The main works of Art Nouveau ```` and the content of the chemical used in the development of countries ```` Thank you!

As the birthplace of "Art Nouveau" in France, shortly after the beginning of the formation of two centers: one is the capital city of Paris; the other is the city of Nancy (Nancy). The scope of design in Paris included furniture, architecture, interiors, decoration of public **** facilities, posters and other graphic design, while the latter focused on furniture design. 1889 by the bridge engineer Guistave? The Eiffel Tower, designed in 1889 by bridge engineer Guistave Eiffel (1832-1923), is a classic design work of the French "Art Nouveau" movement. Located on the banks of the Seine River, this monumental structure was built by the French government to showcase the achievements of France since the revolution. Out of more than 700 design proposals, the Eiffel won the bidding with its bold metal construction design. Tower height of 328 meters, by four with the ground at an angle of 75 degrees of the huge supporting feet to support the towering tower, into a parabolic leap into the blue sky. The whole tower *** with more than 1,500 giant beams, rivets 2.5 million, with a total weight of 8,000 tons, this building symbolizes the modern scientific civilization and mechanical power, heralding the era of iron and the advent of the new design era.

French "Art Nouveau" movement period, in Paris and Nance, not only appeared three design organizations - Art Nouveau House, the House of Modernity and the Group of Six; and emerged a number of famous designers. The Maison d'Art Nouveau was named after the studio and design office called Maison d'Art Nouveau opened by Samuel Bin in 1895 at 22 Rue de Provence in Paris: the Maison Moderne was named after the studio and design office called Maison de l'Art Nouveau opened by Julius Meier-Graefe in 1898 in Paris; and the Maison de la Moderne was named Maison de la Moderne, which was called Maison de la Moderne, opened in 1898 in Paris. The "Maison de la Moderne" was named after Julius Meier-Graefe, who opened a design office and exhibition center in Paris in 1898 called the "Maison de la Moderne". The "Group of Six" was founded in 1898 as a loose design group of six designers. Other famous designers in and around these three organizations include Emile Galle (1898), Galle (1898) and Galle (1898). Emile Galle (1846-1904), Louis Marrère (1846-1904), and the Groupe de Six (1898), a loosely organized group of six designers. Emile Galle (1846-1904), Louis Major Elle (1859-1926), and Rane Lalique (1859-1926). Louis Major Elle (1859-1926), Rane Laliqua (1860-1945), Eugene Grasset (1860-1945) and Eugène Grasse (1860-1945). Eugene Grasset (1841-1917), Jules Chérét (1841-1917), and Jean-Pierre Lacroix (1841-1917). Eugene Grasset (1841-1917), Jules Chéret, Toulouse Lautrec (1841-1945), and others. Toulouse Lautrec (1864-1901), Pierre Bonnard (1864-1901) and Eugene Grasset (1841-1917). Pierre Bonnard 1867-1947 and Hector Guimard. Guimard (Hector Guimard 1867-1942).

Emile? Garey was the founder of the Nance School, and his achievements in the art of design were mainly in glass design. He boldly explored a variety of decorations corresponding to the material, resulting in a series of fluid and asymmetrical forms, as well as elaborate surface decorations rich in color. His glass designs show a predilection for the circle, a skillful use of line, and great skill in the treatment of floral motifs. Common motifs were nature's flowers, leaves, plant branches and stems, butterflies and other winged insects reflected in cream-colored textures. In addition, his furniture, like his glass designs, is decorated with exotic plants and insect shapes, with blossoming flowers and entwined foliage forming a distinctive surface decoration that is characterized by symbolism. He often used fine wood marquetry to decorate his furniture, making his designs beautiful and elegant. His most famous piece of furniture is the "Butterfly Bed" of 1904, in which the glass and mother-of-pearl used for the body and wings of the butterfly convey the skin of the thin skin, while the alternating black and white pattern of the wood reproduces the mottling of the wings.

