DOCENT/EDUCATOR RESOURCE GUIDE

PARIS1900

Gallery Map

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Paris 1900

Dates: December20–March2,2008

Organizer: OklahomaCityMuseumofArt

Source: LoansfromPrivateCollectionsandMuseums

Objective: Toexploreimportantaspectsoftheartnouveaumovement,while delvingintootherartisticandtechnologicalinnovationsthatcaused Paristoemergeasthecenterofartisticcreativity.

ExhibitionStructure: Alloftheworksinthisexhibitarecategorizedintothefollowing themes.

TheBelleÉpoqueSymbolismandSynthetisminFindeSiècleArtJapanesePrintsandFindeSiècleArtArtPotteryTheFindeSièclePrintCultureGraphicWorks

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CharlesGuilloux(French,1866-1946).Notre Dame vue des Quais,1894.Oilonboard.RussellCollection,Amsterdam

Introduction: Paris 1900Theachievementsofnineteenth-centuryFrancewereconsiderable.RevolutionshaddestabilizedgovernmentsbutthemajorplayerswerestilltheLegitimists,theBourgeois,theBonapartists,theAristocrats,theLiberalsandDemocrats.AlongperiodofpeaceandprosperityfollowedtheFranco-PrussianWarof1870-1.ThecentenaryoftheFrenchRevolutionwascelebratedwiththe1989ParisExpositionUniverselle,andtheEiffelTower,thenthetalleststructureintheworld,waserectedfortheExposition.Someofthemajornineteenth-centuryartmovementshadtakenplaceinFrance.The1900ExpositionUniversellecelebratedthearrivalofthenewcenturyandParisasthecapitalofthearts.Theartthatwouldrepresentthetwentieth-centuryappearedtobepredictableandcertain.Theoriginsofartnouveau,withitssinuous,rhythmicallinesandpatterns,wereseenasaristocratic.Therewasanewemphasisonharmoniousdecorativefurnishings:ceramics,textiles,andsculpture.Atthesametime,therewasaproliferationofcoloredimagesinposters,advertisements,andperiodicals.Electricallighting,theautomobile,andimprovedmasstransportationwereintroduced,aswellasthetelegraph,thetelephone,andtypewriters,andbecamesubjectmatterinposterart.Thegrowingurbanproblemsofpollution,crowding,drugs,andalcoholismwereportrayedbygraphicartistsworkingforillustratedmagazines.Theextravagancesandexcessesoftheperiodweretakenbysomeassignsofcivilization’sdecline,andthisappearsasadominatesubjectinsymbolistliteratureandart.AfterthesenselesscarnageanddevastationofWorldWarI,peoplereferrednostalgicallyto the fin de siècle as the Belle Époque.

The Belle ÉpoqueTheParis1900exhibitionfocusesontheperiodwhentheFrenchcapitolemergedasthecenterofartisticcreativityforallofEurope.Thereisanexpressionofjoyoussensualityinmuchoftheartofthisdecadewhichhasbeenlabeledthe Belle Époque. The complex mixture of fin de siècle styles associated with symbolism,thecontinuationofformsofrealism,andacademicartwereinfullevidenceby1900.TheParisExpositionUniverselleofthatyearisalsoassociatedwiththematurationofthecomplexorganicbeautyoftheconvolutedstyleofartnouveauart,architecture,andinteriordecoration.TheGrandPalaisandtheneighboringPetitPalaismadeuptheExpositionlocationsdesignedprimarilyforthearts.In1900,theseironandglassstructureswerepartiallyconcealedwithmasonryandsculpturaldecoration.WhilethepreviousParisExpositionof1889highlightedtechnologicaladvancesofthetime,theParis1900Expositionemphasized the arts and reflected the verve and dynamism of the fin de siècle. Inthe1890s,theemphasiswasclearlyplacedonassociatingartnouveau’sstylisticrootswithrococoart,architecture,anddecorationofthereignofLouisXV.ThebeginningsoftheartnouveaustylecanalsobetracedbacktotheworkofEmanuelViollet-le-Duc(1814-1879),thechiefrestorerofFrenchmedievalmonuments(e.g.Notre-DamedeParisandchâteauofPierrefonds).Viollet-le-Ducbelieveditwaspossibletocoordinatetheeffortsofartists,stonecarvers,andcraftsmenandgiveanarchitecturalprojectasenseofoverallunity.HeemployedtheseideasintherestorationofNotre-DamedeParisandthechâteauofPierrefonds.Hisrestorationofmotifs,likethevinepatternsintheNotre-Dame chapels and the floral motifs in the Empress’ bedroom at Pierrefonds, are associated with the first step toward art nouveau design.

Duringthe1900exposition,artdealerandcollectorSiegfriedBingreintroducedhisMaisondel’ArtNouveauanditsgracefulorganicinteriordesign.BingchoseartistsanddesignerswhoseworkwouldclearlyevokethespiritofFrencheighteenthcenturyart.TheMaisondel’ArtNouveauwasdesignedbyarchitect,furnituremakerandjewelrydesignerEdwardColonna.Bingurgedartist to work together in creating unified and organic interiors. The most careful visualarrangementandcombinationofartobjectswouldcreateamysteriousenvironment,withprovocativefurnishingsthatincludedaselectionofworksofart,andappearstohavebeenconsideredakindofsanctuary,offeringrefugefromtheworld.

Key Work

Artists:MauriceDenisTitle:AvrilDate: 1907?,After1894CeilingTondoMedium:Drawing,inkwashheightenedwithwhiteonpaperDimensions:Diameter7¼in.(18.5cm)RussellCollection,Amsterdam

Artist Facts:Closelyaligned,thesymbolistandLesNabisartistswererepresentedinBing’spavilionaswell.Inanodtotheearlybeginningsofpsychiatryandhypnosis,thethemesofdreamsanddreamlikestateswereexplored.MauriceDenis,amemberofthesymbolistmovementandLesNabisgroup,published an article in support of his group titled Definition ofneo-traditionalism,whichcontainedsomeoftheprinciplesofmodernart.Denis’Avrildrawing,asubjectofreverieandfantasy,nodoubtwasinspiredbynewformsofChristianmysticism and the new scientific interest in psychiatry and theinvestigationofdreamsasameansofconnectingwiththeunconscious. In his well-known proposal for the definition of painting,Denissaid:“Rememberthatapicture,beforebeingabattle horse, a nude, an anecdote or whatnot, is essentially a flat surfacecoveredwithcolorsassembledinaceratinorder.”

