Dictionary
Belgian Art Nouveau
Belgium's stable economic situation, which had already been beneficial to the development of art since the middle of the 19th century, and its strategically advantageous position between England and France, made the young monarchy one of the most important centers of Art Nouveau. Belgium was the mediator between the British Islands and the continent, whereas influences from both directions could be observed in Brussels, the country's artistic center.
The work of Belgium's most important Art Nouveau architect Victor Horta (1861-1947), points up this symbiosis, his buildings also had a sustainable effect on international architecture. Horta and his inventive constructions of iron and glass made for quite a sensation. His main work, the house of Émile Tassel in Brussels (1893-95), where he applied the swung line, a characteristic feature of Art Nouveau, but not only as a means of decoration but also for the rooms' structure. The result of this dynamic conception are flowing transitions between the rooms, which emphasize the element's clear structure. The movement in architecture was characterized by tendrils on walls and floors, which was rather unlikely in French Art Nouveau, as it was rather reserved as far as ornaments were concerned. Plant stems and stipes were used as models, unlike in France, where leaves and blossoms were the main source of inspiration.
The abstraction of the line was continued by Henry van de Velde (1863-1957), a main representative of Belgian Art Nouveau. He set up the definition that was programmatic for the entire movement, "Art is life's most beautiful decoration ". This definition was in line with the concept of the British Arts and Crafts Movement, mostly with the idea of the Gesamtkunstwerk. Accordingly, Henry van de Velde was not only active as an architect, but also made interior decorations after his uniform concept which even comprised women's fashion. His works are characterized by an excellent line management, which, in his view, should trigger an inner movement within the observer. The line, detached from all vegetable and animal associations that could still be observed with Horta, should speak for itself. Van de Velde, who was active in Germany for some time, also had a major influence on the development of Art Nouveau in Germany.
Other important representatives of Art Nouveau in Belgium were the architects Paul Hankar and Gustave Serruier-Bovy as well as the sculptor and jewelry artist Philippe Wolfers.
Belgium's stable economic situation, which had already been beneficial to the development of art since the middle of the 19th century, and its strategically advantageous position between England and France, made the young monarchy one of the most important centers of Art Nouveau. Belgium was the mediator between the British Islands and the continent, whereas influences from both directions could be observed in Brussels, the country's artistic center.
The work of Belgium's most important Art Nouveau architect Victor Horta (1861-1947), points up this symbiosis, his buildings also had a sustainable effect on international architecture. Horta and his inventive constructions of iron and glass made for quite a sensation. His main work, the house of Émile Tassel in Brussels (1893-95), where he applied the swung line, a characteristic feature of Art Nouveau, but not only as a means of decoration but also for the rooms' structure. The result of this dynamic conception are flowing transitions between the rooms, which emphasize the element's clear structure. The movement in architecture was characterized by tendrils on walls and floors, which was rather unlikely in French Art Nouveau, as it was rather reserved as far as ornaments were concerned. Plant stems and stipes were used as models, unlike in France, where leaves and blossoms were the main source of inspiration.
The abstraction of the line was continued by Henry van de Velde (1863-1957), a main representative of Belgian Art Nouveau. He set up the definition that was programmatic for the entire movement, "Art is life's most beautiful decoration ". This definition was in line with the concept of the British Arts and Crafts Movement, mostly with the idea of the Gesamtkunstwerk. Accordingly, Henry van de Velde was not only active as an architect, but also made interior decorations after his uniform concept which even comprised women's fashion. His works are characterized by an excellent line management, which, in his view, should trigger an inner movement within the observer. The line, detached from all vegetable and animal associations that could still be observed with Horta, should speak for itself. Van de Velde, who was active in Germany for some time, also had a major influence on the development of Art Nouveau in Germany.
Other important representatives of Art Nouveau in Belgium were the architects Paul Hankar and Gustave Serruier-Bovy as well as the sculptor and jewelry artist Philippe Wolfers.
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