Art Nouveau: An Art of Transition-From Individualism to Mass by Gabriele Fahr-Becker

By Gabriele Fahr-Becker

Publication through Fahr-Becker, Gabriele, Sterner, Gabriele

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For Lalique stones and the more important than design became if it were a painting; thus, it its much the costliness of a particular stone. regarded a piece of jewelry as an , He had both and a narrative function. His jewelry has a "fairy it combines "poetic content" with rare and illustrative tale" quality because exotic esthetic beauty. In Lalique's jewelry, delicate leaflike structures send forth shoots and tendrils that appear to come together of their own accord to form a piece of jewelry.

We shall now describe in detail the various groups that were most significant in the development of art nouveau. Particular attention will be given to the most representaand workshops of the movement. Brussels, one of the centers of the movement, was quite early on a meeting place for avant-garde artists. Their spokesman was tive artists Octave Maus, who had founded the periodical Van moderne in 1881. This publication was quickly adopted by two groups of artists who called themselves the Cercle des Vingt (1884-1893) and La Libre Esthetique (1894-1914).

In evaluating the art nouveau style too close at hand in a historical sense for achieved objective distance. Indeed, nouveau with the present and we still was that the have critics to tend to connect art thus, retrospectively, apply criteria that are valid only for the art of today. We are the ones who perceive art nouveau, whose decline we can now just begin to follow, as an exalted, contradictory, and morbidly fascinating movement. We experience the style in the same way that we would experience a visit to a If, on the other hand, we try to imagine nouveau style from the perspective of the artistic and social problems that existed in the nineteenth century, we see that the great-grandmother's house.

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