Gaetano Previati, la danza delle ore

Richard Riemerschmid, Wolkengespenster, 1897

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see also: http://cartesensibili.wordpress.com/2011/01/10/raffaella-terribile-previatila-danza-delle-ore/ 

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Polaroids

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The ecccntric and highly-talcnted Italian designer from Turin, Carlo Mollino, shared this fascination with the sculptural form of the Catalan architecťs furniturc designs, and paid homage to him wirh the ‘Gaudí’ chair of 1949. Consciously referring to the heighr of Art Nouveau sophistication, Mollino’s furniture, produced almost exclusively for commissioned interiors, was designed with a bravado that flew in the face of expectation, convention and post-war Italian austerity. The elaborate, interlacing curves ot Mollino’s ‘Arabesque’ tables in moulds and perforated plywood, and the recurrent use of high, eontoured backs, coupled with the sculpting of wood into elegant, attenuated curves employed in many ofhischairs, harkback to the work of Hector Guimard and Victor Horta. The split, cushioned vinyl surfaces of the scats designed for Gio Ponti in 1940, and the tapering, sculpted legs of many other pieces suggest, with their overt eroticism, an almost subversive side to Mollino’s work. This is amply reflected in his interior commissions of 1939 for the Miller and Devalle houses in Turin, where attention was paid to every detail from mirrors to light-fittings.

Controlled multí-colored /lighting and change- able backdrops were combined by Mollino with surfaces in an extraordinary range of man-made and natural fabrics to create an almost theatrical setting, somewhere between Symbolism and Surrealism. The overpowering atmosphere of these rooms recalls the refined decadence of Art Nouveau interiors such as Endell’s vestibule tor the Studio Elvira and the Café dc Paris by Sauvage and Sarazin. Mollino has been compared to die reci um ve aesthete des Esseintes, hero of J.K. Huysmans’ Symbolist novel A Rebours of 1884, and this interpretation would seem to be borne out in the interior designs for the Devallc house. I Icrc, the padded walls and ceiling of lilac velvet in the bedroom, and flesh pink and scarlet wall coverings of the living room, combined throughout with a virtuoso use of mirrors to create effects of artificial perspective, recreated something of the rarified artificiality of the more extreme high Art Nouveau interiors.

Mollino’s concept of total design was a characteristically northern Italian approach, in stark contrast to the utopian emphasis on popu- lar furniture and urhan renewal, centred in Rome. The visionary aspect of northern design typiíied the re-established Triennale di Milano, which offered a glimpse of what the brave new world envis- aged by architects and designers might look like, at its first post-war exhibition of 1948.

Malcolm Haslam, in the Nouveau Style, New York, 1989

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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.

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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

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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

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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

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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».

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

The Uninvited Guest,1906

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EleanorFortescueBrickdale-TheUninvitedGuest-1906-Large 

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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

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Unknown – AND – Tryptich

Athena (1913)

Auer Robert AUER (1873–1952) Tryptich

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Polls

Ferdnand Khnopff vs Otto Eckmann

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