sharifa saleh albalushi
of art Nouvea
By the delayed nineteenth period of one hundred
years., there was a growing inclination for a new pattern of
technique and architecture to designate the pretentious and hit of the
day. this style was called artlessly
“the new art,” or Art Nouveau.
Art Nouveau was a style, which had the belief to abandon the crutch of
historicism, and to turn to kind and engineering for its revelation. Belgium was one of the place of birthing the
Art Nouveau, and Brussels in specialy is wealthy with model of architecture of
Art Nouveau that evolution
between about 1890 and 1910 throughout Europe and the United States. Art
Nouveau is renowned by its use of a prolonged, sinuous, statutory line and was
employed most overwhelmingly in architecture, indoor design, jewelry and glazier
design, posters, and clarification.
Art Nouveau was purposed
at modernizing design, searching to escape the selective historical styles that
had formerly been popular. The assurance on linear contours took seniority over
color, which was usually symbolize with hues such as muted verdancy, browns,
yellows, and blues. The locomotion was committed to canceling the traditional tabulate
of the arts, which viewed the seeming liberal arts, such as draftsmanship and
sculpture, as outstanding to craft-based decorative arts. The style went out of
fashion for the most portion long before the First World warfare, paving the
way for the expansion of Art Deco in the 1920s,
The art nouveau
solution, idealize for the public in the modern gang displayed by department storage
and at the yearly salons, was to coincide every element of a chamber, from its public colour scheme to the smallest assign of its
smallest object, such as the opener escutcheons and hinges on its furnishing.
Everything had to be ensuite, in gross contrast to the typical recherché indoors
of the time.
Today, almost all those art nouveau
interiors have lost, their wallpapers and padding long since vanish or
stripped, and the wings of furniture dispersed within people or at auction.
Even lasting hand-tinted printed prints and glazier
chromolithographs fail fully to detect the ambience of regularity and intimacy
sought by their art nouveau styler. Yet enough has outrun to show that in this
aspect of style, at least, the new motion offered a radical refinement on the
Movement: Art Nouveau
Born: July 24, 1860 – Ivan?ice, Moravia (Czech Republic)
Died: July 14, 1939 – Prague, Czech Republic
Mucha was known for his commercial announcement, which had a
wide audience, but he also labor in a variety of other media, inclusive furniture,
jewellery, and theatrical group. He mostly labor in Vienna and Paris, but was
also in Chicago, where he educated at the Art Institute, from 1904 to 1910.
There, he introduce his
translation of the “new art” to a United States public.
patterned posters attention the technique Nouveau interest in natural forms,
decoration, and a refusal of the pseudonym of mechanical production.
He worked at ornamental painting jobs in Moravia, mostly
painting dramatic scenery.
In 1879, he relocated
to Vienna to labor for a major Viennese dramatic design company, while
informally increase his technical education. When a fire burnt his employer’s
business through 1881 he returned to Moravia, to do freelance decorative and
portrait painting. Count Karl Khuen of Mikulov hired Mucha to decorate
Hrušovany Emmahof Castle with murals and was impress enough that he concurrent to
sponsor Mucha’s formal training at the Munich complex of Fine Arts.
Mucha produced a flurry of paintings, posters, announcement,
and book clarification, as well as designs for jewelry, rugs, wallpaper, and scene
sets in what was termed at first The Mucha Style but turn into known as Art
Nouveau (French for “new art”). Mucha’s works much featured beautiful
youth women in flowing, vaguely Neoclassical-looking dress, often encompassed by
lush flowers which occasionally formed halos behind their president. In
contrast with contemporaneous poster makers he used pallid pastel colors.
He adorned the Bosnia
and Herzegovina Pavilion and collaborate with decorating the Austrian wing His
Art Nouveau style was overwhelmingly imitated.
The Art Nouveau style, but,; he always insist that rather
than maintaining any elegant stylistic form, his draftsmanship were entirely a production
of himself and Czech art. He stated that art existed only to transport a
spiritual message, and nix more; hence his frustration at the reputation he obtained
by his commercial art, when he most desired to concentrate on more artistic
cycle No.1: The
Slavs in Their Original Homeland (1912)
Czech painter Alfons Mucha
(1860–1939) acquired world fame gratitude to his original Art Nouveau ornamental
work in Paris at the turn of the 19th and 20th century. He put his center elsewhere
although: in a period of twenty monumental draftsmanship, deduce by Slavic
mythology and the date of the Czech nation. Mucha labor on the Slav heroic for
almost twenty years and first uncover it to the audience in the fall of 1928 to
party ten years of the freedom of Czechoslovakia in the Great chamber of the
just completed Veletržní mansion.
