Whiplash (decorative art) in the context of "Swan"

Play Trivia Questions online!

or

Skip to study material about Whiplash (decorative art) in the context of "Swan"




⭐ Core Definition: Whiplash (decorative art)

The whiplash or whiplash line is a motif of decorative art and design that was particularly popular in Art Nouveau. It is an asymmetrical, sinuous line, often in an ornamental S-curve, usually inspired by natural forms such as plants and flowers, which suggests dynamism and movement. It took its name from a woven fabric panel "Cyclamen", by the German artist Hermann Obrist (1895) which depicted the stems and roots of the cyclamen plant, which critics dubbed "Coup de Fouet" ('whiplash'). The panel was later reproduced by the textile workshop of the Darmstadt Artists Colony.

Curling whiplash lines were modelled after natural and vegetal forms, particularly the cyclamen, iris, orchid, thistle, mistletoe, holly, water lily, and from the stylized lines of the swan, peacock, dragonfly, and butterfly.

↓ Menu

In this Dossier

Whiplash (decorative art) in the context of Art Nouveau

Art Nouveau (/ˌɑːr(t) nˈv/ AR(T) noo-VOH; French: [aʁ nuvo] ; lit.'New Art'), Jugendstil in German, is an international style of art, architecture, and applied art, especially the decorative arts. It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces. It was popular between 1890 and 1910 during the Belle Époque period, and was a reaction against the academicism, eclecticism and historicism of 19th century architecture and decorative art.

One major objective of Art Nouveau was to break down the traditional distinction between fine arts (especially painting and sculpture) and applied arts. It was most widely used in interior design, graphic arts, furniture, glass art, textiles, ceramics, jewellery and metal work. The style responded to leading 19th century theoreticians, such as French architect Eugène-Emmanuel Viollet-le-Duc (1814–1879) and British art critic John Ruskin (1819–1900). In Britain, it was influenced by William Morris and the Arts and Crafts movement. German architects and designers sought a spiritually uplifting Gesamtkunstwerk ('total work of art') that would unify the architecture, furnishings, and art in the interior in a common style, to uplift and inspire the residents.

↑ Return to Menu