Geometry in Glass

Geometry in Glass

Not all Art Nouveau consists of sinuous curves and writhing plants. Some builders as Paul Hankar, Paul Hamesse or Paul Cauchie, influenced by different European currents as the Sezessionsstil of Vienna or the Scottish School with Charles R. Mackintosh, preferred simple geometric lines as circles or triangles. The glass artists generally adapted to the style of the construction, always with the idea of total art in mind.

Ecole Nr.1, Rue Josaphat 229 and Rue de la Ruche

Henri Jabobs built this public school in 1907 on a double plot accessible from both streets. Here the architect put into practice his revolutionary ideas of improving education by the influence of art. For this purpose he devised a huge central  playground covered with a metallic structure and decorated with marvelous sgrafitti designed by Privat-Livemont, one of the most famous designers of the period. Entering the building from the back side (Rue de la Ruche) we find our object of stained glass, a long corridor opening to the courtyard but protected by a flight of huge stained glass windows. Yellow and white glass filter a pleasant light through its translucent glass. Simple rectangular pieces of glass dominate the big central part of the windows. Only by looking at its lower and upper extremes it becomes evident that the geometric central design represent the long stems of highly stylized flowers.

Corridor window in Ecole Nr.1

Rue Charles Martel 52

This tiny window in stained glass in the European quarter is another representation  of the  geometric tendency in the Art Nouveau style while borrowing at the same time  elements from nature in schematic form. Three tulip-shaped patterns in dark green opalescent glass  are set against a grill  of simple squares and half-circles of translucent glass. The picture is framed by a plain yellow glass border.

Window in Rue Charles Martel 52

Hotel Cohn-Donnay in Rue Royale Ste.Marie 316

This classical building was altered and refurbished by the architect Paul Hamesse in 1904. He managed to blend in one building different tendencies of Art Nouveau, from influences of the Viennese Secession or the line of  Mackintosh, in an absolutely harmonious way.

The window at the ceiling of the billiard room is one of the most perfect examples in geometric Art Nouveau, the subject of this post. That's why I did not want to disregard this photograph in spite of its low quality. Squares and circles, half and quarter circles in yellow and white are its unique elements - but with what effect! The result is a most intricate design of highest quality.

Contrasting with this geometric design Hamesse placed right underneath this ceiling a window in the same yellow and white colors but in attractive curvy lines.

Billard room ceiling in Rue Royale Ste. Marie 316

Rue St.Quentin 30

Continuing in the European quarter we find this square window, all in blue. A double circle in dark blue glass in its upper part dominates light blue rectangles in ripple glass around. An inverted plant inside the circles is painted on the glass, possibly a later addition. Drops of turquoise opalescent glass interrupt the grid of rectangles while a row of romboid elements make up the bottom of the window. The extraordinary luminosity of stained glass windows is at its best when seen from inside the room. Unfortunately, no access was possible in this case.

Window in Rue St. Quentin 30

Charles V,  64

Geometric lines with a faint reminiscence of nature compose the design of this little window in the European quarter. A big circle encloses symmetric lines evoking the idea of a bunch of flowers. Sparkling yellow frost glass enhance  this impression. The four corners of the square window are filled each with a rising sun in yellow ripple glass. The chosen colors of this window, yellow and white on a mauve background achieve a very elegant result.

Window in Rue Charles V, 64

Chaussée de Waterloo 252

In the year 1901 the architect Van Oostveen built several houses in a row in Chaussée de Waterloo in geometric Art Nouveau style. Unfortunately, all of them are in a rather precarious condition demanding urgent restauration. All of these buildings show great originality in the design of wrought iron balconies, sgraffitti decorations (partly covered with paint!) or stained glass. The number 252 features on its upper floor a rare stained glass window stretching over the whole front of the house. Over the seven panels divided by delicate stone columns striking yellow glass rectangles evoke the rise of the sun. The artist placed contrasting blue elements above the sun forming a most singular design which reminds butterfly wings. Even if the image taken from the street is quite poor the window is worth a visit.

