West European Studies

Introduction
You wait in line to buy tickets for a movie and right next to you are posters for upcoming films that will be shown next summer. One poster catches your eye a summer blockbuster with its bright colors, dark curvy lines that are reminiscent of graphic novels particular style. The line moves forward and, reminding yourself to watch it when it shows, you follow suit. You dont know that when you look at that poster, you are in fact looking at a vestige of the past, a reminder of a formerly popular genre that has laid the groundwork for modern art movements.

Defined by cursive lines, floral and animal patterns, the feminine silhouette, and vivid colors, this movement known as Art Nouveau came about during the latter parts of the nineteenth century and flowing into the first quarter of the twentieth. Largely a reaction to the strict rules of Classicist schools of art and the onset of modern technology, Art Nouveau, in its short reign as the most popular genre during that period, came to influence architecture, decorative arts, and the visual arts so profusely its reach can still be felt until today. We look at these designs everyday not knowing where it had originated the poster, which was born during that period Gustav Klimts iconic painting The Kiss that has been translated into the covers of many notebooks and wallpapers and Antoni Gaudis grotesque-looking buildings in Spain.

For this paper, I shall discuss the birth of Art Nouveau and how it came as a reaction to its predecessor, Historicism. I shall also look into its major influences and the people who have come to represent and popularize this style during that period. Finally, I will look into how it has come to influence the succeeding movements and how its influence can still be felt today.

A Description and History of Art Nouveau
As with any emerging art movement, Art Nouveau came about not just as a reaction against the timely rising of modern technology and science, but also as a move against the strict rules of Classicist schools of art. To better understand how Art Nouveau came to be we must first take a look at the principles and dynamics of its predecessor, Historicism, in order to see why twentieth-century avant-garde artists decided to rebel against it.

For the practitioners of Art Nouveau, Historicism represented a kind-of stiffness and rigidness that they wish to reject. Just as Art Nouveau is characterized by flowing lines and a leaning towards nature, Historicism is characterized by the insistence of the importance of historical context in addressing texts, whether visual or narrative. The basic premise of Historicism rests on the belief that we cannot have natural laws governing our understanding of human behavior, and should therefore look upon our history as the ideal standard that we must follow (2). Imitations of Classical art were popular during this period, particularly sculptures. There was also a tendency to use hard and heavy colors and rigid forms. The style was basically a play on shadow and light that aimed for an open form. (Historicism and Studio-Style online) In terms of Historicisms reaction to technology, it faced this new phenomenon by conjuring up the past in order to defend its artistic territory.

Tired of the stiff Classical ideals of the previous movement, avant-garde artists from Germany, Britain and Austria sought to create a new genre, a New Art, that worked with technology and its practices, at the same time relishing in the concept of Nature. They also sought to create a movement that will match with the changing environment that is seen around the world. And so, Art Nouveau was born amidst the changes in the world, a great representation of the outlook shared by artists worldwide.

Art Nouveau was not called such until the latter part of the nineteenth century. In fact, before coming to itself, the movement was actually born out of an earlier artistic faction called the Arts and Crafts Movement. Much like Art Nouveau that reacted against the rigid tendencies of Historicism, the Arts and Crafts Movement challenged Victorian notions of art by promoting the quality production of products. Grounded on the notion that a happy worker can create better products, promoters John Ruskin and Walter Crane (who later on became a pioneer in Art Nouveau) wanted beautiful objects that can enhance the lives of ordinary people. The movement was short-lived though when prices for such products skyrocketed and eluded its target market.

Taking cue from this movement, the style of Art Nouveau or French for New Art began to take flight. Formerly a nameless style, only called Jugendstil in Germany and Sezessionstil in Austria, it got its name from a Paris art gallery called the Maison de lArt Nouveau, that showcased a lot of works following its principles. The movement basically finds inspiration in the lines, patterns, and colors found in Nature. This, we can say, is an idealist impression of the future relationship of Nature and Technology. It was also pursued as an international style based on decoration as we will further see in its extensive application in pottery, tableware, and furniture design. We can further characterize the genre based on their purpose or ideology, and the style that it exuded.

Unlike Historicism, and even the Arts and Crafts movement, Art Nouveau put itself before technology and tried to accommodate it in its principles. Says Klaus-Jurgen Sembach (2000) in his book entitled Art Nouveau Art Nouveau must be given credit for attempting to alter this situation, for striving to bring about a reconciliation between traditional expectations of art and the modern face of technology. At first it would seem like a monstrosity to attempt to combine a genre that is grounded on the concept of Nature with its ultimate contradiction, Technology. But, this is what Art Nouveau attempted to do despite criticism of its overt Utopian ideologies. It can be seen with architect Hector Guimards stylish entrances for Paris metro stations. It was a clear manifestation of the joining of two very separate ideas, art portrayed in the entrances and the cold, black steel of trains, which until now is representative of Parisian life. In a sense, as Sembach states, Art Nouveaus way of creating a stylized mask to hide the terrifying concept of technology made it easier for people to accept the notion of technology getting involved further in their lives. Through this it became impossible to see the functional, constructional, material relationships exemplified in modernity and technology, making it easier for people to forget its intimidating nature. With this attempt we see one of the principles of Art Nouveau to make economic necessity into an aesthetic experience, or, to put it rather differently, to make purposeful pleasurable.

