Art Nouveau Quotes

It was her first book, an indigo cover with a silver moonflower, an art nouveau flower, I traced my finger along the silver line like smoke, whiplash curves. ... I touched the pages her hands touched, I pressed them to my lips, the soft thick old paper, yellow now, fragile as skin. I stuck my nose between the bindings and smelled all the readings she had given, the smell of unfiltered cigarettes and the espresso machine, beaches and incense and whispered words in the night. I could hear her voice rising from the pages. The cover curled outward like sails.

Art Nouveau was coil-envy.

The “Art Nouveau” appeal of smoking: manufacture your own pneuma, spirit. “I’m alive.” “I’m decorative.

Design is all about desire, but strangely this desire seems almost subject-less today, or at least lack-less; that is, design seems to advance a new kind of narcissism, one that is all image and no interiority - an apotheosis of the subject that is also its disappearance. Poor little rich man: he is 'precluded from all fuure living and striving, developing and desiring' in the neo-Art Nouveau world of total design and Internet plenitude.

Because once you find what you love, you need to let it consume you and then completely kill you. I dare you to find someone who needs you more than I do. Who wants you more than I do.

Every human body has its optimum weight and contour, which only health and efficiency can establish. Whenever we treat women’s bodies as aesthetic objects without function we deform them and their owners. Whether the curves imposed are the ebullient arabesques of the tit-queen or the attenuated coils of art nouveau, they are deformations of the dynamic, individual body, and limitations of the possibilities of being female.

Japonisme was a vertical phenomenon running through a number of successive styles; Art Nouveau was a horizontal, chronologically limited phenomenon that embodied the aim of giving expression to a new experience of life.

...my life is the train wreck. You, my dear, are the conductor on the Hot Mess Express

I was staying in a house beside the machair. In front of this house was a stretch of lawn, and at the edge of the lawn there was a river. By the riverside, its door wide open, was a shed into which I wandered. Inside the shed was a large art nouveau typesetting machine. I was being called, and I turned away from my discovery of the typesetting machine to make my way back to the house and to our hostess. People in dreams do not always have names, but she did. She was called Mrs. MacGregor.

The old Ivy feared parental reaction from each tiny act of defiance. But the new Ivy says, "Fuck 'em all!" a sentiment that Rachel will surely appreciate. My new motto? Be who you are and own that shit-because only with true self-acceptance comes peace and joy.

I fall into this kiss… Fall into him… Fall for him.

Art Nouveau, and Art Deco. Grandfather is the ace numismatist.

Be who you are and own that shit

In the usual proto-Art-Nouveau style, the sculptor follows through on an ethnographic hunch that surprising numbers of the tribal womenfolk would be in their late teens and free of clothing.

The nouveau riche flaunt their wealth, but the old rich scorn such gauche displays. Minor officials prove their status with petty displays of authority, while the truly powerful show their strength through gestures of magnanimity. People of average education show off the studied regularity of their script, but the well educated often scribble illegibly. Mediocre students answer a teacher’s easy questions, but the best students are embarrassed to prove their knowledge of trivial points. Acquaintances show their good intentions by politely ignoring one’s flaws, while close friends show intimacy by teasingly highlighting them. People of moderate ability seek formal credentials to impress employers and society, but the talented often downplay their credentials even if they have bothered to obtain them. A person of average reputation defensively refutes accusations against his character, while a highly respected person finds it demeaning to dignify accusations with a response.

How thoroughly the chimps and bonobos have erased the list of purported human distinctions!-self-awareness, language, ideas and their association, reason, trade, play, choice, courage, love and altruism, laughter, concealed ovulation, kissing, face-to-face sex, female orgasm, division of labor, cannibalism, art, music, politics, and featherless bipedalism, besides tool using, tool making, and much else. Philosophers and scientists confidently offer up traits said to be uniquely human, and the apes casually knock them down--toppling the pretension that humans constitute some sort of biological aristocracy among the beings of Earth. Instead, we are more like the nouveau riche, incompletely accommodated to our recent exalted state, insecure about who we are, and trying to put as much distance as possible between us and our humble origins. It's as if our nearest relatives, by their very existence, refute all our explanations and justifications. So as counterweights to human arrogance and pride, it is good for us that there are still apes on Earth.

