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1. ART RAGE AGAINST THE MACHINE
A SHORT ESSAY ON ART NOUVEAU
MARIA DEL CARMEN CORRAL LODEIRO
BRITISH ACADEMY OF INTERIOR DESIGN 72546664

2. Speaking of Art Nouveau means referring to a cycle full
of questions, inquiries, inconsistencies, dissatisfactions;
reviewing and closing a century that ends and proposing
alternatives for the one that begins.
Despite its short duration (approximately from 1890 to
1910) and the gap in time of almost a century, it is still a
controversial and exciting phenomenon.
FIG 1. CENDRILLON, DEVAMBEZ, A 1889 [ILLUSTRATION]

3. The term Art Nouveau was developed in Belgium around 1880 to
describe the work of a group of artists called ''Les Vingt'' whose
aim was to reform the arts and society as a whole. Mention to
“Art Nouveau” first appeared in 1884 in the Belgian literary re-
view l'Art Moderne to designate those who repudiated histori-
cism, "believers in art nouveau”. This movement was called Art
Nouveau in France, while in the rest of Europe it received other
names depending on the territory, such as: in Spain it received
the name of "modernism" and locally in Catalonia "modernisme";
in Italy it was called Arte Libero, Liberty or floreale (it receives its
name for all the products sold in Liberty & Co.), in England Mo-
dern Style, in Germany Jugendstil, in Austria Sezessionstil. Some
THE STYLE
2
FIG 3 VER SACRUM MAGAZINE, MOSER K1901 [ILLUSTRATION]

4. Alfons Mucha was not only a
valuable and internationally
recognized painter, his creativity
was developed through
painting, book illustration,
posters, Fouquet jewelry design,
furniture design, interior design,
tableware and cutlery design,
lamps, photography etc..
Unquestionably it is thanks to
figures like Alfons Mucha that
the basis for the formation and
cultural artistic creation that
would be developed in the 20th
century was built, since they
would lay the foundations on
which all the artistic movements
of the 20th century would arise.
There is no doubt that we are
dealing with an artistic legacy
of incalculable value.
regions that stand out for the great development of Modernism in their
territory are Catalonia, the Czech Republic, Slovakia, Finland, Glasgow
or Nancy, the latter two being the headquarters of two schools that will
develop their own style in influences on the artists of the time. (V&A Mu-
seum, 2019)
Despite the desire for rupture and stylistic innovation, Art Nouveau is a
product of its time, and is influenced by its geographical environment
and its recent past. The complexity of this period and its movement ha-
ve given rise to contradictory interpretations: because of its decoration,
some observers consider Art Nouveau to be the expression of the decli-
ne of the 19th century;(See fig 3, Moser, K .1901) others, however, due
to Art Nouveau's search for aesthetic and spiritual values, see it as a
reaction against the decline and materialism of the period, marked by a
drastic mechanisation of the production processes that threatened tradi-
tional craftsmanship and imposed mass production. In this context of
disorder and existential crisis, Art Nouveau functions as an entrance do-
or that connects the past and the future. Concerning this point, Philip
Meggs states that:
3
FIG 4. PROPHETESS, MUCHA, A. 1896 [ PAINTING]

5. “Art Nouveau is the style of transition that devia-
ted from the historicism that dominated design
during most of the 19th century. On the other
hand... by replacing historicism with innovation,
Art Nouveau became the initial phase of the mo-
dern movement. It paved the way for the 20th
century by eliminating the decadent spirit of de-
sign”
(Meggs, 1991, p. 246).
Art Nouveau is influenced by the Arts and Crafts
movement, which in its conception of Total Art
seeks to do away with the traditional hierarchy of
the arts. In this way, painting, architecture or
sculpture are paired with craftsmanship or fine
arts, furniture design, , jewellery, goldsmithing or
ironwork. (See figs. 5, 6 &7)
They will also inherit from the Pre-Raphaelite mo-
vement a search for mystic and languid women's
4
FIG 5 CABAGGE AND WINE TAPESTRY,MORRIS, W. . 1876
[TAPESTRY]
FIG 6 SCREEN JOHN HENRY DEARLE. 1885
[PHOTOGRAPH]
FIG 7. BROOCH, LALIQUE.1900

