The main features of the Art Nouveau style in the interior. Art Nouveau, aka Tiffany, aka Secession, aka Liberty, aka Modern

Introduction

The complex and contradictory processes that determined artistic development in the second half of the 19th and early 20th centuries sharply polarized: on the one hand, there was a historically natural combination of realistic art with the ideas and social aspirations of socialism, on the other hand, they were defined, deepened and began to take more and more extreme forms. decay trends artistic creativity in reactionary bourgeois art. In the art of the 19th and 20th centuries, with all the complexity, heterogeneity, and sometimes confusion of artistic processes, one can nevertheless trace two main lines historical development. One of them is connected with the progressive ascent from romanticism to realism. The other - with the gradual accumulation of symptoms and elements of decline, with the emergence and further evolution of modernism. If socialist realism inherits and develops all the progressive achievements of the realistic art of the past, then modernism seems to “absorb” all the negative and reactionary moments in the previous artistic development, ultimately leading to the complete disintegration of art. The artistic processes of modernity are precisely determined by the struggle between realism and modernism, which ultimately reflects the struggle between the two main forces. modern world- socialism and imperialism.

Features of modern style

At the end of the 19th century, a new style appeared in art, the adherents of which are trying to move away from the historicism and eclecticism of modern art. This style was called Art Nouveau (from the French modernus - the latest, modern). Art Nouveau is one of the names of a major stylistic trend in the art of Europe and the USA. Modernism is distinguished by a natural and organic connection with the development of art in each of the countries, which is why several names that have arisen independently of each other are used. Art Nouveau is most clearly manifested in architecture, book design, poster art, sculpture and painting.

For the first time the new style declared itself in England. In other western European countries Art Nouveau was formed in the 1880s. In France, it was called "Art Nouveau", in Germany - "Jugendstil", in Austria - "Secession", in Italy - "Liberty", in Spain - "Modernismo", in Poland - "Secession".

Modernism arose as one of the types of neo-romantic protest against the widespread worship of rationality and practicality in the culture of Europe. In stylistic terms, modernism opposes the eclecticism that dominated the art of the 19th century with internal unity and organicity. Thus, modernism was born as a style of a generalizing, universal type. In the center of interest of theorists and leaders of modernism is the development of a meaningful and spiritualized form that would express the tension and refinement of the creative spirit of a critical era. According to its ideologists, among whom the role of the remarkable architect H. van de Velde is especially great, modernism was supposed to become the lifestyle of a new society, to create a holistic, aesthetically perfect subject environment around a person, which would allow to see the old ones in a new way and create new forms, methods, materials. One of the most important ideas for modernity is bridging the gap between the artistic and the utilitarian.

Modernism most consistently implemented its principles in the field of creating individual dwellings, which were conceived as a single ensemble in architectural, decorative and design terms. But in the spirit of Art Nouveau, numerous business and industrial buildings, railway stations, theaters, and apartment buildings were also built. The formation of Art Nouveau begins at the turn of the XIX-XX centuries. During this period, national-romantic hobbies, interest in the art of the Middle Ages, in folklore are being revived. Among the important milestones in the history of modernity is the emergence of art workshops, the prototypes of which were the workshops of W. Morris in the UK, organized by him back in the 80s. 19th century; German workshops of artistic crafts in Germany, Viennese workshops in Austria, workshops in Abramtsevo in Russia and many others.

The mature stage of modernity comes in the first decade of the twentieth century. Now this style is no longer reduced to the sum of local schools, but acquires the features of an international one. Its rapid spread was facilitated by numerous magazines published in all European countries in the 90s of the XIX century. (the famous “world of art” is one of such publications). Art Nouveau cultivates a new type of universal artist, who combines an architect, graphic artist, painter, designer and very often a theorist in one person. The idea of ​​a “total work of art”, born back in the era of late romanticism, was gaining great popularity, the author of which was one of the rulers of the thoughts of the era, the German composer R. Wagner. The idea of ​​an integral work of art was most clearly embodied in interior architecture, the best examples which are distinguished by the rhythmic consistency of lines and tones, the unity of the details of decor and furnishings (furniture, wallpaper, stucco, panels, etc.). Such an interior was conceived as a homogeneous artistically unified space, complicated and expanded by mirrors, numerous windows, and picturesque panels.

