PREPARED BY:

PURUSHOTTAM AWAL(061/BAE/225)
SARITA MAHARJAN(061/BAE/238)
BACKGROUND
 This industrial revolution, an influential event
that started in 18th century, caused a great cultural
change for whole world.

 As the industrial revolution started, it affected

every aspect of human life, which led to trend of
mass productions and capitalism.

 Art and craft were also trapped into the mass

production, which burn out all essence of art and
demolished the platform for artist who used to
express their feeling and propagate their massage
through art and craft.
 BACKGROUND
 With the roots in arts and craft
movement some of the architect made
the attempt against the prevailing
historicism, academicism and drove
architecture from all the cultural
meaning of the past.

 It was developed by a brilliant and

energetic generation of artists and
designers, who sought to fashion an art
form appropriate to the modern age.

 The idea of Art Nouveau first flourished

in Europe and then spread in a number
of European countries.
 “An architect should live as little in cities as a
painter. Send him to our hills, and let him study there
what nature understands by a buttress, and what by a
dome”.

John Ruskin
 Art nouveau, the art movement
and style of decoration of the
late 19th and early 20th centuries
in Europe.

 The first style to stop looking

backwards in history for ideas.

 Name derived from the name of a

shop in Paris, “ Maison Del’ Art
Nouveau”, established in1896.

 An elegant decorative art style

characterized by intricate patterns
of curving lines.
IINTRODUCTIONNTRODUC
INTRODUCTION
TION
 It broke all connections to
classical times, and brought
down the barriers between the
fine arts and applied arts.

 A way of thinking about

modern society and new
production methods.

 A concerted attempt to create

an international style based on
decoration.
INTRODUCTION

 Completely new and revolutionary, thus the New Art

- Art Nouveau name.

 Dissimilar in much aspect in each country and many

of which developed their own names for the style.

 Deepest influence on a variety of art and design

movements that continued to explore integrated
design, including De Stijl, a Dutch design movement
in the 1920s, and the German Bauhaus school in the
1920s and 1930s.
 INTRODUCTION
 Art Nouveau was in many ways a
response to the Industrial Revolution.

 Some artists welcomed technological

progress and embraced the aesthetic
possibilities of new materials such as
cast iron.

 Art Nouveau designers also believed

that all the arts should work in
harmony to create a "total work of
art," :buildings, furniture, textiles,
clothes, and jewelry all conformed to
the principles of Art Nouveau.
 “Art nouveau is liberating taste from the
bondage of classical styles”.
Bruno Zevi
SOURCES OF ART NOUVEAU
 It is the organic style derived
from natural forms.

 Artistic Japanese print,

Rococo style, Arts and Crafts
movement are as
inspirational source.
 Stylized decorative
patterns, intertwined
organic forms of stems
or flowers.

 The female form - in a

pre-Raphaelite pose
with long, flowing
hair.
 Use of dynamic, undulating,
sinuous, decorative whiplash
lines.

 Exotic woods, parquetry,

iridescent glass, silver and
semi-precious stones .
 CHARACTERISTICS

 Use of hyperbolas and

parabolas.
 Art nouveau is an overwhelmingly
linear style, but its line is surprisingly
varied.

 In Glasgow and Vienna, Art nouveau

manifested itself in a rectilinear,
geometric manner.

 Elsewhere, in France and

Belgium, it was extravagantly
curved, but it was always
decorative in intent.
 CHARACTERISTICS
 This is the line that animates the
candelabrum. "Line," Van de
Velde said, "is a force." He
believed it carried in it the energy
that had created it.

 Hoffmann's fruit basket appears

different. Geometric simplicity
was a decorative choice here, no
different at its core than the
complex sinuous line of candle
stand.

 Art Nouveau artifacts are beautiful objects of art, but not

necessarily very functional.
 
By 1910 Art Nouveau was in decline and did not
outlive World War I.

Replaced by the sleekly elegant Art Deco style.

