edward c moore became head designer of tiffany's silver department, and began utilizing japan-inspired designs as early as 1871.to put some of this into a perspective, note the dates when studies, books and exhibitions occurred, according to art nouveau: a research guide for design reform by gabriel weisberg and elizabeth menon (and elsewhere).
1943 henry r hope -- sources of art nouveau -- first phd dissertation on the subject1950 toulouse-lautrec exhibition -- musée d'albi, france
1951 henry f lenning -- the art nouveau -- first book on the subject for over thirty years1952 first art nouveau exhibition in nearly forty years -- v&a, london
• thomas howarth -- charles rennie mackintosh; book
1955 jugendstil exhibition -- museum für kunsthandwerk, frankfurt• louis comfort tiffany exhibition -- morse museum, florida
1956 stephan tschudi madsen -- sources of art nouveau; book
1957 robert koch -- louis comfort tiffany; dissertation• posters usa exhibition -- zurich
1958 art nouveau exhibition -- haus der kunst, munich
• louis comfort tiffany exhibition -- museum of contemporary crafts, new york
1960 art nouveau exhibition -- museum of modern arts, new york (guimard's widow offered his collection to french museums who were not interest. the moma and the met were.)
1962 robert schmutzler -- art nouveau; book
1963 alfonse mucha exhibition -- victoria & albert museum, london
1966 aubrey beardsley exhibition -- victoria & albert museum, london
1966 aubrey beardsley exhibition -- victoria & albert museum, london
• and in 1966 herschel b chipp mounted an exhibition at the university of california art museum at berkeley. it was called jugendstil & expressionism in german posters, and next we'll look again at some of the profound effects it had.this list isn't as comprehensive as i'd like, but i think it makes the point well; collections lead to exhibitions lead to popularity. what more could you want?
I absolutely love those vases!
ReplyDeletearen't they amazing?!
ReplyDeleteIt is really interesting to note what an effect museum exhibitions have had on contemporary craft and design over the twentieth century.
ReplyDeleteIt is intriguing to think that an exhibition of a past decorative style can foster the emergence of another decorative style, which in turn, with it's own exhibtion, can foster yet another style. I wonder how many reincarnations, or 're-imaginings' as we like to say today, a particular decorative style could go through.
me too! i would have thought it was the other way around, museums holding exhibitions for what they thought the audience would want, or something like that.
ReplyDeletebut you're right--i hadn't looked at it that way. somehow i suddenly feel like my head was drawn by escher.
and then of course we have to throw into the pot what used to fill that role: the exposition (or whatever they were called). biography after biography that i read has artists being introduced to japanese art and craft, for example, at these great world expositions they used to have, paris, chicago, san francisco, etc. starting, if i'm remembering right, like in the 1860s.
and then, what about the japanese. did the local japanese museum have china week (for the holidays so they'd get the big crowds), or was it perhaps street markets instead? ;^)