Victor Horta: The Maison Tassel, The Sources of its Development

21 Pages·2010·0.64 MB·English

108
GEORGE TSIHLIAS, UNIVERSITY OF TORONTO
Victor Horta: The Maison Tassel, The Sources of its Development
, /
In architecture, Art Nouveau initiated a major is inevitable. N~IY all accounts hold some
change in structural thinking, despite its mention of the man whose creative efforts
relatively brief and uncertain life. It lasted for were to culminate in the first definitive
some 20 years, or even less in some Western manifestation of a significant episode in
European countries. Once all the rage, it came modem architectural development. Invariably,
to be abandoned by its enthusiastic adherents descriptions of the Maison Tassel figure
as the wild oats of youth. Its numerous prominently among their contents. The
architectural exponents sought to express the product of a more personalized form of
same inspiring motivation which characterized expression, the house represents the first time
the applied arts. The correspondingly sinuous Horta came into his own as an architect. It
linearity; the biomorphic qualities; the semi evoked the spirit of a generation obsessed
naturalistic, semi-abstract elements - both with change, novelty and progress. At the
structural and decorative; all were present in same time, it designated the beginning of a
its varied examples. Moreover, one had the period which would lead to world fame for the
floral reference to the total forms of plants. Belgian architect who engendered it. Upon
The leaves; the stalks; the roots; the blossoms; completion, the project was heralded as the
these formed the epitome of the constant first declaration of a victorious modem
organic expression which was the order of the movement; the first truly modernist work. It
day. was revered as if it were some shrine or holy
relic. Subsequently, architects and designers
The strong desire to break with the past was, from all comers of Europe came to Brussels
perhaps, the most common bond linking the so as to understand the scope of what this
craftsmen, artists, and architects who sought house represented.
their creative expression in Art Nouveau. This
was the case in all countries where the style The Maison Tassel stood in a row of rather
appeared. To the avant-garde mind, it conventional city residences. It would have
provided a captivating contrast to the appeared, and still does, as a somewhat
traditional, static, 19th century art forms. Both modest structure, conforming to the same
in its content and form, Art Nouveau was conditions which characterized most Flemish
insistent on an art of growth. The subsequent urban dwellings. It was similar to its
architectural focus seeks to illuminate the neighbours in that it too was long and very
work of one of its most significant innovators, narrow, the facade stretching a mere 23 feet
Victor Horta. In almost any comprehensive across. Yet, despite these restrictions, the
study of the Fin de Siecle phenomenon known house was recogniz~d to embody the. first
as Art Nouveau, the appearance of this name daring departure from the norms of European
Victor Horta: the Maison Tassel, the sources of its development 109
architecture of the day. Well before any sign column, creating a penetrating first
of a new direction in architectural design, impression. As its gracefully slender form
Horta's building programme punctuated the climbs toward the ceiling, it grows into a
turning point for treatment of the private vase-shaped capital. Out of this, curved iron
home. "This house roused Continental tendrils spring forth to form brackets under
architecture from its lethargy at one blow." the curved open work beams of iron above.
I
Consequently, from the day of its completion Their forms are partly plant-like, partly
until the present, it has given rise to a variety arbitrary. With thi~lthe classical scheme of
of glowing reports delineating the extent of its the column is dissolved, replaced by a
/
innovations, and its impact. multiplicity of free moving supports in space.
