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Bibliography

  Bibliography  Mucha, Alphone. Job. 1896.  Toulouse-Lautrec, Henri. Ambassadeurs: Aristide Bruant. 1892. Metropolitan Museum of Art, New York City.  Erler, Fritz.  Umschlag der Kunst- und Literaturzeitschrift. 1897. Schiele, Egon. Shaw oder die Ironie. 1912. Modern Museum of Art, New York City.  Roller, Alfred. Poster for the 14th exhibition for the Vienna Secession. 1902. Macdonald, Margaret & Frances. McNair, J Herbert. The Glasgow Institute of the Fine Arts. 1895. Modern Museum of Art, New York City.  Millais, John Everett. Bubbles. 1886. Mucha, Alphonse. Absinthe Robette. 1896. Penfield, Edward. Harper's Magazine- February. 1897. Metropolitan Museum of Art, New York City.  Cappiello, Leonetto. Contratto. 1922.  Feure, Georges. Jane Derval Folies- Bergère. 1904.  Chéret, Jules. L'Amant des Danseuses Roman Moderniste par Félicien Champsaur. 1896.  The New York Public Library Digital Collections. New York City. Grasset Eugene ...
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Job, Alphonse Mucha

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  In this advertisement for cigarette paper, there is a central female figure. This lithograph print displays Mucha's whiplash curves. The flowing of her hair help as a visual leading line. This artwork is adorned with decorative elements around the border. The bold text behind the women's head is balanced well. This particular print is different from Biscuits Lefevre Utile. The colors used within this artwork are much darker and the balance is weighted differently. Some similarities are, of course, those whiplash curves, organic shapes, and asymmetry.  Mucha, Alphone. Job. 1896. 
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Ambassadeurs: Aristide Bruant, Henri Toulouse-Lautrec

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 In this black and white print, there is a women standing with a cane. The figure is flattened using bold, black lines. In this composition there is hand written text across the top and bottom. This image is balanced asymmetrically using contrasting values. There are dynamic lines throughout the image, for example the cane is help at an angle. These traits are all characteristics of Art Nouveau. It's important to study and analyze multiple artists artwork. Toulouse-Lautrec, Henri. Ambassadeurs: Aristide Bruant. 1892. Metropolitan Museum of Art, New York City. 
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Cover of Jugend Magazine, Umschlag der Kunst- und Literaturzeitschrift, Fritz Erler

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On this cover of Jugend magazine there is a feminine figural riding a bird. The image is framed with a bold black line. At the top of the page, behind the figure, the title for the publication is hand drawn. There is a cityscape at the bottom of the page and in the distance there is whimsical outlines of clouds. In this print, there is depth and there is traits of the Art Nouveau movement. The Jugend publication was an important contributor to the spread of the movement. This image was important in showcasing the trends that were unfolding in Germany.  Erler, Fritz.  Umschlag der Kunst- und Literaturzeitschrift. 1897.
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Shaw oder die Ironie, Egon Schiele

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  In this poster for a music festival, there is a portrait above carefully pace text in legible font. While this poster is visually different from that of Mucha or Klimpt artwork, it's still an important part of Art Nouveau. The image carries symbolic meaning. In this image there is no whiplash curves or floral motifs, although the shape of the face and it's fold create organic shapes. The colors used within this poster are neutral earth tones.  Schiele, Egon. Shaw oder die Ironie. 1912. Modern Museum of Art, New York City. 
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Poster for the 14th exhibition for the Viennese Secession, Alfred Roller

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In this image there is a simplified figure holding a sphere. within this poster, there is rhythm and movement captured by the reputation of pattern. Above the text, there is hints of waves. Alfred Roller created this poster for the 14th exhibition for the Vienna Secession. While this image is different from the work happening in France during the Art Nouveau movement. It's an important piece because of it's innovative design strategies. Roller, Alfred. Poster for the 14th exhibition for the Vienna Secession. 1902.
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The Glasgow Institute of the Fine Arts, Margaret, Frances Macdonald & J Herbert McNair

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 In this poster advertising the Glasgow Institute of The Fine Arts, there is an androgynous central figure. The figure is elongated, linear and stylized. This poster was a collaborative effort between 'The Four.' There are floral motifs that surround the edges of the poster. The choice of colors used are muted earth tones. While this collaborative work is unique in it's own way, it also carries many traits of the Art Nouveau movement.     Macdonald, Margaret & Frances. McNair, J Herbert. The Glasgow Institute of the Fine Arts. 1895. Modern Museum of Art, New York City. 
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