ARTS AND CRAFTS MOVEMENT Origin: United Kingdom Key Characteristics: Simplicity of form, plain linear shapes First phase: inspired by natural plants and animal forms Second phase: more abstract, inspired by movement and mythical creatures.

Key Facts: Believed in the superiority of handcrafted objects over machine made, machine production regarded as being degrading to both creator and consumer. Advocates of the Arts and Crafts ideal formed guilds and crafts societies, each with their own style, specialization, and leaders, to discuss and share ideas.

Belief that good design could reform society and improve the quality of life of the creator and consumer alike.

Key people / figures: William Morris A W N Pugin John Ruskin Arthur Mackmurdo Charles R Ashbee

The Arts and Crafts Movement The Arts and Crafts movement initially developed in England during the latter half of the 19th century. Subsequently this style was taken up by American designers, with somewhat different results. In the United States, the Arts and Crafts style was also known as Mission style. This movement, which challenged the tastes of the Victorian era, was inspired by the social reform concerns of thinkers such as Walter Crane and John Ruskin, together with the ideals of reformer and designer, William Morris. Their notions of good design were linked to their notions of a good society. This was a vision of a society in which the worker was not brutalized by the working conditions found in factories, but rather could take pride in his craftsmanship and skill. The rise of a consumer class coincided with the rise of manufactured consumer goods

In this period, manufactured goods were often poor in design and quality. Ruskin, Morris, and others proposed that it would be better for all if individual craftsmanship could be revived-- the worker could then produce beautiful objects that exhibited the result of fine craftsmanship, as opposed to the shoddy products of mass production. Thus the goal was to create design that was... " for the people and by the people, and a source of pleasure to the maker and the user." Workers could produce beautiful objects that would enhance the lives of ordinary people, and at the same time provide decent employment for the craftsman. Medieval Guilds provided a model for the ideal craft production system. Aesthetic ideas were also borrowed from Medieval European and Islamic sources. Japanese ideas were also incorporated early Arts and Crafts forms. The forms of Arts and Crafts style were typically rectilinear and angular, with stylized decorative motifs reminiscent of medieval and Islamic design. In addition to William Morris, Charles Voysey was another important innovator in this style. One designer of this period, Owen Jones, published a book entitled The Grammar of Ornament, which was a sourcebook of historic decorative design elements, largely taken from medieval and Islamic sources. This work in turn inspired the use of such historic sources by other designers.

However,in time the English Arts and Crafts movement came to stress craftsmanship at the expense of mass market pricing. The result was exquisitely made and decorated pieces that could only be afforded by the very wealthy. Thus the idea of art for the people was lost, and only relatively few craftsman could be employed making these fine pieces. This evolved English Arts and Crafts style came to be known as "Aesthetic Style. However in the United States, the Arts and Crafts ideal of design for the masses was more fully realized, though at the expense of the fine individualized craftsmanship typical of the English style. In New York, Gustav Stickle was trying to serve a burgeoning market of middle class consumers who wanted affordable, decent looking furniture. By using factory methods to produce basic components, and utilizing craftsmen to finish and assemble, he was able to produce sturdy, serviceable furniture which was sold in vast quantities, and still survives. The rectilinear, simpler American Arts and Crafts forms came to dominate American architecture, interiors, and furnishings in the late nineteenth and early twentieth century.

The term Mission style was also used to describe Arts and Crafts Furniture and design in the United States. The use of this term reflects the influence of traditional furnishings and interiors from the American Southwest, which had many features in common with the earlier British Arts and Crafts forms.

Charles and Henry Greene were important Mission style architects working in California. Southwestern style also incorporated Hispanic elements associated with the early Mission and Spanish architecture, and Native American design. The result was a blending of the arts and crafts rectilinear forms with traditional Spanish colonial architecture and furnishings. Mission Style interiors were often embellished with Native American patterns, or actual Southwestern Native American artifacts such as rugs, pottery, and baskets. The collecting of Southwestern artifacts became very popular in the first quarter of the twentieth century.

Yet, while the Arts&Crafts movement was in large part a reaction to industrialization, if looked at on the European whole, it was neither antiindustrial nor antimodern. Some of the European factions believed that machines were in fact necessary, but they should only be used to relieve the tedium of mundane, repetitive tasks. At the same time, some Art & Craft leaders felt that objects could also be affordable. The conflict between quality production and 'demo' design, and the attempt to reconcile the two, dominated design debate at the turn of the last century.

