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L'Art nouveau désigne un style décoratif et architectural qui se développe dans les années 1880-1890 en Occident. Né en réaction contre les dérives de l'industrialisation et le vide créatif qu'elle entraîne, l'Art nouveau est à l'origine d'une véritable renaissance des arts décoratifs. L'objectif premier est la création d'une nouvelle esthétique de la nature, par un retour à l'étude du motif naturel. Pour ce faire, des artistes tels que Gustav Klimt, Koloman Moser, Antoni Gaudí, Jan Toorop et William Morris privilégient la recherche technique et la nouveauté des formes. Cette mode n'a eu de ce

Decoration and ornament --- Art nouveau --- Art nouveau. --- 1900 style

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Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns - sexuality, death and the nature of art - its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations. The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form

Art nouveau. --- Modernism (Art) --- Classical influences.

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Architecture --- Art nouveau --- Bouwkunst --- Brussel --- Bruxelles --- Randonnées pédestres --- Wandelroutes --- 72.036(493) --- art nouveau --- België --- architectuur België - art nouveau, arts & crafts, Wiener Werkstätte en moderne stromingen 2e helft 19e eeuw-WO I --- Art Nouveau --- anno 1900-1999 --- Brussels --- 716.7 --- Art nouveau--architectuur--Brussel --- Brussel--wandelroutes --- 980 --- België art nouveau --- Brussel patrimonium --- geografie België --- géographie Belgique

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Art nouveau --- Arte Joven --- Belle epoque art --- Modern style --- Modern style (France) --- Sezession --- Stile Liberty --- Stile liberty --- Style Liberty --- 7.035.9 --- Art nouveau. Jugendstil --- 7.035.9 Art nouveau. Jugendstil --- art nouveau --- Jugendstil --- De Stijl --- 7.036 --- kunstgeschiedenis - expressionistische en impressionistische richtingen, functionalisme, naturalisme, realisme en moderne stromingen 2e helft 19e eeuw-vroege 20e eeuw --- Art nouveau. --- Art [Modern ] --- 19th century

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"Art Nouveau thrived from the late 1890s through the First World War. The international design movement reveled in curvilinear forms and both playful and macabre visions and had a deep impact on cinematic art direction, costuming, gender representation, genre, and theme. Though historians have long dismissed Art Nouveau as a decadent cultural mode, its tremendous afterlife in cinema proves otherwise. In Cinema by Design, Lucy Fischer traces Art Nouveau's long history in films from various decades and global locales, appreciating the movement's enduring avant-garde aesthetics and dynamic ideology. Fischer begins with the portrayal of women and nature in the magical "trick films" of the Spanish director Segundo de Chomón; the elite dress and décor design choices in Cecil B. DeMille's The Affairs of Anatol (1921); and the mise-en-scène of fantasy in Raoul Walsh's The Thief of Bagdad (1924). Reading Salome (1923), Fischer shows how the cinema offered an engaging frame for adapting the risqué works of Oscar Wilde and Aubrey Beardsley. Moving to the modern era, Fischer focuses on a series of dramatic films, including Michelangelo Antonioni's The Passenger (1975), that make creative use of the architecture of Antoni Gaudí; and several European works of horror-The Abominable Dr. Phibes (1971), Deep Red (1975), and The Strange Color of Your Body's Tears (2013)-in which Art Nouveau architecture and narrative supply unique resonances in scenes of terror. In later chapters, she examines films like Klimt (2006) that portray the style in relation to the art world and ends by discussing the Art Nouveau revival in 1960s cinema. Fischer's analysis brings into focus the partnership between Art Nouveau's fascination with the illogical and the unconventional and filmmakers' desire to upend viewers' perception of the world. Her work explains why an art movement embedded in modernist sensibilities can flourish in contemporary film through its visions of nature, gender, sexuality, and the exotic." -- Publisher's description.

Art and motion pictures. --- Art nouveau. --- Art belle époque --- Art nouva --- Arte joven --- Belle époque art --- Jugendstil --- Modern style (Art nouveau) --- Modernisme (Art nouveau) --- Modernismo (Art nouveau) --- Nieuwe kunst --- Stile Liberty --- Style nouille (Art nouveau) --- Aesthetic movement (Art) --- Art --- Art and moving-pictures --- Motion pictures and art --- Motion pictures --- Art et cinéma.