Art 345: Ch 11
Assyrian motifs
Although art nouveau artists did not use a historicist approach to their designs, they were influenced by past as well as contemporary art. All but one of the examples below were influences on art nouveau. Which does NOT belong? A. Japanese decorative designs B. the rococo style C. Celtic ornament D. Assyrian motifs
Alphonse MUCHA Fig. 11-32
IDENTIFY
Samuel BING
art dealer who coined the term "art nouveau" in a Paris gallery, specifially in 1895, opening it as the "Salon de l'Art Nouveau".
Edo
modern Tokyo
Modernismo
term for Art Nouveau in Spain; Antonio Gaudí was its major practitioner
Jugendstil
(Young Style) named after Jugend magazine. German interest in medieval letterforms continued side-byside with Art Nouveau techniques. Germany was the only country that did not replace Gutenberg's textura with roman styles of the Renaissance.
a concentrated food supplement
A member of the Flemish Group of Twenty, Henri VAN DE VELDE had enormous influence on design and architecture. His only poster design was for Tropon, ____________, for which he created labeling and advertisements in 1899. Rather than communicating information about the product or depicting people using it, VAN DE VELDE engaged the viewer with symbolic form and color.
The Studio
A strong momentum toward an international style was created by the inaugural issue of __ ___, April 1893, the first of nearly a dozen upstart European art periodicals of the 1890s.
Katsushika HOKUSAI
At age nineteen his first published prints of Kabuki actors appeared. Hokusai's work spanned the gamut of ukiyo-e subjects: album prints; genre scenes; historical events; illustrations for novels; landscape series including views of rivers, mountains, waterfalls, and bridges; nature studies of flowers, birds, shells, and fish; paintings on silk; sketchbooks; and privately commissioned prints for special occasions, called surimono. his model books for amateur artists were very popular, as were his caricatures of occupations, customs, and social behavior. (1760-1849)
Matthew C. PERRY
Commodore of the United States Navy and commanded a number of ships; played a leading role in the opening of Japan to the West with the Convention of Kanagawa in 1854. His treaties led to the collapse of Japan's traditional isolationist policies and opened trade with the West. A mid-nineteenth century revolution overthrew the last shogun in 1867 and restored supreme power to the Meiji emperor the following year. Japan's leaders began building a modern nation with economic and military similarities to Western nations. A centralized constitutional government, industrialization, and a strong military were developed. (1794-1858)
Chérettes
Created by Cheret; dubbed the name by an admiring public, were archetypes, not only for the idealized presentation of women in mass media but for a generation of French women who used their dress and apparent lifestyle as inspiration
screen paintings
During Japan's Tokugawa period, the country adopted an official policy of national seclusion. This was a time of economic expansion, internal stability, and flourishing cultural arts. The entertainment districts of major cities were called "the floating world," and became the focus of inspiration for many artists. The earliest Japanese ukiyo-e ("pictures of the floating world") were __________ depicting these entertainment districts of urban Japan.
yellow covers
During an 1895 visit to the Boston Public Library, Will Bradley studied the collection of small, crudely printed books from colonial New England called chapbooks. These inspired a new direction in graphic design that became known as the chapbook style. All of the following traits except one apply. Which does NOT apply? A. Caslon types with wide letter spacing B. a mix of roman, italic, and all-capital type C. yellow covers D. sturdy woodcuts and plain rules
Alphonse MUCHA, poster for Job cigarette papers, 1898 Fig. 11-33
IDENTIFY
Ando HIROSHIGE, Evening Squall at Great Bridge near Atake, c. 1856- 59 Fig. 11-7
IDENTIFY
Aubrey BEARDSLEY Fig. 11-20
IDENTIFY
Bradley: His Book
IDENTIFY
Charles RICKETTS, pages from The Sphinx, 1894 Figs. 11-21 and 11-22
IDENTIFY
Henri DE TOULOUSE-LAUTREC, "La Goulue au Moulin Rouge" poster, 1891 Fig. 11-24
IDENTIFY
Henri VAN DE VELDE, poster for Tropon food concentrate, 1899 Fig. 11-55
IDENTIFY
Jan TOOROP, The Three Brides, 1893 Fig. 11-16
IDENTIFY
Jules CHÉRET Fig. 11-11
IDENTIFY
Katsushika HOKUSAI Fig. 11-5
IDENTIFY
Kitagawa UTAMARO Fig. 11-3
IDENTIFY
Otto ECKMANN Fig. 11-65
IDENTIFY
Otto ECKMANN, cover for Allgemeine Elektrizitats-Gesellschaft catalogue, 1900 Fig. 11-70
IDENTIFY
Privet LIVEMONT, Rajah Coffee poster, 1899 Fig. 11-58
IDENTIFY
Théophile-Alexandre STEINLEN, "Tournée du Chat Noir" poster, 1896 Fig. 11-28
IDENTIFY
Will BRADLEY Fig. 11-43
IDENTIFY
Will BRADLEY, pages from The American Chap-Book, 1905 Fig. 11-45
IDENTIFY
Aubrey BEARDSLEY
In 1894, Oscar Wilde's Salomé received widespread notoriety for the obvious erotic sensuality of __________'s illustrations. Late-Victorian English society was shocked by the celebration of evil, which reached its peak in an edition of Aristophanes's Lysistrata. Banned by English censors, it was widely circulated on the Continent.