Immediately across the bridge he encountered the other two. On his left, the Grand Palais, and on his right, the Petit Palais. If the great fair of 1889 had bequeathed Paris the Eiffel Tower, the next fair at the turn of the century had left these two magnificent pavilions: a facing pair of exhibition halls that started as handsome stone museums and, as they rose, turned into soaring Art Nouveau glass houses. They were like opera houses made of glass, he thought, and flanking the short avenue

Dos cuadras más adelante vio el edificio donde vivía, uno de los primeros de puro estilo art nouveau, construido a fines del siglo XIX. Cuando Rudolf Adler compró un local a pie de calle para su consultorio, y un apartamento para su familia, las líneas orgánicas, las ventanas y balcones curvos y los vitrales de flores estilizadas habían escandalizado a la conservadora sociedad vienesa, acostumbrada a la elegancia barroca, pero el art nouveau se impuso y en poco tiempo el edificio se convirtió en un punto de referencia en la ciudad.

As we know, Rilke, under the influence of Auguste Rodin, whom he had assisted between 1905 and 1906 in Meudon as a private secretary, turned away from the art nouveau-like, sensitized-atmospheric poetic approach of his early years to pursue a view of art determined more strongly by the priority of the object. The proto-modern pathos of making way for the object without depicting it in a manner 'true to nature', like that of the old masters, led in Rilke's case to the concept of the thing-poem - and thus to a temporarily convincing new answer to the question of the source of aesthetic and ethical authority. From that point, it would be the things themselves from which all authority would come - or rather: from this respectively current singular thing that turns to me by demanding my full gaze. This is only possible because thing-being would now no longer mean anything but this: having something to say.

Elle murmura son nom avec la circonspection d'un enfant qui s'essaie à des sons distincts. Lorsqu'il énonça le sien en réponse, on aurait dit un mot nouveau - les syllabes restaient les mêmes, le sens était différent. Enfin, il prononça ces trois mots simples que nul art médiocre, nulle mauvaise foi ne réussiront jamais à déprécier tout à fait. Elle les répéta, avec exactement la même légère insistance sur le dernier mot, comme si elle était la première à les dire...

Early in a career that began in 1912 when he was 19 years old, Romain de Tirtoff, the Russian-born artists who called himself Erté after the french pronunciation of his initials, was regarded as a 'miraculous magician,' whose spectacular fashions transformed the ordinary into the outstanding, whose period costumes made the present vanish mystically into the past, and whose décors converted bare stages into sparkling wonderlands of fun and fancy. When his career ended with his death in 1990, Erté was considered as 'one of the twentieth-century's single most important influences on fashion,' 'a mirror of fashion for 75 years,' and the unchallenged 'prince of the music hall,' who had been accorded the most significant international honors in the field of design and whose work was represented in major museums and private collections throughout the world. It is not surprising that Erté's imaginative designs for fashion, theater, opera, ballet, music hall, film and commerce achieved such renown, for they are as crisp and innovative in their color and design as they are elegant and extravagant in character, and redolent of the romance of the pre- and post-Great War era, the period when Erté's hand became mature, fully developed and representative of its time. Art historians and scholars define Ertés unique style as transitional Art Deco, because it bridges the visual gab between fin-de-siècle schools of Symbolism, with its ethereal quality, Art Nouveau, with its high ornament, and the mid-1920s movement of Art Deco, with its inspirational sources and concise execution.

During the last two decades of the nineteenth century and the first of the twentieth, France enjoyed an upsurge of artistic flourishing that became known as La Belle Epoque. It was a time of change that heralded both art nouveau and post impressionism, when painters as diverse as Monet, Cezanne and Toulouse Lautrec worked. It was an age of extremes, when Proust and Anatole France were fashionable along with the notorious Monsieur Willy, Colette's husband. On the decorative arts, Mucha, Gallé and Lalique were enjoying success; and the theatre Lugné-Poe was introducing the grave works of Ibsen at the same time as Parisians were enjoying the spectacle of the can-can of Hortense Schneider. Paris was the crossroads of a new and many-faceted culture, a culture that was predominately feminine in form, for, above all, la belle Epoque was the age of women. Women dominated the cultural scene. On the one hand, there was Comtesse Greffulhe, the patron of Proust and Maeterlinck, who introduced greyhound racing into France; Winaretta Singer, Princesse de Polignac, for whom Stravinsky wrote Renard; Misia Sert, the discoverer of Chanel and Diaghilev's closest friend. On the other were the great dancers of the Moulin Rouge, immortalised by Toulouse lautrec — Jane Avril, Yvette Guilbert, la Goulue; as well as such celebrated dramatic actresses as the great Sarah Bernhardt. It would not be possible to speak of La belle Epoque without the great courtesans who, in many ways, perfectly symbolized the era, chief of which were Liane de Pougy, Émilienne d'Alençon, Cléo de Mérode and La Belle Otero.