Subsequently, the floral conception of form
The essence of Horta's entire Art Nouveau which permeates the building is conclusively
oeuvre is embodied within this dwelling. The established. What ensues is seduction.
choice and "marriage" of materials; the Passionate and yet gentle, an organic swaying
floorplan; the facade; all serve as an and interweaving entices the senses into a
introduction to the fundamental tenets of his delicately intoxicating structural metaphor.
conception. Thus, in examining the building, Lighter, non-structural bands of metal
one also comes to appreciate the numerous interlace to form the stair rail. Sinuous painted
factors which shaped both the man's evolution vines caress the walls and ceiling. Swirling
and his subsequent attempts to instigate a curvilinear mosaics rouse the floor. One yields
distinctive architectural approach to the to the linear embrace of complex organic
exigencies of his time. motifs.3 Horta created an exemplary hall,
unsurpassed by imitators, and to an extent,
The plans were conceived in 1892-93, and even by the architect himself. He transcended
construction began in September, 1893. the mere decorative, going on to produce an
Completion was in 1894. It is unknown how extraordinary work of interior architecture.
long before these dates Horta could have been
designing as such on paper. The site: 12 rue de The description of the staircase underscores
Turin. Presently, it is identified as number 6, the excitingly novel exposure of metal
rue Paul-Emile Janson. With this work, the structural supports both inside and out. In the
"ligne Horta", the whiplash line, was interior, an equally unexpected introduction of
introduced into architecture. It was born to iron occurs in the drawing room. Here, Horta
decorate the home of Monsieur Tassel,2 - outrightly challenged the long standing
engineer, bachelor, freemason, professor of tradition which maintains a notion of· this
descriptive geometry at the University of room as the most formal and therefore
Brussels, attache to the Bureau of Studies at conservative area of the house. One can only
the Societe Solvay. imagine the impact, both positive and
negative, which the appearance of an I-section
The most often noticed feature of the house, support would have caused. It is carried across
the frank exposure of metal structure,· is the ceiling without any attempt at disguise. At
especially noticeable in the staircase (fig. 1), the same time, the use of iron in the facade is
which rises to the right of an octagonal just as distinctive. With its appearance, Horta
vestibule (fig. 2). At its foot stands a cast iron adapted to an elegant townhouse features
110 Canadian Journal of Netherlandic Studies
which otherwise would readily bring to mind stone pillars sculpted with a vaguely Gothic,
industrial associations. Found in grilles; vaguely neo-Rococo flavour, rhythmically
slender window ledges, and horizontal support punctuate the area to form six windows. On
beams, the iron embodies an interesting play top, one has the main floor, where slender
on the accepted assumptions which governed metal columnettes correspond to the
residential construction. supportive pillars below. These too act to
divide the window space, this time into a
It has been said that the facade of the Maison series of long, se~mingly upward moving
Tassel is less striking than the interiors. In compartments. Al flowing display of· Art
fact, if it were not for its ornamental detail, it Nouveau grille work around their bases, acts
would not be particularly unusual. to alleviate the general tone of austerity in the
Nonetheless, the same linear curves of such facade. Proceeding to the uppermost storey,
internal/decorative elements as the stair one finds that the architect has made use of
ensemble are plastically reflected in its the projection of the bay so as to create a
contours. The building's stone facing seems to curving balcony. The verticals of its railing
be imbued with an unprecedented flexibility, terminate the ascendant spring of the iron
as it is impress-ively adorned with a subtle columnettes below. In between, volutes of
fashioning of profile. An alternation of forged iron provide further hints of soft
concave and convex is the result. With the ornamentation for the edifice. With the
interplay of light and shadow inherent in this, suppleness of their modelling, Horta creates
the architect .shows complete mastery of the another paradox to challenge the accepted
work's plastic physiognomy. Flanking the ideas concerning materials, their forms, and
centrally located door,4 two large, organically their uses. A similar concept is embodied in
inspired volutes appear to spring forth from the pair of gliding stone volutes animating the
the body of the wall. Although non-structural, facade on either side of the railing's end.
