Editing Art Nouveau (section)

==History==
{{For timeline}}

===Origins===
<gallery mode="packed" heights="180px">
File:Philip Webb's Red House in Upton.jpg|[[Red House, Bexleyheath|Red House]] in [[Bexleyheath]] ([[London]]) by [[William Morris]] and [[Philip Webb]] (1859)
File:Acteur als hoveling-Rijksmuseum AK-MAK-1601A.jpeg|Japanese woodblock print by [[Utagawa Kunisada]] (1850s)
File:The Peacock Room.jpg|''[[The Peacock Room]]'' by [[James McNeill Whistler]] (1876–77), now in the [[Freer Gallery of Art]], [[Washington, D.C.]]
File:Chair LACMA M.2009.115 (5 of 5).jpg|Chair designed by [[Arthur Mackmurdo]] (1882–83)
File:Morris Wey printed textile design c 1883.jpg|[[William Morris]] printed textile design (1883)
File:Swan and Rush and Iris wallpaper Walter Crane.jpg|Swan, rush and iris wallpaper design by [[Walter Crane]] (1883)
</gallery>

The new art movement had its roots in Britain, in the floral designs of [[William Morris]], and in the [[Arts and Crafts movement]] founded by the pupils of Morris. Early prototypes of the style include the [[Red House, Bexley|Red House]] with interiors by Morris and architecture by [[Philip Webb]] (1859), and the lavish [[Peacock Room]] by [[James Abbott McNeill Whistler]]. The new movement was also strongly influenced by the [[Pre-Raphaelite]] painters, including [[Dante Gabriel Rossetti]] and [[Edward Burne-Jones]], and especially by British graphic artists of the 1880s, including [[Selwyn Image]], [[Heywood Sumner]], [[Walter Crane]], [[Alfred Gilbert]], and especially [[Aubrey Beardsley]].<ref>Bouillon, Jean-Paul, ''Journal de l'Art Nouveau'' (1985), p. 6</ref> The chair designed by [[Arthur Mackmurdo]] has been recognized as a precursor of Art Nouveau design.<ref>{{cite web|url= https://collections.vam.ac.uk/item/O7926/chair-mackmurdo-arthur-heygate/|title=Chair &#124; Mackmurdo, Arthur Heygate &#124; V&A Explore the Collections|date=1883 |access-date=27 February 2020|archive-date=27 February 2020|archive-url= https://web.archive.org/web/20200227102543/https://collections.vam.ac.uk/item/O7926/chair-mackmurdo-arthur-heygate/|url-status=live}}</ref>

In France, it was influenced by the architectural theorist and historian [[Eugène Viollet-le-Duc]], a declared enemy of the historical [[Beaux-Arts architecture|Beaux-Arts architectural style]], whose theories on rationalism were derived from his study of [[medieval art]]:
* Function should define form.<ref>{{Cite book|last=Lingenheim|first=Claire|url= https://www.ac-strasbourg.fr/fileadmin/pedagogie/histoiredesarts/option/art_nouveau/5_industrie.pdf|title=Art nouveau and Industrie|publisher=Accadémie Strasbourg|language=fr|quote=Viollet le Duc is the spokesman a rationalist mouvement where architecture becomes a true science, in which form stems from function.|access-date=20 January 2022|archive-date=20 January 2022|archive-url= https://web.archive.org/web/20220120143245/https://www.ac-strasbourg.fr/fileadmin/pedagogie/histoiredesarts/option/art_nouveau/5_industrie.pdf|url-status=live}}</ref>
* Unity of the arts and the abolition of any distinction between major art (architecture) and minor arts (decorative arts).<ref>{{Cite book|last=Froissart-Pezone|first=Rossella|title=L'Art dans tout|publisher=CNRS éditions|date=2005|location=Paris}}</ref>
* Nature's logic is the model to be used for architecture.<ref>{{Cite journal|last=Recht|first=Roland|title=Viollet-le-Duc et Gottfried Semper: Conceptions du patrimoine monumental|journal=Revue Germanique Internationale|date=2000|issue=13|pages=155–168|doi=10.4000/rgi.780|url= https://journals.openedition.org/rgi/780|language=fr|quote=Nature as a model|access-date=20 January 2022|archive-date=20 January 2022|archive-url= https://web.archive.org/web/20220120143242/https://journals.openedition.org/rgi/780|url-status=live|doi-access=free}}</ref>
* Architecture should adapt itself to man's environment and needs.
* Use of modern technologies and materials.<ref>{{Cite book|last=Bressani|first=Martin|title=Viollet le Duc, materials and building techniques|publisher=Editions du Patrimoine|date=2014|location=Paris|language=fr|quote=Construction for an architect means using materials for their quality and their own nature}}</ref>
Viollet-le-Duc was himself a precursor of Art Nouveau: in 1851, at [[Notre-Dame de Paris]], he created a series of mural paintings typical of the style.<ref>{{Cite book|last=Pauliac|first=Laurence|title=Viollet-le-Duc et la restauration de la polychromie|publisher=Université de Montréal|date=2005|location=Montréal|language=fr|quote=It is fascinating to see how the style of his mural paintings at Notre Dame are precursors of Art Nouveau}}</ref> These paintings were removed in 1945 as deemed non academic. At the [[Château de Roquetaillade]] in the [[Bordeaux]] region, his interior decorations dating from 1865 also anticipate Art Nouveau. In his 1872 book ''Entretiens sur l'architecture'', he wrote, "Use the means and knowledge given to us by our times, without the intervening traditions which are no longer viable today, and in that way we can inaugurate a new architecture. For each function its material; for each material its form and its ornament."<ref>Viollet-le-Duc, ''Entretiens sur l'architecture''</ref> This book influenced a generation of architects, including [[Louis Sullivan]], [[Victor Horta]], [[Hector Guimard]], and [[Antoni Gaudí]].{{Sfn|Bouillon|1985|p=24}}

