Art Nouveau Research Articles

Variations in the Byzantine Artistic Tradition in Kyiv-Pechersk Lavra Churches’ Painting in 1890s – 1910s

The purpose of the article is to study the embodiment of the Byzantine artistic tradition in the monumantal painting of the Kyiv-Pechersk Lavra in 1890s – 1910s. The research methodology is based on historical, cultural, and art historical analysis. Scientific novelty. The article reveals a weakening in the use of the Byzantine artistic heritage in the monumental painting of the churches in the Kyiv-Pechersk Lavra. The transformation from the systematic use of Byzantine ornaments and the symbolism of gold in the Great Church (the Dormition Cathedral) in the late 19th century to fragments of Byzantine compositions in Art Nouveau ornaments have been traced. The decorative golden background in the Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber (the Refectory Church) in the early 20th century has been explored. The use of the term "Neo-Byzantine style" for the painting of the Great Church is proved to be incorrect. The author made the following conclusions on the basis of archival information introduced into scientific circulation. Firstly, the algorithm of creating ornaments and a golden background as the basis of the Byzantine artistic tradition has been observed. Secondly, the authorship and dating of paintings of the Great Church have been clarified. Thirdly, it is determined that the rejection of the Byzantine tradition in favour of the Art Nouveau style in the Refectory Church took place in 1902, along with the change of artists. The significance of preparatory sketches and paintings of the Great Church for the creation of the compositions of the Refectory Church has been emphasised. Conclusions. The Kyiv-Pechersk Lavra did not have the opportunity to return to the Byzantine tradition in the technique of monumantal painting, namely to the technique of mosaics and frescoes. In the paintings of the Great Church (the Dormition Cathedral) and the Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber (the Refectory Church) the Byzantine tradition was realised mainly in decorative elements, namely in ornaments and the golden background of compositions. In both churches, the artists implemented thematic and narrative lines in the tradition of late academicism. Along with V. Vereshchagin, V. Fartusov was the author of the paintings in the Great Church. The paintings date from 1897 to 1901. The transition to the Art Nouveau style in the decor of the Refectory Church began in 1902. The ornaments of the Refectory contain elements of national (Ukrainian) motifs and fragments of Byzantine ornaments. The preparatory sketches and paintings of the Great Church served as the pictorial basis for the compositions of the Refectory Church and the Chamber. Key words: sacral culture, Orthodoxy, sacral monumental painting, Ukrainian painting, Byzantine art, academicism, Art Nouveau style, Kyiv‑Pechersk Lavra, Great Church, Dormition Cathedral, Church of Venerable Anthony and Theodosius of Pechersk with the Refectory Chamber, Refectory Church.

The Development of the Use of Acidic Design in Poster Design

As a precursor to acid design, the "Baby Boomers" of the post-World War II era questioned America's materialistic, conservative cultural and political norms, and psychedelic music festivals and concerts became the most prominent feature of this period, influencing to some extent the design of band posters and album covers, as well as influenced psychedelic visual design. Therefore, the characteristics of psychedelic visual design are closely related to the Art Nouveau movement, Vienna Secession, Surrealism and Pop Art, and psychedelic visual design also has implications for the development of design today.

Problems of fate and free will in Hauptmann's “Iphigenia in Delphi” drama

The article is devoted to the problem of Gerhart Johann Robert Hauptmann’s interpretation of his own views concerning the problem of fate and freewill, which sheds light on the general problem of modern, connected with the eternal process of creative personality, formation. The objectives of the work correspond to this: to substantiate the leading role of anthropological patterns in the Art Nouveau era, to reveal the dynamics of G.Hauptmann’s formation on the basis of commenting his theoretical and artistic works, to reflect in this respect the overcoming of fate and gaining freedom by the heroine of the late drama “Iphigenia in Delphi”. In the course of the analysis, it was revealed that in his later work, G.Hauptmann retains the same views on the fatal predetermination deprived of real being, and he switches to the sphere of feelings. In this case, special attention is paid to the author’s revision of the romantic concept, in which the idea of immortality, transcend the borders of the visible world, became the main one for the said writer. It is from these positions that Iphigenia’s image is revealed. Seeking self-understanding and identity, she renounces the Olympian world, in which sacrifice and fear of gods is the norm, and she voluntarily returns to Hecate’s Palace, as it is in them that a new immortal existence takes place. The conclusion is made about the birth of a new personality through the conception of one’s own existence, the rejection of dogmatic conceptions from the power of the doom makes the individual free, strong and unbroken by anything or anybody.

