Henri (Henri) Clemence van de Velde (April 3, 1863, Antwerp - 1957, Oberegeri commune) - Belgian architect and artist, one of the founders of the Belgian branch of Art Nouveau.
Post quote michletistka
Here is the artist's family posing for the photographer: 
Daughters with bows, in colorful dresses - a boarding school on a grazing, and only ...
The house, against which the family is drinking tea, was built by an architect in Weimar.
Not such a bad girl. "High poplars" today do not look quite the same as during the life of the creator.
Another family mansion, in fact, the first one from which the fame of the architect began, Van de Velde built in the town of Ukkele near Brussels in 1895. 
Beautiful, but the red lions at the entrance, IMHO, trivialize everything ...
However, where the buildings are intended for public use, Van de Velde becomes more interesting:
Nietzsche Archive in Weimar: 
On the left is Nietzsche's sister, Elisabeth Förster-Nietzsche. The picture was taken in 1904.
Nothing so razmerchiki? Lady's hat at the level of the doorknobs...
And this is the reading room inside the archive. Furniture and all decoration designed by Van de Velde. 
But this monster, never built, should be Nicshe-stadium 
Another project is the Museum of Applied Arts in Weimar. 
Everything seems to be fine, but the blank walls of the facade are annoying me.
But this miracle is the Havana-Tabacco Company. 
Most of all, I'm interested in who laid out the boxes on the shelves ...
An unexpected touch is the salon of the imperial barber François Haby in Berlin. 1901 
Count Kessler's apartment. 1902 
Oh, I would like to live among the panels of Maurice Denis ...
Another angle 
Folkwang Museum in Hagen. If I understand correctly, Velde only decorated it, and not the whole building, but mainly the entrance and lobby. 
Here's what I like about it: 
1906 Hall of the Museum of Applied Arts in Dresden.
The painting belongs to Ludwig von Hofmann.
The building that looks at you unkindly is the Werkbund Theater in Cologne. Built in 1914, has not survived to this day. 
Separately, I will show several exhibition interiors.
Brussels. 1902
1905 Arnold Gallery in Dresden
Pictures scanned from the book "Art Nouveau" by Klaus-Jürgen Sembach
Henri Clemence Van de Velde (Henri Clemence Van de Velde), one of the founders of the Belgian branch of the "modern style" - "Art Nouveau", is among the largest innovative architects of the turn of the XIX-XX centuries. His work, reflecting the complexity of this transitional period, is full of contradictions. Richly gifted - a musician, artist, architect and writer - he combined the talent of a theorist, practitioner and teacher.
Henri Van de Velde was born in Antwerp on April 3, 1863. Graduated from the Antwerp Academy of Arts (1881-83). He continued painting with K. Duran in Paris (1884-85). He was fond of music and literature. He made friends with a circle of impressionists and symbolists. He was especially attracted to Seurat's pointillism, which, according to Velde, opened up new perspectives for architectural creativity. In 1886 he returned to Antwerp, where he became the founder of a cultural circle - "The Circle of Independents" (1887) in collaboration with the neo-impressionists. In 1889 he joined the well-known avant-garde circle "XX", in which he became interested in synthetic art and Gauguin's painting, as well as the English association "Arts and Crafts" and the works of W. Morris. Influenced by the creativity of Mackintosh and Morris, he turned to the design of furniture, jewelry, and glass. In furniture projects (since 1894), buildings, interior design, he initiated the Art Nouveau style, using curvilinear forms and decor. He spoke with his philosophy of the line, equating the line with an artistic force, "acting like all elemental forces."
He took up architecture at the age of 31, when he presented his view of architecture in the essay "Purification of Architecture" (1894), written under the influence of the "XX" group. The first architectural work dates back to 1895, when Van de Velde built his own house in Eccle near Brussels, in which he designed everything, including decoration and clothing. This house was a prime example of the synthesis of all the arts.
After 1900 he worked mainly as an architect. His participation in several competitions belongs to this period: the Hohenzollern craft shop (1899), the Habi shop (1901).
In the winter of 1900-01, he undertook a lecture tour of Germany, popularizing his principles, which he formulated in a work published in 1902 in Leipzig: "Kunstgewerbliche Laienpredigten".
Created and directed the Saxon School of Industrial Arts and Crafts in Weimar (1902-14).
In 1903 he visited Greece. Despite the impression that the megalithic structures made on the architect, his subsequent works retain the stamp of classicism.
The first stage of Van de Velde's architectural work ends in 1906 with the design of the premises of the Dresden Exhibition of Applied Art.