Art Nouveau architecture was the first step in the development of architecture of the twentieth century. She strove for the unity of the constructive and artistic beginnings, mastered a free, functionally meaningful layout, used frame structures, a variety of new materials, including reinforced concrete, glass, forged metal, raw stone. Freely placing buildings, modern architects rejected the symmetry and norms of regular building. Their goal was an individualized work of architecture, while the building and its structural elements received decorative and symbolic-figurative comprehension.

Specific author's styles of modern architecture are different. Many masters are striving for unusual pictorial effects, dynamics, plasticity and fluid outlines, assimilation of architectural forms to organic natural phenomena. Such are the works of A. Gaudi in Spain, H. van de Velde in Belgium, F. Schechtel in Russia. But, along with this, there was also a rationalist tendency. Its supporters gravitated towards the geometric correctness of large, calm planes, towards rigor. Such are the works of J. Hoffmann in Austria, C. Macintosh in Scotland, and later the works of F. Schechtel.

Main means of expression Art Nouveau - an ornament that not only decorates the work, but also forms its composition. In the interiors of Belgian architects, elegant linear weaves, mobile plant patterns are scattered on the walls, floor, ceiling, they unite architectural planes, organize space. Flowing lines of decor often have a symbolic meaning. The masters of Viennese Art Nouveau - J. Hoffmann, J. Olbrich, in the works of C. Macintosh, strictly geometric ornament varies the motifs of a circle and a square. Despite the proclaimed rejection of imitation historical styles, Art Nouveau artists used the linear structure of Japanese engraving, stylized floral patterns of ancient Aegean art or Gothic, elements decorative compositions baroque, rococo, empire. Art Nouveau is characterized by the interpenetration of easel and arts and crafts forms of art. Thus, the principles of ornament were first formed in Art Nouveau graphics. Lithography, woodcuts, the art of the book reached special heights during this period in the work of O. Beardsley, F. Vallotton, A. Benois, A. Mucha, K. Moser and many other brilliant graphic artists. In painting and sculpture, Art Nouveau, inextricably linked with symbolism, sought to create its own artistic system, but was rather dependent on the major trends of the previous period. In addition, painting was considered as an element of the interior, so decorativeness became one of the main qualities of Art Nouveau painting. It often contains a paradoxical combination of decorative conventionality, ornamental backgrounds, and figures and faces molded with sculptural clarity in the foreground. Exemplary in this sense is the art of G. Klimt. The style of A. Mucha is an example of the ideal application of linearity in modern art. Like many modernist artists, A. Mukha was also a designer: he created sketches for jewelry, stained-glass windows, furniture, theatrical scenery, and costumes.

The expressiveness of painting was achieved by combining large color planes (the Nabis group in France, L. Bakst in Russia). There was a significant interest in the symbolism of line and color, in the themes of melancholic contemplation, sorrow, mystery, spicy eroticism, in legendary fairy tales. The names of such famous artists as P. Gauguin, P. Bonnard, M. Denis, E. Vuillard, P. Serusier in France, E. Munch in Norway, F. Hodler in Switzerland, G. Klimt in Austria, are associated with art nouveau. F. von Stuck in Germany.

The modernist artist says that he does not want to focus on the layman, the tradesman, on the bourgeois public, on the undeveloped aesthetic consciousness. But the nature of his break with him is such that he leaves humanity in general. And so modernist art becomes not only anti-people, but also unnatural.

Already in the first quarter of the 20th century, modernist movements appeared, returning to objectivity. But this return either acquires a naturalistic character, since it is associated with lack of ideas, with the rejection of progressive social ideals, or it turns out to be imaginary, since it retains the rejection of representation. The regression of art turns out to be impossible to overcome on a modernist basis without going beyond its borders.

A prominent representative of Art Nouveau in book graphics was Aubrey Beardsley.

