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| Crystal Palace, Joseph Paxton, 1851, Industrial Revolution Design, greenhouse design, cast iron & glass, display for Exposition Universelle in Paris, destroyed by fire 1936 |
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| Shelf Unit, 1850s, Victorian Design, adding beauty, domesticity, ornament, carved wood, curves within curves |
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| Chair, Thonet Brothers, 1850s, Industrial Revolution Design, bronze, "units," steam forming machine |
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| Camera, Jacques Daguerre, 1851, Industrial Revolution Design, first practical method of obtaining permanent images, silver plated copper sheets, iodide |
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| Wallpaper, Morris, 1860s, British Arts and Crafts Movement, nature domesticated, idealized, positive/negative rhythms, decorative rather than descriptive colors |
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| Chair, Morris, 1880s, British Arts and Crafts Movement, stick furniture, simplicity, no curves, not ornate, admired for comfort |
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| Sofa, Stickley, 1908, American Arts and Crafts, influenced by furniture in California missions, makes use of "truth to materials," no nails or screws, published in Crafstman Catalog |
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| Table, Stickley, 1902, American Arts and Crafts, truth to materials, wood is structural, handmade |
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| Peacock Vase, Tiffany, 1903, French Art Nouveau, feathers geometrically idealized, ovals concentrically placed with oval shapes |
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| Desk, Majorelle, 1900, School of Nancy, French Art Nouveau, modeled in clay to work out patterning, influenced by Darwin's focus on nature |
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| Paris Metro Station, Guimard, 1903, French Art Nouveau |
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| Desk, Guimard, 1903, French Art Nouveau |
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| Staircase, Horta, Eetvelde House, 1895, Belgian Art Nouveau, vitalism, light becomes vital moving through dome |
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| candleholder, Van de Velde, 1902, Belgian Art Nouveau, Henry's "expressive theory of lines," "dynamographique line," "equilibrium" as mood expressed by choice of lines |
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| Tropon Poster, Van de Velde, 1897, Belgian Art Nouveau, organic patterns |
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| Library, Mackintosh, Glasgow School of Art, 1909, Scottish Art Nouveau, language of contrasts, round/angular, dark/light, grids/squares |
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| Willow Bench, Mackintosh, 1904, Scottish Art Nouveau |
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| Hill House Chair, Mackintosh, 1902, Scottish Art Nouveau, void rhythms |
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| Argyle Chair, Mackintosh, 1899, Scottish Art Nouveau, recreates entire room |
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| Guell Park, Gaudi, 1900, Catalan Art Nouveau, farmer's market in Greek Theater, water filtration, mosaics, columns tilted (dynamism), catenary arch, garden of eden, salamander fountain, reference to philosopher's stone |
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| La Sagrada Familia, Gaudi, begun 1877, Catalan Art Nouveau, 300 ft by 200 ft by 560 ft tall, catenary arch, references to sea, water, earth, new construction in 1980's different materials and style (geometric rather than organic) |
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| Casa Mila, Gaudi, 1907, Barcelona, Catalan Art Nouveau, flowing structure, fish eye windows on roof, sculpture garden on roof |
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| focus on individually handcrafted designs, influences from Transcendentalism by Thoreau, "truth to materials" |
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| geometrical idealization, representation of dynamic nature through motifs and vortices, metamorphoses between natural forms, symbolic language to express psychological moods |
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