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.
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