Art Nouveau style (French moderne is the latest, modern), a style in European and American art of the late 19th and early 20th centuries. IN various countries other names of the Art Nouveau style are accepted: Art Nouveau (Art Nouveau) in France, Belgium, Art Nouveau ... ... Art Encyclopedia

style in art- ▲ style (to be) in, Empire art. baroque. rococo. Gothic, Gothic style. moorish style. modern. furniture style: boule. Jacob. orders: Doric. ionic. Corinthian. Tuscan. composite ... Ideographic Dictionary of the Russian Language

Modern (from lat. modernus recent, modern, new) is a polysemantic word. Modern (modern era) historical period (epoch) corresponding to the New and / or Modern times, character traits this period. Modern style in Western European ... Wikipedia

- (fr. moderne). W, new, modern taste. Dictionary foreign words included in the Russian language. Chudinov A.N., 1910. MODERN [fr. moderne] 1) latest, modern. 2) style in European art and architecture of the early 20th century ... ... Dictionary of foreign words of the Russian language

- (French modeme modern) Style era in Euro-American art at the turn of the 19th and 20th centuries. The term M. was most actively used in Russia; in France, this phenomenon was referred to as “Art Nouveau” (Art nouveau), in Austria “Secession” (Secession), in ... ... Encyclopedia of cultural studies

Taste, spirit, image, manner, style, gender, school, genre; presentation, speech, syllable, pen, brush. In the spirit of ancient writings. He has a lively pen, a bold brush. Wed . See language... Dictionary of Russian synonyms and similar expressions. under. ed. N. Abramova, M ... Synonym dictionary

Modern - – architectural style late XIX - early XX centuries. The Art Nouveau style appeared due to the use of new technical and constructive means. Art Nouveau is characterized by a free layout, which creates an emphasized individual look of buildings ... Builder's Dictionary

modern style- *style moderne. one. Latest style. BISH. Abandon the old realist writing, declare the death of everyday life, depict uncertain moods in the moderne style? But this is not a solution to the issue. V. Khartsiev Fundamentals of poetics A. A. Potebnya. 2. claim. Style… …

modern- moderne adj. 1. Modern, current. This man, with his smooth, naturally similar pattern, surpasses all modern painters. 1776. M.I. Kozlovsky. // Artwork masters. 6 99. Despite the artistic flaws, the idea itself is rich in content ... Historical Dictionary of Gallicisms of the Russian Language

"modern"- (French moderne, the latest, modern), style in art of the late 19th and early 20th centuries, which developed in the conditions of a rapidly developing industrial society. Affirming the unity of the style-forming principles of the entire human environment from architecture to ... ... Encyclopedic reference book "St. Petersburg"

Books

• Art Nouveau, Legno, Jean-Michel. Modern has absorbed many terms and realities. Art Nouveau in France, New Art in the Netherlands and Belgium, Jugendstil and Secession in Central Europe, Modernism in Spain and its…
• Art Nouveau, Legno Jean-Michel. Modern has absorbed many terms and realities. Art Nouveau - in France, new art - in the Netherlands and Belgium, Jugendstil and Secession - in Central Europe, modernism - in Spain and its ...

In general, modern is a style, it has certain features (read D.V. Sarabyanov "Modern style")
"Modern" (from the French moderne, the latest, modern) in reference literature is defined as "a stylistic direction in European and American art of the late 19th and early 20th centuries".

