Chapter 16: Notes

Footnote 357:

See Madsen’s _Sources of Art Nouveau_, 75-83.

Footnote 358:

See Schmutzler, R., ‘English Origins of the Art Nouveau’,
_Architectural Review_, CXVII (1955), 108-16. The question is
discussed further at a later point in this chapter (pp. 284-5).

Footnote 359:

See Note [149], Chapter 7.

Footnote 360:

The one large structure built for this exhibition in permanent form,
the Palais du Trocadéro by Davioud, has since been replaced. Vaguely
Saracenic in design, yet not altogether unworthy in silhouette of its
splendid site on the Chaillot heights, this shared none of the
qualities of Eiffel’s temporary pavilion. See Davioud, G., _Le Palais
du Trocadéro_, Paris, 1878. As long as it lasted, however, the
Trocadéro provided a sort of pendant on this side of Paris to Abadie’s
Sacré-Cœur atop Montmartre, begun in the same rather dreary decade of
French architectural production.

Footnote 361:

See Note [265]a, Chapter 12.

Footnote 362:

See Alphand, A., _L’Exposition universelle de Paris de 1889_, Paris,
1892.

Footnote 363:

See Eiffel, G., _La Tour de trois-cents-mètres_, Paris, 1900.

Footnote 364:

Bogardus’s shot-towers of the fifties in New York, which were of
essentially similar construction, received little contemporary or
later publicity. It is still uncertain whether Jenney knew of them
when he built the Home Insurance Building in Chicago in 1883-5. See T.
C. Bannister, ‘Bogardus Revisited, Part II’, _Journal of the Society
of Architectural Historians_, XVI (1957).

Footnote 365:

See Note [253], Chapter 11.

Footnote 366:

See Grady, J., ‘Bibliography of the Art Nouveau’, _Journal of the
Society of Architectural Historians_, XIV (1955), 18-27 and _Art
Nouveau_ (Museum of Modern Art Exhibition Catalogue), New York [1960].

Footnote 367:

This applies particularly to Art Nouveau decoration; the major
architectural works were frequently very plastically organized,
although most of the detail was linear.

Footnote 368:

See Schmutzler, R., ‘Blake and the Art Nouveau’, _Architectural
Review_, CXVIII (1955), 90-7.

Footnote 369:

See Lancaster, C., ‘Oriental Contributions to Art Nouveau’, _Art
Bulletin_, XXXIV (1952), 297-310.

Footnote 370:

See Grady, J., ‘Nature and the Art Nouveau’, _Art Bulletin_, XXXVII
(1955), 187-92.

Footnote 371:

See Mackmurdo, A. H., _Wren’s City Churches_, Orpington, 1883.

Footnote 372:

Not perhaps impossible: There is something a little analogous to
Impressionism in the work of Shaw, though he probably had no
admiration for the art of Monet and his contemporaries in the
seventies even if he was at all aware of it. The same is true of the
American masters of the Shingle Style. The analogy lies in the casual
looseness of over-all composition and the delicacy of the touch—both
tile-hanging and shingles provide a certain effect of ‘broken colour’
or at least ‘tachiste’ brushwork—even though they are usually
monochrome. On the other hand, Kimball in his _American Architecture_,
written a generation ago, saw an analogy to Cézanne in the return to
architectural order in the mid eighties in America. There is no
evidence that McKim or White then admired any French painters more
advanced than Puvis de Chavannes however.

Footnote 373:

Some studio houses were certainly built in France by leading
architects throughout the second half of the nineteenth century: The
one that Viollet-le-Duc provided for the painter Constant Troyon in
the late fifties was of notable interest—in fact, one of his best
works. Moreover, the more modest _ateliers d’ artiste_ erected by
builders provided much later, in the 1920s, precedents of value to Le
Corbusier and Lurçat. See Banham, R., ‘Ateliers d’artiste’,
_Architectural Review_, CXX (1956), 75-83.

Footnote 374:

See Delhaye, J., ‘Hommage à mon maître; architecte Baron Victor
Horta’, _L’Appartement d’aujourd’hui_, Liège, 1946, 6-17; Maus, O.,
‘Habitations modernes, Victor Horta’, _L’Art moderne_, XX (1900),
221-3; Sedeyn, E., ‘Victor Horta’, _L’Art décoratif_, IX (1902),
230-42; and Madsen, S. T., ‘Horta. Works and Style of Victor Horta
before 1900’, _Architectural Review_, CXVIII (1955), 388-92.

Footnote 375:

See Koch, R., and others, _Louis Comfort Tiffany 1848-1933_, New York,
1958.

Footnote 376:

The wallpaper was probably one of those designed by Heywood Sumner,
possibly his ‘Tulip’ according to Elizabeth Aslin of the Victoria and
Albert Museum. This was one of the considerable range of English
papers shown by Jeffrey & Company at the Salon de l’Association pour
l’Art d’Anvers in Antwerp in the winter of 1892-3. These papers, which
included designs by most of the English leaders in the field of
decorative art, had already been shown at the Paris Exposition of
1889. It is hard to believe that Horta became aware of them only when
the Tassel house was nearly finished and not earlier in Antwerp or in
Paris. For the Antwerp showing, see Van de Velde, H., ‘Artistic
Wallpapers’, _L’Art moderne_, XIII (1893), 193-5. This article was
copied in _L’Emulation_, XVIII (1893), 150-1, the most advanced
Belgian architectural journal, where the Tassel house itself was
published in 1895. It introduces the name of another important Belgian
figure besides Horta in the story of the Art Nouveau.

Footnote 377:

It is of interest, although irrelevant to the inception of the Art
Nouveau, that in this same year Horta became professor of architecture
at the Académie like Balat before him.

Footnote 378:

See Kaufmann, E., ‘224 Avenue Louise’, _Interiors_, 116 (1957), 88-93.

Footnote 379:

For a late tribute to Van de Velde in English, see Shand, P. M.,
_Architectural Review_, CXII (1952), 143-55. It is a major error of
emphasis—and in detail an accumulation of errors of fact—that H.
Lenning offers in his book _The Art Nouveau_ (The Hague, 1951) by
accepting the legend that Van de Velde was the initiator of the Art
Nouveau. There is plenty of evidence that Van de Velde was aware of
English innovations in decoration from the early nineties. On the
other hand, despite the wallpaper in the Tassel dining-room, it should
be noted that Horta’s widow and his disciple Delhaye minimize, to the
point of denying all but absolutely, the dependence of Horta on
English sources at the time he designed the Tassel house.

Footnote 380:

Paul Hankar (1861-1901) was a third Belgian architectural innovator in
this period. His work, however, is so crude and uneven that his name
need be no more than mentioned. He is in no proper sense an exponent
of the Art Nouveau. See Conrady, C., and Thibaux, R., _Paul Hankar_,
[n.p.] 1923.

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