Those who sought compromise between the efficiency of the machine and the skill of the craftsman thought it a useful Endeavour to seek the means through which a true craftsman could master a machine to do his bidding, in opposition to the reality which was much more prevalent during he Industrial Age; humans had become slaves to the industrial machine.

The Arts and Crafts Movement began primarily as a search for authentic and meaningful styles for the 19th century and as a reaction against the eclectic revival of historic styles of the Victorian era and the "soulless" machineproduction of the Industrial Revolution. Its practitioners advocated the equality of all the arts and the importance and pleasure of work. Considering the machine to be the root of many social ills, some turned entirely towards handcraft, which made their products expensive and affordable only by the rich. The appearance of Arts and Crafts objects resulted from the principles involved in their making. One of their hallmarks was simplicity of form, without superfluous decoration, often exposing their construction. Another was truth to material, preserving and emphasizing the qualities of the materials used. Arts and Crafts designers often used patterns inspired by British flora and fauna and drew on the vernacular, or domestic, traditions of the British countryside. Many set up workshops in rural areas and revived old techniques. They were influenced by the Gothic Revival(1830-1880) and were interested in all things medieval, using bold forms and strong colors based on medieval designs

Great Britain William Morris's Red House in London. William Morris (1834-1896) was the central figure in the Arts and Crafts Movement. Morris's ideas emerged from the Pre-Raphaelite Brotherhood, of which he had been a part, and were influenced by Ruskin's books The Stones of Venice and Unto this Last, which sought to relate the moral and social health of a nation to the qualities of its architecture and designs. In 1861 he founded a company, Morris, Marshall, Faulkner & Co., which produced decorative objects for the home including wallpaper, textiles, furniture and stained glass, designed and made by Morris and his colleagues. In 1890 Morris set up the Kelmscott Press, for which he designed a typeface based on Nicolas Jenson's letter forms of the fifteenth century.[7] Red House, Bexleyheath, London (1859), designed for Morris by architect Philip Webb, exemplifies the early Arts and Crafts style, with its well-proportioned solid forms, deep porches, steep roof, pointed window arches, brick fireplaces and wooden fittings. Webb rejected the grand classical style, found inspiration in British vernacular architecture and attempted to express the texture of ordinary materials, such as stone and tiles, with an asymmetrical and quaint building composition.[2] Morris's ideas spread in the late nineteenth and early twentieth centuries, spawning many associations and craft communities, although Morris himself was not involved in them during the mid 1880s because of his preoccupation with spreading socialism. A hundred and thirty Arts and Crafts organizations were formed in Britain, most between 1895 and 1905

WILLIAM MORRIS'S RED HOUSE IN LONDON DESIGNED FOR MORRIS BY ARCHITECT PHILIP WEBB, EXEMPLIFIES THE EARLY ARTS AND CRAFTS STYLE, WITH ITS WELL-PROPORTIONED SOLID FORMS, DEEP PORCHES, STEEP ROOF, POINTED WINDOW ARCHES, BRICK FIREPLACES AND WOODEN FITTINGS. WEBB REJECTED THE GRAND CLASSICAL STYLE, FOUND INSPIRATION IN BRITISH VERNACULAR ARCHITECTURE AND ATTEMPTED TO EXPRESS THE TEXTURE OF ORDINARY MATERIALS, SUCH AS STONE AND TILES, WITH AN ASYMMETRICAL AND QUAINT BUILDING COMPOSITION

Morris wanted a home for himself and his new wife, Jane. He also desired to have a "Palace of Art" in which he and his friends could enjoy producing works of art. The house is of warm red brick with a steep tiled roof and an emphasis on natural materials. Red House forms an early essay in a romantically-massed, non-historical, brick-and-tile domestic vernacular style; it has diverse windows and a beautiful stairway. The garden is also significant, being an early example of the idea of a garden as a series of exterior "rooms". Morris wanted the garden to be an integral part of the house, providing a seamless experience. The "rooms" consisted of a herb garden, a vegetable garden, and two rooms full of old-fashioned flowers jasmine lavender, quinces, and an abundance of fruit trees apple, pear and cherry.

