By Gabriele Fahr-Becker
Booklet via Fahr-Becker, Gabriele, Sterner, Gabriele
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Extra info for Art Nouveau: An Art of Transition-From Individualism to Mass Society
This situation was indeed remarkable: non-German people came to regard a non-German artist as one of the most typical representatives of German artistic trends. Just how unhappy van de Velde was about his rejection in Paris was evident in our conversations. Among other concerns, he was greatly troubled by not having found a French publisher for his memoirs. The bilingual quality position in Paris. work of van de Velde's mature years was an inner necessity and one that should certainly be respected by a German publisher.
Undue emphasis has been given to the fact that in his later works van de Velde gradually came to reject classicism and embraced a form of architecture that was purely functional and devoid of ornamentation. In this regard, van de Velde differed from almost all his contemporaries. Moreover, by this time he no longer held the leading position that he enjoyed at the turn of the century, although admittedly he was able to establish contact with and attract a younger generation. (Sembach) fundamentally erroneous approach is that The fact that van de Velde ceased to function as the leader of art nouveau was not due to a change in the quality of his work.
In the met and exchanged ideas with van de Velde and Munch. England was particularly rich in publications. The periodical Hobby Horse was published by the Century Guild. In 1889 The Dial appeared. This magazine, like Hobby Horse, cannot really be regarded as an art nouveau publication; however, it did formulate several ideas that were of fundamental importance to art nouveau. Through The Studio, founded in London in 1893, the ideas of William Morris influenced all of Europe. To these publications we must also add The Yellow Book, a yearbook that first appeared in editorial offices, they London in 1894.
Art Nouveau: An Art of Transition-From Individualism to Mass Society by Gabriele Fahr-Becker