Similarities and differences between Gasset and Tiffany

Introduction 

The Art Nouveau movement had its roots in England and it spread throughout Europe, as well as the United States. The Art Nouveau Artists resolved to do away with the 19 th century historicism and focused on the world around them as a source of inspiration for their works. Most of the artists in the movement turned to the natural world, with others blending nature with erotic themes. Art Nouveau flourished in the period between 1890 and 1980. The artistic movement was later replaced by other modernist styles such as Surrealism and Expressionism. Art Nouveau generated enthusiasts in the decorative and graphic arts and architecture around Europe and beyond. The artists placed significant emphasis on linear contours, with a little focus on the colors. Eugene Grasset and Louis Tiffany are some of the celebrated Art Nouveau artists. Eugene Grasset was popular for his decorative artworks. He was recognized for ornamental elements that were full of curvy and circular motifs 1 . Grasset worked in various fields including sculpture, painting, design, and even furniture making. Louis Tiffany started out as a passionate painter. He was influenced by Samuel Colman and George Innes. However, Tiffany later focused on decorative arts and design. The two artists made a mark in field of arts during their time for being the most successful Art Nouveau artists. 

Eugene Grasset 

Eugene Grasset was born in 1841 in Lausanne, Switzerland. His father was a cabinet designer and maker, as well as a sculptor. Grasset was able to study drawing under Francois-Louis Bocion. Grasset later went to Zurich to study architecture in 1861. He also developed interest in sculpture and studied it. Between 1865 and 1867, Grasset travelled with his family to Marseille and then to Egypt. The experience brought about by the journeys significantly influenced Grasset’s career. For instance, the journeys influenced his poster designs in a great way. When he returned to Lausanne, Grasset worked as a professional designer of decorative art. He later travelled to Paris where, after six years, in 1877, started working as an illustrator. He was able to get an opportunity to work with popular stories such as the “Le Petit Nab” (1877), as well as the “Histoire de quatre fils Aymon” (1883) 2 . Grasset’s career blossomed in Paris, as he focused on designing furniture, jewelry, posters, and carpets. He was also involved in various other forms of applied art and architectural design. For instance, Grasset’s postage stamps both in Switzerland and Paris brought him a lot of fame in both countries. Thereafter, he concentrated his focus on poster design. 

By the 1880s, Grasset’s polarity had peaked, reaching the United States. Several American companies commissioned him to design and produce posters. Grasset got the opportunity to design and produce the cover of the 1892 Christmas issue of the Harper’s Magazine. Interestingly, Art Nouveau style reached the United States courtesy of Grasset’s connection to Louis Comfort Tiffany. Louis Comfort Tiffany used Grasset’s designs as inspiration for stained glass windows. 

In addition to designing and producing posters, Grasset taught at various schools in Paris. He also exhibited his works at different venues, with the most notable exhibition of his work being the “Grasset” Roman and Italic typeface at the 1900 Universal Exposition. During the same year, Grasset published his most influential two-volume book known as the La Plante et ses applications ornamentals (1897-1900). Grasset’s methods were very specific, and were customized to suit different materials. He was well known in France, where he lived. He is currently considered one of the fathers of Art Nouveau. 

Louis Comfort Tiffany 

Louis Comfort Tiffany was born in New York City in 1848. He was a painter, Art Nouveau designer, as well as one of the world’s leading glass makers. His father, Charles Tiffany, was a famed jeweler and the founder of the famous Tiffany and Company. Louis Tiffany attended the Eaglewood Academy in New Jersey. Thereafter, Tiffany pursued his long-held aspirations to become an artist. He proceeded to study with a private tutor in New York City. He then took courses in Europe, enabling him to expand his knowledge regarding various art forms with an emphasis on painting. He later returned to the United States and enrolled at the National Academy of Design in New York. Tiffany started to experiment with stained glass in the mid-1870s. His early observations and analyses in the field of art kindled what would become Tiffany’s career-long passion for the creation and manipulation of glassware. As a result, Tiffany was able to break into uncharted artistic waters. 