6. imagery (See Fig 4 on page 3 , Mucha, A. 1896
and Fig. 8 Waterhouse,1903) and the Japanese
engraving graphic style.(iFg 10, Yamamoto,S ,
1906) The French Symbolism on literature will
have a strong influence.
Over a long period of time, art historians have
come up to Art Nouveau in an antagonistic ma-
nner: Conceptually, it has been considered a re-
volution to the classical model of creative art or
an elitist tantrum in opposition to the art establish-
ment, depending on who is consulted. In a for-
mal way, two principles would clash: one based
on the straight line, the Mackintosch school and
the other in curvy and undulating lines, such as
the Style of the Ecole de Nancy or the singular
style of Gaudí in Barcelona. But it is not so easy
to contextualize works within a specific style, sin-
ce several influences can merge in the same ar-
tist, let's see Victor Horta as an example, (Fig 9
Horta V, 1893) where florality and constructive
tendency are combined.
5
FIG 9 VICTOR HORTA, (1893), HOTEL TASSEL STAIRCASE
[PHOTOGRAPH]
FIG 10 YAMAMOTO,S. (1906),
FLOWER VILLAGE, [ENGRAVING]
FIG 8 WATERHOUSE, J.W ( 1903) THE SPIRIT OF A ROSE
[PAINTING]

7. Despite the fact that it is
currently still framed in
Modernism, many art
academics regard Gaudí's work
as unparalleled and challenging
to frame in any style at all. This
refusal to accept stylistic labels
was shared by Frank Lloyd
Wright. Gaudí was just
“Gaudinian". (Corral, M. 2019)
As we can see, Art Nouveau is a very individualized movement, since
the different architects involved in this period show their own persona-
lity in their works. (See fig. 11 Gaudí, 1906) This, together with interna-
tionalism and the different local features of the movement, led to a lack
of continuity of this style, which after the First World War ceased to be
interesting for the general public and was replaced by the glamorous
Art Deco of the 1920s, modernism and its rejection of the ornament de-
fended from the Viena Sezessionstil by Alfred Loos in "Ornament and
Crime”, and Dorothy Draper's designs that succeeded in Hollywood.
As Lara-Vinca states, the expressions presented by Art Nouveau are as
many and as diverse as the number of artists who were involved in it.
On the basis of a series of ideas and ideals it could crystallize as a ho-
mogeneous style, but it did not find its means of expression precisely in
uniformity, but in multiplicity. (Lara-Vinca, 1984)
6
FIG 11 GAUDÍ, A., (1906), CASA BATLLÓ PHOTO: MELA
CORRAL [PHOTOGRAOPH]

8. Art Nouveau´s bloom coincided with the brilliant European Belle
Époque that preceded the First World War, a time of optimism in
science and technology, relative economic prosperity, creativity
in art and culture -symbolism in literature, Wagnerian tendencies
in music, the influence of Nietzsche on philosophy-, and social
consciousness.
Art Nouveau was born in the midst of a major socio-economic
transition that had its roots in the shifts that Europe witnessed sin-
ce the French Revolution and the boom of the middle class from
the hands of the industrial revolution. The middle class was the
most favoured social class and imposed a new way of life, chan-
THE CONTEXT
7
FIG 12 UNKNOWN, (CA.1900),LA BELLE ÉPOQUE [PHOTOGRAPH]

