MUSES OF ART NOUVEAU

Veronique Goguen
Jan 19, 2023
2 min read

MUSE

SARAH BERNHARDT

ree — Alphonse Mucha, Poster Sarah Bernhardt as Gismonda (1894)

ree — Sarah Bernhardt as Gismonda (1894)

ree — Alphonse Mucha, Poster of Sarah Bernhardt (1896)

ree — Sarah Bernhardt as Théodora' by W. & D. Downey, National Portrait Gallery, London

ree — Georges Clairin, Theodora Souvenir Program, 1902

Projet de coiffure pour Théodora, p. 186.. Geffroy, Gustave. "De Bijou: A Propos de M. René Lalique."

Art et Décoration: Revue Mensuelle D'Art Moderne. Vol. XVIII. July - December 1905.

Lalique's luscious jewelry adorned the stage in Sarah Bernhardt's melodramatic roles of Théodora

Projet de coiffure pour Théodora Geffroy, Gustave. "De Bijou: A Propos de M. René Lalique.

" Art et Décoration: Revue D'Art Moderne. Vol. XVIII.1905

sarah bernhardt theatre

ree — Henri de Toulouse-Lautrec, Au Moulin-Rouge Art (1892-95) Institute of Chicago

ree — Henri de Toulouse-Lautrec, Divan Japonais (1893), Musee Toulouse-lautrec, France & Moma, NYC

ree — Henri Toulouse- Lautrec, La Troupe de Mademoiselle Eglantine (1895) The Met, NYC

ree — Henri de Toulouse-Lautrec, La Loge au Mascaron doré (1894) Rijks Museum

ree — Henri de Toulouse-Lautrec, Jane Avril (1893) Los Angeles County Museum of Art

ree — Emmerico Nunes, O pintor e o modelo (1909) Calouste Gulbenkian Museum

ree — Henry Caro Delvaille , La manucure (1901)

FASHION

Les robes de Paul Poiret

by Iribe, Paul,

ree — Georges de Feure, Élégante sur la plage (ca.1901-1905)

ree — Henri de Toulouse-Henrie Toulouse Lautrec, La Goulue at the Moulin Rouge (1891-92) MoMa, NYC

ROMANCE

ree — Henri de Toulouse-Lautrec, Flirt (An Englishman at the Moulin Rouge) (1892) Philadelphia Museum of Art

ree — Gustav Klimt, The Kiss (1907-1908) Belvedere palace, Vienna

ree — Auguste Rodin, The Kiss (1882) Musée Rodin, Paris

ree — René Lalique and Augustine-Alice Ledru (ca.1903) Archives Lalique, Musée d’Orsay

ree — Henri Bellery-Desfontainesa, Enigma (1898) Met NYC

ree — Peter Behrens, DER KÜSS (1898), Cooper Hewitt Museum, NYC

ree — Frances MacDonald, The Choice (1909)

THE WICKED WOMEN / SALOME & MEDUSA

ree — Franz Stuck, Salome (1906) The Lenbachhaus, Munich

ree — Richard Strauss-Woche, Poster for Richard Strauss (1910) V&A, London

ree — Gustav Klimt, Judith II Salomé (1909), The Ca' Pesaro, Venezia

Salome : a tragedy in one act by Wilde, Oscar, 1854-1900; Beardsley, Aubrey, 1872-1898 Publication date 1912 ( original publication in 1891)

V&A Museum

ree — Beethoven Frieze (1902), Gustav Klimt, displayed at Secession Building, Vienna, Austria.

ree — Franz Stuck, Batsheba (1912), Museo Nacional de Bellas Artes

ree — Franz von Stuck, Inferno (1908 ) Met NYC

ree — Franz von Stuck, Inferno (1908 ) Met NYC

ree — Franz Stuck, Medusa (1908) Ca' Pesaro - Galleria Internazionale d'Arte Moderna

ree — John William Waterhouse ,Circe Invidiosa (1892) Art Gallery of South Australia

ree — The Sin ( 1893) by Franz Stuck displayed at Neue Pinakothek in Munich

ree — Klimt University of Vienna Ceiling Paintings, Gustav Klimt- (1900–1907)

ree — Henri de Toulouse-Lautrec, Jane Avril (1899) National Gallery of Art, Washington

ree — Georges de Feutre, Femme Damnée ( 1897- 1898)

ree — Georges de Feure, La Source du Mal (1894), Met NYC

ree — Georges de Feure, Hypocrisie (1893)

ree — Julius Klinger, La femme dans la décoration moderne (1902)

ree — John William Waterhouse, Echo and Narcissus1(903)

ree — Franz von Stuck, Quellnymphe und Faune (c.1911)

ree — Koloman Moser, Die Kunst Fur Alle (1898)

ree — Koloman Moser, Gerlach's Allegorien "Bookplate Spring" Lithograph (1897)

ree — John William Waterhouse, Hylas and the Nymphs (1896), Manchester Art Gallery

ree — Edward Poynter, The Cave of the Storm Nymphs (1902-1903)

