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Book Art Nouveau: 1890-1914


Art Nouveau: 1890-1914

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    Available in PDF - DJVU Format | Art Nouveau: 1890-1914.pdf | Language: ENGLISH
    Paul Greenhalgh(Editor)

    Book details

A volume created to accompany an exhibition considers the popular and influential style of art nouveau showcasing all mediums from Tiffany lampshades to Lalique jewelry.

Art nouveau embraced massive works of architecture and delicate pieces of jewelry, images of eerie seductresses and sinuous plant forms as well as flowing abstract shapes. The style transformed the decorative arts of many countries at a moment when Western culture believed itself to be on the brink of enormous change. Being ultramodern in the 1890s meant moving away from classical standards of beauty to create a sophisticated blend of nature and artifice. It also meant finding fresh inspiration in art history (Gothic architectural ornament, the airy curlicues of rococo art), non-European cultures (flat patterning in Japanese woodcuts, whiplash curves in Islamic art), or native folk art traditions. Paul Greenhalgh is President of the Nova Scotia College of Art and Design. He was previously Head of Research at the V&A. In April 2000 he curated the exhibition Art Nouveau 1890-1914 at the V&A, and later in Washington and Tokyo. His publications include Ephemeral Values (1988), Modernism in Design (1990), and Quotation and Sources from Design and the Decorative Arts 1800 - 1900 (1993). --This text refers to an out of print or unavailable edition of this title.

4.5 (11707)
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*An electronic version of a printed book that can be read on a computer or handheld device designed specifically for this purpose.

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Required Software Any PDF Reader, Apple Preview
Supported Devices Windows PC/PocketPC, Mac OS, Linux OS, Apple iPhone/iPod Touch.
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Flowing Text / Pages Pages
Printable? Yes

Book details

  • PDF | 496 pages
  • Paul Greenhalgh(Editor)
  • Natl Gallery of Art (September 1, 2000)
  • English
  • 5
  • Arts & Photography

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Review Text

  • By A customer on November 15, 2000

    This splendid book, edited by Paul Greenhalgh, is one of the most beautiful art books I have ever seen. When I visited the Victoria and Albert Museum in London last spring, I was delighted to find that they were in the midst of a wonderful Art Nouveau exhibition, the same exhibition that is now at the National Museum in Washington, D.C. This book was published along with the exhibit, and it contains a treasure trove of examples of the distinctive Art Nouveau style and its many influences. Along with the elegant reproductions (many in exquisite color) there is a superbly written and informative text which discusses the different periods and styles. It covers Art Nouveau designs in furniture, jewelry, posters, architecture, ceramics, among many other areas. This book is a joy to look at -- whether you just flip through the beautifully displayed pictures or sit down at leisure to read the text while sipping a cup of tea. Art lovers everywhere -- especially those who love Art Nouveau --MUST get this book! You will NOT be sorry!

  • By JESSE on August 23, 2011

    I don't write many reviews. I've been an Art Nouveau devotee for decades and have literally *craved* comprehensive knowledge of the movement. In 1996, I even travelled to Prague just to search out Mucha paintings. When I got there I stumbled upon someone who knew where Mucha's house was. I went there and knocked on the door, and Geraldine Mucha opened it up! She invited me in and asked me to sign a guest book. She then proceeded to give me a personal tour of the house. Mucha's commercial works and more personal paintings covered the walls, and the house appeared to be in exactly the same condition it would have been when Alphonse Mucha was alive. It was one of the highlights of my life.This book is a godsend. It's substantial without being cumbersome. It is also a true work of academia - its information is lasting and it feels as accurate today - 11 years after publishing - as it would have felt when it was first published for the 2000 Art Nouveau exhibition at the Victoria & Albert / National Gallery of Art. I've seen other museum exhibition books which were just thrown together to be souvenirs, but this compendium stands tall in it's own right, and is not at all dependent on the 2000 exhibition (which I very very regrettably missed due to my ignorance of it).In short, all of the other reviews (I've seen) are positive for a reason - this book is beautiful and worth much more than the paltry $24 I paid for it. It's a gift. Don't hesitate to buy it for yourself, and also please request that it be made available in ebook form!

