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The artwork that you will be looking at today dates from between 1890 and 1920 and focuses geographically on New York, New York and Paris, France.
Art Nouveau designers thought of their work as contributing to the idea of a total work of art; that is, the idea that the architecture, as well as the furniture, lamps, and textiles—basically everything in a room—would work together to create a pleasing and harmonious space.
One of the most important designers from this period is Louis Comfort Tiffany. You are likely somewhat familiar with him, and may even have some of his inspired work in your home. His interest in glass production led to the development of new types of stained glass and iridescent glass, which he called Favrile glass, both of which he patented and incorporated into his colored glass designs, from windows, mosaics, jewelry, and enamels, to the world-famous lamps that still bear his name. Here is an example of a Tiffany glass lamp:
Tiffany’s designs were very important in promoting the Art Nouveau aesthetic worldwide and, as you can see, included the curving lines, the curling tendrils, and other organic forms that define Art Nouveau.
Favrile glass was one of Tiffany’s most important inventions. He, like other artists of the Art Nouveau and Arts and Crafts movements, looked to the past for artistic inspiration, not just in stained glass, but in the lusterware techniques seen in Roman glass, as shown in the examples below. Inspired by these techniques, Tiffany developed two of the most innovative aspects of his glass production, impregnating the glass itself with color versus applying it on the surface, and leaving in the impurities that other glass makers were removing.
Like Louis Tiffany, the designs of René Jules Lalique were incredibly popular in their time and have remained an iconic form of artistry to this day. Whereas Tiffany’s emphasis was on glass, Lalique focused on decorative and wearable accessories that were handcrafted and meticulously constructed, recalling the type of metal and enamel work you may have seen before from medieval times, called cloisonné. Like Tiffany, Lalique was taking inspiration from the past and applying it to the Art Nouveau aesthetic.
The example that you’re looking at below is a bangle (or bracelet), an accessory that would be placed on your arm.
This next example, the dragonfly brooch, aptly embodies Lalique’s style as well as the design aspects of Art Nouveau that you’ve come to know and appreciate. Curvilinear lines, the curly tendrils, and the organic forms of the female figure/insect hybrid are beautifully rendered in gold and enamel. It’s a level of and attention to detail that can only be created by hand in an intentional departure from the same ideals as those artists and architects working in other fields associated with the Art Nouveau movement.
Source: This work is adapted from Sophia author Ian McConnell.