The French painters [[Maurice Denis]], [[Pierre Bonnard]] and [[Édouard Vuillard]] played an important part in integrating fine arts painting with decoration. "I believe that before everything a painting must decorate", Denis wrote in 1891. "The choice of subjects or scenes is nothing. It is by the value of tones, the coloured surface and the harmony of lines that I can reach the spirit and wake up the emotions."<ref>Interview in ''L'Écho de Paris'', 28 December 1891, cited in Bouillon (1985)</ref> These painters all did both traditional painting and decorative painting on screens, in glass, and in other media.{{Sfn|Bouillon|1985|p=26}}

Another important influence on the new style was [[Japonism]]. This was a wave of enthusiasm for [[Woodblock printing in Japan|Japanese]] [[woodblock printing]], particularly the works of [[Hiroshige]], [[Hokusai]], and [[Utagawa Kunisada]], which were imported into Europe beginning in the 1870s. The enterprising [[Siegfried Bing]] founded a monthly journal, ''Le Japon artistique'' in 1888, and published thirty-six issues before it ended in 1891. It influenced both collectors and artists, including [[Gustav Klimt]]. The stylised features of Japanese prints appeared in Art Nouveau graphics, porcelain, jewellery, and furniture. Since the beginning of 1860, a [[Far East]]ern influence suddenly manifested. In 1862, art lovers from London or Paris, could buy [[Japanese art]]works, because in that year, Japan appeared for the first time as an exhibitor at the [[1862 International Exhibition|International Exhibition]] in London. Also in 1862, in Paris, ''La Porte Chinoise'' store, on [[Rue de Rivoli]], was open, where Japanese [[ukiyo-e]] and other objects from the Far East were sold. In 1867, ''Examples of Chinese Ornaments'' by [[Owen Jones (architect)|Owen Jones]] appeared, and in 1870 ''Art and Industries in Japan'' by R. Alcock, and two years later, O. H. Moser and T. W. Cutler published books about Japanese art. Some Art Nouveau artists, like [[Victor Horta]], owned a collection of Far Eastern art, especially Japanese.<ref name="Madsen, S. Tschud" />

New technologies in printing and publishing allowed Art Nouveau to quickly reach a global audience. Art magazines, illustrated with photographs and colour [[lithographs]], played an essential role in popularizing the new style. ''[[The Studio (magazine)|The Studio]]'' in England, ''Arts et idèes'' and ''Art et décoration'' in France, and ''[[Jugend (magazine)|Jugend]]'' in Germany allowed the style to spread rapidly to all corners of Europe. [[Aubrey Beardsley]] in England, and [[Eugène Grasset]], [[Henri de Toulouse-Lautrec]], and [[Félix Vallotton]] achieved international recognition as illustrators.{{Sfn|Lahor|2007|p=30}}
With the posters by [[Jules Chéret]] for dancer [[Loie Fuller]] in 1893, and by [[Alphonse Mucha]] for actress [[Sarah Bernhardt]] in 1895, the poster became not just advertising, but an art form. Sarah Bernhardt set aside large numbers of her posters for sale to collectors.{{Sfn|Fahr-Becker|2015|pp=91–93}}