Art Nouveau in the architecture of South-coast villas and palaces as a contribution of outstanding personalities of their owners and architects to the cultural landscape of Crimea

The Art Nouveau style in architecture of the late XIX-the first third of the twentieth century was distinguished by the synthesis of all previous styles and the free variability of the composition of both the main architectural volumes and their decor. Depending on the predominance of a particular style in a particular building, it is classified as a sub-style, for example, Neo-Gothic, Neo-Baroque, Neo-Renaissance, Neo-Russe, etc. A characteristic feature of modernity is also the use of various ethnic elements by architects. The subject of the article is the cultural characteristics of villas and palaces on the Southern coast of Crimea and the individual character reflected in them by architects in accordance with the requirements of customers, their national and professional affiliation, interests and hobbies. A special contribution of the authors is the analysis of the examples of architecture and its decoration, not abstractly, but in close connection with the personality of their owners and customers. The article uses the methods of historicism and the comparative method in the analysis of the belonging of an architectural object to a particular style; methods of analysis and synthesis in the characteristics of styles of both individual parts of architectural monuments and the entire building as a whole. The scientific novelty of the study lies in the fact that for the first time the authors described the villas and palaces of the Southern coast of Crimea not only from a historical, architectural and historical-art historical point of view, but from the point of view of matching the styles of buildings to the individual characteristics of the personalities of their owners. Conclusions. 1. The Art Nouveau style spread in Western and Eastern Europe, including Crimea, from the end of the XIX century, and existed on the peninsula until the 1930s. The elegant character of country villas and palaces, mostly white, was especially relevant in Crimea, contrasting with the blue sky and sea and bright vegetation, creating a typical southern the color of the resort area. 2. The cultural landscape of Crimea is made up of a diverse variety of ethnic cultures, the heritage of state entities, as well as outstanding personalities who have contributed to it. In this sense, the unique buildings and their connection with the personalities of their owners represent one of the characteristic features of the historical and cultural landscape of Crimea.

The Spanish-Moorish Mudekhar code in the Crimean cultural landscape

The subject of the study is the Spanish-Moorish Mudekhar code in the cultural landscape of the Crimea. The object of the study is the Spanish-Moorish stylistics in the decor of the architecture of the Crimea. The following methods are used in the work: culturological (ontological and semiotic) analysis in determining stylistic elements, the method of analysis of previous studies, the method of synthesis in identifying stylistic features of the Crimean architecture of the Modern period. The article reveals the following aspects of the topic: the features of the Spanish-Moorish Mudejar style and its application in the architecture of the Crimea of the Art Nouveau period, as well as the reasons for the popularization of this code in the cultural landscape of the Crimea are identified. The main conclusions of the study are: 1. The multiethnic Crimean cultural landscape is represented by the cultures of ethnic groups that inhabited the Crimea from ancient times to the present day. The main factor in the identification and self-identification of ethnic groups is religious affiliation, reflected in folk traditions. Folk art is the most characteristic example of the manifestation of ethnic identity. 2. The spread of the Spanish-Moorish Mudekhar style in Crimean architecture is not accidental, since the synthesis of eastern and Western features is organic for Crimea, which has been lying on the way "from the Varangians to the Greeks" since ancient times, at the intersection of trade routes from Europe to Asia. The Moorish style has become part of both the geographical and cultural landscape of the Crimea, organically entering the architecture of summer palaces and mansions. 3. A special contribution of the authors to the development of the topic is the identification and justification of the Mudekhar code as one of the most popular in the Crimean Art Nouveau style. The scientific novelty of the research consists in the identification and stylistic analysis of the Mudekhar code in the Crimean cultural landscape.

Exploring the Scientific Research in Religious Painting Works in Renaissance Period-Taking Durer's Etchings Knight, Death and Devil As an Example

The development of Renaissance painting evolved into the development of humanism and the in-depth study of science and nature under the changes of the times. While getting rid of religious dogma, artists were finally able to look at the world from a rational perspective. Continuous exploration and research not only made Germany open the prelude of modern art, but also stood at the forefront of the historical stage together with other regions of Europe. Among them, the talented artists represented by Durer with the spirit of innovation and exploration raised the original social status of artists to an unprecedented height. The spirit of humanism spread freely in the European continent, and the creation of art nouveau fanaticism, accompanied by the artist's distinct and strong personal artistic color, became the most powerful proof of the attack on dogmatism in painting, and had a profound influence on European modern art. This paper will introduce the transformation of religious art painting during the Renaissance from the scientific direction and it proves that adding scientific innovation to religious painting has brought great influence on later generations.

