»[23]. Some broad-minded authors admitted that a foreign influence, Belgian in this case, could revitalize modern French architecture. At first, these appear to be nearly seamless, yet in fact they are constructed out of several cast iron parts that were easily mass-produced at the modern iron foundries to the east of Paris. Guimard's Paris Métro entrances are his signature work and classic emblems of Art Nouveau, which combine the movement's embrace of nature as well as the advances of technology, standardization, and modernization. He warned him against the pretension that some people « are creating a style » that could « raise public mistrust » as opposed to those who would « content themselves with looking for style ». It’s the Guimard style and you know the Metro. [12] Vigne, Georges, Hector Guimard, éditions Charles Moreau, 2003, p. 111. Even though it was used more often in the decade preceding the First World War, « Style Moderne » did not supplant « Style Guimard » as previously thought. It should be noted that there was already an “Avenue Moderne” in the 19th arrondissement, which was in fact a small private street about twenty metres long, open since 1903, as well as a « Villa Moderne » in the 14th arrondissement. See more ideas about Art nouveau, Hector guimard, Nouveau. However, this term quickly became part of everyday language and may be found, in the francized form of “Style Moderne”, in another commercial catalog published in 1902, which includes models by Guimard. On the upper part of each plate are affixed the words « Société des fonderies de St-Dizier (Haute-Marne) /Leclerc & Cie ». This precision, no doubt brought at Guimard’s instigation, is at two levels of reading. Shortly after Boileau’s article, in January 1897, Charles Genuys, a former professor of Guimard at the National School of Decorative Arts, published in La Revue des Arts Décoratifs an article vigorously entitled “Soyons Français! The strange forms in his architecture are intended to function as great kinds of social levelers, favoring no social or economic class above any other in terms of their familiarity or ability to be interpreted. This is the case with « Modern Style », which is not an English import term, but an expression forged with the intention of denouncing once again the real or supposed foreign origins of Art Nouveau. The « Style Guimard » catalogue would be one of the many « Style Guimard » catalogues envisaged and would therefore be for the personal use of the architect. Here, Guimard has rotated the columns 90 degrees from Viollet's plan to align with the plane of the façades and thus clear the space at ground level under the rest of the structure as a playground, thus solving the problem of the limited space on the site. This building, behind the success of Guimard, is also considered as Art Nouveau founding work. Project for a Guimard style electric ceiling light. Such an example is offered to us by the article of an anonymous author who, commenting on the great works in Paris in La Politique Coloniale of September 7, 1903 , gives his opinion on one of the recurring debates of the time: whether or not to maintain the Eiffel Tower. »[25]. While criticising De Félice for not doing his job as an art critic, he justified the term « Architect of Art » by its Greek etymology (archos, chief and tecton, worker), reserving the right to add the word « d’Art », which he considered justified in the light of banal and unartistic constructions produced by professionals calling themselves « Architects ». One month after the dedication on 9 November 1901, Père Lavy left Paris, reassigned by his superiors to Constantinople. [6] Eugène-Auguste Chevassus (1863-1931) known as Eugène Belville, painter, decorator and art critique. Reserves of the Saint-Dizier foundry (currently assigned to the collections of the Saint-Dizier museum). We will soon be publishing an article on La Critique et Guimard, a subject on which some charming nonsense with a mystical-esoteric tone has been read. [27] Plans of the projects archived at the Cooper-Hewity museum, New York. Genuys is aiming here at the so-called “Belgian line”, i.e. Private collection. While most of them are aware of this, few declare that their ambition is not to revolutionise their profession, but to create a style so personal that it is worthy of bearing their name. [4] In contrast to those frequently used by Horta to dress some of its interior decorations. It is understandable that it was therefore difficult for Guimard to accept this patronage for his personal work. Private collection. The decorative object or piece of furniture must not remain isolated in a room but, on the contrary, must be perfectly integrated with the style of the entire home. In a letter addressed to Adeline Oppenheim Guimard, he wrote: « these pieces should be particularly significant of the Guimard Style » then, citing a handful of umbrellas as an example, he described it as: « an excellent example of the Guimard’s Style at its best and purest »[31], summing up in a few words all the strength of the style invented by Guimard. The name “Flame” which is given to the Guimard porcelain button does not seem to have been used previously. As much as ours, the 1900’s era was fond of Anglicisms. CultureTrip / At the 1900 World’s Fair, Guimard created a remarkable stand for the perfumer Millot. It is accompanied by the same text by Stanislas Ferrand (previously published in the magazine Le Bâtiment on 9 August 1903), which also appears on the packaging of Le Style Guimard card packs. In April 1911, when the buildings were built, the plans still refered to a « Rue Moderne ». Seen by many as an unbearable lack of modesty, this « Style Guimard » mention is, of course, just as badly received as the qualifier « Architect of Art ». The first press article referring to this term was probably Pascal Forthuny’s[9] description of the furniture at the Universal Exhibition, published in the magazine Le Mois littéraire et pittoresque in December 1900: « (…) M. Guimard — by what concept is he blinded? Guimard then planned to build a series of investment properties financed by the « Société Générale de Constructions Modernes » (formed in July 1910), of which he was a shareholder, along with his father-in-law and Léon Nozal. His father was an orthopedist originally from Toucy, while his mother was a seamstress from Larajasse. Nothing to say about it. Rene Lalique, gold necklace, 1900. »[18]. As much as ours, the 1900’s era was fond