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Art Nouveau posters and graphic arts flourished and became an important vehicle of the style, thanks to the new technologies of color lithography and color printing, which allowed the creation of and distribution of the style to a vast audience in Europe, the United States and beyond. Art was no longer confined to art galleries, but could be ...
The Federal Art Project (1935–1943) of the Works Progress Administration was the largest of the New Deal art projects. [1] As many as 10,000 artists [2] were employed to create murals, easel paintings, sculpture, graphic art, posters, photography, Index of American Design documentation, theatre scenic design, and arts and crafts. [3]
The name was popularized by the Maison de l'Art Nouveau ('House of the New Art'), an art gallery opened in Paris in 1895 by the Franco-German art dealer Siegfried Bing. In Britain, the French term Art Nouveau was commonly used, while in France, it was often called by the term Style moderne (akin to the British term Modern Style), or Style 1900. [9]
1900 Louis Vallet poster. Thanks to Art Nouveau art magazines, fairs and, above all, the many poster competitions, the artists became better known and commissions were received. In 1896, for example, a major exhibition of French and foreign posters was held in Reims, attended by the leading illustrators of the day.
In 1895, Mucha produced the poster for Gismonda, a play starring Sarah Bernhardt. Bernhardt highly admired Mucha's work, commissioning a six-year contract with him. [1] The style employed in Gismonda, le style Mucha, became a sensation in Paris and became known as the Art Nouveau movement. [2] Following Gismonda, Mucha attained an influx of work.
According to the poster collector Ernest Maindron, who wrote the first essay about the illustrated poster in the Gazette des Beaux-Arts in 1884, and later published the first book on the subject (Les Affiches Illustrees) in 1886, Chéret, along with the brothers Léon and Alfred Choubrac, was among the pioneers of the illustrated poster.
Liberty style (Italian: stile Liberty [ˈstiːle ˈliːberti]) was the Italian variant of Art Nouveau, which flourished between about 1890 and 1914.It was also sometimes known as stile floreale ("floral style"), arte nuova ("new art"), or stile moderno ("modern style" not to be confused with the Spanish variant of Art Nouveau which is Art Nouveau in Madrid).
It was the German counterpart of Art Nouveau. The members of the movement were reacting against the historicism and neo-classicism of the official art and architecture academies. It took its name from the art journal Jugend, founded by the German artist Georg Hirth. It was especially active in the graphic arts and interior decoration. [2]