Louis Marreroel was a Nanspai artist. Marjorale was another exponent of the Nance school. His achievements in design were mainly in furniture ironwork. Like émile Gare, Louis Marrère was a great master of the Nance school. Like émile Garret, Louis Marreroire's work was a blend of the traditional and the modern. Marjorale's work combines exotic and traditional elements, including neo-Rococo motifs, Japanese styles and organic shapes, as well as shapes and decorations inspired by nature. The construction and decoration of his work expresses a fluid rhythm, with rounded contours and sloping lines giving the work a sculptural feel. The subordination of function to decoration is evident in his designs. Because of Marjorie's outstanding achievements in furniture design, so the "Marjorie-style" furniture is known.

René Lalique's design achievements are mainly reflected in his work. René Lalique's design achievements were mainly in jewelry. His work is a testament to the delicate and luxurious French Art Nouveau style. His jewelry designs are heavily decorated with motifs from nature, with plant and insect motifs being the most common and treated in grotesque forms. In addition, his choice of materials was highly imaginative, including imitation gemstones, colored gold, enamel, irregular pearls and translucent horns. The female body is another motif that Lalique loves to use in his designs. The woman's body in jewelry was delicately etched and lifelike. For example, among the exhibits he sent to the Salon des Artistes Fran?ais in 1895 was a particularly fascinating piece of dragonfly jewelry. Lalique decorated this unusual brooch with a fully nude woman's body. This was the first piece of Art Nouveau jewelry to be decorated with a nude woman's body, and it soon became the subject of imitation by designers in other European countries.

After Lalique, Eugène Grasset was the most successful designer of Art Nouveau jewelry. Grasset. His jewelry design is peculiar, original, full of passion, imagination and fantasy. One of his most famous works is the "Sylvia" pendant. It features a botanical motif and is made of enamel with a metal-free base and freshwater pearls.

Art Nouveau period, France's posters and other graphic design is also very outstanding, recognized by the design community as the birthplace of modern commercial advertising. Graphic master Jules? Cheret in 1866 to learn from the British color lithography technique used in advertising printing, so that this method is popular for a while and is known as the modern "advertising righteousness". During his lifetime, he designed hundreds of posters featuring rococo lines and bright blocks of color.

Subsequent to Scherer, poster design developed rapidly, and there were many famous artists, including Toulouse? Lautrec posters of flat blocks of bright colors, Pierre? Bonaire posters of bold letters and thick lines of rhythm, still give people a deep impression. Toulouse? Lautrec's designs for The Merry Queen, Jane Avril and Moulin Rouge are still impressive. Lautrec's posters for "The Happy Queen", "Jane Avril" and "Moulin Rouge" are representative of Art Nouveau graphic works. His posters used lines to outline objects and people, and chose subjects from everyday life that were relatable. What is most original is his exaggeration of characters, clever arrangement of words and graphics, and powerful contrasts. And Alphonse? Moussa designed posters, posters because of its strong Art Nouveau characteristics: curves, natural forms, highly decorative, flat effects, etc., known as the Art Nouveau movement's most outstanding graphic designers. According to incomplete statistics, Mussa designed nearly 100 posters during his lifetime, in a style that blended a variety of influences, including elegant Japanese silhouettes with distinctive color blocks and geometric decorations from Byzantine and Moorish art. These Byzantine-inspired posters, featuring idealized female figures surrounded by angels, palm leaves, and mosaics, elevated advertising posters to the level of fine art (Figure 3-9). A poster such as the one he designed for "JANE AVRIL" in 1893 is the most typical example of this style.

As for Ector? KIMA's work embodies the highest achievements of French Art Nouveau architecture. His most important design is a series of entrances for the Paris underground railway system. He was commissioned by the Paris city government to design subway entrances at the beginning of the 20th century, and there were more than 100 of them in one ****, and these architectural structures were basically cast in bronze and other metals. He gave full play to the characteristics of naturalism, imitating the structure of plants to design, these entrances of the roof and railings are imitating the shape of plants, especially twisted tree branches, twisted vines, the roof intentionally using the shape of sea shells to deal with, it is amazing! The entrance, railings, signage, pillars and electric lights form a harmonious landscape mixing organic and abstract shapes.

2, Belgium

Belgium's Art Nouveau movement is second only to France. The main design organizations include the "Group of Twenty", founded in 1884, and the Free Aesthetic Society, which was later renamed from it. Important representatives were Victor Horata (1884), who was a member of the Belgian Art Nouveau movement. Important representatives were Victor Horata (1867-1947) and Henri Vandersen. Victor Horata (1867-1947) and Henry Van de Velde (1867-1947). Henry Van de Velde (1863-1957).

