Beginning in Austria with the "Secession" in 1897, the new art movement spread immediately to Germany, became significant in interior decoration in France since the World War, and arrived in the United States after 1925. However, it had been preceded by certain voyages of discovery before the pioneers invaded the new territory.



Among these earlier excursions, one may name William Morris (1884-1896) and the English contemporaries of Ruskin, who brought a return to simpler, more direct methods of design, away from the custom of period design. Another progenitor was Louis Sullivan, the American architect.

Sullivan not only outlined much of the theory of the new style, but he gave it a real practical start in his designs of skyscrapers. Sullivan's most brilliant pupil, Frank Lloyd Wright, continued his ideals, especially in the design of houses, fireplace ideas (), and in writings. The works of these two American architects became an acknowledged source of inspiration to the Europeans who launched the movement at the end of the nineteenth century.

In Germany, architects imparted great vitality to the style, and it developed rapidly in architecture and interior decoration. This German work, continuing up to the present time, has certain well-defined characteristics.

It is substantial, often heavy and vigorous, often excellent in design and color, with a sound feeling for structure, and nearly always attains the highest standards of workmanship. Its faults are racial to a certain extent; an exaggeration of the picturesque until it becomes grotesque or bizarre, a tendency towards sentimental naturalism, and often lack of good taste and refinement.

The French threw great energy into the development of a modern art in painting and sculpture, followed by the Italians. This is seen in the work of Matisse, Cezanne and others, attracting world-wide attention under such labels as "cubism," "vorticisin," etc. Modern French painting has been a great publicity agent for the new movement, and at times not altogether a favorable one.

It came forcibly to the attention of the American public in the exhibition of paintings held in New York in 1915, where one picture, "A Nude Descending a Flight of Stairs," invoked a controversy that extended to the front pages of New York newspapers.

This French influence has become stronger and stronger in painting, though it is clear that it is not yet predominant, and that it is still in the transitional stage. It should be noted here that the French have developed the principles of modern art in the design of women's wear, particularly since the war.

The modern movement also took firm root in the other European countries. It flourishes particularly in Sweden, Holland, and Denmark. After the war, the most striking development of modern art came in France. The Exposition des Arts Decoratifs, undertaken in 1925 in Paris, was an ambitious and well-planned attempt on the part of the French, in combination with industry and with the cooperation of the French government, to push the modern movement throughout the entire world.

Every nation was invited to take part by designing and furnishing an exhibition building of its own. Germany did not participate, owing to the recent war; and the United States was obliged to refuse the invitation because there was, at that time, scarcely any modern American art to exhibit. Americans would have been better off showcasing their wood burning fireplaces () than any type of edifice.

To those interested in interior decoration, this French development is most significant. True, the French at times carry sophistication, exquisiteness and luxuriousness to a point where the

American does not care to follow. On the other hand, the French spirit, or personality, at its best denotes refinement of taste, richness, originality, imagination, a true sense of design, high standards of structural unity and the most expert workmanship.

The French exposition at last awakened American interest to the importance of the new movement. In this country, modern art up to that time had been followed more as a matter of interest rather than in actual practice, by small groups of American artists, critics, experts, art dealers, connoisseurs. Once "discovered," however, American enterprise has taken swift hold of modern art. In 1920, many of the choicest exhibits at the Paris Exposition were brought to the United States and exhibited at various museums.