appropriate materials, functional forms, and a unity of visual organization
In his teaching and writings, Belgian designer Henri VAN DE VELDE became a vital source for the development of twentieth-century architecture and design theory. He taught that all branches of art share a common language of form and are of equal importance to the human community. He demanded __________. He saw ornament not as decoration but as a means of expression that could achieve the status of art.
Chérettes
Jules Chéret, the father of the modern poster, featured beautiful young women in his posters. At a time when options for women were limited, these self-assured, happy women were depicted enjoying life to the fullest, wearing low-cut dresses, dancing, drinking wine, and even smoking in public. Dubbed ___________, these female archetypes became the new role model for women in the late Victorian period.
Thirty-six Views of Mount Fuji
Katsushika HOKUSAI apprenticed as a woodblock engraver before turning to drawing and painting. During seven decades of artistic creation, he produced an estimated thirty-five thousand works that spanned the gamut of ukiyo-e subjects, including album prints, genre scenes, historical events, illustrations for novels, landscape series, nature studies, and privately commissioned prints for special occasions called surimono. He is perhaps best known for _______________, his series of prints that depicts the external appearances of nature and symbolically interpret the vital energy forces found in the sea, winds, and clouds surrounding Japan's famous twelve-thousand-foot volcano.
swirling organic lines
Many trademarks of art nouveau origin have been in continuous use since the 1890s, such as those of General Electric and Insel-Verlag, both of which are characterized by __________.
Nieuwe Kunst
Netherlands, provided seeds for other movements like De Stijl, art deco and the Wendingen style. Book design prominent expressive media. Unpredictability, eccentricity, openness, and innovation. Reflects a love for order and geometry. More playful and diverse than art nouveau. Influences from Dutch East Indies
Eugène GRASSET
On Christmas Eve 1894, the young Czech artist Alphonse MUCHA was at the Lemercier's printing company correcting proofs for a friend when the printing firm's manager burst into the room, upset because the famous actress Sarah Bernhardt was demanding a new poster for the play Gismonda by New Year's Day. MUCHA was the only artist available, so he received the commission. He used the basic pose from an earlier poster of Bernhardt in Joan of Arc that had been done by __________.
JAVAnese culture
One of Dutch designer Jan TOOROP's biggest sources of inspiration was ___________, which can be seen especially in his use of silhouette, his linear style, and the forms, expressions, and hair styles of his female figures.
false
T/F: *Eckmannschrift*, designed by Otto ECKMANN, attempted to revitalize typography by combining *fraktura with modern type*.
true
T/F: *Jugend*, an art nouveau-style magazine popular in Germany, *allowed* each week's cover designer to design a different logotype to match his or her own illustration.
true
T/F: Although Charles RICKETTS's page designs were *influenced somewhat by William MORRIS*, his work tended to be much* lighter, more open, and geometric*.
false
T/F: Art nouveau was* first* seen in America on Harper's magazine covers illustrated by Will BRADLEY, one of the *two major American practitioners of art nouveau*-inspired graphic design and illustration.
true
T/F: Beginning in 1894, Will BRADLEY's work for the Inland Printer and the Chap Book ignited art nouveau in America.
false
T/F: Ethel REED became the *first woman* in England to achieve *national prominence* for her work as *a graphic designer and illustrator*.
false
T/F: Eugène GRASSET, like his rival Jules CHÉRET, incorporated *exuberant women* in his poster illustrations.
