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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

Anne Pastori Zumbach

(b Lausanne, Aug 18, 1872; d Lausanne, Oct 11, 1957).

Swiss draughtsman, painter and illustrator. He began his career as an apprentice banker but abandoned this to study music and languages in Dresden, and then painting at the South Kensington School of Art, London (1895). In 1896 he went to Paris where he took courses in anatomy and became the pupil of Luc Olivier Merson and possibly of Whistler. In 1897 he entered the Ecole des Beaux-Arts but continued to frequent Merson’s studio. At the end of 1899, after a short stay in Bavaria, Auberjonois went to Florence, where he passed several months studying and copying the paintings of the Old Masters and painting the Tuscan landscape. Returning to Paris in 1901, he began to work independently, exhibiting for the first time at the Salon in Paris and at the Exposition Nationale Suisse des Beaux-Arts in Vevey. From 1901 to World War I he lived alternately in Paris and in Switzerland....

Article

Simon Wilson and Lin Barton

(Vincent )

(b Brighton, Aug 21, 1872; d Menton, March 16, 1898).

English draughtsman and writer. He was brought up in Brighton, in genteel poverty, by his mother. She gave her children an intensive education in music and books, and by the time he was sent to boarding-school at the age of seven Beardsley was exceptionally literate and something of a musical prodigy. He was also already infected with the tuberculosis that eventually killed him. There is evidence that his talent for drawing was highly developed by the age of ten, and he was subsequently encouraged by his housemaster at Brighton Grammar School, Arthur William King. Beardsley left school at the end of 1888, and in January 1889 became a clerk at the Guardian Life and Fire Insurance Company in the City of London. Attacks of haemorrhaging of the lungs forced him to abandon his job at the end of 1889. On the strength of a short story sold to Tit Bits...

Article

(b Salzburg, May 1, 1753; d Prague, June 25, 1829).

Austrian painter, printmaker, draughtsman, illustrator and teacher, active in Bohemia. He was taught by his father, the sculptor and painter Josef Bergler the elder (1718–88), and, during his stay in Italy, by Martin Knoller in Milan and Anton von Maron in Rome. An accomplished portrait painter, he was employed as official painter by bishops and cardinals at Passau and painted a number of altarpieces in Austria and especially in Bohemia. He helped establish the Academy of Fine Arts, Prague (1800), which placed a new emphasis on draughtsmanship, composition and Classical subjects and models. As the first Director of the Academy, Bergler won new academic prestige for art in Bohemia and, for himself, a privileged position in obtaining commissions such as the Curtain at the Estates Theatre (sketches, 1803–4; Prague, N.G., Convent of St Agnes). He also published albums of engravings intended as models (Compositions and Sketches...

Article

Luis Enrique Tord

(fl mid-19th century).

?French draughtsman and lithographer active in the USA and Peru. He lived briefly in the USA, where in 1852 he published a book containing 32 woodcuts depicting American working-class figures. Later he moved to Lima, the capital of Peru, where he published two albums of hand-coloured lithographs, Recuerdos de Lima...

Article

(b Amarante, Sept 16, 1872; d Oporto, March 31, 1930).

Portuguese painter, draughtsman and illustrator. He was brought up in an orphanage in Oporto, where he attended the drawing class of the Escola de Belas-Artes; there he was a pupil of António Soares dos Reis and then studied painting from 1890 to 1896. In 1897 he went to Paris with a grant from the Marquês de Praia e Monforte. From 1897 to 1899 he attended the Académie Julian, where he was a pupil of Jean-Paul Laurens and Benjamin Constant. The Parisian fin-de-siècle ambience helped form his style. The influence of Pierre Puvis de Chavannes, Eugène Carrière and the Symbolism of Edvard Munch were important in his work. In his first major painting, the triptych Life (1899–1901; Vila Nova de Famalicão, Fund. Cupertino de Miranda), Carneiro developed his personal vision of Symbolism on the theme of hope, love and saudade (longing or nostalgia), inspired by Puvis de Chavannes and with the crisp, sweet drawing and pale colours of that artist....

Article

(b Middlesex, Oct 21, 1812; d London, March 27, 1855).