Henry Van de Velde, 1863-1957. Henry Van de Velde. Henry Van de Velde is one of the most outstanding Belgian designers, design theorists and architects of the late 19th and early 20th centuries. His affirmation of mechanics, his theories on design principles, and his design practice make him one of the most important founders of modern design history. A school of arts and crafts he established in Weimar, Germany, in 1906 became the initial center of modern design education in Germany, and later became the world-renowned Bauhaus School of Design. During his stay in Belgium, Wilde was engaged in the "Art Nouveau" style of furniture, interior, textile and graphic design; on the other hand, as the main leader of the "Group of Twenty" and the "Free Aesthetic Society", Wilde was one of the leading figures in the "Art Nouveau" style of design. On the other hand, as the main leader of the "Group of Twenty" and the "Free Aesthetic Society", he led the Art Nouveau design movement in Belgium.

The Belgian Art Nouveau movement is known as the avant-garde movement in the history of Belgian design, which began in the 1880s. It began in the 1880s. in 1881, by Octa? Octave Maus (Octave Maus) founded the democratic colorful art publication "Modern Art" (L'Art Moderne), propaganda new art ideas. Under his organization, a group of young people interested in art and design reform formed the Groupe des Vingt in 1884. They held a series of art exhibitions to display the most avant-garde art works in Europe at that time, so that Belgians could understand the development of avant-garde art and come into contact with modern art ideas. The group of twenty elected Wilde as their leader, and from 1891, organized an annual design salon to display a wide variety of product design and graphic design, and in 1894, the group was renamed the "Society of Free Aesthetics". In terms of personal design, Wilde's designs made extensive use of curves, especially floral and vegetal branches, which became entangled in complex patterns. This is most fully reflected in their graphic design and textile patterns, where the use of abstract lines and shapes forms Wilder's distinctive formal language, and where the design of cutlery, jewelry, candle holders, teapots, and other utilitarian objects conveys the strong rhythms of his Art Nouveau style. He was able to go beyond the direct imitation of nature to discover the vivid and abstract lines that he believed to be the essence of nature. "Line is power" became the basis of the "new" decoration. The candle holder he designed in 1899 can be regarded as the embodiment of this idea, which skillfully elaborates the designer's theory about line, and successfully transforms the rhythm of the twig line into an abstract arrangement of curves.

Victor Horta was a radical democrat. Horta was a radical democrat, mainly engaged in architecture and interior design, his architectural design has two distinctive features: first, the focus on decoration, inspired by natural plants, "whipcord" lines can be seen everywhere, in the wall decorations, doors and staircases are very prominent; the second is the building of exposed steel structure and glass surface. The Tasserer Mansion is one of Horta's early masterpieces. The architectural design is based on an undulating movement composed of fine patterns of leaves, branches and scrolls. The interior follows an ornate Art Nouveau design. The foyer and staircase with stained glass windows and mosaic tiled floor are decorated with a pattern of coiled and twisted lines, which are harmonized with the coiled pattern of the iron balustrade, the columns and capitals, the spandrel arcades and the rounded contours of the staircase. The Horta Mansion is the culmination of Victor Horta's design career. Horta design career, the pinnacle of the landmark of Art Nouveau architecture.

