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The Art Nouveau was a current that characterized the years between the nineteenth and twentieth centuries, and involving above all the art and architecture. The name Art Nouveau, which became widespread in as Liberty Style in Italy, was due to Londoners warehouses Arthur Liberty, which exposed the Art Nouveau objects.
This current that influenced different artistic fields has its origins from the Anglo-Saxon ideology of the Arts and Crafts aesthetic, artisanal opposition to the works and objects produced mechanically in series, and at the center of it being, there was the idea of create something of great quality. It was no accident that the Art Nouveau was the abse of modern design and modern architecture.
The 1900 Paris Exposition was the point from which spread this new style, which recorded consensus in all its nuance. However, the real moment which vehicle this innovation came through the publication of journals such as L'art pour tous, and the establishment of schools and workshops.
It was probably in 1902, during the Great Exhibition of Modern Art in Turin, that this artistic-cultural current touched its moment of greatest glory, which became evident in the artworks, prints and even in architecture and design.
The design and craftsmanship, with their floral motifs, became so also a starting point for the spread in other fields, such as painting, architecture, journalism, literature and music. Many monuments associated with the Art Nouveau building are recognized by UNESCO as World Heritage Sites, and among them we can find the finest collection of Art Nouveau buildings in Europe, in the historic center of Riga, four houses in Brussels designed by Victor Horta, and the works of Antoni Gaudí.
One of the most important features of the style is the inspiration of nature, of which it studied the structural elements, translating them into a dynamic, wavy line, with sudden "whip." Simple figures seemed to come to life and evolve naturally in forms similar to plants or flowers.
Among the greatest painters of this art, we can find Aubrey Beardsley, Alfons Mucha, Edward Burne-Jones, Gustav Klimt, and Jan Toorop. In an apogee of works which look, in the opposite way of the Pre-Raphaelites, to the future