After reading the textbook and watching the videos, consider the innovations explored by Art Nouveau and Vienna Secession designers.
Then, making reference to your textbook readings, answer the following questions:
- Briefly discuss the similarities and differences between the Art Nouveau and Vienna Secession movements.
- Can you identify any stylistic antecedents for either Art Nouveau or Secessionist forms?
- Can you identify any stylistic descendents of either the Art Nouveau or Secessionist movements?
- Source and post an image of a contemporary building or furnishing inspired by either of these movements.
- Finally, consider the work of Antonio Gaudi. Our textbook classifies his work as Art Nouveau, but other sources consider his work to be in a category by itself. What do you think? Is his work Art Nouveau? Or is it something else? Why?
–
When answering please include the following components:
1. One or more images to help illustrate your argument
2. Captions, immediately beneath your images, in the following format:
Fig. 1. Artist/Designer/Architect.Title of object/structure. Date. Medium. Dimensions. Geographic location. (Web address/URL)
***Please see the Course Information & Policies link “
Captioning Images
” for more information about captions.
3. Terminology from our readings
4. In-text citations and references (where necessary)
***Please see the Course Information & Policies link “
Avoiding Plagiarism
” for more information about citing and referencing your work.
https://artsandculture.google.com/story/hwWx1iIaFk…
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BUIE HARWOOD
BRIDGET MAY
CURT SHERMAN
An Integrated History to the Present
Chapter 44
Art Nouveau
1880s – 1910s
Chapter 43: Art Nouveau 43.2
N. INNOVATION
Late 19th century, some try to integrate design,
mechanization, & idea of modern
Strive to create new design language to express their world
Differ in appearance but shared concepts
Reject historicism
Integration of machine & mechanization
Adopt new technologies & new materials
Respond to new ways of living, urbanism, consumerism
Hope to improve lives through design
Work & ideas precedents for development & evolution of
modernism throughout 20th century
©2011 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.3
Art Nouveau
Complex, eclectic international movement of various styles
in Europe & North America
Two general stylistic trends
One: Stylized, organic, curvilinear forms
Art Nouveau in France, Belgium, Holland,
Czechoslovakia, U.S.; Stile Liberty or Stile Floreale in
Italy; Arte Moderno in Spain
Two: More rectilinear, geometric, abstract
Glasgow, Scotland; Scandinavia; Jugenstil in Germany &
Austria
Great Britain contributes to its development but does not
participate generally
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Chapter 44: Art Nouveau 44.4
CONCEPTS
Many roots, manifestations, participants; reflect geography,
governments, economies, lifestyles, behavior patterns
Key shared concept: desire to create new style
Express new world transformed by Industrial Revolution
Create a new contemporary design language, not tied to
past
Designer as transformer of culture, art, people
Strive for unity in design by creating total works of art
Shared ideas: emphasis on craftsmanship; reverence for
individuality; art for art’s sake; art for all
Influences: art, literature, non-western sources, past styles,
vernacular traditions, folk art
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.5
CHARACTERISTICS AND MOTIFS
Common characteristics
Line explored & exploited whether curvilinear or geometric
Line & form convey energy, force, dynamism, organic
growth
Decoration, particularly on surfaces, emphasized
Unity & common design language in architecture, interiors,
furniture, decorative arts contribute to total works of art
Asymmetry, abstraction of natural forms; whiplash curves;
geometric forms; exuberance; dramatic color
Modern materials: iron, glass
Motifs: stylized naturalistic: rose, lily, iris; dragonfly, peacock;
women with long, flowing hair
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.6
ARCHITECTURE
Modern style free from historicism & academic traditions
Individuality of architect, new materials, industrial processes,
emphasis on structure & function
Influences: Viollet-le-Duc, Gustav Eiffel, Parisian department
stores with open interiors of iron & glass
Architects want to improve quality of life for individuals &
society through design
Little influence
Each creates own unique expression through form and/or
decoration
Largely urban because part of urban renewals
Maybe curvilinear or geometric in form and/or detail
©2012 Pearson Education
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Chapter 44: Art Nouveau 44.7
44-1. Architectural Details: Entrance gate, Le Castel Béranger, 1898; Paris,
France; Hector Guimard and stair railing; France; Louis Majorelle. Art Nouveau.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 43: Art Nouveau 43.8
44-3. Glasgow School of Art and library, 1897-1909; Glasgow, Scotland; Charles
Rennie Mackintosh. Art Nouveau.
©2011 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 43: Art Nouveau 43.9
44-4. Entrance, Paris Métro station, c. 1900-1910; Paris, France; Hector Guimard.
Art Nouveau.
©2011 Pearson Education
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Chapter 44: Art Nouveau 44.10
44-5. Sagrada
Familia, begun
1883; Barcelona,
Spain; Antonio
Gaudi I Cornet. Art
Nouveau.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.11
44-6a. Hôtel Tassel and floor plans, 1893; Brussels, Belgium; Victor Horta. Art
Nouveau.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.12
44-6b. Hôtel
Tassel stair hall,
1893; Brussels,
Belgium; Victor
Horta. Art
Nouveau.
