Art Nouveau

« L’hôtel Tassel : maison portrait d’un collectionneur », in Liber amicorum Françoise Aubry, Bruxelles, s.e., 2018.

This study try to recollect the important collection of Japanese prints, Tsubas and artefacts owned by Emile Tassel who commission a house to Victor Horta. On that basis the links between Japanese Art and Art nouveau and between the Architect and his client are studied.

Archaic Modernism is the second monographic retrospective dedicated to Christophe Spzajdel. Back in 2018 Szpajdel commissioned Archaeological Records to cure the biography, critic essay and logo selection for his new anthology of logos. Together with the author we decided to narrate his most recent production – the body of work made after the release of the book 'Lord of the Logos' (Gestalten, 2010) – as an evolution of his original Depresiv'Moderne and Winterstijl calligraphic styles in the one named Archaic Modernism. Archaic Modernism is an ideal synthesis of his career as graphic designer.

https://www.arllfb.be/composition/membres/basch.html

Les arts du Japon ont révolutionné l’esthétique du XIXe siècle. Quand il créa en 1872 le mot « japonisme » qui devait s’imposer dans toutes les langues, l’historien de l’art Philippe Burty n’en proposa qu’une définition négative en récusant le critique qui traita son invention de « caprice de dilettante blasé ». L’identification de son contradicteur, Jules-Antoine Castagnary, permet de mieux situer la naissance du « japonisme » dans son contexte littéraire, artistique, savant et politique.
Une autre découverte figure en annexe de cette article : la description par Ernest Chesneau, en 1868, du « jeu japonais » que Marcel Proust associa à l’épisode de la madeleine dans Du côté de chez Swann.

The arts of Japan revolutionized the aesthetics of the 19th century. When, in 1872, he coined the word « Japonisme » which was to become established in all languages, the art historian Philippe Burty offered only a negative definition, challenging the critic who called his invention « the whim of a blasé dilettante ». The identification of his opponent, Jules-Antoine Castagnary, allows us to better situate the birth of « Japonisme » in its literary, artistic, scholarly and political context.
Another discovery is appended to this article: Ernest Chesneau’s 1868 description of the « Japanese paper game » that Marcel Proust associated with the madeleine episode in Swann’s Way.

Este documento inclui o resumo, o índice e a bibliografia da dissertação "René Lalique: o Artista, o Místico e o Empreendedor", apresentada no ISCTE-IUL em dezembro de 2018 para obtenção do grau de Mestre em Mercados da Arte. A dissertação completa está disponível em: https://repositorio.iscte-iul.pt/handle/10071/17130 This document includes the abstract, index and bibliography of the dissertation "René Lalique: the Artist, the Mystic and the Entrepreneur", presented at ISCTE-IUL on december 2018 to achieve the degree of Master in Art Markets. The complete dissertation is available at: https://repositorio.iscte-iul.pt/handle/10071/17130

Alice Davis Hitchcock Award for 1992, Society of Architectural Historians.
Most Outstanding Book in Architecture and Urban Planning, Professional and Scholarly Publishing Division, Association of American Publishers, Inc., 1991.
International Architecture Book Award, American Institute of Architects, 1992: "This is magisterial history with a grand sweep, an eye for detail and a determination not to simplify.  If Modern architecture in Italy over five generations was complex, paradoxical and full of counter-tendencies in any one architect, then these are lovingly pulled apart and exposed.""

In May 1899, the town of Como inaugurated an universal exhibition organized for the centenary of the invention of the battery by Alessandro Volta. The exhibition, set up in honour and celebration of an illustrious citizen of Como, was not focused on electricity alone, but also on decorative arts and the silk and furniture industry, including a special section of artistic objects from the territories of the Diocese of Como curated by Santo Monti, author a few years later of a pioneering study on the arts in Northwestern Lombardy. The operation resonated with national and international press: a congress of electricians was presented at the exhibition, anticipating the famous international symposium of physics that would be held in Como in 1927 with the participation of, among others, Fermi, Marconi and many Nobel prizes in a changed political and cultural context. The exhibition halls, designed by engineer Eugenio Linati, occupied much of the area then destined to become a public garden, on which the first museum dedicated to Volta's work, the Tempio Voltiano, was founded in 1928. The exhibition architectures were characterized by a magniloquent style in a fusion of classical, allegorical , eclectic elements, in order to provide a valuable framework for the public rituals of the inauguration in presence of King Umberto I and Queen Margherita. Mostly destroyed by a fire, from which the hall of Belle Arti survived, the exhibition buildings were quickly reconstructed and reassembled. This paper explores the multiple aspects of the great exhibition, from the architecture of buildings to the media propaganda (posters, periodicals, etc.) and investigates the connection between the promotion of historical and artistic studies on the territory, the heritage preservation, the decorative and industrial arts ranging from the eclectic style to Art Nouveau.