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As V. Serebrovsky notes, the appearance of this style is explained by various reasons: both by the “volitional effort” of several artists, and objective reasons- the fatigue of the outgoing 19th century, and the general decadence of European culture (“The Decline of Europe”), and the loss of the “grand style” associated with this. However, the representatives of this trend themselves and the critics who adjoined them called their style Art Nouveau in France, Jugend Calm - in Germany, i.e. - young art.
Stylistic features of the Art Nouveau style.
associated with utopian ideas about the fate of mankind and the possibility of aesthetic means to correct this fate, even shape it.
the unique and the mass did not coincide, but the mass gravitated toward the unique and individual, as a result of which the individual immediately became the property of the universal.
in its social functioning as a whole, it does not reveal any definite class interests.
wavy lines and patterns organic plants(aquatic plants, magnolia, lily), as well as a swan, stork, flame, flowing hair, etc., without shadows like book graphics: wallpapers and fabrics, plastic materials
the forms of previous styles (Gothic) are reduced to primary "untouched" lines.
furniture (armchairs, chairs, sofa) are adjusted to the shape of a person
the subordination of the outer appearance to the inner.
strengthening of the grotesque beginning.
avoids geometrically clear forms, straight lines and angles, strictly vertical surfaces. The elusive curvature helps to breathe "life" into the volumes, surfaces and details of structures, depriving them of dryness, defining a peculiar drawing of the silhouette.
Art Nouveau buildings are devoid of static and stiffness, their composition and form are mobile.
prefers clear, concise forms, large spots, clear lines.
the line is a living, pulsating, developing force that animates the inanimate and transmits the energy of the decorated surface. Art Nouveau (modern) lines often resemble dancing, wavy arabesques imbued with organic energy and life force plants.
Basic principles of modern style.
1. Stylization - the principle of shaping in modernity.
The stylistic integrity of modernity is achieved with the help of "internal" structural unity - the organic integrity and inseparability of the useful and the beautiful when they are not merged, in other words, the dialectical action of the mechanism that transforms the useful into the beautiful, transforming the form, practically useful, at the same time into artistically expressive.
The lack of visual uniformity in modernity is compensated by a uniform interpretation of heterogeneous forms: heterogeneous in their meaning, heterogeneous in the sense of their prototype. The uniformity of the interpretation of heterogeneous forms is a technique that can be defined as stylization (in contrast to the stylization of eclecticism).
The drawing of an ornamental pattern or architectural form is always easily visible. Love for elliptical, trapezoidal shapes, for rounded, gently curving or tense, "stretched" lines reveals a new understanding of constructiveness and stability as something dynamic and flexible, resisting the pressure of opposing forces.
2. The texture of the material is modern.
From the organic unity of the useful and the beautiful in modernity, an artistic interpretation of not only constructive-utilitarian forms, but also finishing materials. their texture and color turn into one of the most important, independent means of architectural expressiveness. The use of color is decorative, but decorativeness acts here as a phenomenon of the second order: the original meaning of color is purely practical - to reveal, accentuate the architectural form - the style-forming basis of the composition. The duality of the system, underlined by color, appears very clearly. The building seems to be stratified; clothes put on the skeleton of the building (colonnade, porticos, pediments, window frames, plinths and cornices) demonstrate their harmonizing purpose. Art Nouveau discovers an interest in the texture of the material, rediscovering expressive possibilities traditional materials, widely and boldly introducing new ones. It uses the contrasts of texture comparisons of differently processed surfaces of the same material ( different types textured plaster, various processing of natural stone) and texture matching various materials(natural stone, glazed brick and plaster, natural stone and plaster, natural stone and facing or glazed brick). The range of textural comparisons includes glass, majolica, tiles, stained-glass windows. Art Nouveau, handling the material freely, even freely, always retains the natural surface of the material. Its texture is beaten, expressiveness is revealed.
3. Volume and space-planning structure of modern buildings.
The ratio of "external" and "internal" volumes in the architecture of modern and modern times is opposite to each other; in modernity, the external volume is a derivative of the internal structure. Dialogicality as a type of organization of the architectural system of the twentieth century, originating from modernity, is found in accordance with the "external", artistic, volume, "internal", utilitarian; the organic integrity of the nature of system-forming connections makes itself felt in the dialectical unity of both elements. The principle of constructing buildings "from inside-out" corresponds to the openness of compositions and the variety of shapes of volumes, and finally, great attention is paid to the interior, since it is the interior, the structure of the "internal" volume that forms the core that determines the external appearance of the building. The spatial concept of the interior of any era is based on the same relationship "man-object" as the composition of the facade. In the planning of buildings of the new time, axial constructions dominate, similar to the axial compositions of facades and ensembles. On the axis, as it were, separate rooms are strung. The nature of the techniques varies depending on the style, without changing, however, the essence of the matter: a given geometric scheme initially determines the layout. This is how centric-axial plans of Renaissance villas and palazzos appear, enfilades of baroque palaces, mutually perpendicular (short longitudinal and narrow transverse) enfilades of classicism palaces, corridor axes and enfilades of front halls in the Empire style, corridor axis and enfilades of residential and business rooms parallel to it in mansions and tenement houses of eclecticism. This principle of volumetric-spatial construction is most easily seen in the example of mansions, which, as a rule, stood freely on the territory of the site, not included in the continuous facade of street buildings. Residential building, or rather a mansion or Vacation home, dacha - the main theme and the most complete embodiment of the ideas of early modernity. Elevation, aspiration to the superstellar heights, on the one hand, high level household comfort, functionality, on the other hand, are qualities merged together in modernity. Moreover, utility, functional advantages are put at the service of creating a poetic mood. Spirituality, poetry are an indispensable part of the concept of comfort, spiritual comfort, identified both with a sense of peace and contentment and comfort and coziness, and with satisfaction with the environment in which you recognize yourself attached to the highest spiritual values ​​​​and beauty. In Art Nouveau there is a miracle of transformation - the poeticization of the ordinary. The planning of mansions is rationalized as much as possible, acquires compactness, not only everything unnecessary, but also superfluous is expelled from it. So, the compositional, spatial, often even geometric center of the mansion is a hall with a front staircase. They gravitate towards it, all the main premises go into it. The fluidity, mobility of spaces beloved by Art Nouveau, is formed due to the variety of spatial connections between individual rooms open to the hall, the constant variability of paintings, visible as you move along the now open staircase. But in the continuous change of pictures there is a fixed axis, a dominant, relative to which this variability is fixed - all the same staircase, hall. The centrality of construction, the complex unity of a static reference point and dynamism, variability of the surrounding spaces in the mansions is felt literally physically. Modern has the merit of creating free plan. Awareness of the specifics of frame structures made the installation of dividing walls optional.