To create a most pleasurable experience, avant-garde artists who were supporters of Art Nouveau looked into the light, airy appeal of Nature as their inspiration. One of the unifying characteristics of the style is the simplification of forms for the sake a more organic art. These forms were usually cursive lines that echoed the feel of vines as they grown on walls, bright colors found in abundance in the many different floras, and animal depictions, like the Chimera, seen in August Endells work. In Jeremy Howards book he says that he was not only creating art forms that represent nothing, but also of the immense power natural forms may have if the perception is opened to them.

The concept of the machine also had a huge influence on the technique and style of Art Nouveau. One their primary inspirations is the concept of human flight, as prevailed by the American Wright brothers during the first manned flight in Kitty Hawk. Aesthetic design was then unified with the science of flight. With this in mind, lines began to expand from just being traditionally horizontal, inspired by a birds wide viewpoint. Wings of flying creatures became motifs for several artists. Speed, a highlight of the Industrial Revolution, was also taken into account, to show abstract dynamism.

These more or less show the background principles behind Art Nouveaus purpose and style. Art circles in Germany, Austria, and Britain were already quite a-buzzed about this rising new style, but it was only during the Paris Worlds Fair (Exposition Universalle) in 1900 that Art Nouveau has come to cement its reputation as a legitimate, intenational style. Art Nouveau was featured in many of the national pavilions, much to the enjoyment of the international gathering of the people amounting to more than fifty-one million. But the best showcase of the new style was in the pavilion organized by Siegfried Bing, also the owner of famous art gallery LArt Nouveau, showing furniture, jewelry, ceramics, posters, and glass form many of upcoming artists of the genre. One could also see interiors by Georges de Feure, Eugene Gaillard, and Edouard Colonna, in which the furniture, fabrics, and decorations were all part of a total work of art unified by the same design.

Art Nouveau Artists and their Different Genres
Art Nouveau has a wide breadth of influence that ranges from architecture to, even, cutlery. Few such movements in the twentieth century were used in that many forms. For this part of the paper, we shall discuss some of the many Art Nouveau artists who have come to rise to a certain international popularity with their art, and how theyre art works are still seen now.

Perhaps one of the most resounding names in architecture history, Antoni Gaudi, is a clear representation of the creative extent devoted by Art Nouveau artist into their work. Born in 1852 in Reus near Barcelona in Spain, Gaudi was a product of many political and social upheavals in his native Catalonia. He pursued his architectural studies in Barcelona amidst intense political turmoil that almost made him stop studying. But he went on, and became one of the most imaginative, revolutionary architects of his time. Now, seven of his major works are World Heritage sites, a testament to Gaudis exceptional creative contribution to the development of architecture and building technology in the late nineteenth and early twentieth centuries. At times grotesque, Gaudis work is the physicality of Art Nouveau principles curvy lines that at times look sinister, and at times look like majestic tree trunks, they exemplify a certain unity with nature. Such works include the very famous Crypt of La Sagrada Familia, Casa Vicens, Casa Batllo, and the Crypt in Colonia Guell. It was also one of the few buildings of its time that used cement to create irregular lines that are descriptive of Art Nouveau ideals. Like the genre, Gaudi merges technology with art in his pioneering process of construction. Gaudies work anticipated and influenced many of the forms and techniques that were relevant to the development of modern construction in the twentieth century.

Another familiar name in Art Nouveau is Gustav Klimt whose iconic work The Kiss is one of the most reproduced works of art in todays society. Though he is primarily associated with the Vienna Secession Movement as its organizer, his works are still considered Art Nouveau as it echoes the same sensibilities of the style. Born in 1862, Klimt started as an artist-decorator with his brother and fellow artist Franz Matsch. Several of his first works were mural decorations for the Burgtheater and the Kunsthistorisches Museum in Vienna. Looking at these works we can instantly see how Klimts eclecticism, with his use of gold-leaf and patchwork to enhance the feel of his paintings. Other than frieze and murals, Klimt also dabbled in portrait work, and given his style, was able to come up with uniquely Art Nouveau portraits that were cannot be duplicated by another other artist of his time. But, upon the fall of the Art Nouveau movement, Klimt gradually withdrew himself, greatly dismayed by the growing partiality for naturalism.

Famous for his glass works, Emille Galle is one of the main practitioners of Art Nouveau in France, having founded the School of Nancy, or the Alliance Provinciale des Artistes, in 1901. Aside from glass, he also designed furniture and pottery. Galle was a master of glass, dabbling in every possible technique available, cleverly exploiting even the minute imperfections such as air bubbles, clouding, and crazing. His works are characterized by two or more colored that resemble plants as inspired by his deep interest in botany. And much like the rest of artists following the styles of Art Nouveau, his works also evoke the soft, curved lines that should resemble that of flora. These works were shown and sold at Samuel Bings LArt Nouveau showroom, much like most of the Art Nouveau practitioners in Paris. Now, Emille Galles works are considered collectors items and fetch thousands of dollars in auctions.

