The Defining Features of Art Nouveau Design and Architecture
The first wave of feminism was also occurring at the turn of the century. As women gained independence, prominence, and disposable income in society, the predominantly male designers and architects of the Art Nouveau movement saw an opportunity to create more feminine designs to spark interest in women decorating their homes. Femininity and the female form were used for marketing home decor, jewelry, and other products of the decade.
After 1910, the Art Nouveau style began to feel old-fashioned and gave way to other movements like Art Deco. In the 1960s, a renewed interest in Art Nouveau design sparked after a series of significant exhibitions. Elements of the style were reincorporated into pop art and psychedelic movements. Examples include free form typography, earthy colors, and natural iconography like butterflies.
Art nouveau architecture
Art Nouveau was a vibrant but short-lived phenomenon that flourished but from 1890 to 1910 and touched on all the visual arts. Fashion and furniture, pots and paintings, books and buildings, no object was too small or too large, too precious or too ordinary, to be shaped by the designer working according to the ideals—moral and social as well as aesthetic—associated with the Art Nouveau, even though these ideals were never codified in a coherent manifesto and were inflected according to the place wherein they were practiced. Although historians may question the extent, chronologically and geographically, as well as the very validity of an Art Nouveau style, several characteristics that bind its representatives together may be credibly summarized: first, a desire to avoid the historicism so dominant during the 19th century, using as inspiration Nature in all its fertility and heterogeneity; second, an emphasis on the expressive power of form and color and an aspiration to refine and elevate the material world; third, a determination to erase the distinction between the fine and the applied arts, between the designer and the craftsperson, between art and every-day life; and fourth, a willingness to experiment with materials, transforming the character of traditional ones, like stone, stained glass, and mosaic, and inventing new uses and shapes for recently developed ones, above all cast and wrought iron.
In architecture and the decorative arts, there is a heightened appreciation of the role of ornament, but ornament that was novel in its formal character and was not merely applied to, but integrated with, structure. If there were influences from the distant past in time and space, they did not lead to the imitative revivals so typical of the 19th century. Although Japanese, Islamic, and Javanese art, medieval architecture, and rococo interiors were studied, the lessons learned were assimilated into a creative synthesis intended to respond to the dawning of the new century. More immediate sources were the critic-theorists of the Gothic Revival, notably John Ruskin (1819–1900) and E.E.Viollet-le-Duc (1814–79), and figures associated with the English Arts and Crafts and Aesthetic Movements, such as William Morris (1834– 96). If their goals were at times interpreted in contradictory ways, the social and professional reforms these thinkers embraced anticipated many aspects of the positive revolution in design accomplished under Art Nouveau’s aegis.
The drive to embrace the new and to break from the past is embodied in the very names that designate this fin-de-siècle phenomenon: Modern Style in France, Jugendstil in Germany, Modernismo in Spain, Nieuwe Kunst in the Netherlands, stil modern in Russia, and Art Nouveau in English-speaking lands. Its antiacademic stance is embodied in the term Secessionstil, used in Austria and Eastern Europe. The two Italian designations identify sources: stilo Liberty, suggesting both the quest for freedom and the English influence (the shop, Liberty’s of London, was one of the earliest purveyors of goods that appealed to Art Nouveau sensibilities), and stilo floreale, implying formal genesis in the world of plants. Its detractors may have dubbed it the Vermicelli-stijl (Netherlands) or the Spook Style (Great Britain), but these epithets did not prevent its widespread adoption. Art Nouveau was at once international and regional. The principles of originality, organic integrity, and symbolic employment of ornament were translated according to national traditions. Especially in Scandinavia, Scotland, Switzerland, Russia, and Eastern Europe, National Romanticism was a component of Art Nouveau, and stylized peasant and vernacular motifs as well as the memory of local medieval buildings flavored its productions.