Influenced by Paul Gauguin, who employed symbols with psychological subtlety that sets him apart from many other symbolists, Denis took Gauguin’s use of flat color, and sometimes incorporated decorative abstraction, moresothathisteacher.ArtistsassociatedwithDenisandLesNabisproducedpaintingsthatworkedwellwiththe modern and historically eclectic interiors of the 1890s. This idea was paramount in fin de siècle designs that stressedharmonybetweenarchitecture,interiordécor,furnishings,andobjetd’art.

Piece Facts: Thedecorativeserpentinelineassociatedwithartnouveauisfoundinbothprintsandpaintingsoftheearly1890sbyMauriceDenis.RecallingtheworkoftheEnglishPre-Raphaelites,winsomeladiesinlonggownsappearinDenis’scostumesketchesforMaeterlinck’sSept Princesses(1891);the1892frontispieceforDebussy’sLa Damoiselle élue,basedonDanteGabrielRossetti’spoemThe Blessed Damozel;andtherelatedceilingtondotitledAvril (1894), painted for the composer Ernest Chausson. Denis’s highly finished drawing directlyrelatedtotheceilingpaintingforChausson.Thedrawing,likethepainting,hasbeenseenas“entirelyArt Nouveau” and makes use of baroque perspective to indicate the ascension of the gowned figures toward the heavens. The theme of female figures in long gowns floating freely in the air occurs a number of times in his graphicwork.

Vocabulary: Art Nouveau, Serpentine Line, Les Nabis, Harmony, Unity, fin de siècle

Discussion Starters: What do you see? How does it make you feel? Does it look like the figures in this work are floating? How do you think the artist did this? Do you think Denis did a good job of creating a mystical feelingbypaintingthissceneonaceiling?

Painting Lesson Plan

Paintingaceilingpanelortondoisharderthanitlooks!CanyounametheartistwhopaintedtheceilingoftheSistineChapelattheVatican?(Michelangelo)MauriceDenispaintedaceilingtondo(round)forthecomposerErnestChausson.The ladies depicted in this work seem to float in a dream, with their long gowns flowing in the wind.

ThissubjectisrelatedtothenewformsofChristianmysticismandthenewscientific interest in psychiatry, which were prevalent at the time of the 1900 ParisExposition.Inanodtotheearlybeginningsofpsychiatryandhypnosis,thethemesofdreamsanddreamlikestateswereexplored.

Objectives:

Toexperiencepaintinganelevatedsurface.Toexperimentwiththeconceptofperspective.

Materials Needed:

Enoughroomunderasurface(table,chair,etc.)totapeapieceofpaper.Paints(acrylic,oil,tempera,etc.),crayonsormarkersBrushes,waterandcontainers(ifusingpaint)SketchpadPencil

Procedures:

Instructyourstudentstomakeadrawingofaworktheywouldliketocreate.It should be smaller than the final work. This work should have a mystical or fantasyinspiredtheme.Nextstudentsshoulddrawtheoutlineoftheirworkatalargerscaleonpaperorcanvas.Have your students lay down on the floor under a table or chair. Either already tapeeachstudents’paperorcanvastotheunderneathofthetableorchairorhaveyourstudentstapethemupthemselves.Finally,haveyourstudentscompletetheirlargerpiecebyworkingfrombelowit.Have your students share their experiences and, when finished, their artwork.

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Interior Design Diorama Lesson Plan

SiegfriedBingwasanartcollectoranddealerwho,in1900,haddesigners,painters,sculptors,andotherartistshelptocreatehisMaisondel’ArtNouveauattheParisExposition.Hewasveryconcernedwithalloftheitemsinsideworkingtogethertocreateamysteriousatmosphere.Thismeantthateverypainting,sculpture,pieceoffurniture,etceterawaspartofthecohesivewhole.Thisatmospherewouldactasanescapeorrespitefromtheworldoutside.Manyoftheartists’studiosofthetimeincorporatedthesameideas.

Objectives:

Toincorporatetheelementsofartandtheprinciplesofdesigninplanningandexecutinganinteriordesign.Torecognize,selectandutilizeavarietyofideasandsubjectmatterincreatingoriginalworksofart.TounderstandtheideasincorporatedintoartandarchitectureofParis1900.

Forthislesson,pleasehaveyourstudentscreateadioramaofaninteriordesign.ThisdioramadoesnothavetousetheartandfurniturethatwouldhavebeenseeninParisin1900.However,yourstudentdoesneedtofollowthefollowingsteps:

Discussthebackgroundoftheideaofacohesiveinteriordesignwithyourstudents.Havethemdecideonathemeforaninterior.Thiscanbeanythingwithintheteacher’sparameters.Forexample,astudentcouldchoosehisorherownfavoritemovie,sportsteam,etceteraasatheme,buttheywouldstillneedtoincorporatethesameprinciplesofdesignthattheinteriordesignersofParisin1900used.Allelementsmustworktogether.Discusstheprinciplesofdesignandscale,andmakesurethatyourstudentsunderstandandusethemintheirdesign.

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Students should first create a drawing or draft of what their interior would looklike.Haveyourstudentspresentthisdrawingandhisorherideasononeday.Haveyourstudentsbegintocreateaminiatureordioramaoftheirdraftandideasonanotherday.ThiswouldincludetinyversionsThenhaveeachofthestudentspresenttheirdioramatotheclass,makingsurethattheyincorporatetheirownideasandhowtheprinciplesofdesignplayedapartintheircreation.Ifyourschoolcanprovidethematerials,havetheclassvoteononetheirfavoritedioramaandthenhavetheclasscreatealife-sizeversion.Ifyourclassisunabletocreatetheactualinteriordesign,stopatthestepabove.

Materials Needed:

DraftorsketchpaperPencilsErasersElementsforthediorama:

ShoeboxCardstockFinepointmarkersScissorsGlueMiniaturepiecesoffurnitureorminiatureprintoutsofartifthestudents

can find them.

Helpful ideas:

DecideonScale.Adioramabecomesbelievabletotheextentthatitlooks“real.”Try1footto1inch-that’sstandardforclassicminiaturesanddollhouses.Collectyourmaterials.Decideonyourbackground–youcandraw,paintorusewallpaper(wrappingpaper) or anything else you can find. Remember, though, that the background imagesshouldbeconsistentwiththescaleyou’vechosen.Chooseacontainer.Youmayuseacardboardboxorashoebox.Itshouldbelightbutfairlysturdy,especiallyifyouwillneedtomovethedioramaaround.Buildyourdioramaworkingfromthebacktothefront.Startwiththebackground,andthensecuretheotherobjectsintheroomwithglueorputty.Haveeachstudentpresenttheirworktotherestoftheclass.Youcouldevenhaveaviewingofallofthedioramasatonetimebeforethepresentations.