But aside from the genres discussed above, Art Nouveau also welcomed the rise of the Poster Movement, popularized by artists Jules Cheret and William H. Bradley. Of the two, it was Jules Cheret who the academic institutions regard as the Father of the Poster, having been the pioneer in this rediscovered form. A talented artist with minimal background in design except for a course at the Ecole Nationale de Dessin in Paris, he was able to create 1000 posters that were representative of the graphic design style of that era. Born in 1836 to a family of artisans, Cheret was not able to finish his studies because of financial troubles. But he was able to acquire a apprenticeship with a lithographer, beginning his life-long career in poster design. His works were regarded as quite original, raising lithography to art. His most famous posters, also quite reproduced in our time, are the La Goulue for Moulin Rouge and his iconic posters of his Cherettes, his depiction of the dancers from Moulin Rouge.

Though Art Nouveau is primarily a European movement, there were still a few other nationalities that managed to attain popularity in this sphere. One of them is American William H. Bradley, a poster designer that can be viewed as Cherets American counterart. He was born in Boston to minimal financial support, he supported himself by working in a printers shop, perhaps opening him to the world of poster design and advertising. His most important work was his 1894 cover design for Chap-Book, titled The Twins, which most academics believe is the first American Art Nouveau poster. Subsequent designs brought him great acclaim and recognition.

Art Nouveau and the New Movements
Most critics view Art Nouveau a shallow art form, relying mostly on their decorative appeal for their widespread recognition. But despite this harsh admonition, there can still be no denying the extent of influence Art Nouveau has on further movements.

Shortly following the rise of Art Nouveau, several other artists decided to create their own groups following Art Nouveaus principles. One such organization is the Vienna Sezession Movement, organized by Gustav Klimt, as previously mentioned in this paper. The group was founded in 1897 by Klimt, along with Koloman Moser, Josef Hoffman, Joseph Maria Olbrich, Max Kurzweil, Otto Wagner, and others, as an objection against the prevailing conservatism of the Vienna Kunstlerhaus and its penchant for Historicism. Following the footsteps of Art Nouveau, the Sezession artists wanted to discover other forms and modes of art outside what is taught within the academic community. They sought to explore a more festive style that veers away from the rigidity of Historicism. The movement, though highly influential during its time, began its untimely collapse when the artists decided to separate ways because of artistic differences.

One movement weve already touched upon is the Poster Movement. Seen as the beginnings of advertising, the Poster Movements effectiveness relies on the catchy appeal of the posters done, in accordance to Art Nouveau styles. Before this time, posters remained black and white works with no general appeal and only served as a means of information dissemination. But with Art Nouveaus colorful images drab streets and boring roadsides of Paris, Belgium, and Holland were reawakened. These posters highlighted various products, ranging from fashion, stores, even alcoholic beverages, once viewed as a taboo. Women were also then put on these posters, something never before done, as a way to entice male drinkers to buy the product. At our perspective, these posters were the predecessors of our posters today leading us to understand the influence of Art Nouveau on our current understanding of graphic design. Several times, Art Nouveau was resurrected in graphic design to create a particular feel for a poster, something that still evokes emotions from its audience until today.

Other such movements that were immediate influences of Art Nouveau were Symbolism and Art Deco. Almost two different styles, what ties Art Nouveau and Symbolism is their inclination to using mythological and dream-like subject in their works. Also taking it path apart from the stiff movements of Realism and Naturalism, Symbolism took to the other-worldly to portray their ideas. Art Deco, on the other hand, is a reaction against Art Nouveau. Though theyre both decorative styles that looked into opulence, Art Deco had a more geometric feel and is also a reaction against the austerity of the World War I. It lost its popularity when, after reaching the mass market, it was deemed gaudy and fake.

The 1960s saw the revival of the Art Nouveau style as a syntax of sexy, youthful rebellion after a major exhibit of Aubrey Beardsleys work. In 1964, Time Magazine announced that Art Nouveau is back, with scholarly exhibits popping up everywhere, and the style of the time reproduced in wall paper, notebooks, etc. It became the chic in-thing, becoming the core of a counterculture that centered in San Francisco.

Conclusion
When Art Nouveau was re-established as a major nineteenth century style during the sixties, people were highly dubious of the peoples sincerity in portraying this style. Like the age old debate on the legitimacy of Art Nouveau as art, they asked is this all just decorative. But in this study, we have come to understand the style in general is not just propelled by a need for extravagances, but reflects that societies current outlook faced by a daunting future filled with machinery and science, people reverted to the comforting notion of Nature in order to transition to a period of technology with veritable ease. Essentially, Art Nouveau did not just serve as a decorative form of art, but as a societys way of facing a changing future.