Peter Clericuzio | Syracuse University (original) (raw)
Papers by Peter Clericuzio
Journal of Modern Craft, Sep 1, 2020
The small city of Nancy, France, is arguably the center where Art Nouveau architecture had the mo... more The small city of Nancy, France, is arguably the center where Art Nouveau architecture had the most lasting impact. Nancy’s Art Nouveau was a divergent form of modernity that was defined by regionalism and a distinct sense of place, which its proponents championed as the key elements of an authentic architecture, allowing Nancy to challenge Paris as the dominant French artistic center in the two decades before World War I. Most of Nancy’s architects were graduates of the Ecole des Beaux-Arts in Paris, and grounded in the language of classicism and its associated professional standards. Much of Nancy’s Art Nouveau had a conservative character that garnered praise from the national architectural press. Nancy’s architects were also disciples of Emile Gallé, the founder of a regional association of artists, industrialists, and designers called the Ecole de Nancy, dedicated to the promotion of Art Nouveau. Nancy’s architects freely collaborated with other artists of the Ecole on their bu...
This dissertation would not have been possible without the assistance of so many people, to whom ... more This dissertation would not have been possible without the assistance of so many people, to whom I am forever indebted. First of all, I must thank David Brownlee, my advisor, the late Detlef Mertins, André Dombrowski, and Bob Ousterhout and other members of the faculty in the Graduate Group of the History of Art at the University of Pennsylvania for all their assistance with this project over the past seven years. Their constant guidance, advice, and monetary support in the form of supplementary summer travel grants to finish my research have been invaluable. I also wish to thank Judith Rohrer, Judith Miller, Joanne Brzinski, and all those at Emory University who first encouraged me to pursue this
Journal of Architectural Education, 2013
Review of Museum of Modern Art Exhibtion, Henri Labrouste: Structure Brought to Light.
Nineteenth-Century Art Worldwide, 2011
Architectural History
Art nouveau design is one of the principal markers of the identity of the French city of Nancy, w... more Art nouveau design is one of the principal markers of the identity of the French city of Nancy, which became internationally renowned as one of the most important centres for the development of this artistic style around 1900. Like other strands of the style, especially in Spain, Germany and parts of the Austro-Hungarian empire, art nouveau in eastern France has been linked to long-standing regionalist sentiments that resisted centralised Parisian control over local affairs typical in nineteenth-century France. This article examines the evolving bank architecture in central Nancy, a major facet of the introduction of art nouveau in its urban environment, to show that the construction of the city's modern character was a negotiated process that involved careful planning among financial institutions, architects and decorative artists. The design and erection of modern banks in Nancy in the first decade of the twentieth century balanced generalised architectural principles emanatin...
The Journal of Modern Craft
Abstract This article examines the role of regionalism in French architecture and design at the 1... more Abstract This article examines the role of regionalism in French architecture and design at the 1925 and 1937 International Expositions and the complex interrelationships between industry and handcraft in these fields. Often overlooked, the rise of regionalism and a search for distinctive, geographically-rooted identities worked to dismantle long-established hegemonic trends of cultural centralization that emphasized Paris as the ultimate arbiter for French architecture and design in favor of a more accurate representation of national diversity.
The small city of Nancy, France, is arguably the center where Art Nouveau architecture had the mo... more The small city of Nancy, France, is arguably the center where Art Nouveau architecture had the most lasting impact. Nancy’s Art Nouveau was a divergent form of modernity that was defined by regionalism and a distinct sense of place, which its proponents championed as the key elements of an authentic architecture, allowing Nancy to challenge Paris as the dominant French artistic center in the two decades before World War I. Most of Nancy’s architects were graduates of the Ecole des Beaux-Arts in Paris, and grounded in the language of classicism and its associated professional standards. Much of Nancy’s Art Nouveau had a conservative character that garnered praise from the national architectural press. Nancy’s architects were also disciples of Emile Galle, the founder of a regional association of artists, industrialists, and designers called the Ecole de Nancy, dedicated to the promotion of Art Nouveau. Nancy’s architects freely collaborated with other artists of the Ecole on their bu...