the quiet strength of their elegant curve seems Finally, one reaches the cornice, visually
to carry the weight of the gently bowing carried there by the gracile stone uprights
window loggia, perfectly inscribed within the which flank the french doors to the centre of
structure of the building. It is the first time the the balcony. As its silhouette angles down
loggia forms an integral part of the edifice. No over the windows, one notes the low key
longer a mere projection,. an appendage sobriety of the decorative mouldings. A
grafted onto the surface of the building, it studied harmony is created between the
contrasts engagingly with the customary relative asceticism of the stone and the
Brussels bay windows, seen in profusion exuberance of the iron. Consequently, the
among the neighbouring homes. The loggia understated character of the stone speaks of
rises 1 ~ stories within the elevation of the logic and simplicity, while the plasticity of the
facade. On either side, a line of thin windows iron celebrates life and growth.
is placed. They continue to the top floor where
they are reduced to mere slits within the It is impossible to overlook the obvious
preponderance of stonework, thus bringing to referenc.es to Classical architectural
mind the narrow medieval openings of Gothic vocabulary which the architect chose to
castles. The first storey of the bay is given employ. One turns to the large volutes framing
over to the lighting of the mezzanine. Stocky the door. Seemingly the source of support for
Victor Horta: the Maison Tassel, the sources of its development 111
the projection above, they are in fact not at all perceive the "music" of the decor as a
weight-bearing. The entire organization of the deliberate response to the sobriety of the
window loggia is conceived as an integral part facade. Throughout, there is ample expression
of an iron infrastructure which underscores the of a new style as the "ligne Horta" is deployed
totality of the facade. In the case of the with a mad ebullience. Our description of the
window complex, certain parts of this stairhall has given only a hint of how its
infrastructure are accordingly allowed to show frenzied, whipping forms dominate over
through and be treated ornamentally. It would floors, walls, cei~ings, and chandeliers. It
appear that the volutes were a conscious and lashes everywh,¢re, coiling, intertwining,
perhaps necessary concession to traditional loosening. It is as flexible as a creeping plant,
Western mentality. Even today one finds it yet a plant kept in check by the mastery of the
difficult to acknowledge an apparent notion of architect. This was the line which embodied
weight without adequate visible support. the ambiance of an era. Horta subordinated all
Another concession along these lines is a materials to the ornamental presentation
series of small corbels directly underneath the which it embraced. Iron, stone, glass, wood,
loggia. They too seem to denote a similarly mosaics, all conform to the interlaced linear
supportive allusion. Moreover, despite their rhythm which takes possession of the house.
organic inspiration, it seems Horta was It is a linear fantasy. By its very profusion and
unwilling to wholly abandon the security of the generous dimension and scale of its
the classical references they hold. Such is also exponents, the architect's use of line
the case with the columnettes leading to the immediately raised interior decoration to a
cornice. As they are topped by a vegetatively more significant level.
conceived capital, one recognizes the elements
of invention entirely distinctive to Horta's The first to initiate what later became de
oeuvre. However, one questions how much of rigueur among the great Art Nouveau
a change in thought was really entailed in architects, Horta designed all elements of the
producing what can be seen as an organic interior down to the slightest detail. Tables,
variation in classical format. Even so, if one chairs, sofas, linen, cutlery, lights, door
were to eliminate the classical point of fixtures, etc., became a total masterpiece. A
reference, one would still perceive suggestions perfectly articulated conception, entirely
of the Flamboyant Gothic and Rococo styles. yielding to the overriding influence of the
All this goes to emphasize the fact that for all ligne Horta, was created.5 In retrospect, it may
the innovative features within the facade, be said that Horta incarnated an architectural
Horta toed a fine line between tradition and parallel to Richard Wagner's postulate of the
conceptual novelty. Whether this was by Gesamtkunstwerk.6
choice or out of necessity for public