===Development – Brussels (1893–1898)===
{{Main|Art Nouveau in Brussels}}
<gallery mode="packed" heights="200px">
File:St-Gilles (Hankar) JPG01.jpg|[[Hankar House]] by [[Paul Hankar]] (1893)
File:Victor Horta Hotel Tassel.JPG|Façade of the [[Hôtel Tassel]] by [[Victor Horta]] (1892–93)
File:Tassel House stairway.JPG|Stairway of the Hôtel Tassel
File:Villa Bloemenwerf (front).JPG|[[Villa Bloemenwerf]] by [[Henry van de Velde]] (1895)
File:Henry van de Velde - Chair - 1895.jpg|Chair by Van de Velde for the Villa Bloemenwerf (1895)
File:International Exhibition Brussels par Privat-Livemont.jpg|Poster for the [[Brussels International Exposition (1897)|International Exposition]] by [[Privat Livemont]] (1897)
</gallery>

The first Art Nouveau town houses, the [[Hankar House]] by [[Paul Hankar]] (1893) and the [[Hôtel Tassel]] by [[Victor Horta]] (1892–1893),<ref name="britannica-horta" /><ref name="unesco-horta" /> were built almost simultaneously in [[Brussels]]. They were similar in their originality, but very different in their design and appearance.

Victor Horta was among the most influential architects of early Art Nouveau, and his Hôtel Tassel (1892–1893) in Brussels is one of the style's landmarks.<ref>Oudin, Bernard, ''Dictionnaiare des Architectes'' (1994), p. 237</ref><ref>Sembach, ''L'Art Nouveau'' p. 47</ref> Horta's architectural training was as an assistant to [[Alphonse Balat]], architect to [[Leopold II of Belgium|King Leopold II]], constructing the monumental iron and glass [[Royal Greenhouses of Laeken]].<ref name=":0">Culot and Pirlot, ''Bruxelles Art Nouveau'' (2005), pp. 74–75.</ref> He was a great admiror of [[Viollet-le-Duc]], with whose ideas he completely identified.<ref>{{Cite book|last=BEKAERT|first=GEERT|title=L'influence de Viollet-le-Duc sur l'architecture en Belgique et aux Pays-Bas vers 1900|publisher=Septentrion|date=1985|pages=38}}</ref><ref>{{Cite book |last=Horta |first=Victor |title=Discours de Victor Horta à l'Académie Royal de Belgique |date=1925}}</ref> In 1892–1893, he put this experience to a very different use. He designed the residence of a prominent Belgian chemist, Émile Tassel, on a very narrow and deep site. The central element of the house was the stairway, not enclosed by walls, but open, decorated with a curling wrought-iron railing, and placed beneath a high skylight. The floors were supported by slender iron columns like the trunks of trees. The mosaic floors and walls were decorated with delicate [[arabesque]]s in floral and vegetal forms, which became the most popular signature of the style.<ref>Sembach, ''L'Art Nouveau- L'Utopie de la Réconciliation'' (1991) pp. 46–47</ref>{{Sfn|Lahor|2007|p=127}} In a short period, Horta built three more town houses, all with open interiors, and all with skylights for maximum interior light: the [[Hôtel Solvay]], the [[Hôtel van Eetvelde]] (for [[Edmond van Eetvelde]]), and the [[Maison Horta|Maison & Atelier Horta]]. All four are now part of a [[UNESCO World Heritage Site]].

