Editing Art Nouveau (section)

===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}}