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Article

Michèle Lavallée

[Fr.: ‘new art’]

Decorative style of the late 19th century and the early 20th that flourished principally in Europe and the USA. Although it influenced painting and sculpture, its chief manifestations were in architecture and the decorative and graphic arts, the aspects on which this survey concentrates. It is characterized by sinuous, asymmetrical lines based on organic forms; in a broader sense it encompasses the geometrical and more abstract patterns and rhythms that were evolved as part of the general reaction to 19th-century historicism. There are wide variations in the style according to where it appeared and the materials that were employed.

Art Nouveau has been held to have had its beginnings in 1894 or 1895. A more appropriate date would be 1884, the year the progressive group Les XX was founded in Belgium, and the term was used in the periodical that supported it, Art Moderne: ‘we are believers in Art Nouveau’. The origin of the name is usually attributed to ...

Article

Alan Crawford

Informal movement in architecture and the decorative arts that championed the unity of the arts, the experience of the individual craftsman, and the qualities of materials and construction in the work itself.

The Arts and Crafts Movement developed in the second half of the 19th century and lasted well into the 20th, drawing its support from progressive artists, architects and designers, philanthropists, amateurs, and middle-class women seeking work in the home. They set up small workshops apart from the world of industry, revived old techniques, and revered the humble household objects of pre-industrial times. The movement was strongest in the industrializing countries of northern Europe and in the USA, and it can best be understood as an unfocused reaction against industrialization. Although quixotic in its anti-industrialism, it was not unique; indeed it was only one among several late 19th-century reform movements, such as the Garden City movement, vegetarianism, and folksong revivals, that set the Romantic values of nature and folk culture against the artificiality of modern life....

Article

German, 19th – 20th century, male.

Born 14 April 1868, in Hamburg; died 27 February 1940, in Berlin.

Painter, draughtsman, engraver, architect, designer, decorative artist, graphic designer. Posters, furniture, wallpaper, carpets, glassware, ceramics, table services, jewellery, silverwork, objets d'art, typefaces.

Jugendstil, functional school.

Die Sieben (Group of Seven), Deutscher Werkbund...

Article

Helmut Börsch-Supan

In 

Article

Helmut Börsch-Supan

In 

Article

Style rooted in 19th-century antiquarian studies of ancient Celtic art in Britain and Ireland. It was a mainly decorative style and first appeared in the 1840s, remaining fashionable from the 1890s to c. 1914 and lingering on through the 1920s. Derived from the complex, intertwining, linear motifs of ancient Celtic ornament, it was employed in metalwork, jewellery, embroidery, wall decoration, wood inlay, stone-carving and textiles. The Celtic Revival was closely related to the English Arts and Crafts Movement’s aim of social and artistic reform and was part of the general upsurge of Romantic interest in the Middle Ages. Its chief characteristics were raised bosses, tightly enmeshed roundels and bands of sinuous, criss-crossing lines, similar to but more abstract than Art Nouveau designs. Sources of inspiration were such Celtic antiquities as the Tara Brooch and the Ardagh Chalice (both 8th century ad; Dublin, N. Mus.), the Battersea Shield (c. 2nd century ...

Article

Stuart Evans

English group of painters, designers and craftsmen, active between c. 1883 and 1892. It was one of the earliest Arts and Crafts groups and initiated the practice of attributing designs to individual craftsmen, which became a firm principle of the Arts and Crafts Movement. Its platform was the ‘unity of the arts’, and its aim was ‘to render all branches of art the sphere, no longer of the businessman, but of the artist’. Although output was limited and sporadic, the group had considerable influence by exhibiting its products and publishing a quarterly magazine, the Century Guild Hobby Horse (1884–92). Perhaps 20 craftsmen in all were associated with the Guild, but the only members were A. H. Mackmurdo, Herbert Horne and Selwyn Image.

The Guild’s work was mainly domestic. It offered textiles, wallpapers, furniture, stained glass, metalwork, decorative painting and architectural design, all of which were displayed at the ...