acceptance, may perhaps never be sufficiently Horta's curves and arabesques represented a
answered. However, the mention of these novel motivation to the turn of the century
details is not to undermine the impact of the architectural idiQm.'Important to the creation
Maison Tassel. Indeed, the acclaim.to which of its remarkable style, .they comprised its
it gave rise was immense. fundamental theme and thus its most clearly
visible expression. Perhaps, within the Maison
As one turns back to the interior, one begins to Tassel or elsewhere, one could at times say
112 Canadian Journal of Netherlandic Studies
that the result of their use submerged the corridor. To the other side, a staircase would
organs which were meant to contain them. lead up to the next level. (see diagrams 1 and
Surpassing structural considerations, they 2) At the planning level of Horta's house, one
nearly became ends in themselves. If so, it notes the beginning of what Le Corbusier was
would therefore appear that they ascribed to later to call "Ie plan libre". Instead of the long
another late 19th century aphorism, 'Tart pour corridor running down one side of the house,
I'art". However, first and foremost they he substituted the aforementioned octagonal
represented the feelings of their author. vestibule. Continui9:g from it is the ample and
Perhaps, then, their occasional excesses can be pre-eminent staiptase. As one ascends its
illuminated with the following quotation. Said different levels/ one finds a corresponding
Horta: disposition of rooms, which consequently
create a multilevel space. The resulting
If it is correct that logic is the basis of a variations in floor heights are coupled with a
creator's slightest reasoning, I believe that it free use of penetrations through walls, which
must not be allowed to interfere with one's
maintain an independence from traditional
"charm", that delicate, superfluous entity
methods of room partition. Together, these
which often adds to harsh necessity?
elements succeed in creating an impression of
great spaciousness and openness. The
It was precisely so as to overshadow that rude
impression is further extended by way of the
necessity which seemed to be so persistently
integral contrast between the relatively narrow
encroaching in a world constantly preoccupied
facade and the unexpected, surprising feeling
with a quest for logic, that Horta created a
of space upon entering through the front door.
refuge in that "delicate superfluity" which
Ultimately, the flowing interrelation of spaces
characterized his Art Nouveau creations.
for which Horta has become famous is
evoked. Thus, it is interesting to note that the
Yet the varied manifestations of the "ligne
subsequent quality of spatial "movement"
Horta" could not have been the only elements
within the house is very strongly underscored
to constitute the architectural revolution which
with the Art Nouveau decoration to which the
transpired. Beyond this factor, and the
"lighe Horta" has lent its form.
previously discussed exposure of, and
therefore truth to, modem materials, what is
What is particularly important with regard to
an especially important legacy of the Maison
this view toward space, is that it too was part
Tassel is the flexibility of its groundplan. As
of the continuous protest against the
mentioned, the house, like its neighbours, was
prevailing architectural traditions of the time.
bound by conditions which imposed a long
In its implementation, Horta presented a
and very narrow construction, only 23 feet
salient response to the accepted Euclidian
(7.20m) in width. Nonetheless, the groundplan
attitude governing space. He conclusively
developed within these predetermined
rejected a belief widely expounded during his
restraints was entirely original. It represented
own period, and one which even today
an audacious break from the conventional
remains predominant, namely the classical
organizational layout of a house. According to
idea of space based on the pure three
habit and tradition, a Brussels townhome
dimensional mathematics of Euclid.
focused on a main floor consisting of three
Generally, this reasoning leads to the
small rooms in a row, opening off a long
Victor Horta: the Maison Tassel, the sources of its development 113
construction of closed, symmetrically oriented asymmetry in the distribution of spatial
spaces which have to be experienced from the masses, as well as in minor details such as
single central perspective. This, by its very window and door settings, created a gliding,
nature, can only be noticed and observed by a rhythmical experience of the various parts of
single individual. Horta sought to move away the structure linked organically together.