John Ruskin (8 February 1819 20 January 1900) was an English art critic and social thinker, also remembered as a poet and artist. His essays on art and architecture were extremely influential in the Victorian and Edwardian eras. Ruskin first came to widespread attention for his support for the work of J. M. W. Turner and his defence of naturalism in art. He subsequently put his weight behind the Pre-Raphaelite movement. His later writings turned increasingly to complex and personal explorations of the interconnection of cultural social and moral issues, and were influential on the development of Christian socialism He set forth his theory about the relationship between art and morality in the first volume of Modern Painters.

Ruskin believed that individual craftsmen produced the most beautiful and unique work. These craftsman, if given the freedom to design, were capable of producing beautiful works of art befitting religious structures

Ruskin's contributions included his avowed dislike for classical works in buildings & art and his substitution of the Gothic with its asymmetry and roughness as the ideal for new art. Along with William Morris, he was critical of the new industrialization taking place in Europe and America. Ruskin's most radical idea was his total rejection of any machine produced products. He characterized all machine made objects as "dishonest." He believed, along with Morris, that handwork and craftsmanship brought dignity to labor. He further felt that the factory/industrial work of the age disrupted the natural rhythms of life by imposing artificial hours and conditions on workers. To this end he founded a utopian Arts & Crafts community in 1871.

Ruskin is most famous for his two books; "The Seven Lamps of Architecture" (1849) and "The Stones of Venice" (1853). These works established the criteria for judging the value of art(s) for several generations in both Britain and America

Augustus Welby Northmore Pugin was the first architect to deplore industrialism and exalt gothic architecture and medieval furniture. After a series of deaths in his family, including his young wife, his father and mother, and his aunt, who left him a small inheritance, he decided to turn his talents to architecture, became a Catholic, and spent time travelling in England and abroad, studying Gothic architecture and design . He published "Contrasts" (1836), which argued that since gothic was an expression of a Roman Catholic society, only such a society could produce true gothic. He continued to expound this position in True Principles of Pointed Architecture (1841) which John Ruskin used as a foundation for his criticism of Victorian excess. From 1837 until his death, he designed some hundred or so buildings, mainly churches and his work includes several Roman Catholic cathedrals, including St. Ostwald's in Liverpool, St. George's in Southwark and St. Chad's in Birmingham.

He attempted to create entire coherent, consistent architectural and interior environments "to express entire schemes of design in Gothic terms, rather than employ Gothic architectural details as means of decorations." He was a prolific designer of stained glass, metalwork, furniture, textiles, wallpapers, embroideries, ceramics, and jewellery.

In 1836 and 1837 and again in 1844 and 1852 he worked with Charles Barry on the designs for the new Houses of Parliament with responsibility for designing all the ornamental detail, and probably also the execution of the working drawings.

THE ROMAN CATHOLIC CHURCH IN WARWICK BRIDGE OF OUR LADY & ST WILFRID WAS DESIGNED BY A.W.N. PUGIN, 1841

THE TERRACE IS A UNIQUE ROW OF GRADE II LISTED LARGE HOLIDAY HOMES, LOCATED IN THE HEART OF WINDERMERE VILLAGE BUT WITHIN PRIVATE GROUNDS. DESIGNED BY AUGUSTUS (AWN) PUGIN (1812-1852), THESE COTTAGES ARE BELIEVED TO DATE FROM 1849, AND WERE ORIGINALLY BUILT FOR RAILWAY EXECUTIVES FROM WINDERMERE STATION

n 1813 Thomas Scarisbrick had employed Thomas Rickman to do alterations to the hall. In 1836 his younger brother Charles employed A.W.N.Pugin to produce designs for his alterations. On his death in 1860 his sister inherited the building and she engaged E.W. Pugin for her alterations and later still her successor employed Peter Paul Pugin.

PUGIN WAS INTRODUCED TO SCARISBRICK BY AN ANTIQUE DEALER CALLED E. HULL, SCARISBRICK ORIGINALLY ASKED PUGIN TO BUILD HIM A GARDEN SEAT,(RIGHT) AND A FIREPLACE FOR THE GREAT HALL. THE GREAT HALL IS A LOFTY COPY OF A MEDIEVAL HALL, THE HEART OF THE DWELLING FOR A PROSPEROUS FAMILY, WITH IT'S ORNATE ROOF AND HEAVILY CARVED WOOD, TILED FLOOR AND GALLERY OVER THE TWIN THRONE.