4, Spain

Andonni Gotti (Andonni Gotti) is the first Spanish architect to design a new building. Gaudi (Andonni Gaudi, 1852-1926), is the most important representative of the Spanish Art Nouveau movement. An architect and designer with a unique style, he came from humble beginnings, the son of an ordinary craftsman coppersmith. Afflicted by pneumonia throughout his life, he grew up silent and began studying architecture in Barcelona at the age of seventeen, drawing much of his design inspiration from the books he read widely. His early years were characterized by a strong Moorish Arabian style, the "Moorish Arabian" phase of his design career. In this phase, his designs were not simply retro but eclectic, utilizing a mixture of materials. Typical of this style is the Vinson Apartment, built between 1883 and 1888 in the Carolinian district of Barcelona. The walls of this design are extensively decorated with glazed tiles. From mid-career onwards, Gotti's designs combined Gothic features with the organic, curvilinear style of Art Nouveau to its fullest extent, while at the same time giving it a mysterious, legendary metaphorical color that expressed complex emotions in its seemingly careless design. Gotti's most inventive design is the Casa Batllo, the shape of which symbolizes the details of the sea animals of the ocean. The whole building is revolutionary at first glance. The bone-shaped stone frames that form the projecting windows on the first and second floors, the stained glass inlays that cover the entire fa?ade, and the colorful roof tiles provide an unusual coherence that enlivens the building. The windows of the apartments were designed to appear to grow out of the walls, creating a strange undulating effect, and his later design, the Casa Mila, further exploited the form of the Bartolo apartments by treating the front of the building as a series of horizontally undulating lines, so that the high drape of the multi-story building is mirrored by the horizontal undulation of the surfaces. Not only is the apartment wavy on the outside, there are no right angles on the inside, and straight lines and planes are avoided as much as possible, including in the furniture. Due to the different spans, the parabolic arches he used produce roofs of different heights, creating an incomparably amazing roofscape, where the whole building seems like an ice cream as it melts. Due to its extreme style, the Mira Apartment attracted the censure of the citizens of Barcelona, and the newspapers attacked the design with various gags: the Quarry the Pate the hornets'nest, for example.

Of all Gotti's designs, the most important today is the Church of the Holy Family, which he worked on for 43 years and was unable to complete until his death. Commissioned by Gotti in 1881 and begun in 1884, the church took 42 years to complete, with many stoppages, mainly due to lack of financial resources. The design of the church was mainly modeled on medieval Gothic architecture, with 12 spires, but only 4 were completed. Although the spire retained the Gothic flavor, but the structure of their own much more concise, inside and outside the church is full of stalactite-type sculpture and decorative pieces, above the paste with stained glass and stone, as if the world in the myth in general, the church can not be seen on the body of a straight line, a bit of a clear rule, pervading the world's industrialized style to challenge the breath.

Spain's "Art Nouveau" was also represented by Luis Domenico, who was a member of the Spanish National Council of Art Nouveau, and a member of the Spanish National Committee of Art Nouveau. Another representative of the Spanish "Art Nouveau" was Louis Domenico Montagnais. Montaner (Louis Domenico Montaner, 1850-1930) whose design style is basically synchronized with the French and Belgian styles, but pay more attention to the role of function, the representative design is the Catararan Concert Hall.

5, Austria

Austria's Art Nouveau movement was initiated by the Vienna Secession. It was a group of pioneering artists, architects and designers, founded in 1897 and originally called the Austrian Fine Art Association. Later, they called themselves the "Separatists" because of their claim to be separate from traditional and orthodox art. Their slogan was "Der Zeit Ihre Kunst-der Kunst Ihre Freiheit" (For the art of the age, for the freedom of art). Wagner (Otto Wagner 1841-1918), Joseph Hoffmann (S?rg?rd), and the architects of the "Der Zeit Ihre Kunst-der Kunst Ihre Freiheit". Hoffmann (1970-1956), Joseph Hoffmann (1970-1956), Josef Sosph Oblrich 1867-1908, Koloman Moser 1867-1908, and Koloman Moser 1867-1908. Koloman Moser (1868-1918) and the painter Gustav Klimt (1868-1918). Gustav Klimit, among others.

Wagner was a proponent of Austrian Art Nouveau, practicing architecture in his early years and developing his own doctrine. He was an early advocate of classicism, but later, under the influence of industrial technology, he gradually developed his own new views. His doctrine was centrally reflected in his book Moderne Architektur (Modern Architecture), published in 1895. He pointed out that new structures and materials inevitably led to the emergence of new forms of design, that the retrofuturist style in architecture was extremely absurd, and that design was created to serve the modern man, not for the classical revival. His predictions for the future of architecture are very radical, that the future of architecture "like in the ancient popular horizontal lines, flat as a tabletop roof, extremely simple and powerful structure and materials", these views are very similar to the later "Bauhaus" as the representative of modernism These views are very similar to the later modernism represented by "Bauhaus". He even believed that the core of modern architecture is the design of transportation or communication system, because the building is a place for human beings to live, work and communicate, not just an empty surrounding space. Architecture should have this exchange, communication, and transportation as the central design consideration to facilitate communication and provide convenient functions for the purpose, and decoration should also serve for this purpose. The Neustiftguss 40 in Vienna, which he designed and built in 1900-1902, embodies his design principle of "function first, decoration second" and abandons the "Art Nouveau" design principle of "function first, decoration second". The "Art Nouveau" style of meaningless naturalistic curves, the use of simple geometric forms, with a few curves to achieve decorative effect.

