Archive for April, 2010

 Artist

Alfredo Campanini

 Co-Worker

 

 Year 

1904-06

 Location/Map

 Style

Indubitably the masterpiece of the Milanese artist Alfredo Campanini. Even if the architecture is quite simple and it recalls somewhat some production of Giuseppe Sommaruga in Milano too, this building is quite impressive due to the outstanding decorations. Putti on the façade seem to dance around the two huge central figure at the main entrance. Every single detail was conceived by the architect and realized by well known artist such as Mazzucotelli for the irons. Quite unusual the glasses for the window, realized with a concave effect.

Interior are also fully decorated and every detail is minutely conceived and realized. A typical example of Milanese Art Nouveau (Liberty) style, where the traditional design of the architectural structure of the building is mitigated by the abundance of decorations and details.

 Pictures

 Milano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano LibertyMilano Liberty

 References

 

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Belgian posters

Le Sillon Rajah Absinthe Robette L. Eclair Journal des Ventes Bieres de la Meuse

 

 

French posters

Encre L. MarquetTheatre de L'Opera La Critique Quinquina Dubonnet Aperitif Theatrophone Eugenie Buffet Tous les Soirs Lecons de ViolonJob La Gomme Casino de Cabourg Compangnie Francaise des Chocolats et des Thes Motocycles Comiot Papier a Cigarettes Job Jane Avril, Jardin de Paris Folies Bergere Emilienne d'Alencon Alcazar D'Ete Lidia

 

Build after design by Márkus Géza, fully decorated with Zsolnay ceramics on the façade and with floral decorations taken from the Hungarian folk art tradition, the Cifra Palace is considered one of the masterpiece of the Hungarian Szecesszio.

Kecskemeti Art Nouveau

Kecskemeti Art NouveauKecskemeti Art Nouveau

Although traditionally this work is considered as heavily influenced by the researches upon the National Hungarian Style performed by Odon Lechner and his fellowship, there are some evidences of autonomous researches performed by Markus which reveals an original and very interesting approach to the Art Nouveau style.

Stylistically the building could present some similarities with other building by Lechner, as for example the Postal Bank Saving or the Geological Institute; the massive use of Zsolnay ceramics on either Façade and roof, are also elements shared with several Lechner (and more in general, Hungarian) artistic production:

Kecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art Nouveau

Kecskemeti Art NouveauKecskemeti Art Nouveau

Anyway Geza Markus adpopted in his design and decorations, some interesting solution, which I couldn’t find in any Lechner production. By technical perspective, Markus used the technique of multi-layered sgraffitos which, on the white façade’s surface, represents lines and curves; even the Zsolnai decors are disposed in relief with the same effect:

Kecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art Nouveau

 

Stylistically, the decorations resemble the classic patterns of Hungarian folk arts: however, at a second sight, one notices that the patterns designed with Zsolnay tiles represent more abstract patterns with a sort of unique psychedelic taste. Combined with the all rounded shape of the palace, and enforced by the mushroom like  chimes on the roof, the Cifra palota goes to be similar to some audacious artistic production by Gaudi in Spain, something that Salvador Dali would probably have included into his definition of terrible and comestible Art Nouveau.

Kecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art NouveauKecskemeti Art Nouveau

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Unabridged OCR version:

257087315-0-x

 Artist

 

 Co-Worker

 

 Year 

 

 Location/Map

 Style

 

 Pictures

Ernest Blerot, circa 1900, Apartments houses, Rue Saint Boniface

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Gustav Strauven, House, rue Souveraine, 52 – 1902

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Octave van Rysselberghe, Hotel Otlet, rue de Livourne – 1912

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Paul Hankar, Hotel Ciamberlani, rue Defacqz 48 – 1897

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Armand van Waesberghe, House, rue Fader 85 – 1900

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Albert Roosenboom, Hause, rue Fader 85 – 1900

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Victor Horta, Hotel Tassel,rue Paul Emile Janson, 13-15 – 1893-1894