ST CHADS CATHEDRAL BIRMINGHAM

The term Mission style was also used to describe Arts and Crafts Furniture and design in the United States. The use of this term reflects the influence of traditional furnishings and interiors from the American Southwest, which had many features in common with the earlier British Arts and Crafts forms. Charles and Henry Greene were important Mission style architects working in California. Southwestern style also incorporated Hispanic elements associated with the early Mission and Spanish architecture, and Native American design. The result was a blending of the arts and crafts rectilinear forms with traditional Spanish colonial architecture and furnishings. Mission Style interiors were often embellished with Native American patterns, or actual Southwestern Native American artifacts such as rugs, pottery, and baskets. The collecting of Southwestern artifacts became very popular in the first quarter of the twentieth century.

In the United States, it should be noted, the term Arts and Crafts movement is often used to denote the style of interior design that prevailed between the dominant eras of Art Nouveau and Art Deco , or roughly the period from 1910 to 1925

ART NOUVEAU Origin:Europe Key Features: Curvilinear: organic foliage forms, sinuous lines, nongeomertic whiplash curves Rectilinear: geometric forms, severe silhouettes Key Facts: Rejected historicism and, for this reason, is often described as the first truly modern, international style The introduction of new forms, the embracement of mass production, and the focus of the natural as the source of inspiration In Spain, France, England, Vienna, and the USA, the designs were dominated by curvilinear whiplash motifs, while Vienna, Scotland, and Germany, they were predominantly rectilinear

Key people / figures: Charles Rennie Mackintosh Hector Guimard mile Gall Henri de Toulouse Lautrec Victor Horta Henri van de Velde Louis Comfort Tiffany Antoni Gaudi

Art Nouveau This style, which was more or less concurrent with the Arts and Crafts style, was not at all concerned with the social reform movements of the day. Instead, it addressed the clutter and eclecticism of mid-19th century European taste. Originating in Belgium and France, this movement advocated nature as the true source of all good design. Art Nouveau designers objected to the borrowing of design ideas from the past, and even from other cultures, although the Japanese approach to nature was much admired and emulated.

The characteristics of the style included above all the use of the sinuous curved line, together with asymmetrical arrangement of forms and patterns. The forms from nature most popular with Art Nouveau designers were characterized by flowing curves-- grasses, lilies, vines, and the like. Other, more unusual natural forms were also used, such as peacock feathers, butterflies, and insects.

Architects and designers who contributed to the development of this style included Victor Horta , Hector Guimard, and Henry van de Velde. The jewelry and glass design of Lalique, as well as the stained glass and other designs of Louis Comfort Tiffany and Emile Galle were important examples of Art Nouveau style.

A distinctive graphic design style developed, which included typography styles as well as a distinctive manner of drawing the female figure. The prints of Aubrey Beardsley and Alphonse Mucha are typical of this style

ART NOUVEAU, 1890-1914, EXPLORES A NEW STYLE IN THE VISUAL ARTS AND ARCHITECTURE THAT DEVELOPED IN EUROPE AND NORTH AMERICA AT THE END OF THE NINETEENTH CENTURY. THE EXHIBITION IS DIVIDED INTO THREE SECTIONS: THE FIRST FOCUSES ON THE 1900 WORLD'S FAIR IN PARIS, WHERE ART NOUVEAU WAS ESTABLISHED AS THE FIRST NEW DECORATIVE STYLE OF THE TWENTIETH CENTURY; THE SECOND EXAMINES THE SOURCES THAT INFLUENCED THE STYLE; AND THE THIRD LOOKS AT ITS DEVELOPMENT AND FRUITION IN MAJOR CITIES IN EUROPE AND NORTH AMERICA. AT ITS HEIGHT EXACTLY ONE HUNDRED YEARS AGO, ART NOUVEAU WAS A CONCERTED ATTEMPT TO CREATE AN INTERNATIONAL STYLE BASED ON DECORATION. 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. DURING THIS EXTRAORDINARY TIME, URBAN LIFE AS WE NOW UNDERSTAND IT WAS ESTABLISHED. OLD CUSTOMS, HABITS, AND ARTISTIC STYLES SAT ALONGSIDE NEW, COMBINING A WIDE RANGE OF CONTRADICTORY IMAGES AND IDEAS. MANY ARTISTS, DESIGNERS, AND ARCHITECTS WERE EXCITED BY NEW TECHNOLOGIES AND LIFESTYLES, WHILE OTHERS RETREATED INTO THE PAST, EMBRACING THE SPIRIT WORLD, FANTASY, AND MYTH.