true
T/F: Henri DE TOULOUSE-LAUTREC developed a* journalistic, illustrative style that captured the nightlife of La Belle Époque ("The Beautiful Era")*—a term used to describe late-nineteenth-century Paris.
false
T/F: Henri VAN DE VELDE's works are early examples of the *modernist integration of form and function*; their forms communicated their uses objectively and clearly.
true
T/F: In Japan, ukiyo-e practitioners were considered mere artisans, but they *captivated European artists*, who drew inspiration from their *calligraphic line drawing, abstraction and simplification, flat color and silhouettes, unconventional use of black shapes, and decorative patterns*.
true
T/F: Italian turn-of-the-century posters were characterized by *sensuous exuberance and elegance* like that of France's La Belle Époque.
true
T/F: Jugendstil artist Otto ECKMANN *abandoned painting* in order to turn his full attention to the applied arts.
true
T/F: The Netherlands' relationship with the Dutch East Indies (Indonesia) allowed Dutch designers to *access the traditional craft of batik*. Its introduction as a contemporary design medium was one of Holland's important contributions to the international art nouveau movement.
false
T/F: The coloring book style of Aubrey BEARDSLEY used a *thick black contour drawing to lock forms into flat areas of color* in a manner similar to *medieval stained-glass windows*.
false
T/F: The late-nineteenth-century *Western mania for all things Japanese* is called *japanned ware*.
false
T/F: Ukiyo-e refers to an art movement beginning in the seventeenth century and ending in the nineteenth century, a time period when Japan *actively sought* trade with Western European countries.
true
T/F: Unlike contemporary literary artists, visual artists working in the art nouveau style *rejected realism* in favor of the *metaphysical and the sensuous*.
illustrative
The Dutch book design style of Nieuwe KUNST spanned roughly the fourteen years between 1892 through 1906. After 1895, mathematics was seen as a creative source in itself, with symmetry and rationalism each playing a part. Some of the special qualities of the movement's book design are described below. Which one doe NOT apply? A. unpredictable B. eccentric C. geometric D. illustrative
Japonisme
The French fascination with all things japonese. Second half of 19th century. Impressionist and Post-impressionist were especially impressed with bold contour lines, flat areas of color, and cropped edges in Japanese woodblock prints.
Japonisme
The late-nineteenth-century Western mania for all things Japanese. Japanese artifacts streamed into Europe, and several books on Japanese art and ornament were published during the 1880s. Although ukiyo-e practitioners were considered mere artisans in Japan, they captivated European artists, who drew inspiration from the calligraphic line drawing, abstraction and simplification of natural appear- ances, flat color and silhouettes, unconventional use of bold black shapes, and decorative patterns. Subjects often became emblematic symbols, reduced to graphic interpretations conveying their essence. Landscape and interior environments were frequently presented as suggestive impressions rather than detailed depictions. Too often, ukiyo-e has been venerated for its catalytic impact on Western art rather than for its independent major achievements in graphic illustration and design.
Surimono
The new art had different names in different countries. Which of the following was NOT one of them? A. Nieuwe Kunst B. Jugendstil C. Sezessionstil D. Surimono
Le Chat Noir
There is an affinity between the posters and prints of Théophile-Alexandre Steinlen and his friend and sometime rival, Henri de Toulouse-Lautrec. Steinlen's first commissions were drawings for _____________. He had a mania for cats and during the 1880s and 1890s became a prolific illustrator. His radical political views, socialist affiliations, and anticlerical stance led him toward asocial realism, and he chose to depict poverty, exploitation, and the working class.
Tokugawa period
This epoch was the final phase of traditional Japanese history; it was a time of economic expansion, internal stability, and flourishing cultural arts. Fearful of the potential impact of European colonial expansion and Christian missionaries on Japanese culture, the shogun (a military governor whose power exceeded the emperor's) issued three decrees in the 1630s excluding foreigners and adopted an official policy of national seclusion. Japanese citizens were barred from traveling overseas or returning from abroad; foreign trade was restricted to approved Dutch and Chinese traders sailing to the Nagasaki seaport. During this period of national isolation, Japanese art acquired a singular national character with few external influences.
