Nouveau's easily identified by it's organic, and plant like style. Flowing with grace or undulating a whiplash effect. Vine tendrils, flowers, birds and commonly the feminine form. Architecture, graphic design, and even surrealism all share some roots within Nouveau.
Art Nouveau designers and illustrators attempted to make art a part of everyday life. The transition from Victorian graphics to the Art Nouveau style was gradual but effective. Jules Cheret and Eugene Grasset, two graphic artists working in Paris, played an important role in this transition. In 1881 a new law in France was passed concerning the freedom of press, which lifted many censorship restriction, allowing posters to be hung anywhere with the exception of churches, poles, and other areas that were designated. This New law led to a booming poster industry of designers, and printers. The streets became plagued with posters, turning the streets into art galleries. During the 1870's Cheret steered away from the Victorian styles, simplifying his own designs. In 1881 he sold his printing company to a larger printing firm, and then became it's artistic director, allowing more time for his art and designs.
Grasset, whom was born in Switzerland, was the first illustrator/designer to rival Cheret in public popularity. Grasset was influenced with medieval and oriental art. I reflected strongly in his designs for furniture, stained glass, and textiles. Grasset received his first poster commission in 1886. His willowy maidens, who wore long flowing robes, and static poses advertised chocolate, beer, and inks, and soon graced the streets of France.
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The Art Nouveau movement in England was primarily graphic design and illustration. Its sources included Gothic art and Victorian painting. The April issue of The Studio reproduced the work of Aubrey Beardsley and Dutch artist Jan Torrop's art work was included in the September issue.