Capture: American Pursuits and the Making of a New Animal Condition

Capture: American Pursuits and the Making of a New Animal Condition

Voix entrelacées de Proust et de Ruskin. Par Cynthia Gamble

Craftily interweaving the voices of John Ruskin and Marcel Proust, Cynthia Gamble amasses here an eclectic selection of her essays, reworked and expanded, previously published mostly in English between 2000 and 2016. Although the texts differ greatly from each other, together they amount to an illuminating theoretical stained glass that accounts for the decisive role played by Ruskin in Proust’s creative process. Echoing medieval Christian art, the book is organized as a triptych, preceded by a personal narrative marked by generous accounts of Gamble’s serendipitous academic encounters and relating the author’s introduction to the French language, Proust, and Ruskin, a testimony that, given Gamble’s distinguished contribution to both Proust and Ruskin studies, helps to chart the history of these two fields. An ‘onomastique poétique’ (p. 11), the book’s first section takes the reader on a trip to the Gothic cathedrals of Amiens and Chartres, an art nouveau gallery in Paris, and the Sistine Chapel. Interlacing Proust’s many works and Correspondance with Ruskin’s Diaries and Complete Works, Gamble reveals how these four locations are crucial markers of Proust’s and Ruskin’s intellectual and personal lives, and how they intersect, often with Proust setting off on Ruskinian pilgrimages. The second and most robust part of the book, ‘Traductions’, rigorously peruses Proust’s trajectory as one of Ruskin’s translators. Insightful and well documented, it examines Proust’s performance as a language student (based on his school records, esp. pp. 128–32) and his connection with the English language; it probes into Proust’s ‘cercle anglophone’ (p. 146), his relationship with English teacher Mrs Higginson, and his friendship and collaboration with Marie Nordlinger. It also examines Proust’s mother’s contribution to his translations of Ruskin’s works — she provided him with a literal translation of The Bible of Amiens, upon which he worked — ‘Pourtant, le rôle indispensable de Mme Proust […] n’a pas été reconnu publiquement par Proust’ (p. 262). This section, moreover, perspicaciously demonstrates that Proust ‘n’est pas le traducteur,mais “l’interprète” de Ruskin’ (p. 267), and that La Bible d’Amiens — a model forGamble’s own book? — is not only a translation but a polyphonic creation, the fruit of both Ruskin’s and Proust’s endeavours and whose reading requires ‘un mouvement incessant de l’œil et de l’oreille entre le canon de Ruskin, les commentaires de Ruskin et ceux de Proust’ (p. 272). The third section of the book brings this study to an elegant close by shedding light upon three figures distinctly associated with Proust: art collector René Gimpel, his son Jean Gimpel, and Sybil de Souza, author of one of the first doctoral theses devoted to Proust (L’Influence de Ruskin sur Proust (Montpellier: Imprimerie de la Manufacture de la Charité, 1932)). This final part reveals Gamble’s skill as a chronicler and presents the transcription of two valuable sets of documents: the ‘Cahier René Gimpel’ and fourteen letters De Souza addressed to Gamble between 1983 and 1991. If reading, as Proust suggests in the preface to his translation of Ruskin’s Sesame and Lilies, is a ‘miracle fécond d’une communication au sein de la solitude’ (Sésame et les lys(Paris: Societé du Mercure de France, 1906), p. 29), Gamble’s passionate study of these varied voices offers an ingenious polyphony in the midst of this same solitude.

