I picked some pieces from a few different art nouveau era artists based on the way they have/had depicted flowers and plants, for inspiration as to how I would approach the hops and barley that I’m drawing for the labels.
“Alphonse Maria Mucha (24 July 1860 – 14 July 1939) was a Czech Art Nouveau painter and decorative artist, most well known for his images of women. He produced many paintings, illustrations, advertisements and designs.
Mucha considered Le Pater his printed masterpiece, and referred to it in the January 5, 1900 issue of The Sun Newspaper (New York) as the thing he had “put [his] soul into”. Printed on December 20, 1899, Le Pater was Mucha’s occult examination of the themes of The Lord’s Prayer and only 510 copies were produced.” (Alfons Mucha)
“Aubrey Beardsley was an English draughtsman and writer. He was brought up in Brighton, in genteel poverty, by his mother. She gave her children an intensive education in music and books, and by the time he was sent to boarding-school at the age of seven Beardsley was exceptionally literate and something of a musical prodigy.
It may be argued that Beardsley was the most significant figure to emerge in English art in the last decade of the 19th century. In his first maturity from 1892 to 1894 he created a modern style that was wholly personal and, as he himself put it, ‘fresh and original’. The content of Beardsley’s art was as startling as its style. His ostensible subjects were drawn from Classical literature and history, the Bible and the social world of his own time; but his pictures express eternal human truths, given a grotesque force by the power of Beardsley’s own fevered psyche. In his lifetime and immediately after, his work became widely known and admired abroad, and formed an influential part of the current of Art Nouveau and international Symbolism.” (Tate Online)
Charles Rennie Mackintosh
“Scottish architect, designer and painter. In the pantheon of heroes of the Modern Movement, he has been elevated to a cult figure, such that the importance of his late 19th-century background and training in Glasgow are often overlooked. He studied during a period of great artistic activity in the city that produced the distinctive Glasgow style. As a follower of A. W. N. Pugin and John Ruskin, he believed in the superiority of Gothic over Classical architecture and by implication that moral integrity in architecture could be achieved only through revealed construction. Although Mackintosh’s buildings refrain from overt classicism, they reflect its inherent discipline. His profound originality was evident by 1895, when he began the designs for the Glasgow School of Art. His decorative schemes, particularly the furniture, also formed an essential element in his buildings. During Mackintosh’s lifetime his influence was chiefly felt in Austria, in the work of such painters as Gustav Klimt and such architects as Josef Hoffmann and Joseph Maria Olbrich. The revival of interest in his work was initiated by the publication of monographs by Pevsner (1950) and Howarth (1952). The Charles Rennie Mackintosh Society was formed in Glasgow in 1973; it publishes a biannual newsletter, has a reference library and organises exhibitions. The Hunterian Art Gallery, University of Glasgow, holds the Mackintosh estate ofdrawings, watercolours and archival material as well as a collection of his furniture; the Glasgow School of Art and the Glasgow Art Gallery also have important collections.” (Tate Online)
“Painter of romantic subjects, illustrator, stage designer, sculptor, connoisseur and writer on art. Born 2 October 1866 at Geneva, of an English father and a French mother, and brought up in France and Italy. Studied in 1882 at Lambeth School of Art, where he met his lifelong friend Charles Shannon, with whom he founded a magazine The Dial 1889–97, and the Vale Press 1896–1904. He gave up printing after 1904 and turned to painting and occasional sculpture and in 1906 began to design for the theatre, his designs including sets for Bernard Shaw’s Saint Joan 1924. Exhibited at the International Society from 1906 and the Grosvenor Gallery from 1921. Art adviser to the National Gallery of Canada 1924–31. Author of The Prado and its Masterpieces 1903, Titian1910, Pages on Art 1913, and the posthumous Self-Portrait 1939. A.R.A. 1922; R.A. 1928. Died in London 7 October 1931. Included in the Late Members exhibition at the R.A., winter 1933. A large part of the collection of works of art which he formed in association with Shannon is now in the Fitzwilliam Museum, Cambridge.” (Tate Online)