1900-1905

Art Nouveau

Jugendstil

embelishments
floral&animalistic forms
sinuous lines
flowing compositions
organic elements
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Art Nouveau arose during the La Belle Epoque (about 1880 to 1905). This era was named so in retrospect, when it began to be considered a "golden age" for the upper classes, as peace prevailed among the major powers of Europe, new technologies improved lives that were unclouded by income tax, and cheap coal and cheap labour fueled lavish lifestyles. This abundance had to find its way to architectural expression, and it did - through Stile-Floreale, as it was called in Italy.


I would ascribe Jugendstil to a feminine tradition of architecture, as a highly decorative style, of sinuous lines and forms. Of course, gender in architecture is a debatable subject, but I think we can assign building styles to one of the two groups - male and female, according to the core qualities of proportions, symmetry, linearity and decorative elements. As Jacques-Francois Blondel discusses architectural femininity in his Course of Architecture (year 1771) essay:

"One calls architecture feminine in those cases in which the expression displays the proportions of the Ionic order, where the expression is more naive, more charming, less robust than that of the Doric order. 

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Once again, taken in a bad sense, one again calls architecture feminine when, instead of indicating some rectilinear body (as the style of architeture will be solid), it offers some fore-buildings composed of sinuous parts. The building will thus display an uncertainty in the masses and in the details that one intends to admire, and for this reason feminine architecture must be rejected in all  military monuments, in all the edifices raised to the glorey of heroes, for princely lodgings, etc."

p.197-198 ("Architectural Theory Vol.1" by Harry Francis Mallgrave)

I find it very interesting where Blondel names the possible usage of feminine architecture:


"But it can be applied suitably to the exterior decoration of a country pleasure house, of a petit Trianon, in the interiors of queen's apartments, in those of an empress, in baths, fountains, and other edifices consecrated to maritime or terrestrial divinities, of which one has derived the dedication from sacred or profane history."


A quality of architecture relating to religion or promiscuity, having a certain morality and emotional baggage, apparently is a female quality. Thus, with intention to arouse one's feelings and to overwhelm, ornaments, decoration, sensuality are used in buildings. Whereas, to consider the opposite, rationalism, control, emotionlessness would be definitely a masculine quality. Function and clean forms would define a male style.

Feminine tradition would include such styles as Ionic order, Gothic, late Baroque, Rococo, Picturesque, Arts&Crafts movement, etc. Male tradition would be Doric order, Romanian style, Classicism, Modernism, Constructivism, etc.

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If I had to classify my current project in platform 4,it  would belong to the female tradition (if installations can be classified under architectural terms), thus in some way relating to Jugendstil. Not in Rococo type abundance of ornaments, but the piece I am making draws from animalistic behaviour, instincts, organic forms; it has floral characteristics, and is more of a plant than a piece of furniture. In terms of its appearance, its skin's texture, almost textile-like process of production it comes closer to Arts&Crafts manual craftmanship philosophy rather than mass production that fathers of Modernism propagated.


skin detail of my installation

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I believe Art Nouveau was a very successful style for illustration and fine art - theatralic, intrinsic, sensual. I'm especially fond of Aubrey Beardsley, not only as an artist, but as writer as well. His Story of Venus and Tannhauser is a wonderful book, with an enchanting manner of speech, so graceful and seductive.