Aldo Mazza,To the sea Riccione,The green pearl of the Adriatic front (1910) Liberty Museum Rimini

ree — Harry Clarke illustration for "Seamaid" by Hans Christian Anderson (1916)

Ariel

Artist/designer Robert Anning Bell RA (1863 - 1933)

From W. Shakespeare, The Tempest, London: Freemantle, 1901 (p.[viii])

The tempest; a comedy by William Shakespeare. Decorated by Robert Anning Bell

https://www.royalacademy.org.uk/art-artists/work-of-art/ariel

Siegfried & The twilight of the gods( 1911) by Richard Wagner Illustration by Arthur Rackham

Richard Wagner's Ring Cycle ( Der Ring des Nibelungen) is a set of four epic operas based on Germanic mytholog. The Ring Cycle includes

1) Rhine Gold

2) The Valkyrie

3)Seigfried

4) Twilight of Gods

The operas follow the struggles of Norse gods, heroes and mythical creatures over a magic Ring that grants domination

over the entire world. Drama and intrigue continue through three generations of protagonists, untile the final cataclysmic ending of their mysthical world.

ree — Arthur Rackham, Siegfried! Siegfried! Our warning is true: Flee, oh, flee from the curse! (1911)

ree — Arthur Rackham, Though gaily ye may laugh, In grief ye shall be left, For, mocking maids; this ring, Ye ask shall never be yours (1911)

ree — Manuel Orazi, poster Palais de la Danse ( ca.1900)

ree — Eugène Grasset, Suzy Deguez (1905)

ree — René Lalique’s display at the 1900 Paris Exposition Universelle

ree — Henri de Toulouse-Lautrec, Miss Loïe Fuller (1893)

ree — Henri de Toulouse-Lautrec, Loïe Fuller (1893)

ree — Jules Cheret, Loie Fuller at Folies Bergèrer (1897)

ree — Affiche Folies Bergère Loïe Fuller

ree — Raoul Larche, Table lamp Loïe Fuller (1901) Bröhan-Museum, Berlin

ree — Raoul Larche, Loïe Fuller, The Dancer (ca.1900) MoMa NYC

ree — Koloman Moser, Loïe Fuller in the Dance "The Archangel" (1902) Albertina, Vienna

Poems. Introd. by Walter Raleigh; illus. by Robert Anning Bell by Shelley, Percy Bysshe, 1792-1822; Raleigh, Walter Alexander, Sir, 1861-1922 Publication date 1902

ree — Poems by Percy Bysshe Shelley, introduction by Walter Raleigh, illustrated by Robert Anning Bell (1902)

ree — Poems by Percy Bysshe Shelley, introduction by Walter Raleigh, illustrated by Robert Anning Bell (1902)

ree — Poems by Percy Bysshe Shelley, introduction by Walter Raleigh, illustrated by Robert Anning Bell (1902)

ree — Poems by Percy Bysshe Shelley, introduction by Walter Raleigh, illustrated by Robert Anning Bell (1902)

ree — Georges de Feure, Les Jardins D'Armide Illustration from 1897 The Studio Magazine

ree — Maurice P.Verneuil illustration for book "La plante et ses applications ornementales" (1896)

ree — Paul Berthon, Salon des Cents (1895)

ree — Georges de Feure, La Botaniste : Projet original pour l'affiche du Salon des Cent (1894)

ree — Georges de Feure, Salon des Cent 5em Exposition (1894)

ree — Georges de Feutre, La Voix du mal (1894-1895)

ree — Eugène Grasset, Exposition Internationale de Madrid (1893) Museu Nacional d'Art de Catalunya

ree — Alphonse Mucha, Femme à la Marguerite, Satin panel (ca 1898), a version displayed at Baltimore Museum of Art

ree — Henri Privat-Livemont, Cercle Artistique de Schaerbeek (1898)Museu Nacional d'Art de Catalunya

ree — Joseph Christian Leyendecker, The Century: Midsummer Holiday Number, August (1896) The Met NYC

ree — John Quincy Adams, Mädchen mit roten Haaren

ree — John Quincy Adams, Girl With Flower Branch

ree — John Quincy Adams, Zwei Elfen (ca.1900)