©2012 Pearson Education
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Chapter 44: Art Nouveau 44.13
44-7. Front saloon, Ingram Street Tea Room, 1900; Glasgow,
Scotland; Charles Rennie Mackintosh. Art Nouveau
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.14
44-8a. Hill House, 1902-1903; Helensburgh, Scotland; Charles Rennie Mackintosh.
Art Nouveau.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.15
44-8b. Hill House entrance hall, 1902-1903; Helensburgh, Scotland;
Charles Rennie Mackintosh. Art Nouveau.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 44: Art Nouveau 44.16
44-8c. Hill House bedroom, 1902-1903; Helensburgh,
Scotland; Charles Rennie Mackintosh. Art Nouveau.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.17
44-9. Casa Milá, (La Pedrera), 1905-1910; Barcelona, Spain; Antonio Gaudi
I Cornet. Art Nouveau.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.18
INTERIORS
Curvilinear with abstracted floral or naturalistic motifs in
France, Belgium, Italy
Strongly geometric with rectangular or square shapes in
Germany & Scotland
Both unified compositions & total works of art
Designer usually create exterior, interior, furnishings,
decorative arts
All relate to each other in forms, motifs, color
Reform interiors by providing more light & air
Room shapes remain rectangular with curving details in
windows, doors, ceilings, fireplaces, decoration
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 44: Art Nouveau 44.19
44-10. Salon or hall, Hôtel van Eetvelde, 1895; Brussels,
Belgium. Victor Horta. Art Nouveau.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.20
44-11. Sitting room, C.R. Mackintosh House, 1900, 1906; Glasgow, Scotland;
Charles Rennie Mackintosh. Art Nouveau.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.21
44-12. Textiles: Fabrics with curves and flowers, c. 1900. Art Nouveau.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 44: Art Nouveau 44.22
44-12. Lighting: Flambeau, applique électrique, and table et lampe, 1901-1902;
France. Art Nouveau.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.23
44-14. Lighting:
Lamp, c. 1906;
United States;
Louis Comfort
Tiffany. Art
Nouveau.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.24
FURNISHINGS AND DECORATIVE ARTS
Various forms—whiplash curves, sculptural forms &
elongated shapes to geometric, hard edges, minimal
decoration
Varies by designer, country, region or locale
Each piece conceived in relation to other pieces & entire
composition
Diverse viewpoints–reject traditional forms & construction;
use as springboards for own designs
Emphasis upon ability of wood to be carved
Unique, creative construction methods to achieve aims
Some aware of material; others exploit or ignore
Some design for mass production; others do not
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 44: Art Nouveau 44.25
44-15. Dining chair,
1882-1883; England.
Arthur Heygate
Mackmurdo. Art
Nouveau precursor.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.26
44-16. Side chairs, 1899-1901; France; E. Colonna and A.
Landry. Art Nouveau.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.27
44-17. Chairs, settee, and table, c 1900; Vienna, Austria; Michael Thonet.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
9
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Chapter 44: Art Nouveau 44.28
44-18. Canapé for the Paris Exposition 1900; published in Art et Décoration,
1901. Art Nouveau.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.29
44-19. Cabinet, c. 1899; France; Hector Guimard. Art Nouveau.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 44: Art Nouveau 44.30
44-20. Bed, c. 1900-1910; France; Louis Majorelle. Art Nouveau.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
10
7/30/2020
BUIE HARWOOD
BRIDGET MAY
CURT SHERMAN
An Integrated History to the Present
Chapter 45
Vienna Secession
1897 – 1920s
Chapter 45: Vienna Secession 45.2
Vienna Secession
Strives to create a modern style free of historicism &
academic stagnation
Founded 1897, Vienna, Austria by group of artists,
architects, sculptors, designers
Influenced more by Britain, Scotland, Germany than
France or Belgium
Advocates simplicity, rational construction, honest use of
materials
Influences later modern developments
Members form Weiner Werkstätte, a crafts organization
Shares beliefs with Secession, but emphasis on unity &
excellent craftsmanship
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.3
CONCEPTS
Designs that reflect modern life
See no division between fine & decorative arts & design
Evident in Secessionist exhibitions
Favor expressive power of construction & materials instead
of historicism; form over ornament; rationalism; stylistic
simplicity
Believe in power of architecture to reform not only taste but
also clients’ lives
Weiner Werkstätte shares similar beliefs
More emphasis on craftsmanship & honest use of materials
Realize work too expensive for most but exclusivity
evidence of appeal to highest tastes & role in social reform
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
1
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Chapter 45: Vienna Secession 45.4
CHARACTERISTICS AND MOTIFS
Architecture, interiors, furniture, textiles, decorative arts
Minimalism, geometric silhouette, strong contrasts
Geometric form & shape; repetition; defined outlines;
vertical movement; volumes as planes; functionalism;
simplicity; honest use of materials
Interiors & furniture–plain, stark with little or no ornament
although rich materials
Emphasis on quality, detail, human scale
Rectangles, squares, palette of black, white, & gray with
spots of bright color
Motifs—squares & checkers in black & white or solid & void;
repeating geometric designs; circles; florals–sunflowers or
roses; laurel trees or leaves
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.5
ARCHITECTURE
Strives to evolve from & reform modern life
Design goals: rectangular & cubic forms dominating
composition; monumental mass; minimal ornament;
emphasis on function, light, & air
Intended to transform Viennese classical architecture with
simplicity, functionality, modern materials such as glass,
steel, aluminum
Color usually from materials but some elaborate carved,
painted or tile decoration in bright colors
Highly individual & innovation projects
Offices, railway stations, museums, shops, apartment
complexes, affluent residences
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.6
45-1. Motifs: Poster on Weiner Werkstätte and decorative interior by Leopold
Bauer, 1898-1903; Austria. Vienna Secession
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
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Chapter 45: Vienna Secession 45.7
45-2a. Vienna Secession Building, 1897-1898; Vienna, Austria; Josef Maria Olbrich.
