The Art Nouveau Movement

The intense focus on arts and crafts approaches and also the highly decorative nature on the sort was 1 reason why it would not survive World War I. Several of its works and approaches have been expensive and not effortless to mass produce. These limitations from the style known as Art Nouveau kept the movement from becoming additional common than it might have been.

Craftsmanship, themes from nature, and wavy sinuous lines are the hallmark on the Art Nouveau style. Art Deco is really a movement that originated later than Art Nouveau and is usually confused with it, but the 2 are distinctly different. The designs in Art Deco are more geometric, angular and jagged in line. Deco designs are symbolic in the machine-age, whereas the Art Nouveau movement is often a reaction against the machine age and its designs are softer, more hard to mass produce and embody themes of nature and the fantastic, "Art Nouveau designs are characterized by images borrowed from nature, by swirling, sinuous lines and by a devotion to craftsmanship. The movement was formed, in part, to protest an increasingly mechanized world, so organic types have been prized. Surfaces of furniture, wall coverings, lamps, clocks and vases are covered with trailing, twisting patterns that threaten to burst free at the edges" (Sher Art Nouveau was International in scope. While it originated in London, it was referred to as Jugendstil in Germany, Sezssionistil in Austria, and Modernismo in Spain. It enjoyed the greatest reputation among the decorative arts like furniture, jewelry, and book illustrations. A few of the biggest artists with the movement have been the graphic artist Audrey Beardsley, the jewelry designed Rene Lalique, as well as the glassware designer, Louis C. Tiffany. The designs of these artists were often erotic and great if design, like Beardsley's cover illustration for Oscar Wilde's Salome. Most art in the mid-19th century had an historical perspective as well as the movement in general was in opposition to this sort of traditions, "The type was richly ornamental and asymmetrical, characterized by whiplash linearity reminiscent of twining plant tendrils. Its exponents chose themes fraught with symbolism, frequently of an erotic nature. They imbued their designs with dreamlike and exotic forms" (Columbia 1).

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