Built in 1899, the Marjorica apartment building is one of Wagner's masterpieces, with its luxurious exterior decoration, Marjorica tiles and simple vertical and horizontal squares in sharp contrast. However, it was only in his later works that the unique style of Viennese Art Nouveau was truly manifested, with the abandonment of all superfluous ornamentation. For example, the Vienna Secession Building, built in 1897-1898, fully adopts simple geometric forms, especially squares, together with a few surfaces decorated with botanical patterns, so that the design is characterized by a high degree of functionality and decoration, in contrast to the peculiar and dysfunctional Gotti Building, which is characterized by a high degree of functionality and decoration. The design is highly functional and decorative, in contrast to Gotti's buildings, which are peculiar and dysfunctional.

Joseph? Olbrich and Josef Hoffmann were among Wagner's most famous architects. Josef Olbrich and Josef Hoffmann were students of Wagner and inherited his new concept of architecture. Olbrich's House of the Secession, designed for the Vienna Secession's annual exhibition, summarizes the basic features of the Secession with its geometric structure and minimal decoration. Alternating cubes and spheres form the main theme of the building, as simple as a monument.

In contrast to Olbrich, Hoffmann achieved more in the Art Nouveau movement, even surpassing his teacher Wagner. He initiated the Wiener Werksttate (Vienna Production League) in 1903, a craft factory that approximated the Morris Design Office of the British Arts and Crafts Movement, and published the magazine Sacred to publicize his own ideas on design and art while producing furniture, metalwork and decorative objects. Throughout his life, Hoffman made great achievements in architectural design, graphic design, furniture design, interior design, and metalware design. The simplicity of decoration was prominent in his architectural designs. Because of his preference for square and three-dimensional shapes, in many of his interior designs such as walls, partitions, windows, carpets, and furniture, the furniture itself is treated as rock-like and three-dimensional (Figure 3-18). In his graphic designs, graphically designed forms such as spirals and the repetition of black-and-white squares are very striking, and the basic elements of his decorative technique are juxtaposed geometric shapes, straight lines, and contrasting black-and-white tones. This black and white square graphic decorative techniques for Hoffman initiated, by the academic community jokingly called "square Hoffman" (Figure 3-19).

Klimt, a painter, was the most important artist in the "Vienna Secession". He also used a large number of simple geometric shapes as the basic composition of his paintings, and used very brilliant metallic colors, such as gold, silver, and bronze, together with other bright colors, to create very decorative paintings, which caused a great deal of excitement in the painting world at that time. which caused a great shock in the painting world at that time. His frescoes for architectural designs, using ceramic inlay techniques, added much charm to the designs by utilizing his skillful painting techniques.

Vienna separatist another representative of the Moser, although painting for a long time, but with the separatist designers work very closely. Their decorative painting style is simple and bright, in sharp contrast to the painting style of the Klimt, tends to use monochrome or black and white color design. For example, the exhibition poster he designed for the Vienna Secession in 1898 is a typical work of the Art Nouveau movement.

6. Britain

As a design movement, Art Nouveau design activities in Britain were mainly limited to Scotland. Therefore, its influence in Britain is far less than the "Arts and Crafts Movement". In this limited influence in the design movement, made a relatively large achievement is the Glasgow Four (Glasgon Four): Charles? Charles Rennie Mackintosh. Charles Rennie Mackimtosh (1868-1928), Herbert McNeill (1868-1928), and John Bennett (1868-1928). Herbert Mcnair (1868-1953), Margaret McDonald (1868-1953), and John McDonald (1868-1953). Margaret Mcdonald (1865-1933), Frances Mcdonald (1865-1933), and Jennie Mackimtosh (1868-1928). McDonald (Frances Mcdonald, 1874-1921). In the 1890s and early 1900s, they formed a unique Scottish Art Nouveau expression in the design of architecture, interior, furniture, glass and metalware, that is, a new expression of the alternating movement of soft curves and hard elegant vertical lines, which is also known as the "straight line style" in the world of design history.