Referenceforthislessonplan:http://www.ehow.com/how_12761_make-diorama.html

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Symbolism and Synthetism in Fin de Siècle Art

Theartnouveauconceptofacompleterapportbetweentheexteriorandinteriordesignofanarchitecturalworkhasspiritual,mystical,andpsychologicalconnotationswhichcharacterizepaintingsandgraphicworksofthe1890s.Also,theemphasisplacedontheharmoniousrelationshipoftheinterioranditsfurnishingshasbeenassociatedwitharenewedinterestintherococoarchitecturalinteriorsfromthetimeofLouisXV.Therewasanenhancedandcultivatedappreciationofthetotalensembleofartanddesigninmid-eighteenth-centuryrococointeriors.Thishasbeennotonlyassociatedwiththerococorevivalattheendofthenineteenthcentury,butalsowiththebeginningsofanewaestheticmodelbasedonearlynineteenth-centuryromanticconceptsofindividualcreativityandgenius.Thisputthehumbleeighteenth-centurycraftsmenonthesamelevelwitharchitectsandpainters.Theromanticappreciationofeighteenth-centuryart,expressedinthearistocraticcultureduringthetimeofLouisXV,hasbeenassociatedwiththedevelopmentoftheartnouveauconceptof“theinteriorasanorganicensemble.”Retreatfromtheworldandhyper-aestheticsensitivitybecameanaristocraticaffectofcertainartists,authors,andcollectorsinspiredbythisart.Intheearly1890s,theuniquenessofdecorativeandstylizedlandscapepaintingwasrecognizedimmediatelybyAubertAurier,GustaveGeffroy,RogerMarx,andothercritics.Auniquesynthetismwasestablished;itconsistedofrhythmicandexpressiveuseofline,eliminationofdetail,andoveralluseofpoeticcolorharmonies.LikeJapaneselandscapeart,thisworkishighlyexpressiveintermsofcolorandlineandcapturessubjectivefeelingsrelatedtotimeofdayandclimateconditions.TheharshrealitiesofthedarkersideoftheBelleÉpoquecontinuedtoattracttheattentionofanumberofgraphicartistsandpaintersassociatedwithlateformsofrealism.

Japanese Prints and Fin de Siècle Art

The influence of Japanese art can be seen in a number of the exhibited paintings, ceramics,andgraphicworks.AftertheopeningofJapantotheWestinthemidnineteenthcentury,JapanesecolorprintsreachedEuropeviaDutchtradingports.Thisledtothediscoveryandappreciationoftheirverydifferentuseofperspective,expressivecolor,andline.Bythe1880s,manyofthepost-impressionist artists had first-hand knowledge of Japan’s important graphic artists. Thehighlystylized,dream-likelandscapesofCharlesGuillouxbringtomindthesimplified design, flat decorative color, and visual poetry of Katsushika Hokusai (1760-1849) and the soft tones and atmospheric effects found in the prints of Andō Hiroshige(1797-1858).Guilloux’simaginarylandscapes,devoidofstaffage,arelikedesignsfortheatersetsandatthesametimeappeartohavebeenbasedonobservation and contemplation. There is little detail in his simplified landscape forms.HenriRivière’swatercolorandprintofL’Isle des cygnes,ofaround1900, combines the serpentine line with the cropping, flattened perspective, andevocativemoodassociatedwithearly-nineteenth-centuryJapaneseprints.Something of this type of flat pattern perspective can also be seen in Charles Maurin’s1893oilpaintingChasteté,butMaurin’ssubjectmatterisclosertothemoreworldlyandurbanimagesofukiyo-e [floating world] paintings of the geisha housesinthepleasuredistrictsofEdo.

Key Work

Artist: Andō HiroshigeTitle: Yui: “Fifty-three stages of the Tōkaidō” seriesDate:1832-1834Medium:ColorwoodblockprintDimensions:9x137/8in(22.86x35.24cm)

Piece Facts:OneoftheworksyouwillseeinthisexhibitioniscalledYui (Station number 17 in the first series) from Andō Hiroshige’s series, Fifty-three Stages of the Tōkaidō. The Tōkaidō was the coastal road that connected the capital Edo and the old imperial residence town of Kyoto. The origin of the Tōkaidō goes back to the seventh century and was important to the ruling shōgun dynasty to keep control over the country. Fifty-three post-townswerelocatedalongtheroad,anditsoonbecamethemostimportantcommercialrouteinoldJapan.

Artist Facts: Hiroshige joined an expedition from Edo to Kyoto in 1832 and made sketches of each of the fifty-three posts. When he returned, he printed and published his famous series which included fifty-five images, including the beginning point in Edo and the final destination in Kyoto.

Resource:http://www.artelino.com/articles/old_tokaido.asp

Vocabulary: Woodblockprinting,line,contour,composition,landscapemedium,printDiscussion Starters: What does Hiroshige’s use of line do to the work? (It flattens it.) Does Hiroshige’s use of colorcreateamood?Whatkindofmood?

Key Work

Artist:CharlesGuillouxTitle:L’Allée d’eauDate:1895Medium: OilonboardDimensions: 1711/16x237/16in.(45x59.5cm)RussellCollection,Amsterdam

Piece Facts:Thehighlystylized,dream-likelandscapesofCharlesGuilloux,suchasL’Allée d’eau,bring to mind the simplified design, flat decorative color,andatmosphericeffectsfoundintheprintsofAndō Hiroshige. Guilloux’s imaginary landscapes arelikedesignsfortheatersetsandatthesametimeappeartohavebeenbasedonobservationandcontemplation. There is little detail in his simplified landscapeforms.GuillouxandRivièrefoundthatcertainlocationsevokedasenseofmystery,muchliketheinteriorsofSiegfriedBing’sMaisondel’ArtNouveau.