from this exclusivity. He pushed aside the Undoubtedly, this phenomenon was closely
entire notion of space geared to a specific associated with the contemporary passion for
personage; did away with the ego-centric the Middle Ages. /
observer of central perspective. To illustrate, /
one may take the Renaissance architecture of The difference/in levels was not the only
Brunelleschi as an example. In his well device employed to give new flexibility to the
documented Church of San Lorenzo, in groundplan. The introduction of light wells
Florence, the key concept to appreciation is provided new and unusual sources of
that of one-point perspective. One stands at illumination. By their very magnitude and
one particular spot in relation to the profusion, they could only increase the effect
architecture, in this case, perhaps, at the of size and airiness among the surprising
beginning of the nave, so as to perceive the interrelations of rooms at different levels.9
exact issue of the building. At anyone time, Moreover, the choice to give half the
only one person can stand at that certain spot. floorspace over to the Jardin d'Hiver was
Therefore, the full effect of the architecture especially intriguing. Its construction of glass
can only be dependent on a single individual. and exposed metal framework continued the
In essence, one is presented with the major analogy of unencompassing space, and at the
problem of the Renaissance itself. The same time acted to give a definitive evocation
emphasis falls on the response of one of the floral conception which distinguishes
individual in view of a given situation, the house.
architectural or otherwise. Largely, this
attitude has been maintained ever since. By It is especially amazing that Horta could
contrast, a brief look at the concept embodied achieve such impressions, and make them
in Gothic architecture. Most often, the work successfully, within an area so confined.
structure was built so that one is drawn to Soon after its completion the Maison Tassel
wander through it. Basically, this architecture became famous in all European avant garde
was geared to evoking a response from groups circles. Contemporary opinion admired it for
of people, collective society, as opposed to a two things: its perfect adjustment to the living
single person. With the introduction of the and entertainment needs of its bachelor owner,
"plan libre" into domestic architecture, Horta and its freedom from any trace of historical
moved to a more pre-Renaissance attitude in styles. Yet it was this last point which initially
his treatment of space. The architect once said caused an uproar among the conservative
that the whole extent of the ground floor is bourgeoisie in Brussels.
visible from the entry of the typical Brussels
house.8 With the reaction presented in the A Bruxelles, on cria au scandale, et a la vue
Maison Tassel, this was no longer possible. de l'Hotel Tassel on pretend que Balat, Ie
vieux maitre, eclata en sanglots. Un an plus
Horta instituted a dynamic, plastic treatment
tard, decorateurs et architectes accouraient de
of internal structure. The subsequent
tous les coins de I'Europe, attires par les
114 Canadian Journal of Netherlandic Studies
realisations de Horta. 10 examples. Thus, it is interesting to note such
contemporary accounts as that of Guimard.
The Balat mentioned in the preceeding While preparing an exhibition which was to
have been held at the Champ de Mars in Paris,
quotation was Alphonse Balat (1818-1895),
in March in 1896, the architect wrote to Horta:
official architect to Belgian King Leopold II,
and the most important teacher of Horta. The
... Plus je vois se multiplier tant chez nous les
influence he exerted on his pupil was
expositions des tentatives nouvelles des arts
immense. Whether or not the fact that he burst
de l'architecte, plus je tiens it montrer vos
into tears upon sight of the Maison Tassel is oeuvres qui so~lles plus interessantes et les
actually true, it has since become a popular plus dignes d'etre encouragees. Ce ne sont pas
des compliments que je veux faire mais vous
anecdote. The house represented a definitive
break with the romantic, psychological rendre justice. \3
comfort of eclectic 19th century nostalgia.
This was from a letter dated January 28, 1896.
That Horta would apparently swallow up and
Later, on May 8, 1896, Guimard writes once
suppress all the architectural grammar of so
again to Horta:
many past centuries, only to invent his own,
was an unbearable affront. Even in his own
... J'ai expose cette annee au salon Ie resultat
day, Balat was recognized as the master and
de mes recherches it l'etranger et comme j'ai
champion of historicism. Thus, his reaction in
ete si heureux de vous Ie dire c'est en vous
such a way to the shock posed by this house que j'ai rencontre l'architecte veritable digne
must have been a source of smug satisfaction de ce nom et j'ai tenu it faire d'apres les
for the opponents of this late 19th century gravures que vous m'avez adressees la
representation de votre maison de la rue de
architectural practice.