Vienna Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.8
45-2b. Vienna
Secession Building
entry detail, 1897-1898;
Vienna, Austria; Josef
Maria Olbrich. Vienna
Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.9
54-3. Karsplatz Stadbahn (railway station), 1898; Vienna, Austria; Otto Wagner.
Vienna Secession.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 45: Vienna Secession 45.10
45-4a. Post Office Savings Bank, 1904-1912; Vienna, Austria; Otto
Wagner. Vienna Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.11
45-4b. Post Office
Savings Bank
elevation, 19041912; Vienna,
Austria; Otto
Wagner. Vienna
Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.12
45-4c. Post Office Savings Bank main banking room, 1904-1912; Vienna, Austria;
Otto Wagner. Vienna Secession.
©2012 Pearson Education
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Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 45: Vienna Secession 45.13
45-5. Majolika Haus and detail, 1898; Vienna, Austria; Otto Wagner. Vienna
Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.14
45-6a. Palais Stocklet, 1905-1911; Brussels, Belgium; Josef Hoffman with murals
Gustav Klimt and decorative work by Weiner Werkstätte. Vienna Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.15
45-6a. Palais Stocklet
floor plans, 19051911; Brussels,
Belgium; Josef
Hoffman. Vienna
Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
5
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Chapter 45: Vienna Secession 45.16
45-6a. Palais Stocklet, 1905-1911; Brussels, Belgium; Josef Hoffman with
murals Gustav Klimt and decorative work by Weiner Werkstätte.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.17
INTERIORS
Consider interiors as important as architecture
Try to create total works of art (Gesamtkunstwerk)
Emphasis on function, simplicity, geometric forms, defined
outlines, smooth surfaces
Similar geometry & linear details as exteriors
Selected geometric details enhance simplicity
Uncluttered spaces with mainly geometric patterns, details
Painted surfaces, colored tile, marble, wood, metal, mirrors,
plain & stained glass
Design furniture, textiles, decorative accessories, often in
costly materials
Sometimes use mass-produced furniture
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.18
45-7. Interior, 1898-1904; Josef Hoffmann. Vienna Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 45: Vienna Secession 45.19
45-8. Bedroom,
1901; Austria;
Wilhelm
Schmidt. Vienna
Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.20
45-9. Textiles:
Fabrics, 1901-1908;
Austria; Top from
left: Otto Prutscher;
Josef Hoffmann;
bottom left: J. M.
Auchentaller. Vienna
Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.21
45-10. Lighting: Table lamp by Josef Hoffmann and chandelier, c. 1900; Austria.
Vienna Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
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Chapter 45: Vienna Secession 45.22
FURNISHINGS AND DECORATIVE ARTS
Weiner Werkstätte designs furniture & decorative arts
Architectonic character, strong geometry, rectilinear like
exterior
Excellent craftsmanship, plain forms, unadorned surfaces,
geometric patterns—checker boards in black & white; solid
& void
Truth to materials in use & construction; simplicity, modesty,
classic proportions
Looks adaptable to machine production but individuality &
craftsmanship prevent
Usually created for specific interior but similar appearance
among designers
Sometimes rich materials, intricate details
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.23
45-11a. Chairs, 1900-1909; Austria; Josef Hoffmann with much of furniture
manufactured by Thonet Brothers. Vienna Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.24
45-11b. Club chair, 1900-1909; Austria; Josef Hoffmann with much
of furniture manufactured by Thonet Brothers. Vienna Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
8
7/30/2020
Chapter 45: Vienna Secession 45.25
45-11c. Recliner,
1900-1909; Austria;
Josef Hoffmann with
much of furniture
manufactured by
Thonet Brothers.
Vienna Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.26
45-12. Armchair, 1901-1904; Austria; Otto Wagner & R.
Tropsch. Vienna Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
Chapter 45: Vienna Secession 45.27
45-13. Writing Desk,
c. 1902-1903;
Austria; Koloman
Moser. Vienna
Secession.
©2012 Pearson Education
Upper Saddle River, NJ 07458
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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Chapter 45: Vienna Secession 45.28
©2012 Pearson Education
Upper Saddle River, NJ 07458
45-14. Bedroom furnishings; 1901-1904; Austria.
Vienna Secession.
Architecture and Interior Design: An Integrated History to the Present
Buie Harwood, Bridget May, and Curt Sherman
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