 |
|
| |
William
Arthur Smith Benson turned this attention to the design
of metalworkat the suggestion of Edward Burne-Jones and William
Morris and subsequently became the greatest lighting designer of
the British Art and Crafts movement. Unlike other designers Benson
embraced the use of machineryto produce this beautifull brasss and
cooper designs. He designer thounsands of chandeliers, wall ligths
and table lights.
|
|
| |
The
"Femme-Fleur" was the most distinctive motifs of
Art Nouveau. She would be in ceramic or cast in bronze and gilded
as a desk ornament. This sculpture by Georges Flamand (c. 1900) the
bulbs represent flowers. They have no shades, this was often the case,
for the bulbs would have been a low wattage and were a novelty to
be admired rather than concealed.
|
|
| |
Jean-August
Dampt was a sculptor who especialized in finely executed
works in mixed media. The unsigned french chandelier similary combines
broze and glass, and elegantly exploits the fashionable dragonfly
motif in a cohesive design in which form and decoration are one.
|
|
| |
The
bat as a theme for this Daum Chandelier (c.1900)
is a reminder of the imaginery of french symbolist literature and
art. Its style and subject are characteristic of certain strands of
british art of the 1890s.
|
|
|
|
The
wall applique (c.1900) in collaboration with the Majorelle
studio and is more substatial in quiality. It is fluid and sculptural
of the plant theme. Unusually, it incorporates ceramic as well as
bronze and glass elements.
|
|
| |
Around
1900, the provincial town of Nancy became a rival to Paris in quality
of work by local designers and manufacturers. An association called
E´cole de Nancy, to develop and promote a decorative style that
drew its inspiration from nature. Their stylistic ambitions coincided
with the lush lines and motifs of fasionable continental Art Nouveau.
|
|
|
The
pair of lights (c.1903) conceived in the form of flowering
magnolia stems are among the most sumptous creations generated by
the daum-majorelle collaboration. The use of gilft bronze makes these
appropriate complements to the rich gilt-bronze created by Majorelle.
|
 |
|
Trained
as sculptor, Jules Jouant worked with August Rodin.
Busts and masks of prominent figures like Richard Wagner, Frederic
Chopin and Ludwig Van Beethoven, and statues. He also produced small
objects, including vases, urns and lights. He ceiling light (c.1910)
is a prime example of the fluid, vegetal forms of Art Nouveau.
|
|
|
Les
Cropins (designed in 1902) as one of Emile Galle;s
masterpieces. We see the cope of his vision as a symbolist artist.His
readiness to push his chosen materials to theirs limits in his search
for inventive and expressive form. This light, conceived in the shape
of trhee vastly over scaled mushrooms, is an extraordinary artifact
by any standars.
|
|
|
Successfully
blending islamic motifs with forms taken from natural world, this
table light (c.1900) made in Tyfany Studio´s output so distinctive.
The continuing popularity among collectors of models such at this
one, with its six iridescent lily-form shades, testifies to Lois Comfort
Tiffany´s belief that handcrafted objects which originality
and esthetic beaty are imprevious to the evanescence of fashion.
|
|
|
Believing
that "nature is always beatiful", Louis
Comfort Tiffany used stylized representations of flora and fauna to
bring beauty into the home. which according to him would enhance the
quality of life. Eighteen-light Lily table light with bronze base
with favrile glass shades.
|
|
|
The
Lotus Table light (c.1900-06) was the second most expensive
model produced by the firm, retailing in 1906 at the princely sum
of $750. What make this model so special is the three dimensionality
of its composition. The choice of the lotus flower not only reflects
the influence of both Oriental and Islamic Art on the Art Nouveau
style but also the contemporary fascination with forms taken from
nature.
|
|
|
The
snowball floor light (c.1905) , was one of a number of design
offered by the firm that incorporated domed rather than coneshaped
leaded glass shade. The rounded form of this type of shade permitted
more naturalistic floral paterning.
|
|
|
In 1899
Friedrich August Scherf and his
son, Walter, founded the small Osiris factory in Nuremberg and began
producing elegant light design. In 1902 the company developed a new
metal aloy know as "Isis", which although more expensive
than existing types of pewter was eminently suitable for the firm´s
beatiful organic Art Nouveau products.
|
|
|
The model
no. M 109 table light designed by Josef Hoffmann
in 1903 was one of the first lights produced by the Wiener Werkstatte.
Is a pair of these lights above a radiator. The table light, a reproduction
of which is currently made of Woka Lamps of Vienna based on the original
design.
|
|
|
In 1879,
Maximilian Ritter von Sapun took over the glassworks. He
soon began to experiment with new techniques of glass production,
and in particular with the creation of iridescent glass. The glass
shade of this hanging light was produced in 1904 for August Lux, Vienna.
|
|
|
This
table light (c.1905) demonstrates perfectly the influence of Hoffmann,
while making it equally clear that Ofner Knew how to draw on precedent
in order to create something new. Although the designer of the suspended
ceiling light is unknow.
|
|