9. FIG 15 UNKNOWN., (CA. 1900),WORKING CLASS
NEIGHBOURHOOD [PHOTOGRAPH]
ge of lifestyle and the appearance of new social and moral va-
lues, concerning property, savings, work and family. The bur-
geois established an ideal for some or an unattainable reference
for others, although, over time, new values and mores arose
within the working classes that would confront those of the bour-
geoisie. (Montagut Contreras, E., 2014.) The industrial revolution
not only brought a technological revolution by the hand, but it
was also felt in the countryside, by mechanizing the work. (Casti-
lla, A., 2018) The substitution of man by machine caused the exo-
dus to the cities of all the surplus labor from the countryside. So-
on employers saw the urgent need to create accommodations for
their workers, thus creating a new urban layout that updated the
still medieval that many cities had in the nineteenth century. An
example are the works of the Eixample in Barcelona (See Fig 14,
Chapple, 2015), designed by Ildefonso Cerdá, and which crea-
ted new blocks of new buildings and neighbourhoods. In Geor-
gian and Victorian times these new neighbourhoods were seen,
but is now, at the dawn of the 20th century when it´s urgent to
create regulations describing minimum requirements of habitabi-
lity and healthiness, to avoid the high incidence of diseases
among the lower classes, to tackle a very high infant mortality ra-
8
FIG 13 UNKNOWN, (1913 )KRUPP
RHEINHAUSEN FACTORY [PHOTOGRAPH]
FIG 14 CHAPPLE, A., (2015),BARCELONA [PHOTOGRAPH]
FIG 16 UNKNOWN., (CA. 1900),LINDSAY FAMILY ABOUT
190D

10. In the 19th Century, even the
houses of the nobility, including
the royal mansions, were not
equipped with bathtubs or tubs.
When Queen Victoria I of
England (1819-1901) came to
the throne in 1837 there was
n o t a si n gl e bat h t u b i n
Buckingham Palace.
However, a few decades later,
in 1868, Benjamin Maugham
invented the hot gas bath, and
everything suggested that the
bath would become popular,
but an unfortunate day the
heater exploded and sent a
bathtub and swimmer to the
other side of the room, where
they were landed immersed in
perplexity. People didn't want to
hear about such a gadget and
preferred to buy the hot water
sold door-to-door. (curiosfera,
2019)
te that in some cases such as that of Madrid sunk the demographic cur-
ve in an alarming way, (Huertas, R. 2002) and of course, to shut the do-
or on epidemics such as those that in the past attacked the population
centres of Europe again. An important investment was made in infras-
tructure and public works to provide cities with lighting and water
supply and sewerage, the first fire insurance companies for housing
and regulations in this area arose. (Hernando, M., 2016) The hygienist
currents of this period influenced the transfer of the bathroom to the in-
terior of the houses, thus helping to introduce a change of mentality
with respect to the corporal hygiene. (Inter-companies. 2018.). As a res-
ponse to these requirements, the first Social Housing Law arose in Ho-
lland in 1901 under the name of Woningwet, with the clear objective of
regularizing an optimal and rational use of land through urban
planning, together with an improvement in the quality of housing asso-
ciated with conditions of hygiene and ventilation (Eduardo Zenteno,
(2012), We already see this concern for social housing in Vitruvius who
wrote in book II of “De Arquitectura”, a description of housing ideal con-
ditions and its adaptation to the categories of its owners or dwellers,
materialised in the different typologies such as the domus, the insulae,
the tugurium or the palace.Designing is solving problems, the past of
interior design and furniture can give us those solutions, the same or
9
FIG 17, CORRAL, M, (2019),CASA MILÁ BATHROOM
[PHOTOGRAPH]

11. similar problem, the same or similar solution. Art
Nouveau reflects these needs of society and so-
cial orientations are manifested in public works
such as theatres, public lighting, or new cine-
mas, for example. Gradually, all new construc-
tions were incorporating these new characteris-
tics and city regulations.
However, the most elaborate ornaments, furniture
and Art Nouveau design remain only within the
reach of the wealthiest pockets as a symbol
of their socio-economic position, once again con-
fining art and design within the circle of high so-
ciety. This patronage of the wealthy classes tur-
ned Art Nouveau into a luxury item that the mem-
bers of the high society of the time used as an
example of their economic power. A very illustrati-
ve example of this is the so-called "Apple of Dis-
cord" in Barcelona.(See Fig 18, Wikimedia
Commons 2019) The name refers to the wedding
of Peleo and Tetis in Greek mythology. It´s the
housing block located in Passeig de Gràcia, bet-
ween the streets Aragó and Consell de Cent,
and it is a sample of the contrasts of the different
architectural tendencies of the moment. (note he
parallelism offered by the fact that in the Greek
episode the symbol is an apple and here we
speak of a block of houses.) At number 35 of this
street we find the house Lleó Morera, by
Domènech i Montaner, a little further on, we find
the Casa Amatller designed by Puig i Cadafalch
and the Casa Batlló, the work of Gaudí. (Casa
Batlló 2019)
10
FIG 18 WIKIPEDIA COMMONS, (2019),ILLA DE LA
DISCORDIA [PHOTOGRAPH]