Izložba Etnografski muzej-palača s potpisom organizira se povodom završetka obnove Etnografskog muzeja kojom je rekonstruirana dekoracija pročelja ove građevine. Jedina u secesijskom stilu namjenski podignuta muzejska zgrada u Hrvatskoj time je dobila izgled koji joj je podario njezin arhitekt Vjekoslav Bastl početkom 20. stoljeća. Cilj je ove izložbe prikazati, s jedne strane, povijest izgradnje zgrade koja je prvotno udomljavala Trgovačko-obrtnički muzej, a s druge njezinu recentnu obnovu kroz arhivske projekte, stare fotografije, fotografsku i drugu dokumentaciju te artefakte.

Doctoral Thesis on Vegetal Ornamentation and Leisure Architecture of the Art Nouveau in Barcelona

The doctoral thesis, “Vegetal ornamentation and leisure architecture in the Barcelona of 1900”, deals specifically with the decorative programmes containing vegetal motifs used in typologies of public architecture destined to leisure in the city of Barcelona. Leisure architecture in Modernism corresponds to six architectural typologies: establishments for eating and drinking; boarding houses and hotels; theatres; entertainment spaces; cinemas, and sports facilities. The decorative programmes containing vegetal ornamentation used in leisure architecture reflect two tendencies: firstly, historicism-eclecticism, and secondly, naturalism-symbolism versus Art Nouveau. This paper lays down a comparative framework with Paris, the European capital of culture and artistic excellence, which Barcelona intended to reflect. The research takes a multidisciplinary approach that interrelates ornamental art with botany.

Plusieurs petites coupes en forme de fleur de lotus signees Galle sont en general mises en relation avec l'influence egyptisante sur l'art du maitre verrier nanceien dans les annees 1890. Elles sont en fait produites plus tardivement, apres sa mort, alors que l'usine etait dirigee par son gendre, Paul Perdrizet : archeologue lui-meme, il fit de nombreux sejours en Egypte et demanda aux artistes Galle de realiser des modeles de vases inspires par l'Egypte antique.

As this is primarily an educational/informational paper for Japanese porcelain collectors, primarily Noritake and Nippon era export porcelains, I felt it essential to illustrate as many features of Art Nouveau, Rococo and/or Arts and Crafts, as I could.  My goal was for me to better understand these relationships and, more importantly, the influences shared globally that shaped Art Nouveau and traditional and export porcelains produced in Japan.

In this article I shall examine Oriental-style synagogues built in Austria-Hungary during the second half of the nineteenth century in the context of the architectural and cultural history of Hapsburg lands, putting forward three theses: (1) Oriental styles fit in well with aniconic, anti- material concepts in Judaism; (2) Oriental modes also neatly match with certain ideas about Hungarian national identity – a common denominator between Hungarian and Jewish identity; (3) there is an important correlation between the idea of light cladding of the surface in some Moorish-style synagogues and the subsequent output of the Secession and some other Art nouveau movements in Central Europe

Alfred Le Chatelier et l’Atelier de Glatigny -
Cet article parle d’Alfred Le Chatelier et de son intérêt pour la céramique, démontré en particulier par la création d’un atelier à Glatigny (Le Chesnay), près de Versailles, fondé en 1897 et fermé en 1902. L’atelier était spécialisé dans la recherche et la production de porcelaine et de grès artistiques de haute qualité à des prix accessibles, avec la collaboration d’un certain nombre de scientifiques importants, et d’artistes qui, malheureusement, ont dû choisir de rester anonymes. Pour certains d’entre eux il est proposé quelques noms possibles.

Alfred Le Chatelier and the Atelier de Glatigny -
This paper discusses Alfred Le Chatelier and his interest in ceramics, shown particularly by the creation of an atelier at Glatigny (Le Chesnay), near Versailles, founded in 1897 and shut in 1902. The atelier specialised in the research and manufacture of high-quality artistic porcelain and stoneware at accessible prices, with the help of a number of leading scientists, as well as artists who, unfortunately, were chosen to remain anonymous. Some possible identifications are proposed.