... Monique Sary, Isabelle Bardies, and Christian Debize (Metz: Musées de la Cour dʼOr/Editions S... more ... Monique Sary, Isabelle Bardies, and Christian Debize (Metz: Musées de la Cour dʼOr/Editions Serpenoise, 1999), 64-8. 23 Pignon-Feller, LʼArt nouveau de Nancy à Metz: des allers ... the region can be seen by the fact that its artists were even able to receive a few commissions ...
The loss of the provinces of Alsace-Lorraine to the German Empire in the aftermath of the disastr... more The loss of the provinces of Alsace-Lorraine to the German Empire in the aftermath of the disastrous Franco-Prussian War in 1870-71 was a serious blow to French national pride, one which the majority of the nation's citizens tried mightily to forget in the ensuing decades. But in southern Lorraine, centered on the city of Nancy--which the Germans did not annex in 1871 and where many émigrés from these "lost provinces" had resettled--the memory of the war and the division of the region of Lorraine remained strong. Nancy's citizens mounted a campaign through all types of media, beginning in the 1880s and lasting until the end of the First World War, to reawaken the national drive to return Alsace-Lorraine to French rule. This essay reveals the myriad means of communication and material culture used by Lorrainers to rekindle this desire on regional, national, and international levels, and make it the central unifying tangible goal of the weary French nation as the First World War dragged on.
Journal of the Society of Architectural Historians
Architectural History, 2020
Art Nouveau design is one of the principal markers of the identity of the French city of Nancy, w... more Art Nouveau design is one of the principal markers of the identity of the French city of Nancy, which became internationally renowned as one of the most important centres for the development of this artistic style around 1900. Like other strands of the style, especially in Spain, Germany and parts of the Austro-Hungarian Empire, Art Nouveau in eastern France has been linked to longstanding regionalist sentiments that resisted centralised Parisian control over local affairs typical in nineteenth-century France. This article examines the evolving bank architecture in central Nancy, a major facet of the introduction of art nouveau in its urban environment, to show that the construction of the city’s modern character was a negotiated process that involved careful planning among financial institutions, architects and decorative artists. The design and erection of modern banks in Nancy in the first decade of the twentieth century balanced generalised architectural principles emanating from the École des Beaux-Arts in Paris with the employment of highly symbolic regional naturalist motifs and architectural elements. This strategy fulfilled a variety of communicative functions to appeal to a civic populace whose identity was multivalent and shifting with the era’s political climate, particularly with regard to the nearby ‘lost provinces’ of Alsace-Lorraine in the aftermath of the Franco-Prussian War.
The Journal of Modern Craft, 2020
This article examines the role of regionalism in French architecture and design at the 1925 and 1... more This article examines the role of regionalism in French architecture and design at the 1925 and 1937 International Expositions and the complex interrelationships between industry and handcraft in these fields. Often overlooked, the rise of regionalism and a search for distinctive, geographically-rooted identities worked to dismantle long established hegemonic trends of cultural centralization that emphasized Paris as the ultimate arbiter for French architecture and design in favor of a more accurate representation of national diversity.
The Journal of Decorative and Propaganda Arts, 2015
The loss of the provinces of Alsace-Lorraine to the German Empire in the aftermath of the disastr... more The loss of the provinces of Alsace-Lorraine to the German Empire in the aftermath of the disastrous Franco-Prussian War in 1870-71 was a serious blow to French national pride, one which the majority of the nation's citizens tried mightily to forget in the ensuing decades. But in southern Lorraine, centered on the city of Nancy--which the Germans did not annex in 1871 and where many émigrés from these "lost provinces" had resettled--the memory of the war and the division of the region of Lorraine remained strong. Nancy's citizens mounted a campaign through all types of media, beginning in the 1880s and lasting until the end of the First World War, to reawaken the national drive to return Alsace-Lorraine to French rule. This essay reveals the myriad means of communication and material culture used by Lorrainers to rekindle this desire on regional, national, and international levels, and make it the central unifying tangible goal of the weary French nation as the First World War dragged on.