Yet another principle of differentiation is whether the language is predominately curvilinear or rectilinear. In Belgium, France, and Spain, the curvilinear branch, where symmetry and repetition were assiduously avoided and sinuous vegetal shapes informed both structure and ornament, held sway; the rectilinear, where geometry controlled the stylization of natural forms, was preponderant in the Netherlands, the Austro-Hungarian empire, Scotland, and the United States. Nevertheless, one can instantly recognize in the particular national or local permutations the visual and tactile elements associated with the Art Nouveau. Art Nouveau architects sought the challenge of unprecedented building types, like rapid transit stations and department stores, and did not confine their commissions to domestic architecture, although private houses—Hill House, Helensborough (1902–04) by Charles Rennie Mackintosh (1868–1928); the David Gamble house in Pasadena (1908) by Greene and Greene (Charles Sumner [1868–1957] and Henry Mather [1870– 1954])—and blocks of flats—Castel Beranger, Paris (1895–97) by Hector Guimard (1967–1942); Majolikahaus, Vienna (1898–99) by Otto Wagner (1841–1918)—provide some of the most noteworthy examples. Thus, the Paris Metro employed Guimard, and the Viennese Stadtbahn commissioned Wagner to create appropriate structures for this most contemporary of urban facilities. La Samaritaine, Paris (1903–05) by Frantz Jourdain (1847–1935) and Carson, Pirie, Scott, Chicago (1899–1904) by Louis Sullivan (1856–1924) testify to Art Nouveau’s commercial attraction for shoppers.
Various paradoxes complicate the definition of Art Nouveau. Fantastic elements have led commentators to dub its disciples “irrational,” yet many of the architects were rationalist in their sophisticated approach to technology, just as most were motivated by a wish to democratize society. Some of its acolytes were fiercely individualistic, yet others worked cooperatively in communes and workshops. Its products frequently were extravagantly luxurious and made to order for rich patrons, yet many were mass-produced, and the vocabulary, as manifested in posters, tableware, and textiles, appealed markedly to popular taste. The antagonism between the machine-made and the handcrafted that raged during the 19th century was to some extent reconciled in the Art Nouveau. It was one of the first movements to be disseminated via specialized periodicals that enhanced its reach: Van Nu en Straks (Brussels-Antwerp, 1892), The Studio (London, 1893), Pan (Berlin, 1895), Dekorative Kunst (Munich, 1897), Deutsche Kunst und Dekoration (Darmstadt, 1897), L’Art Decorati f (Paris, 1898), and Ver Sacrum (Vienna, 1898) are only a few of the magazines that proselytized for Art Nouveau architecture and design.
The concept of the Gesamtkunstwerk (total work of art) was more potent than at any time since the 18th century. Thus, designers and artisans in many media played a crucial role, although the architect, who controlled the overall setting, was especially powerful. One of the most striking cases is the Belgian, Henri van de Velde (1863–1957), who began his career as a painter and in 1895, at his home in Uccle, established an influential decorating enterprise. He designed not only the building but everything within: furniture, table settings, wallpaper, lighting fixtures, tapestries—even his wife’s clothing. Van de Velde went on to provide Samuel Bing, the entrepreneur whose Parisian shop was called “Art Nouveau,” with many of his trend-setting furnishings. A member of the avant-garde Belgian organization, Les Vingt (Les XX), which had ties to French symbolism and the English Arts and Crafts, Van de Velde was an important link between the various groups that fed into Art Nouveau; in 1897 he moved to Germany and helped to crystallize the nascent Jugendstil. His career illustrates the cosmopolitan character of Art Nouveau.
One of the engines for the rapid spread of the Art Nouveau was the international exhibition. The expositions at Paris in 1900 and Turin in 1902, where almost every pavilion and its contents proclaimed Art Nouveau’s ascendency, may be considered the high point of the movement. Other means of dissemination were the schools and museums of the applied arts founded during the late 19th century, educating artisans and the general public about the significance of the built environment. The Folkwang Museum in Hagen, Germany, and the Austrian Museum of Applied Arts in Vienna followed the lead of London’s Victoria and Albert Museum, established in the wake of the first international (Crystal Palace) exposition, of 1851, to display decorative arts worthy of emulation. A curiosity of the movement was the tendency for some of its adherents, including patrons, to launch workshops, firms, and even communities of like-minded souls. The Vereinigte Werkstätten für Kunst und Handwerk (Munich, 1897), The Interior, (Amsterdam, 1900), and the Wiener Werkstätte (Vienna, 1903) all produced decorative objects based on Art Nouveau principles.
