#baroque

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  • Prompt: The Beaux-Arts training emphasized the mainstream examples of Imperial Roman architecture between Augustus and the Severan emperors, Italian Renaissance, and French and Italian Baroque models especially, but the training could then be applied to a broader range of models: Quattrocento Florentine palace fronts or French late Gothic. American architects of the Beaux-Arts generation often returned to Greek models, which had a strong local history in the American Greek Revival of the early 19th century. For the first time, repertories of photographs supplemented meticulous scale drawings and on-site renderings of details. Beaux-Arts training made great use of agrafes, clasps that link one architectural detail to another; to interpenetration of forms, a Baroque habit; to "speaking architecture" (architecture parlante) in which the appropriateness of symbolism was paid particularly close attention. Beaux-Arts training emphasized the production of quick conceptual sketches, highly finished perspective presentation drawings, close attention to the program, and knowledgeable detailing. Site considerations included the social and urban context.
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  • Prompt: Beaux-Arts architecture depended on sculptural decoration along conservative modern lines, employing French and Italian Baroque and Rococo formulas combined with an impressionistic finish and realism. In the façade shown above, Diana grasps the cornice she sits on in a natural action typical of Beaux-Arts integration of sculpture with architecture. Slightly overscaled details, bold sculptural supporting consoles, rich deep cornices, swags and sculptural enrichments in the most bravura finish the client could afford gave employment to several generations of architectural modellers and carvers of Italian and Central European backgrounds. A sense of appropriate idiom at the craftsman level supported the design teams of the first truly modern architectural offices.
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  • Prompt: According to Khan-Magomedov, two forerunners of the style were Ivan Fomin and Ilya Golosov. They converged on the same form from opposite directions – neoclassicism and constructivism. Fomin's concept, easily formulated, erected in steel and granite in Moscow (Dynamo Building), was well understood even by the inexperienced youth. "The youth instinctively followed those who managed to declare their stance clearly. The youth believed that this period is a self-sufficient cultural stage, not a transition to something else". In 1933–34, Golosov publicly disposed of the avant-garde. He returned to Neoclassicism, trying to avoid direct citations from the past. For example, he used square columns instead of traditional, round ones. Square, lean columns without capitals became a trademark feature of the emerging style. Golosov's entries in public design contests exposed his style to numerous followers.
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  • Prompt: The name De Stijl is supposedly derived from Gottfried Semper's Der Stil in den technischen und tektonischen Künsten oder Praktische Ästhetik (1861–3), which Curl[3] suggests was mistakenly believed to advocate materialism and functionalism. The "plastic vision" of De Stijl artists, also called Neo-Plasticism, saw itself as reaching beyond the changing appearance of natural things to bring an audience into intimate contact with an immutable core of reality, a reality that was not so much a visible fact as an underlying spiritual vision.[6] In general, De Stijl proposed ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their formal vocabulary was limited to the primary colours, red, yellow, and blue, and the three primary values, black, white, and grey. The works avoided symmetry and attained aesthetic balance by the use of opposition. This element of the movement embodies the second meaning of stijl: "a post, jamb or support"; this is best exemplified by the construction of crossing joints, most commonly seen in carpentry.
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  • Prompt: Mondrian sets forth the delimitations of Neoplasticism in his essay "Neo-Plasticism in Pictorial Art". He writes, "this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour". With these constraints, his art allows only primary colours and non-colours, only squares and rectangles, only straight and horizontal or vertical lines.[4] The De Stijl movement posited the fundamental principle of the geometry of the straight line, the square, and the rectangle, combined with a strong asymmetricality; the predominant use of pure primary colors with black and white; and the relationship between positive and negative elements in an arrangement of non-objective forms and lines.[5]
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  • Prompt: De Stijl, Dutch for "The Style", also known as Neoplasticism, was a Dutch art movement founded in 1917 in Leiden. De Stijl consisted of artists and architects.[1] In a more narrow sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands.[2][3] Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and colour; they simplified visual compositions to vertical and horizontal, using only black, white and primary colors.
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  • Prompt: Art Nouveau had its origins in Britain, mainly in the work of William Morris and Arts and Crafts movement which was founded by students of Morris. Through Morris, formative and essential influence will be Pre-Raphaelite brotherhood, which was in turn championed and sometimes even financially supported by John Ruskin. Ruskin's influence on the formation of Arts and Crafts and Modern Style is hard to overstate. Arts and Crafts movement called for better treatment of decorative arts, believed all objects should be made beautiful and took inspiration from folklore, medieval craftsmanship and design, and nature. Red House, Bexleyheath (1860), architectural work by Philip Webb with interiors done by William Morris is one of the early prototypes. Work of Arthur Mackmurdo is the earliest fully realized form of the Art Nouveau, his Mahogany chair from 1883 and design for a cover for essay Wren's City Churches are recognized by art historians as the very first works in the new style. Mackmurdo's work shows influence of another British illustrator William Blake, whose designs for Songs of Innocence and of Experience from 1789 certainly point to even earlier origin of Art Nouveau.