Статья посвящена судьбе художника Льва Николаевича Петухова (1888–1921), талантливого графика и иллюстратора эпохи модерна, прожившего короткую жизнь и почти полностью выпавшего из культурной памяти. Публикуется его жизнеописание, написанное сестрой Татьяной Петуховой,—первая и пока единственная биография художника. Рассматривается проблема, был ли Лев Петухов лишь одним из многих графиков «второго эшелона» первых десятилетий ХХ века или же он полностью сформировавшийся художник со своим индивидуальным стилем, достойный занять особое место в истории отечественного искусства. Внимания заслуживает вероятная связь творчества Петухова с художественной манерой другого художника периодических изданий Петербурга-Петрограда 1910-х годов—Сергея Лодыгина; остается открытым вопрос, оказал ли этот более известный художник, как и другие коллеги по редакционной работе, определяющее влияние на творчество Петухова, или же стилистическое сходство их работ тех лет объясняется только духом времени и общей художественной модой эпохи. The is the first biography of Lev Petukhov (1888–1921), a Modernist graphic artist and illustrator whose brief career has long been neglected, if not, forgotten. Central to the account, written by his sister Tatiana, is the question as to whether Petukhov was just another “secondary” graphic artist of the 1910s–1920s or whether he developed an individual style granting him a special place in the pantheon of Russia art. Of particular concern is Petukhov’s probable connection with another artist much involved in St.Petersburg periodical design of the 1910s, i.e. Sergei Lodygin, although whether the former influenced the latter directly is open to debate, the apparent stylistic parallels being explained perhaps simply by the spirit and vogue of the time. Link: https://brill.com/view/journals/expt/27/1/article-p224_10.xml

В статье освещена история строительства загородного дома Агафона Фаберже в Осиновой роще (Левашове). Предпринята попытка формирования целостного представления о здании, систематизации истории его создания. Особое внимание уделено чертам модерна в интерьере. Для полноты исследования привлечены и опубликованы архивные материалы и фотографии интерьеров разных лет, осуществлен анализ имеющегося плана дома.
The article deals with the construction history of Agathon Faberge's country house in Osinovaya Roshcha (Levashovo). The author makes an attempt to form the complete idea of the building and to examine the history of its creation. Special attention is paid to the Art Nouveau details in the interior. Documents from different archives along with the photographs made by the house owners and contemporary ones were considered. Also the existing house plan is being analyzed.

Анализ эволюции образа Афины на материале литературной (О. Уайльд, Вл. Соловьев, А. Блок) и иконографической (Э. Берн-Джонс, Ф. Штук, Г. Климт, К. Мозер и др.) традиции модерна позволяет наметить этапы происхождения и развития специфической для этой эпохи трактовки образа. Если в ранних произведениях модерна художники, чувствуя двойственную природу Афины, представляют богиню разума коррелятом Горгоны, то позднее внимание уделяется символическому прочтению различных форм изображения богини, от андрогинного до гипертрофированно женственного. Анализ канонических атрибутов Афины позволяет делать вывод о двуприродности восприятия богини в модерне. Сложившийся в итоге образ стал отрицанием разума и гармонии в том виде, в каком они дошли из античности, отражая видение разума глазами нового века — разверзшейся бездны, познать которую способен только взгляд Горгоны.

Following the death of the French glassmaker Emile Gallé in 1904, his widow, Henriette Gallé, directed his factory until she died in 1914. During the first few years of her tenure, the industrial series of glass made by the Etablissements Gallé bore a new commercial signature in which the founder’s name was preceded by a star, to identify this production as posthumous. Some newly uncovered archives from the factory as well as from its Parisian representative, Albert Daigueperce (1873-1966), permit us to completely reappraise this production, its chronology (1905-1908 and not 1904-1906 as was long believed) as well as its extant.

Victor Horta’s Solvay House: the sumptuous city palace of an industrial family
When the young Armand Solvay rather unexpectedly ascended to the top job at the company Solvay et Cie in 1894, he commissioned Victor Horta in that same year to design a residence befitting his new status. What is striking is that Horta did not show quite the same daring for the floorplan of Solvay House that he did for other residences he designed during this period. The resources placed at his disposal did, however, enable him to apply a number of innovative techniques to this residence and above all to develop his talent as an interior designer to the full.
In November 2000, Solvay House, together with three other residences by architect Victor Horta, were added to the World Heritage List. This major town house with all the allures of a city palace is the most luxurious creation of the Art Nouveau architect. The interior being exceptionally well preserved, it is therefore significant as an example of a style and of the work of this architect. Not only does the residence display the stylistic mastery of Horta, it alsoshows his technical ingenuity. In addition, the residence reflects like no other how the moneyed classes lived in Brussels during the fin-de-siècle era. It also tells us a great deal about its residents, the Solvay family, which had amassed a vast fortune through industry at the time.