Paul Hankar was also an innovator of early Art Nouveau. Born at [[Frameries]], in [[Hainaut (province)|Hainaut]], the son of a master stone cutter, he had studied ornamental sculpture and decoration at the [[Académie Royale des Beaux-Arts|Royal Academy of Fine Arts]] in Brussels from 1873 to 1884, whilst working as an ornamental sculptor. From 1879 to 1894, he worked in the studio of the prominent architect [[Hendrik Beyaert|Henri Beyaert]], a master of [[eclectic architecture|eclectic]] and [[neoclassical architecture]]. Through Beyaert, Hankar also became an admirer of Viollet-le-Duc.{{sfn|Culot|Pirlot|2005|p=74}} In 1893, Hankar designed and built the Hankar House, his own residence in Brussels. With a goal to create a synthesis of fine arts and decorative arts, he brought together the sculptor René Janssens and the painter [[Albert Ciamberlani]] to decorate the interior and exterior with [[sgraffiti]], or murals. The façade and balconies featured iron decoration and curling lines in stylised floral patterns, which became an important feature of Art Nouveau. Based on this model, he built several houses for his artist friends. He also designed a series of innovative glass display windows for Brussels shops, restaurants and galleries, in what a local critic called "a veritable delirium of originality".{{sfn|Culot|Pirlot|2005|p=74–75}} He died in 1901, just as the movement was beginning to receive recognition.{{Sfn|Fahr-Becker|2015|p=143}}

[[Henry van de Velde]], born in [[Antwerp]], was another founding figure in the birth of Art Nouveau. Van de Velde's designs included the interior of his residence in Brussels, the [[Villa Bloemenwerf]] (1895).<ref>{{cite book |last=Sachar |first=Brian |date=1984 |title=An Atlas of European Architecture|publisher=Van Nostrand Reinhold |page=[https://archive.org/details/atlasofeuropeana0000sach/page/27 27] |isbn=978-0-4422-8149-6 |url= https://archive.org/details/atlasofeuropeana0000sach/page/27}}</ref><ref>{{cite book |last=Champigneulle |first=Bernard |date=1976 |title=Art Nouveau|publisher=Barron's Educational Series |pages=115, 121 |isbn=978-0-8120-5111-7}}</ref> The exterior of the house was inspired by the [[Red House, Bexleyheath|Red House]], the residence of writer and theorist [[William Morris]], the founder of the [[Arts and Crafts movement]]. Trained as a painter, Van de Velde turned to illustration, then to furniture design, and finally to architecture. For the Villa Bloemenwerf, he created the textiles, wallpaper, silverware, jewellery, and even clothing, that matched the style of the residence.<ref>Cite web [https://whc.unesco.org/pg.cfm?cid=326&l=en&id=5356 Unesco website] {{Webarchive|url= https://web.archive.org/web/20200528224848/http://whc.unesco.org/pg.cfm?cid=326&l=en&id=5356 |date=28 May 2020}}</ref> Van de Velde went to Paris, where he designed furniture and decoration for the German-French [[art dealer]] [[Siegfried Bing]], whose Paris gallery gave the style its name. He was also an early Art Nouveau theorist, demanding the use of dynamic, often opposing lines. Van de Velde wrote: "A line is a force like all the other elementary forces. Several lines put together but opposed have a presence as strong as several forces". In 1906, he departed Belgium for [[Weimar]] (Germany), where he founded the Grand-Ducal School of Arts and Crafts, where the teaching of historical styles was forbidden. He played an important role in the [[German Werkbund]], before returning to Belgium.<ref>Culot and Pirlot (2005), p. 20</ref>

The debut of Art Nouveau architecture in Brussels was accompanied by a wave of Decorative Art in the new style. Important artists included [[Gustave Strauven]], who used wrought iron to achieve baroque effects on Brussels façades; the furniture designer [[Gustave Serrurier-Bovy]], known for his highly original chairs and articulated metal furniture; and the jewellery designer [[Philippe Wolfers]], who made jewellery in the form of dragonflies, butterflies, swans and serpents.{{Sfn|Fahr-Becker|2015|p=152}}

The [[Brussels International Exposition (1897)|Brussels International Exposition]] held in 1897 brought international attention to the style; Horta, Hankar, Van de Velde, and Serrurier-Bovy, among others, took part in the design of the fair, and [[Henri Privat-Livemont]] created the poster for the exhibition.

