Jugendstil, Art Nouveau alemán - Revista Jugend / Jugendstil, German Art Nouveau - Jugend Magazine

 

 

 

La traducción literal de Jugendstil sería “estilo joven o de la juventud” y designa la variante del Art Nouveau que surgió en Alemania durante la última década del siglo XIX. El término provenía del título de la revista Jugend (ver al final), la cual, fundada por Georg Hirth en Munich en 1896, desempeñó un papel importante en la popularización del nuevo estilo. 

Influidos por las ideas reformistas de John Ruskin (1819-1900) y William Morris, los diseñadores del Jugendstil, como Hermann Obrist, Richard Riemerschmid y August Endell, tenían unos objetivos más idealistas que sus contemporáneos europeos ligados al estilo Art Nouveau. No sólo pretendían reformar el arte sino también recuperar un estilo de vida más sencillo y menos condicionado por los imperativos comerciales. Compartían el optimismo de la juventud y un gran respeto por la naturaleza que trasladaron a toda su obra.  

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Jugendstil's literal translation would be "young or youthful style" and designates the variant of Art Nouveau that emerged in Germany during the last decade of the 19th century. The term came from the title of the magazine Jugend (see below), which, founded by Georg Hirth in Munich in 1896, played an important role in popularizing the new style.  

 Influenced by the reformist ideas of John Ruskin (1819-1900) and William Morris, Jugendstil designers such as Hermann Obrist, Richard Riemerschmid and August Endell had more idealistic goals than their European contemporaries linked to the Art Nouveau style. They not only sought to reform art but also to recover a simpler lifestyle that was less conditioned by commercial imperatives. They shared the optimism of youth and a great respect for nature that they transferred to all their work.  

Art Nouveau and the Classical Tradition

 

Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns – sexuality, death and the nature of art – its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations.

The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.

 

Art Nouveau [Battersby Martin]

 

1969

French Posters

 

The French poster, born of a basic utilitarian purpose, has developed with age into an admired and collected art form. Vintage posters command high prices at auction and curators specialize in their restoration. The earliest art-worthy posters appeared on the streets of Paris designed by French-born artists such as Jules Chéret, who popularized poster art with his Maîtres de l’Affiche publication from 1895 to 1899, Paul Émile Berthon, and Henri de Toulouse-Lautrec. Other poster artists just as well known but hailing from other countries include Eugène Grasset from Switzerland, Alphonse Mucha from what is now the Czech Republic, and Marcello Dudovich from Italy. The Art Nouveau and Art Deco posters created before and after the turn of the 20th century advertised everything from soap to chocolate, bicycles to cars, coffee to cordials, department stores to nightclubs. They promoted the performing artists in the revues, theaters, and cancan lines that dominated nightlife in the City of Light. Travel, another common poster theme, featured modern ocean liners and airlines as well as terribly exotic destinations and European resorts. This book includes examples of the works of the most popular poster artists working in France from 1890 to the 1930s.

 

Art Nouveau: The Essential Reference

 

"This is a gorgeous book, ideal for any lover of Art Nouveau." —bookaddiction

Dover's extensive library of Art Nouveau graphic art and typography serves as the source for this comprehensive volume, which features hundreds of magnificent full-color and black-and-white illustrations. Images by virtually every key artist of the Art Nouveau movement include the work of Alphonse Mucha, E. A. Seguy, Aubrey Beardsley, Koloman Moser, Max Benirschke, and M. P. Verneuil.
Selections from rare books and portfolios of the period include works never reprinted since their initial publication. This book also reprints material from the major Art Nouveau periodicals, including Jugend, The Studio, Dekorative Vorbilder, and The Keramic Studio. Detailed bibliographical information concerning every source ― including biographical details of each artist ― makes this collection a vital reference tool as well as a stunning compendium of significant and beautiful Art Nouveau graphics. Students of graphic art, typography, and illustration, as well as graphic designers and advertising professionals, will prize this remarkable resource.