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Victor Horta, Hotel Tassel, rue Paul Emile Janson – 1893-1894

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Hotel Solvay, 224 Avenue Louise, Brussels, also dates from these years, started in 1895, finished 1900, and it is interesting to note that these houses with all their ornaments were ready on Horta’s drawing board in 1895 even before Sigfried Bing opened his shop in Paris. Horta continued throughout the 1890′s in his dual task, the creation of a new idiom of form and the search for a logical and clearly expressed architectural solution to constructional problems. The first task had been achieved in Tassel’s house, 1892-93, the second found a completely satisfactory solution in the Maison du Peuple, 1896-99, Place Emile van de Velde, Brussels, the first facade in Belgium consisting mainly of iron and glass. It is of importance to the history of architecture owing to its construction, but from the point of view of Art Nouveau it is mainly interesting because of its grilles. – Tchudi Madsen

Architect George Hobé, sgraffitos by Paul Cauchie, House, rue de Chatelain 63 – 1904

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Ernest Blerot, House, rue Washington, 50 – 1898

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Victor Horta, Hause Vinck, rue Washington 85 – 1903

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Adrien Blomme, Hause, rue Americaine 205 – 1905

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Adrien Blomme, Hause, rue Americaine 205 – 1905

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Octave van Rysselberghe and Henrsy van de Velde, rue Jordaens 34 – 1896

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Ernest Blerot, rue de la Valle – 1901-1903

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Victor Horta, avenue Louise 224 – 1895-1898

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Ernest Blerot, rue Vilain XIIII 7 – 1902

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Frans Tilley, rue TVilain XIIII 7 – 1902

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 References

 

 Artist

Architect: Emil Vidor

 Co-Worker

 

 Year 

1903

 Location/Map

 Style

 

 Pictures

Façade – Architect Emil Vidor

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A great example of belgian style lines and asymmetric façade. One of the rare examples of this style in Budapest

Furniture and objects at –1 floor

Budapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession Museum

 

Furniture and objects at ground floor

Budapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumDSCF2293DSCF2297

 

Furniture and objects at first floor

Budapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession MuseumBudapest - Szecesszio Secession Museum

 

 References

 

 Artist

Ugo Giusti, architect

 Co-Worker

Galileo Chini, main decorator

 Year 

 

 Location/Map

 Style

The Berzieri, erected in Salsomaggiore in 1913-1923, is one of the most representative buildings of Art Nouveau in Italy. Design due to architect Ugo Giusti and decorator Galileo Chini and was inspired by the geometric abstractions typical of the Viennese Secession.
The floral and curves ornaments, the general sense of lightweight beauty
and sinuous lines achieve an ideal accord with the ephemeral environment of the spa baths.
Galileo Chini, almost self-taught but with a large capacity, Florence, was born in 1873 in Firenze.
Educated as ceramist, he approached to the Liberty style and that of the Viennese Secession. 
His works were exhibited at international exhibitions in London (1898), Paris (1900), Turin (1902). In 1909 he prepared cartoons for the dome of the headquarters of the Venice Biennale.
In 1911 he moved to Persia, the Shah called for the decoration of the palace’s throne by architect Rigotti.
That same year he went to Bangkok to decorate the Palace of the King of Siam. Back in Italy teached at the Academy of Fine Arts in Florence.
Some of his work can be found at the Galleria d’Arte Moderna in Rome, the Uffizi in Florence, the Galleria d’Arte Moderna in Palazzo Pitti and the Museum of Ceramics in Faenza.

 Pictures

Terme Berzieri, architect Ugo Giusti – façade

Terme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme Berzieri

 

 

Terme Berzieri, architect Ugo Giusti – façade details

Terme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme Berzieri

 

Galileo Chini – Ground Floor decorations

Terme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme Berzieri

 

Galileo Chini – First Floor decorations

Terme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme Berzieri

 

Terme Berzieri – Details

Terme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme BerzieriTerme Berzieri

 

 References

 

Polls

Ferdnand Khnopff vs Otto Eckmann

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