Artist Facts: Guilloux,AlphonseOsbert,Charles-MarieDulac,andCharlesLacostewereallspiritualsymbolistswhopainteddecorative,imaginaryandidealizedlandscapes.Liketheothersymbolistlandscapepainters,GuillouxisassociatedwiththeportrayalofanidealArcadiancountrysidethatisdevoidofthedirectstudiesofnatureassociatedwithpreviousdevelopmentsinimpressionism.Guilloux’shighly-stylizedsymbolistworkswereparticularlywellsuitedforenhancingthesenseofatotaldecorativeunityandafeelingofmysteryassociated with the fin-de-siècle domestic interior. Five years before completing this painting, Guilloux exhibited his work with other artists associated with “the painters of the soul” [les peintres de l’âme] in the SociètairedesIndependantsandexhibitionsatLeBarcdeBoutteville(Paris).

Vocabulary:Contour,line,form,space,color,balance,medium,perspective

Discussion Starters: DoesGuillouxusethesamekindoflinethatHiroshigedid?(Notexactly,butitstillgivesa flat appearance to the work.) What kind of mood does Guilloux create with his use of color?

Art PotteryTherewerethreemajortypesofFrenchartnouveauceramics.OnewasinspiredbyChineseandJapaneseforms,glazes,andtechniques,suchasChina’sSungDynastyporcelainsorthewabi-sabiaestheticofJapaneseteawares.SomeofthesewereusedinAsianarttocreateanentirelynewaestheticwhileothersemployedamoreliteralinterpretationofEastAsianart,asseenintheinterestinslitheringcreatures,likethoseonLachenal’sLizard Vase(ca.1895-1900)orthemenacingdragonthatperchesatopthelipofEduardStellmacher’sAmphora Eastern Dragon Vaseof1899.Thesecondtypeofwareswerethosethatwere,touseatwentieth-centuryterm,“ceramicsculpture.”Theseformswerenotbasedonvesselsorfunctionalobjectsbutwereinsteadthree-dimensionalsculpturesin clay, primarily based on figural forms. Given the interests of art nouveau ceramistsandtheirconnectionswithsymbolistartists,suchasAugusteRodinandPaulGauguin,itisnotsurprisingthatmanysymbolistmotifsandconceitsappearintheseworks.Thethirdgroupincludestheporcelainsthatdisplayedtypicalartnouveaumotifs,suchasthoseproducedbyBingandGrøndahl,RoyalCopenhagen,andSèvres.Thedivisionbetweenthesegroupings,however,isnotabsolute,astherewastremendousoverlapbetweenthem.TheemphasisplacedonFrenchartpotteryhelpedfurthertheinternationalrenaissanceintheappliedarts.AnumberofskillfulandinventiveFrenchmasterpottersgaveceramicsaplaceofimportanceinthehistoryofWesternart.ManyofthemworkedforSèvresNationalManufactoryorotherlargepotterycompaniesbeforeestablishingtheirownatelier.

Key Work

Artist:EdmondLachenalTitle:Lizard VaseDate:ca.1895-1900Medium: EarthenwareDimensions:11¼x6¾in.(28.6x17.1cm)JasonJacquesInc.

Piece Facts:IntheartpotteryofEdmondLachenalcanbeseenanumberofdifferenthistoricalstylesmarkinghisdevelopmentinbecomingamasterofartnouveauceramics.Heexperimentedwithglazetechniques,inventedasoftandsmoothmatteglaze,andin1895hemadeauniquemetalliclusterglazedearthenware.The Floral Vaseca.1899andtheLizard Vaseca.1895-1900areamongsomeofthemost interesting and flamboyant works produced in Lachenal’s atelier between 1895 and1900.

Artist Facts:Atage15,LachenalwashiredbyThéodoreDecktoworkinhisrelativelysmallParismanufactory.Deck’scompanyspecializedinglazedearthenwareinthefavoredChineseandneo-renaissancestyles.Newglazetechniquesweredevelopment,andthecompanybecameoneoftheimportantearlyartpotterycompanies,withLachenalasitsdirector.LachenalleftDeck’sandestablishedhisownatelieratChatillon-sur-Bagneuxin1880.There,hecontinuedtodevelopnewglazingtechniques,aswellasfantasticsculpturesquedecorationsforhispottery.

Vocabulary:Serpentineline,glaze,earthenware,decorativeart,ceramics

Discussion Starters: Whatdoyouseeotherthanthelizardonthevase?(Floralmotif)CanyouseetheJapanesereferencetonatureinthesubjectmatter,colorandlineofthispiece?

Art Pottery Lesson Plan

AtthetimeoftheParis1900Exposition,ceramicswereseenasequaltootherimportantartforms,suchaspainting.Thishadtodowiththeuseofthesedecorativepiecesin interiors as mentioned in the first lessonplanintheDocent/EducatorResourceGuide.

Artistsexperimentedwithglazes,forms,andsubjectmatter.Veryoftenthesubjectwouldcomplementsomethingelsefoundintheroominwhichitwasplacedandalsofurtheredthesenseofthemysteryoftheinterior.

Inthislessonplan,haveyourstudentscreateasmallsculptureorvasethatwouldworkwithintheparametersoftheirinteriorthattheycreatedintheirdiorama in the first lesson plan.

Objectives:

Todevelopandapplyskillsandtechniquesusingsculptureorceramicsprocessesinmakingoriginal,three-dimensionalworksofart.Tounderstandthateachworkofartduringthetimetheexhibitioncoverswasequallyimportant.Everywork,nomatterhowsmall,helpedtocreatethecohesiveandmysteriousatmosphere,whichwasthegoalofdesigners.Torecognizethedevelopmentofthevisualartsduringthistimeperiod,fromanhistoricalandculturalperspective.

Materials Needed:

Ifyourstudentsareoldenoughandyourschoolhasaccesstoakilnandglazes,thisiswhatyouwillneed:

ClayToolsforsculptingPotterywheelGlazesKiln

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2.Ifyourstudentsareyoungerandyoudonothaveaccesstoakilnandglazes,thisiswhatyou’llneed:

AirdryClayMarkersorPaint

Procedures:

If working with clay, have your students create their piece for firing. When all of the pieces are glazed and fired, have your students present their pieces to therestoftheclass.Ifyourstudentsareworkingwithairdryclay,havethemcreatetheirpieceandallowenoughtimetodry.Thenhavethemcolortheirpieceswithmarkersorpaint.Whentimepermits,haveeachstudentpresenttheirpiecetotherestoftheclass.