By 1878, Tiffany had founded a glass making company, along with several of his colleagues in Queens, New York. The company was initially named Louis Comfort Tiffany and Associated American Artists. Their business quickly underwent significant success and continued to grow. Word spread about the company’s use of opalescent glass, vivid mosaics, as well as tireless experimentations 3 . Additionally, Tiffany earned popularity, respect, and admiration from majority of citizens in New York. Tiffany’s fame peaked in 1882, when he was commissioned by President Chester Arthur to apply his artistic ideas on the White House. 

However, the company’s success was short-lived, as disagreements between Tiffany and his partners caused its closure in the mid-1880s. Tiffany embarked on a sole proprietorship venture, forming his company, Tiffany Studios. He equipped himself with several talented designers who could facilitate the growth of the business. 

During the early 1890s, Tiffany grew to become internationally renowned, particularly for a type of glass unique for its vibrant and iridescent coloring. Tiffany named the distinct glass Favrile, later trademarking the brand. This development enabled Tiffany to secure his status as a world leader in glass production. He retired from his career as a glass maker in 1919. Tiffany Studios later filed for bankruptcy in 1932. Tiffany died at the age of 84, on January 1933 at his home in New York. 

Similarities between Gasset and Tiffany 

Eugene Grasset and Louis Tiffany have a lot of significant similarities. The two artists were brought up in almost similar backgrounds. For instance, Grasset, just like Tiffany, was brought up in a family that was well informed about the way art pertains to design. Grasset’s father was a seasoned cabinet maker and sculptor. Thus, young Grasset had a lot of practice in the crafts. As a result, Grasset demonstrated great talent for drawing at an early age. Additionally, he was privileged to study under the mentorship of Francois Bocion, an experienced Swiss art teacher and painter who helped to hone Grasset’s skills in the field of art. He left for Zurich in 1861 to study architecture, a move that would formed a foundation for much of his later career. His family also took him on a trip to Egypt, a journey that marked a turning point in his career. The experienced from the trip prompted him to pursue an artistic career, with his ambitions aimed at poster design and painting. Similarly, Tiffany came from a wealthy family that embraced art. His father was the founder of the famous Tiffany and Company Jewelry Store. The background provided significant support for his interest in applied arts. Besides, Tiffany was influenced by George Innes and Samuel Colman. Thus, his background played a significant role as a successful Art Nouveau artist. 

Grasset and Tiffany started their careers working with stained glass. Grasset worked with stained glass and ceramics and he was successful at it. He was successful at combining pieces of gold, ivory, silver, precious stones, and other minerals. Grasset made many pieces that were used to in decorating the homes of upper and middle class families, including public buildings and churches, using glass. He had a special gift of proportion, as he understood the importance of symmetry, as well as the lack of it. Tiffany’s stained glass windows brought him popularity in his career 4 . For instance, the craft of stained glass window making led to the popularity of Tiffany’s works. He used opalescent glass for making windows. Opalescent glass was of high quality, and was an essentially American product, distinct from others from elsewhere. Tiffany’s advances in the glassmaking business led to the emergence of the American School of Stained Glass movement. Besides, the new techniques by Tiffany coincided perfectly with the new demand for opulent window decoration, particularly among the churches of all denominations during the 1870’s. Moreover, new libraries, state capitals, and colleges requested windows made by Tiffany. Tiffany’s stained glassworks demonstrated his mastery of color, technique, as well as depiction in the medium of glass. 

Both being Art Nouveau artists, Grasset and Tiffany drew much of their inspiration from Japanese art. Grasset often blended contemporary Japanese illustrations with the reflective elements of Art Nouveau. His works showcased Grasset’s outstanding enthusiasm for design. His main characteristics were precision and thoughtfulness, as a well as complete dedication to work. The only thing that Grasset cared for was deliverance of perfect work. Tiffany also participated in the Aesthetic Movement, which conferred a higher status to the field of decorative arts. As such, he drew upon the historical sources. Like Grasset, he admired the arts of such exotic places as Japan. He appreciated the fine craftsmanship championed by Japanese arts. Most importantly, Tiffany’s many travels to the Near East were influential in his choices as a successful glassmaker. 