J’ai remarqué souvent que quand deux amis pétersbourgeois se rencontrent quelque part, après s’être salués, ils demandent en même temps : Quoi de neuf ? il y a une tristesse particulière dans leurs voix, quelle qu’ait été l’intonation initiale de leur conversation. En effet, une désespérance totale est liée à cette question à Pétersbourg. Mais le plus agaçant c’est que, très souvent, l’homme qui la pose est tout à fait indifférent, un Pétersbourgeois de naissance, qui connaît très bien la coutume, sait d’avance qu’on ne lui répondra rien, qu’il n’y a rien de nouveau, qu’il a posé cette question peut-être mille fois sans aucun succès ; cependant, il la pose, et il a l’air de s’y intéresser, comme si les convenances l’obligeaient de participer lui aussi à la vie publique, d’avoir des intérêts publics. Mais les intérêts publics... C’est-à-dire nous ne nions pas que nous ayons des intérêts publics ; nous tous aimons ardemment la patrie, nous aimons notre cher Pétersbourg, nous aimons jouer si l’occasion se présente. En un mot il y a beaucoup d’intérêts publics. Mais ce qu’il y a surtout chez nous, ce sont les groupes. On sait que Pétersbourg n’est que la réunion d’un nombre considérable de petits groupes dont chacun a ses statuts, ses conventions, ses lois, sa logique et son oracle. C’est en quelque sorte le produit de notre caractère national qui a encore peur de la vie publique et tient plutôt au foyer. En outre, la vie publique exige un certain art ; il faut s’y préparer ; il faut beaucoup de conditions. Aussi, l’on préfère la maison. Là, tout est plus simple ; il ne faut aucun art ; on est plus tranquille. Dans le groupe, on vous répondra bravement à la question : Quoi de neuf ? La question reçoit tout de suite un sens particulier, et l’on vous répond ou par un potin, ou par un bâillement, ou par quelque chose qui vous force vous-même à bâiller cyniquement, magistralement. Dans le groupe, on peut traîner de la façon la meilleure et la plus douce une vie utile entre le bâillement et le ragot, jusqu’au moment où la grippe, ou bien la fièvre chaude, visite votre demeure ; et vous quittez alors la vie stoïquement, avec indifférence, sans savoir comment et pourquoi tout cela était avec vous jusqu’alors. Aujourd’hui, dans l’obscurité, au crépuscule, après une triste journée, plein d’étonnement que tout se soit arrangé ainsi, il semble qu’on ait vécu, qu’on ait atteint quelque chose, et tout à coup, on ne sait pas pourquoi, il faut quitter ce monde agréable et sans soucis pour émigrer dans un monde meilleur. Dans certains groupes, d’ailleurs, on parle fortement de la cause. Quelques personnes instruites et bien intentionnées se réunissent. On bannit sévèrement tous les plaisirs innocents, comme les potins et la préférence, et, avec un entrain incompréhensible, on parle de différents sujets très importants. Enfin, après avoir bavardé, parlé, résolu quelques questions d’utilité générale, et après avoir réussi à imposer aux uns et aux autres une opinion sur toutes choses, le groupe est saisi d’une irritation quelconque et commence à s’affaiblir considérablement. Finalement, tous se fâchent les uns contre les autres. On se dit quelques dures vérités. Quelques caractères tranchants se font jour et tout se termine par la dislocation totale. Ensuite on se calme ; on fait provision de bon sens et, peu à peu, l’on se réunit de nouveau dans le groupe décrit ci-dessus. Sans doute il est agréable de vivre ainsi. Mais à la longue cela devient irritant ; cela irrite fortement.

Art Nouveau palaces such as Bofinger and La Fermette Marbeuf, dripping in gold molding and often with elaborate murals and stained-glass skylights.

Art Nouveau objects, typically, convert one thing into something else: the lighting fixtures in the form of flowering plants, the living room which is really a grotto. A remarkable example: the Paris Métro entrances designed by Hector Guimard in the late 1890s in the shape of cast-iron orchid stalks.