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The Fin de Siècle Print CultureBothEugène-SamuelGrassetandThéophile-AlexandreSteinlendemonstratedthataprintculturewasthrivingintheParisartworld.Thiscommitmentwasvisibleinbooks,onthewallsofbuildings,innewspapers,andinprintshops.Becauseofitsubiquitouspresenceandlowcost,printculturereachedeveryone.Withinthepagesofmagazines,printmakersweregivengreatfreedomtoexpresstheirideaswhiledevelopingimagesthatwereinspiredbytheliterarytextsaccompanyingthem.SeldomhasthisbeenbetterillustratedthaninthepagesofGil Blas Illustré,beginningin1891.Theproliferationofillustratedjournalsinthe1890sisawell-knownfact;bythetimeofthe1900ParisExpositionUniverselle,printmakingandillustratedjournalswereremarkablynumerous.Newtechnologicaladvancesmadeitpossibleforimagestobephoto-mechanicallyreproducedandformagazinestobepublishedataverylowcost.Asingleartistwasoftenexclusivelyassociatedwithaperiodical.Steinlen,forexample,producedhundredsofimagesforGil Blas Illustrébetween1891and1903.Otherartists,suchasLouisLegrand,contributedtothejournalaswell,butfewwereas prolific as Steinlen. Such loyalty to one artist, thus popularizing one artistic style,provedtobeanexcellentstrategyforbuildinganaudienceforaparticularmagazine.SincethepriceofGil Blas Illustré was minimal—it sold for five centimesbetween1895-1896andtencentimesfrom1897until1899whenitsold for fifteen centimes—a reader saw the best artists illustrating topical texts by contemporary writers. This mutually beneficial arrangement between writers, illustrators,andmagazinesassuredthecreativecontributorsofasteadysourceofincomewhileadvancingtheircareersasleadingmoralcommentatorsoftheirera.Steinlenusedthesystemtohisadvantage,securingnotonlyhislivelihood,butalsohisreputation,evenintoourtime.

Key Work

Artist:ArmandPointTitle:Lady on the Banks of the SeineDate: 1895Medium:ColorpencildrawingDimensions: 15¾x87/16in.(40x24cm)RussellCollection,Amsterdam

Piece Facts: Aswomenfoundtheirownvoices,theimagesportrayingthemevolvedfrompassive,rather lost figures strolling along the quays, as in Armand Point’s drawing of 1895, to strong creativeicons.Thesechanges,inreadingtheimagesiconographically,furtherdemonstratetheimportanceoftheprintcultureinsuggestingchangingsocietalpatterns.

Artist Facts:Point’searlypaintingswerepartacademicandpartimpressionist.HecompletelychangedhisstyleaftervisitingItalyin1894.Fromthatpointon,PointusedthedelicatelineandthesubtletonalitiesofBotticelliandLeonardoashisguide.ThesymbolistpoetStuartMerille,whoreviewedPoint’sexhibitionof1899,wrote:“Thisjourneyshowedhimthevanityofmodernartandthefutilityofhisownefforts.”TheemphasisplacedonlineanddelicateshadingintheexhibiteddrawingindicatesPoint’sadmirationfortheseRenaissancemastersandhisinterestinre-establishinganidealformofbeauty.AccordingtoRobertDoré,whoisabouttopublishathesisonArmandPoint,theLadyontheBanksoftheSeineisHélèneLinder,thecompanionandpreferredmodeloftheartistbetween1892and1899.Adedicationtoanunknownpatronreads:“àMadameGavanetHommageAPoint1895.”

Vocabulary:Line,shading,drapery,idealbeauty

Discussion Starters: Doesthiswomanlooklikea“strong,creativeicon”oraquietandhumblewoman?Whatmakesyouthinkthis?(Herheadistilteddownwardandsheisenclosedinhercape.Shedoesnotmakeeyecontactwiththeviewerofthiswork.)Canyoudescribehowwomen’sroleshavechangedsince1895?

Alphonse Mucha MuchaisbestknownforhisportraitsoftheactressSarahBernhardt.Insomeofhisearliestlithographpostersof1894,heportrayedherasGismondainVictorienSardou’splaybythesamenameaswellasinLa dame aux camélias,Lorenzaccio,La Tosca,Médée,andHamlet.Intheseposters,Bernhardtisdepictedasastatuesque figure, standing in a shallow arched niche with a surrounding frame decorated with floral and whiplash ornaments, characteristic of art nouveau decoration.IntheearlyposterforGismonda,hernameappearsonthearchofthenicheandthenameofthetheatreonthebase.AlongwithMucha’snichemotif,which he used to frame the figure of Bernhardt, he employed circular architectural formasasettingforthemoderndaysibylordivaholdingJobcigarettepapers.The1895-1900periodwasMucha’smostproductive.Hecontinuedtoillustratebooksanddesignwallpaperanddecorativepanels,buthispostersremainedhismostimportantmedium.WhileMuchaseemstobetheforemostrepresentativeoftheartnouveaustyleamongtheposterartistsinthisexhibition,heoddlydidnotconsiderhimselfanartnouveauartist.Likeotherartistscloselyassociatedwiththemovement,Muchatookhisdecorativeelementsfromnature.Inhisdesigns,however,hesoughttoapplythesameconceptualguidelinesasthevillageembroiderersandfolkartistsinhisnativeMoravia.Accordingtohissonandbiographer:“theconnectionwiththestyleofhiscontemporariessomewhatescapedhim.”

Key WorkArtist: AlphonseMuchaTitle: Bernhardt American TourDate:1895Medium: ColourLithographonLinenDimensions:78x29in.(198.8x74.3cm)Courtesy J. Raj. K. Dhawan through Galerie Michael, Beverly Hills, California

Piece Facts:TheframingarchitecturalmotifintheBernhardtAmericanTourposterisreminiscentoftheonesonRenaissanceandmedievalchurchescontainingstatuesofsaintsandOldTestamentprophets. In other earlier theatre posters, the statuesque figure of SarahBernhardtappearstobestandinginashallowarchitecturalniche.ThisformulaisusedexclusivelyfortheonesannouncingBernhardt’svisitstoNorthAmerica.Thenameofthetheater,foundbelowintheearliertheatreposters,wasreplacedby“AmericanTour”andthenamesoftheagentsunderneath.Bernhardt’stoursofNorthAmericawerepartofherstellarclimbtouniversalrecognition. On her first visit to the United States in 1880, she acted the title role in Dumas fils’s La dame aux camélias.Theposterintheexhibitionannouncesher1896AmericanTour.Whenshereturned,shewascelebratedwith“LaJournéeSarahBernhardt”whichconsistedofabanquet,duringwhichtributeswerepaid.