The best works were costly and unsuited to mass

manufacture.
NOTED ARCHITECTS
 Otto Koloman Wagner (1841-1918) Austria
 Joseph Hoffman (1870-1956) Austria
 Adolf Loose(1870-1933) Austria
 Joseph Maria Olbrich (1867-1908) Austria
 Henry van de Velde (1863-1957) Belgium
 Victor Horta (1861-1947) Belgium
 Hector Guimard (1867-1942) France
 Lucien Weissenburger (1860-1929) France
 Auguste Perret (1874-1954) France
 Emile Andre (1871-1933 France
 Charles Rennie mackintosh (1868-1928) Scotland)
 Raimondo Tommaso D’Aronco (1857-1932) Italy
 Mikhail Eisenstein (1867-1921) Lative
 August Endel (1871-1925) Germany
 Louise Sullivan (1856-1924),USA
 Marian Peyertyatkovich (1872-1916) Russia
 Victor Horta (1861-1947)
A Belgian architect and designer
He studied in Ghent, but left to
become an interior designer in
Paris but returned to Belgium and
moved to Brussels, to study at the
academy of fine arts.
He focused on the curvature of his
designs, believing that the forms
he produced were highly practical
and not artistic affectations.
 Influential in the birth of Belgian Art
Nouveau Style.
 Influential in the birth of
Belgian Art Nouveau Style.
created buildings which
rejected historical styles and
marked the beginning of modern
architecture.
He analyzed the texture of his
buildings in great depth
After Art Nouveau lost favor,
many of Horta's buildings were
destroyed
Tassel house
The Tassel house was based on a
traditional style of a building in
Brussels
Ornate and elaborate designs and
natural lighting were concealed
behind a stone façade to
harmonize the building with the
more rigid houses next door
Carefully thought design creating
a new architecture, free from any
reference to the past yet perfectly
controlled in every detail.
 Tassel house
Incorporates interior iron
structure with curvilinear
botanical forms, known as
“biomorphic whiplash.”
He hollowed out the massive
body of the house introducing
light wells that provided new and
unusual source of illumination.
The staircase clearly reveals
pillars and girders, as structure
and a surface of decoration.
Henry Van de Velde (1863-1957)
Belgian painter, architect and
interior designer.
Considered one of the main
founders and representatives of
Art Nouveau in Belgium Together
with Victor Horta.
His own house, Bloemenwerf in
Uccle, was his first attempt at
architecture.
His first venture into the field of
interior decoration was the
furnishings of his house, in 1894,
in accordance to his principle.
 interested in the principles of Morris and
claimed that the rebirth of the arts would
emerge from the trusting acceptance of
machines and mass-production.
 He was well known as theorist,
propagandist.

 He set himself to find an objective

justification for every formal element, which
drew him towards smooth and flowing
forms.

• Van de velde was certainly the clearest

thinker among the masters of his
generation.
• Not only his personal works but his work
as an organizer, his ability to inspire
other, and the energies he was capable of
arousing in others made him important.
Inspired by the desire to enjoy all
the excitement and prestige of
inaugurating a renascence.
He interested himself in the
moral principles of Morris's
teaching, and developed them
with extraordinary perception.
Initially he had proclaimed the
need to accept industrial
production but by the later stage
of his life he stood up for
individualism.
Antonio Gaudi (1852-1926)
Spanish architect from
Catalonia
Famous for his unique style
and highly individualistic
designs.
Suffered from rheumatism and
spent a lot of time with nature.
Gave importance to both
external facades and interiors.
Inspired from gothic style art,
organic shapes in nature.
His buildings identified to
be very dynamic with
sculptural facades.
He integrated the
parabolic and hyperboloid
structures, nature's
organic shapes, and the
fluidity of water into his
architecture.
Decorated surfaces with
broken tiles
He is now considered one
of history's most original
architects
Major works
 1884-1887 Pavellons Guell
 1884-1926 Sagrada Familia
 1886-1889 Palau Guell
 1900-1914 Park Guell
 1901-1902 Puerta de la finca Miralles
 1904-1906 Casa Batllo
 1906-1910 Casa Mila
 1909-1910 Sagarda Familia Parish
School
La SAGRADA FAMILIA(1882-1935)
La SAGRADA FAMILIA (1882-1935)

 He did not use blueprints for

his unfinished masterpiece but
worked from his imagination. It
is for this that Gaudí is known
to many as "God's Architect".

 He contrived highly original

design– irregular and
fantastically intricate rendering
La Sagrada Família, with an
almost hallucinatory power.
La SAGRADA FAMILIA (1882-1935)
La SAGRADA FAMILIA(1882-1935)
 Beginning in 1883, Gaudi
spend 43 years of his life on
this project, working until
the day of his death June 10,
1926.
 It has basic Gothic Basilica
floor plan, looks like a Latin
cross, consists mainly of
three transepts and five
naves.
CASA MILA (1905-1910)
CASA MILA (1905-1910)
 Apartment blocks in
Barcelona.

 Sculpture rather than a

building with light court.

 The design seems to follow

a certain sea theme. The
wavy facade, with its large
pores, reminds one also of
an undulating beach of fine
sand.
CASA MILA (1905-1910)
The Chimneys look like
warriors in a forest of surprising
figures.