Art Nouveau, the main content of which was the desire of artists to oppose their work to the Historicism and eclecticism of the second half of XIX century, hence the name. Therefore, the term "modern" should be distinguished from the general word "modern" OR " modern Art", as well as the term "modernism". The chronological framework of Art Nouveau is very narrow, only some thirty years: approximately 1886-1914.
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And moredern does not belong to modernism at all, modernism - (fr. Modernisme, from moderne - modern, latest) - is a summary term, denoting a multitude of dissimilar, heterogeneous and contradictory artistic trends in world art of the 20th century. Etymologically, this term comes from the word modern - new. It has the same root as the word "fashion", and is often used in the meaning of "new art", "contemporary art".
Modernism is not in general and not any "new art", but a new art that has a certain concrete historical content. This is art that arose in the last quarter of the 19th century, art that opposed itself to "traditional" critical realism and expressed the crisis in the development of European artistic culture. The art of the 20th century is the art of crisis in the original, dictionary sense of the word, expressing the highest tension of the turning point. In his life, patterns of both the dying of the old and the development of the new are manifested. This old and new are not located in an elementary sequence, but operate in a mutual intersection that embraces global space and vast historical time. The art of the 20th century shapes itself in dialogue or in confrontation with popular culture emerging in the middle of the 19th century.

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And even the artists that you list are just known in modernism, and not in modernity. Art Nouveau artists can be considered:
Gerda Wegener - Denmark;
Stanislav Wyspiansky - Poland;
Maurice Denis, Edmond-Francois Aman-Jean - France;
Gustav Klimt - Austria;
Georges Lemmen, Fernand Knopf - Belgium;
Alfons Mucha - Czech Republic;
Nabi, Lucien Levy-Dhurmer - France;
Giovanni Segantini - Italy;
Jan Torop - Holland;
Georges de Feur (Josef van Slaters) - the Netherlands;
Ferdinand Hodler - Switzerland;
M. A. Vrubel;
A. N. Benois;
V. M. Vasnetsov;
R. K. Kalmakov;
S. V. Malyutin;
M. V. Nesterov;
V. D. Polenov;
L. S. Bakst, K. A. Somov, World of Art - Russia.
But not Claude Monet, Cezanne, Paul Gauguin, Picasso, Matisse or Pollock - she just became famous in modernism. Cezanne - post-impressionism and Monet - the founder of impressionism.

Introduction

modern graphic style

Modern - style, artistic direction in art, most common in the late XIX - early XX century. Distinctive features of this style is the rejection of straight lines and angles in favor of more natural, smooth lines. In Russia, the Art Nouveau style was not as widespread as in Europe. In this essay, I want to identify the graphic component of the Art Nouveau style, first identifying the definition of style and talking about its history.

