Jason Ledoux
Starting in the 1880s Art Nouveau was an experimental, ornamental art style that gained traction within western Europe. Though it gained international notoriety, the movement only lasted for around 30 years to 1910 when it began to lose popularity. The movement itself was motivated by the idea that artists wanted to move away from creating art using eclecticism, which is the concept of drawing from other sources to create a greater whole. In other words Art Nouveau was an attempt to break away from the constrictions of traditional art styles at the time, hence why the name literally means “new art” in French. The movement actually had no central name at the time of its relevancy, but rather many countries had their own name for it. The style was called Jugendstil in Germany, Sezessionstil in Austria, Stile Floreale (or Stile Liberty) in Italy, and Modernismo (or Modernista) in Spain.
The two most defining features of Art Nouveau include heavy inclusion of imagery from nature, and the use of what is known as the whiplash line. These lines are characterized by their smooth, flowing, and chaotic nature. They must be created in swift and decisive movements so that the line appears natural. The use of vines, branches, water, and even hair worked well with the whiplash line. It takes inspiration from how calligraphy, especially in countries like Japan, is done. In fact what is considered the precursor to the Art Nouveau was the inclusion of Japanese prints in interior decoration by decorator Edward William Godwin in 1862. He was a well known house decorator born in 1833 and died 1886. Much of the movement of Japanese inspired art in Europe happened back in the 1860s when trade opened up with Japan. Both the natural designs and use of the whiplash line were inspired by Oriental(Asian) art that had been growing in popularity at the time.
The most well known Art Nouveau patrons all had their own collection and fascination with the foreign art styles. These three men are considered leaders of the movement. An English merchant Arthur Lasenby Liberty who was born 1843 and died in 1917 was inspired by Godwin’s designs, which lead him to creating his textile company Liberty & Company that contributed to the Art Nouveau movement. M. Samuel Bing a German art dealer from Hamburg who was born in 1838 and died in 1905 and had made a name for himself as an oriental art deal created an art shop in Paris for young artists called L’Art Nouveau to explore their new experimental styles. Louis Comfort Tiffany an American business owner born 1848 and dead 1933 used his resources to create a glass work manufacturing company that lead to Art Nouveau pieces becoming much more easily available to the public in the United States.
With the help of these men and more Art Nouveau became a style of art primarily used for design and decoration. It came in forms of paintings, prints, jewelry, ceramics, architecture, furnishings, and interior design. Ceramics stands out the most as it was mass produced by companies like Tiffany’s, and there is very clear contrast between standard European style pottery and that of Art Nouveau. Overall the Art Nouveau is a reflection of the rise in popularity of Japanese and other oriental arts, and how that popularity influenced European art afterward.
Title: Spider Web Vase
Date: 1892-1905
Creator: Riessner, Stellmacher
Medium: Czech Republic Porcelain
Repository: Lyman Allyn Art Museum
Accession Number: 1963.45
Photo by Jason Ledoux
Description: This piece is a decorative vase made in one of the many porcelain manufacturers that sought to be part of the Art Nouveau movement. The shape is a cylinder that starts out normal and gradually thins until the top is a thin tube with slight curves for pouring. Around the tube is a repeating pattern of straight vines with a flower on top. On the main body of the vase is a depiction of a spider web with a large spider in the center and the branch of a cherry blossom growing around it. The background and style used for the vase is heavily inspired by how similar imagery is depicted in actual Japanese art. This can be recognized most easily with the color of the background that is similar to many Japanese paintings and prints, and the style of how the branches and flowers of the cherry blossom are done. Note also how the branches make use of the whiplash line.
Title: Vase
Designer: Designed by Louis Comfort Tiffany (American, New York 1848–1933 New York)
Maker: Tiffany Glass and Decorating Company (American, 1892–1902)
Date: 1893–96
Geography: Made in Queens, New York, New York, United States
Culture: American
Medium: Favrile glass
Dimensions: 14 1/8 x 11 1/2 in. (35.9 x 29.2 cm)
Credit Line: Gift of H. O. Havemeyer, 1896, The Metropolitan Museum of Art
Accession Number: 96.17.10
Description: This vase is one of many created by the Tiffany Glass manufacturer. The shape of the vase itself stands out as different from that of a standard vase. The base is small and spherical, which then moves up to thinner center neck that compared to the rest of the vase has the appearance of a stem. Moving up the opening both flattens and spreads to create a flat, semicircular top. The vase is covered in thin, flowing green whiplash lines with blue dots towards the top, and this creates imagery of peacock feathers. The shape of the opening and colors of the vase work together to evoke the imagery of a peacock displaying it feathers in full. The excessive use of green and blooming opening may also evoke flower imagery as well.
Image Sources
Emile Gallét Ombellifères” (cow parsley) Cabinet, 1900, Birchwood, The Metropolitan Museum of Art, New York. https://www.metmuseum.org/art/collection/search/482526
Louis Tiffany, Vase, 1893-96, Favrile Glass, The Metropolitan Museum of Art, New York. https://www.metmuseum.org/art/collection/search/9480
Auguste Delaherche, Vase with peacock feathers, 1889, Ceramics-Pottery, The Metropolitan Museum of Art, New York. https://www.metmuseum.org/art/collection/search/239367
Ivan Bilibin, The Tale of the Golden Cockerel, 1907, Colored Print, No known physical copy. https://en.opisanie-kartin.com/illustration-to-the-tal
Text Sources
Gontar, Cybele. “Art Nouveau.” Metmuseum.org, 2006, https://www.metmuseum.org/toah/hd/artn/hd_artn.htm.
Lancaster, Clay. “Oriental Contributions to Art Nouveau.” The Art Bulletin, vol. 34, no. 4, 1952, p. 297., https://doi.org/10.2307/3047441.
Zelazko, Alicja. “Art Nouveau.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., https://www.britannica.com/art/Art-Nouveau.