English architect. He was articled to John Blyth (1806–78), a little-known London architect, who encouraged him to pursue his interest in ecclesiastical architecture. He studied the books of John Britton, A. W. N. Pugin and others and visited medieval buildings. In 1830 he exhibited a design for a cathedral transept at the Royal Academy. His earliest executed ecclesiastical commissions were the churches of St Stephen (1843–4; destr.) and St Andrew (1844–6) in Birmingham. St Andrew’s is in correct 14th-century style, with a deep chancel, and is very much in the manner of Pugin, of whom Carpenter was a friend and close follower. Carpenter was the favourite architect of the Cambridge Camden (later Ecclesiological) Society. His best-known churches are St Paul’s (1846–8), Brighton, Sussex, and St Mary Magdalene’s (1849–52), Munster Square, London, which The Ecclesiologist called ‘the most artistically correct new church yet consecrated in London’. Neither received the tall spire designed for it. Carpenter also made some sensitive and learned restorations, including Chichester Cathedral, W. Sussex (...

Article

Gordon Campbell

Article

Scott Wilcox

(b Dickleburgh, Norfolk, Aug 10, 1800; d London, July 24, 1868).

English painter and illustrator. From the age of 14 Cattermole worked with his brother Richard (?1795–1858) for the antiquarian John Britton, producing architectural drawings. This training equipped him with a repertory of accurate architectural backgrounds, and from the later 1820s his work shifted from delineations of historic buildings to imaginative depictions in watercolour of episodes from literature and history and genre subjects with historical settings. He became the foremost historical watercolour painter, recreating the medieval, Elizabethan and 17th-century past. The intimate history pictures of Richard Parkes Bonington were undoubtedly influential, while Cattermole’s bold and loose handling of watercolour owed much to David Cox, an admirer of his work. As an illustrator, his works included The Great Civil War of Charles I and Parliament (written by his brother Richard and published in two volumes in 1841 and 1855) and Evenings at Haddon Hall (1846). He also contributed illustrations to some of the novels of his friend ...

Article

[CESCM]

French organization founded in Poitiers in 1953. The Centre d’études supérieures de civilisation médiévale (CECSM) is affiliated with the Université de Poitiers, the Centre national de la recherche scientifique (CNRS), and the Ministère de la Culture et de la Communication. The founders, among them historian Edmond-René Labande and art historian René Crozet, began CESCM as a month-long interdisciplinary study of medieval civilization, inviting foreign students to participate. CESCM has since developed into a permanent organization but maintains the international and interdisciplinary focus of its founders.

CESCM continues to hold its formative summer session, known as ‘Les Semaines d’études médiévales’, and invites advanced graduate students of all nationalities. The summer session spans two weeks and includes sessions on a variety of topics, each conducted by a member or affiliate of CESCM. CESCM supports collaborative research groups and regularly holds colloquia attended by the international scholarly community.

Since 1958 CECSM has published ...

Article

(b Danzig [now Gdańsk], Jan 22, 1873; d Frankfurt am Main, Dec 23, 1942).

German painter, illustrator, designer, teacher and architect. He studied painting at the Hochschule für Bildende Künste, Dresden (1891–6), under Leon Pohle (1841–1908), Georg-Herman Freye (1844–1921) and F. W. Pauwels (1830–1904). After producing monumental altarpieces and murals he took up book illustration and poster design. By 1899 he was actively involved in the Dresden craft workshops, with designs for furniture, commercial art and wallpaper. He was recognized widely for the quality of his posters and typography. He took part successfully in the Deutsche Kunstausstellung (Dresden, Städt. Ausstellungshalle) in 1899 and the Heim und Herd exhibition (1899–1900), Dresden. In 1903 he moved from Dresden to the artists’ colony at Matildenhöhe, near Darmstadt, designing furniture for the Blaues Haus. His typographic work on the catalogues for the exhibitions of 1904 and 1905 of the Darmstadt artists (see Darmstadt) and his posters and advertisements for Bad Nauheim in ...

Article

Paul Nicholls

(b Milan, May 20, 1852; d Milan, Jan 23, 1917).