===Paris – Maison de l'Art Nouveau (1895) and Castel Beranger (1895–1898)===
<gallery mode="packed" heights="200px">
File:Art nouveau publicité galerie Samuel Bing Paris 1895.jpg|[[Siegfried Bing]] invited artists to show modern works in his new Maison de l'Art Nouveau (1895).
File:Galeries Bing entrée rue de Provence.jpg|The Maison de l'Art Nouveau gallery of Siegfried Bing (1895)
File:Vallotton pour Bing.jpg|Poster by [[Félix Vallotton]] for the new Maison de l'Art Nouveau (1896)
File:Castel Béranger, February 16, 2013.jpg|Gateway of the [[Castel Béranger]] by [[Hector Guimard]] (1895–1898)
File:Paris - Castel Béranger (30001340011).jpg|[[Breezeway]] of the Castel Béranger, with wall plates by [[Alexandre Bigot]]
File:Lescalier principal du Castel Béranger (Hector Guimard) (5478779855).jpg|Detail of main stairway of the Castel Béranger
</gallery>

The Franco-German art dealer and publisher [[Siegfried Bing]] played a key role in publicizing the style. In 1891, he founded a magazine devoted to the art of Japan, which helped publicize [[Japonism]] in Europe. In 1892, he organized an exhibit of seven artists, among them [[Pierre Bonnard]], [[Félix Vallotton]], [[Édouard Vuillard]], [[Toulouse-Lautrec]] and [[Eugène Grasset]], which included both modern painting and decorative work. This exhibition was shown at the [[Société Nationale des Beaux-Arts|Société nationale des beaux-arts]] in 1895. In the same year, Bing opened a new gallery at [[Rue de Provence|22 rue de Provence]] in Paris, the [[Maison de l'Art Nouveau]], devoted to new works in both the fine and decorative arts. The interior and furniture of the gallery were designed by the Belgian architect [[Henry van de Velde]], one of the pioneers of Art Nouveau architecture. The ''Maison de l'Art Nouveau'' showed paintings by [[Georges Seurat]], [[Paul Signac]] and [[Toulouse-Lautrec]], glass from [[Louis Comfort Tiffany]] and [[Émile Gallé]], jewellery by [[René Lalique]], and posters by [[Aubrey Beardsley]]. The works shown there were not at all uniform in style. Bing wrote in 1902, "Art Nouveau, at the time of its creation, did not aspire in any way to have the honor of becoming a generic term. It was simply the name of a house opened as a rallying point for all the young and ardent artists impatient to show the modernity of their tendencies."{{Sfn|Bouillon|1985}}

The style was quickly noticed in neighbouring France. After visiting Horta's Hôtel Tassel, [[Hector Guimard]] built the [[Castel Béranger]], among the first Paris buildings in the new style, between 1895 and 1898.{{refn|group=nb|By some researchers Hôtel Jassedé (1893) is also attributed to Art Nouveau<ref>[https://art.nouveau.world/hector-guimard Hector Guimard] {{Webarchive|url= https://web.archive.org/web/20210225030004/https://art.nouveau.world/hector-guimard |date=25 February 2021}} – Art Nouveau World</ref>|note}} Parisians had been complaining of the monotony of the architecture of the boulevards built under [[Napoleon III]] by [[Georges-Eugène Haussmann]].  The Castel Beranger was a curious blend of Neo-Gothic and Art Nouveau, with curving [[whiplash (decorative art)|whiplash]] lines and natural forms. Guimard, a skilled publicist for his work,  declared: "What must be avoided at all cost is...the parallel and symmetry. Nature is the greatest builder of all,  and nature makes nothing that is parallel and nothing that is symmetric."{{Sfn|Fahr-Becker|2015|p=74}}

Parisians welcomed Guimard's original and picturesque style; the Castel Béranger was chosen as one of the best new façades in Paris, launching Guimard's career.  Guimard was given the commission to design the entrances for the new [[Paris Métro]] system, which brought the style to the attention of the millions of visitors to the city's 1900 {{lang|fr|[[Exposition Universelle (1900)|Exposition Universelle]]}}.<ref name="Gontar, Cybele 2006" />

===Paris ''Exposition Universelle'' (1900)===
{{Main|Exposition Universelle (1900)}}
<gallery mode="packed" heights="200px">
File:Grand entrance, Exposition Universal, 1900, Paris, France.jpg|Main entrance to the Paris [[Exposition Universelle (1900)|1900 ''Exposition Universelle'']]
File:The Bigot-pavilion at the Paris Universal Exposition, 1900.jpg|The Bigot Pavilion, showcasing the work of ceramics artist [[Alexandre Bigot]]
File:Paris Exposition Austrian Pavilion, Paris, France, 1900.jpg|Entrance to the Austrian Pavilion, with exhibits designed by [[Josef Hoffmann]]
File:Traubensaal.jpg|The German Pavilion, designed by [[Bruno Möhring]]
Paris Metro 2 Porte Dauphine Libellule.JPG|Paris metro station entrance at [[Porte Dauphine (Paris Métro)|Porte Dauphine]] designed by [[Hector Guimard]]
File:Finland paviljong.jpg|The Finnish Pavilion, designed by [[Armas Lindgren]] and [[Eliel Saarinen]]
File:Menu for Bosnia Pavillion by Alfons Mucha 1900.jpg|Menu designed by [[Alphonse Mucha]] for the restaurant of the Bosnian Pavilion
File:Portique Sèvres, square Félix-Desruelles, Paris 6e.jpg|Portico of the [[Sevres Porcelain]] Pavilion, now on Square Félix-Desruelles
</gallery>