William MORRIS
Upon viewing Aubrey Beardsley's illustrations in a new edition of Thomas Malory's Morte d'Arthur, ____________ was so angry that he considered legal action because he believed Beardsley had vulgarized the design ideas of the Kelmscott style by replacing the formal, naturalistic borders with more stylized, flat patterns.
medieval letters
While German Jugendstil shared common characteristics with French and English art nouveau, one distinction was that it reflected the German interest in ____________, as can be seen in the blending of contradictory influences in Eckmannschrift by Otto ECKMANN.
Rodolphe Salis's Le Chat Noir
a gathering place in France for artists and writers that opened in 1881.
The Yellow Book
a magazine whose bright yellow cover on London newsstands became a symbol for the new and outrageous.
Stile Floreale or Stile Liberty
after the Vienna Secession art movement in Austria
Yellow-backs
cheap novelettes so named for the color of their covers (Hokusai began his career illustrating for these)
Eckmannschrift
conscious attempt to revitalize typog- raphy by combining medieval and roman. As the new century opened, Eckmann seemed poised to play a major role in the further evolution of design, but in 1902 the thirty-seven-year- old designer succumbed to the tuberculosis that had plagued him for years
General Electric (GE)
designed by A. L . Rich
Kitagawa UTAMARO
heralded as an unrivaled artist in portraying beautiful women; he has been called the *supreme poet of the Japanese print.* His loving observation of nature and human expression resulted in prints of insects, birds, flowers, and *women* possessing great beauty and tenderness. His images of Edo's most renowned beauties were identified by name. Rather than repeating stereotypes of conventional beauty, ___ conveyed his subjects' feelings, based on careful observation of their physical expressions, gestures, and emotional states. His warm yellow and tan backgrounds emphasized delicate, lighter-toned skin. (1753-1806)
The further development of French art nouveau
international decorative style that thrived roughly during the two decades (c. 1890-1910) that girded the turn of the century. It encompassed all the design arts—architecture, furniture and product design, fashion, and graphics— and consequently embraced posters, packages, and advertisements; teapots, dishes, and spoons; chairs, door frames, and staircases; factories, subway entrances, and houses. It's identifying visual quality is an *organic, plantlike line*. Freed from roots and gravity, it can either *undulate with whiplash energy* or *flow with elegant grace* as it defines, modulates, and decorates a given space. *Vine tendrils, flowers (such as the rose and lily), birds (particularly peacocks),* and the *human female form* were frequent motifs from which this fluid line was adapted.
Suzuki HARUNOBU
introduced *full-color japanese prints from numerous blocks, each printed in a different color*, in 1765. (1725-70)
Hishikawa MORONOBU
is widely respected as the first master of the ukiyo-e print; son of a provincial embroiderer; began his career by making designs for embroidery. After moving to Edo in the middle of the seventeenth century, ____ became a book illustrator who used *Chinese woodcut techniques* and reached a large audience. In addition to actors and courtesans, his work presented *the everyday life of ordinary people, including crowds on the street and peddlers*. Prints surpassed screen paintings in importance as artists exploited a growing interest in images depicting urban life. (1618-94)
Ukiyo-e
means "pictures of the floating world" and defines an art movement of Japan's Tokugawa period (1603-1867). _____ blended the realistic narratives of emaki (traditional picture scrolls) with influences from decorative arts. The earliest works were screen paintings depicting he entertainment districts—called "the floating world"—of Edo (modern Tokyo) and other cities. Artists of this style quickly embraced the woodblock print.
Mount Fuji
occupies a special place in Japanese culture; the ancient Japanese were sun worshippers, and this 3,776-meter (12,388-foot) volcano is the first place in Japan to catch the rising sun's rays.
Surimono
privately commissioned prints for special occasions
Historicism
the almost servile use of past forms and styles instead of the invention of new forms to express the present.
La Belle Époque
the beautiful era
Ando HIROSHIGE
the last great master of the Japanese woodcut. A rival of Hokusai, he inspired the European impressionists with his brilliant spatial composition 11-5 and ability to capture the transient moments of the landscape. Works: "Fifty-Three Stages of the Tokaido" "Famous Places in Edo: A Hundred Views" (1797-1858)
Le style moderne
the modern style
Emaki
traditional japanese picture scrolls
French symbolist movement
type designs ranged from original interpretations of medieval letterforms (Gothic revivals) to unexpected designs, such as the rough-hewn chunky letterforms of his Neuland face
Okumura MASANOBU
was among the first japanese artists to *move from hand-coloring single-color woodcuts to two-color printing* (1686-1764)