Elegantly crafted wrought iron

work used on balconies.

illustrated a natural look,

through the “decorative theme
of organic irregularity carried
out with the utmost
consistency”.
 Casa Batlo (1904-1906)
Organic forms in undulating façade
and roof line.

Reflects an intense naturalism; the

façade covered by mosaics with
splendid and subtle colors.

Façade includes a number of small,

elegantly curved balconies that seem
like birds' nests on the face of the
cliff.
Casa Batlo (1904-1906)
The first floor level has an
undulating façade with striking
stone structure, supported by
columns, that resemble trunk of a
tree and frame windows, decorated
with glass.

no edges or corners here; even the

walls are rounded in undulations
and have in essence the feel of the
smooth skin of a sea serpent about
them.
 HECTOR GUIMARD (1867-1942)
An architect, who is widely considered
most prominent representative of the
French Art Nouveau movement

Attended the Ecole Nationale des

Beaux-Arts in Paris where he became
acquainted with the theories of Eugène
Emmanuel Viollet-le-Duc.

Became devoted to this style when he

visited the Hôtel Tassel in Brussels,
designed by Victor Horta.
 The curious, inventive Guimard was also
a precursor of industrial standardization,
insofar as he wished to diffuse the new
art on a large scale.

 In 1900, at the request of Parisian

Metropolitan Railway, he created the
famous metropolitan entrance, as an
exhibit in the exposition 1900.

• Metro Entrance symbolizes the modern

style's bold use of modern industrial
materials to express the new aesthetic.

• Many of Guimard's buildings were

destroyed after his death
OTTO WAGNER (1841-1918)
Led The Austrian movement

He was the master of the early

Florentine renaissance style

Worked within classical

viennese tradition until the age
of 50.

His agenda was that the new

architecture must free itself
from all traditions and should
have individual freedom.
I don't want art for a few, any more
than education for a few, or freedom
for a few
He didn’t really move far from
normal schemes of composition,
but transferred the rigid range of
traditional elements that became
elastic and adaptable to new
needs.

He wrote “Moderne

Architektur”, a book which
provided all the guidelines,
recipes and quotations for the
modern movement
Charles Renee Mackintosh (1868-1928)
•Architect - designer, born in
Glasgow, Scotland.
•Different from art nouveau of the
other countries
•In his designs, he blends Scottish
traditional architecture, Art
Nouveau and simple Japanese
form.
•In Europe the originality of his
style was quickly appreciated after
the exhibition in Vienna secession.
•Unlike others The Glasgow
movement largely drew from past
either from conventional neo-
gothic or from local Scottish
banonial architecture.
MACKINTOSH’S WORK
• 1893-1895 The light house
• 1895-1897 Martyr’s Public School
• 1896-1899 Glasgow School of Art
• 1897-1899 Queen’s Cross Church
• 1898-1899 Ruchill Church Hall
• 1900-1901 Daily Record Building
• 1900-1901 House of an Art Lover
• 1903-1904 The Hill House
• 1903-1904 The Willow Tea Rooms
• 1903-1906 Scotland Street School
The Glasgow School of Art (1896-1899)
The Glasgow School of Art (1896-1899)

The school offers example by its uniqueness;

its ability to be simultaneously genotype-
the art school
and specific the Glasgow school of art,
a particular building located on a particular hill in a
particular town, in a particular culture at a particular time,
bearing witness to the ability of its creator to recognize
and celebrate the uniqueness of each and every aspect or
event of building.
The Glasgow School of Art (1896-1899)
 The Glasgow School of Art (1896-1899)

 It is located at the edge of sleepy

sloping facing hill, the building
stretches along an entire block, facing a
major street to the north.

 It is a simple and original building;

rejecting the constrains of classicism,
following no rules for façade but letting
windows happen as and where required,
its form determined by the nature of its
site, the activities of its users, and the
materials and the mean of construction.
The Hill House (1902-1904)
 The Hill House (1902-1904)
• Built for the Glasgow publisher
Walter Blackie in 1902 – 1904 in
Helens burgh.
• It stretches from east to west with west
entrance.
• The natural lighting in the interior,
according to the function has been
focused.
• For its construction, local sand
stone was used and the house
suggests an image of Scottish
baronial traditions.
• For the interior, he designed
fireplaces, furnishing and fitting.
 Art Nouveau is the artistic version of architecture.

 The transition period, which acted as a transitional phase

between 19th century historism to 20th century modernism.

 It gave platform to designers to express their feeling with new

materials and technology.

 Although the Art Nouveau period was extremely short lived,

the innovative ideas which surfaced during the period will
never be forgotten in the world of art and design.