ree — Charles Rennie Mackintosh, poster for Scottish Musical Review (1896)

ree — Georges de Feure, Elegante près d'une source (1903–1906)

ree — Georges de Feutre - La course a l’abime (1893) private collection

ree — Hans Christiansen, Shepherd's Hour (1898)

ree — Margaret Macdonald, The May Queen (1900) Kelvingrove Art Gallery and Museum, Glasgow

ree — Koloman Moser, Gerlach's Allegorien "Summer" (1897)

ree — Koloman Moser – Gerlach’s Allegorien

ree — Alice Russell Glenny,Womens Edition Buffalo (1895) The Museu Nacional d’Art de Catalunya

ree — Georges de Feure , Profil de Femme (1898)

THE SMOKER

ree — Georges de Feure, La Fumeuse (1908-1910)

ree — Mary Golay, Art nouveau Stylized Red Poppies (1895)

ree — William Morris, Avon Chintz, circa 1887, William Morris Gallery, London

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ree — Théophile Steinlen, Tournée du Chat Noir (1896)Museu Nacional d'Art de Catalunya

ree — Eugène Grasset, Encre L. Marquet (1892) V&A London &

ree — Jan Toorop, Delft Salad Oil (1894) Rijks Museum

ree — Alphonse Mucha, Biscuits Champagne (1896)

ree — Jules Cheret, Casino de Paris (1891)

ree — Jules Chéret, Vin Mariani (1894) Rijks Museum

ree — Leonetto Cappiello, Absinthe Ducros fils (1901) National Museum of Catalan Art

ree — Leonetto Cappiello, Absinthe extra-supérieure J. Edouard Pernot (1900)

ree — Henri Privat-Livemont, Absinthe Robette (1896)

ree — Henri Privat-Livemont, Bitter Oriental, (1897)

ree — Alphonse Mucha, Bières de la Meuse (1897)

ree — Book Art Nouveau by Carol Belanger Grafton

ree — Book Art Nouveau by Carol Belanger Grafton

ARCHITECTURE

ree — Georges de Feure, Ensemble de boudoir du Pavillon de l’Art Nouveau (1899-1900) The Danish Design Museum

ree — Joseph Maria Olbrich, The Secession Building (1897) Vienna, Austria

ree — Joseph Maria Olbrich, The Secession Building (1897) Vienna, Austria

ree — Mikhail Eisenstein, Elizabetes iela 10B, Central District, Riga, Latvia

ree — Mikhail Eisenstein, Stockholm School of Economics Rue Strēlnieku 4a in Riga

ree — Paul Cauchie, The Cauchie House (1905) Brussels

ree — Victor Horta, Mainson & atelier Horta (1898-1900) , Museum Horta Brussels

ree — Victor Horta, Mainson & atelier Horta (1898-1900) , Museum Horta Brussels

ree — Pietro Fenoglio, Casa Fenoglio-Lafleur (1902) Turino, Italy

ree — Giovan Battista Bernazzo, Casa Tasca (ca.1902-03) Museum in Turino

ree — Antoni Gaudí, Casa Batlló ( redesigned in 1904-06) Barcelona

Boutique Fouquet: installation of a space representing the interior designed by Mucha, Musée Carnavalet, Paris (1900)

Fouquet and Mucha had worked together on a number of jewellery pieces for Fouquet's stand at the 1900 Exposition Universelle. When the Parisian jeweller decided to move his boutique to the luxurious Rue Royale, he called on Mucha to design all aspects of his shop - both exterior and interior, and the contents including the furniture, light fittings and showcases.

Mucha conceived the shop as a complete work of art, which would provide a harmonious environment for Fouquet's jewellery. Mucha drew inspiration from the natural world, and pride of place is given to two spectacular peacocks set against glowing designs in stained glass.

The shop opened in 1901 and was an immediate success. In an article in the Revue de la Bijouterie, A. Robert writes:

'[Fouquet] has raised it to the level of his art, furnished it in accordance with the canon of his soul and he has done it so brilliantly that the jeweller and his products find themselves in a milieu which is so appropriate to its intended application that it almost seems to be a talking sign.'

Mucha's designs remained in place until 1923 when it was replaced with more up-to-date fittings. In 1941 Fouquet gave each piece of Mucha's revolutionary design to the Musée Carnavalet for safekeeping. In 1989 the Musée Carnavalet completed the painstaking job of reconstructing the boutique. It remains one of the most spectiacular examples of Art Nouveau decorative design.

http://www.muchafoundation.org/en/gallery/browse-works/object/122