BECAUSE OF TYPICAL FLAT, DECORATIVE PATTERNS USED IN ALL ART FORMS, ART NOUVEAU OBTAINED A NICKNAME 'THE NOODLE STYLE' IN FRENCH, 'LE STYLE NOUILLES'. VISUAL STANDARDS OF THE ART NOUVEAU STYLE ARE FLAT, DECORATIVE PATTERNS, INTERTWINED ORGANIC FORMS OF STEMS OR FLOWERS. ART NOUVEAU EMPHASIZED HANDCRAFTING AS OPPOSED TO MACHINE MANUFACTURING, THE USE OF NEW MATERIALS. ALTHOUGH CURVING LINES CHARACTERIZE ART NOUVEAU, RIGHT-ANGLED FORMS ARE ALSO TYPICAL, ESPECIALLY AS THE STYLE WAS PRACTICED IN SCOTLAND AND IN AUSTRIA. TYPICAL FOR THIS STYLE WAS ARTISTIC APPLICATION OF MODERN INDUSTRIAL TECHNIQUES AND MODERN MATERIALS (UNMASKED IRON IN ARCHITECTURE FOR EXAMPLE).

PRINCIPAL SUBJECTS ARE LAVISH BIRDS AND FLOWERS, INSECTS AND POLYFORMIC FEMME FATALE. ABSTRACT LINES AND SHAPES ARE USED WIDELY AS A FILLING FOR RECOGNIZABLE SUBJECT MATTER. PURPOSEFUL ELIMINATION OF THREE-DIMENSIONS IS OFTEN APPLIED THROUGH REDUCED SHADING. ART NOUVEAU ARTIFACTS ARE BEAUTIFUL OBJECTS OF ART, BUT NOT NECESSARILY VERY FUNCTIONAL. ART NOUVEAU FLOURISHED IN A NUMBER OF EUROPEAN COUNTRIES, MANY OF WHICH DEVELOPED THEIR OWN NAMES FOR THE STYLE.

Art Nouveau was known in France as style Guimard, after French designer Hector Guimard; in Italy as the stile Floreale (floral style); stile Liberty, after British Art Nouveau designer Arthur Lasenby Liberty; in Spain as Modernisme; in Austria as Sezessionstil (Vienna Secession); and in Germany as Jugendstil.

Art Nouveau had its 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

MAIN REPRESENTATIVES ART NOUVEAU IN BRITAIN WALTER CRANE ARTHUR MACKMURDO ARTHUR LASENBY LIBERTY CHARLES ASHBEE AUBREY BEARDSLEY CHARLES RENNIE MACKINTOSH ART NOUVEAU BELGIAN, SWISS AND FRANCH THEOPHILE ALEXANDRE STEINLEN ALPHONSE MUCHA VICTOR HORTA HENRY VAN DE VELDE HECTOR GUIMARD MILE GALL ART NOUVEAU IN SPAIN ANTONI GAUD ART NOUVEAU IN AUSTRIA GUSTAV KLIMT KOLOMAN MOSER JOSEF HOFFMANN

ART NOUVEAU IN GERMANY HERMANN OBRIST AUGUST ENDELL ART NOUVEAU IN UNITED STATES ROOKWOOD POTTERY OF CINCINNATI TIFFANY STUDIOS OF NEW YORK CITY LOUIS SULLIVAN

A FAVORITE ART NOUVEAU THEME WAS A NYMPH WITH FLOWERS IN HER ABUNDANT STREAMING HAIR. SHE APPEARED ON THE POSTERS OF ALFONS MUCHA AND AMONG THE OPALS AND MOONSTONES OF REN LALIQUE'S JEWELRY. OTHER FAVORITES WERE PEACOCKS, DRAGONFLIES, AND MOTHS. IN BRILLIANT ENAMELS AND GOLD FILIGREE, THEY WERE WORKED INTO COMBS, BROOCHES, AND OTHER ADORNMENTS. MORNING GLORIES GLIMMERED THROUGH THE STAINED GLASS OF LOUIS COMFORT TIFFANY. IRISES WERE INLAID IN THE MARQUETRY CABINETS OF LOUIS MAJORELLE (1859-1926). CRESTING WAVES BROKE AND SEAWEED CLUSTERED AROUND ART NOUVEAU VASES. A DISH MIGHT BE AN UNADORNED LOTUS LEAF. OTHER BOTANICAL FORMS WERE ARRANGED IN ABSTRACT PATTERNS AND WERE SYMMETRICALLY ARRAYED AROUND MIRROR OR PICTURE FRAMES OR REPEATED ON FABRICS AND WALLPAPERS OR IN MURAL DECORATIONS.