In Covers Green and Gold: Fin-de-siècle Evelina

The first novel by Frances Burney, Evelina, Or, a Young Lady’s Entrance into the World, published in 1778, has enjoyed long-standing popularity, having never gone out of print in English. A distinct cluster of its editions appeared at the end of the 19th - beginning of the 20th century. This period in book history was marked by the creative work of private-press book designers, printers, binders, and illustrators inspired by the Aestheticism, Arts and Crafts, and Art Nouveau movements. Even though their pioneering work was destined for narrow circles of collectors and connoisseurs, it profoundly influenced the development of both industrial and artists’ book design, heightening the awareness of books’ aesthetic appeal. The fin de siècle was a time of nostalgia for idealized pre-industrial society, symptomatic of Victorian and Edwardian escapism, which found its expression in lavish book ornaments and illustrations executed in the Directoire and Louis XVI styles. Late 19th - early 20th-century Evelinas, illustrated and decorated by Aubrey Beardsley, Arthur Rackham, and Hugh Thomson, produced by Dent, Newnes, and Macmillan, reflect a profound influence that innovative private presses had on general publishing practices and the quality of industrially produced books. These Evelinas, beautifully illustrated, bound in decorative covers, and well-printed, exemplify both the newly awakened interest in the book’s physical make-up and aesthetical aspects and the late-Victorian and Edwardian escapist nostalgia characteristic of fin de siècle publishing.

RENEWAL OF THE GREEK ILLUSTRATED CHILDREN’S BOOK DURING THE METAPOLITEFSI

With the restoration of democracy in Greece in 1974 a period of transition began, known as metapolitefsi, which saw deep political, social and economic changes. Progressive developments also occurred in art, culture and education. The rules of the new pedagogy affected the field of literature and more specifically children’s illustrated books. Thus, writers departed from the old conservative models, dominated by protectionism and superficial idealism. Instead, they introduced political, social and environmental concerns, while the language became friendlier and modern. At the same time, illustrators such as Kyritsopoulos, Zarampouka, Fakinou, Maroulakis, Psaraki a.s.o., begin to move away from the dry literalness and naive realism of most of their predecessors. They draw on a wide range of sources, from cartoons to abstraction and from Art Nouveau to Pop Art, they experiment with techniques never before used in Greek book illustration, and use innovative symbolism to convey textual meanings. Their style becomes intimate, imaginative and humorous. Pictures are no longer a merely decorative accompaniment to the text which is particularly important. They often cover the entire surface of the page, and play a decisive role in the development of the story. In short, they become central to the experience of the book. It is no coincidence that the young illustrators of the 70s and 80s often wrote their own texts. Typography, too, escapes from strict rules. Handwritten lettering, previously unheard of in Greek books, is often used on covers and title pages. Overall, during the early years of the Greek metapolitefsi, children’s illustrated books changed radically and caught up with international developments. The predictable layout and obvious didacticism of previous decades, especially during the military junta (1967-1974), gave way to sophistication, sensitivity and wit, fresh and intelligent ways of introducing children to real-life social and ethical issues.

Brussels 1900 Vienna: Networks in Literature, Visual and Performing Arts, and Other Cultural Practices ed. by Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma

