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L'Art nouveau, la révolution décorative. La Pinacothèque de Paris, 18 April 2013 to 8 September 2013.

L'Art nouveau, la révolution décorative. La Pinacothèque de Paris, 18 April 2013 to 8 September... L'Art nouveau, la révolution décorative. La Pinacothèque de Paris, 18 April 2013 to 8 September 2013. For many, familiarity with art nouveau does not extend much beyond the well-known `Le Chat Noir' cat poster or the incidental voluptuous Mucha-girl with pouty lips and flowing locks symbolizing a season or promoting some brand ­ both images one can find on a variety of cards, cups, key holders, and similar paraphernalia in many a Parisian tourist shop. Perhaps in response, the Parisian Pinacothèque, a small and relatively new private museum on the posh Place de la Madeleine, hosted in the summer of 2013 L'Art nouveau, la révolution décorative ­ the `first retrospective' of (French) art nouveau, as the tagline read.1 The show was part of a double feature; in its second building the Pinacothèque hosted Tamara de Lempicka, Queen of Art Déco, which shall not be reviewed here. As the museum's website proclaimed, `art nouveau was everywhere' around the turn of the twentieth century. It was a `total art form' and famous artists such as Horta, Gaudi, Guimard, Lalique, Klimt, and Ruskin created works in the style, it is claimed (notwithstanding the fact that Ruskin, for one, is not usually http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Modernist Cultures Edinburgh University Press

L'Art nouveau, la révolution décorative. La Pinacothèque de Paris, 18 April 2013 to 8 September 2013.

Bauduin, Tessel M.
Modernist Cultures , Volume 10 (1): 119 – Mar 1, 2015
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press 2015
Subject
Book Reviews; Film, Media and Cultural Studies
ISSN
2041-1022
eISSN
1753-8629
DOI
10.3366/mod.2015.0101
Publisher site
See Article on Publisher Site

Abstract

L'Art nouveau, la révolution décorative. La Pinacothèque de Paris, 18 April 2013 to 8 September 2013. For many, familiarity with art nouveau does not extend much beyond the well-known `Le Chat Noir' cat poster or the incidental voluptuous Mucha-girl with pouty lips and flowing locks symbolizing a season or promoting some brand ­ both images one can find on a variety of cards, cups, key holders, and similar paraphernalia in many a Parisian tourist shop. Perhaps in response, the Parisian Pinacothèque, a small and relatively new private museum on the posh Place de la Madeleine, hosted in the summer of 2013 L'Art nouveau, la révolution décorative ­ the `first retrospective' of (French) art nouveau, as the tagline read.1 The show was part of a double feature; in its second building the Pinacothèque hosted Tamara de Lempicka, Queen of Art Déco, which shall not be reviewed here. As the museum's website proclaimed, `art nouveau was everywhere' around the turn of the twentieth century. It was a `total art form' and famous artists such as Horta, Gaudi, Guimard, Lalique, Klimt, and Ruskin created works in the style, it is claimed (notwithstanding the fact that Ruskin, for one, is not usually

Journal

Modernist Cultures – Edinburgh University Press

Published: Mar 1, 2015

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