Archive for January, 2011

 

The Portois and Fix Company Store in Ungargasse 59-61 built between 1899 and 1901 according to plans by Max Fabiani. It is his earliest work, under the  influence of Otto Wagner and created a cordingly to the secessionists new way, having residential and commercial scope in the same building. The facade of the main floor is decorated with colored tiles manifactured by the Zsolnay Hungarian company.

DSCF5878DSCF5879DSCF5880DSCF5881DSCF5882DSCF5883DSCF5884DSCF5885

In 1899, Max Fabiani, a close associate of Otto Wagner, was entrusted with planning the new company headquarters on Ungargasse 59/61, in Vienna’s third district. In its choice of materials, the young architect’s first work drew on Wagner’s solution for his Majolikahaus on Wienzeile. Extending from Ungargasse to Arenbergpark, the grounds accommodated the company’s entire production: carpentry and gilding facilities, an upholstering wing, a sewing workshop, an engine house, and a place for keeping exotic woods. The actual business premises on Ungargasse comprised three floors: ground floor, mezzanine, and first floor, furnished in a sequel of different styles: "Empire, Louis XVI, Louis XIV, then English, then modern." In terms of typology, the new building related to contemporary department stores, especially with its salesroom and the gallery above it. The layout reminds us of the Viennese department stores Herzmansky (1896/97) and Gerngross (1902/04), which, for their part, call to mind Paris Belle Epoque buildings of this kind such as the Galeries Lafayette. If Max Fabiani had constructed the house in the center instead of in the suburbs in 1900, the scandal caused by the almost unornamented tiling would have equaled the outrage Adolf Loos saw himself confronted with when he built his house on Michaelerplatz exactly ten years after.http://www.ottowagner.com/ow-werk/en-archiv08.html

Budapest Kerepes Cemetery (Kerepesi temeto) TemetőBudapest Kerepes Cemetery (Kerepesi temeto) TemetőBudapest Kerepes Cemetery (Kerepesi temeto) TemetőBudapest Kerepes Cemetery (Kerepesi temeto) TemetőBudapest Kerepes Cemetery (Kerepesi temeto) Temető

Read the rest of this entry »

On peut dire, — et c’est un bonheur — que les théories, qui. conduisirent la peinture et la sculpture à trop sou­vent se transformer en une vaine littérature au lieu de se contenter d’être une joie de fa vie, n’ont pas eu de prise sur l’art appliqué; ou du moins, qu’elles n’ont pas sur lui l’influence qui, dans chaque Salon de pein­ture, se révèle par de si tristes productions.

Page illustrated (Jugend, 1896)

Decoration (The Studio, Volume 12)

278

studiointernatio11t13londuoft_0171

Une seule question soulève dans l’art appliqué des querelles chaque jour plus aiguës, qui me­nacent de diviser les artistes en deux camps enemis. Elle a trait au caractère, ou mieux, aux éléments de l’ornement. Les uns prétendent que ces éléments ne peuvent être pris que dans la nature visible, que la flore et la faune suffisent à elles seules à toutes les conditions à remplir par l’ornement de surface, pourvu qu’elles soient stylisées par une main experte. Les autres ne veulent pas entendre parler de la nature; ils affirment qu’il faut éviter tout ce qui rappelle la plante ou d’autres créations naturelles, et que le salut ne se trouve que dans la ligne abstraite.

Internal decoration from Villa Igiea, near Palermo (

Henri Van de Velde, Candelabre

pa_villa_igiea_immagine3

CVandeVelde - Candelabre

La dispute est sortie des œuvres des artistes belges, à leur tête M. Van de Velde, dont le système ornemental provoque d’un côté l’enthousiasme, de l’autre des con­tradictions violentes, et dont on a fait le re­présentant, le bouc émissaire de l’ornement. abstrait; i tort, cnr ce n’a jamais été l’intention » de cet artiste de provoquer un débat de ce genre, n Quoi qu’il en soit, il faut s’attendre à ce que, r de même oue la peinture vit naguère le combat des réalistes et des idéalistes, l’art appliqué devienne le champ de bataille des «floralistes» i et des «linéaristes».

Read the rest of this entry »

The Little Foot Page, 1905 – AND – The Wise and Foolish Virgins

The Uninvited Guest,1906

 637511607_3be3e7feb7_b the_wise_and_foolish_virgins-large

EleanorFortescueBrickdale-TheUninvitedGuest-1906-Large 

devils_motor_p5devils_motor_p3 (1) devils_motor_p6devils_motor_p4 devils_motor_p2 devils_motor_p1

There are very limited biographical information on this artist of Italian origin, which already between 1883 c 1884 is notable for the covers of sheet music editions designed Ricordi Editions. His work as a newspaper illustrator was widely-held in France.

Job Sigarette poster

Poster for La Maison Moderne (S. Bing)

Manuel Orazi

Manuel Orazi

In 1896 participates in the second exhibition held in The Gallery Art Nouveau ‘of S.Bing, presenting a lithograph and a ‘calendrier magique’. Delia has been a member since 1897Société Nationale des Beaux Arts. Jewelry Design for the Maison Moderne were appreciated also as author of opera posters. His involvement as an illustrator of books initially shows the influence of E. Grasset, but ends up revealing a personality of great originality, whose contribution to the book Art Nouveau in France is still awaiting a proper critical assessment.

Poster

Illustration for the Opera “l’Atlantide”

Manuel Orazi

Manuel Orazi

Read the rest of this entry »

Unknown – AND – Tryptich

Athena (1913)

Auer Robert AUER (1873–1952) Tryptich

img_1691

At 18, Mondadori, having been apprentice Manzoli in typography, which was initially equipped only with old characters worn and an old hand press 50×70, with the loan of a wealthy local character who took a liking to [probably Osvaldo Gnocchi Viani] took over the same printer rebranding in “La Sociale”:

Tipography “La Sociale”: details

Ostiglia LibertyOstiglia LibertyOstiglia LibertyOstiglia Liberty

Key Dates:
1907: Arnoldo Mondadori takes over a small printing and stationery concern in Ostiglia, Italy, called Fratelli Manzoli and renames it La Sociale; the company begins publishing a magazine called Luce!
1911: Mondadori publishes his first two books.
1912: The company is incorporated as La Sociale di A. Mondadori & C. and begins publishing a series of children’s books calledLa Lampada.
1921: Printing activities are consolidated in Verona, and a magazine department is created.

The building is architected using an eclectic neo-reinassance style for the façade:

Tipography “La Sociale”: Façade and main entrance

Ostiglia LibertyOstiglia Liberty

Mascarons and ornamental inserts such as garlands and stripes are typical decorative elements in Italian Liberty style:

Tipography “La Sociale”: Liberty details

Ostiglia LibertyOstiglia Liberty

Polls

Ferdnand Khnopff vs Otto Eckmann

View Results

Loading ... Loading ...

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013

Basel 2013