Reviewed by: Brussels 1900 Vienna: Networks in Literature, Visual and Performing Arts, and Other Cultural Practices ed. by Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma Mathias Meert Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma, eds., Brussels 1900 Vienna: Networks in Literature, Visual and Performing Arts, and Other Cultural Practices. Leiden, Boston: Brill Rodopi, 2022. 453 pp. Metropolitan reality plays a key role in the study of modernity: the development of urban life in turn-of-the-century Europe affected literary and artistic movements across the continent and facilitated mobility and cultural [End Page 79] exchanges in and through various networks. Research has highlighted the importance of the major European capitals in this regard, often strengthening the view of Paris as the centre of Europe's rapidly evolving cultural life at the end of the nineteenth century. Nonetheless, other centers also existed and contributed significantly to the development of European modernism. In their edited volume Brussels 1900 Vienna, Piet Defraeye, Helga Mitterbauer, and Chris Reyns-Chikuma focus on the importance of networks, dispositions, and connections between Brussels and Vienna, seeking to deepen and extend the research that has been done on the internationalism of the Belgian-Austrian axis. As the editors emphasize in their highly informative introduction, the complexity of European development of the fine arts in modernity cannot be grasped through a binary, center-periphery model: relations and developments in literature, music, and the visual and performing arts ultimately take shape in "networks with many ties of diverse quality" (2). The central concept of the network informs the research perspective of the overall volume and several of its collected contributions, both on a thematic and methodological level. The volume brings together sixteen contributions on various aspects of the Brussels-Vienna axis, which are divided into five sections. Besides the introduction, the volume also features a handy index with names, topics, and places. The first section ("Staging Modernisms") brings together research on key figures from European Modernism such as Maeterlinck, Hofmannsthal, and the retheatricalization movement (Anke Bosse), the critical reception of Maeterlinck's plays in Vienna (Sigurd Paul Scheichl), and the understudied reception of Schnitzler's plays in Belgium (Piet Defraeye). The second section ("Transpositions") focuses on aspects of reception and literary exchanges (Hubert Roland), Stefan Zweig's translations of Emile Verhaeren's poetry (Norbert Bachleitner), concepts of exoticism in Brussels and Vienna (Szilvia Ritz), and the relationship between Musil's novel The Man without Qualities and Art Nouveau (Aniel Guxholli). The third section ("Transformations") shifts the focus to visual arts and architecture, with contributions on the reception of Belgian art in the Viennese Secession (Inga Rossi-Schrimpf) and the role of the Belgian "other modernity" in Viennese art criticism (Sylvie Arlaud). Contributions on the understudied topic of child art, primitivism and partronage (Megan Brandow-Faller), on the Belgian symbolist painter Fernand Khnopff (Clément Dessy), and Frans Masereel's transnational visual narratives (Chris Reyns-Chikuma) also showcase the importance of [End Page 80] the various transformations taking place in the arts at the time. In the fourth section ("Resonances"), the research focuses on Vienna and Brussels as cities of music, with contributions on La Jeune Belgique and Arnold Schoenberg's well-known Pierrot Lunaire (Alexander Carpenter) and the strong tradition of violin music in Brussels, Liège, and Vienna from the nineteenth century onward (Guillaume Tardif). In the final section ("Café and Psyche"), the contributions touch upon the broader cultural networks that inform the rapidly urbanizing societies in Brussels and Vienna, respectively, with a focus on fin-de-siècle café life in Vienna and Brussels (Hans Vandevoorde) and on the international expansion (and professionalization) of psychoanalysis through translated works of Julien Varendonck and Anna Freud (Birgit Lang). While the titles of some of the sections may conceptually overlap (transposition, transformation, resonances), the various case studies nonetheless showcase a broad, complex, and diverse panorama of Belgian, Austrian, and European art. The studied corpus covers the era from the late 1880s to the early 1930s and performs multiple crossings: it not only crosses political, national, and linguistic borders but is also fundamentally intermedial, involving among others magazines, translations of (literary) texts, performances, reproductions of art, concerts, exhibitions, and so...

Károly Kós. Henri Godbarge

AbstractKároly Kós and Henri Godbarge were both architects with strong ideas on local roots. Following the Arts & Craft and Art nouveau movements, they respectively contributed to the Transylvanism and néo-basque styles, which have many things in commun, particularly a special connection to the Orient(s), to social and family realities and to the ancestors.

Pojem secese v české literární vědě

The presented study deals with the concept of Art Nouveau in Czech literary studies. In the first part, we try to outline the meaning that literary critics assigned to the term Art Nouveau at the turn of the 19th and 20th centuries, when this term first began to appear in the Czech language environment. In the second part, we introduce the basic approaches to the term Art Nouveau, which numerous literary historians have applied in their works in many variations over the years. The aim of the paper is to point out the ambiguity of the term Art Nouveau, the core of which lies in the insufficient distinction between the original meaning of the term(from the turn of the 19th and 20th centuries) and the later meanings that literary historians began to ascribe to it. The aim of the thesis is also to infer criteria from the presented analyses and interpretations, the observance of which would lead to a clearer usage of the term Art Nouveau and, consequently, to its introduction as a justified literary-historical category

Characterization of Mortar from Casa Barbot (Portugal), a Case Study from the Beginning of the 20th Century

The popularity of natural cement (Roman cement) in buildings from the late 19th and the beginning of the 20th century and the high diversity of characteristics of natural cement demand research of mortar and binders used in the buildings of this period in Portugal. Understanding the type of binder used in the historic buildings will help the project/intervention team to make the best decisions in terms of the development of compatible mortars for historical conservation purposes. Casa Barbot is one of the Art Nouveau examples of the beginning of the 20th century in Portugal. The garden of this building is characterized by peculiar elements in terms of materials and architecture. Full characterization of the mortars employed in the construction of this building as well as identification of the used binder is the main objective of this study. The study comprises a wide range of laboratory characterization techniques such as X-ray fluorescence (XRF), X-ray diffraction (XRD), petrography, open porosity, density, water absorption by capillarity, and compressive strength. The results show the diversity of compositional characteristics in the mortars used in the decorative elements in the period garden of Casa Barbot. All mortars are composed of Portland cement with a mix of additives such as blast furnace slag, limestone filler, air lime, and the occasional presence of charcoal. The results raise doubt about the use of natural cement as stated in the historical documents. This study will broaden the scientific knowledge of the materials of that period in Portugal to provide a comprehensive plan for the preservation of historical buildings.