ART NOUVEAU WAS A RICH, VOLUPTUOUS STYLE THAT APPEALED TO AN ENLIGHTENED ELITE, TO PERSONALITIES SUCH AS SARAH BERNHARDT AND LOIE FULLER, AND TO THE NOUVEAUX RICHES, WHOSE TASTES, UNINHIBITED BY TRADITION, ENCOURAGED DESIGNERS TO STYLISTIC EXCESSES. THE STYLE'S PATRONS GREW BORED WITH IT, HOWEVER, AND IT DECLINED IN FASHION WITHIN A DECADE.

YET NOT ALL ART NOUVEAU WAS FRIVOLOUS AND EVANESCENT. ITS SERIOUS ADHERENTS VIEWED IT AS THE ANSWER TO A SERIOUS PROBLEM THAT HAD BECOME APPARENT BY THE END OF THE 19TH CENTURY: TO FIND A STYLE SUITABLE FOR THE INDUSTRIAL AGE RATHER THAN, AS THE ACADEMICALLY TRAINED ARCHITECTS OF THE PARISIAN ECOLE DES BEAUX-ARTS WERE DOING, APPLYING PAST STYLES TO CONTEMPORARY WORKS.

THE ARTS AND CRAFTS MOVEMENT WAS THE PARENT OF ART NOUVEAU, BUT IT PERSISTED INTO THE NEW PERIOD AND AFTER 1900 MERGED INTO THE MAINSTREAM OF THE NEWER STYLE. THIS WAS ALSO TRUE OF SYMBOLISM, A CONTINENTAL MOVEMENT IN POETRY AND PAINTING THAT APPEARED IN THE 1870S. MUCH OF THE ENIGMATIC FORM AND COLOR OF ART NOUVEAU IS RELATED TO THE SPIRIT OF SYMBOLISM, AS ARE SUCH MOTIFS AS MEDUSA HEADS, PANS, AND WOODLAND NYMPHS. THE ATMOSPHERE OF DECADENT CYNICISM FOUND IN THE DRAWINGS AND PAINTINGS OF AUBREY BEARDSLEY, HENRI DE TOULOUSE-LAUTREC, AND EDVARD MUNCH, AS WELL AS THE OTHERWORLDLY QUALITIES FOUND IN THE WORKS OF PAUL GAUGUIN, ODILON REDON, AND GUSTAV KLIMT, WERE DERIVED FROM THE SYMBOLIST POETS, YET THE RENDERING IN COLOR AND LINE RELATED TO ART NOUVEAU.

ONE OTHER DEVELOPMENT THAT INFLUENCED ART NOUVEAU WAS THE AESTHETIC MOVEMENT, AN ENGLISH DECORATIVE-ARTS STYLE CREATED BY FOLLOWERS OF WILLIAM MORRIS DURING THE 1880S. THE AESTHETIC MOVEMENT TOOK ITS SOURCES FROM MEDIEVAL ART, AS DID ITS ARTS AND CRAFTS MOVEMENT COUNTERPART, BUT IT ADAPTED THE NEWLY DISCOVERED ARTS OF JAPAN AS WELL. IT SURVIVED FOR ONLY A DECADE, AND MUCH OF THE STYLE WAS ABSORBED INTO ART NOUVEAU. SOME OF THE MORRIS-INSPIRED FABRICS AND WALLPAPERS OF WALTER CRANE, CHARLES VOYSEY, AND ARTHUR MACMURDO (1851-1942), DESIGNED IN 1882, COULD EASILY BE TAKEN FOR ART NOUVEAU CIRCA 1895

STAIRCASE OF THE MAISON & ATELIER OF VICTOR HORTA. THIS BUILDING IS ONE OF FOUR HORTA-DESIGNED TOWN HOUSES IN BRUSSELS THAT ARE TOGETHER RECOGNISED BY UNESCO AS "REPRESENTING THE HIGHEST EXPRESSION OF THE INFLUENTIAL ART NOUVEAU STYLE IN ART AND ARCHITECTURE

