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Rarely has a subject been served by a book of this stature. Five years in the making, it covers all aspects of Art Nouveau in France in 624 authoritative pages and 740 illustrations. Arwas traces the evolution of the movement as it developed, primarily in Nancy and Paris, with the help of carefully chosen illustrations, many never published before. Ranging from the 1900 Paris exhibition to paintings, graphics and posters and such collecting fields as furniture, jewellery, ceramics, book bindings and sculpture, the informative, witty text ranges over architecture, haute couture, and the role of women in Art Nouveau with a particular look at such theatrical icons as Sarah Bernhardt, Loïe Fuller and the Grandes Horizontales. Destined to become the standard book on the subject, both content and design will appeal widely to the connoisseur, the specialist and the collector, as well as to the novice who will be introduced to the magical wonders of the style.
This catalogue covers around 200 pieces of jewellery dating from the 1850s to the 1980s, products of the American company Tiffany & Co. The essays chart the early years of the store, its transformation into a world leader and its re-establishment as a worldwide brand after 1945.
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Among the world's greatest technological and imaginative achievements is the invention and development of the timepiece. Examining for the first time The Metropolitan Museum of Art's unparalleled collection of European clocks and watches created from the late Renaissance through the nineteenth century, this fascinating book enriches our understanding of the origins and evolution of these ingenious works. It showcases fifty-four clocks, watches, and other timekeeping devices, each represented with an in-depth description and new photography of the exterior and the inner mechanisms. Among these masterpieces is an ornate sixteenth-century celestial timepiece that accurately predicts the traject...
This volume catalogues more than 400 decorative objects in the Robert Lehman Collection at The Metropolitan Museum of Art, including painted enamels, snuffboxes, porcelain, pottery, ceramics, jewellery, furniture, cast metal, and textiles from throughout Europe and Asia, with the majority dating from the late seventh century to the 20th century.
First published in 1998. Design reform in the fields of architecture and the decorative or applied arts became objectified through writings published during the period of 1885 to 1910. This investigation includes, but is not limited to, Art Nouveau in France and Belgium, and the arts and crafts movement in England and the United States. Even though the similar processes of creativity and shared goals of Art Nouveau and the arts and crafts movement have long been recognized, attempts to explore their origins and their points of interrelation with the broader scope of art history have been largely unsuccessful—until now.
Once the State-run Salon in Paris closed, an array of independent Salons mushroomed starting with the French Artists Salon and Women’s Salon in 1881 followed by the Independent Artists’ Salon, National Salon of Fine Arts and Autumn Salon. Offering an unparalleled choice of art identities and alliances, together with undreamed-of opportunities for sales, commissions, prizes and art criticism, these great Salons guaranteed the centripetal and centrifugal power of Paris as the “modern art centre”. Lured by the prospect of being exhibited annually in Salons the size of Biennales today, a huge number and national diversity of artists, from the Australian Rupert Bunny to the Spaniards Pabl...