L’originalité de son entreprise ne se dégage vraiment que si, au lieu d’en faire une anticipation inspirée mais inachevée de telle ou telle position du champ actuel (comme le Nouveau Roman – au nom de la fameuse phrase, mal lue, à propos du « livre sur rien »), on la réinsère dans l’espace historiquement constitué à l’intérieur duquel elle s’est construite

proches de ceux qu’employait Baudelaire, Zola rappelle en effet que c’est l’argent qui a affranchi l’écrivain de la dépendance à l’égard des mécènes aristocratiques et des pouvoirs publics et, contre les tenants d’une conception romantique de la vocation artistique, il appelle à une perception réaliste des possibilités que le règne de l’argent offre à l’écrivain : « Il faut l’accepter sans regret ni enfantillage, il faut reconnaître la dignité, la puissance et la justice de l’argent, il faut s’abandonner à l’esprit nouveau…

Hymne du Nouveau Canada Le Nouveau-Canada est un art d'amour, pas une tache de haine et d'ignorance. Le Nouveau Canada est une terre de promesses et non une terre d’indifférence. Le Nouveau Canada est un Canada meilleur, Notre vrai Nord est l’amour. Nous travaillons ensemble sans division, pour faire partie intégrante du monde. Le Hijab, l'habit, le turban, tous égaux - Ce qui est inacceptable, c'est l'intolérance. Le caractère triomphe au Nouveau-Canada, Les traditions primitives sont insignifiantes. Le Nouveau-Canada est un art d'aimer, hors de portée des singes haineux. Le Nouveau-Canada est célébration de la vie, pas une validation de préjugés ruineux.

Countersignaling You would think, based on the previous section, that if you have the ability to signal your type, you should. That way, you differentiate yourself from those who can’t make the same signal. And yet, some of the people most able to signal refrain from doing so. As Feltovich, Harbaugh, and To explain: The nouveau riche flaunt their wealth, but the old rich scorn such gauche displays. Minor officials prove their status with petty displays of authority, while the truly powerful show their strength through gestures of magnanimity. People of average education show off the studied regularity of their script, but the well educated often scribble illegibly. Mediocre students answer a teacher’s easy questions, but the best students are embarrassed to prove their knowledge of trivial points. Acquaintances show their good intentions by politely ignoring one’s flaws, while close friends show intimacy by teasingly highlighting them. People of moderate ability seek formal credentials to impress employers and society, but the talented often downplay their credentials even if they have bothered to obtain them. A person of average reputation defensively refutes accusations against his character, while a highly respected person finds it demeaning to dignify accusations with a response.6 Their insight is that in some circumstances, the best way to signal your ability or type is by not signaling at all, by refusing to play the signaling game.

En Union Soviétique, quand quelque chose ne va pas, dans un domaine d’activité quelconque, on pense d’abord structures. On l’a vu en août 1972, après le sévère réquisitoire du Comité Central du Parti contre la production cinématographique. Des mesures de réorganisation avaient tout de suite été prises. Un nouveau patron était nommé à la tête de Goskino. Deux mois plus tard, l’Union des Cinéastes se réunissait à Moscou. Un débat très libre s’ouvrait qui étonnait les correspondants étrangers par sa franchise. On y entendait Alexandre Medvedkine (Le Bonheur) s’interroger sur la notion de « film politique ». En même temps qu’étaient critiquées certaines mesures de réorganisation, on se félicitait de la création d’un « studio central des scénarios » susceptible d’assainir les rapports (difficiles, paraît-il) entre scénaristes et réalisateurs. Mais l’interrogation majeure de cette rencontre était : « Existe-t-il un cinéma pour les masses et un cinéma pour les élites ? ». On conviendra que c’était là une question d’importance. Surtout en Union Soviétique. Répondre oui c’était reconnaître l’existence possible de plusieurs publics avec ce que cela implique de conséquences sur la conception, la production, la distribution des films dans un appareil d’État qui fait volontiers du populisme une vertu.

