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The swirling, sensuous forms of Art Nouveau are synonymous with the erotic. This concise study shows how the idea of the erotic was given visual expression by artists and designers, creating in the process some of the most striking works of art: paintings, sculpture, furniture and ceramics.
This provocative book shows how Art Nouveau artists & designers explored & exploited the idea of the erotic in their creative endeavors.
Essential Art Nouveau features short thematic sections and a wonderful selection of images - some well-known with others previously unpublished - to evoke the very essence of this extraordinary style. Major influences such as Rococo, the natural world and the exoticism of the Orient are reflected in the colourful plates, and earlier pieces are placed against their Art Nouveau counterparts to provide a fascinating visual history. Every page bears testimony to the daring flamboyance of the style - shown on buildings, in paintings and in sculpture, and going right into the home, on furniture, cutlery, glassware, ceramics, jewellery and textiles.
Art Nouveau was a style for a new age, but it was also one that continued to look back to the past. This new study shows how in expressing many of their most essential concerns – sexuality, death and the nature of art – its artists drew heavily upon classical literature and the iconography of classical art. It challenges the conventional view that Art Nouveau's adherents turned their backs on Classicism in their quest for new forms. Across Europe and North America, artists continued to turn back to the ancient world, and in particular to Greece, for the vitality with which they sought to infuse their creations. The works of many well-known artists are considered through this prism, including those of Gustav Klimt, Aubrey Beardsley and Louis Comfort Tiffany. But, breaking new ground in its comparative approach, this study also considers some of the movement's less well-known painters, sculptors, jewellers and architects, including in central and eastern Europe, and their use of classical iconography to express new ideas of nationhood. Across the world, while Art Nouveau was a plural style drawing on multiple influences, the Classics remained a key artistic vocabulary for its artists, whether blended with Orientalist and other iconographies, or preserving the purity of classical form.
A well-illustrated collection of Gustav Klimt's work, including text on the artist's life.
A volume created to accompany an exhibition considers the popular and influential style of art nouveau showcasing all mediums from Tiffany lampshades to Lalique jewelry.
Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Dürer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, 'death and the maiden' and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body. Yvonne Owens reads these images against the humanist intellectual milieu of Renaissance Germany, showing how classical and medieval medicine and natural philosophy interpreted female anatomy as toxic, defective and dangerously beguiling. She reveals how Hans Baldung exploited this radical polarity to create moralising and titillating portrayals of how monstrous female sexuality victimised men and brought them low. Furthermore, these images issued from-and contributed to-the contemporary understanding of witchcraft as a heresy that stemmed from natural 'feminine defect,' a concept derived from Aristotle. Offering new and provocative interpretations of Hans Baldung's iconic witchcraft imagery, this book is essential reading for historians of art, culture and gender relations in the late medieval and early modern periods.
Rare design portfolio by high priest of Art Nouveau. Jewelry, wallpaper, stained glass, furniture; figure studies; plant and animal motifs, much more. All 72 stunning plates from Documents Décoratifs in original color.
Exploring an intriguing aspect of the artist's work, this book examines Gustav Klimt's fascination with the ancient world. Gustav Klimt's 1907 publication of his illustrated edition of Lucian's ancient work Dialogues of the Courtesans was the first time he exhibited his erotic art to the public, and it led to his denouncement by censors disturbed by the work's graphic content. This volume revives Klimt's masterful book, which pairs his erotic drawings with Wiener Werkstätte design, and which arguably resulted in the Art Nouveau era's most beautiful book. Klimt and Antiquity also compares the red- and black figure Attic vases dating from the 5th century with Klimt's art. It presents Klimt's antiquity-inspired art as a dialogue between contemporary and ancient art, between genders, and between women's roles in times of antiquity and modernity. Essays explore Klimt's interest in ancient art; the ancient role of the courtesan; and the phenomenon of the Greek symposium as fertile ground for Greek art.