Art Nouveau: An Art of Transition-From Individualism to Mass by Gabriele Fahr-Becker

By Gabriele Fahr-Becker

Publication by means of Fahr-Becker, Gabriele, Sterner, Gabriele

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14). The latter example combines a sense of vigorous movement with the naturalism and delicacy of plants. Both the vertical rods and the connecting spaces are adorned and filled with gracefully curved and intertwined flowery forms perched upon long linear stalks and crowned by leaves resembling the petals of calla lilies. Schmutzler speaks of "biological romanticism" and concludes: The sweeping curves, the pulsations, the bursting into flowers and buds are clearly conceived as bimorphous organic animations.

To date it has been impossible to arrive at a clear and objective picture of this artist. In the hope that a dialogue would prove more fruitful than solitary research, I sought outside help in the form of an exchange of ideas with a person who knew van de Velde in the truest and broadest sense of the word: Klaus-Jürgen Sembach. He had not only grappled with van de Velde's work since earliest youth but also "experienced" him personally. Sembach first visited van de Velde in order to prepare for a seminar lecture.

Precious inlay was characteristic of Galle's furniture in particular and of the Nancy school in general. living line. Against a grainy, heavily veined background, carnations have been "randomly" scattered and the fibrous petals of these flowers serve animate the whole composition (fig. 16). It is interesting to note that the carnation is included in the bouquet of the Fleurs du mal. In the context of flower mysticism, the carnation is a symbol of bad luck and evil and is therefore a useful design for the evocation of a particular mood.

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