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viii | |
Acknowledgements |
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xii | |
Introduction |
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1 | (8) |
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1 | (2) |
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Art and the conditions of modernity |
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3 | (2) |
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5 | (4) |
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PART I The Structures of Art Nouveau |
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9 | (118) |
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1 The nineteenth-century roots of Art Nouveau |
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11 | (13) |
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The Gothic Revival, design reform and the Oxford Museum of Natural History (1860) |
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11 | (5) |
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Aestheticism and Whistler's Peacock Room (1876-7) |
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16 | (5) |
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Nature, science and art and Liljefors's Woodcocks; Red-Backed Shrike; Thrush in Its Nest; Preying Hawk; Sparrows (1888) |
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21 | (3) |
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2 A new style for a new age: Innovations in form, materials and ornament |
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24 | (18) |
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Gaudi's Guell Palace: Form, materials and experience |
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25 | (4) |
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Lechner's Museum of Applied Arts: The invention of national ornament |
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29 | (3) |
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Sullivan's Guaranty Building: New ornament for new modes of construction |
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32 | (5) |
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Parallel developments in applied art |
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37 | (1) |
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Galle's On Such a Night as This: Material becomes ornament |
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38 | (4) |
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3 Sites of Art Nouveau: New forms of exhibition |
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42 | (18) |
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Brussels, L'Art moderne and the Les XX group |
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43 | (3) |
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46 | (6) |
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The 1900 Paris World's Fair |
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52 | (8) |
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4 Designers and manufacturers: How Art Nouveau was made and sold |
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60 | (19) |
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Charles Robert Ashbee and the Guild of Handicrafts |
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61 | (6) |
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Louis Comfort Tiffany, Clara Driscoll and Tiffany Studios |
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67 | (5) |
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Peter Behrens, Darmstadt and AEG |
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72 | (7) |
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5 Art Nouveau on paper: Print and graphic art |
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79 | (18) |
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Odilon Redon and the artist print |
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80 | (4) |
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Aubrey Beardsley: The artist as illustrator |
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84 | (3) |
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Elizabeth Shippen Green: Art Nouveau and commercial illustration |
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87 | (3) |
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International art and design journals |
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90 | (7) |
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6 Art Nouveau patrons and networks |
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97 | (30) |
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Siegfried Bing and the Maison de I'Art Nouveau |
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97 | (4) |
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Justus Brinckmann and museum curation |
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101 | (3) |
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Princess Tenisheva: The World of Art and the Talashkino artist's colony |
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104 | (4) |
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Sarah Bernhardt: Celebrity and patronage |
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108 | (9) |
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Conclusion to Part I: Art Nouveau in Vienna |
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117 | (1) |
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117 | (7) |
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124 | (3) |
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PART II The content of Art Nouveau |
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127 | (96) |
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129 | (15) |
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Victor Horta: Tassel House and the jungle in the city |
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130 | (3) |
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August Endell: Elvira Studio and the wilder shores of life |
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133 | (4) |
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France Macdonald: The Pond and the threat of fecundity |
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137 | (1) |
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Rene-Jules Lalique: The beauties of nature |
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138 | (4) |
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The raw materials of Art Nouveau |
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142 | (2) |
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8 The global reach of colonialism |
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144 | (19) |
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The Sphinx Mysterieux and the performance of colonial power |
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146 | (3) |
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India Art Nouveau and pan-Asianism |
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149 | (5) |
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Dutch Art Nouveau and Javanese Batik |
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154 | (5) |
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Transnational Art Nouveau and cultural exchange |
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159 | (4) |
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9 Visions of other worlds and hopes for the future |
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163 | (14) |
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Stanislaw Wyspiariski: Visions of a future Polish nation |
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164 | (3) |
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Mary Seton Watts and the cosmos in ornament |
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167 | (5) |
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Hilma af Klint: Spiritualist visions |
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172 | (5) |
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10 Psychology, sex and the modern self |
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177 | (18) |
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Fernand Khnopff: The journey into the self |
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179 | (3) |
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Camille Claudel: The creative labour of the artist |
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182 | (2) |
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Edvard Munch: Trials of isolation and connection |
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184 | (4) |
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Elena Luksch-Makowsky: Gender and creativity |
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188 | (3) |
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Magnus Enckell, George Minne and the adolescent male nude |
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191 | (4) |
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11 Dream spaces: The Art Nouveau interior |
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195 | (15) |
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Fyodor Shekhtel: Ryabushinsky House and a kingdom beneath the waves |
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196 | (3) |
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Charles Rennie Mackintosh and Margaret Macdonald: Fritz Waerndorfer's music room and the performance of beauty |
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199 | (3) |
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The light of other worlds: Dreams of a nation |
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202 | (4) |
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Otto Wagner: St Leopold's Church and the healing power of art |
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206 | (4) |
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12 Conclusion: New art for a changing world |
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210 | (13) |
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Art Nouveau: Public art and collective identity |
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210 | (4) |
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214 | (4) |
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Art Nouveau: Decline and evolution |
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218 | (5) |
Conclusion |
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223 | (4) |
Bibliography |
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227 | (20) |
Index |
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247 | |