Turin, la fa~ade et les deux interieurs vus de
l'escalier. ..
The second part of the quotation speaks of the
interest the house drew one year later. Of A cote des architectures voisines votre place
course, this is quite true. But even so, hardly au centre de mon panneau est l'expression de
completed, the brilliant edifice found la superiorite de votre talent sur ce1ui des
immediate vogue as a novelty in Brussels. autres; tous les architectes auxquels j'ai pu
montrer votre oeuvre (ce qui m'a procure Ie
While it raised the scorn of the old, it also
plaisir de leur dire que vous etiez Ie seul
brought to life an infatuation in all young
ARCHITECTE que je connaisse) rendent
people, just as the Maison Autrique did in
hommage it votre talent. Je ne vous fais pas
1893, the Hotel Wissinger in 1894, and the
des compliments (pour) que vous jouissiez
exquisitely opulent Hotel Solvay in 1895. All des resultats acquis, mais pour que vous y
were conceived, and construction had begun, puisiez dans les moments penibles un
before Henri van de Velde had even erected encouragement et que vous sachiez que Ie
his first house, and before Samuel Bing had temps vous rendra la justice qu'il m'est si
II
agreable de vous rendre de suite.14
opened his famous boutique in Paris under the
sign of ''l'Art Nouveau" Architects from
.12
The infatuation spread quickly. In very little
France (Hector Guimard being one of the
time, its effects came to be felt throughout
first), Germany and England, critics and
Europe - from Paris to Moscow, from Castel
connoisseurs, expressly travelled to Brussels
to note and absorb the lessons found in Horta's Beranger to Haus der Woks. Such was the
Maison Tassel and his other subsequent power of the economy of the Bourgeois
Victor Horta: the Maison Tassel, the sources of its development 115
Golden Age, to which it was a response. important, since it established the first
Continental acceptance of a new movement.
As the style engendered with the Maison One thus comes to speak of Fin de Siecle
Tassel won more and more adherents, it Brussels: a mecca of interchanging ideas; a
became the last word in modernity. To have it ce.ntre for social emancipation; the threshold
of a living modem art. A city of luxury, it was
was to have status. The subsequent patronage
reorganized in terms of civic planning and
of the wealthy middle classes permitted its
urban symbols by. Leopold A financial
rapid diffusion throughout the continent, and II.16
centre, it was sU1)ported by a shrewd political
nourished the strong undercurrent of luxury
policy of colonialism. An Anarchist
which characterized its principal residences.
stronghold, it spearheaded the movement
Thus, it followed a pattern which was very
which gave a political voice to the blue-collar
similar to the phenomenon experienced in the
work force (1886), and which culminated in
Renaissance construction and beautification of
universal suffrage in 1893. The city was open
urban palaces. One final excerpt attesting to
to the most advanced forms of art, action, and
the esteem in which Horta and his work came
thought. Bolstered by a vast national
to be held is taken from Wiener Tageblatt,
manufacturing and commercial enterprise,
November 11, 1898. The Austrian critic Leopold could loftily affirm: .
Ludwig Hevesi writes:
We must endeavour to assure outlets to all
There lives in Brussels now, in 1898, the most workers: those of the mind, those of capital,
inspired of the modem architects, Victor those of the hand. 17
Horta ... His fame is exactly six years old and
dates from the residence of M. Tassel in the In the arts, lawyer Octave Maus was the leader
rue de Turin. This is the first of these famous
of a vigorous avant-garde movement.