The second stage of his work took place in 1906-14. This is the period of construction of the building of the Weimar School of Applied Arts, created by the Duke of Saxony. At the court of the latter, Velde was a consultant.
Van de Velde's most famous wartime building was the theater designed for the Cologne Werkbund Exhibition (1914, no longer preserved). One of the founders of the German Werkbund (1907). In 1915, Velde, as a foreign citizen, was forced to resign from the post of director of the School, suggesting V. Gropius as his possible successor. In the third stage (1917-30), Henri van de Velde became one of the leaders of functionalism.
In 1917 the architect moved to Switzerland, and in 1921 to Holland. He returned to Belgium in 1925. He taught at the National High School of Decorative Arts in Brussels from 1926 to 1935.
Since 1947, Van de Velde settled in Switzerland, in the commune of Oberegeri, where, 10 years later, he died at the age of 94. Van de Velde's last work is his memoirs, in which he describes in detail his creative life and reveals his theoretical concept.
Haus Hohe Pappeln, a house built by Henri van de Velde for himself in 1907-1908 in a suburb of Weimar, seen from the street.
The name Henri van de Velde is commonly referred to among the pioneers of Belgian Art Nouveau (Art Nouveau). To some extent, this is true if we talk about him as an interior designer, furniture and objects. In addition, as a follower of William Morris, as an active theorist and propagandist of this style. But can he be considered an Art Nouveau architect at all? I have been asking this question since 2013, when, in connection with the 150th anniversary of Henri van de Velde in Brussels, it was possible to get a comprehensive look at his work both during the Biennale (Art Nouveau and Art Deco) 2013 and at a retrospective exhibition at the Royal Museum of Art and stories dedicated to him. In particular, at this exhibition, among the most famous buildings of Van de Velde, the villa “Bloemenwerf” (in Brussels Ucle, which was not classified as Art Nouveau) and numerous Art Nouveau houses in Weimar were mentioned. It is clear that once in Weimar, it was impossible not to try to find these houses.
The most interesting, in the stated context, Van de Velde's Weimar building is certainly the Haus Hohe Pappeln (House Under the Poplars), which can also be visited. Separately, I want to note that this visit left the most pleasant impression with the organization (they worked on the weekend of May 1 and without lunch), a modest price (3.50 euros), which included audio guides in different languages (I listened to French, my husband listened to English), and opportunity to take pictures. Let's see what this Van de Velde family home is like: 
It was possible to see only the first floor (actually the mezzanine floor, since there is also a semi-basement), which also served for receptions for the Van de Velde family on occasion. The only thing that reminds me of modernity in this house, in my opinion, is the principle of construction from the inside out. That is, the architect did not fit the rooms he needed into the chosen volume, but, on the contrary, the internal structure determined the external appearance of the house. Due to what the house turned out to be such a lively, asymmetrical exterior, as if arbitrarily growing in different directions. Therefore, on the diagram, I placed Roman numerals in two colors: red for the interior, green for the exterior, sometimes including part of the garden or garden structures visible from the corresponding rooms.
I - The porch of the house, on which two walls (and two windows) out of the three walls of the office that are visible from the outside go.
II - Cabinet Van de Velde.
III - Living room with the work desk of Van de Velde's wife (Maria Sèthe) and the music room.
IV - Vestibule and stairwell (for the stairs upstairs, where all the bedrooms and children's rooms were located)
V - Dining room surrounded by a veranda.
I practically do not show furniture, because. although it was designed by Van de Velde, it was created by him for other Weimar customers, that is, it has nothing to do with this house. He took his furniture to Switzerland after the sale of Haus Hohe Pappeln, that is, it is difficult to talk about total art in this case.
I. View of the house from the porch.
I, II Porch. One of the office windows. Gloomy even on a sunny day.
I, II Entrance door. Two study windows.
II, III, V Facade of the house with windows (from right to left) of an office, a living room and a dining room with a veranda.
II Arbor in the garden, visible from the office.
II Photograph of a fireplace (not preserved) in the study.
II Cabinet wall with sliding door to salon.
III Working corner of Maria Sete in the living room.
III Living room windows 
III View from the garden to the windows of the living room
IV Entrance hall with bay window and staircase.
IV The family spent time in the bay window during the day, there was a sofa and armchairs.
I remind you that the furniture in the frame is not native. Van de Velde carried the furniture for this house with him all his life.
IV Staircase to the floor with private rooms.