Artist Facts: AlphonseMuchawasbornin1860inIvancice,Moravia,whichisnearthecityofBrnointhemodernCzechRepublic.Alreadyanartist,hemovedtoParisin1887.EarlyexamplesofMucha’sskillfuldraftsmanship can be found in the figure drawings and sketches of various kinds that he made while a student. When Mucha fell upon hard times in Paris, he was able to make use of his drawing skills to find work doing magazine illustrations. From the time he designed his first poster for Sarah Bernhardt’s production of GismondainJanuary1895,hebecameherfavoredartist,andhiscareerreacheditszenithalongsidehersinthesecondhalfofthe1890s.“AsforSarah,”exclaimedMucha,“shewouldnotletmego.Iworkedsixwholeyearswithher,untilsheleftforAmericain1901.ButevenafterthatIsometimesworkedwithher…”

Vocabulary:Lithograph,Linen,niche

Discussion Starters:Whatisaniche?DoesitlooklikeSarahBernhardtisstandinginone?Whatdoesthisdofortheimportanceoftheposter?Doesitremindyouofstatuesyou’veseeninotherplaces?(Anicheactsasaframearoundsomethinganddrawsattentiontoit.Anichealsolendsimportancetothatwhichisenclosedwithinit.)Whatelementsofnaturecanyouseeinthiswork?Doeslineseemtobeimportantinthisworkaswell?

THE ART POSTERWhentheimageofGeorgesdeFeure’s1894Paris-Almanachwasdisseminatedthroughoutthecity,hedemonstratedhowpostersinformedissues—eitheraboutnewperformersorpublications—makingclearthemarketingstrategiesrequiredtosucceed.InfeaturingafashionablydressedwomanstrollingthroughthestreetsofParisholdingacopyofParis-Almanach,deFeuregavevisualpresencetothenewwoman.Fromtheartist’spointofview,herbeautyaswellashertastefulandimmaculatedressdrewattentiontotheimportanceoftheParis-Almanachpublicationinherhand.DeFeurecreatedanemblematiciconofthenewwomanwhohadalsobecomeametaphorforthenewParis.Similarly,Paris-Almanachwascallingattentiontothetemptations,sites,andperformersthatonecouldseethroughoutthecity.Pariswasembodiedinthenewwoman,andParis-Almanach washerguide.Withthiswork,deFeurebecameaveryactivememberoftheposterrevolution.Oftenthesizesofposters,suchastheonesforThéâtre de l’Opéra Comique,increasedinterestintheimagery.Tobeeffective,theimageryandletteringofaposterhadtobereadilyunderstoodandeasilyreadfromadistance.Forexample,Jules-AlexandreGrün’sposterheadlinesthatthe“Scala”isthenameofthetheatreandboldlyannouncesthetitleoftheplayas“AtLastWeAreAlone.”Inordertoengagethemassesandinsuretheirappearanceatperformances,theartistoftenreliedonstereotypesthatstimulatedtheimaginationwithconspicuoussensuality.

Poster Lesson PlanAscanbeseeninthepaintingsandpostersoftheyear1900inParis,thereareJapaneseinfluences. These include a use ofnatureasaprimarysource,flat perspectives, and woodblock coloring.

Inthislesson,haveyourstudentschooseaproductoreventthatisinexistencetoday,andthencreateapostertoadvertiseit.Theymustusetheaboveideasintheirposter,whichmeantheymustincludeelementsfromnature, flat perspectives, and woodblockcoloring.

Objectives:

Todevelopandapplyskillsandtechniquesusedinthegraphicarts.Tounderstandtheimportanceofadvertisingandpostersduringthetimeperiodcoveredinthisexhibition.Toincorporatetheelementsofartandtheprinciplesofdesignintoeachstudents’creation.

Materials Needed:

Posterboard,butcherpaper,orcopypaperMarkers, crayons, acrylic paints or finger paintsImagination!

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Procedures:

Haveyourstudentsdecideonaproductoreventthattheywouldliketoadvertise.Explain to them the need to incorporate the Japanese influences mentioned above.ShowexamplesfromtheDocent/EducatorResourceGuide.Havethestudentscreateaposterfortheireventorproduct.Studentsshouldthenpresenttheirposterstotherestoftheclasswhenallarefinished.

Modification for older students:

OnethingyoucoulddoifyourschoolhastheresourcesistouseStyrofoamplatesforprinting.Eachstudentwouldhaveonefoamplate.Theywouldthencarvetheposterideasandoutlinesintotheirplate.Aftercoloringineachsectionwithadifferentcolorofpaint,theycouldthenturntheplateupsidedown,ontoapieceofpaperandprintouttheir“advertisement.”

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Key Work

Artist:Théophile-AlexandreSteinlenTitle: Une reputation(basedonastorywrittenbyHenryCaen)Date:CoverforGilBlasIllustré,no.18,5May1895Medium: GilBlasIllustréproofDimensions: 107/8x91/8in.(32.90x26cm)JaneVoorheesZimmerliArtMuseum

Piece Facts: Asacommentatoronthefoiblesofman,Théophile-AlexandreSteinlenwasparticularlytakenbythestoryofUne RéputationbyHenryCaen(5 May 1895) where an old woman recounted a tale of infidelity that involved her deadhusband.Intentontryingtohealoldwounds,thewomanreturnedtothelocation where she had first met her husband and, there, dressed as an old prostitute andaccompaniedbyherwell-dressedson,hopestorelocatethelovethatshehadlost.Thissadstory,aboutthedelusionsoflife,andtheneedtobringsomethingtoclosure,allowedSteinlenanopportunity to increase the range of his social types while dressing an old woman as a flirtatious fool.

Artist Facts: Steinlen was part of the Montmartre art scene and was influenced by Émile Zola’s caustic realism. Hewasachroniclerandsocialsatiristwhofeltsympathyforthedowntrodden.Hemadelithographpostersforcabaretsandotherstoadvertisecommercialproducts.

Vocabulary: Line,blocksofcolor,Flatness,print,journal,illustration

Discussion Starters: Does Steinlen’s use of blocks of color and lines which flatten the picture plane remind you of worksyousawearlierintheexhibition?Whowastheartist?(Hiroshige)HowisthewomaninthisworkdifferentfromArmandPoint’sLady on the Banks of the Seine?