dwellings which fit their owners like
Opposite Jeune Belgique of Max Waller, in
faultlessly cut coats. It houses the man for
whom it was built in the mostperfect manner 1881, he founded the revue titled l'Art
conceivable - as perfectly as the mussel shell Moderne, an event which underscored a pan
houses the mussel. It is most simple and European experience at the time. Throughout
logical... altogether new and just as
the continent, there was an incredible upsurge
delightful. But - and note this - there is not
in the publishing of periodicals. Ultimately
the faintest echo of any historical styles ... No
detail derives from anything at all in they came to voice the opinions of youth and
existence. It has the pure charm of lines, progress, becoming essential to the diffusion
curves, and surfaces - and it is quite of the "Modem Style". Meanwhile, Maus also
personal, as personal as if Horta, instead of
successively brought to life the Groupe des
simply drawing the parts, handed them to the
XX (1883-1893), and La Libre Esthetique
workmen all modelled in advance. 15
(1894-1914), whose exhibitions, concerts, and
conferences nourished a movement which was
respons-ible for the initiation of old Europe
Let us tum to the immediate cultural and
into the latest tendencies of the modem arts. A
historical background in which this first Art
multiformity of artists grouped together under
Nouveau edifice was conceived. A variety of
its banners.
prominent forces appear to have been
influential in both shaping the phenomenon
Thus, welcomed and often discovered before
and propagating its achievements. Among
being known in their own countries were the
these, the general atmosphere within the
likes of Rodin, Whistler and Max Liebermann
Belgian capital itself must be considered
116 Canadian Journal of Netherlandic Studies
(1884); Renoir, Monet and Odilon Redon Dietrich - perhaps the first art bookshop to
have opened in Brussels - captures the
(1886); Seurat, Pissarro and Berthe Morisot
attention of strollers in the fashionable
(1887); Toulouse-Lautrec and Signac (1888);
Montagne de la Cour district with a series of
Gauguin (1889); Cezanne and van Gogh
photographs of uncommon quality and
(1890); Walter Crane and Larsson, Filiger and dimension, reproducing the works of Bume
Cheret (1891). Imported from France, the Jones and Rossetti?1
doctrines of Symbolism impregnated
literature, painting and sculpture before These allusions underscore the fact that in
continuing on to architecture and the applied Belgium, as in Fr8.9ce, England, Germany and
arts. Meanwhile, carried by Odilon Redon, Italy, painters w~re to show an increasingly
Gauguin and the Nabis, nurtured by Toulouse powerful interest in the decorative arts.
Lautrec, and sustained by an undercurrent of Ultimately it was the efforts of the English
Japanese orientalism, the arabesque came to Arts and Crafts movement and its Pre
frame a light discourse of forms, which sought Raphaelite forerunners which formed the basis
to transpose "nature into the realm of of the development. "There are no paintings,
intelligence and imagination." 18 Its swaying there are only decorations" wrote Verkade,
movement broke all notion of classical art. Its
mouthpiece of the Nabis. "Down with useless
consequences were to touch such painters as
furniture. Painting must not be permitted to
Fernand Khnopff(1881), Jan Toorop (toward
usurp the freedom denied to the other arts (the
1890), Xavier Mellery, and Felicien Rops.
art of furniture making and design being
Sculptor Georges Minne was also affected
implicit)".22 These remarks bring forth one of
.xx-
(1886). In 1890 the Salon des saw the
the key ideas of an era visibly haunted by the
juxtaposition of two tendencies: one directly
overriding concern "to embellish" the
inspired by nature as in the work of Sisley,
individual environment - the bourgeois
Toulouse-Lautrec, Finch and van
surroundings of everyday life. La Libre
Rysselberghe; the other illustrated by Odilon
Esthtitique, which patronized all
Redon, Toorop and Khnopff, which, notes
Madeleine Octave-Maus, aimed at a manifestations of the new art, expressed this
translation of emotions, dreams and literary idea with conviction. Its first Salon (1894)
reminiscences into the language of the plastic included a large exhibit of applied arts where,
arts. 19 along with silver-work by Ashbee, one saw
ornaments by William Morris, posters by
A number of other significant phenomena also Cheret and Toulouse-Lautrec, ceramics by
serve to characterize this scene. Among these, Delaherche, and drawings by Beardsley.
