Art Nouveau and its influence on Architecture in Belgium and France.

Art Nouveau is arguably a style of art which has expanded internationally and was applied to fine and decorative arts, as well as to architecture.

In 1889, The Paris Exhibition inaugured a new style of technological innovation which was generally known as the age of iron and glass. Bing’s pavilion at the Exhibition celebrated this new style and established a Maison de l’Art Nouveau: where a collection of artworks such as Jewelleries designed by Bernhardt, and clasps by Lalique and Mucha’s designs, were exhibited and marked the beginning of a new era.[1]

In the 1890s, there was a growth in the number of design periodicals and illustrated magazines such as The Studio or New Review which contributed to spread a more liberal consciousness.

At this time, arts served a socially progressive role, embellishing the city, and making good use of new technologies, and suggesting a cooperation between art and industry. Therefore, cast iron was used in many different ways, particularly to embellish doorways, window grilles, and numbers which marked house entrances. Those features can be appreciated in the works by H. Guimard, French architect and designer who developed many elements of l’Art Nouveau which can be seen all around Paris; such as the entrances of the French Metro, which combine elastic plant like tendrils and flowers, and the iconic gate of Castel Béranger.

There are two styles of Art Nouveau: curvilinear and rectilinear. However, Art Nouveau is generally associated with ironwork, stained glass and organic elements. It also features Japanese influence and symbolism.[2]

Art Nouveau spread internationally assuming different connotations and names. In Italy it was known as Liberty and was mainly inspired to the Arts and Crafts movement, in Germany it was referred as Jugendstil due to its angular shapes which marked a new wave of design. In Asustria, it was called Secession because designers and architects took on a more classical and rationalist approach. Lastly, in Spain, Art Nouveau was developed as part of a desire for nationalism and rationality.[3]

Art Nouveau architecture began in Brussel with Victor Horta (1861-1947) who designed Hôtel Tassel (1892) with an exotic staircase in twisting ironwork. His impact determined the establishment of the classic, flame-like line of Gallic Art Nouveau which is achieved combining imaginative and modern designs to iron and glass. This style is retrievable in other works from Horta like Hôtel Solvay (1895-1900) and the Maison du Peuple (1896-1899). The ladder was designed for the French branch of the Parti Ouvrier Belge.[4]It is worth to mention that in the late 19thcentury in Belgium, socialist ideas started to spread and the parti ouvrier Belge was instituted at the time to conquest universal suffrage.[5]Secondly, Hôtel Solvay was an expensive building, highly decorated both outside and inside creating the horror vaqui effect.[6]On the other hand, la Maison du Peuple (1895) is one of Haortha’s last works where he adopted a complex and more rational structure.

However, Hôtel Tassel is believed to be the actual first Art Nouveu Building, built in 1892-3, it marks a clear distinction with artistic influences coming from Arts and Crafts magazines illustrations , and regional architectural impulses coming from Spain.[7]

In France, what is identified as curvilinear art nouveau, was plunged by H. Guimmard in Castel Beranger’s architecture. It’s style is intricate and ironwork is the predominant decorative element. The stone of Castel Beranger was carved creating abstracts forms. The effect produced by the sinuosity of the lines make the two materials, stone and iron, appear as malleable and natural. Guimmard, also embellished some of Paris metro entrances with iron organic decorations and characteristic lettering of the Art Nouveau style which was predominantly used by visual artists such as A. Mucha and H. de la Toulouse-Lautrec.[8]

[1]Lee-Maffei, G, and R Houze. 2010. The Design History Reader. Berg, ch. 13

[2]Reizman, David. 2010. History Of Modern Design. 2nd ed. London: King, pp. 1

[3]Riserbero, Bill. 1982. Modern Architecture And Design: An Alternative History. 1st ed. London: Herbert Press, pp. 18-20

[4]Riserbero, Bill. 1982. Modern Architecture And Design: An Alternative History. 1st ed. London: Herbert Press, pp. 22-23

[5]Delwit, Pascal. 1995. The Belgian Socialist Party. Brussel: University of Brussel, pp. 30-41

[6]De Witt, Dennis J, and Elizabeth R De Witt. 1990. Modern Architecture In Europe. New York: Dutton, pp. 44

[7]De Witt, Dennis J, and Elizabeth R De Witt. 1990. Modern Architecture In Europe. New York: Dutton, pp. 45

[8]Hardy, William. 1998. A Guide To Art Nouveau Style. Rochester [UK]: Grange Books, pp. 34-35