Les Grecs, il est vrai, n’ont jamais fait mystère de leur ascendance asiatique ; ils se disaient disciples des Égyptiens et des Babyloniens ; leur panthéon était arabe ; leurs cosmogonies et théogonies directement inspirées d’Anatolie ou de Canaan. Le père d’Hésiode n’était-il pas d’origine éolienne ? Hérodote s’étonne qu’on distingue l’Europe de l’Asie car il n’y voit, et ses compatriotes avec lui, qu’une seule et même culture. Effectivement la Grèce est née de l’Asie, recueillant par l’intermédiaire de la colonisation phénicienne le fruit de quelque 4000 ans d’efforts menés par l’Égypte et la Babylonie. Son éclosion certes fut tardive puisque 1000 ans avant Homère, alors que les Grecs végétaient encore dans l’obscurité, les sujets de Thoutomosis jouissaient dans la vallée du Nil d’un art d’un confort raffinés. En transmettant à l’Occident sicilien et italique l’héritage asiatique la Grèce devait y introduire les diverses religions arabes et notamment le christianisme puisque c’est en grec que le nouveau Testament parvint en Méditerranée occidentale.

Faire des listes nous force a reflechir, a questionner, a explorer, a assembler et organiser tout ce que nous avons collectionne d'histoire personnelle, de savoir-faire, de savoir et de sagesse au cours de notre existence. Le but de la lecture et de l'ecriture est de mieux vivre. C'est peut-etre cela, rater sa vie: a chaque jour nouveau preferer les souvenirs, a la poussee de la vie preferer l'immobilisme et la rigidite, a la remise en question preferer les certitudes ancrees. Pour etre heureux, il faut pratiqer le bonheur, se rappeler de se sentir heureux. Plus notre faculte de contemplation se developpe, disait Aristote, plus se developpent nos facultes de bonheur. L'un des fleaux les plus nocifs pour la sante de notre systeme nerveux est la pollution sonore.

Accogliente e curata, Ålesund deve molto del suo fascino al devastante incendio che un secolo fa ne rase al suolo le strutture in legno, distruggendo tutto tranne la prigione e una chiesa. Dalle ceneri risorse una nuova cittadina, quasi tutta in pietra e per lo più progettata da giovani architetti norvegesi formatisi in Germania. Fortemente influenzati dallo Jugendstil (l’art nouveau tedesca) in voga all’epoca, essi crearono edifici dalle decorazioni elaborate, con torrette, guglie, doccioni e altri elementi ornamentali ispirati a motivi locali.

what was a modern style? To tear off the screens of history was one thing; to define modern man and to celebrate his nature in building was another. In the quest for a visual language suited to his age, Wagner found allies in a younger generation of Viennese artists and intellectuals who were pioneers in forming twentieth-century higher culture. In 1897 a group of them banded together to form the Secession, an association that would break the manacles of tradition and open Austria to European innovations in the plastic arts—and especially to art nouveau. The motto of the Secession could only have struck the strongest response in Wagner: “To the Age Its Art, to Art Its Freedom.” So, too, Ver Sacrum (Holy Spring), the name chosen for the Secession’s periodical, expressed the movement’s solemn commitment to regenerate art in Austria and Austria through art. One of Wagner’s most gifted younger associates, Josef Olbrich, designed the Secession’s pioneering modern building, using the form of a modernized temple to suggest the function of art as a surrogate religion for Vienna’s secular intellectual élite (Figure 39).

[...] à force d'attention aux parties disputées par ses gardiens, puis en s'enquérant sans doute des principes, l'Inca avait appris à jouer aux échecs. Qu'a-t-il cherché à y déchiffrer ? Une leçon de stratégie, un secret du mouvement dans l'art de la guerre ? Ou bien, dans la configuration des pièces–entre fascination et désabusement–, la trame d'une fable abstruse, une image du théâtre du monde où son étoile avait pâli ? Déjà je brode autour de ce qui n'est peut-être–pourquoi pas ?–qu'un simple dérivatif à l'inactivité. On ne sait rien de plus que cette historiette, juste assez pour que la rêverie se déplace vers ce jeu et le parcours qui, d'un berceau indien, le fait transiter par la Perse et de là, via les musulmans, gagner l'Espagne et la Sicile aux alentours de l'An Mil, y être lentement codifié, se répandre malgré l'opposition de l'Église, pour si étrangement débarqué dans le Nouveau Monde et y séduire, les derniers mois de sa vie, le maître demi-dieu d'un empire entré in extremis dans l'Histoire à la suite de la collision de deux temporalités. (p. 78)