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  • Prompt: Archibald Knox was a defining person of these lines and metalware of the style. In the field of ceramic and glass Christopher Dresser is a standout figure. Not only did he work with the most prominent ceramic manufacturers but became a crucial person behind James Couper & Sons trademarking of Clutha glass inspired by ancient Rome in 1888. Aubrey Beardsley was a defining person in graphic and drawing, and influenced painting and style in general. In textiles William Morris and C. F. A. Voysey are of huge importance, although most artists were versatile and worked in many mediums and fields, influencing them all to an extent. Because of the natural evolution of Arts and Crafts to Modern Style, lines can be blurred and many designers, artists, and craftsmen worked in both styles simultaneously. Important figures include Charles Robert Ashbee, Walter Crane, Léon-Victor Solon, George Skipper, Charles Harrison Townsend, Arthur Mackmurdo, William James Neatby.
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  • Prompt: The Modern Style is a style of architecture, art, and design that first emerged in the United Kingdom in the mid-1880s. It is the first Art Nouveau style worldwide, and it represents the evolution of the Arts and Crafts movement which was native to Great Britain. Britain not only provided the base and intellectual background for the Art Nouveau movement, which was adapted by other countries to give birth to local variants; they also played an over-sized role in its dissemination and cultivation through the Liberty department store and The Studio magazine. The most important person in the field of design in general and architecture in particular, was Charles Rennie Mackintosh. He created one of the key motifs of the movement, now known as the 'Mackintosh rose' or 'Glasgow rose'. The Glasgow School was also of tremendous importance, particularly due to a group closely associated with Mackintosh, known as 'The Four'. The Liberty store nurturing of style gave birth to two metalware lines, Cymric and Tudric.
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  • Prompt: Antoni Gaudi and Shukhov carried out experiments with hyperboloid structures nearly simultaneously, but independently, in 1880–1895. Antoni Gaudi used structures in the form of hyperbolic paraboloid (hypar) and hyperboloid of revolution in the Sagrada Família in 1910.[4] In the Sagrada Família, there are a few places on the nativity facade – a design not equated with Gaudi's ruled-surface design, where the hyperboloid crops up. All around the scene with the pelican, there are numerous examples (including the basket held by one of the figures). There is a hyperboloid adding structural stability to the cypress tree (by connecting it to the bridge). The "bishop's mitre" spires are capped with hyperboloids.[citation needed]
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  • Prompt: Jugendstil was an artistic movement, particularly in the decorative arts, that was influential primarily in Germany and elsewhere in Europe to a lesser extent from about 1895 until about 1910. It was the German counterpart of Art Nouveau. The members of the movement were reacting against the historicism and neo-classicism of the official art and architecture academies. It took its name from the art journal Jugend, founded by the German artist Georg Hirth. It was especially active in the graphic arts and interior decoration.
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  • Prompt: After 1900 he became involved in industrial design and the reform of architecture to more functional forms. In 1902, he participated in the Turin International Exposition, one of the first major Europe-wide showcases of Art Nouveau. In 1907, Behrens and a group of other notable Jugendstil artists, including (Hermann Muthesius, Theodor Fischer, Josef Hoffmann, Joseph Maria Olbrich, Bruno Paul, Richard Riemerschmid, and Fritz Schumacher, created the Deutscher Werkbund. Modeled after the Arts and Crafts movement in England, it was goal was to improve and modernize the design of industrial products and everyday objects. He first major project was AEG turbine factory in Berlin (1908–1909). Behren's assistants and students at this time included Mies van der Rohe, C. E. Jeanerette (the future Le Corbusier), and Walter Gropius, the future head of the Bauhaus. The work of Behrens and the Werkbund effectively launched the transition from the Jugendstil to modernism in Germany, and the end of the Jugendstil.[7]
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  • Prompt: The ideal of designers of the Jugendstil was to make a house a complete work of art, with everything inside, from the furniture to the carpets and the dishware, silverware and the art, in perfect harmony. With this ideal in mind, they established their own workshops to produce furniture. August Endell, Theodor Fischer, Bruno Paul, and especially Richard Riemerschmid were important figures in Jugendstil furniture.
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  • Prompt: A key element of the Nuragic religion was that of fertility, connected to the male power of the Bull-Sun and the female one of Water-Moon. According to the scholars' studies, there existed a Mediterranean-type Mother Goddess and a God-Father (Babai). An important role was that of mythological heroes such as Norax, Sardus, Iolaos and Aristeus, military leaders also considered to be divinities. The excavations have indicated that the Nuragic people, in determinate periods of the year, gathered in common holy places, usually characterized by sitting steps and the presence of a holy pit. In some holy areas, such as Gremanu at Fonni, Serra Orrios at Dorgali and S'Arcu 'e Is Forros at Villagrande Strisaili, there were rectangular temples, with central holy room housing perhaps a holy fire. The deities worshipped are unknown, but were perhaps connected to water, or to astronomical entities (Sun, Moon, solstices).