Colonies where artists could jointly pursue the ideal of the Gesamtkunstwerk were initiated including the Künstlerkolonie at Darmstadt, Germany, where Grand Duke Ernst of Hesse in 1899 invited a number of designers to live and work. Arguably the birthplace of mature Art Nouveau is Brussels, and the figure most associated with its brilliance is Victor Horta. His Tassel House (1893) is widely accepted as the first example of Art Nouveau architecture: the sinuous curves of the organic two- and three-dimensional ornament and the artful blending of masonry and metal, tile and stained glass, were imitated throughout the continent. Horta’s greatest work, the Maison de Peuple (1895–99; demolished), demonstrated the popular aspect of the style. Not only could wealthy industrialists indulge their taste for it, but their employees too recognized that it evoked their aspirations. Thus the Belgium Social Democratic Workers’ Party elected the Art Nouveau as the appropriate language for its new headquarters. The striking building, emblazoned with the names of Karl Marx and other socialists, seems to grow from its hilly site, its contours undulating as if to conform to contextual dictates. The iron frame used in combination with brick and stone permits a free plan with spaces of varied heights and dimensions, perfect for accommodating the program’s differing functions, revealed on the exterior through the individualized fenestration; nothing is regular or repetitive. The main door resembles a mysterious cave or mouth that draws one into its recesses, empathy being a quality exploited by many Art Nouveau architects.
Comparable in terms of naturalistic appearance, irregular footprint, and bold exploration of kinesthetic and emotional responses to form and space are the Casa Mila (1906–10) in Barcelona by Antonio Gaudí, and the Humbert de Romans building in Paris (1897–1901; destroyed) by Guimard. Like the Belgian, the Catalan and the Frenchman were indebted to Viollet-le-Duc, especially his projects using the new material of iron, but where Viollet was still in thrall to his Gothic sources, this later trio subsumes them into a totally novel vocabulary derived from flora and fauna.
The devout Gaudí believed that “nature is God’s architect” (Collins, 1960), whereas Guimard saw Nature as “a great book from which to derive inspiration,” replacing the archaeological tomes of the revivalists. The more rectilinear version of Art Nouveau retains nature as the basic source of imagery but emphasizes the geometric substructure underlying organic forms, as described with particular insight by the German theorist Gottfried Semper (1803–79), and symmetry is not rejected. Works by H.P.Berlage, Wagner, Olbrich, and Josef Hoffmann belong in this camp, as do those by designers in Britain and the United States with roots directly in the Arts and Crafts movement (e.g., C.R.Ashbee, Mackintosh, Charles Harrison Townsend, Frank Lloyd Wright, and the brothers Greene). Right angles and straight lines prevail, the stylized decorative motifs are less intuitive and more cerebral, and metal structure, although occasionally present, is subordinated to more conventional materials like wood, stone, and brick, the latter often plastered. Most of the architects of High Art Nouveau turned away from the style by the end of the first decade of the 20th century, those from the curvilinear branch toward Expressionism, those practicing the rectilinear version toward modernism or academicism; in France and Austria, the Art Nouveau smoothly metamorphosed into Art Deco. In the second half of the 20th century, sporadic Art Nouveau revivals have occurred. Short its reign may have been, but Art Nouveau’s spell endures.
Sennott R.S. Encyclopedia of twentieth century architecture, Vol.1 (A-F). Fitzroy Dearborn., 2004.
The Defining Features of Art Nouveau Design and Architecture
What is Art Nouveau Design? Let the Architects Tell You!
Art Nouveau architecture comprises free-flowing and ornamental designs that can be seen on the streets of Paris, Barcelona, and other romantic cities built at the turn of the century. The Art Nouveau movement was rooted in the organic form and feminine lines, which resulted in striking designs that are almost impossible to recreate today. Still, Art Nouveau enchants many homeowners who want aspects of these design features for themselves. Our Texas architects define Art Nouveau architecture and the iconic design elements that became associated with the movement. Our Austin-based design team will also highlight key architects of the era and how to incorporate Art Nouveau style elements in your home with a contemporary twist.
A Brief History of the Art Nouveau Style and Architectural Movement
The Art Nouveau movement is a decorative style of art and architecture that embraced organic and natural forms to reject the mass-produced aesthetic of the Industrial Revolution. Art Nouveau style was popular from 1890 to 1910 throughout Europe and the United States. The design movement is characterized by organic lines, intricate patterns, diverse use of materials, and earthy colors. Ironically, modern industry allowed the materials used to be molded into natural forms. However, a dedication to unique craftsmanship and design prevailed. Art Nouveau comes from a French term meaning “New Art,” which reflects the attempt to create a new style free of machine-made uniformity.