J'ai déjà souligné ailleurs la tâche de l'artiste, précisée dans l'effort de renouveler avec un élément nouveau et personnel le cadre usé de l'art. (extrait d'un article intitulé "Grammaire" et paru dans "Punct", N°6-7, 1924 ; traduit du roumain par Vincent Iluțiu)

L. G. - D'où le rôle de l'écrivain ... É. Glissant - Et d'où le rôle du poète qui va chercher non pas des résultantes prévisibles mais des imaginaires ouverts pour toutes sortes d'avenirs de la créolisation. Le poète n'a pas peur de l'imprédictible. L. G. - Que signifie pour vous « subvertir la langue » ? É. G. - La subversion vient de la créolisation (ici, linguistique) et non des créolismes. Ce que les gens retiennent de la créolisation, c'est le créolisme, c'est-à-dire: introduire dans la langue française des mots créoles, fabriquer des mots français nouveaux à partir de mots créoles. Je trouve que c'est le côté exotique de la question. C'est le reproche que je fais aussi à certains écrivains québécois. La créolisation pour moi n'est pas le créolisme : c'est par exemple engendrer un langage qui tisse les poétiques, peut-être opposées, des langues créoles et des langues françaises. Qu'est-ce que j'appelle une poétique? Le conteur créole se sert de procédés qui ne sont pas dans le génie de la langue française, qui vont même à l'opposé : les procédés de répétition, de redoublement, de ressassement, de mise en haleine. Les pratiques de listage que Saint-John Perse a utilisées dans sa poétique et que j'esquisse dans beaucoup de mes textes, ces listes interminables qui essaient d'épuiser le réel non pas dans une formule mais dans une accumulation, l'accumulation précisément comme procédé rhétorique, tout cela me paraît être beaucoup plus important du point de vue de la définition d'un langage nouveau, mais beaucoup moins visible. Si bien que le lecteur français peut se dire devant de tels textes: «Je n'y comprends rien », et effectivement il n'y comprend rien parce que ces poétiques-là ne lui sont pas perceptibles tandis qu'un créolisme lui est immédiatement perceptible. Il peut s'amuser, il peut dire : « Ah ! Oui, ça c'est intéressant. » Il a pris un mot, il l'a défait, et cela peut même lui paraître exotique. Mais la poétique, la structure du langage, la refonte de la structure des langages lui paraîtront purement et simplement obscures. L'accumulation de parenthèses, par exemple, ou d'incises, qui est une technIque, n'intervient pas de manière aussi décisive dans le discours français. Quand on me dit: « Pour qui écrivez-vous ? », cela me fait rire parce que je n'écris pas pour un lecteur-ci ou un lecteur-ça, j'essaie d'écrire en vue de ce moment où le lecteur ou l'auditeur - on enregistrera sans doute de plus en plus de textes - sera ouvert à toutes sortes de poétiques et pas seulement aux poétiques de sa langue à lui. Et ce jour-là viendra où il y aura une sorte de variance infinie des sensibilités linguistiques. Non pas une connaissance des langues, ça c'est autre chose. De plus en plus les traductions deviendront un art essentiel. Jusqu'ici on a trop laissé les traductions aux seuls traducteurs. Les traductions deviendront une part importante des poétiques, ce qui n'est pas le cas jusqu'ici. Et je pense à toute cette variance infinie de nuances des poétiques possibles des langues, et chacun sera de plus en plus pénétré par cela, non pas par la seule poétique et la seule économie, structure et économie de sa langue, mais par toute cette fragrance, cet éclatement des poétiques du monde. Ce sera une nouvelle sensibilité. Je crois que l'écrivain à l'heure actuelle essaie de présager cela, de le préparer et de s'y accoutumer.

The wooden doors on the restrooms were art nouveau too: the hinges with nymphs, the hasps and mountings, as big as about six of those particleboard slabs that pass for doors. As if they'd been built for men of gigantic stature. In fact it was like the entire train station had been built for some race now long extinct. If any of those Titans actually turned up here, the local riffraff would no doubt turn tail and head for the hills and I myself wouldn't be far behind. But those consummate carpenters from the other end of the century left behind no holes in their work.

Le Nouveau-Canada est un art d'aimer, hors de portée des singes haineux. Le Nouveau-Canada est célébration de la vie, pas une validation de préjugés ruineux.

Le Nouveau-Canada est un art d'amour, pas une tache de haine et d'ignorance.