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  • Prompt: As a growing scientific object, nature represents modernity at the end of the 19th century. A model of perfect beauty, nature is therefore widely exploited as a theme by the Art Nouveau movement, but going beyond traditional naturalism. Although many Art Nouveau artists came out of their studios to see nature more closely, they also made extensive use of numerous scientific publications which describe and represent the fauna and flora as precisely as possible so as not to reproduce their image as faithfully as possible, but to find a new aesthetic form. Moreover, a number of Art Nouveau creators have studied scientifically and published in university journals47. Thus, this idea of going beyond traditional representations of nature by exploiting above all the forms offered by fauna and flora appears very early via the Arts and crafts movement and is theorized by several figures of the movement such as Owen Jones or van de Velde. The artists largely took over Ernst Haeckel's work Artistic forms of nature which, published between 1899 and 1904, is for them like an immense repertoire of forms. Josef Maria Olbrich thus declares: “What is there more likely to awaken in us feelings of l
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  • Prompt: The decline of new art can be seen in particular by the estrangement of some of its creators, who turned to other styles (from 1905-1906) which themselves remained alive. Moreover, as the most influential representatives of this current are dispersed throughout Europe, they have not been able to develop a formal system, nor register within an official institution that would have legitimized and supported the movement42. However, this vision is the heiress of a historiography which, during a very important time, little studied the end of this movement. The vulgate of art history has long considered that later artistic movements broke radically with Art Nouveau. It should not be overlooked, however, that many artists who were fully members of the movement themselves and very gradually developed their practice, and that the new artists most of the time voluntarily fit into the continuity of the previous avant-gardes41.
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  • Prompt: Between 1900 and 1914, Art Nouveau imposed itself and it began to be the subject of debate, discussion and criticism37. From 1900, many art critics attacked this movement. They criticize in particular for obstinately leaving aside one of the principles of the decorative arts, which states that the ornamentation of an object must be subordinated to its function. As early as the Universal Exhibition of 1900, Charles Genuys, critic for La revue des arts décoratifs, raised this point among others39. Art Nouveau was also violently attacked by nationalist movements, from the years 1904-1905, where French far-right associations condemned Hector Guimard in particular. These movements do not hesitate to use the same rhetoric as for the Jews, accusing these artists of being against the nation and needing to be eliminated6. In addition, the authentic creators are quickly overtaken by the success of a fashion of which they are the inspiration, and which triumphs from the universal exhibition in 1900, in particular in an invasive bimbeloterie which tarnishes for a long time the memory of Art. new. From 1910, the decorative arts salons were flooded with random objects, taking up old styles and
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  • Prompt: This movement has conceptual and stylistic similarities with various variations of Art Nouveau that developed in Europe at the same time. However, it is distinguished by three aspects: its development in the continuity of the Catalan renaissance (1833-1880); the pressing need for evolution and political and social renewal claimed at its appearance, and, in a moment of growth of most of the cities of Catalonia at a frantic pace unknown since the Renaissance: Girona, Tarragona, Reus, Sabadell, Terrassa , Mataro and above all Barcelona with its Cerdà plan (launched in 1859), which offered 1,100 hectares of bare land to the imagination of architects19. In addition, and unlike other countries in Europe, Spanish Art Nouveau sought to create a national art where other countries sought to transcend their borders21. From 1886 Antoni Gaudí was the main representative of the new trends of this movement, with in particular the Güell Palace (1886-1890) decorated with wrought ironwork and pinnacles, which succeeded his orientalizing period initiated in 1883 (El Capricho, Casa Vicens) and preceded the Sainte-Thérèse College in Barcelona (1888-1889) with its already modern accents, then the f
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  • Prompt: The beginnings of this art are perceptible in the dreamlike dimension of the work of pre-romantic painters. The style of Augustus Pugin (England, 1812-1852), classified among the artists of the neo-Gothic style, foreshadows the extraordinary decorative saturation of Art Nouveau, the freedom of forms, the power of color, the struggle between architecture and decoration, which is one of the great artistic battles of the second half of the 19th century6. Furthermore, pre-Raphaelism awakened in 1850 to curves and colours, inspired by the Italian masters of the 15th century or the Florentine Renaissance (Botticelli) in reaction to the industrial revolution15.
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  • Prompt: Externally characteristic parts or elements of Art Nouveau are decorative curved lines and large floral ornaments. However, such formal classifications should not overlook the fact that Art Nouveau was by no means a cohesive movement. It is a series of partly divergent currents in Europe, which at best were really united in turning away from historicism, i.e. rejecting the hitherto common imitation of historically handed-down formal models. Numerous artistic programs and manifestos are associated with Art Nouveau. In today's understanding, it also stands for large overall artistic designs, such as that of the Palais Stoclet in Brussels, in which everything from the outer building to the decorative interior was designed in a uniform manner. This was also linked to the demand for the great fusion of "art and life", the re-inclusion of art in everyday life in the sense of a comprehensive artistic redesign of all everyday things, with the decorative arts being particularly important. On this point, however, Art Nouveau tied in with historicism, which had already elevated the “Gesamtkunstwerk” to a program. It was a programmatic alternative to the detachment of auratic works of art
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