The Slav Epic (Slovanská epopej) is a
chain of twenty huge canvases (the great measuring over 6 by 8 metres) characterize
the history of the Slav people and culture. Mucha conceived it as a memorial for
all the Slavonic peoples and he loyal the latter half of his artistic career to
the realization of this work.
The thought of the work was formed in
1899, while Mucha was industrious on the design for the interior of the suite of
Bosnia-Herzegovina, which had been authorized by the Austro-Hungarian office for
the Paris Exhibition of 1900. In preparation for the assignment he travelled exceedingly
through the Balkans, discuss their history and tradition as well as watch the
lives of the meridional Slavs in the area that had been seize by
Austria-Hungary two contract earlier. From this experiment sprang the
inspiration for a new venture – the creation of ‘an heroic for all the Slavonic
peoples’ that desiderate portray the ‘joys and sadness of his own state and
those of all the other Slavs.
With the Slav heroic Mucha wished to band
together all the Slavs through their common history and their reciprocal reverence
for peace and education and eventually to fill with them to work for humanity
using their experiment and virtue. In 1928, Mucha and Crane formally presented
the complete chain of the Slav Epic to the City of Prague as a present to the
countries, coinciding with the 10th yearly of its independence.
The Dance (1898) was formed at the
height of Alphonse Mucha’s reputation and was an Art Glass Panel convenient from
Mucha’s series of colour print illustrations, called The Arts. An printing of
1000 copies were printed on vellum, with a further 50 limited printing copies
printed onto satin. composition For The Dance Mucha, inspired by the cameleer of
nature, forsaken paintbrushes and quills and emphasize the features of nature
in his art work. Dance, the most sensory of the series, party the female form –
it has been propose that the use of autumn is a figure for the menopause.
In this print we appear to have many
decorative topic in the background and a women personality on the inside who is
centered in the middle of the installation, but because of her posture seems to
tendency toward the left.
The personality does have shading and
difference and the line work helps to feather the image. It is various from
comic book style art in order to we get a sense of mass in the poster.
He has used the three above posters
in a chain, but he has used “flowers and women” for this series.
Because this segment is Art Noveau,
it is known for ornament and fancy lines.
As Mucha is one of the major artists in this movement he doesn’t fail to
Contiguity: Mucha has parallel curved, swooping
lines against the overall orthogonal frame. The elements are meant to contrast
and react at the same time.
3- Soap Factory
Soap manufactory of Bagnolet, was formed
by Alphonse Mucha in 1897 as a French advertisement for a women’s soap
This new, fresh and effective format
was used to announce various products. His easily recognizable style show in
advertising posters for items spread from confectionary to beauty products.
Zodiac (1896), on the cover, is a
prototypical job from Mucha’s finest cycle; it was the first print he made
under contract with his printer F. press and originally designed as an in-house
correction for the company. It became so public that it had to be release in a
variety of formats, with and deficient text, with and without the calendar in
the ornamental panel at the bottom, and with and without Mucha’s printed subscription
so that the public might collect and display it as they wished. The image has a
great feeling of scale in spite of its relatively small size, 24 and 7/8 by 18
and one half inches (65.7 × 48.2 cm). The floral and heavenly elements are
symmetrically arranged around a central strange image, the head of a queen-like
woman. The signs of the Zodiac are combined in a halo-like disc behind the
woman’s president, one of Mucha’s customary stimulus. the woman in this poster wears the famous
hairstyle invented by Mucha who initiates the use of double or parallel lines
in very fast, whip-smart curves, a characteristic feature of many of the
artists who would follow in his wake. Art Nouveau becomes the art of the
arabesque. The ripple curvilinear tendrils of hair echo the untold curves in
the plant-like shapes as well as the circles including the sun and the moon to
lower left and right of the ornamental panel. Note the sunflower behind the code
of the sun and the circle of poppies behind the moon. These rondels are part of
Mucha’s now criterion use of a ornamental border resembling a Byzantine mosaic
Nouveau is usually deemed a matter of ‘style’ rather than a philosophy: but, in
fact, distinctive ideas and not only fanciful desires prompted its appearance.
Common to all the most consistently Art Nouveau creators was a determination to
push beyond the bounds of historicism – that exaggerated concern with the
notions of the past which characterises the greater part of 19th-century
design: they sought, in a fresh analysis of function and a close study of
natural forms, a new aesthetic. It is true that the outer reaches of Art
Nouveau are full of mindless pattern-making but there was, at and around the
centre, a marvellous sequence of works in which the decorative and the
functional fuse to novel and compelling effect. Art Nouveau means much more
than a single look or mood: we are reminded of tall grasses in light wind, or
swirling lines of stormy water, or intricate vegetation – all stemming from
organic nature: an interest in which should be understood as proceeding from a
sense of life’s order lost or perverted amidst urban industrial stre