As time went on, I subscribed more and more to Toynbee’s idea that civilizations die not by murder but by suicide. And then one day everything changed for me. It was March thirtieth, 2013, I’ll never forget—Easter weekend. At the time I was living in Brussels, and every once in a while I’d go have a drink at the bar of the Métropole. I’d always loved Art Nouveau. There are magnificent examples in Prague and Vienna, and there are interesting buildings in Paris and London, too, but for me—right or wrong—the high point of Art Nouveau decor was the Hotel Métropole de Bruxelles, in particular the bar. The morning of March thirtieth, I happened to walk by and saw a sign that said the bar of the Métropole was closing for good, that very night.

It was the Riverton drawing room. Even the wallpaper was the same. Silver Studios' burgundy Art Nouveau, "Flaming Tulips," as fresh as the day the paperers had come from London. A leather chesterfield sat at the center by the fireplace, draped with Indian silks just like the ones Hannah and Emmeline's grandfather, Lord Ashbury, had brought back from abroad when he was a young officer. The ship's clock stood where it always had, on the mantelpiece beside the Waterford candelabra.

Leur apparition remonte à la fin du IXème siècle et au début du Xème siècle. Ces guerriers (bushi) s'emparent du pouvoir politique à la fin du XIIème siècle et créèrent un système monarchique particulier dirigé par un shogun qui tenait sa légitimité de la reconnaissance impériale. Ce gouvernement fut mis en place dès 1180 à Kamakura dans l'est du Japon, avant d'être transféré à Kyoto au XIVème siècke, puis à Edo (future Tokyo) au début du XVIIème siècle. Trois dynasties shogunales (toutes descandant, réellement ou fictivement, du clan Minamoto) se sont succédé entre le XIIème et le XIXème siècle. On distingue un premier bafuku (gouv. de la tente) à Kamakura (1180-1333), celui de la famille Ashikaga, qui se constitua en 1336 et qui fut installé à Kyoto dans le quartier Muromachi en 1378. Ce deuxième bafuku s'éteignit en 1573 avant qu'un nouveau régime militaire n'émergeat à Edo en 1603. Dans l'intervalle 3 seigneurs hégémons, Oda Nobunaga, Toyotomi Hideyoshi, et ensuite Tokugawa Ieyasu travaillèrent à réunifier le pays sous leur domination. Les samouraï ont pendant un bon millénaire joué un rôle central dans l'histoire du pays par leur rôle politique, leur poids démographique (environ 5% de la polulation au milieu du XIXème siècle).

instead of sitting out in his car. It was too cold and, who knew, maybe she’d be early and they could get this thing started and then over with. Bodecker’s on Main was welcoming—warm and cozy without being too formal. Dark wood with brass accents. Hanging light fixtures that looked like bulbs inside glass canning jars. The framed Art Nouveau prints gave it the look of

decline of the movement, when the puerilities of the second generation of Surrealists were little more than illustrations of fabricated, unconvincing dreams, of essentially literary anecdotes as old-fashioned as Art Nouveau. Not surprisingly in a man who so valued his privacy, Picasso loathed Freud and all his works, maintaining that Freudian psychology was unscientific; nor, although no man was less of a prude, did he care for Freud’s great emphasis on the sexual drive, which also filled the Surrealist pictures with so many symbols.

Les grands édifices, comme les grandes montagnes, sont l’ouvrage des siècles. L’art nouveau prend le monument où il le trouve, s’y incruste, se l’assimile, le développe à sa fantaisie, et l’achève s’il le peut. La chose s’accomplit sans trouble, sans effort, sans réaction, suivant une loi naturelle et tranquille. C’est une greffe qui survient, une sève qui circule, une végétation qui reprend. L’homme, l’artiste, l’individu s’effacent sur ces grandes masses sans nom d’auteur : l’intelligence humaine s’y résume et s’y totalise. Le temps est l’architecte, le peuple est le maçon.

Depuis ce matin où je me suis réveillée toute tondue à cause de ma blessure, j'ai les cheveux courts. Les laisser pousser de nouveau ? En quelques années je pourrais avoir à nouveau les tresses auxquelles je tenais tant quand j'étais enfant. (...) Je me souviens de ces tresses encombrantes dans l'eau et sur l'oreiller, des pinces, des épingles, des peignes, du travail que ça demandait. Non, je préfère ce nouveau visage au cou dégagé, ce visage de garçon, comme celui de Carlo.