Italian painter, printmaker, illustrator and architect. Although he was the nephew of the painter Mauro Conconi (1815–60), he studied architecture at the Accademia di Brera and the Scuola Politecnica in Milan. His pictorially imaginative approach reflected the artistic ideals of the contemporary Italian writer Giuseppe Rovani. Despite having failed in his first competition, Conconi embarked in 1876 on an architectural project for Palazzo Marino, Milan, together with the architect Guido Pisani Dossi. Courtyard of the Palazzo Marino, an evocative etching conceived as part of the project (untraced; see Giolli, pl. xxxv), was shown in 1877 at the Brera exhibition in Milan and also at the Salon in Paris, through the architect Luca Beltrami, who was resident there at that time. After collaborating briefly in the construction of the Palazzo Turati in Milan, Conconi entered two competitions for public monuments: the first, in 1880, to commemorate the Milanese anti-Austrian uprising of ...

Article

Michel Melot

[Poiré, Emmanuel]

(b Moscow, 1859; d Paris, Feb 26, 1909).

French draughtsman and illustrator. Born into a French family in Moscow, he was the grandson of a squadron leader in Napoleon’s Guides who had remained in Russia after being wounded in the Battle of Moscow. He left Russia in 1878 and enlisted in the French army in Paris. After designing uniforms for the army, he worked on the Chronique parisienne in 1880 and then on a number of other French as well as American, Italian and Russian magazines. He adopted as his pseudonym the Russian word for pencil (‘karandash’) and specialized in amusing military scenes, some of which were published in Nos soldats du siècle (1890). His ‘Lundis’ in Le Figaro, a series of satirical drawings that appeared each Monday from 1899, were particularly celebrated and many of his satirical plates on the Dreyfus affair appeared there. He also co-founded with Jean-Louis Forain the anti-Dreyfus weekly satirical journal ...

Article

Charlotte Moser

(b Utica, NY, Sept 26, 1862; d Florence, Oct 24, 1928).

American painter and illustrator. He first trained as an architectural draughtsman at the Academy of Design, Chicago (1878). After studying briefly at the Art Institute of Chicago, he went to New York, where he attended the Gotham School and the Art Students League (1886–8). By 1887 he was working as an illustrator for Century magazine. A realist landscape painter in the 19th-century academic tradition, he was influenced by the painters of the Hudson River school and particularly by the luminist, dream-like landscapes of George Inness.

Around 1900 Davies’s paintings became Symbolist in style, with the introduction of mystical nude figures in the landscape, as in Meeting in the Forest (1900; Montclair, NJ, A. Mus.) and Autumn—Enchanted Salutation (1907; Philadelphia, PA, Mus. A.). Themes combining Classical figures and landscape, which evolved in a mythical classicist style reminiscent of the work of Puvis de Chavannes, typified Davies’s work throughout his career. Increasingly drawn to ancient art and Greco-Roman civilization, he eventually identified the archaic with modernism, for example in ...

Article

Silvia Lucchesi

[Marius Pictor]

(b Bologna, Sept 8, 1852; d Venice, March 18, 1924).

Italian painter, photographer, architect and illustrator. He trained initially as a musician and only later became a painter, studying (1872–8) at the Accademia di Belle Arti in Bologna under the history and portrait painter Antonio Puccinelli (1822–97). He made several short trips to Paris and London before moving to Rome where he became friends with Vincenzo Cabianca (1827–1902), a plein-air painter, and joined the group founded by Nino Costa, In Arte Libertas (see Rome, §III, 7). He made his name in 1885 when he exhibited 18 paintings at the group’s first exhibition. In the 1880s he experimented with photography, and in certain cases photographs acted as preliminary stages for his paintings. In 1892 he settled definitively in Venice and two years later adopted the pseudonym ‘Marius Pictor’. His work expressed the romantic and literary climate of the fin-de-siècle, and his painting is linked with the work of such writers as Charles Baudelaire and Edgar Allan Poe. De Maria’s work derives from flower painting and from the painting of Alexandre-Gabriel Decamps; brushstrokes are carefully built up, and rough, chalky colour is thickly applied. He was extremely skilful in his manipulation of colour and light to express the richness of his imagination. He liked to create evocative images and to represent the most fantastic and unusual aspects of nature, as in the famous painting the ...