the participation of Walter Crane, the most Gustave Serrurier-Bovy presented a
popular disciple of William Morris, in the completely furnished study whose style was
.xx-
eighth exhibition of Les had profound
inspired by the prevailing gout anglais.
repercussions. In L 'Art Moderne, the painter
Serrurier-Bovy was the first in Belgium to use
Georges Lemmen devotes an important study
the wallpapers and fabrics of William Morris,
to him (1891), praising that "(revolutionary)
whose Japanese-like motifs and floral
labourer of the art world" concerned with the
inspiration exploited all potentialities of the
expressive value of forms, lines, and
arabesque. In addition to these works, the
arabesques.2o Notes Madeleine Octave-Maus
following year La Libre Esthtitique brought
once again:
fame to the architecture of Voysey, the first
glassware from the French city of Nancy by
Meanwhile, the display window of Maison
Victor Horta: the Maison Tassel, the sources of its development 117
Damn, and a collection of chairs conceived by Ultimately, the subsequent direction toward
architect Georges HoM. Meanwhile, union of the arts was a result of the socio
independent of that year's exhibition, the moralistic preoccupation which characterized
painter Adolphe Crespin created for the 19th century artistic thought in England. The
architect Paul Hankar a variety of prevalent feeling centred on the belief that all
architectural decorative patterns, plans for artists have an ethical obligation to reconcile
furniture, sketches for wallpaper. It is against art and society, with objects of more honest
this highly vital and creative setting that the design and production. By turning artists into
appearance of Horta's Maison Tassel must be craftsmen and cr~ftsmen into artists (to use a
viewed. key dictum of W/ illiam Morris), man could
consequently succeed in creating a better
Several factors fundamental to the architect's environment for both types of creators, as well
accomplishments are brought to the fore. Most as for the all-important working classes.
obviously in evidence was the search for unity
in the arts. This was proclaimed by the widely The machine and industry were the primary
diverse fields of creative activity assembled dangers threatening the achievement of this
under the auspices of the Groupe des XX and utopic vision. In this regard, the English
La Libre Esthetique. An essential art theory of preached a rejection of that which was but
the time, it was one of the most dominant another form of enslavement. Yet despite this,
ideas in aesthetic circles, and has already been the upcoming century to which they looked
mentioned in regard to Horta's response to the was not to be the golden age of handicrafts.
Wagnerian concept of the Gesamtkunstwerk. Rather, it was the commencement of a great
Integral to the theme was the aim of renewing era of industry and industrial design. Within
art by promoting closer cooperation between his architecture, Victor Horta recognized this,
the artist and artisan. Horta personally and therefore attempted to reconcile the two.
achieved this through his own attention to the Art (decorative design) and industry
design of all decorative and utilitarian (structural exposure) were joined to form the
elements of the house. First and foremost, he fundamental dualism inherent in Art Nouveau
was an architect. Yet he recognized and theory. However, on the one hand there was
believed in the contemporary need for a also his desire to renew art and handicraft, and
creator to be able to lend himself to all aspects on the other, through the subsequent process
of the creative process, toward a total result. of renewal, the creation of handicraft which,
To a great extent the roots of this lie in what by its very nature, its special approach to
was initially an English development. The decoration, and its individuality, was hostile to
teachings of the likes of John Ruskin (1819- the machine. Horta succeeded in maintaining
1900) and William Morris (1834-1896) were a truce between the two, but at a price. The
founded on such an idea - the rebirth of art Art Nouveau forms and language which
through the renewal of handicraft. As it ensued could only appeal to a small exclusive
crossed the Channel to the Continent, the group. Their expensive design and reliance on
appearance of Walter Crane only served to the handmade product rendered them
strengthen it for those who had already incapable of satisfying the social needs of a
adopted it. new age, increasingly geared to the demands
of mass production. This, then, was to form