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HOME > ARCHITECTURE·ART > Yumin Art Nouveau Museum > Art/Artists

Yumin Art Nouveau Museum

  • INSPIRATION GALLERY

    The aesthetic background of Art Nouveau, France was symbolism which recreated the vitality of nature through artworks. This perspective of nature was strongly influenced by Baudelaire, who was the leading symbolist poet of that time. Like he wrote in a verse of 'Correspondence', Galle observed the symbolic world of nature with a humble attitude to understand the law of the world, wanting for men to correspond with nature. Inspiration Gallery is the space most closely related to 'nature' and the space that refreshes the audiences' sentiments and memories.

  • MASTERPIECE GALLERY

    Emile Galle(1846 ~ 1904) pursued a path different from that of John Ruskin(1819 ~ 1900) or William Morris(1834 ~ 1896), the leaders of Art Nouveau movement, but he did absorb their lessons. Ruskin's lesson that all artists must be inspired by nature was a major discourse for the French Art Nouveau artists. Galle is an artist who studied nature most closely. Les Coprins, which is exhibited independently, metaphors the youth, mid-age, and senescence of men with the change of nature. Emile Galle created four of Les Coprins, but Yumin Art Nouveau Museum has preserved it in the best condition.

  • PEAK OF ART NOUVEAU GALLERY

    The art movement called Art Nouveau began in Belgium, but it reached its peak in France. The Nancy artists such as Galle and the Daum Brothers depicted nature very realistically to reproduce their feelings of nature and this perspective of theirs was the unique aspect of French Art Nouveau. Their innovative craft design revived France's modern craft and became the center of French Art Nouveau.

  • LOUNGE GALLERY

    The Daum Brothers' company succeeded with the electrical lamp designs borne from the new electrical technology through a partnership with Majorelle, which was a furniture studio in Nancy. The partnership was made in the early 1890s. With the partnership, the Daum Brothers' company created an off-white glass lamp shade and Majorelle combined it with the metal support and stand with no wires exposed. Countless lamp designs were created until the partnership ended due to World War I. The lamps were introduced at various exhibitions and spread through a lot of catalogues. Lamp design applied the characteristics of glass in various levels of transparency and the art of fantastic light and many glass craftsmen challenged it at the transition from Art Nouveau to Art Deco.

    • Emile Gallé(1846 ~ 1904)

    Emile Gallé became a great hit by presenting layers of opaque glass and artworks engraved with the verses of poets at the 1889 World Expo. He applied the glass layering technique when it required putting the glass in the kiln each time new decoration was added. He was the first artist who applied craftsmanship, etching, applying patina, and layering glass fragments to insert decorations in between the layers of glass. He left many artworks about nature.

    Eugène Michel(1848 ~ 1904)

    He added metal oxides to glass to create the turbid lust of natural ores and natural cracks and created reliefs of natural shapes on the surface. He was strongly influenced by the multilayered glass craft of China and Japonism in the 18~19th Centuries and mostly created flawlessly mastered pieces and vases with multicolored and multilayered reliefs.

    The Daum BrothersAntonin Daum(1864 ~ 1930),
    Auguste Daum(1853 ~ 1909)

    The Daum Brothers presented double glass, triple glass, coloring through heating, engraving various patterns, coating, and inserting decorations at the 1900 World Expo Paris. The Daum Brothers’ company was able to survive in the same period as Emile Galle because they hired talented designers, painters, engineers, and decorators for unique collaborations.

    Gabriel Argy-Rousseau(1885 ~ 1953)

    Gabriel Argy-Rousseau became the master of a ceramic lab after studying at Sevres Porcelain School. He opened his own studio to produce glass dough in 1914 and established a corporation called ‘Argy-Rousseau Glass Dough’ in 1921 to produce artworks. Some glass craftsmen who combined the tradition wit modernity succeeded and developed the ancient glass clay technique and Argy-Rousseau played leading roles. He nurtured tens of technicians and interior decorators until the company was shut down in 1931. He was particularly interested in low relief decorations, ancient styles, and nature.