Journal of Modern Craft, Sep 1, 2020
The small city of Nancy, France, is arguably the center where Art Nouveau architecture had the mo... more The small city of Nancy, France, is arguably the center where Art Nouveau architecture had the most lasting impact. Nancy’s Art Nouveau was a divergent form of modernity that was defined by regionalism and a distinct sense of place, which its proponents championed as the key elements of an authentic architecture, allowing Nancy to challenge Paris as the dominant French artistic center in the two decades before World War I. Most of Nancy’s architects were graduates of the Ecole des Beaux-Arts in Paris, and grounded in the language of classicism and its associated professional standards. Much of Nancy’s Art Nouveau had a conservative character that garnered praise from the national architectural press. Nancy’s architects were also disciples of Emile Gallé, the founder of a regional association of artists, industrialists, and designers called the Ecole de Nancy, dedicated to the promotion of Art Nouveau. Nancy’s architects freely collaborated with other artists of the Ecole on their bu...
This dissertation would not have been possible without the assistance of so many people, to whom ... more This dissertation would not have been possible without the assistance of so many people, to whom I am forever indebted. First of all, I must thank David Brownlee, my advisor, the late Detlef Mertins, André Dombrowski, and Bob Ousterhout and other members of the faculty in the Graduate Group of the History of Art at the University of Pennsylvania for all their assistance with this project over the past seven years. Their constant guidance, advice, and monetary support in the form of supplementary summer travel grants to finish my research have been invaluable. I also wish to thank Judith Rohrer, Judith Miller, Joanne Brzinski, and all those at Emory University who first encouraged me to pursue this
Journal of Architectural Education, 2013
Review of Museum of Modern Art Exhibtion, Henri Labrouste: Structure Brought to Light.
Nineteenth-Century Art Worldwide, 2011
Architectural History
Art nouveau design is one of the principal markers of the identity of the French city of Nancy, w... more Art nouveau design is one of the principal markers of the identity of the French city of Nancy, which became internationally renowned as one of the most important centres for the development of this artistic style around 1900. Like other strands of the style, especially in Spain, Germany and parts of the Austro-Hungarian empire, art nouveau in eastern France has been linked to long-standing regionalist sentiments that resisted centralised Parisian control over local affairs typical in nineteenth-century France. This article examines the evolving bank architecture in central Nancy, a major facet of the introduction of art nouveau in its urban environment, to show that the construction of the city's modern character was a negotiated process that involved careful planning among financial institutions, architects and decorative artists. The design and erection of modern banks in Nancy in the first decade of the twentieth century balanced generalised architectural principles emanatin...
The Journal of Modern Craft
Abstract This article examines the role of regionalism in French architecture and design at the 1... more Abstract This article examines the role of regionalism in French architecture and design at the 1925 and 1937 International Expositions and the complex interrelationships between industry and handcraft in these fields. Often overlooked, the rise of regionalism and a search for distinctive, geographically-rooted identities worked to dismantle long-established hegemonic trends of cultural centralization that emphasized Paris as the ultimate arbiter for French architecture and design in favor of a more accurate representation of national diversity.
The small city of Nancy, France, is arguably the center where Art Nouveau architecture had the mo... more The small city of Nancy, France, is arguably the center where Art Nouveau architecture had the most lasting impact. Nancy’s Art Nouveau was a divergent form of modernity that was defined by regionalism and a distinct sense of place, which its proponents championed as the key elements of an authentic architecture, allowing Nancy to challenge Paris as the dominant French artistic center in the two decades before World War I. Most of Nancy’s architects were graduates of the Ecole des Beaux-Arts in Paris, and grounded in the language of classicism and its associated professional standards. Much of Nancy’s Art Nouveau had a conservative character that garnered praise from the national architectural press. Nancy’s architects were also disciples of Emile Galle, the founder of a regional association of artists, industrialists, and designers called the Ecole de Nancy, dedicated to the promotion of Art Nouveau. Nancy’s architects freely collaborated with other artists of the Ecole on their bu...
