Art Nouveau & Arts and Crafts Movement Flashcards
Art Nouveau
1899 - 1914 (Paris Exposition - WWI)
style not a movement
inspiration from uruly aspects of natural world - sinous curves, flowing line
looser sexuality, new woman rejected ideals of feminitity, domesticity, subservience
precursor to modernism
Gesamtkunstwerk
Total work of art
Hotel Tassel, Belgium, 1893
Louis Sullivan
Golden Door, Transporation Building
Chicago, 1893
terra cotta blocks, constrained
interest in ornament, highly decorative, repeated form
Louis Sullivan, Adler & Sullivan
Guaranty (Prudential) Building
Buffalo, NY, 1895
highly decorative
Probably designed by Clara Driscoll, Poppy Shade
Executed by Alice Gouvy
Study for a Poppy Shade, 1900
Glass pre-1906, Cushion base designed pre-1903
“Tiffany Girls” stike forces Tiffany to hire women
strict rule 1) unmarried 2) divorced 3) widowed
working for less than men
Driscoll works for Tiffany 3 seperate times in her life
Clara Driscoll with Alice Gouvy, Tiffany Studios
Butterfly Shade and Primrose Mosaic Base, 1898
difference from painted, rigid lines of Gothic stain glass
no rigid lines, breaking the plane
naturalistic ornament
women not constrained to the home = new woman
Louis Comfort Tiffany
Punch Bowl with 3 Laddles, favrile glass, silver, 1900
Tiffany Glass & Decorating Company, Vase
carved, cut, engraved favrile glass, 1895-98
undulating curves, naturalistic ornament
George Ohr
Pitcher with Snake, earthenware
1895 - 1900
altered states of life, metamorphis forms
Gorham Silver Company, Ewer and Platter, silver, 1901
William C. Codman designer, Gorham Manufacturing Company
Martele Dressing Table & Stool, silver, glass, fabric, ivory, 1899
hammering technique, effect of moving, many curves
altered state of being - shows development and process
Louis Comfort Tiffany
Peacock Mosaic
Entrance Hall, Havemeyer Residence
1892
Arts & Craft & American Renaissance
Louis Comfort Tiffany and others
Library or “Rembrandt Room” Havemeyer Residence
unidentified landscape, Chinese bronze jars, Tiffany lamp
1892
British Arts and Crafts Movement
return to the handicraft, traditional techniques
anxities about industrial life, critique of industrial labor, modern machines replacing workers, wanted to advance designer as craftman
derived from philospical works of A.W.N. Pugin, John Ruskin
improve standards of decorative design
American Arts and Crafts Movement
Closely aligned with work of William Morris & 2nd generation of architect-designers in England
British ideals disseminated through journals, newspapers, societies, lectures
diverse due to many cities and individuals, regional differences
John Ruskin
advocated medieval architecture as model
honest craftmanship and quality materials
Influencer for British Arts & Craft Movement
had major problems with capitalism
A.W.N. Pugin
early writings promoted Gothic Revival
apprehension about industrialization
influencer for British Arts & Craft Movement
William Morris
Believed industrialization alienated labor
dehumanizing distance between designer and manufacturer
strove to unite all the arts within decoration of the home
emphasized nature and simplicity of form
return to workshop design, historically inspired aesthetic
Gustav Stickley
emulated William Morris’ production through guild manufacture of his furniture
thought mass produced furniture was poorly constructed, overly complicated design
set out to improve American taste through craftsman or mission furniture
designs governed by honest construction, simple lines, quality materials
Arts & Crafts Publications
The Craftsman, House Beautiful, Ladies Home Journal
disseminated ideas about design and interiors
decorating suggestions -
use of colors, type of furniture, decorative accesories
Ideal Arts & Craft home
open-planned interior
shaped by color palette reflected by the natural environment
Grueby Pottery
innovative interpretation of nature and craftmanship
founded by William Grueby
known for naturally shaped vessels with matte green glaze
Frank Lloyd Wright
new way of living - completely designed environments
New style of architecture: Prairie School -
low-pitched roofs, open interiors, horizontal lines to reflect prairie landscape
utilized natural materials - wood, clay, stone
“organic” architecture indebted to nature
interior as a total work of art
Samuel Colman and Louis Comfort Tiffany
Table for the Music Room, Havemeyer Residence
stained opalescent glass
1890-92
Havemeyer
American Renaissance
Advertisement for Sussex Rush Seated Chairs
Morris and Company
1865
William Morris
Acanthus wallpaper
1874
block-printed, requires 36 wood blocks treated as stamps applied individually to create unified scheme, no need for perfection
required lots of time
Arts and craft
