Art Nouveau: An Art Of Transition-from Individualism To Mass Society

right): Lötz-Austria, Luster glass, ca. 1900; Royal Saxon Porcelain Works, Meissen, Gravy boat, ca. 1900; Engelbert Kayser, Cookie tin, Hans Hans Schwegerle, Amourous Faun Scharvogel, Small vase, ca. 1905; Candelabra, ca. 1900; 1902; Johann Julius Christiansen, Drinking glasses, ca. 1900; (sculpture), 1902; Richard Riemerschmid, Pitcher, Engelbert Kayser, 1910; Michael ca. Povolny, Spring (porcelain sculpture from a series of the Seasons), 1908 126 ^ •;; m Richard Riemerschmid, Behrens. These Eckmann, and Peter Workshops for Arts from English models. It was Otto Endeil, established the United artists and Crafts, which took their direction also the group's goal to obliterate the distinctions that separated fine art from applied art. Pankok was the antipode of the group, which was otherwise oriented toward principles of functionality and realism. His furniture revealed the influence of art nouveau in its almost classical abundance of inventive detail. In their basic conception, Pankok's pieces resemble the sculpted effect of Majorelle's works. For Riemerschmid, on the other hand, "the technical, architectural experience" was all-important. However, structural inspiration was combined with the artist's profound love for the folk art of Upper Bavaria, and the two elements merged to give rise to a unique, inimitable style. Riemerschmid created numerous stoneware vessels characterized by sparse decoration. The roundness of a jug (fig. 72) itself becomes a simple and dynamic ornament that is in perfect harmony with the function of the object. Riemerschmid's interior decoration, which took into account all aspects of human life and its concomitant necessities, was exemplary. In this room, a new kind of eating was necessary. In a room like this, one has to sit differently. New movements and new kinds of conversation arise. This leads to new forms of social relationships, indeed, to a new kind of society altogether ... in which the stiff dignity and conventionality of the old generation are gone, replaced by a younger generation that is forward-looking and dresses in sporty clothing. A man is a gentleman but not a company director. He has intellect but has cast aside the title of professor. This style promotes a new kind of intellectuality and a new kind of class system. (Kurt Bauch) Riemerschmid created the his most unified work in the construction of Munich Chamber Theater. Peter Behrens, who was called to probably the most "modern" Originally trained as a painter, demanded of the new in 1900, was Munich group. Darmstadt member of the he met all the requirements craftsman. Behrens was equally secure as an architect, sculptor, graphic designer, book illustrator, calligrapher, and glass artist. His graphics are clearly influenced by Japanese models and produce a reserved and elegant rather than a floral 128 75 Thomas Theodor Heine, "Devil" (poster). Ca. 1895 129 ^3^ JfrkL **&Jt iW^J effect. 76 Bruno Paul, Caricature from Simplicissimus. 1901 Behrens combined an almost ascetic estheticism with a new forms. His later works clearly reveal the dominant search for influence of the "construction principle" as described above. In 1907 Behrens became an <