ABSTRACT
This chapter aims to provide a clear and succinct account of what the designation ‘Art Nouveau’ can be taken to mean. It discusses the delineation of an underlying structure common to the diverse manifestations of Art Nouveau which appear within a number of geographically contrasted contexts. The chapter examines the theory of Art Nouveau presented by Robert Schmutzler, since this remains the only attempt by an analyst to include a sketch of the sociological background to the phenomenon. Art Nouveau, says Schmutzler, is indeed a style of the upper bourgeoisie that of the cultured and urbane middle class in the heyday of classical capitalism. The question of the influence of vitalist and idealist thinking upon Scottish Art Nouveau has never really been raised. Gillian Naylor presents a similar appraisal to that of Taylor. She, for example, finds Gothic and Art Nouveau elements being combined in Ashbee’s silverware.