McIntosh was not only the leader of the "Glasgow Four", but also the design of the "straight line style". Born in Glasgow on June 7, 1868 to a family of eleven children, he had a happy childhood and resolved at an early age to take up architecture. Despite his parents' objections, he left home at the age of 16 to study painting, architecture and design. His design field was very wide, involving architecture, furniture, interiors, lamps, glassware, carpets, wall hangings, etc. He was also highly accomplished in the art of painting. The formation of his design style was largely influenced by Japanese ukiyo-e. Since he was very young, he has been very interested in the use of Japanese ukiyo-e lines, especially the simple straight lines in traditional Japanese art, utilizing different arrangements and layouts to achieve very decorative effects. Of course, his design style also originated from the fruits of the Arts and Crafts movement in England, especially the work of William Morris, John Morris, and John Bennett. Morris, John Raskin and others. Raskin and other people as the leader of the development of a variety of experiments, in addition to other countries in Europe, "Art Nouveau" movement, especially regarded as a prelude to some of the figures of modernism, such as the Vienna Secession movement and other influences.

McIntosh, as an all-around brilliant designer, was particularly accomplished in architectural design. His early architectural designs were influenced on the one hand by traditional English architecture, while on the other hand he favored simple vertical and horizontal straight lines. His most successful architectural designs were the buildings of the Glasgow School of Art, which were designed with simple three-dimensional geometrical forms and slightly decorated interiors, very rich in the spirit of Cubism. The interiors were made of wood, with simple geometric forms, harmonized inside and out to form a unified style. In order to achieve a high degree of unity of design style, he also unified the design of furniture and supplies within the building, furniture using primary colors, focusing on the use of vertical lines, the use of straight lines with the decoration, although avoiding excessive decoration. For example, the design of the library of the Glasgow School of Art does not have smooth decorative lines, but abstract and powerful geometric shapes, giving people the impression of abstract forms as an ensemble of polyphonic music. Another example is his design for the interior of the Hill Building in 1902, whose simple three-dimensional shapes echo the similar shapes of the floor, and extend this tone to the rectangular door frames, ceilings, wall panels, and geometric light fixtures, where simple latticework dominates the interior, converging to create an overall effect of simplicity and emptiness. Then in furniture design, like chairs, cabinets, beds and so on are distinctive, especially his design of backrest chairs, completely in black shape, very exaggerated, completely free from all the traditional forms of constraints, but also beyond the imitation of any natural form.

From a large number of works, the Glasgow design style represented by Mackintosh is centrally reflected in the decorative content and the use of techniques. Specifically, surface decoration follows a strict pattern of lines - mainly slightly curved vertical lines that often end in ovals - as well as latticework and stylized rose shapes; the color scheme is soft and limited mainly to pale olive, mauve, cream, grey, and silvery-white composed of light, graceful colors; the elongated, contemplative form of the woman is also prominent in their designs; the decorative lines, though superlatively stable, do not vary in their visual effect, and most of the surface motifs are abstract and complex, punctuated by symbolic forms that, like most of the Art Nouveau designs, communicate with nature; the curving vertical lines are identical to the oval and cellular motifs, and the stylized foliage and rosebuds give the work a vibrant mood that continues to grow.

7. United States

In the field of applied art, a famous designer influenced by Art Nouveau was Will H. Bradley (1892-1945), who was the first designer to be recognized for his work. Bradley (Will H. Bradley, 1868-1962), who can be called a representative of Art Nouveau graphic design. Bradley was initially engaged in designing in Beardsley's line style, and it can be said that Beardsley's works constituted a decisive influence on Bradley's graphic design style. About this influence, we can clearly see from his 1895 design of the poster "CHAPBOOK", as well as by critics as "America's first art nouveau posters" "Twin Sisters", has Beardsley graphic style of the kind of curved hair decorative patterns and flat pattern background.