Article

Marcus Whiffen

Late 19th-century style of American architecture and furniture. It owed its name to the furniture designs of Charles Locke Eastlake (see Eastlake family, §3), which became widely known because of his book Hints on Household Taste in Furniture, Upholstery and Other Details, first published in London in 1868 and in Boston, MA, in 1872. The book was an immediate success in the USA, and six more American editions appeared in the next eleven years. In the preface to the fourth English edition (1878), Eastlake wrote of his dismay at finding ‘American tradesmen continually advertising what they are pleased to call “Eastlake” furniture …for the taste of which I should be very sorry to be considered responsible’. Eastlake-style furniture of the 1870s by such firms as Mason & Hamlin was decorated profusely with heavily carved Gothic ornament, whereas Eastlake’s own furniture had decoration that was simpler and more sparingly applied to emphasize function....

Article

David Leatherbarrow

(b London, 1771; d London, Dec 1843).

English architect, writer and illustrator. A brilliant draughtsman, speculative archaeologist and an avid reader of ancient myth, he was one of England’s most remarkable visionary architects. His career began in 1787, when he was apprenticed to James Wyatt. Two years later he entered the Royal Academy Schools, London, and won the Silver Medal in his first year and the Gold in the next. He then left for Italy, where he visited all the important Classical sites as well as less well-known sites in the Roman Campagna. He usually travelled with painters and architects, most often with C. H. Tatham and G. A. Wallis (1770–1847). Gandy won a special medal in an Accademia di S Luca competition in 1795 but was forced to return to London in 1797 because of the advance of Napoleon’s army into Italy and the bankruptcy of his financial supporter John Martindale.

Gandy was unable to set up an architectural practice when he returned to England owing to financial difficulties and worked for ...

Article

Douglass Shand-Tucci

(Grosvenor)

(b Pomfret, CT, April 28, 1869; d New York, April 23, 1924).

American architect and illustrator. In 1892–1913 he worked in partnership with Ralph Adams Cram, designing a remarkable series of Gothic Revival churches. His later work, in a variety of styles, culminated in the Nebraska State Capitol, a strikingly original design.

In 1884 Goodhue moved to New York, where he entered the office of Renwick, Aspinwall & Russell as an office boy. In 1891 he won a competition to design a proposed cathedral in Dallas but joined the office of Cram & Wentworth in Boston as chief draughtsman and informal partner. The following year Goodhue became a full partner in Cram, Wentworth & Goodhue, which, after the death of Charles Wentworth (1861–97) and his replacement by Frank Ferguson (1861–1926), became in 1898 Cram, Goodhue & Ferguson.

Before Goodhue’s arrival, Cram & Wentworth had already begun work on All Saints at Ashmont, Boston, their first major work. The final design clearly derives from their earlier proposal of ...

Article

Phillip Dennis Cate

(b Lausanne, May 25, 1841; d Paris, Oct 23, 1917).

French illustrator, decorative artist and printmaker of Swiss birth. Before arriving in Paris in the autumn of 1871, Grasset had been apprenticed to an architect, attended the Polytechnic in Zurich and travelled to Egypt. In Paris he found employment as a fabric designer and graphic ornamentalist, which culminated in his first important project, the illustrations for Histoire des quatre fils Aymon (1883). Grasset worked in collaboration with Charles Gillot, the inventor of photo-relief printing and an influential collector of Oriental and decorative arts, in the production of this major work of Art Nouveau book design and of colour photomechanical illustration. Grasset used a combination of medieval and Near Eastern decorative motifs to frame and embellish his illustrations, but most importantly he integrated text and imagery in an innovative manner which has had a lasting influence on book illustration.

In 1881 he was commissioned by Rodolphe Salis to design furnishing in a medieval style for the latter’s new Chat Noir cabaret in Montmartre. This project brought him in direct contact with Montmartre avant-garde artists such as Adolphe Willette, Théophile-Alexandre Steinlen, Henri Rivière and Henri de Toulouse-Lautrec. Grasset’s numerous posters include ...