Key WorkArtist: MauriceBiaisTitle: Tuff TuffDate:1902Medium:LithographDimensions:26x33½in.(67.3x85.1cm)Dr.GabrielandYvonneWeisbergPrivateCollection

Piece Facts: Theautomobile,asasubjectinart,becamemoreprevalentandbegantoreplacethehorseandcarriageattheturnofthecentury.Thedevelopmentofthemodernautomobilewasmadepossiblebythedevelopmentoftheinternal-combustionengine.GottliebDaimlerimprovedtheenginearound1885,andthePanhardcarwasbroughttoFrancebytheDaimlerMotorCompanyin1894.IthadmanyofthefeaturesoftheearlymoderncarseeninBiais’lithographs.ThefactthatFranceisassociatedwiththeinceptionofthecar’searlydevelopmentisevidencedintheFrenchwordschauffeur,chassis,andgarage.

Inthislithograph,MauriceBiaiscapturesthenewsensationofspeedintheforwardleaningpositionofthedriverandtheportrayalofthespinningtiresasellipticalshapes.Ontheotherhand,TuffTuffisthesoundassociatedwithearlyinternal-combustionengines.Ithasthesamemeaningas“putt-putt,”anameusedfortheearly Ford Model A, based on the sound made by its engine. Automobile races were first held in France in 1894 andthenintheUnitedStatesthefollowingyear(IndianapolisSpeedway).Thesportdidmuchtospurnthedevelopmentofbetterenginesandotherfeaturesassociatedwiththemoderncar.

Artist Facts: Inthesummerof1901,BiaisexhibitedseventylithographsatMaxWilliamsGalleryonFifthAvenue.OnelithographicpostertitledLesBookmakerwasdescribedbytheNewYorkTimesrevieweras“a skit on the habtitués of the race course, male and female.” The description fits a lithograph by Biais that hasbeenpreviouslytitledLongchamps Race Trackanddated1904.TherevieweroftheshowperceptivelyremarkedthatBiais’workinsomeinstances“causesonetorecallsomeofthecaricaturistsfortheMunichbasedmagazineJugend.Biaisadmiredthegraphicsimplicityoftheseimagesandhadcopiedthemforhisracetracklithographs.Isthisaseriousaccusation?Artistshavealwaysfreelyborrowedimagesandideasfromtheir contemporaries or predecessors. Often we speak of the influence of another artist and sometimes more directborrowingasappropriation.Thelithographicprinthasmadebotheasilyattainableandperhapsattimesappropriate.

Biaiswasanartistwhohaddesignedapublicityposterforthewell-knownfriendofToulouse-Lautrec,JaneAvril,asearlyas1895andagainin1902.However,theyhadmorethanaprofessionalrelationshipasBiaisandAvrilmarriedshortlyafterthebirthofhersonin1910.

Vocabulary:lithograph,ellipticalshapes,line,appropriation

Discussion Starters: Whatelementsofartdidtheartistemploytocreateasenseofmotion?DoesthisworkrevealcharacteristicsoftheJapanesewoodblockprintsseenearlierintheexhibit?Whatarethosecharacteristics?

Key WorkArtist:GeorgesdeFeureTitle: Paris AlmanachDate:1894Medium: LithographDimensions: 32x26in.(81.3x67.3cm)Dr.GabrielandYvonneWeisbergPrivateCollection

Piece Facts: WhentheimageofGeorgesdeFeure’s1894Paris-Almanachwasdisseminatedthroughoutthecity,hedemonstratedagainhowpostersinformedissues–eitheraboutnewperformersorpublicationsorabouttheclearmarketingstrategiesrequiredtosucceed.Paris-Almanachencapsulatesalloftheseaspects.InfeaturingafashionablydressedwomanstrollingthroughthestreetsofParisholdingacopyofParis-Almanach,deFeuregavethevisualpresencetothenew woman – the young, chick figure eager to be noticed since she was wearingthenewestfashionand,hopefullyattractingthemen’sgazesbothtoherselfandespeciallytothepublicationsheheldinherhands.Atthesametime,deFeurecreatedanemblematiciconofthenewwomanwhohadbecomeametaphorforthenewParis,justasParis-Almanach,thepublication,wascallingattentiontothetemptations,sites,andperformersthatonecouldseethroughoutthecity.Pariswasembodiedinthenewwoman,andParis-Almanachwashertool,thevehiclefortheseductionofthepeopleinthecity.Withthisposter,deFeurebecameaveryactivememberoftheposterrevolution,amovementthatinvolvedsuchwell-knownartistsasHenrideToulouse-LautrecandJulesChéret.

Artist Facts:GeorgedeFeurewasapainter,designerandpoet.HeworkedwithChéretasaposterdesigner,andbecameinvolvedinallaspectsoftheappliedarts.WithEugeneGaillardandEdouardColonnahewasselectedbySiegfriedBing,founderoftheGaleriesdel’ArtNouveau,todesignroomsforhisPavilionBingattheExpositionUniverselle,Paris(1900).DeFeure’scarpets,glasswareandfurnituredesignsfortheboudoirandtoilettewerebasedonthethemeofwoman,emphasizingdelicatelinesandelegantsensuality.HelaterleftBing’sgalleryand,asanindependentdesigner,createdvide-pochefurniture,whichcontainedhiddenmarquetrycompartments.Thisfurnituresuggestednotionsofsecrecyandcoquetry,themesthatdeFeurepursuedthroughouthiscareer.

Resource:http://www.artsender.com/artists/Feure_Georges_de.htm

Vocabulary: Lithograph,emblematicicon,metaphor,posterrevolution

Discussion Starters:Ifyouweretocreateaposter,advertisingOklahomaCity,whatscenesorsubjectmatterwouldyouinclude?Howwouldyoudressthemaincharacterinyourposter?Doyouthinkthatthewaythiswomanisdressedinhighfashion?Wouldthatbeimportantforpromotingacity?Why?