Bradley's work of 1894 reflects the purely decorative and highly "moralistic" approach of the designers of the British Arts and Crafts movement, as in the case of the cover for Storybook. However, in the course of his subsequent career, he also developed new techniques, such as the use of repetitive line patterns to create textural tonal zones rather than just contrasting black and white, which was used to set off color and decorative lines. These new techniques and his personal design style are reflected in his illustrations for R.D. Blackmer's American edition of Narrative Poetry, as well as in his covers for The Domestic Press in 1895, 1896, and 1905, and for Edmund Spencer's The Likes. Spencer's Likes, and in the poster design for Victor? Bisikeri" in the poster design.

Louis? Louis Comfort. Louis Comfort Tiffany (1848-1933) was an icon in the field of Arts and Crafts design.

Tiffany mainly engaged in the design of daily utensils, especially good at glass design. Before the Art Nouveau movement reached the United States, Tiffany's prototypes for glass design were primarily of European origin, but in the last decade of the 19th century his work became the model for European glass design.

Tiffany's achievements in the field of glass design are unique, he not only designed the late 1890s American society's most fashionable table lamp - stained glass table lamp, but also in the late 19th century and early 20th century launched the famous "Favrile" vase series. "Vase series in the late 1800s and early 1900s. In the former design, the richly colored glass shaped lamps make the harsh light of incandescent bulbs become extremely soft. The bronze bases of tree roots and poles, with painted glass shades decorated with lilies, lotus or wisteria hanging above the irregular shapes, have a natural and romantic mood, while the latter design introduces new color effects, mostly iridescent, in imitation of ancient weathered-glass implements, sometimes superimposed with stylized floral, peacock-feather, and comb-wave motifs to enhance the color effects.

In the field of architectural design, originally in the Art Nouveau movement to the United States before the introduction of the United States, the United States has formed the famous "Chicago School", this school advocates the first architectural function, "the form will always be subject to the function of the needs of the law is unchanging", "function is unchanged, the form is also unchanged. "Function is unchanged, form is unchanged". Its representative figures are architects Bernham (Beruhem), Jenney (Jenney), Adler (Adler) Holabird (Holabird) and Louis Sullivan (Louis Sullivan). Louis Sullivan (1856&1924), among others. Through the work of these architects, a boom in the construction of skyscrapers arose in the United States, beginning in Chicago.

Louis? Sullivan was the most important representative of the Chicago School, and he made a huge contribution to American Art Nouveau architecture that had never been seen before. He designed more than one hundred skyscrapers in fourteen years in New York, Missouri, and Chicago. His early architectural works expressed a desire to add the language of Romanesque architecture to modern forms. The Auditorium Building he designed encloses windows in a continuous arcade built above the roughly faceted lower floors. In the interiors of the buildings, Sullivan had begun to utilize floral ornamentation. Sullivan's most outstanding architectural design was the Carson Pilisk Company Mall, whose simplicity of treatment made the design the basic prototype for countless office and commercial buildings of the 20th century. The lavish Art Nouveau cast-iron ornamentation above and around the main entrance is perhaps Sullivan's most outstanding architectural decoration. The bottom two floors of the mall are stores, and the top ten floors are office buildings with white ceramic tiles on steel frames and rows of large windows, fully reflecting his modern architectural ideology of "form follows function". Special mention should also be made of Sullivan and Adler's cooperation in the design of the "Chicago Theater", Sullivan through the use of collapsible ceiling parapets and vertical barriers, with a number of suspended circular arcs from the stage to the audience behind the theater, so that the theater, which can accommodate 3,000 people, to achieve the perfect acoustics. And on the exterior of the building, Sullivan changed the materials of the theater's fa?ade, emphasizing the verticality of the building's walls by using rustic granite stone on the lower three floors and sandstone above the fourth floor.

Following Sullivan, Frank Lloyd, who had worked for Sullivan Architects? Frank Lloyd Wright (1869-1959), further developed Sullivan's idea of Art Nouveau architecture, which was mainly manifested in the selection of new materials and the consideration of coordination between the building and the environment, and he put forward the famous concept of "organic architecture". Wright is regarded as one of the greatest modern architects. His architectural designs in the 1890s showed a strong tendency toward surface ornamentation, as exemplified by his design for the McElfee House in 1894. Beginning in 1895, Wright incorporated elegant vertical and curvilinear forms into his architectural ironwork designs. By 1904, the use of drapery and surface patterns in these decorative works had become Wright's personal style.