Walking their usual routes, they would invariably notice the changes. The old Croatian lady’s Spätkauf was now a “cake boutique” with a teal-blue shop sign and an Instagram handle written on a blackboard. The cultural center where the old Greeks used to play cards was now the flagship store of a Japanese trainer brand. Immense shop windows revealed row after row of indistinguishable offices with a faintly hip feel—design or architecture studios, coworking spaces, start-ups, all with Modulor tables and minimalist Helvetica Neue stencils. Walking past the Art Nouveau apartment blocks off Mehringdamm or the futuristic sixties high-rise tower blocks around Kottbusser Tor, Anna and Tom would note the growing number of windows with the lights off at night, a likely sign that they were short-term rentals, which meant more speculation.

One reason the city has so many fine art nouveau and Secession-era buildings is that Czech and German developers tried to outdo one another in the wealth of ornament and ingenuity of decoration incorporated into their properties.

He said he liked the way Budapest was beautiful and elegant and crumbling, decaying, plucky and sad, but when he spent too long there, everything started to depress him. And he said he had meetings, lunches, dinners, and he began to feel crumbling, decaying, and sad. He told us he sat in a warm hot spring that exploded from the ground, the way he had as a young man, surrounded by art nouveau architecture, it was like bathing in a cathedral. The sky was pink. The scent of lilacs filled the air. Fat Russian gangsters in tiny bathing suits played chess while their bleached blond wives hung scowling from their necks and arms festooned with gold and silver. Barbarians! Claudio spoke English well, only a faint trace of his Italian accent. Those Russians are the descendants of the guys who slaughtered the Mennonites, I thought. Now they wear bikini trunks. Then he told us he had been standing on one of the bridges over the Danube and looking down he saw a guy sitting on the riverbank. Is it blue? I said. No, it’s filthy I’m afraid, and not at all blue. Is it beautiful? I asked. Well, yes, it could be described as beautiful.

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【V信83113305】：The École Nationale Supérieure d'Architecture de Nancy (ENSAN) is a prominent French institution dedicated to architectural education and research. Located in the historic city of Nancy, a UNESCO World Heritage site known for its stunning Art Nouveau heritage, the school offers a unique environment for studying architecture. Its pedagogy emphasizes a strong relationship between theoretical knowledge and practical application, encouraging students to engage with contemporary urban, environmental, and social challenges. ENSAN provides a comprehensive curriculum leading to the French government-recognized architecture degree, preparing graduates for diverse professional paths. The school fosters a culture of creative experimentation and critical thinking, making it a significant contributor to the future of sustainable and innovative architectural practice.，办理真实毕业证成绩单留信网认证, 想要真实感受南锡国立高等建筑学院版毕业证图片的品质点击查看详解, 1分钟获取南锡国立高等建筑学院毕业证最佳办理渠道, 原版ENSA Nancy毕业证最佳办理流程, 仿制南锡国立高等建筑学院毕业证ENSA Nancy毕业证书快速办理, 原版定制南锡国立高等建筑学院毕业证书, ENSA Nancy毕业证办理流程, 网上购买假学历南锡国立高等建筑学院毕业证书, 百分比满意度-南锡国立高等建筑学院毕业证

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【V信83113305】：The École de Nancy, emerging in the late 19th century, was not a formal school of architecture but a revolutionary artistic movement. It united architects, artists, and industrialists under the banner of Art Nouveau, with Émile Gallé as its driving force. Rejecting historical imitation, its members championed organic forms, drawing inspiration from local flora like the thistle and iris. They masterfully integrated wrought iron, glass, and wood into structures that blurred the line between building and natural world. Key architects like Lucien Weissenburger and Henri Sauvage designed iconic villas and buildings, making Nancy a European capital of the "new art." Their legacy is a cityscape of fluid, poetic, and distinctly French modernism.，办南锡建筑学院学历证书学位证书成绩单, 南锡建筑学院留学本科毕业证, 南锡建筑学院毕业证本科学历办理方法, 极速办理EAN南锡建筑学院毕业证书, 办理EAN学历与学位证书投资未来的途径, 100%定制EAN毕业证成绩单, 修改南锡建筑学院成绩单电子版gpa让学历更出色, 购买EAN毕业证, 办理Ecole d'Architecture de Nancy大学毕业证南锡建筑学院

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