ARCHITECTS IN OTHER PARTS OF THE WORLD HAD BEEN LEANING IN THE DIRECTION OF ART NOUVEAU EVEN BEFORE 1890. ONE WAS THE AMERICAN ARCHITECT LOUIS SULLIVAN, THE TEACHER OF FRANK LLOYD WRIGHT. SULLIVAN MADE USE OF ANCIENT CELTIC DESIGNS, INCORPORATING THEM IN THE DECORATION OF HIS OTHERWISE FUNCTIONAL BUILDINGS, SUCH AS THE AUDITORIUM BUILDING (1889) AND THE CARSON PIRIE SCOTT DEPARTMENT STORE, BOTH IN CHICAGO. IN BARCELONA THE SPANISH ARCHITECT ANTONIO GAUD WAS ANOTHER PRECURSOR OF ART NOUVEAU. EMPLOYING MEDIEVAL SPANISH TRADITIONS, GAUDI, LIKE SULLIVAN, CREATED A UNIQUELY PERSONAL STYLE. HE COMBINED TYPICAL SPANISH MATERIALS SUCH AS WROUGHT IRON AND COLORFUL TILE WITH CAST CONCRETE TO CREATE FANTASTIC STRUCTURES IN AN UNUSUAL ART NOUVEAU IDIOM. GAUDI'S PLANS AND STRUCTURAL MODELS FOR THE STILL UNCOMPLETED CHURCH OF THE SAGRADA FAMILIA (SACRED FAMILY), BEGUN IN 1883, SHOW HIS POWER OF INVENTION AS AN ENGINEER

THIS FRONT COVER OF AN 1896 EDITION OF THE GERMAN MAGAZINE JUGEND IS DECORATED IN ART NOUVEAU MOTIFS. JUGEND WAS STRONGLY ASSOCIATED WITH THE STYLE AND THE MAGAZINE'S NAME INSPIRED THE GERMAN TERM FOR THE MOVEMENT, JUGENDSTIL ("JUGEND"-STYLE).

THE EDWARD EVERARD BUILDING IN BRISTOL, ENGLAND

EMILE GALLE, THE FRENCH DESIGNER OF GLASS AND FURNITURE, WAS FOLLOWING WILLIAM MORRIS'S PRECEPTS BEFORE 1880. INSPIRED BY CHINESE CAMEO GLASS, HE CREATED GLASSWARE THAT WAS TO INFLUENCE TIFFANY IN THE UNITED STATES. TIFFANY ACHIEVED AN IRIDESCENT GLASS BY USING UNUSUAL CHEMICAL TECHNIQUES; TO AMERICANS HIS NAME BECAME SYNONYMOUS WITH THE NEW STYLES OF 1900. DURING THE 1890S ARTHUR LASENBY LIBERTY'S SHOPS IN LONDON AND PARIS WERE OUTLETS FOR THE MODERN STYLE. ITALIANS CALLED ART NOUVEAU "STILE LIBERTY" AND "STILE FLOREALE." THE GERMANS REFERRED TO IT AS "JUGENDSTIL," AFTER THE AVANT-GARDE ART PERIODICAL JUGEND (YOUTH). BUT THE PRESENT-DAY LABEL IS DERIVED FROM MAISON DE L'ART NOUVEAU, A SHOP OPENED BY THE DEALER SIEGFRIED BING IN 1896. A RATIONAL ARCHITECTURAL APPROACH TO THE STYLE WAS ACHIEVED BY CHARLES RENNIE MACKINTOSH, A SCOTSMAN. HIS WORK SO IMPRESSED JOSEF HOFFMANN AND THE VIENNESE SECESSION (OR SEZESSION) GROUP THAT THEY ADAPTED A SIMILAR MODIFICATION OF ART NOUVEAU, AND IN DOING SO CREATED A NEW STYLE THAT MANY DECADES LATER BECAME KNOWN AS ART DECO. HOFFMANN'S PALAIS STOCLET IN BRUSSELS (1905) WAS A PRECURSOR OF THE FRENCH ART DECO STYLE OF 1925.