  • By M. A Newman on July 28, 2008

    This book is an overview of a wonderful exhibit that I saw at the National Gallery on Art Nouveau. How good was the show? I saw it five times and took a different friend with me everytime. It covers just about all aspects of the movement and also concentrates on certain key cities where Art Nouveau took particular hold. The first portion gives one the vocabulary to understand what Art Nouveau was and then provides some excellent examples of it in practice. This book probably is a better way to gain an understanding of this this wonderful artistic time period right before WWII. Because it provides plenty of examples I think there is a greater narrative structure than what one otherwise finds in single subject art books. Even though the exhibit has long closed, this is still an excellent survey.

  • By Michele on January 6, 2015

    Very nice book. It was a gift for my husband and he was very pleased with it.

  • By Soaring Heart on January 7, 2004

    First off, thank you Paul! I have loved Art Nouveau from childhood, before I ever knew what the style was called. It is somewhere in my blood. ART NOUVEAU, 1890-1914 (pronounced Art Newvo) is like something from a dream. The photographs alone are worth buying this book for!Here are the chapters along with two or more of my favorite works from each:1 THE STYLE AND THE AGEEmile Galle' "Hand." Hot-worked glass with patination. French, 1904. Victor Horta, Hotel Tassel (Tassel House) First-floor landing with view towards staircase. Brussels, 1893.2 ALTERNATE HISTORIESGustav Klimt, Pallas Athene. Oil on Canvas, Austrian, 1898. Museen der Stadt Wien, Vienna. / Doorway with two jambs and a pillar from the 11th-century church at Urnes, Norway. Late 19th-century plaster cast.3 THE CULT OF NATURELouis Majorelle and Daum Freres, pair of magnolia lamps. Gilt bronze and carved glass. French, c.1903. / Louis Majorelle and Daum Freres, Le Figuier de Barbarie. Lamp of patinated bronze and carved glass. French, 1903.4 SYMBOLS OF THE SACRED AND PROFANE"Spiritualism: In philosophy the state or condition of mind opposed to materialism or a material conception of things." Madame Blavatsky, Theosophic Glossary, 1892.Rene Lilique, Dragonfly Woman*** corsage ornament. Gold, enamel, chrysoprase, moonstones and diamonds. French, c.1897-98. Calouste Gullbenkian Museum, Lisbon. / Gustav Klimt, Judith II (Salome). Oil on canvas. Austrian, 1909.5 THE LITERARY HERITAGE6 ORIENT AND OCCIDENTTsuba (sword guard). Iron with gold and silver inlay. Japanese, c.1700-1800. / Inro (small container). Wood with black, gold and brown lacquer and glazed pottery., Japanese, c. 1775-1800. Signed Mochizuki Hanzan.7 ARABESQUES: NORTH AFRICA, ARABIA AND EUROPE(left and right) Glass flasks from Persia (Iran). c, 1885. / (centre) Glass flask by L.C. Tiffany & Co. ***American, 1896.8 LE STYLE ANGLAIS: ENGLISH ROOTS OF THE NEW ARTJames McNeill Whistler, Peacock Room for the Frederic Leyland Hourse, 1876. Courtesy of the Freer Gallery of Art, Smithsonian Institution, Washington D.C. / Alexander Fisher, peacock sconce.** Steel, bronze, silver, brass and enamel. English, c.1889.9 THE AGE OF PAPERCamille Martin, Portfolio, L'Estampe orignale.* Tooled mosaic leather. French, 1893. / Henri Bellery-Desfontaines, L'Enigme. Colour lithograph. French, 1898.10 MOULDING WOOD: CRAFTSMANSHIP IN FURNITURERupert Carabin, table, Wood. French, 1896. [I wish you could see this photo.** Two nude women on either side of the rectangular table have arms outstretched to hold the x top left of it, and their heads are the top right side of the x and their knees are bent to go down the bottom right of the x respectively.] / Eugene Gaillard, dining room** [black and white but oh I can see it in full color!] L'Art Nouveau Bing, Expositioin Universelle, Paris, 1900.11 THE NEW TEXTILESHenry van de Velde, dress** Belgian, 1900. / Otto Eckmann, Five Swans. Woven tapestry. German, 1896-97.12 THE NEW CERAMICS: ENGAGING WITH THE SPIRITAgathon Leonard, part of a table setting: Jeu de l'echarpe. Porcelain.