Definition of Art Nouveau

Modern (from French - new, modern) - the period of development of European art at the turn of the 19th-20th centuries, including various artistic movements and schools. The main aspiration of modernity is the opposition of its creativity to previous periods. Just as the modern trend did not exist for a long time, it also has certain time limits - the end of the 1880s and until 1914, i.e. the beginning of the First World War. Distinctive features style: rejection of straight lines and angles, more natural motifs, smooth lines, interest in new technologies, as well as in architecture. Art Nouveau sought to involve all spheres of human activity in the sphere of beauty. Big influence Art Nouveau was influenced by the art of Japan. There are two main directions in this style: constructive and decorative. And in Italy and Russia, a strong influence on the formation of style had national traditions, where the samples of Art Nouveau had in themselves traditional forms. Modern included a large number of various directions and was influenced by various national cultures and traditions. Art Nouveau artists most often took ornaments from the plant world as the basis of their drawings.

In architecture, besides general provisions, which were followed in the Art Nouveau style, much attention was paid not only appearance buildings, but also the interior. All structural elements were artistically processed. The first architect working in this style, Victor Horta, used new materials: metal and glass. He gave unusual curved shapes to the bearing elements. All elements of houses and interior design carefully designed in the same style. Antonio Gaudí went furthest from the classical ideas about architecture. The buildings he built fit flawlessly into their surroundings.

scenery. (Fig. 1.1 Casa Batllo 1906 by Antonio Gaudi)

Art Nouveau painting and sculpture was strongly influenced by symbolism. Art Nouveau is characterized by the desire to create an independent artistic system. Also, painting is characterized by a combination of decorative conventionality, ornamental "carpet backgrounds" and "sculpted" figures and faces of the foreground with sculptural clarity.

Modern style in interior design is one of the most curious and relatively difficult to implement. Born in the last decades of the 19th century, it "lasted" at the peak of popularity for only three decades ... First World War put an end to the development of style. Which, however, by 1914 was already quite definite and having pronounced features.

Style of negation of the classics

The appearance of the Art Nouveau style was predetermined by the very history of the development of European civilization. Late XIX century - the heyday of the technical revolution and political and economic changes in almost all European countries. The “ghost of communism” is roaming the mainland, the ideas of the supremacy of science over religion, the desire to reject the patriarchal and create a new technological society are taking root in the minds…

Initially, Art Nouveau interiors, like everything new, were considered not even a peep of fashion - it was bad taste in half with perversion ... and not for long, but still became massive.

The essence of Art Nouveau is the opposition of that time. Straight, clear lines of furniture and space have not gone out of fashion for many centuries - Art Nouveau has made sinuous lines, hiding the transition from one element of the situation to another, the main ones in the interior. Feature style - roundness of rooms, smoothness (no clearly defined corners), "flexibility" and plasticity of furniture.

Colors and materials

The color scheme can be varied - but none are acceptable. bright colours; they are allowed only as small inclusions.
The overall color tone is maintained muted - red, brown, gray-green tones are considered classic. At the same time, it is highly desirable to use any floral motifs in the design.

The main material used in interior design in modern style is wood in all its variants. Moreover, rich or even dark tones, such as beech or bog oak.
Coloring is not welcome - a transparent finish that emphasizes the texture of wood is welcome.
Perfect option floor covering- parquet; bas-reliefs will not be superfluous on the walls.

Another almost obligatory element of Art Nouveau is stained glass. Made, of course, according to the old (well, or at least "under the old") technology - when colored glasses are inserted into the metal "grid" that creates the necessary pattern. It is highly desirable to make an artificial accent lighting of the stained-glass window - modern LED-lamps allow you to do this without much difficulty.

Optional, but highly desirable materials used in modern interior design are textiles and metal. Forged decorative elements with floral motifs complete the atmosphere, while textiles are used in the smallest volumes, only where it is indispensable: curtains, curtains, furniture upholstery.
The color scheme should not attract attention to itself - it should balance the color of wooden furniture.

Style furniture

Furniture in Art Nouveau interiors must meet two seemingly mutually exclusive requirements: to be as different as possible from products of classical forms, but at the same time not to be too futuristic. Moreover, it should be compact, but at the same time functional ..., however, in modern designs compact furniture is often complemented by some massive interior objects - this allows you to create a more textured, more "catchy" image.

Details and decor

Small decorative elements and accessories are used in a small amount and are only the final link to create the integrity of the overall picture. Various forged products, figurines, beautiful wooden boxes, glass vases and lamps bizarre shape, paintings emphasizing the overall style - will complement the style favorably.