked by long corridors with an elliptical staircase at rear. O The top floor has large studio windows, while flanking the centre of façade there are bow windows between heavy plasters. O It became a famous school design . O Van de Velde remainned its head until the First World War and was succeeded, on his own recommendation, by Walter ropius in 1919, when it was re-organized & became the celebrated Bauhaus.
  • 23. O Van de Velde was a member of Deutscher Werkbund and took a prominent part together with other notable architects in Cologne Exhibition of 1914 for which he designed a theatre(now destroyed). O This was probably his most famous building. The design makes a satisfactory whole with an efficient integration of its various parts: its is one of the modren theatrs where traditional sharp separation between the stage and auditorium by means of proscenium wall and arch is eliminated and whole is conceived as one room. O Curved orms like the ogival roof help to give a unifying rhythm to building.
  • 25. O Van de Velde’s last buildning is the largest Kroller- Muller Museum at Otterlo. This represents a departure from his usual work . O Here are few curves and very linear emphasis; instead , it is a design of lage rectanglar masses, with plain walls and simple windows, with nicely calculated balance of verticals and horizontals, while simple columns of interior are without embellishment. O The whole creates a feeling of classic repose.
  • 27. O Van de Velde was essentially an individualist who believed that architecture should be a matter of individual artistic expression. O He was opposed to standardization & team work. O When Muthesius advocated at Deutscher Werkbund Congress of 1911 that perfection of form could be reached by mathematical calculation , & made possible the acceptance of machine & of standardization, he met with strong opposition from Van de Velde who contended that an artist was always an individualist who could not be sebservient to rules and standards.
  • 28. Five fascinating facts about Henry van de Velde*: O 1. “A line is a force” was Henry van de Velde’s guiding artistic principle. As a result, he worked primarily with lines, initially sweeping and later straighter. O 2. He was very much an all-round designer, painter and architect, whose repertoire ranged from art nouveau silver cutlery to streamlined letter steamers. O 3. Henry van de Velde exhibited works with the then unknown Vincent van Gogh and was among the first admirers of his paintings.
  • 29. O 4. In Weimar, Henry van de Velde established the Grand Ducal School of Arts and Crafts. The school was closed in 1915 but became the Bauhaus School in Weimar from 1920 under the directorship of Walter Gropius. O 5. When the ceramics industry hit troubled times, Henry van de Velde was transferred to the Thuringian village of Bürgel at the request of the Duchy of Saxe-Weimar. His input gave the local workshops a new lease of life.
  • 30. Villa Esche in Chemnitz (1902/1911)
  • 31. Villa Quisisana in Chemnitz (around 1908)
  • 32. Ernst Abbe monument in Jena (1909-11),
  • 33. Villa Koerner in Chemnitz (1913/14)
  • 35. WORKS O 1894 Hotel Otlet interiors,Brussels O 1896 Interiors and furnishings for Libre Esthetique exhibition,Brussels O 1897 Director’s office interiors, Ixelles, Belgium O 1898 Loeffler Office interiors, Berlin .Keller und Reiner Art Gallery interiors, Berlin. O Dining Room, Salon of Arts and Crafts, The Hague study/Workroom interiors, Secession Exhibition,Munich O 1898/99 Maison Moderne interiors, for Julius Meier graefe, rue Pergolese, Paris O 1899 Habana Company shop interiors, Berlin
  • 36. O 1900 Stern House atlernations ,Berlin O 1901 Haby Coiffures interiors, Berlin O 1901/02 Folkwang Museum interiors, Hagen, Germany O 1902 Herbert Esche House, Chemnistz, now Karlmarxstadt, Germany O 1902/03 Leuring House, Scheveningen, Netherlands O 1903 Deutsche Bank Building interiors,Augaburg, Germany
  • 37. O 1903/04 Museum of Fine arts ,Weimar O 1903/05 Louise Durnont Theater ,Weimar O 1904 Webcht Restaurant ,Weimar. O institute de sociologie,Parc Leopold,Brussels O 1904/06 Kunstgewerbeschule,Weimar O 1906 Boardroom, for Hagener Textilindustrie, Hagen ,Germany O 1907 Springmann House, Hagen, Germany Esche House, Lauterbach ,Germany O 1908 Monument ,Jena , Germany O 1909 Frose House , Hanover,Germany O 1910 Vicrage, Riga
  • 38. O 1912 Durkheim House , weimar .Nietzsche Monument, Weimar O 1913 Baron Henneberg House, Chemnitz, Germany O 1914 Baron de Golubeff House ,Paris O 1921 Van de velde House , Wassenaar ,near Hamburg O 1925 Fyffes Company Offices, Rotterdam O 1926 Plan for Left Bank of Antwerp Schinckel- Blankenese House ,near Hamburg O 1927 “La Nouvelle Masion” Tervueren, Belgium O 1929 Old people’s housing ,Hanover Germany O 1930 Wolfers House, Brussels
  • 39. O 1931 Colman/Saverys Duplex House,Zoute, Brussels O 1932 Marquis de Brion Apartment interiors , O 1937 Belgian Pavilion, World’s Fair ,Paris O 1939 Belgian Pavilion,World’s Fair , New York O 1939/40 Library ,University of Ghent