Representation of the Baroque Style in the Decor of the Crimean Architecture of the Art Nouveau Period

The subject of the study is the characteristic of the Baroque style and the integration of its elements into the decor of the architecture of the Crimea of the Art Nouveau period. The object of the study is the architecture of the Crimea and its decor of the period of the late XIX – first third of the XX century. The research uses the methods of art criticism analysis of Baroque visual forms and their integration into modernity, the method of analysis of previous studies, the method of synthesis in conclusions regarding the connotations of Baroque symbolism. The author considers such aspects of the topic as: a general overview of the origin of the Baroque style; features of the architecture of the Crimean Art Nouveau; integration of Baroque elements into the decor of the Art Nouveau of the Crimea. The main conclusions of the study are: 1. The appearance of the Baroque style in architecture and decor is attributed by architectural historians to the XVII century. However, its origins should be sought in the Middle Ages, since many Baroque elements repeat Arabesques brought by the Crusaders to Europe. Baroque has established itself as a church and palace style. In turn, the Asia Minor (Turkish) Baroque was a synthesis of traditional Arab elements and Western European influence in the XVIII century. 2. The Art Nouveau style in architecture and its decor is a synthesis of various elements of previous styles, arbitrarily used by architects in accordance with their personal tastes, as well as with the wishes of customers. The basis of the Crimean Art Nouveau, represented in country villas, mansions, palaces, apartment buildings, is classicism, Renaissance and Mudekhar style, with the introduction of individual features into them with the help of decor. The use of Baroque elements enlivened the buildings, giving them an elegant, southern flavor. A special contribution of the author to the study of the topic is to clarify the periodization and origin of the Baroque style. The scientific novelty of the research lies in the fact that the author for the first time analyzed the decor of the architecture of the Crimea of the modern period, identified and analyzed the elements of the Baroque, their origin and role in the style of modernity.

АРХИТЕКТУРА МОДЕРНА В СОВРЕМЕННОМ ОБЛИКЕ ГОРОДОВ ЧУВАШИИ

Art Nouveau architecture attracts the interest of contemporary researchers with its formative natural elements, plastic ornament, decorative lines, and unique options complementing and organically fitting into the modern urban environment. The few buildings in medium and small towns with Art Nouveau features and links to the local architectural traditions, with their unique decorative elements, deserve special attention. This interest is primarily due to the aesthetic perception of architectural space, the study and preservation of modern monuments. Today, many buildings have lost their Art Nouveau decorative elements, and their original appearance has been changed as a result of alterations. The reason for such transformations were historical events that significantly influenced the architectural image of the towns. The analysis of Art Nouveau architecture in the towns of the Chuvash Republic, such as Cheboksary, Alatyr, and Yadrin, reveals the distinctive features of compositional solutions and decorative finishing of buildings, as well as changes in their image. The study relies on the architecture of the mansions of the merchants Yefremov in Cheboksary, the houses of the timber dealer Burashnikov and the merchant Talantsev in Yadrin, and the consumer culture buildings in Alatyr. Based on the study of Art Nouveau architecture, the authors try to show the irreversible changes made to the original appearance of the buildings by some reconstructions, and identify the problem of preserving the architectural heritage of the Art Nouveau style in the cities of the Chuvash Republic.

Nancy Art Nouveau Architecture

Abstract The north-eastern French city of Nancy is one of the centres of Art Nouveau. It has been analysed in detail in many classical reviews Art Nouveau, but mainly in relation to decorative applied art works produced at the Nancy School of Art. The study pays attention also to the Nancy architecture. The architectural and artistic qualities of the iconic Art Nouveau architectural monument Villa L. Majorelle are analysed in detail, and the basic data about works of É. André, H. Gutton, J. Hornecker, L. Weissenburger, and other Nancy architects are systematized, indicating their place both in the cityscape of Nancy and in the historical context of Art Nouveau architecture in general.

