After mentioning the Vallin exhibition held at the Villa La Garenne in Liverdun during the summer of , we begin a series of three articles showing some of the reciprocal influences between the artists of the Nancy School and those of the Parisian Art Nouveau, focusing on architecture.
The history of the interaction between the naturalist style of the Nancy School and the more linear styles of Parisian Art Nouveau and Belgian Art Nouveau has already been largely studied [1]. It is made of back and forth between the angles of this isosceles triangle, angles km apart.
If the people of Brussels had the initiative in the field of architecture, it is true that the people of Nancy became famous early on in the decorative arts by the quality and volume of their production.
The relationship between these three creative centers was, however, asymmetrical, also reproducing the economic and political strength of each of these poles, for if local success was possible in Nancy and even more so in Brussels, recognition and the passage to a higher financial dimension went through Paris.
Until , the latter practiced a style that was still eclectic but so recognizable and innovative that it can be described as proto-Art Nouveau. It is particularly evident in his creations of architectural ceramic panels, for which we refer to the third and fourth articles in our series on the Muller ceramic company.
