Introduction technique and architecture to designate the pretentious and

Introduction to design             Art Nouveau Alphonse Mucha                     Name: sharifa saleh albalushi Sec: 2 Instructor: Reem Elswaifi fall: 2017/2018  Introductionof art Nouvea      By the delayed nineteenth period of one hundredyears., there was a growing inclination for a new pattern oftechnique and architecture to designate the pretentious and hit of theday.  this style was called artlessly”the new art,” or Art Nouveau. Art Nouveau was a style, which had the belief to abandon the crutch ofhistoricism, and to turn to kind and engineering for its revelation.  Belgium was one of the place of birthing theArt Nouveau, and Brussels in specialy is wealthy with model of architecture ofthe style.

Art Nouveau that evolutionbetween about 1890 and 1910 throughout Europe and the United States. ArtNouveau is renowned by its use of a prolonged, sinuous, statutory line and wasemployed most overwhelmingly in architecture, indoor design, jewelry and glazierdesign, posters, and clarification.Art Nouveau was purposedat modernizing design, searching to escape the selective historical styles thathad formerly been popular. The assurance on linear contours took seniority overcolor, which was usually symbolize with hues such as muted verdancy, browns,yellows, and blues. The locomotion was committed to canceling the traditional tabulateof the arts, which viewed the seeming liberal arts, such as draftsmanship andsculpture, as outstanding to craft-based decorative arts. The style went out offashion for the most portion long before the First World warfare, paving theway for the expansion of Art Deco in the 1920s,The art nouveausolution, idealize for the public in the modern gang displayed by department storageand at the yearly salons, was to coincide every element of a chamber, from its public  colour scheme to the smallest assign of itssmallest object, such as the opener escutcheons and hinges on its furnishing.

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Everything had to be ensuite, in gross contrast to the typical recherché indoorsof the time. Today, almost all those art nouveauinteriors have lost, their wallpapers and padding long since vanish orstripped, and the wings of furniture dispersed within people or at auction. Even lasting hand-tinted printed prints and glazierchromolithographs fail fully to detect the ambience of regularity and intimacysought by their art nouveau styler. Yet enough has outrun to show that in thisaspect of style, at least, the new motion offered a radical refinement on thestatus quo. Artist  Alphonse MuchaCzech PainterMovement: Art NouveauBorn: July 24, 1860 – Ivan?ice, Moravia (Czech Republic)Died: July 14, 1939 – Prague, Czech Republic Mucha was known for his commercial announcement, which had awide audience, but he also labor in a variety of other media, inclusive furniture,jewellery, and theatrical group. He mostly labor in Vienna and Paris, but wasalso in Chicago, where he educated at the Art Institute, from 1904 to 1910.

 There, he introduce histranslation of the “new art” to a United States public. The violentlypatterned posters attention the technique Nouveau interest in natural forms,decoration, and a refusal of the pseudonym of mechanical production.He worked at ornamental painting jobs in Moravia, mostlypainting dramatic scenery. In 1879, he relocatedto Vienna to labor for a major Viennese dramatic design company, whileinformally increase his technical education. When a fire burnt his employer’sbusiness through 1881 he returned to Moravia, to do freelance decorative andportrait painting. Count Karl Khuen of Mikulov hired Mucha to decorateHrušovany Emmahof Castle with murals and was impress enough that he concurrent tosponsor Mucha’s formal training at the Munich complex of Fine Arts.Mucha produced a flurry of paintings, posters, announcement,and book clarification, as well as designs for jewelry, rugs, wallpaper, and scenesets in what was termed at first The Mucha Style but turn into known as ArtNouveau (French for “new art”).

Mucha’s works much featured beautifulyouth women in flowing, vaguely Neoclassical-looking dress, often encompassed bylush flowers which occasionally formed halos behind their president. Incontrast with contemporaneous poster makers he used pallid pastel colors. He adorned the Bosniaand Herzegovina Pavilion and collaborate with decorating the Austrian wing HisArt Nouveau style was overwhelmingly imitated. The Art Nouveau style, but,; he always insist that ratherthan maintaining any elegant stylistic form, his draftsmanship were entirely a productionof himself and Czech art. He stated that art existed only to transport aspiritual message, and nix more; hence his frustration at the reputation he obtainedby his commercial art, when he most desired to concentrate on more artisticprojects.

 ARTWORK 1-The Slavapiccycle No.1: TheSlavs in Their Original Homeland (1912) Czech painter Alfons Mucha(1860–1939) acquired world fame gratitude to his original Art Nouveau ornamentalwork in Paris at the turn of the 19th and 20th century. He put his center elsewherealthough: in a period of twenty monumental draftsmanship, deduce by Slavicmythology and the date of the Czech nation. Mucha labor on the Slav heroic foralmost twenty years and first uncover it to the audience in the fall of 1928 toparty ten years of the freedom of Czechoslovakia in the Great chamber of thejust completed Veletržní mansion.Theanlayze  The Slav Epic (Slovanská epopej) is achain of twenty huge canvases (the great measuring over 6 by 8 metres) characterizethe history of the Slav people and culture. Mucha conceived it as a memorial forall the Slavonic peoples and he loyal the latter half of his artistic career tothe realization of this work.