of Anglicisms. Private collection. Art Deco, simple and elegant, and Art Nouveau inspired by Hector Guimard, who is also recognized for his Parisian metropolitan entrances that are so famous. In the 1920s, in the midst of the blossoming of the style soon to be called « Art Deco » (in reference to the Exposition des Arts décoratifs et industriels modernes of 1925) the tone is often mocking to evoke the decorative art of the beginning of the century. [26] The press also refers to : « le style Modern ». »[20], Commenting again on the same exhibition, the Journal de la Marbrerie et de l’Art Décoratif, in three issues, gives one of the few really enthusiastic articles[21] on Guimard’s work in general and on his exhibition in particular; so enthusiastic, moreover, that one wonders whether the architect might not have held the journalist’s penholder. The Castel Beranger's ornament is full of whiplash and undulating plastic surfaces, such as in the vestibule, whose walls are covered with glazed ceramic tile. Paris Metro Entrances In 1896, Adrien Bernard, president of the French Metro, commissioned Guimard to design several surface stations, such as those at Bastille, Porte Dauphine, Abbesses and Chatelet, to name but four. As a result, they also constitute a step towards artistic abstraction, one of the great developments of 20. [10] Forthuny, Pascal, « Le Meuble à l’Exposition » (Furniture at the Exhibition), Le Mois littéraire et pittoresque, December 1900, p. 701-704. “ (“Let us be French!”) in which he warned against the temptation that modern decorative artists might be seek to follow the footsteps of foreign artists, especially Belgians. In English it is also known as the Modern Style (British Art Nouveau style). In L’Intransigeant he uses the expression « Style Guimard » to comment on the architect’s submissions to the salons of the Société des Artistes Décorateurs. The street was given the stage name (Agar) of the actress Léonide Charvin who lived in the house adjacent on the right to the hotel Mezzara. Victor Horta, Paul Hankar and Hector Guimard set out to tranform the most plain and functional buildings, houses, hotels, public works buildings and even subway entrances, into works of art. Announcement of the wedding of Hector Guimard and Adeline Oppenheim in 1909 (detail). [8] Drawing GP 552 et GP 559, fonds Guimard, Musée d’Orsay. « Style Guimard » then became one of the « official » formulas to designate this period. This is the case of Royaumont[19] in his report of the same salon of the Société des Artistes Décorateurs in 1907, published in the Revue Illustrée. He continued working in the Art Nouveau style, emphasizing its features of harmony and continuity, in both the exteriors and interiors of his buildings. [15] Even if La Fronde is known to have been entirely managed and edited by women, La Dame D. Voilée is one of the pen names of Charles-Antoine Fournier (1835-1909), writer, art critic and collector, who usually signed as Jean Dolent. Hector Guimard ’s enduring design for the entrances. Due to the large number of references to the name Guimard, we refer to this type of catalogue as « Style Guimard ». [14] Guimard, Hector, « La Renaissance de l’art dans l’architecture moderne » (the Renaissance of art in modern architecture), Le Moniteur des Arts, 7 July 1899. His signature work, the Paris Métro entrances, are classic examples of Art Nouveau, characterized by their elegant flowing lines, floral ornamentation, sacred geometric forms, and mythical symbolism.. From the 1880s to World War I, Art Nouveau … And it is therefore easy to accept that he is known as an « ironworker of art » and « carpenter of art » when his production deserves it. It is a multistory apartment building of 36 units in the 16th arrondissement of Paris, for which Guimard was given carte blanche by his patron, Mme. On the contrary, he offers a detailed explanation, justifying its use by the logic that animates his constructions, the harmony of a naturalistic style skillfully drawn from the historical repertories while being rid of its superfluous ornaments and the beauty of a line whose finesse and simplicity he underlines: « …the curves, the inflections of these lines obey a general idea; a preconceived theory whose realisation confers on the object a distinctive mark, an originality of its own, a personal style which is, why not say it? There is therefore no mention on the cover of the name of the foundry which produces these castings. One of the two types of catalogues bears on its cover the mention in lettering designed by Guimard « Artistic fonts/for/constructions/heating appliances/garden art/graves » and in a cartouche at the bottom, the mention « Style Guimard ». But the repeated choice of the term « Style Guimard » shows how much the architect wanted to « stand out » and obtain the recognition and social advancement that the usual channels of the academic curriculum had not provided. Photo Art Auction, 2015. [31] Papers Adeline Oppenheim, The Public Library of New-York. The main claim of the current of Art Nouveau, of which Hector Guimard is one of the most important French exponents, is the unity of architecture, furnishings and layout of the rooms. It remains one of Guimard's largest surviving works. This is a subway station for a middle class that needed to move around freely in this new capitalist culture. This word « modern » is also found in practically all of Guimard’s theoretical writings from the beginning of his conversion to Art Nouveau, since the portfolio he devoted to Castel Béranger is entitled: L’Art dans l’Habitation Moderne and we saw it used in 1897 alongside « national ». Private collection. ", "Nature is a big book from which we can draw inspiration, and it is in that book that we must look for principles, which, when found, have to be defined and applied by the human mind according to human needs.". It was actually opened under this name in 1911 and became rue Agar the following year[28], which did not prevent Guimard from keeping the name « Rue Moderne » in the plans reproduced in the article in the supplement to the magazine La Construction Moderne of 9 February 1913. Hector Guimard. His designs embody the essence of the French Art Nouveau movement, incorporating superb materials, fine design and carved wood in a curvilinear and plastic style; looking at once like soft twisted satin or a sinuous living plantform, yet totally balanced in its entirety.

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