THE CASA BATLL, ALREADY BUILT IN 1877, WAS REMODELED IN THE LOCALLY BARCELONA MANIFESTATION OF ART NOUVEAU, MODERNISME, BY ANTONI GAUD AND JOSEP MARIA JUJOL IN 19041906

GLASS AND CERAMICS GLASS ART WAS AN AREA IN WHICH THE STYLE FOUND TREMENDOUS EXPRESSION FOR EXAMPLE, THE WORKS OF LOUIS COMFORT TIFFANY IN NEW YORK, CHARLES RENNIE MACKINTOSH IN GLASGOW AND MILE GALL AND THE DAUM BROTHERS IN NANCY, FRANCE

JEWELRY OF THE ART NOUVEAU PERIOD REVITALISED THE JEWELER'S ART, WITH NATURE AS THE PRINCIPAL SOURCE OF INSPIRATION, COMPLEMENTED BY NEW LEVELS OF VIRTUOSITY IN ENAMELING AND THE INTRODUCTION OF NEW MATERIALS, SUCH AS OPALS AND SEMI-PRECIOUS STONES. THE WIDESPREAD INTEREST IN JAPANESE ART, AND THE MORE SPECIALISED ENTHUSIASM FOR JAPANESE METALWORKING SKILLS, FOSTERED NEW THEMES AND APPROACHES TO ORNAMENT. FOR THE PREVIOUS TWO CENTURIES, THE EMPHASIS IN FINE JEWELRY HAD BEEN ON GEMSTONES, PARTICULARLY ON THE DIAMOND, AND THE JEWELER OR GOLDSMITH HAD BEEN PRINCIPALLY CONCERNED WITH PROVIDING SETTINGS FOR THEIR ADVANTAGE. WITH ART NOUVEAU, A DIFFERENT TYPE OF JEWELRY EMERGED, MOTIVATED BY THE ARTIST-DESIGNER RATHER THAN THE JEWELER AS SETTER OF PRECIOUS STONES. THE JEWELERS OF PARIS AND BRUSSELS DEFINED ART NOUVEAU IN JEWELRY, AND, IN THESE CITIES, IT ACHIEVED THE MOST RENOWN. CONTEMPORARY FRENCH CRITICS WERE UNITED IN ACKNOWLEDGING THAT JEWELRY WAS UNDERGOING A RADICAL TRANSFORMATION, AND THAT THE FRENCH DESIGNER-JEWELERGLASSMAKER REN LALIQUE WAS AT ITS HEART.

. LALIQUE GLORIFIED NATURE IN JEWELRY, EXTENDING THE REPERTOIRE TO INCLUDE NEW ASPECTS OF NATURE DRAGONFLIES OR GRASSES INSPIRED BY HIS ENCOUNTER WITH JAPANESE ART. THE JEWELERS WERE KEEN TO ESTABLISH THE NEW STYLE IN A NOBLE TRADITION, AND FOR THIS THEY LOOKED BACK TO THE RENAISSANCE, WITH ITS JEWELS OF SCULPTED AND ENAMELED GOLD, AND ITS ACCEPTANCE OF JEWELERS AS ARTISTS RATHER THAN CRAFTSMEN. IN MOST OF THE ENAMELED WORK OF THE PERIOD, PRECIOUS STONES RECEDED. DIAMONDS WERE USUALLY GIVEN SUBSIDIARY ROLES, USED ALONGSIDE LESSFAMILIAR MATERIALS SUCH AS MOULDED GLASS, HORN, AND IVORY

ART NOUVEAU WAS OUT OF FASHION BEFORE WORLD WAR I HAD BEGUN. FROM THE 1920S TO THE 1950S IT WAS CONSIDERED BY CRITICS A MORIBUND, EVEN UGLY, STYLE. ABOUT 1960, HOWEVER, A REAPPRAISAL BEGAN. IN REACTION TO THE UNIMAGINATIVE GLASS-AND-STEEL RECTANGULAR ARCHITECTURE OF THE 1950S, CRITICS BEGAN TO TURN BACK TO THE STYLE OF 1900 WITH FAVORABLE RECONSIDERATION. NUMEROUS EXHIBITIONS WERE HELD, SCHOLARLY PUBLICATIONS ON ART NOUVEAU BEGAN TO APPEAR, AND PRICES FOR ART NOUVEAU OBJECTS SOARED. ART NOUVEAU WAS INCORPORATED IN THE REBELLIOUS PSYCHEDELIC STYLE OF THE 1960S AND FINALLY ACHIEVED ITS PLACE AS A SIGNIFICANT STYLE IN THE HISTORY OF MODERN ART.