Читать книгу Art Nouveau - Jean Lahor - Страница 4

Belgium has long recognised the talent of its most famous architect, Victor Horta, along with that of Paul Hankar and Henry Van de Velde, and the furniture maker and decorator Gustave Serrurier-Bovy, one of the founders of the Liège School. Art Nouveau owes much to these four artists, who were less conservative than their Flemish counterparts and mostly unassociated with any tradition whatsoever. Horta, Van de Velde, and Hankar introduced novelties to their art that were carefully studied and freely reproduced by foreign architects, which brought great renown to the Belgians, even though the reproductions were executed with slightly less confidence and a somewhat heavier hand.

These four had a great impact. Unfortunately, much of their impact was due to students and copyists (as is often the case with masters) who were sometimes immoderate, exhibiting a taste that comprised the masters. This first became noticeable in relation to Horta and Hankar, even though Horta and Hankar had initially employed their decorative vocabulary of flexible lines, undulating like ribbons of algae or broken and coiling like the linear caprices of ancient ornamentalists, with restraint, distributing it with precision and in moderation. Among imitators, however, the lines grew wild, making the leap from ironwork and a few wall surfaces to overrun the whole house and all its furniture. The result was seen in torsions, in dances forming a delirium of curves, obsessive in appearance and often torture to the eyes. The love of tradition was not as strong in Belgium as it was in England and Belgian artists were preoccupied with discovering new and comfortable interior designs. However successfully they met that challenge, however pleasing the interior arrangements, however unexpected the curves seemed, the new decor still had to be enlivened to satisfy the Flemish taste for abundance and elaborate decoration.

Serrurier-Bovy started by imitating English furniture, but eventually his own personality emerged. Nevertheless, his creations, which for the most part excelled in novelty, generally remained more restrained than the work of subsequent Belgian artists. These Belgians were no less talented and imaginative but, in order to make their work more impressive, they exaggerated linear decoration in the leitmotif of the line. Curved, broken, or cursive, in the form of the whiplash, zigzag, or dash, the leitmotif of the line would reach a level of contagion by the 1900 Universal Exposition.

Walter Crane, Swans, wall paper design, 1875.

Gouache and watercolour, 53.1 × 53 cm.

Victoria and Albert Museum, London.

Victor Horta, Solvay House, view from main salon, 1895.

Brussels.

© 2007 – Victor Horta/Droits SOFAM – Belgique

Gustave Serrurier-Bovy, Pedestal, 1897.

Congolese rosewood.

Norwest Corporation, Minneapolis.

Henry Van de Velde, Desk, 1900–1902.

Wood.

Österreichisches Museum für angewandte Kunst, Vienna.

Charles Plumet and Tony Selmersheim, Dressing Table, 1900.

Wood, padauk and bronze.

Museum für Kunst und Gewerbe, Hamburg.

If we linger over the Belgian artists, it is because of the important role they played in the renewal of the decorative arts, especially furniture.[5] In this, Belgium, for better or worse, deserves as much credit as England. From England and Belgium the movement then extended to the northern countries and to France, the United States and Germany.

It is true that Germany needed these decorations to help make its Art Nouveau pillars and its geometric furniture decorated with rigid mouldings borrowed from ancient Greek monuments more palpable. (Remember it was only fifty years ago that King Louis of Bavaria had made his capital Munich as Greek as possible).

Displaying the individual character that comes from local resources, customs, and taste, Art Nouveau then also appeared in Austria, Denmark and the Netherlands.

At no point did England, the Netherlands, or Germany excel in statuary, which almost completely disappeared from their versions of Art Nouveau. In order to entertain the eye their artists instead gave precedence to shiny brass decoration cut in the form of openwork arabesques and attached to woods that were either naturally rich in colour or artificially highlighted.