Pattern, shape, design and color are all elements that graphic designers of the 19th century took into consideration in their work. The man who influenced how graphic designers see a page, and how they use elements of design, died at the young age of 26 years. Even though his lifetime was short, he managed to develop his very own, highly personalized, interpretation of the entire art nouveau style which many artists have been trying to duplicate at various times throughout the 20th century.
Oscar Wilde advocated and patronized an assortment of artistic movements, methods and styles. He deeply regarded the practice of art as an end unto itself. He felt that assessing art by ethical or standards was a misguided notion. He quickly became a polemical and substantial literary presence and remained so during his brief life. One of Wilde’s most peculiar and controversial stories was illustrated, at his request, by this young man of whom we have been speaking. Beardsley favored elegant, curving lines, organic, botanically inspired shapes, lacy interlocking patterns and elongated figures in his illustrations of Wilde’s written stories.
This work was further distinguished by interconnection between white and black. He employs huge planes and borders or alternatively darkness that contrasts with fragile patterns that play on a white surface. Large, continuous, twisting curves create movement on his commonly asymmetrical page. The characters depicted in his art hold intricate objects presented in great detail, but are just simple outlines themselves. The intriguing interplay and contrast beween the complicated and simple characterizes his work.
A number of late 19th century design professionals were inspired by items imported from Japan and also by a rejuvenated fondness for early Renaissance and medieval artwork. The artist’s pieces were often copied in Europe and America and he gained notoriety due to illustrations having turned up in a series of renowned materials for circulation. Nowadays, a great deal of his work is reproduced to be employed as framed posters and prints hung on walls. To get a closer look for website design nashik visit this site.
The late 19th century also saw the development of the poster from a medium used in commercial advertising to an art form in its own right. Though the printing of books and their illustrations were still largely done in black and white, posters were often printed in bright colors. The leader in poster design used one sizable, bright, colorful, image to draw in the viewer. Kept brief and to the point were the words which provided information about the product. He knew that the audience’s attention was more easily attracted to simplicity so he used vivid colors and flat, basic shapes. Yet, the lines he used to construct his images were hesitant. They were a bit broken like those of an Impressionist painting. This is considered to be the precursor of the classic art nouveau design poster.
Another artist known for bolder lines and more flowing curves is considered as the father of the prototypical art nouveau poster. His is the familiar work seen full of willowy, young girls wearing loose clothing and letting their hair flow down from their heads, which then moves out into further artistic shapes. With usually one full length figure of a woman dominating the work, another famous art nouveau poster produced works which were narrow and elegant strips. Celtic designs, Japanese wood cuts, Byzantine mosaics, Moorish and Arabic motifs, fold art and Hebrew lettering are the many sources which the intricately designed patterns draw upon.
In the reprints and books highlighting their work, you will find much information on the turn of the century graphic design artists. Late 19th century and early 20th century poster art is available from dealers who specialize in it. If you travel to international antique shows, you can find their booths among the aisles. Original examples that have been well-maintained can easily cost hundreds, or even upwards of several thousand dollars.