The evolution of Art Nouveau
In 1893 Edmond Lachenal introduced a new range of matt glazes that became the hallmark of his mature style – mat email veloute ( matt velvet opaque glaze ). It was created by immersing a standard glossy glaze into a a hydroflouric acid bath, stripping it back to a matt glaze. This was highly symbolic of the more formal classical styles being dissolved to usher in a new era.
The colourful, soft textured, ethereal glazes were perfectly suited to the dreamy, organic appearances of the emerging Art Nouveau designs. The muted palette gained instance acceptance and the Musee des Art Decoartifs purchased a Lachenal ceramic piece with this glaze in 1894. Simultaneously in the 1890‘s Jean Carries, Auguste Delaherche and Ernest Chaplet were also experimenting with muted earth tones. Another innovation in Lachanel’s work were his forms became more sculptural and organic. So plants weren’t merely painted on the surface but became integrated into the surface form itself. Critics praised this happy union of naturalistic forms complimented by the matt glazes as robustly graceful.
Ibis Vase – Ernest Chaplet
( frenchporcelaine.com )
The botanical vases with an organic appearance had a resemblance to the Japanese carved stone arts. This was no mere coincidence as the French designers in the 1880′s and 1890′s such as Emile Galle had been forging new styles based on nature which reflected their inspiration from the Japanese aethestic. Since 1854, Japan had opened up its trade with the rest of the world and Japanese art flooded into the European markets. The beauty and refinement of their paintings had an immediate influence on the artists of Europe
Edmond Lachenal also began casting and glazing the work of independent sculptors. This practice was already a major aspect of Émile Müller’s firm, Tuileries d’Ivry. Then the idea was taken over by artisan-al potteries such as that of Alexandre Bigot. The collaboration between sculptor and art potter had a special currency; the concept of a fusion of all the arts, both high and low, were frequently discussed. He produced ceramic sculptural pieces for Auguste Rodin (1895), Daillion ( 1895), Agnes de Frumerie (1896-1906), Ferdinand Faivre (1897), Luca Madrassi (1894) and Max Blondat (1904). His collaboration with the Swedish figural sculptor , Frumerie, resulted in her applying her talents to decorative vases, which produced works consisting of maidens among oversize flowers, dejected Eves, dancing nymphs entwined in vines and leaves and other nature themes.
Art Nouveau Figural Vase – Edmond Lachenal & Agnes de Frumerie
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In the excellent BBC series “ The Allure of Art Nouveau “ ( see below ), the following story was related by Alfonso Mucha’s grandson -
During the holiday season of December 1894, the struggling Czech artist/painter Alphonso Mucha, happened to be in a Paris print shop when the printer arrived with a request for an urgent poster promoting Sarah Bernhardt’s new play ” Gismonda “. As most of the Parisian artists were out of town on holidays, Mucha was in luck and received the commission. When the printer saw the result 2 weeks later, he was initially shocked by the style and muted colours that Mucha had produced. However Bernhardt loved the artwork immediately and gave Mucha an embrace, declaring ” you have just made me immortal “.
Alfonso Mucha Gismondo poster
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After the introduction of the poster on the 1st of January in 1895, this turned out to be quite a prophetic statement, as the poster was an overnight sensation and was continually souvenired off walls. It was also a pivotal moment, being one of the first examples of inexpensive art being mass produced for general consumption. Mucha produced a flurry of paintings, posters, advertisements and book illustrations, as well as designs for jewellery carpets, wallpaper, and theatre sets in what was termed initially the Mucha Style but became known as Art Nouveau (French for ‘new art’) The promotion and development of Art Nouveau was rapid in architecture, ceramics, advertising and design and flourished for around 15 years.
Aubrey Beardsley’s illustration’s in Britain, Hestor Guimard’s design of the Paris Metro, Mary McDonnald in Glasgow, the architecture of Victor Horta in Brussels along with Antoni Gaudí in Barcelona and the Jugendstil secessionist movement in Vienna all drank from the same fountain of creative elixir and inspiration during this extraordinary time. Edmond Lachenal continued his adventurous Art Nouveau ceramics into the 20th century with flamboyant forms and rhythms in his designs.
Teal and purple Art Nouveau Bud vase with pewter trim detail - c.1910
Art Nouveau Vase – Edmond Lachenal, 1900
The Indianapolis Museum of Art
W.S.and S vase
( Treadway Toomey )
Weller Ewer
Wilhelm Kralik Sohn vase
Handled vessel – Mougin, Nancy France
Judy Ritchie carved gourd
Kimbar- flickr
Austrian Loetz vase art nouveau with gilt overlay
Emile Galle Vase – Talking Lily 1900
( Naturalistic Spoon )
Loetz vase organic Art Nouveau form
Clement Massier iridescent glaze vase
Frederick Hurten Rhead Nouveau vase
Patinated Jugendstil style bronze vase with two fairies
( 1900style.es )
German Jugendstil Art Nouveau vase – Berlin Museum
( Nouveau Voyages – Flikr )
Austrian Art Nouveau lustre ceramic bowl
American Art Nouveau Gilt Metal Mantel Clock, New Haven Clock Company
Amphora art nouveau vase
Amphora Art Nouveau gilt handle quatrefoil foliate vase
Alvin Art Nouveau glass vase with sterling overlay
Amphora compote large form
( Treadway Toomey )
AN glass vase with green stones
Antoine Bricteaux Étoile
Art Nouveau Patinated Bronze Figural Vase
Art Nouveau facade – Moscow
Crown Plate
( Leslie Hindman )
Art Nouveau brooch
Daum vase
Faience Vessel - Ferner Green with Gold Sponge Accents – DF Haynes
( Timber Hills Antiques on Ruby Lane )
Loetz vase, glass with a pulled design in blue, applied metal overlay in Art Nouveau
Two matching Amphora vases
Royal Doulton pitcher – 1900
( Treadway Toomey )
Osef Maria Auchentaller Jugendstil
Gustav Gurschner Nouveau Table Lamp
Loetz vase, tapered form with colorful iridescence and floral design in silver overlay
Mont Joye French Nouveau cameo art glass vase
Olivier de Sorra – Pierrefond
Pitcher – Lucien Hirtz
1900
Royal Dux vase, broad shape with two handles and a sculpted maiden among foliage.
( Treadway Toomey )
Rudolf Hamršmíd, Vase, 1899
Alfons Mucha 1896 poster
French Art Nouveau ” aubergine ” vase
Keller and Guérin, following a design of Ernest Bussière, featuring iridescent gold, brown and green glazes.
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An extract from the BBC ” The Allure Of Art Nouveau ” series featuring some pieces from Rene Lalique :
Art Nouveau – the enticing style of a new century is a post from: Ceramics & Pottery Arts & Resources
The Original Post is Located Here: Art Nouveau – the enticing style of a new century