Article

Rosamond Allwood

(b Glasgow, July 4, 1834; d Mulhouse, Alsace, Nov 24, 1904).

Scottish designer, Botanist and writer. He trained at the Government School of Design, Somerset House, London, between 1847 and 1854, during which time he was strongly influenced by the design reform efforts of Henry Cole, Richard Redgrave and Owen Jones. In 1854 he began to lecture at the school on botany and in 1856 supplied a plate illustrating the ‘geometrical arrangement of flowers’ for Jones’s Grammar of Ornament. In 1857 he presented a series of lectures at the Royal Institution entitled ‘On the Relationship of Science to Ornamental Art’, which he followed up in a series of 11 articles in the Art Journal (1857–8) on the similar subject of ‘Botany as Adapted to the Arts and Art-Manufacture’. His first three books were on botanical subjects, and in 1860 he was awarded a doctorate by the University of Jena for his research in this area.

Following the International Exhibition of ...

Article

German, 19th century, male.

Born 19 November 1865, in Hamburg; died 11 June 1902, in Badenweiler.

Painter, decorative artist, illustrator, engraver, designer, ceramicist, textile designer. Portraits, landscapes, flowers. Designs for stained glass, designs for tapestries, ex-libris plates, advertising posters, fabrics, ceramics, metal objects, ironware, lamps, furniture, typefaces, jewellery, wallpaper...

Article

Damie Stillman

Architectural and decorative arts style that flourished in the USA from shortly after the acknowledgement of independence in the Treaty of Paris (1783) until c. 1820. The term is derived from the period surrounding the creation of the federal constitution in 1787 and was in use in a political sense by that year. Essentially it was a form of Neo-classicism, strongly influenced by manifestations of that style in England and, to a lesser extent, in France; but at times certain more conservative qualities inherited from the previous Colonial period are also present. The inspiration of European, and especially English, Neo-classical architecture was to be expected in a society grounded in that of 18th-century England; but an added impetus was the association often cited at the time between the fledgling American republic and the ancient Roman one.

Although a few indications of European Neo-classical influence are found in the American colonies before the Revolution began in ...

Article

Phylis Floyd

French term used to describe a range of European borrowings from Japanese art. It was coined in 1872 by the French critic, collector and printmaker Philippe Burty ‘to designate a new field of study—artistic, historic and ethnographic’, encompassing decorative objects with Japanese designs (similar to 18th-century Chinoiserie), paintings of scenes set in Japan, and Western paintings, prints and decorative arts influenced by Japanese aesthetics. Scholars in the 20th century have distinguished japonaiserie, the depiction of Japanese subjects or objects in a Western style, from Japonisme, the more profound influence of Japanese aesthetics on Western art.

There has been wide debate over who was the first artist in the West to discover Japanese art and over the date of this discovery. According to Bénédite, Félix Bracquemond first came under the influence of Japanese art after seeing the first volume of Katsushika Hokusai’s Hokusai manga (‘Hokusai’s ten thousand sketches’, 1814) at the printshop of ...

Article

German, 20th century, male.

Born 1874, in Neustadt bei Leipzig; died 1947, in Erbach/Westerwald.

Painter, draughtsman, interior designer, graphic designer. Designs (furniture, fabrics, porcelain, precious metals, jewels).

Jugendstil.

Erich Kleinhempel first trained with Oskar Haebler in his graphics studio in Dresden, then entered the Kunstgewerbeschule in Dresden, where he studied ...

Article

Helmut Börsch-Supan

German family of artists. Christian Wilhelm Kolbe (c. 1715–1800) lived in Berlin where he made embroideries worked in gold thread; his brother Johann Diederich Kolbe (d 1786) was a goldsmith. Christian Wilhelm’s wife came from a Huguenot family, and their two sons Christian Friedrich Kolbe (b 1758), who was an embroiderer working in gold thread, and (1) Carl Wilhelm Kolbe (i) grew up in an atmosphere steeped in French culture. Carl Wilhelm’s son was (2) Carl Wilhelm Kolbe (ii), the most important representative of the Romantic history painting movement in Berlin, and a relation by marriage to Daniel Chodowiecki, who influenced his career. Johann Diederich’s son, Heinrich Christian Kolbe (1771–1836), was a painter in Düsseldorf, whose realistic portraits were executed in a Neo-classical style that he alone employed after the appointment of Wilhelm Schadow as Director of the Staatliche Kunstakademie in 1826...