Seven-panel-window in Chaussée de Waterloo 252

Rue Eburons 54

An eclectic and otherwise unobtrusive building  in red and white brick in the European quarter holds this interesting window in two symmetric panels. With an ingenious combination of the geometric and the floral tendency of Art Nouveau the artist achieved a harmonious picture. Two opposing wings in purple color, each with an inserted flower, are set against a yellow geometric backdrop. Bright blue glass squares frame the window underlining its geometric character.

Window in Rue Eburons 54

Waves, Clouds and Floating Hair in Glass

Waves, Clouds, Floating Hair....in Glass

In past chapters we have seen how the Art Nouveau artists made abundant use of the subject of nature, be it flowers, trees, butterflies or birds. In this post we will see the handling of clouds, waves or ondulating long hair in the composition of stained glass windows, some of them obtaining world wide fame.

Maison Autrique

In my post of "Flowers in Glass" we have seen already a beautiful staircase window in Horta´s Autrique house. Right above this window but directed towards the sky we find this second window in the same delicate colors ranging from white to mauve and brown. While the inferior window depicts flowers and trees the subject of this stained glass is a cloudy sky interrupted only by the flight of grouses. The flowing lines of the clouds and the soft colors like cream, mauve or brownish transmit the airiness of the composition. The choice of different glass textures - as for instance glittering ripple glass for the grouses - serves to enhance the moving birds.

Staircase window in Maison Autrique

Rue Jef Lambeaux 36

Several Art Nouveau houses built by the architect Georges Peereboom line this street. The number 36 shows this charming fanlight above its door. We contemplate here a picture of exuberant nature in most lively colors where clouds and water occupy an important place pronounced by the masterly choice of glass colors and textures. A white swan is overflying the water surface. The intense green of a group of trees made of opalescent glass is contrasting with the declining sun and its white and mauve rays. White and greyish clouds in sparkling ripple glass cross the sun rays. The mirror-like water surface at the bottom of the picture is glittering, another proof of the wise selection of glass.

Fanlight in Rue Jef Lambeaux 36

Rue de l´Arbre Benit 123

Now I present you with one of the most famous stained glass windows in all Art Nouveau. The design of this window is due to the well-known designer and painter Privat-Livemont, largely influenced by the artistic current of symbolism  as well as to the emerging interest in japonism. The glass artist Raphael Evaldre has been able to translate this extraordinary design in stained glass. Paul Saintenoy, the architect of the famous "Magasins of Old England" in the centre of Brussels commissioned these artists to finish his recently acquired house. 

A young woman with folded hands like in prayer is looking out across the sea. Foaming waves and the woman´s long floating hair are exploited to develop arabesques characteristic for the style of Art Nouveau. The inherent symbolism of waves and ondulating hair stand for the woman´s anguish. This violent movement at the bottom of the picture constrasts with the lineal calm of the clouds in the superior part of the composition. The same yuxtaposition of turbulence  and calm can be followed in the decrease of colors, from the rich palette at the bottom to the single blue tonalities in the superior part. The expert handling of glass colors and textures by master Evaldre are most evident in the waves´ sparkling quality or the soothing blue of the linear clouds. 

Living room window in Hotel Saintenoy

The staircase of Hotel Saintenoy is lighted by another stained glass window, probably a product of the same artists as of "The Wave". The subject of huge waves with their white foam is repeated in this window. They seem to come alive contrasting strongly with the static flowers at the bottom of the window. A frame in stained glass repeats the wave motif, but in regular sequences and in golden colors. 

Staircase window in Hotel Saintenoy

Rue Vogler 17

A rather unobtrusive building with only few Art Nouveau embellishments surprises with this delicious little window above the entrance. It is one of the numerous anonymous works of stained glass all over Brussels indicating the great liking it found among its people. A boat with its white opaque sails above the turquoise-colored sea is set in front of the golden rays of the sky. Again we see the use of opalescent glass for the sea underlining its prominence.