THE POSTERS OF JULES CHÉRET AND TOULOUSE-LAUTREC

Chéretwasapioneeroftheartposter.Thewomeninhisposters,knownaschérettes,lookandactasiftheyhadsteppedoutofaneighteenth-centuryboudoirpainting. Chéret’s floating angels exude a sense of ebullience, charm, and seduction. Inhisposterimagery,Chéretachievedasenseofease,enjoyment,andlight-heartedness,whetherskimpilydressedchéretteswerecalledupontopromoteanewdrink,suchasPippermint,ortoadvertiseadanceattheMoulinRouge.Chéret’scolorscreateajoyfulimpression.TherecanbelittledoubtthatChéretbecameaspopularashedidbecausehiswomenwerecharmingvisionsofsensualpleasurewhosepresencesuggestedthatwhattheyadvertisedwouldbesimilarlyrefreshingandnovel.ThereisnothingdistressinginthesevisionsofParisianlife.It was Chéret’s viewpoint that created the lasting impression of the light-filled BelleÉpoque.HisworkswerefarremovedfromthecaresofthecommonplaceandthesadcommentariesthatdominatedmanyoftheprintsofotherslikeSteinlenandLouisLegrand.Unlikemanyoftheposterartists,Toulouse-Lautrec’simagesare often linked to specific performers he knew well in Montmartre. He portrayed entertainerandcabaretownerAristideBruantandimmortalizedperformers,suchasJaneAvril,LaGoulue,MayBelfort,andYvetteGuilbert,attheMoulinRouge,JardindeParis,DivanJaponais,andAuxVariétés.Lautrec’spostersexemplifyParisianlife,transformingtheperformerswhopopulatedthecabaretsanddancehallsintoiconsofthecapital.Hisdesigngeniusencapsulatedtheessenceofanentertainerthroughadistinctivepose,atypeofdress,orhairstyleandmadethemimmediatelyrecognizable.Hewasoftencriticizedduringthe1890sforcreatingpostersthatfailedtomeetthedemandsofinformingthepublicclearlyandforvaluingaestheticeffectsoverclarityofdesign.Today,Toulouse-Lautrecrepresentsthehighestcreativeperfectionoftheposterrevolution.

Key Work

Artist: JulesChéretTitle:Jardin de ParisDate: ca.1895Medium:ColorlithographDimensions:48x341/8in.(121.92x86.68cm)

Piece Facts:Thiscafé-concertintheChamps-Élyséewasafashionableplacetobeseen.PracticallyalltheimportantentertainersoftheMoulinRouge,intheseedierMontmartredistrict,alsoappearedattheJardindeParis.TheMoulinRougerepertoiresometimeshadtobeeditedsoasnottoshockthepoliteChamps-Élyséeaudience.ManyofthefrequentersoftheMoulinRougewouldremainthereuntilthelasteleveno’clockperformance,andthenmoveontotheJardindeParistoseethesameentertainersperformagain.CharlesZidler,headofboththeMoulinRougeandtheJardindeParis,introducedaspecialomnibustotransportthemerrymakerseacheveningfromtheBoulevarddeClichyinMontmartretotheChamps-Élysée.Onthewhole,theaudiencesweremadeupofParisians,somevisitorsfromtheprovinces,acloselyknitgroupofartistsandwriters,andtherecognizablepresenceofforeigners,mostlyEnglishandAmerican.

Artist Facts:“JulesChéretistheartistwholedthemovementtowardthemodernizationofposterdesign,andwhoisnowgivenfullcreditforusingcolorforeffectandmood.Chéretinventedanewtypeofwomanforhisposters called chérettes; and they had distinctive characteristics. Chéret’s floating angels exude a sense of ebullience, charm, and seductionaddingtotheimpressionofthecity’sperpetualeffervescenceasseeninthedancehallsofMontmartreorinskatingrinkssuchasthePalaisdeGlace.Asenseofease,enjoyment,andlightheartednessiswhatChéretachievedwhetherhewascalledontopromote a new drink such as Pippermint or his chérettes were found dancing, dressed in flimsy garments.”

Vocabulary:Jardin,MoulinRouge,Cabaret,CharlesZidler,Chérettes,Champs-Élysée

Discussion Starters: Doesthewomaninthisworkappearhappy?Isthereanythingintheposterbesidesherexpressionthatgivestheimpressionthatthisisalivelyandhappyscene?(color,motion,etc.)

Key WorkArtist:HenrideToulouse-LautrecTitle: Divan JaponaisDate: March1896Medium:ColorlithographDimensions:11x8in.(28x20.36cm)Courtesy J. Raj. K. Dhawan

Piece Facts: LautrecfrequentedtheDivanJaponais,arelativelynewcafé-concertownedbyJehanSarrazin,whodistributedhispoetrytohiscustomers.Hisentertainerswereregularlyscheduledandquiteprofessional,comparedwithotherMontmartrecabarets.Theproprietor-poetthoughtofhiscustomersashisinvitedguests.InhispublicationtitledSouvenirsdeMontmartreetduQuatier-Latin,Sarrazininvited“hisfellowcitizens,vassals,andallothers,aswellastheirladies,wives,orconcubines,tovisithiminhisnewabode,wheretheymaydrinkheartily,amusethemselves,andensuretheeternalwelfareoftheirsoulsandbodies...”InLautrec’s1892lithographposteradvertisingentertainmentattheDivanJaponais,heshowsJaneAvrilwithEdouardDujardin,editoroftheRevueindépendanteandco-editoroftheRevueWagnérienne, who was an influential promoter of symbolist art and an ardent follower of Mallarmé. In the background can be seen the cropped figure of the singerYvetteGuilbert.

Artist Facts: Henri de Toulouse-Lautrec’s “images are often linked to specific performers he knew well in Montmartre.HeportrayedAristideBruantinhisowncabaretspeakingtothemassesormovedtotheMoulinRougewhereheimmortalizedsuchperformersasJaneAvrilorLaGoulue.HispostersexemplifyParisianlife,transformingtheperformerswhopopulatedthecabaretsanddancehallsintoiconsofthecapital.”

Vocabulary:aesthetics,lithograph,centralpointofinterest(JaneAvril),JehanSarrazin,DivanJaponais,café-concert

Discussion Starters: Inthiswork,acroppedimageofthesinger,YvetteGuilbert,isshowninthebackground.Whywouldanartistcropanimage?(Fordramaticeffect.)WhathelpstocreateJaneAvrilasthecentralpointofinterest?(Sheiscentraltotheimage,largerthantheothercharactersintheposterandisdressedindarkclothing.Thisdrawsoureyetoherbeforeanyoneoranythingelseinthework.)

Links to other great Art Nouveau Lesson Plans found on the web:

http://www.art-rageous.net/ArtNouveauTheme.html

http://www.princetonol.com/groups/iad/lessons/middle/Kris-Klimt.htm

http://www.princetonol.com/groups/iad/lessons/middle/Linda-jewelry.htm