By Henry F. Lenning (auth.)
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Extra resources for The Art Nouveau
The critics of the cont emporary magazines 11 received these efforts favorably, praising them as fresh and sincere and recognizing the advent of what is now called interior architecture in conjunction with interior decoration. This early phase of interior architecture took the form of built-in furniture, such as sideboards and cupboards, as well as decorated panels, fireplaces and stained glass. The most successful designers were Plumet and Selmersheim, who, working together, achieved a certain grace and elegance by means of lightening the Belgian style with curves reminiscent of Louis XV furniture or by incorporating the rectilinearism of the J apanese introduced via England.
The use of the curve as a design motif is very evident. It is incorporated in an almost eighteenth century manner, with graceful asymmetry over the doorways, in the wall panels and on the ceiling. It is likewise echoed in the wrought iron brackets supporting the electric fixtures and in the open woodwork at the end of the room and over the sideboards. The colors are light in tonality, with the background an off-white, and decorative elements painted in gay contrasting hues. The use of the parabola in woodwork, mirror-frames and furniture is in evidence for the first time.
But not until t he inauguration of the house of the Art Nouveau Bing at the Paris Exposition of sr EXPOSITIONS AND SALONS 1900, did the movement gain complete recognition, although the term had been in use since 1898. Number 22 Rue de Provence, by Bonnier, served not only as the headquarters for the Art Nouveau designers, but was also completely redesigned and furnished in that style. On the exterior, "a frieze painted in sgraffito style on the upper part of the fa<;ade immediatelyso unded the note.
The Art Nouveau by Henry F. Lenning (auth.)