The Paris 1900 [[Exposition Universelle (1900)|''Exposition universelle'']] marked the high point of Art Nouveau. Between April and November 1900, it attracted nearly fifty million visitors from around the world, and showcased the architecture, design, glassware, furniture and decorative objects of the style. The architecture of the Exposition was often a mixture of Art Nouveau and [[Beaux-Arts architecture]]: the main exhibit hall, the [[Grand Palais]] had a Beaux-Arts façade completely unrelated to the spectacular Art Nouveau stairway and exhibit hall in the interior.

French designers all made special works for the Exhibition: [[Lalique]] crystal and jewellery; jewellery by [[Henri Vever]] and [[Georges Fouquet]]; [[Daum (studio)|Daum]] glass; the [[Manufacture nationale de Sèvres]] in [[porcelain]]; ceramics by [[Alexandre Bigot]]; sculpted glass lamps and vases by [[Émile Gallé]]; furniture by [[Edward Colonna|Édouard Colonna]] and [[Louis Majorelle]]; and many other prominent arts and crafts firms. At the 1900 Paris Exposition, [[Siegfried Bing]] presented a pavilion called '' Art Nouveau Bing'', which featured six different interiors entirely decorated in the Style.<ref>Martin Eidelberg and Suzanne Henrion-Giele, "Horta and Bing: An Unwritten Episode of L'Art Nouveau", ''The Burlington Magazine'', vol. 119, Special Issue Devoted to European Art Since 1890 (Nov. 1977), pp. 747–752.</ref><ref>Duncan (1994), pp. 15–16, 25–27.</ref>

The Exposition was the first international showcase for Art Nouveau designers and artists from across Europe and beyond. Prize winners and participants included [[Alphonse Mucha]], who made murals for the pavilion of [[Bosnia-Herzegovina]] and designed the menu for the restaurant of the pavilion; the decorators and designers [[Bruno Paul]] and [[Bruno Möhring]] from Berlin; [[Carlo Bugatti]] from [[Turin]]; Bernhardt Pankok from [[Bavaria]]; The Russian architect-designer [[Fyodor Schechtel]], and [[Louis Comfort Tiffany]] and Company from the United States.{{Sfn|Fahr-Becker|2015|pp=391–413}} The Viennese architect [[Otto Wagner]] was a member of the jury, and presented a model of the Art Nouveau bathroom of his own town apartment in Vienna, featuring a glass bathtub.<ref>Sarnitz, August, ''Otto Wagner'' (2018), pp. 49–50</ref> [[Josef Hoffmann]] designed the Viennese exhibit at the Paris exposition, highlighting the designs of the [[Vienna Secession]].<ref>Sarnitz, August, ''Hoffmann'', (2016), p. 14</ref> [[Eliel Saarinen]] first won international recognition for his imaginative design of the pavilion of Finland.{{Sfn|Fahr-Becker|2015|pp=296–27}}

While the Paris Exposition was by far the largest, other expositions did much to popularize the style. The [[1888 Barcelona Universal Exposition]] marked the beginning of the [[Modernisme]] style in Spain, with some buildings of [[Lluís Domènech i Montaner]]. The ''[[Esposizione Internazionale d'Arte Decorativa Moderna (1902)|Esposizione internazionale d'arte decorativa moderna]]'' of 1902 in Turin, Italy, showcased designers from across Europe, including [[Victor Horta]] from Belgium and [[Joseph Maria Olbrich]] from Vienna, along with local artists such as [[Carlo Bugatti]], [[Galileo Chini]] and [[Eugenio Quarti]].{{Sfn|Fahr-Becker|2015|pp=179–188}}