By Debora L. Silverman
Explores the shift within the locus of modernity in fin-de-siecle France from technological monument to non-public inside. The textual content examines the political, fiscal, social, highbrow and creative components particular to the French fin-de-siecle that interacted within the improvement of artwork nouveau.
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Additional resources for Art nouveau in fin-de-siècle France: politics, psychology, and style
In France, the goal of reuniting artist and artisan was pursued in the inverse direction. Rather than seek to democratize art and to recover it for the people, French art nouveau sought to aristocratize the crafts, to extend the hierarchy of the arts to include the artisan. Finally, in the French art nouveau movement a shared nationalist ethos superseded anti-traditionalism and generational conflict. In Belgium, Austria-Hungary, and Germany, the quest for modernity meant negating and repudiating history and tradition; the only way out of the prison house of bourgeois petrification was the totalistic embrace of the new.
13 Edouard Lockroy, who worked with Minister Charles de Freycinet to promote iron architecture at the 1889 fair, defined the modern style as one of public monumentality, based on the inventions of the engineer: The centuries preceding usreligious, military, authoritarian, and aristocraticdiscovered their architectural formulas in temples, palaces, châteaux, and churches; our industrial and democratic era must definitively discover its own. . Slowly, however, the modern style emerges, and it takes shape as Page 5 industry and science put new materials and new techniques at our disposal.
Le Matin, by François Boucher 28 13. Boudoir of the marquise de Pompadour at the château of Bellevue 29 14. Rococo chair, with Boucher shepherd scene 31 15. Lounging à la rocaille 31 16. Fluctuat nec mergitur device, Paris 45 17. "Female Emancipation," 1893 64 18. " 1896 68 19. Dr. Charcot and suggestion, 1889 92 20. Pathological curvature, by Paul Richer 95 21. Pathological curve, by Paul Richer 95 22. Pathological movement, by Paul Richer 95 23. Grotesque mask, Santa Maria Formosa, Venice, by Paul Richer 97 24.
Art nouveau in fin-de-siècle France: politics, psychology, and style by Debora L. Silverman