Дом Торгово-промышленного товарищества Ф. Г. Бажанова и  А. П. Чувалдиной (ул.  Марата, 72) —  выдающийся памятник петербургского модерна. В нём соединились черты общественного здания и особняка. Этот ансамбль заслуживает особого внимания благодаря сочетанию несомненных архитектурных достоинств и  исключительных по художественному замыслу и  наполнению интерьеров с  изяществом инженерно-тех-нического решения.

Tiskem vyšlo v časopise Monumentorum Custos 2013. Prosím digitální verzi nešířit, pouze citovat!
Architekt Fritz Hühnl, tvůrce „malého Norimberka“ v Trnovanech, věkově odpovídá generaci „mladých mistrů“ z Wagnerovy školy. V době, kdy naplno propuklo secesní hnutí a vzápětí architektonická moderna, byl mladým architektem, který navrhoval své první domy. Hühnl v tomto kvasu dokázal vytvořit specifický sloh se silným nábojem, který reflektoval historii evangelického hnutí i germánskou mytologii. Zároveň s těmito „norimberskými“ domy ovšem Hühnl navrhuje i několik domů v čistě secesním stylu. Doba jeho architektonických začátků nabízela možnosti, které se kongeniálně sešly s Hühnlovým talentem i fantazií umělců ze světoznámých keramiček (zvláště značky Amphora), kteří pro některé domy navrhli štukovou výzdobu. Jeho pozdější stavby se vyznačují zjednodušením stylu, spějícím již k moderně a nové věcnosti.

This article looks at the contemporary situation of the Hotels Alimentation du Bas-Congo in Kinshasa and Mbanza Ngungu (Democratic Republic of the Congo). The distinctive iron frameworks of these colonial buildings were manufactured in Belgium between circa 1904 and 1911 and sent to the Congo to serve as hotels. I analyse the corporeal state of these remainders of early Belgian colonialism according to the evident manner in which they are entangled with their contemporary surrounds. I pursue the idea that the hybrid identities of buildings that are still very much in use are constructed in an on-going process of interaction with various human and non-human agents. Particular ways in which the former luxury hotels affect—and are affected by—the local networks in which they are embedded allows for speculation regarding what they can tell of long lives spent bearing the weight of their past.

Sarah Bernhardt spearheaded a productive and even surprising intermingling of the theatre and the visual arts in theatrical modernism. Although an established theatrical celebrity, Bernhardt can contribute to how and what we study in modernism. She is capable of enriching not only the materials we associate with the theatre, but the very modernism that her “brand” of fin-de-siècle theatre represents.

El Palacio de Bellas Artes fue diseñado por el arquitecto italiano Adamo Boari, el cual diseñó un edificio con estilos mezclado de Art Nouveau y Art Decó. El edificio se construyó en 2 etapas, la primera etapa fue de 1904 al 1913 la cual fue interrumpida por los problemas que el país pasaba en esos momentos, inicio la Revolución Mexicana. En la segunda etapa la cual fue retomada en 1932 por el arquitecto Federico E. Mariscal modificando algunos detalles del diseño del proyecto de Adamo Boari para que se adaptará en eso momento a las necesidades culturales. El Palacio de Bellas Artes se levantó sobre una plataforma flotante con el fin de que no se hundiera, con una altura de 53 metros hasta el espiral, cuenta con 4 pisos y un estacionamiento. Para el diseño del Palacio de Bellas Artes se colocaron 27 columnas en las fachadas laterales, 23 de ellas fueron esculpidas y 2 para los 3 pórticos. Se esculpieron pegasos con sus alas desplegadas sobre una gran base que rodean el águila azteca y cuatros mujeres tomadas de la mando que dan detalle y enfatizando a la cúpula central, estas esculturas representan Drama, Drama Lírico, Comedia y Tragedia. En las puertas y ventanas se diseñaron elementos de flora y fauna de la cultura mexicana las cuales son: serpientes, hojas, tallos, palmas, entre otras, tuvo como principal objetivo darle un homenaje a la nuestra ciudad. Finamente no dejemos a un lado los materiales que se utilizaron para este proyecto fueron: el acero, concreto y mármol blanco esto fue para la fachada y para el interior fueron mármoles mexicanos en diversas tonalidades.

