S3 Critical Activity - Design - PowerPoint PPT Presentation

1 / 35
About This Presentation
Title:

S3 Critical Activity - Design

Description:

S3 Critical Activity - Design Art Nouveau Introduction to Art Nouveau Art Nouveau translates as New Art in French. It began in the late 1880 s. – PowerPoint PPT presentation

Number of Views:124
Avg rating:3.0/5.0
Slides: 36
Provided by: duncanrig
Category:

less

Transcript and Presenter's Notes

Title: S3 Critical Activity - Design


1
S3 Critical Activity - Design
  • Art Nouveau

2
Introduction to Art Nouveau
  • Art Nouveau translates as New Art in French.
  • It began in the late 1880s.
  • It began in Britain before spreading to Europe
    and America.
  • The name came from a Parisian shop owned by
    Samuel Bing La Maison de lArt Nouveau.
  • The shop imported Japanese art and sold the work
    of contemporary designers and sculptors.
  • It was not a formal movement at the time it is
    only with hindsight that links and common
    characteristics can be established.
  • The movement introduced the idea of Total Art
    in its architecture designing everything in the
    same style.

3
Art Nouveau Influences
  • The distinctive Art Nouveau style took its
    inspiration from a variety of sources nature,
    early Celtic art and Japanese art.
  • Common motifs were flowers, stems, leaves,
    serpents and dragonflies.
  • Celtic art influenced with its twisting and
    curving decoration.
  • Japanese art influenced with its emphasis on
    decorative line, creating flat patterned work
    with a delicate balance between decoration and
    plain background.
  • not mere first-hand copying of nature, but an
    independent world of imaginative creation where
    Nature supplied only the raw material. Masini,
    p.58

4
Japanese Art
  • The Great Wave
  • Hokusai
  • Decorative line
  • Flat colour
  • Sweeping curves

5
Celtic Art
  • Typical example of Celtic Art.
  • Intricate.
  • Interwoven lines.
  • Natural forms.
  • Mystical qualities.

6
Characteristics of Art Nouveau
  • Art Nouveau designs are easily recognised by the
    designers use of line flowing, curving,
    twisting and elegant lines.
  • The designers rejected the use of straight line
    and order in favour of more natural movement.
  • The same is true of 3D designs, except the term
    to use is form rather than line.
  • The natural influences used are either depicted
    realistically or in abstracted shapes.
  • Abstracted means the designers stylized and
    exaggerated natural forms.
  • There is an emphasis on decorative pattern.

7
Art Nouveau Designers
  • Alphonse Mucha a French poster designer and
    architect,
  • Antoni Gaudi a Spanish architect,
  • Rene Lalique a French jeweller and glass
    designer,
  • Charles Rennie Mackintosh a Scottish architect
    and designer,
  • Victor Horta a Belgian architect,
  • Hector Guimard a French architect and designer.
  • The leading designers of the movement were most
    commonly architects, who branched out into
    designing their own furniture for the interiors
    of their buildings. This demonstrates the Total
    Art concept of the movement.

8
Alphonse Mucha 1860-1939
  • Mucha was a French poster designer and
    illustrator of the Art Nouveau period.
  • Many of these designs were for luxury products
    like champagne and dance shows.
  • The female form was the basis of most of his
    designs.
  • He exaggerated and elongated the forms and
    shapes.
  • The way he stylised the women gave them an air of
    allure and mystery.
  • The importance of line is easily seen here.

9
Antoni Gaudi 1852-1926
  • Casa Mila, Barcelona.
  • Most of Gaudis great creations are in Barcelona.
  • The way the building has been designed and built
    manages to make it look as though it is one
    massive living form.
  • The façade ripples and undulates. It is on a
    corner site and continues seamlessly around the
    bend.
  • This is obviously an Art Nouveau building with
    its clear references to nature and decorative,
    twisting ironwork.

10
Antoni Gaudi
  • This close up allows us to see how the building
    may have been constructed more easily.

11
Antoni Gaudi
  • This photograph from the roof allows us to see
    the courtyard in the centre of the building.

12
Antoni Gaudi
  • Casa Batllo, Barcelona
  • This is one of Gaudis most spectacular and
    unusual buildings.
  • Brightly coloured ceramic disc shaped tiles have
    been used to cover the façade.
  • The sandstone used for the windows has been
    moulded and sculpted into elongated, curving
    openings for the windows.

13
Antoni Gaudi
  • The roof, also covered with bright ceramic tiles,
    has been designed to echo the scales on a
    dragons back.
  • The roof is almost sculptural and showcases
    Gaudis all round talent as an artist and
    architect.
  • The building is a perfect blend of aesthetics
    (appearance) and function (purpose).

14
Antoni Gaudi
  • Casa Batllo, Barcelona
  • This apartment block is known locally as the
    House of Yawns.
  • Gaudi has been interested in function here as he
    would have ensured the building worked as an
    apartment block.
  • However, he has also been interested in the form
    and aesthetics.
  • This is easily seen in the verandas and the way
    he has cleverly combined the stonework with iron
    bars for safety.

15
Antoni Gaudi
  • Casa Batllo, Barcelona
  • Gaudi has been highly imaginative in his use of
    materials.
  • In this one window, we can see stonework,
    metalwork and coloured glass panels.
  • To really understand how unusual this building
    is, compare it to any you have seen in Scotland.
    Have you seen anything similar?

16
Antoni Gaudi
  • Guell Palace, Barcelona
  • Arched entrances
  • Decorative ironwork
  • Both key characteristics of the Art Nouveau style.

