Painting (Series: Portrait_Female - 159)
Archive ( Portrait_Female )
Other paintings available ( Portrait_Female 162, 166, 249, 279 ):
- Portrait_Female Oil Painting 162
- Portrait_Female Oil Painting 166
- Portrait_Female Oil Painting 249
- Portrait_Female Oil Painting 279
Mstorical styles; but in Vienna they expressed this through an increasing simplification of form. Rather than embracing the writhing organic forms of Endell or Obrist in Munich, Viennese artists moved towards the restrained geometric designs exemplified by the work of Charles Rennie Mackintosh. A case in point is the Palais Stoclet (1905-1911) in Brussels, desistic forms. An interest in organic forms is also found in the work of French glass designer Emile Galle. Working from his hometown of Nancy, Galle produced a variety of glassware decorated with leaves, vines, and flowers. He fused layers of different colored glass and .
Lns reflect the more rectilinear (straight-lined or right-angled) version of art nouveau style. In the graphic arts, Aubrey Beardsley drew illustrations for periodicals such as The Yellow Book (1894-1895), and for an edition of the play Salome (1894) by Irish-born writer Oscar Wilde. Beardsley’s vigorous use of line and distinctive double-curves known as whiplash lines have become equated with British art nouveau in Charles Rennie Mackintosh also developed a rectilinear version of art nouveau, which he employed in numerous buildings and their furnishings. In the Glasgow School of Art, completed in two phases (eastern section 1897-1899, western section 1906-1909), he used contemporary materials in an elegant, angular style. The simple shapes of the brick and stone ext.
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