The first wave of feminism was also occurring at the turn of the century. As women gained independence, prominence, and disposable income in society, the predominantly male designers and architects of the Art Nouveau movement saw an opportunity to create more feminine designs to spark interest in women decorating their homes. Femininity and the female form were used for marketing home decor, jewelry, and other products of the decade.
After 1910, the Art Nouveau style began to feel old-fashioned and gave way to other movements like Art Deco. In the 1960s, a renewed interest in Art Nouveau design sparked after a series of significant exhibitions. Elements of the style were reincorporated into pop art and psychedelic movements. Examples include free form typography, earthy colors, and natural iconography like butterflies.
Defining Architectural Features of the Art Nouveau Style
Asymmetrical Lines and Movement
Art Nouveau draws inspiration from plants, insects, and wildlife. Architectural designs abandon straight edges in favor of flowing lines, repeating rhythm, and asymmetry for a natural feel. Asymmetrical lines mimic the look of organic curves, and repetition of patterns creates movement to make the structure feel alive.
Organic Motifs
Motifs or repeating design patterns include depictions of organic shapes, like flower buds, plant stalks, vines, insects, and even female forms. These motifs are apparent in relief carvings, ironwork, tilework, and paintings.
Wide Combination of Materials
With access to new technologies of the Industrial Revolution, Art Nouveau architects could use a wide combination of materials like iron, glass, concrete, wood, and ceramic to create free-form and nature-inspired forms.
Sculptural Concrete and Ironwork
Sculptural concrete and ironwork are prevalent on many Art Nouveau exteriors. Intricate iron gates, railings, and balconies traditionally feature vine-like patterns and asymmetrical balusters. Architects like Antonio Gaudí designed highly sculptural facades, sometimes completely free of flat surfaces.
Earth and Jewel Tone Color Palettes
Art Nouveau draws inspiration from the color palette already provided by nature. Architects and designers traditionally incorporated greens and browns as the base of their designs and accented with rich jewel tones like yellow, indigo, dark red, and violet.
Stained Glass and Intricate Window Panes
Many Art Nouveau buildings also incorporated the use of stained glass or decorative window panes. These windows often depicted nature scenes or abstract forms based on the shapes of flowers and climbing plants.
Important Architects of the Art Nouveau Movement
Antoni Gaudí
Antoni Gaudí was a Catalan architect who pioneered the Catalan Modernism movement in Spain and also participated in the Art Nouveau movement during his naturalist period. He integrated craftsmanship and artistry into his architectural designs through mediums of ceramics, ironwork, and stained glass. He is famous in Barcelona for projects like the Sagrada Família and Casa Batlló.
Hector Guimard
Hector Guimard was a French architect and leader in the Art Nouveau movement. He achieved fame with his design for the Castel Beranger, the first Art Nouveau apartment building in France. His most famous structures include the iron and glass canopies covering the Paris Metro stations.
Charles Rennie Mackintosh
Rennie Mackintosh was a Scottish architect and influential figure in both the Art Nouveau and Secession movements. Mackintosh also worked designing interiors, furniture, and textiles alongside his wife, who influenced him with her flowing, organic style. His stained glass designs are some of his most famous works, as is the Glasgow School of Art. Unfortunately, the iconic structure caught fire in 2018. Plans are currently being drafted for restoration.
Otto Wagner
Otto Wagner was an Austrian architect and leading member of the Vienna Secession movement and the broader Art Nouveau movement. Most of his architectural designs can be seen in Vienna, and he is most noted for his Vienna Metro station designs, featuring flowering forms.
Victor Horta
Victor Horta was a Belgian architect and one of the founders of the Art Nouveau movement. His Hôtel Tassel project in Brussels is considered the first Art Nouveau house and is listed as a UNESCO World Heritage Site. His work directly influenced other designers like Hector Guimard.
Art Nouveau in Modern Day Architecture
Today, the charm and organic forms of Art Nouveau architecture continue to enchant homeowners who wish to recreate the excitement of turn-of-the-century Parisian salons. However, the style involves so many custom-crafted elements, like exterior carvings, ironwork, and stained glass, that it is too cost-prohibitive to recreate. There are other ways to incorporate Art Nouveau elements, though. Earth and jewel tone color palettes, curved lines, and live-edge wood features can be incorporated into new builds to bring organic forms to life in a contemporary fashion.