The Art Nouveau Movement was manifested in most European countries, starting in the last decades of the Nineteenth Century until (approximately) World War One. Although Art Nouveau had differing personalities in differing locales, there were several through lines which informed the movement wherever it was practiced. Chief amongst these principles was a return to honorable handcraft—and the revival of specific regional themes (which could be ancient, historic, literary, or artistic). This made the Art Nouveau Movement especially adaptable to nationalist movements—aesthetic fashions which reinforced the culture and national identity of independent countries (or those who wished to be).
The Art Nouveau Movement went by different names in different countries (though they were all cousins under the greater umbrella of "The New Style"). In England, Scotland and America, "Arts and Crafts" was the most common name. In America, subdivisions called "Craftsman," "Mission," or "The Prairie School" were also used. France and Belgium used "Art Nouveau." Germany and some Northern countries used "Jugendstil" ("the young/new style"). "Secessionism" was used in Austria. Italy called it "Stile Liberty" (after the London shop which purveyed the style). And Nordic countries often referred to it as "The National Style" or a "The National Romantic Style."
Today, we'll take a look at some of the pieces in the Frick Museum exhibit which resonate with the larger European Art Nouveau, Arts & Crafts, Jugendstil and Secessionist Movements.
Shown above, a Norwegian woven wool-on-linen tapestry, called "The Suitors" (loomed by Margit Kielland in 1906). It was designed by Gerhard Munthe, based on his earlier (1893) series of watercolors. Munthe created a fairytale story in which three young men, "The Suitors," were transformed into polar bears who enter the chambers of the daughters of the Northern Lights—in order to court them. Munthe adapted his earlier watercolors and provided them to the students of the new Art Weaving School at the Trondheim National Museum of Decorative Arts. These weavings garnered much attention at the Paris World's Fair in 1900. The combination of Norwegian sensibility, the Japanese (graphic) inspiration, and the bright colors helped draw attention to Norway's contribution to the international Arts and Crafts scene.
Finland endured a long and torturous period of domination by Russia starting in 1809, after which point the Empire tightened the screws of "Russification." During Finland's National Romantic Movement (essentially, their Arts & Crafts Movement), artists and designers pushed back. In the case of the Arabia "Fennia" porcelain vase (c. 1902), shown above, traditional Finnish textile and embroidery patters were adapted to the vase—in a manner reminiscent of Germanic Jugendstil or Austrian Secessionism. This choice of decoration was a small—but recognizable—attempt to assert Finland's independent culture and national pride. The onset of the Soviet Revolution in 1917 allowed Finland the opportunity to claim its independence. The Soviets (and later, Russia) have made occasional overtures at re-domination of Finland (a threat which no one should take lightly).
Swedish ceramicist, Helma Persson-Hjelm, created this handsome vase in 1914. She began her career working in porcelain at Rörstrand. Later, she opened her own studio in 1907 and began to work with earthenware. Her practice was to design a ceramic vase shape, then hire local potters to throw multiples of them for her. Then she would decorate them. In the case of the vase above, she hand-carved the flower petal design (along the shoulders and sides) with sharp instruments while the vase still was in the biscuit state (that is, the hard, white, unglazed state after the first firing). She then glazed it, with the help of her husband (who also was a ceramicist). The piece has a touch of Japanese inspiration to it—an exotic notation which was very popular with Western connoisseurs.
Shown above, a collection of Swedish Art Nouveau bronze vases (c. 1900). They were modeled by Gerda Backlund and Amy Wahlström, then cast-in-bronze by Hugo Elmquist (who also developed the wonderful patination which was used to finish them). They incorporate botanical and insect elements—popular within the Art Nouveau Movement (thanks to recent scientific advancements by the likes of Charles Darwin). Furthermore, the embrace of nature—for its healthful, restful, curative and balancing effects—was popular throughout the Nordic countries. Vases like these gave Swedes the opportunity to bring the life-force of Nature into their homes.
Though our Greenwich Village store is now permanently closed, LEO Design is still alive and well! Please visit our on-line store where we continue to sell Handsome Gifts (www.LEOdesignNYC.com).
To arrange a visit our Pittsburgh showroom (by private appointment only), please call 917-446-4248.