* French, 1898. / Weduwe N.S.A. Brantjes, dish.** Earthenware, Dutch, c.1900.13 THE NEW GLASS: A SYNTHESIS OF TECHNOLOGY AND DREAMSLouise Comfort Tiffany, vase.** Glass with applied and marvered colours, combed. American, 1895.14 MODERN METALHorta House, view from the music room towards the dining room. *** 1898-1900. /Fernand Dubois, candelabra.** Electro-plated bronze. Belgian, c.1889.15 JEWELLERY AND THE ART OF THE GOLDSMITH [one of my favorite chapters]Phillipe Wolfers, orchid hair ornament, gold, enamel, diamonds and rubies.*** Belgian, 1902. / Ren' Lilique, iris bracelet.*** Gold, enamel and opals. French, 1897. / Rene Lalique, damselflies necklace.*** Gold, enamel, aquamarines and diamonds. French, c.1900-02. / Rene Lalique, winged female figure.*** Bronze. French, c.1899-1900. / Alphonse Mucha, bodice ornament.*** Gold, ivory, enamel, opals, pearls, and coloured gemstones. Czech, c.1900.Ok, time for just the chapter titles and most essential loves listed from each chapter. This gives you an idea of how comprehensive this book is!16 THE CONCENTRATED ESSENCE OF A WRIGGLE: ART NOUVEAU SCULPTUREJean Dampt, The Fairy Melusine and the Knight Raymondin. French, 1894.17 THE PARISIAN SITUATION: HECTOR GUIMARD AND THE EMERGENCE OF ART NOUVEAUHector Guimard, principal entrance to Le Castel Beranger.** Paris, 1898.18 VICTOR HORTA AND BRUSSELSAll the photos from the Victor Horta House!19 MUNICH: SECESSION AND JUGENDSTILFranz von Stuck, The Sin. Oil on canvas. German, c.1906.20 SECESSION IN VIENNAJosef Hoffmann, Palais Stoclet, detail of tower.** Brussels, 1905-11.21 GLASGOW: THE DARK DAUGHTER OF THE NORTH22 LOUIS SULLIVAN AND THE SPIRIT OF NATUREAdler and Sullivan, Transportation Building, Columbian Worlds Fair. Chicago, 1893.23 BARCELONA: SPIRITUALITY AND MODERNITYLluis Domenech i Montaner, auditorium of Palau de Musica Catalana.*** Barcelona, 1905-08. / Antoni Gaudi, Casa Batllo, detail of fascade.*** Barcelona, 1904-06. / And all photos of Antoni Gaudi, Sagrada Familia!***24 BUDAPEST: INTERNATIONAL METROPOLIS AND NATIONAL CAPITALOdon Lechner, interior of The Museum of Applied Arts.*** Budapest, 1896./ Zsolnay factory, vase. Prcelain-faience covered in Eozin glaze.** Hungarian, 1899.25 THE NEW ART IN PRAGUE (where my violin was made)Oswald Polivka, entrance to the Novak Building.** Nove Mesto, prague, 1901-04./ Interior and exterior photos of Osvald Polivka and Antonin Balsanek, the Municipal House26 HELINSINKI: SAARINEN AND FINNISH JUGEND27 MOSCOW MODERNElena Polenova, plate from Mir Isskustva. St. Petersburg, 1900./ Fyodor Shekhtel, both photos from the Riabushinsky mansion.*** Moscow 1900-02.28 LOUIS COMFORT TIFFANY AND NEW YORK [another one of my favorite chapters--I adore L.C.T!]Everything! Four Seasons window. Leaded favrile glass. American, 1897.29 TURIN: STILE FLOREALE, A LIBERTY FOR ITALY?The coolest chair I've seen in a long time: Carlo Bugatti, chair.*** Parchment over wood, copper, paint. Italian, 1902.30 A STRANGE DEATH..."Decorative Art can no longer exist any more than the 'style' themselves...Culture has taken a step forward and the hierarchical system of decoration has collapsed." Le Corbusier, L'Art decoratif d'aujourd'hui, 1925.ILLUSTRATED OBJECT LIST: ART NOUVEAU 1890-1914 EXHIBITION, NATIONAL GALERY OF ART, WASHINGTON. Perhaps the best for last, has thumbnails of 375 additional pieces! I love it!Listening to King Crimson The Power to Believe...awesome too.Soar!

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