Laboratórios Históricos

The fourth European project of the Réseau Art Nouveau Network "Art Nouveau & Ecology" plans a series of five historical labs aiming to share the knowledge at a European level. The free study days combines research, experience and know-how to reach professionals and Art Nouveau lovers.

Historical Lab 1
The Art Nouveau Herbarium, Terrassa, 3 June 2010
Programme and abstracts
  (French, English and Catalan)

Historical Lab 1: The Art Nouveau Herbarium, Terrassa, 3 June 2010
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Roser LÓPEZConservadora i Sílvia CARBONELL, Cap de l’àrea tècnica, Centre de Documentació i Museu Tèxtil de Terrassa (CDMT)


L’Herbier Art nouveau
L'exposition L'Herbier Moderniste (2006-2009) est le résultat d’un travail de recherche mené à bien, conjointement, par l'Institut de Science et Technologie (UAB) et le CDMT qui a identifié les fleurs et plantes représentées sur de plus de 600 tissus. Un grand nombre de ces textiles inédits ont été présentés à côté d'objets et éléments de cristal de verre et en céramique, du monde de la bijouterie, du parfum et des arts graphiques provenant de plusieurs musées et/ou collections particulières. L'exposition analyse à partir d’un parcours symbolique la flore de la maison et du jardin, en passant par la culture agricole pour arriver enfin dans la forêt et la montagne. 
L’exposició L’Herbari Modernista (2006-2009) va mostrar els resultats del treball de recerca dut a terme conjuntament amb l’Institut de Ciència i Tecnologia Ambiental (UAB) en els que es van identificar les flors i plantes representades sobre una mostra de més de 600 teixits del CDMT. S’hi presentaren un bon nombre de peces tèxtils inèdites, al costat d’objectes i elements de vidre, ceràmica, joieria, perfum, material gràfic, etc., procedents de diversos museus i/o col•leccions particulars. L’exposició es va plantejar sobre un recorregut simbòlic, de la casa al jardí, sortint després cap els camps de conreu i anant, finalment, al bosc i la muntanya.

Document PDF (in Catalan)
Conference play MP3 (in Catalan)


Nils ANKERDirector, Jugenstilsenteret, Ålesund


The decorative nature in Architecture of Ålesund, a local perspective


Conference play MP3 (in English)


Agnes Katalin SULEPhD candidate in Cultural Studies, Thesis on Bela Janszky (1884-1945) Hungarian Architect, Eötvös Loránd Tudományegyetem (ELTE), Institute of Art History, Budapest


About the Functions of Floral Decorations in the Houses of Budapest Art Nouveau
The population of Budapest expanded rapidly at the end of the 19th century. Hungarian capital with its outskirts reached a million city till 1910. In the hope of a better standard of living, large numbers of peasants and lower middle class people moved from the county to the capital where a new housing shortage has arisen. Private and municipal, social building programs tried to satisfy the new demands.
Tenements and settlements were built for the new workers. The architects represented the life of the county, the natural environment in and on their houses, creating homes for the new citizens, using traditional floral motifs and materia of folk architecture in their decoration. On the other hand, painted, sculpted and ceramic floral ornaments characterize the facades, flowered stained glass windows decorate the staircases in which wrought-iron flowers give the forms of the banisters, and garden-like motifs cover the pavements in the appartement houses and villas, garden cities of the citizens of middle class. 
This paper deals with the types of the floral decorations in the houses in Budapest. Dealing with their stylistic types (floreal, geometrical ornaments and elements from the Hungarian folk art), the aims of the paper are to introduce the social relations of the built-up areas and the types of floral elements, the function of the floral motives (garden as home, as symbol of life and as an esthetic value).

Document PDF (in English)


Agrita TIPĀNEVadītāja, Rīgas Jūgendstila centrs, Rīga


Motius de la natura al Museu Art Nouveau de Riga
Riga's Art Nouveau architecture began to develop at the very beginning of 20th century, when the city enjoyed an economic boom, which led to industrial and commercial development. They were local architects, who had acquired education in the Riga Polytechnic Institute Faculty of Architecture, who worked in Riga.
One of the most common motifs of art nouveau décor in Latvia, as elsewhere, were elements of nature, which were subject of stylization, and were often used as symbols of things. Art Nouveau period formed the symbol aesthetics, in which various elements, objects, and colors were handled. 
Tendencies of romanticism, so inherent to Art Nouveau of beginning of the 20th century, and use of floral motifs were manifested also in the personal house of the great Latvian architect Konstantin Pēkšēns (1859-1928) on Albert Street12. 
Project of Alberta 12 was developed by K. Pēkšēns in conjunction with architecture student Eugene Laube (1880-1967) at 1903. Riga Art Nouveau museum currently resides in Alberta 12. Interior of museum provides evidence of interior’s art in Riga at the beginning of 20th century. 
The paper analyzes interior of K. Pēkšēn’s apartment in Alberta 12, with special attention paid to symbolism of color and floral elements. Lecturer analyses the interiors of Riga, drawing parallels with works of other European architects.

Document PDF (in English) 


Jérémie CERMAN Docteur en Histoire de l'Art contemporain, Attaché temporaire d'enseignement et de recherche, Université Paris 1 Panthéon-Sorbonne, Paris


Le papier peint: un support privilégié de diffusion de la flore Art nouveau dans les intérieurs
Tout au long de l’histoire du papier peint, le monde végétal constitua la source d’inspiration principale des produits proposés par les fabricants. Au tournant des XIXe et XXe siècles, en adoptant progressivement une esthétique inspirée par l’Art nouveau, cette industrie imprima une multitude de motifs floraux de style 1900, de l’iris à l’orchidée en passant par le pavot. Si les idéaux sociaux de l’Art nouveau furent dans bien des cas contrariés, le support papier peint, produit populaire, massivement reproduit en série et souvent bon marché, permit pourtant une diffusion massive du goût moderne dans les intérieurs de la Belle Époque. Dès lors, la flore 1900 vint agrémenter le quotidien de toutes classes sociales.

Conference play MP3 (in French)


With the support of the Culture Programme of the European Union

Responsible publisher: Arlette Verkruyssen, General Director,
Ministry of the Brussels Capital Region Department of Spatial Planning and Housing,
Rue du Progrès 80 b 1, 1035 Brussels - Belgium