IV The door to the service stairs down to the kitchen and into the corridor with an elevator for serving dishes to the table (the elevator was only for dishes, the staff climbed the stairs with legs).
IV Facade with a bay window and a window of this corridor.
IV Again this window.
V Canteen
V Canteen
V View of a part of the garden where the veranda opens around the dining room.
V Veranda, side view.
V Window above the veranda. 
V Veranda on the other side towards the garden and fountain with a sculpture by Georges Minnet.
Fountain with a sculpture of the Belgian symbolist Georges Minnet.
Adrian van de Velde (Adriaen van de Velde) (1636, Amsterdam - January 1672, ibid) - Dutch painter and engraver, belongs to the famous Dutch family of artists van de Velde, son Willem van de Velde the Elder and brother Willem van de Velde the Younger And Esaias van de Velde.
Adrian van de Velde entered the history of art as a prominent representative of Dutch painting of the 17th century. The artist's work was distinguished by universalism. He worked as an etcher, painted landscapes, portraits, paintings on mythological and religious themes, often painted figures in the compositions of other Dutch masters. However, Adrian van de Velde gained fame primarily as a landscape painter.
Adr. van den Velde. Illustration from Part 3 of Arnold Houbraken's Schouburg (1721)
The exact date of his birth is unknown, but the date of his baptism in the Oude Kerk church has been preserved - November 30, 1636. Adrian studied painting with his father. He discovered the ability to draw and paint in the years of his first youth and in the fourteenth year he was already engraving. If these first engravings of his are imperfect, then later he performed them very well. Under the patronage of his father, Adrian moved to Haarlem and studied with Jan Wijnantsa And . In addition to them, the formation of the artist was influenced by Philips Wowerman, but in his works there is more naturalness and simplicity, free democratism of images.
Returning to his hometown, Adrian worked for some time in the workshop Karel Dujardin and later became a freelance artist. At 21, he married Maria Oudekerk.
In Velde's landscapes, the main role is played by distances, soil, clouds - in everything, an aerial perspective; but he did not portray forests par excellence. The figures of his paintings are always set or set in motion correctly, painted extremely colorfully and made him such a fame among his contemporaries that almost all landscape painters of that time were forced to turn to him for help in this regard. Figurines by Adrian van de Velde are found in the landscapes of his teacher Jan Wijnantsa, y Jan Hackerta, Jan van der Heyden, Jacob Ruisdael And Meindert Hobbema; these figures were usually subordinated to the main mood of the landscape, which cannot be said about many other artists (eg Berchem) of that time who painted figures for landscape painters. According to the meaning of the figures, some paintings by Adrian van de Velde can be classified as everyday.
His painting is also characterized by the freshness and brightness of color schemes. At the same time, the artist's landscapes are distinguished by exquisite elegance, embellishment (ennoblement) of the depicted, giving them a peculiar idyllic quality. These are his paintings "Farm", "Cows in the pasture" (Art Gallery, Dresden), "Landscape with a herd of cows" (1671. Hermitage, St. Petersburg).
The seascapes of A. van de Velde are filled with romance. Among them is one of the most famous works of the artist - "Seashore in Scheveningen" (1658. Art Gallery, Kassel). Other famous works: "Allegory". 1663. The Pushkin Museum im. A.S. Pushkin, Moscow; "Hunting". Pushkin Museum im. A.S. Pushkin, Moscow.
Adrian van de Velde sometimes painted pictures of religious content, for example. "Descent from the Cross" (Amsterdam), which show that his talent would have been able to develop in this respect too, if he had not been stopped by an untimely death
Adrian van de Velde died at the age of 35 in 1672. His burial took place on January 21 in the cemetery of the Neuve Kerk church in Amsterdam. Despite the short creative path, Adrian managed to create his own unique style. About 400 paintings by the artist have survived.