Fanlight in Rue Vogler 17

Rue Philip le Bon 55

A lovely Art Nouveau house in the European quarter, built by Armand van Waesberghe in 1902, includes in its exterior decorations beautiful sgraffiti pannels on the second floor as well as this big fanlight forming a perfect unit with the door. The water surface in light blue glass  at the bottom and the mauve-colored clouds in the upper part are held together by an ondulating plant. The whole picture  is kept in delicate pastel colors. 

Fanlight in Rue Philip le Bon 55

Sinuous Curves in Glass

Sinuous Curves in Glass

Curves played an eminent role in Art Nouveau. In a previous post we have seen the abundant use of flowers in Art Nouveau decoration. Today we follow Victor Horta and other architects into the world of attractive curves, frequently also borrowed from nature. For them, instead of flowers, simple plant stems - but strongly synthezised -  became attractive undulating curves in their forged iron balconies, floor mosaics, wall paintings, stair railings and of course stained glass windows. The famous whiplash curve invented by Viktor Horta became a symbol of the new style.

Hôtel Tassel

In 1893 Victor Horta starts building the family house for Emile Tassel in Rue Emile Janson 6 which can be considered the masterpiece of the nascent Art Nouveau style. Here the architect displayed a highly innovative plan and groundbreaking use of materials. Instead of the typical Brussels house (with a three-room-suite, remaining the central one in the dark) he linked the first and the last room by a steel structure covered with glass achieving a well lit house. Simultaneously, his audacious construction plans convert this central area in a communicating room through which passes all the circulation of the house, in an utterly open plan. Horta's mastery of materials you can watch already on the façade where delicate iron columns appear to be gripping hold of the lintel above.

The stained glass window in the smoking-room reflects the high evolution of this art in the Art Nouveau period. Its four panels are divided by slender columns. The design stretching over the four panels represent the perfect model of curvy whiplash lines (also called Horta lines). Delicate colors from greyish-blue to white evoke the idea of cigarette smoke meandering to the ceiling, while creating shadows and casting pools of light onto walls and floor.  Another horizontal whiplash line in bright yellow creates a beautiful contrast. The glass artist could be none other than R. Evaldre.

Smoking-room window in Hotel Tassel

In the same building Horta placed an interior door in stained glass creating an additional light well. Curved lines with a clear hint at nature decorate the two panels from bottom to top. For the curves as well as for the background the glass master used graduated colors: dark at the bottom of the door and turning lighter and lighter towards the top. In this way he secured intimacy for the adjoining rooms while permitting the entrance of light. Note the floor mosaic in front of the door, with more curvy design.

Interior door in Hôtel Tassel

Avenue Louis Bertrand 43

This most interesting building is signed by the architect Gustave Strauven. A profusion of curves in a wooden bay window, magnificent wrought iron elements and of course stained glass windows are some of its  exterior decorations in the new style. This window above the entrance with its curvy lines might be an abstract picture but its colors hint at its origin: nature. Of course, the beauty of this stained glass must be  striking when seen from indoors.

Fanlight in Av. Louis Bertrand 43

Rue Belle Vue 42

Ernest Blérot, contrary to Victor Horta, is not revolutionizing the architecture. His talent and his fertil imagination concentrate more on the decoration of his otherwise conventional houses like several ones in the town quarter of Ixelles. His decoration repertoire goes from wraught iron balconies to sgrafitti panels, mosaics or the one presented here, an amazing stained glass window. Huge curves meander upwards from ground floor to the roof, illuminating the whole staircase behind. The dominating blue of the entire window has a striking effect. Dark blue glass has been chosen for the sinuous curves, a lighter blue for the background. To set off the design of  curves and some rare flowers from the background the artist helps himself with the wise use of differently textured glass. The luminous effect seen from the staircase must be awe-inspiring.

Section of staircase window in Rue Belle Vue 42

Rue Vilain XIIII, 11

On the ground floor of this house in the same quarter of Ixelles E. Blérot placed two stained glass windows, complementary in its design. Huge ribbons in whiplash curves are winding their way up towards the fanlights. The dominating green colors of the curves as well as the background enhance the beauty of these windows. The perfect Art Nouveau stone masonry framing this twin windows indicates the mastery of total art, a basic concept to Art Nouveau.

