THE ELEMENTS OF ART NOUVEAU Origins

THE ELEMENTS OF ART NOUVEAU
Origins of the Movement. Many factors influenced the development of Art Nouveau. Of great impor-
tance was the desire to break loose from the heavy, ornate, almost repressive styles that held sway during the Victorian period. Innovations in metal technology during the industrial revolution fur- thered this rigidity of style by enabling the mass- production of machine-made pieces. In the middle
of the 19th century, however, it became fashionable to wear jewelry patterned after ancient Greek, Roman, and Etruscan pieces discovered during the burgeoning of archeology. This historicism gave rise to a romantic revival which saw artists turn away from industry and draw their inspiration directly from nature. In France, interest in the elaborate curved forms of rococo was gradually revived, as a similar revival of interest in the design elements of Gothic and Celtic art was seen in the British Isles. With these revivals came a spiritual yearning for the craft guilds of the Middle Ages. Societies, formed to promote the decorative arts, sponsored exhibits and competitions that acted as further stimuli. Perhaps the single most important influence on the development of Art Nouveau design, how- ever, was the resumption of trade with Japan in 1854. The exhibits of Japanese art held in the 1860s had a tremendous impact on European artists. When Siegfried Bing (1838-1905) opened a Japa- nese import shop in Paris in 1871, he further exposed the Parisian artworld to Japanese concepts of design (Weisberg, 1986). The simplicity of Japa- nese art and the economy of line shown in their interpretation of nature was an immediate inspira- tion to the Western world. Curve of human form, flow of movement, balanced asymmetry, subtle use of color and shading were aspects of Japanese art that surprised Europe and greatly influenced the manner in which artists viewed and inter- preted life forms. Numerous exhibitions in Europe and the United States displayed artwork and artifacts from many other countries as well, exposing artists to Indian, Arabic, Persian, and Oriental cultures. Exotic species of plants, such as the tiger lily, wisteria, chrysanthemum, bleeding heart, and or- chid, often represented in Art Nouveau jewelry, were first introduced to Europe in the 19th cen- tury. Art Nouveau became a metaphor for the metamorphosis of the times, translating the myr- iad influences into a unique form of art that expressed itself in architecture, fabrics, furniture, wall coverings, and perhaps most pervasively, in jewelry.

Kết quả (Việt) 1:

CÁC YẾU TỐ THEO PHONG TRÀO TÂN NGHỆ THUẬT Nguồn gốc của phong trào. Nhiều yếu tố ảnh hưởng đến sự phát triển của Art Nouveau. Tuyệt vời impor- tance là mong muốn phá vỡ lỏng từ hạng nặng, trang trí công phu, gần như đàn áp các phong cách tổ chức sự thống trị trong thời kỳ Victoria. Đổi mới trong kim loại công nghệ trong các cuộc cách mạng công nghiệp lông-thered này cứng phong cách bằng cách cho phép sản xuất hàng loạt máy làm cho miếng. Ở giữa of the 19th century, however, it became fashionable to wear jewelry patterned after ancient Greek, Roman, and Etruscan pieces discovered during the burgeoning of archeology. This historicism gave rise to a romantic revival which saw artists turn away from industry and draw their inspiration directly from nature. In France, interest in the elaborate curved forms of rococo was gradually revived, as a similar revival of interest in the design elements of Gothic and Celtic art was seen in the British Isles. With these revivals came a spiritual yearning for the craft guilds of the Middle Ages. Societies, formed to promote the decorative arts, sponsored exhibits and competitions that acted as further stimuli. Perhaps the single most important influence on the development of Art Nouveau design, how- ever, was the resumption of trade with Japan in 1854. The exhibits of Japanese art held in the 1860s had a tremendous impact on European artists. When Siegfried Bing (1838-1905) opened a Japa- nese import shop in Paris in 1871, he further exposed the Parisian artworld to Japanese concepts of design (Weisberg, 1986). The simplicity of Japa- nese art and the economy of line shown in their interpretation of nature was an immediate inspira- tion to the Western world. Curve of human form, flow of movement, balanced asymmetry, subtle use of color and shading were aspects of Japanese art that surprised Europe and greatly influenced the manner in which artists viewed and inter- preted life forms. Numerous exhibitions in Europe and the United States displayed artwork and artifacts from many other countries as well, exposing artists to Indian, Arabic, Persian, and Oriental cultures. Exotic species of plants, such as the tiger lily, wisteria, chrysanthemum, bleeding heart, and or- chid, often represented in Art Nouveau jewelry, were first introduced to Europe in the 19th cen- tury. Art Nouveau became a metaphor for the metamorphosis of the times, translating the myr- iad influences into a unique form of art that expressed itself in architecture, fabrics, furniture, wall coverings, and perhaps most pervasively, in jewelry.