17
Rene Lalique 1860-1945
  • Peacock Brooch, c.1898/1900
  • Gold, enamel, opals, diamonds.
  • Lalique was a master goldsmith who is seen as
    revolutionary.
  • He did not use materials traditionally and rarely
    used diamonds - unusual at this time.
  • The use of non-precious coloured stones, glass
    and tortoiseshell led the way for costume
    jewellery later in the Art Deco era of the
    1920s.

18
Rene Lalique
  • Landscape comb, c.1899/1900
  • Enamelled gold and horn.
  • Enamel was also rare at this time, but Lalique
    loved the bright yet delicate colours.

19
Rene Lalique
  • Serpent brooch, c.1898/1899
  • Gold and enamel
  • Lalique frequently used dragonflies, serpents,
    peacocks and graceful women as his source
    material.
  • These share an exotic aura of mystery.

20
Rene Lalique
  • Dragonfly brooch.
  • Gold and enamel.
  • This is possibly Laliques most well-known piece.
  • The enamel has been delicately used to create the
    shimmering colours in the wings.
  • Laliques imagination is clear in this design
    which incorporates claws and a female form in the
    centre of the dragonfly.

21
Rene Lalique
  • Face pendant.
  • Gold, silver, glass, enamel, pearl.
  • He was very observant and very skilled.
  • This is easily seen in the intricate detail of
    his work.
  • Lalique began experimenting with glass in the
    1920s.

22
C.R. Mackintosh - 1868-1928
  • Mackintoshs style is Art Nouveau, but his work
    is not exactly like the other designers.
  • He was not very well regarded in his lifetime,
    particularly in England where they viewed his
    work as too stylised or aesthetic.
  • Mackintosh used more measured, elegant curves
    then the others, whose lines are sometimes termed
    whiplash.

23
C.R. Mackintosh
  • 78 Southpark Avenue, remodelled at The Hunterian
    Gallery, Glasgow
  • This project was an opportunity to create
    interior architecture designing everything
    within the house to create a harmonious interior.
  • The simplicity and use of the colour white was
    very unusual at this time, particularly in such
    an industrial city as Glasgow.
  • Again, CRM has carefully blended decoration and
    function.

24
C.R. Mackintosh
  • Doors for the Salon de Luxe, Willow Tea Rooms,
    Glasgow, 1903.
  • Stained Glass.
  • Symmetry was common in Mackintosh designs.
  • Clear evidence of natural influences and
    fascination with line.
  • Again, very functional as this door would signal
    an entry into a more specialised area of the Tea
    Rooms.

25
C.R. Mackintosh
  • Cabinet with inlaid glass panels, for 14
    Kingsborough Gardens, Glasgow.
  • The decorative stained glass side panels were
    possibly a result of collaboration with his wife.
  • Stained glass was ideal for Art Nouveau designers
    to use as it is quite easy to produce and allowed
    them to use line and colour in a flat decoration.

26
C.R. Mackintosh
  • Hillhouse Chair
  • This is one of Mackintoshs most famous designs.
  • This was produced later in his life and the
    difference from earlier work is obvious.
  • The design is still very linear, but much more
    simple and restrained.

27
Victor Horta 1861-1947
  • Hotel Tassel, Brussels
  • They all made use of wrought iron in their work
    as it is very versatile, appropriate for both
    structural and decorative uses.
  • This reception area makes good use of the
    material.
  • The effect is one of great decorative fantasy
    p.105, Masini text.

28
Victor Horta
  • Horta has left the load-bearing columns exposed,
    making them become a decorative feature.
  • This was a common trait in Art Nouveau - making
    structural features appear ornamental.
  • Horta has echoed the curves in the balustrading
    with the curved stairs, tiled mosaic floor and
    the painted wall designs.
  • Again, this is the way Art Nouveau designers
    worked - creating a uniformity in the interior.

29
Victor Horta
  • The use of large areas of glass and the linear
    iron supports allows for a delicate, almost
    transparent approach.

30
Hector Guimard 1867-1942
  • Guimard was also an architect, but like the other
    designers was interested in designing furniture
    too.
  • This is perhaps because they liked to have the
    same control over their interiors as they did
    over the exterior of a building.
  • Guimards style is very curvilinear - no straight
    lines.

31
Hector Guimard
  • French Pearwood chair
  • The same ideas apply to designing furniture as
    buildings- form and function, ornament and
    structure.

32
Hector Guimard
  • Guimard is responsible for the Metro station
    entrances in Paris.
  • He also designed the distinctive lettering style,
    which many people disliked at first.
  • The entrances generally made use of wrought and
    cast irons, which could be manipulated into
    sweeping curves.

33
Hector Guimard
  • Decorative ironwork at a Paris metro
  • The green enamel work here is reminiscent of real
    plant life.
  • No other designer in France reached the same
    level of decorative freedom as Guimard during the
    Art Nouveau period.

34
Bibliography
  • Books
  • Design Museum - 20th Century Design Catherine
    McDermott
  • The Look of The Century Michael Tambini
  • Art Nouveau Architecture Frank Russell (Ed.)
  • Introduction to the Decorative Arts Amanda
    ONeill (Ed.)
  • Art Nouveau Lara Vinca Masini
  • Gaudi Juan-Eduardo Cirlot
  • Websites
  • www.kubos.org/AN/en
  • www.artcyclopedia.com
  • www.crmsociety.com
  • www.artlex.com
  • www.greatbuildings.com
  • www.dogpile.com (search engine)
  • www.nga.gov (Search, Search the site, Art Nouveau)

35
  • Thank you for your attention. You will be able
    to access this presentation on the school network
    in the Shared Documents All Users area to
    note any further information you need.
Write a Comment
User Comments (0)
About PowerShow.com