Article

British, 19th – 20th century, female.

Born 5 November 1864, in Tipton (Staffordshire); died January 1933, in London.

Painter, watercolourist, draughtswoman. Decorative designs, stylised figures and vegetation. Gesso panels, metalwork, textiles.

Art Nouveau.

Glasgow School.

Margaret Macdonald moved to Glasgow with her family in 1890 and enrolled in the Glasgow School of Art with her sister Frances. There they met Charles Rennie Mackintosh and James Herbert McNair. In the mid-1890s, Margaret and Frances left to establish their own studio. Margaret worked in a variety of media including watercolours, metalwork, textiles, embroidery and gesso panels, often collaborating with her sister. Their work was exhibited during the fifth exhibition of the Arts and Crafts Society in London in ...

Article

Alan Powers

Stylistic term applied to the revival in the UK in the late 19th century and the 20th of the classical Georgian style of domestic architecture and interior and furniture design from the period 1714–1830. Similar, contemporary revivals of late 18th- and early 19th-century Georgian colonial styles also took place in such countries as the USA and Australia (see Colonial Revival). Neo-Georgian was one of the most popular architectural styles in the UK between 1900 and 1930; it continued to be employed despite the advent of Modernism, and in the 1980s a new phase of popularity began, stimulated by the anti-modernist, eclectic and pluralist trends of Post-modernism.

The origins of the Neo-Georgian style can be found in the 1860s. The house (1860–62; destr.) at 2 Palace Green, Kensington, London, designed for William Makepeace Thackeray by Frederick Hering (1800–69), who drew on Thackeray’s sketches, was an early, isolated example reflecting a literary interest in the 18th century. Another precursor is ...

Article

Rococo  

Richard John and Ludwig Tavernier

A decorative style of the early to mid-18th century, primarily influencing the ornamental arts in Europe, especially in France, southern Germany and Austria. The character of its formal idiom is marked by asymmetry and naturalism, displaying in particular a fascination with shell-like and watery forms. Further information on the Rococo can be found in this dictionary within the survey articles on the relevant countries.

Richard John

The nature and limits of the Rococo have been the subject of controversy for over a century, and the debate shows little sign of resolution. As recently as 1966, entries in two major reference works, the Penguin Dictionary of Architecture and the Enciclopedia universale dell’arte (EWA), were in complete contradiction, one altogether denying its status as a style, the other claiming that it ‘is not a mere ornamental style, but a style capable of suffusing all spheres of art’. The term Rococo seems to have been first used in the closing years of the 18th century, although it was not acknowledged by the ...

Article

Aleksandr U. Grekov

Russian estate lying 18 km from Smolensk. It was acquired in 1893 by Prince Vyacheslav Tenishev (1843–1903) and his wife Mariya Tenisheva. In the 19th century and the early 20th Princess Tenisheva, with the help of her husband’s capital (he was a leading industrialist and businessman), turned Talashkino into a unique artistic centre in the forefront of the revival of peasant handicrafts. She founded various workshops for joinery, ceramics, wood-carving, wood painting, metal chasing and fabric dyeing, where local craftsmen and apprentices from the peasantry worked under professional artists. They manufactured different objects for everyday life, including towels, clothes, wooden bowls, plates and toys. This took place in the context of the mutual enrichment of folk crafts and professional Art Nouveau in Russia at that time. Tenisheva formed a large collection of objects from traditional folk life, and of artistic products. Originally they were housed on the estate, where a museum, Russkaya Starina (‘Russian antiquity’), was opened to all in ...