 The thought of the work was formed in1899, while Mucha was industrious on the design for the interior of the suite ofBosnia-Herzegovina, which had been authorized by the Austro-Hungarian office forthe Paris Exhibition of 1900. In preparation for the assignment he travelled exceedinglythrough the Balkans, discuss their history and tradition as well as watch thelives of the meridional Slavs in the area that had been seize byAustria-Hungary two contract earlier. From this experiment sprang theinspiration for a new venture – the creation of ‘an heroic for all the Slavonicpeoples’ that desiderate portray the ‘joys and sadness of his own state andthose of all the other Slavs.   With the Slav heroic Mucha wished to bandtogether all the Slavs through their common history and their reciprocal reverencefor peace and education and eventually to fill with them to work for humanityusing their experiment and virtue. In 1928, Mucha and Crane formally presentedthe complete chain of the Slav Epic to the City of Prague as a present to thecountries, coinciding with the 10th yearly of its independence.

 2-dance The Dance (1898) was formed at theheight of Alphonse Mucha’s reputation and was an Art Glass Panel convenient fromMucha’s series of colour print illustrations, called The Arts. An printing of1000 copies were printed on vellum, with a further 50 limited printing copiesprinted onto satin. composition For The Dance Mucha, inspired by the cameleer ofnature, forsaken paintbrushes and quills and emphasize the features of naturein his art work. Dance, the most sensory of the series, party the female form –it has been propose that the use of autumn is a figure for the menopause.

The Analyze installation:In this print we appear to have manydecorative topic in the background and a women personality on the inside who iscentered in the middle of the installation, but because of her posture seems totendency toward the left.cluster:The personality does have shading anddifference and the line work helps to feather the image. It is various fromcomic book style art in order to we get a sense of mass in the poster.Symbolism:He has used the three above postersin a chain, but he has used “flowers and women” for this series.decoration:Because this segment is Art Noveau,it is known for ornament and fancy lines. As Mucha is one of the major artists in this movement he doesn’t fail toimpact. Contiguity: Mucha has parallel curved, swoopinglines against the overall orthogonal frame. The elements are meant to contrastand react at the same time.

 3- Soap Factoryof BagnoletZodiac(1896)   Soap manufactory of Bagnolet, was formedby Alphonse Mucha in 1897 as a French advertisement for a women’s soapmanufacturer. This new, fresh and effective formatwas used to announce various products. His easily recognizable style show inadvertising posters for items spread from confectionary to beauty products.The Analyze Zodiac (1896), on the cover, is aprototypical job from Mucha’s finest cycle; it was the first print he madeunder contract with his printer F. press and originally designed as an in-housecorrection for the company. It became so public that it had to be release in avariety of formats, with and deficient text, with and without the calendar inthe ornamental panel at the bottom, and with and without Mucha’s printed subscriptionso that the public might collect and display it as they wished.

The image has agreat feeling of scale in spite of its relatively small size, 24 and 7/8 by 18and one half inches (65.7 × 48.2 cm). The floral and heavenly elements aresymmetrically arranged around a central strange image, the head of a queen-likewoman. The signs of the Zodiac are combined in a halo-like disc behind thewoman’s president, one of Mucha’s customary stimulus.

  the woman in this poster wears the famoushairstyle invented by Mucha who initiates the use of double or parallel linesin very fast, whip-smart curves, a characteristic feature of many of theartists who would follow in his wake. Art Nouveau becomes the art of thearabesque. The ripple curvilinear tendrils of hair echo the untold curves inthe plant-like shapes as well as the circles including the sun and the moon tolower left and right of the ornamental panel. Note the sunflower behind the codeof the sun and the circle of poppies behind the moon.

These rondels are part ofMucha’s now criterion use of a ornamental border resembling a Byzantine mosaic ConclusionArtNouveau is usually deemed a matter of ‘style’ rather than a philosophy: but, infact, distinctive ideas and not only fanciful desires prompted its appearance.Common to all the most consistently Art Nouveau creators was a determination topush beyond the bounds of historicism – that exaggerated concern with thenotions of the past which characterises the greater part of 19th-centurydesign: they sought, in a fresh analysis of function and a close study ofnatural forms, a new aesthetic. It is true that the outer reaches of ArtNouveau are full of mindless pattern-making but there was, at and around thecentre, a marvellous sequence of works in which the decorative and thefunctional fuse to novel and compelling effect. Art Nouveau means much morethan a single look or mood: we are reminded of tall grasses in light wind, orswirling lines of stormy water, or intricate vegetation – all stemming fromorganic nature: an interest in which should be understood as proceeding from asense of life’s order lost or perverted amidst urban industrial streReferences l https://www.britannica.com/art/Art-Nouveaul  http://www.theartstory.org/movement-art-nouveau.htmhttp://www.bc.edu/bc_org/avp/cas/fnart/symbolist/artnouveau_intro.htmlhttp://www.theartstory.org/movement-art-nouveau.htm l http://www.macklowegallery.com/education.asp/art+nouveau/Artist+Biographies/antiques/Decorative+Artists/education/Edward+Colonna/id/23#sthash.8AZLOQfQ.dpufl http://www.theartstory.org/artist-mucha-alphonse.html  https://en.wikipedia.org/wiki/Alphonse_Mucha l http://www.muchafoundation.org/gallery/themes/theme/slav-epic/object/212l https://www.wikiart.org/en/alphonse-mucha/dance-1898l http://www.scottmcd.net/artanalysis/?p=46l http://tombarlowvicdesign.tumblr.com/post/58313320316/analysis-of-dance-by-alphonse-mucha-for-thisl http://www.alphonsemucha.org/dance/l http://www.alphonsemucha.org/soap-factory-of-bagnolet/l http://www.muchafoundation.org/gallery/search-works/display/result/object/242l  https://academic.oup.com/neurosurgery/article/76/5/499/2452009