Twin-window in Rue Vilain XIIII,11

Hôtel van Eetvelde

In one of his show pieces of Art Nouveau architecture Victor Horta manifested his mastery of lighting a building in the most innovative way while adding elements of beauty. In Hôtel van Eetvelde in Av. Palmerston 4 (in the European quarter),  the architect was at liberty to realize his most precious ideas of Art Nouveau innovation for a wealthy owner. The creation of free spaces bathed in light thanks to a spectacular stained glass roof is one of the examples of his stunning creativity. The magnificent window presented here lights the dining-room. Opalescent glass in green shades at the lower part change gradually to golden tonalities with curved lines creating a magic effect. This work of art is signed by R. Evaldre.

Dining-room window in Hôtel van Eetvelde

Flowers in Glass

Flowers in Glass

Stained glass may be considered an art of painting, but a painting with light. Its most unique effect is always the product of coloring, refracting, obscuring and fragmenting the light. Throughout its thousand-year history stained glass was almost exclusively used in church windows. Only in the 19th century it entered in private houses, finding its real breakthrough with the Art Nouveau architects who considered natural light one of their foremost interest in quality house building.

Rue Vanderschrick 25

The architect Ernest Blérot designed a splendid corner house in Art Nouveau style, nowadays used as a bar called "Porteuse d'Eau". Applying the new concept of light in the style en vogue he integrated into the building a profusion of stained glass windows and this stunning glass dome at its centre, sustained by a massive marble column. Green and blue glass represent the oversized flowers against a bright yellow background.

Dome in Rue Vanderschrick 25

Pure Art Nouveau lines can be devised in the design of these beautiful window frames in the same building "Porteuse d'Eau" by Ernest Blérot, in the popular quarter of St. Gilles. Thanks to its present function of  bar the building can be easily accessed for due admiration. Several of these windows light the ground floor of the establishment. Its lower parts are kept in transparent glass interrupted only by curvy wooden lines while the upper parts contain this elegant stylized flower motif composed with differently textured glass. Red petals in opalesque glass encircle a white flower on a creamy background in ripple glass.

Window in Rue Vanderschrick,25

Fanlight in Rue Charles V, 58

Surprisingly, this otherwise classic façade on Rue Charles V, 58 in the European quarter shows a huge two-floor staircase window with a precious Art Nouveau design. The image presented here is the small fanlight over the entrance. Stylized flowers in lively green and delicate mauve shades, cut from opalescent glass, are set against a squared backdrop in ripple glass. The round yellow pieces are cut from bottoms of bottles. This masterly handling of different glass qualities indicate great skill of the anonymous glass master making the window particularly attractive.  

Fanlight in Rue CharlesV,58

Maison Frison

Victor Horta, the prodigious Art Nouveau architect, created a highly innovative dwelling in Rue Lebeau 25, next to Sablon, in Brussels for the Frison family. The condition of a typical narrow but deep building site induced him to devise a plan with new sources of light. Here he connected the front of the house with the back garden by a curbed glass roof. An iron structure elaborated in beautiful curves, reminiscent of stylized trees, sustain the glassed roof.  Simple transparent glass squares are bordered by a highly attractive curvy design in bright yellow while the centre displays one single tree-like image with a roundish crown.  Most stained glass works are anonymous but this masterpiece has a signature: Raphael Evaldre. Maison Frison has been habilitated as Art Gallery and as such may provide a glimpse into the building’s interior. Horta's faculty of producing a total art work is evident also in other decorative details such as the beautiful stair landing in whiplash curves.

Galerie in Maison Frison

Rue Darwin, 15

One of the few houses where E. Blerot not only used decorative Art Nouveau elements but created an entire building according to the principles of the new style in all its concepts. A grand bow window on its lower floor decorates the façade. Its wooden frame  is marked by characteristic Art Nouveau curved lines. Transparent glass at its central section is surrounded by designs inspired in nature. Colorful lilies are sprouting from the blue of water while the upper part is dominated by a bird set against the blue sky.

