A curvilinear line, used often by Art Nouveau artists.
Artistic style of the 1890s in Britain and America. Flat patterned effect of organic forms, sinuous use of line. This style was applied to everyday objects in an attempt to unify the everyday objects, into an entire scheme of artistic endeavour. Applied to all types of artwork including graphic arts, architecture, glass work, jewellery and metalwork. A major aspect of this movement was its acceptance of technology and its association with the use of the machine to create a new style.
Movement that emerge in the 1870s in Britain, was negative response to the industrial revolution and was influenced by the writings of William Morris and John Ruskin. Favoured a medievalist approach to design and production and saw the morality in the hand made object.
(1872-1898)
Illustrator working in the 1890s and was known for his production of black and white, highly stylised works. Influenced by Japonisme, and Art Nouveau, his highly erotic pictures were controversial. Associated with the 1890's sense of decadence and epitomised the Art Nouveau Movement’s stylistic qualities.
Print maker and drawer, often used pen and ink to create linear representations of figural compositions.
Born 1845, Liverpool, died 1915. He was a book illustrator, Socialist and Writer on art. He worked with William Morris at the Kelmscott Press, and was also head of the Royal College of Art in London. His work showed a preference to natural and organic lines, and especially those which could mean ideas about life and growth.
The concept of the total work of art, as developed by the Vienna Secession, where by everything must be carefully designed in order to give a total effect.
Charles Rennie Mackintosh, Herbert MacNair and the sisters Margaret and Frances McDonald. All working within the Glasgow School of Art around 1890-1910 and producing decorative works of furniture, architecture, panels, embroideries and graphic material.
Centred around the Glasgow School of art, this group of artists, including Henry and Hornel, worked around the same time as Charles Rennie Mackintosh and the Glasgow Four.
Roughly the works from 1890 to 1920, centred around the Glasgow School of Art and involving the Glasgow Four. Influenced by Art Nouveau, Symbolism and the works of the Vienna Secession group. Stylistic details include organic and fluid forms, the play of detail and empty space, the female form. Motifs include the rose, heart, leaf and teardrop. Influenced by Symbolism, Mysticism, Art Nouveau and Japonisme.
Both were members of the Glasgow School of Painters and often worked in collaboration. They were influenced by Japanese art and often used elements from this in his oil paintings.
When Japan was opened to trade in the mid nineteenth century, the imports of Japanese goods and artefacts had a massive impact on the British arts. James McNeill Whistler was one of the first to display influence by this source. Influence includes a flat decorative effect, lack of central perceptive, linear rhythm across the picture plane and strange distortions of the natural and figural forms. Also included in this impact was the increased importance place on decorative items and colour wood block printing, as Japan had a hierarchy of Genres different to that of the Western Societies, placing importance on what the west would class as minor objects such as porcelain and laquerware.
(1834-1896)
Socialist, writer, designer, and painter. Influenced by the writings of John Ruskin, interested in the turn towards medieval craftsmanship and emphasis on the man made. Reacted against the immoral effects of the Industrial Revolution. In 1861 he started the Company Morris, Marshall and Faulkner and Co. and this changed to Morris and Co. in 1875. In 1890 he founded the Kelmscott Press, and became associated with the revival the hand press movement in Britain.
(1819-1900)
Art critic. His belief was that the industrial revolution would have a negative impact on the morality of the society surrounding it. Recognised good art by the time and effort spent on its creation. Believed that art reflected the morality and happiness of the maker and the nation that consumed it. In order to achieve this he wanted to return to the ways and means of the medieval craftsman.
(1858-1928)
Leading Dutch Symbolist Painter, exhibited with Le Vingt in Brussels, as early as 1884. Interest in literary metaphor, evocative form, and the linear depiction of scenes in a highly decorative manner. Influenced Beardsley and his work was of a highly stylised and organic nature, often depicting women.
Movement in Vienna at the turn of the century. Was founded by Klimt and was associated with the concept of Gesamtkuntswerk, the total work of art. Influenced by the music of Wagner and joined arts, decorative arts and music together in order to create an entire work of art.
Painter, designer and writer. Worked in Britain at the turn of the century and was associated with the Aesthetic movement. This in turn was associated with the decorative arts. Highly influenced by Japanese art and was a collector of many Japoniste works.
This type of printing was popular all over the world and involved relief printing, in which the print is creates by raised areas of wood on a block.