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“…art will not decline, but will instead breathe new, pulsating life into forms and conquer new fields that have not yet been associated with art — such as the field of engineering. Only in this way can we speak of the further development of art; indeed, I dare to say that in this way we will be compelled to create our own style that represents us.” (1)

In 1909, Otto Wagner designed a monument titled The Culture (see the work here). Although this monumental work was never made, its conceptual framework brings to light the deep structures of the force that gave rise to Art Nouveau. The design depicts a female figure seated on a massive white marble pedestal, sitting on the back of a black panther. At first glance, the scene appears mythological, but in reality it carries a deeper meaning: it symbolizes the taming of the instincts inherent in human beings, the “slumbering beast.” It was this act of sublimation that gave rise to Art Nouveau as well. Sublimation means that a person transforms their instinctive, raw, and often destructive desires or impulses into a higher-order, socially accepted, and creative activity. The artists of Art Nouveau believed that art is not just decoration, but a force that ennobles and shapes human life. (2)

The image shows Miksa Róth’s Art Nouveau stained-glass window design, titled “Párka.”
Róth Miksa Memorial House and Collection, inv. no.: 99.2.1.

Art Nouveau — also known as Jugendstil, Liberty (3) — was one of the most exciting artistic movements of the late 19th and early 20th centuries. In the second half of the 19th century, European cities underwent rapid development. As a result of the Industrial Revolution, new materials — such as steel and glass — appeared in architecture, while in the arts, many felt that the repetition of old styles advocated by historicism[h1] [h2] , no longer reflected the world of modern man. (4)

Nature was one of Art Nouveau’s most important sources of inspiration. Artists transformed flowers, vines, leaves, rippling water, and even women’s braids into decorative patterns. The goal was not to copy nature, but to capture its rhythm and movement. (5) Art Nouveau artists believed that modern people had become estranged from nature, and therefore it was art’s task to bring beauty and harmony back into their life[h3] . Artists believed that art should influence every aspect of life. They designed not only buildings but also furniture, lamps, textiles, posters, jewelry, and book illustrations. (6)

What makes Art Nouveau unique is that, although it was an international movement, it took on its own distinct character in nearly every country. Otto Wagner’s idea — that every era and nation must create its own style — became particularly important in Central Europe. (7) In Hungary, Ödön Lechner sought to create a “Hungarian national style.” In his buildings, he combined motifs from Hungarian folk art with Eastern and Indian decorative elements. The Museum of Applied Arts (Iparművészeti Múzeum) and the Postal Savings Bank (Postatakarékpénztár) buildings remain iconic works of Hungarian Art Nouveau to this day. (8)

Although Art Nouveau was a dominant artistic movement only for a relatively short [h4] period, its influence remains vividly present in our surroundings and visual culture to this day. Art Nouveau was not merely a style, but a way of life and a philosophy: the desire for art to step outside of museum walls and become a natural part of everyday life. Perhaps this is precisely why we still find this era up to date and appealing today[h5] ; its organic forms, its closeness to nature, and its interdisciplinary approach to art live on in modern design and architecture.

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(1) August Sarnitz: Wagner. Vienna. 2006. 7.

(2) August Sarnitz: Wagner. Vienna. 2006. 8.

(3) Szecesszió. A 20. század hajnala. (Publication of The Museum of Applied Arts (Iparművészeti Múzeum).) Ed. László Emőke – Pandur Ildikó – Szilágyi András – Horányi Éva. Budapest. 1996. 3. 

(4) Koós Judith: Art Nouveau, Jugendstil, szecesszió. Budapest. 1978. 32.

(5) Koós Judith: Art Nouveau, Jugendstil, szecesszió. Budapest. 1978. 17.

(6) Kubinszky Mihály: A szecesszió és a századforduló építészete. Budapest. 1962. 488. 

(7) August Sarnitz: Wagner. Vienna. 2006. 10.

(8) Kubinszky Mihály: A szecesszió és a századforduló építészete. Budapest. 1962. 510.