Bow window in Rue Darwin 15

Maison Autrique

Victor Horta built his first house with clear ideas about the new style already in 1893, in Chaussee de Haecht 266. He opted for a relatively simple interior, due to financial restrictions of the owner, but applied already basic concepts of the new style like the harmonious combination of industrial and handmade materials or in nature inspired elements as the stair landing.
Two stained glass windows in the staircase flood the house with light. Their design show influences of japonism, a style emerging in Europe in the 19th century and very appreciated by Art Nouveau designers. The window presented here is the lower one of the two, facing the garden. Its subject is a stylized landscape with lys flowers and a fruit tree. The glass artist chose soft pastel colors for the design but enhanced the tree with a deep brown tonality. Opalesque glass with marble effect for the fruits complete this artistic panel.

Staircase window in Maison Autrique

                                                           

Features of Art Nouveau

Features of Art Nouveau

For Art Nouveau lovers as myself Bruxelles is a real paradise. Each town quarter  contains lovely buildings in this attractive style from around 1900. Its architecture is already widely treated in numerous books. Therefore, the subject I want to show here in these pages is the much less known but equally fascinating stained glass works. Windows, doors or cupolas as integral part of the building provide filtered light to the dwellings, a concept so dear to Art Nouveau architects, in a highly artistic way.

Window in Hotel Hannon

         In the period around 1900 emerged a new style in European Art and Architecture, the Art Nouveau style. Leaving behind Victorian sentimentality with its constant look to the past it meant a turning point in Western Art and Architecture by exploring a progressive and adventurous way of expression. Even if the newly created style was rather short-lived its importance lies in the application of new concepts in Art as well as in Architecture all over Europe and beyond. Its significance even goes beyond its creation by paving the way for future movements as Art Deco and Modernism. Taking conscience of the beauty of nature and incorporating it into art and architecture was a basic aim of Art Nouveau artists. Appreciated motives range from flowers and trees to insects, from waves to ondulating curves. The representation of these objects does not want to be an imitation but a highly stylized form of it. The Art Nouveau Style is distinguished by its elegance, sensuality and decorative effect. Flowing curves and double curves insinuating writhing plants, undulating lines as for instance Horta’s famous whiplash curve, flames and waves or the flowing hair of female figures are most characteristic expressions applied in both the structure and the decoration of the building. Although Art Nouveau often is boldly asymmetric it achieves great harmony. 

                                                        Horta's whiplash motif


       Contrasting with this highly sensuous style we find another nearly opposing tendency in Art Nouveau - the geometric line. Paul Hankar in Belgium was a defender of this trend, strongly influenced by the Viennese and the Scottish Art Nouveau. Geometric forms as circles, semi-circles or triangles play an eminent role pointing already to the future Art Deco. This geometric austerity in iron structures or sgraffiti as decorative elements made the houses affordable for a much wider public, being the "democratization" of house building another goal of Art Nouveau architects. The Ciamberlani house in Brussels is a perfect example for this style.

Hotel Ciamberlani by P. Hankar

The new concept of “Gesamtkunstwerk” or total art wanted to create a fusion between structure and ornament. Thus columns or beams became thick vines with spreading tendrils like that of a living organism, leaving behind previous efforts of hiding structural elements. Either in curvy stone work, in swirling iron balconies, in thematic sgraffiti or in stained glass windows, the architect sought the greatest possible harmony among the different elements. In order to obtain this goal of total art the Art Nouveau architect not only designed the building but every single element in it such as floor mosaics, stair landings, door handles and even furniture. 

Iron balcony by V. Horta

        One of the major assets of Art Nouveau construction is the use of natural light in planning a building with the intention of bathing its interiors in light, adding quality of life to its inhabitants. The use of stained glass panels fitted perfectly into the concept of a well lit dwelling. The typical long but narrow building plot of Brussels often became a site of experiment with innovative sources of light, as a glassed dome in the central section or stained glass doors for the otherwise central dark room. Stained glass windows looking out to the street, particularly on the ground floor, often shelter the inhabitants from outside-viewers while filtering soft light to the inside. 
In the next post I will enter fully the subject of stained glass with the presentation of some works with one of the dearest motifs to Art Nouveau architects and artists: flowers and plants.