 

Bruxelles art nouveau by Cécile Dubois

 

 

(Re)discover Art Nouveau at the heart of Brussels. At the end of the 19th century, the anti-academic movement pushed Brussels' architects towards Art Nouveau. Both Victor Horta, in an organic style, and Paul Hankar, in a more geometrical tendency, created an architecture that quickly gained an international reputation. In a little more than a decade, from 1893 on, hundreds of Art Nouveau-fashioned buildings appeared in Brussels, elaborated first by the great pioneers and later by their students and imitators who are also influenced by the Vienna Secession and other trends of European Art Nouveau. At first, this style fulfilled industrial bourgeoisie's dreams, yearning to assert itself in the city's structure through this new, and sometimes exuberant, architecture. This book offers nine walks to discover - in different districts - the multiple aspects of architectural Art Nouveau in Brussels. Witness the personal style of the most important architects as well as decorative methods such as sgraffito. Through interviews with owners, custodians and restorers of Art Nouveau-styled buildings, Brussels Art Nouveau describes the fundamental guardians of this remarkable heritage.

 

Art Nouveau Objects and Artifacts

 

The Art Nouveau Style Book of Alphonse Mucha

 

Antoni Gaudí • Jeremy Roe

Jeremy Roe (Author)

Mucha [Patrick Bade]

 

Patrick Bade (Author)

Art Nouveau

 

Art Nouveau gives a name to the decorative and architectural style developed in the 1880s and 1890s in the West. Born in reaction to the Industrial Revolution and to the creative vacuum it left behind, Art Nouveau was at the heart of a “renaissance” in the decorative arts. The primary objective of the movement was the creation of a new aesthetic of nature through a return to the study of natural subjects. In order to achieve this, artists such as Gustav Klimt, Koloman Moser, Antoni Gaudí, Jan Toorop, and William Morris favoured innovation in technique and novelty of forms. After its triumph at the Paris Universal Exposition in 1900, the trend continued and has inspired many artists ever since. Art Deco, the successor of Art Nouveau, appeared after World War II. 

 

Alphonse Mucha - The Complete Graphic Works

1000 Masterpieces of Decorative Art

From ancient Sumerian pottery to Tiffany stained glass, decorative art had been a fundamental part of the human experience for generations. While fine art is confined to galleries and museums, decorative art is the art of the every day, combining beauty with functionality in objects ranging from the prosaic to the fantastical. In this work, authors Albert Jacquemart and Emile Bayard celebrate the beauty and artistic potential behind even the most quotidian object. Readers will walk away from this text with a newfound appreciation for the subtle artistry of the manufactured world.

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Desde la antigua cerámica sumeria hasta los vitrales de Tiffany, el arte decorativo ha sido una parte fundamental de la experiencia humana durante generaciones. Mientras que las bellas artes se limitan a las galerías y museos, el arte decorativo es el arte de todos los días, combinando la belleza con la funcionalidad en objetos que van desde lo prosaico a lo fantástico. En esta obra, los autores Albert Jacquemart y Emile Bayard celebran la belleza y el potencial artístico que hay detrás incluso del objeto más cotidiano. Los lectores se alejarán de este texto con una nueva apreciación del arte sutil del mundo manufacturado.

 

 

 

Albert Jacquemart , Emile Bayard (Authors) 

 

 

 

Gustav Klimt • 740 imágenes / 740 images, jpg

 

 

Alphonse Mucha Biografía en español + 590 imágenes en jpg

Renate. Ulmer (Author)

Afiches "Salon des Cent", jpg

Entre 1889 y 1914, aparece, a instancias del escritor Léon Deschamps, una revista bautizada La Pluma (La Plume), destinada a promover la vida cultural contemporánea. Fue un vector determinante de la propagación de las ideas de finales del siglo XIX, publica poemas, noticias, críticas y defiende la vanguardia de aquel entonces. A partir de 1894, su director organiza exposiciones, en el vestíbulo del periódico, rue Bonaparte 31, en París, invitando a 100 artistas a exponer allí. Anunciadas por afiches, a veces firmados por artistas célebres, Mucha, Toulouse-Lautrec, Bonnard, Grasset, Rops, Ensor, siendo estas exposiciones una demostración cabal de dinamismo creativo de la época.

 

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Automatic translation:Between 1889 and 1914, appears at the request of the writer Leon Deschamps, a magazine baptized the Plume (La Plume), destined to promote the contemporary cultural life. It was a determinant vector of the propagation of the ideas of the end of century XIX, publishes poems, news, critics and defends the vanguard of that then. From 1894, its director organizes exhibitions, in the lobby of the  newspaper, rue Bonaparte 31, in Paris, inviting 100 artists to exhibit there. Announced by posters, sometimes signed by famous artists, Mucha, Toulouse-Lautrec, Bonnard, Grasset, Rops, Ensor, these exhibitions are a complete demonstration of creative dynamism of the time.