Примечания
1
The artistic sensibility of a people is first evident in its decorative arts and architecture.
2
The Studio, the Magazine of Art and L’Artiste were art magazines published in London and Paris. This type of publication proliferated in the late nineteenth century as the public showed renewed interest in the decorative arts. Art et décoration, first published in Paris in 1897, is another magazine in this tradition.
3
There were many English book illustrators (especially for children’s books): William Morris, Walter Crane, Sir J. Gilbert, Dante Gabriel Rossetti and Aubrey Beardsley. France had Eugène Grasset, Dinet and M. Leloir.
4
The school, which arose out of the work of Viollet le Duc, considered the architect as a project manager responsible for designing and harmonising construction, decoration and furnishings.
5
The asymmetrical and unsymmetrical furniture, the straight line broken by curved lines, these light supports, with their knots and curved tree trunks, are simultaneously inspired by Belgium, England and Japan.
To get an idea of the genesis of Art Nouveau in the decorative arts, add to these influences the School of Nancy (in particular, the glassmaker Emile Gallé) and the Danes of the Royal Copenhagen porcelain factory. It is to Gallé, among others, that we owe the plant stylisation that was most successful motif in glassware, ceramics and silver.
6
In joaillerie, the following should also be mentioned: Lucien Gaillard, Georges Fouquet, René Foy and Eugène Feuillâtre.
7
The exemplary William Morris’s tapestries, based on the cartoons of Sir Edward Burne-Jones, should also be included among the refined works that inspired Art Nouveau in England. Burne-Jones’s compositions were pure and severe, like noble and solemn music. Among his many talents, Burne-Jones had a profound feeling for decoration: one part of his work is completely decorative.