Decorative Elements in the Composition of Facades of Wooden Art Nouveau Buzuluk 19th–20th Centuries

Buzuluk is a small town, part of the Orenburg region, located on the border of the Samara and Orenburg regions, next to the unique forest area of the Buzuluksky Bor National Park. Traditionally, the main building material in these places was pine wood — a relatively light and affordable material in processing technology. The development of scientific and technological progress, the formation of industry and economy, capital accumulation of the late 19th — early 20th centuries. during this period, it contributed to the active construction of cities and, as a result, the population growth in them. The new “Art Nouveau” style, developing during this period in large cities, spread to the outskirts of the Russian Empire, but in a modified, adapted form. So, Buzuluk today is almost the only city in Russia that demonstrates an example of mass wooden buildings in the Art Nouveau style of the turn of the 19th–20th centuries. A number of scientists were engaged in the study of wooden structures of the regional center of Buzuluk and the cities of the Southern Urals, but none of them considered specific decorative elements that became the basis for the formation of variable ornamental compositions of wooden modern facades of the turn of the 19th–20th centuries, which confirms the relevance of this study. The result of the study is also a description of the artistic, compositional, stylistic and semantic features of the ornamental decor of the Art Nouveau style of the city of Buzuluk. The stylistics of the ornamental compositions of the facades of the wooden architecture of Buzuluk shows the phenomenon of contradiction characteristic of the symbolistic trend of modernity, combining the synthesis of symmetry and asymmetry in the organization of the composition of facades and ornamental motifs, mixing the symbolism of modernity with folk traditional elements. The material is supplemented with graphic reconstructions of residential buildings, which make it possible to determine the principles of compositional construction of ornamental decor.

Less Known Art Nouveau: Orleans, Dunkirk, Lille

Abstract Art Nouveau architecture during the last century experienced drastic change of attitude – from complete denial to glorification. However, many publications still repeat the same stereotypes of style assessment, focusing on the decorative layer as the seemingly main feature of style. Some significant values of Art Nouveau heritage are still only partially or incompletely recognized. In this paper, several less known examples of Art Nouveau heritage in France, in particular, in the cities of Orléans, Dunkirk and Lille are analysed. The architectural-artistic qualities of these buildings are revealed in the context of both French and wider cultural heritage. Art Nouveau, having been the origin and basis of the entire stylistic system of modern architecture, completely meets the principles of contemporary Baukultur ideas.

Oto fon Mauderodės spaudiniai LMA Vrublevskių bibliotekoje / Otto von Mauderode’s Publications in the Wroblewski Library of the Lithuanian Academy of Sciences

2022 marked the 170th birth anniversary of one of the leading 19th-century Lithuanian printers, Otto von Mauderode (1852–1909). To celebrate this occasion, the Wroblewski Library of the Lithuanian Academy of Sciences, from May 30 to June 30, 2022, ran an exhibition in his honour. The exhibits consisted of publications held by the Library: books, brochures, periodicals, proclamations, and maps. Von Mauderode’s printing house left a meaningful mark in the history of Lithuanian books. It produced almost all key Lithuanian publications of Lithuania Minor as well as about 800 publications intended for Lithuania Major. One of the main publishers printing Lithuanian books in Latin script (counterfeit publications) during the press ban, von Mauderode was known for his high standards in printing quality, especially in the artistic book design. He closely cooperated with various early-20th-century Lithuanian and American Lithuanian publishing houses, editorial offices, and bookstores (for instance, Marija Šlapelienė’s Vilnius shop) and was also involved in the trade of Lithuanian books, owning a bookstore that sold not only his own, but also other publishers’ publications. The versatile activities of von Mauderode’s firm were recognized with various awards. This paper aims to discuss von Mauderode’path towards the image of “the prince among printers” and to look into his publications kept in the Library based on the materials displayed at the exhibition. The Library’s collection of several hundred publications testifies to a broad scope of production and a high quality of published matter of von Mauderode’s firm. Keywords: Otto von Mauderode; history of printing; published matter; Tilsit; Lithuania Minor; Lithuania Major; press ban; counterfeit publications; periodicals; Vydūnas; art nouveau; Adomas Brakas; Vincas Kudirka; The Wroblewski Library of the Lithuanian Academy of Sciences.