Hilly landscape with high road (Rijksmuseum , Amsterdam)
Winter scene with a group of golfers on a frozen river (1654-1672, Manchester City Art Gallery)
Goat and kid. (1655-72, National Gallery, London)
A Farm with a Dead Tree (1658, National Gallery, London)
Riding School (c.1658, North Carolina Museum of Art, Raleigh)
Cattle and Goats in a Meadow (1658, Private collection)
Edge of the Forest (1658, National Gallery, London)
Cows in the pasture (1658, Berlin - Gemäldegalerie)
Sandy coast in Schevening. (1658, Art Gallery. Kassel)
Dunes at Scheveningen (c.1659, Indianapolis Museum of Art, Indiana)
Carriage on the Beach at Scheveningen (1660, Louvre, Paris)
Stopover (1660, Hermitage, St. Petersburg)
A Landscape with a Farm by a Stream (1661, National Gallery, London)
Landscape in summer (c.1661, Museum Bredius, Netherlands)
Peasants with Cattle fording a Stream (c.1662, National Gallery, London)
Mountain landscape with cattle (1663, Rijksmuseum, Amsterdam)
Animals near a Building (1663, National Gallery, London)
Sleeping Shepherds (1663, Cleveland Museum of Art, Ohio)
Arcadian landscape with resting herdsmen and cattle (1664, Rijksmuseum, Amsterdam)
Pastoral Landscape with Ruins, (1664, Art Institute of Chicago)
Landschaft mit Herde und Hirten (1664, Kunsthistorisches Museum Wien, Gemäldegalerie)
Landscape with cattle and figures (1664, Fitzwilliam Museum at the University of Cambridge)
Animals by the River (1664, Louvre, Paris)
Strandgezicht (1665, Mauritshuis Royal Picture Gallery, The Hague)
Prayer for a cup (1665, Private collection)
Milking a Cow (1666, Private collection)
Cattle in a field, a village beyond a wood (Norwich Museums, England)
Haymakers Resting in a Field
The Farm (1666, Staatliche Museen, Berlin)
Ferry (1666, Rijksmuseum, Amsterdam)
Family portrait in a landscape. (1667, Rijksmuseum Amsterdam)
Annunciation (1667, Rijksmuseum Amsterdam)
St. Jerome (Pommersfelden, Schloss Weißenstein)
Frozen Canal with Skaters and Hockey Players (1668, Louvre, Paris)
Golfers on the Ice near Haarlem (1668, National Gallery, London)
Entertainment on Ice (1669,Gemldegalerie,Dresden, Germany)
The hunting party (1669,
Adrian van de Velde (Adriaen van de Velde) (1636, Amsterdam - January 1672, ibid.) - Dutch artist and engraver from the famous Dutch family of artists van de Velde; son of Willem van de Velde the Elder and brother of Willem van de Velde the Younger.
BIOGRAPHY OF THE ARTIST
The exact date of his birth is not known, but the date of his baptism in the Oude Kerk church has been preserved - November 30, 1636. Adrian studied painting with his father. Under his patronage, Adrian moved to Haarlem and studied with Jan Wijnants and Paulus Potter. In addition to them, Philips Wouverman influenced the formation of the artist.
Returning to his hometown, Adrian worked for some time in the studio of Karel Dujardin, and then became a freelance artist.
At 21, he married Maria Oudekerk. Adrian van de Velde worked with other landscape painters, such as painting animals and people in paintings by Jan Hackert, Jan van der Heijden, Jan Winant, Jacob Ruisdael and Meindert Hobbema.
Adrian van de Velde died at the age of 35 in 1672. His burial took place on January 21 in the cemetery of the Neuve Kerk church in Amsterdam.
Despite the short creative path, Adrian managed to create his own unique style. About 400 paintings by the artist have survived.
THE CREATIVITY OF ADRIAN VAN DE VELDE
In his early works, Adrian van de Velde is still influenced by the Haarlem school of painting and its leaders, Paulus Potter and Nicholas Berchem.
The landscapes of Adrian van de Velde are distinguished by careful execution of details, harmonious composition and contrasting color schemes.
In the landscape, he was mentored by Winants, in the depiction of the figures by Wuwerman, and later he was strongly influenced by P. Potter.
Adrian van de V. excellently portrayed the silence and tranquility in nature; his paintings are full of light, the distance is extremely airy. His painting is thin and light, and although in many paintings the colors have changed a lot, nevertheless, the price for them at sales close to our time was very high and reached, for example, up to 30 and 50 thousand francs.
The figures of his paintings are always set or set in motion correctly, painted extremely colorfully and made him such a fame among his contemporaries that almost all landscape painters of that time were forced to turn to him for help in this regard.
Figures painted by Adrian van de V. are found in the landscapes of his teacher Vinants, Moucheron, Van der Heyde, and even near the famous Ruisdael and Gobbema; these figures were usually subordinated to the main mood of the landscape, which cannot be said about many other artists (eg Berchem) of that time who painted figures for landscape painters. According to the meaning of the figures, some paintings by Adrian van de V. can be classified as everyday.
Adrian van de V. sometimes painted pictures of religious content, for example. "Descent from the Cross" (Amsterdam), which show that his talent would have been able to develop in this respect too, if he had not been stopped by an untimely death.
The Annunciation 1667
