Art Nouveau, as it relates to the countries of Belgium, France, and Germany, had a special emphasis on the repetition of curvilinear lines that create a whip lashing motion. This energy is often portrayed through line and form in both architecture and fine arts. “To an even greater degree than others before them, Art Nouveau sees no separation between the fine arts of painting, sculpture, architecture, and the decorative arts, such as glass ceramics, and furniture,” (Harwood v.2 pg.85).
This lack of separation can be seen in graphic mural like ornament seen in Victor Horta’s Hotel Tassel, and the floral print on the wall and in “Desert Harmony in Red” by Matisse. Both of these display a naturalistic vine-like pattern as a means of decoration on the walls. Although both use this pattern in a graphic way, Horta makes use of this motif in a more holistic and unified way. He uses these shapes as forms for capitols of columns, banister railings, and wall/floor decorations.
Hector Guimard’s entrance hall to the Castle Beranger Apartments in France picks up on the influences from both Matisse and Giacomo Balla’s “Dog on a Lead”. The vine-like tendrils on the upper part of the gate reflect the same wall pattern from Matisse’s work, while the evenly spaced bars on the middle portion give reference to a rhythm and a sense of time, which is a key component of Balla’s work.
The work of August Endell is also of chief resemblance to the work of Balla and Duchamp. In his staircase and hall, of Atelier Elvira in Germany, Endell has a lamp that shows radiating lines for each branch on which a single bulb is placed. This reminded me of the way the legs and tail of Balla’s dog is drawn to show movement. In this same way Duchamp also shows movement through the repetition of geometric lines in his “Nude Descending .a Staircase.” This can be clearly seen in the repetition of geometric lines, as seen in the legs and knees of the model as she descends the stairs.
Massey pg.46
Harwood pg. 85
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