Art Nouveau was a style for a new age, but it was also one that
continued to look back to the past. This new study shows how in
expressing many of their most essential concerns – sexuality, death and
the nature of art – its artists drew heavily upon classical literature
and the iconography of classical art. It challenges the conventional
view that Art Nouveau's adherents turned their backs on Classicism in
their quest for new forms. Across Europe and North America, artists
continued to turn back to the ancient world, and in particular to
Greece, for the vitality with which they sought to infuse their
creations.
The works of many well-known artists are considered
through this prism, including those of Gustav Klimt, Aubrey Beardsley
and Louis Comfort Tiffany. But, breaking new ground in its comparative
approach, this study also considers some of the movement's less
well-known painters, sculptors, jewellers and architects, including in
central and eastern Europe, and their use of classical iconography to
express new ideas of nationhood. Across the world, while Art Nouveau was
a plural style drawing on multiple influences, the Classics remained a
key artistic vocabulary for its artists, whether blended with
Orientalist and other iconographies, or preserving the purity of
classical form.
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