It is commonly agreed that Art Nouveau was equally fascinating when it came to home interiors. From West to East, from Brussels to Tbilisi, the artists who adopted this trend practised their imagination on chairs, bed tables, and even curtains` printed patterns. They let their flight of fantasy dwell on so-called classic models of Art Nouveau like the floral and animal ones, but also on new designs like those Japan inspired or on stylised folk patterns (e.g. geometric shapes). The visual outcome was an eye-arresting one in the sense of a richness and complexity of detail that remain unequalled to-day.
Initially, the artists-supporters of Art Nouveau were commissioned for designing the house interiors of some daring members of the high class layers of the European metropolises. The stories of the upper bourgeoisie families that collaborated with artists associated with Ver Sacrum magazine are well known. The merchants, the academics, the doctors, and other liberal professions were financial supporters of the artists of, for instance, Vienna Secession, but also their first customers.
Afterwards, around the turn of the century, as Art Nouveau translated from a form of artistic expression that opposed the historicism of the previous styles to a trend that was welcome by the establishment due to its focus on local-regional motives (e.g. the years 1900s witnessed the emergence of new national narratives), it was adopted by public institutions. The extent was so significant that it became the most important style at the turn of the century. Even today, the houses built by the public authorities or by the local notables (e.g. castles and the churches alike) throughout the Austrian-Hungarian Monarchy are reunited by this style.
In the places located further away from the main European metropolises like Vienna, Berlin or Brussels, the process was similar. Here too, in the first decade of the twentieth century, the Art Nouveau style was frequented by merchants and other well-off members representative of the bourgeoisie that saw the cultivation of novelty as a due expression of their status. Soon however, even the renovations of the houses built in the previous centuries were made in this style, and important parts transformed in decoration (e.g. the ceilings) that would complement the objects of decoration per se (e.g. lamps).
Relevant examples of the Art Nouveau patterns on ceilings and lamps that we are going to show next are the Darvas La Roche house in Oradea, Romania (already shown in previous posts in this blog), the County Museum of History in Satu-Mare, the Karolyis` Castle in Carei, the house that currently hosts the Baia Mare Museum of Art (e.g. the ex-office of salt mines` regional administration), and last but not least, the Reformed Church of Satu-Mare, the so-called Chain Church.

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