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NATURE, NOBILITY, AND NEUROLOGY: TH...

SILVERMAN, DEBORA LEAH.

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NATURE, NOBILITY, AND NEUROLOGY: THE IDEOLOGICAL ORIGINS OF "ART NOUVEAU" IN FRANCE, 1889-1900.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	NATURE, NOBILITY, AND NEUROLOGY: THE IDEOLOGICAL ORIGINS OF "ART NOUVEAU" IN FRANCE, 1889-1900./
作者:	SILVERMAN, DEBORA LEAH.
面頁冊數:	741 p.
附註:	Source: Dissertation Abstracts International, Volume: 44-04, Section: A, page: 1176.
Contained By:	Dissertation Abstracts International44-04A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=8318729

NATURE, NOBILITY, AND NEUROLOGY: THE IDEOLOGICAL ORIGINS OF "ART NOUVEAU" IN FRANCE, 1889-1900.
SILVERMAN, DEBORA LEAH.

NATURE, NOBILITY, AND NEUROLOGY: THE IDEOLOGICAL ORIGINS OF "ART NOUVEAU" IN FRANCE, 1889-1900. - 741 p.

Source: Dissertation Abstracts International, Volume: 44-04, Section: A, page: 1176.

Thesis (Ph.D.)--Princeton University, 1983.

During the last two decades of the nineteenth century, European artists sought to reunite art and craft, and quested for a modern style of interior design. The purpose of this thesis is to demonstrate the particularly French character of "Art Nouveau" by situating it within its national and historical context.Subjects--Topical Terms:

1018076
History, European.

NATURE, NOBILITY, AND NEUROLOGY: THE IDEOLOGICAL ORIGINS OF "ART NOUVEAU" IN FRANCE, 1889-1900.
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245 1 0 $a NATURE, NOBILITY, AND NEUROLOGY: THE IDEOLOGICAL ORIGINS OF "ART NOUVEAU" IN FRANCE, 1889-1900.
300 $a 741 p.
500 $a Source: Dissertation Abstracts International, Volume: 44-04, Section: A, page: 1176.
502 $a Thesis (Ph.D.)--Princeton University, 1983.
520 $a During the last two decades of the nineteenth century, European artists sought to reunite art and craft, and quested for a modern style of interior design. The purpose of this thesis is to demonstrate the particularly French character of "Art Nouveau" by situating it within its national and historical context.
520 $a Part One examines the formative impact of a national artistic tradition, the roccoco style of the mid-18th century. Art Nouveau artists and sponsors were explicitly inspired by the principles of the roccoco style. They absorbed these principles directly from the brothers de Goncourt. Part One analyzes the forms and principles of roccoco art as they were recovered and interpreted by the Goncourts.
520 $a Part Two delineates four aspects of the historical context of the 1890's that contributed to the formulation of a French modern style as interior nature style: the political realignment of the liberal Third Republic, which included the reconciliation with aristocratic elites and the search for an antisocialist, organic solidarity; the economic reorientation of the governing elites from advanced industrial technology to luxury crafts; the social problem of the "New Woman", who threatened to disrupt the boundaries between public and private domains; and the association between modernity and a new, particularly French medical psychology.
520 $a Part Three demonstrates that art nouveau in France was not an avant-garde artistic movement, but was part of a broader, institutional craft initiative preceding the 1900 Exhibition. Part Three describes the network of politicians, cultural administrators, aristocratic collectors, and luxury producers who coalesced to promote French "art nouveau" in two institutional bases: the Beaux-Arts Ministry, and the Central Union of the Decorative Arts. Part Three delineates the two-part craft program pursued by this amalgamated elite coalition: the restoration of eighteenth century roccoco interior ensembles in public places, and the promotion of a modern style of craft design, based on inspiration from French national traditions.
520 $a The thesis concludes with a chapter on the 1900 Exhibition, analyzing it as the crystallization of the national, organic, feminine, and neurological themes in French art nouveau.
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