By Marco Albertario
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8 x 223 cm. Collection of Robert Allan Haas, Kansas City. (pp. 60-61) 59 Amsterdam, neo-Flemish taste, masterfully handled, usually triumphed. But the Netherlands also participated in the new movement, often with exceptional feeling. What a pity that the Netherlands failed to exhibit architectural drawings at the Exposition, because some of the houses in the new quarters being built near the museum had exquisite line and colouration: light touches of soft colour in the pale green hues that harmonise so well with brick.
Dominated by foreign influences throughout the 17th and 18th centuries, Germany had reconnected its present to its noble past and, in restoring cities like Hildesheim and Brunswick, among many others, with a great deal of respect and patriotism, it rightly rediscovered its taste for polychrome, painted façades, and the colourful sculpted wood, that, in places, made for such a charming decor. Rêverie, 1897. 2 cm. The Mucha Trust Collection. Childhood from the Chocolat Masson Calendar, 1897. Colour lithograph, 30 x 21 cm.
The chimneys were English-style with enamelled plaques framing the fireplace recess, but in a dark green, severe style. In Germany, the large stove placed against the wall familiar to northern Poster for Salon des Cent Mucha Exhibition June 1897 , 1897. 2 x 46 cm. The Mucha Trust Collection. Hommage Respectueux de Nestlé (the Nestlé Company’s tribute to Queen Victoria’s 60th Jubilee), 1897. Colour lithograph, 300 x 200 cm. The Mucha Trust Collection. (pp. 52-53) 51 52 53 countries had become a popular Art Nouveau motif, sometimes depicted in sunny interiors that were bright and dazzling due to the enamel and the copperware that decorated them.