RESUMEN
La Casa museu Lluís Domènech i Montaner, en Canet de Mar, nos permite a través de sus colecciones cerámicas y otros materiales reconstruir la evolución del uso de la cerámica en la obra domenechiana, sus diferentes influencias y proceso de creación, ayudando a constatar la importancia de este material como elemento definitorio de su arquitectura.
Palabras clave
Cerámica, fotografía, arquitectura, decoración y ornamento
ASBTRACT
The Casa museum Lluís Domènech i Montaner, in Canet de Mar, allow us through his ceramic collections and other materials reconstruct the evolution of the use of the ceramic in the Domènech’s work, his different influences and process of creation, assistant to ascertain the importance of this material as a distinctive element of the Domènech’s architecture.
KEYWORDS
Ceramic, photographie, architecture, decoration and ornement

В статье исследуется судьба лирического начала в произведениях художников эпохи модерна. На частном примере садово-паркового мотива – одном из устойчивых иконографических мотивов, воплощающих образ идеального для жизни мечты пространства, – рассматриваются особенности поэтического мышления символистов, визуально-пластические возможности выражения философско-эстетических смыслов творческого мировоззрения художников конца XIX – начала XX века. В контексте изучения связей между визуальным и вербальным языками рассмотрены стихотворные опыты самих художников. Впервые на русский язык переведены фрагменты поэтических произведений бельгийского художника-символиста Вильяма Дегува де Нункве, последовательно разрабатывавшего в своем искусстве тему садов и парков как универсального мира души, что было характерно и для других мастеров эпохи модерна.
The article explores the fate of the lyrical beginning in the works of artists of the Art Nouveau era. On a particular example of a landscape gardening motif – one of the stable iconographic motifs embodying the image of the ideal dream space for life – features of the poetic thinking of the symbolists, visual and plastic possibilities of expressing the philosophical and aesthetic meanings of the creative worldview of artists of the late XIX – early XX century. In the context of studying the relationship between visual and verbal languages, the poetic experiments of the artists themselves are considered. In the context of studying the relationship between visual and verbal languages, the poetic experiments of the artists themselves are considered. In the context of studying the relationship between visual and verbal languages, the poetic experiments of the artists themselves are considered. For the first time in Russian, fragments of poems by William Degouve de Nuncques were translated. This Belgian symbolist artist consistently developed in his art the theme of gardens and parks as a universal world of a unique soul that was characteristic of other masters of the Art Nouveau era.

Pendant la première guerre mondiale, les Établissements Gallé ont continué d'avoir une activité soutenue de production de cristaux d'art et de meubles au décor marqueté : l'étude de la correspondance familiale, en particulier les lettres entre le directeur de fait de l'entreprise, Paul Perdrizet, et sa belle-soeur Claude Gallé, qui en était la gérante nominale, invite ainsi à réévaluer les séries industrielles Gallé, en proposant dans certains cas de nouvelles datations. C'est particulièrement vrai pour les productions de l'atelier d'ébénisterie, très peu étudiées jusqu'à présent. La correspondance permet d'identifier les dessinateurs responsables de la création des nouveaux motifs ainsi que les dates de leur introduction. Elle montre surtout que, contrairement à l'opinion commune qui prête aux Établissements Gallé l'abandon des décors symboliques après la mort de leur fondateur, ceux-ci sont fréquents sur les nouveaux modèles introduits pendant la guerre. La volonté de profiter du marché important des souvenirs de guerre conduit ainsi à créer de nouveaux décors, comme celui des marqueteries parlantes associant le coq gaulois, symbole des « poilus » au coquelicot, hommage aux soldats britanniques tombés sur le sol français. Les Établissements Gallé pendant la première guerre mondiale

In this article, I wish to elaborate on Benjamin’s reading of
so-called “dark thinkers,” i.e. those radical thinkers of the
fin de siècle whose cultural criticism willingly or not
reinforced and reiterated what they actually criticized. I
will refer to Benjamin’s early writings on the German
youth movement as well as to his later writings on
Baudelaire, Jugendstil, and Lebensphilosophie and thereby
focus on motives that connect these diverging periods
of Benjamin’s oeuvre, notably contemporaneous gender
relations, gender identity, and images of the feminine,
which Benjamin used in order to delineate an immanent
messianism. In this way I want to demonstrate that
while Benjamin followed Nietzsche in understanding
history as loss and decline, he nonetheless insisted on
moments of becoming intrinsic to this very
understanding of history. In this dialectical turn the
Nietzschean cultural criticism, just as the criticized itself,
emerge as two connected sides of one coin.