Differences between Grasset and Tiffany 

The artistic careers of Grasset and Tiffany manifested some differences. Grasset pursued a career in poster design and painting whereas Tiffany focused glassmaking. Grasset was most successful at designing and producing posters. For instance, he designed a special annual edition of the Harper’s Magazine in 1892. Grasset also made several book covers, including designing a famous Dandelion logo for a publishing house. On the other hand, Tiffany focused on glassmaking. Tiffany introduced the Favrile glass in 1893 and trademarked it in 1894. The Favrile glass is a type of glass that is distinct for its superficial iridescence and brilliant colors 5 . The unique properties of the Favrile glass made its surface to shimmer while maintaining its opacity. Tiffany’s glassmaking techniques led to his fame both in America and abroad. 

Grasset was a teacher while Tiffany was a philanthropist. Grasset taught in various art schools in Paris. This implies that he spent some of his time training other artists. Grasset taught at the Ecole Guerin for thirteen years before he moved to teach graphic arts at the Ecole d’Art Graphique. He was a mentor for several successful artists including Mathurin Meheut, Paul Follot, and Paul Berthon. On the other hand, Tiffany was a famous philanthropist. He established the Louis Comfort Tiffany Foundation for assisting art students and crafts people. However, they contributed positively to the development of various other artists that followed them. 

The themes of the works of both artists also differed considerably. While some of Grasset’s works depicted themes that were widely considered rebellious, Tiffany’s works were generally conservative. Some of Grasset’s posters illustrated the alternative nightlife of Paris. For instance, he would portray men and women drinking, as well as enjoying the lustfulness of the Paris City life 6 . As a result, he was considered a rebel, given the fact that he would teach at the academies. 

Conclusion 

In conclusion, Grasset and Tiffany displayed similar characteristics in their careers as successful artists. This could be attributed to the fact that both were Art Nouveau artists. The two artists worked with the stained glass. They also drew their inspiration from Japanese art. However, Grasset majored in the design and production of posters whereas Tiffany focused on glassmaking. Essentially, the similarities between the two artists are significant, leading to the conclusion that they belonged to the same school of thought. 

Bibliography 

Feld, Stuart P. "" Nature in Her Most Seductive Aspects": Louis Comfort Tiffany's Favrile Glass." The Metropolitan Museum of Art Bulletin 21, no. 3 (1962): 101-112. 

Grasset, Eugène. Art Nouveau floral designs . Crescent, 1988. 

Massey, Anne. Interior design of the twentieth century . Thames & Hudson, 1990. 

Schaefer, Herwin. "Tiffany's Fame in Europe." The Art Bulletin 44, no. 4 (1962): 309-328. 

Springer, Annemarie. "Some images of women in French posters of the 1890s." Art Journal 33, no. 2 (1973): 116-124. 

Thompson, Jan. "The Role of Woman in the Iconography of Art Nouveau." Art Journal 31, no. 2 (1971): 158-167. 

1 Massey, Anne. Interior design of the twentieth century . Thames & Hudson, 1990. 

2 Grasset, Eugène. Art Nouveau floral designs . Crescent, 1988. 

3 Schaefer, Herwin. "Tiffany's Fame in Europe." The Art Bulletin 44, no. 4 (1962): 309-328. 

4 Thompson, Jan. "The Role of Woman in the Iconography of Art Nouveau." Art Journal 31, no. 2 (1971): 158-167. 

5 Feld, Stuart P. "" Nature in Her Most Seductive Aspects": Louis Comfort Tiffany's Favrile Glass." The Metropolitan Museum of Art Bulletin 21, no. 3 (1962): 101-112. 

6 Springer, Annemarie. "Some images of women in French posters of the 1890s." Art Journal 33, no. 2 (1973): 116-124.