12. Similarities have been found between this episo-
de and the rivalry between the architects of mo-
dernism and, in fact, its owners for having the
most beautiful building in the aforementioned
block of houses on Paseo de Gracia, also mentio-
ned in Secondary research (Task 1) The owners
invested absurd amounts of money in works, ma-
terials and the very last home improvemets te-
chnologies. There was no impossible work or
high enough bill.
11

13. More than 100 years have gone and thanks to the innovations in-
troduced at that time and the development of regulations, the
housing conditions of millions of people were substantially impro-
ved. Once again, designers and architects are trying to respond
to this demand from society. Interior designers work together with
architects to create pleasant and functional residential spaces
adapted to the housing needs of new types of families or people
living alone, all in areas increasingly reduced by the rise in land
prices. The gender perspective is being implemented in the
approach to new housing, concerning to protection and visibility
in access to housing, a new use of space in housing that promo-
tes equality, home chores sharing and interpersonal communica-
THE LEGACY
12
INTERIOR
DESIGN AS AN
INDEPENDENT
DISCIPLINE.
FIG 19 CHARLES RENNIE MACKINTOSH & MARGARET MACDONALD, “SALONTTINO DELLE ROSE'” TURIN, 1902 [ILLUSTRATION]

14. tion. (Ayuntamiento de Fuenlabrada, C., 2007. )
However, we are seeing again how new models
of substandard housing begin to flourish, linked
to the technological revolution and to the displa-
cement of thousands of people to the hubs of te-
chnological development. Art Nouveau's impor-
tance lies in the fact that the interior is given real
importance for the first time. Architects such as
Victor Horta, Gaudí, Mackintosh...(Page 11 Fig
19 Mackintosh & MacDonald, 1901) from their
offices and architectural studios gave equal or
more weight to the interior of their buildings
rather than to the outside. From this moment on,
both disciplines will walk together and already
with the advance of the 20th century, architectu-
re and interior design become confused. Archi-
tects such as Walter Gropius (creator of the
Bauhaus), Mies Van der Rohe, Le Corbusier... de-
sign exteriors, interiors and furniture for their pro-
jects, combining all the elements involved in the
conception of the development of the project.
(See Fig 20 Wirtz, G. 2019) It will be from the thir-
ties when in the United States, industrial desig-
ners and interior designers will appear and from
their design studios will make interior projects.
Designers and interior designers such as Doro-
thy Draper or Billy Haines will give the discipline
a name and highlight the relevance of interior de-
sign. (Sánchez-Cascado, F., 2016.)
13
FIG 20 ,GENEVA WIRTZ 2019 GROPIUS HOUSE [PHOTOGRAPH]

15. If we look at the past and analyse the period in which Art Nouveau deve-
loped, we find many parallels between that not-so-distant period and
the present, since fashions have changed, technology has evolved, the
geopolitical scenario is different, but the problems are getting very
similar. From the temporal distance we can state that Art Nouveau, with
its cheerful and floral style, wanted to verbalise through its designs a
war cry against the dictatorship of the machine and a convulsed world
that was heading in an uncertain and undiscovered path. His present-day
presence in graphic design, photography and fashion is perhaps not
casual.Art nouveau is back on the stage to tell us that, indeed, there is
another way of living.
14
FIG. 21 HAYNE PALMOUR IV/SAN DIEGO UNION-TRIBUNE(2015), FLORENCE & THE MACHINE US
TOUR 2015 [PHOTOGRAPH].
FIG 22 ALFONS MUCHA (1898), DANCE [ILLUSTRATION].

16. 15
REFERENCES

17. 16
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Assignment 8 Secondary Research (2019), Ma-
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17

19. 18
IMAGES

20. 19
page fig reference
front 1
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22. “I BELIEVE, HOWEVER, THAT
PEOPLE, AS CRANES, EMIGRATE
INTO PROGRESS.”
JULIAN MARCHLEWSKY