... Monique Sary, Isabelle Bardies, and Christian Debize (Metz: Musées de la Cour dʼOr/Editions S... more ... Monique Sary, Isabelle Bardies, and Christian Debize (Metz: Musées de la Cour dʼOr/Editions Serpenoise, 1999), 64-8. 23 Pignon-Feller, LʼArt nouveau de Nancy à Metz: des allers ... the region can be seen by the fact that its artists were even able to receive a few commissions ...
The loss of the provinces of Alsace-Lorraine to the German Empire in the aftermath of the disastr... more The loss of the provinces of Alsace-Lorraine to the German Empire in the aftermath of the disastrous Franco-Prussian War in 1870-71 was a serious blow to French national pride, one which the majority of the nation's citizens tried mightily to forget in the ensuing decades. But in southern Lorraine, centered on the city of Nancy--which the Germans did not annex in 1871 and where many émigrés from these "lost provinces" had resettled--the memory of the war and the division of the region of Lorraine remained strong. Nancy's citizens mounted a campaign through all types of media, beginning in the 1880s and lasting until the end of the First World War, to reawaken the national drive to return Alsace-Lorraine to French rule. This essay reveals the myriad means of communication and material culture used by Lorrainers to rekindle this desire on regional, national, and international levels, and make it the central unifying tangible goal of the weary French nation as the First World War dragged on.
Journal of the Society of Architectural Historians
Architectural History, 2020
Art Nouveau design is one of the principal markers of the identity of the French city of Nancy, w... more Art Nouveau design is one of the principal markers of the identity of the French city of Nancy, which became internationally renowned as one of the most important centres for the development of this artistic style around 1900. Like other strands of the style, especially in Spain, Germany and parts of the Austro-Hungarian Empire, Art Nouveau in eastern France has been linked to longstanding regionalist sentiments that resisted centralised Parisian control over local affairs typical in nineteenth-century France. This article examines the evolving bank architecture in central Nancy, a major facet of the introduction of art nouveau in its urban environment, to show that the construction of the city’s modern character was a negotiated process that involved careful planning among financial institutions, architects and decorative artists. The design and erection of modern banks in Nancy in the first decade of the twentieth century balanced generalised architectural principles emanating from the École des Beaux-Arts in Paris with the employment of highly symbolic regional naturalist motifs and architectural elements. This strategy fulfilled a variety of communicative functions to appeal to a civic populace whose identity was multivalent and shifting with the era’s political climate, particularly with regard to the nearby ‘lost provinces’ of Alsace-Lorraine in the aftermath of the Franco-Prussian War.
The Journal of Modern Craft, 2020
This article examines the role of regionalism in French architecture and design at the 1925 and 1... more This article examines the role of regionalism in French architecture and design at the 1925 and 1937 International Expositions and the complex interrelationships between industry and handcraft in these fields. Often overlooked, the rise of regionalism and a search for distinctive, geographically-rooted identities worked to dismantle long established hegemonic trends of cultural centralization that emphasized Paris as the ultimate arbiter for French architecture and design in favor of a more accurate representation of national diversity.
The Journal of Decorative and Propaganda Arts, 2015
The loss of the provinces of Alsace-Lorraine to the German Empire in the aftermath of the disastr... more The loss of the provinces of Alsace-Lorraine to the German Empire in the aftermath of the disastrous Franco-Prussian War in 1870-71 was a serious blow to French national pride, one which the majority of the nation's citizens tried mightily to forget in the ensuing decades. But in southern Lorraine, centered on the city of Nancy--which the Germans did not annex in 1871 and where many émigrés from these "lost provinces" had resettled--the memory of the war and the division of the region of Lorraine remained strong. Nancy's citizens mounted a campaign through all types of media, beginning in the 1880s and lasting until the end of the First World War, to reawaken the national drive to return Alsace-Lorraine to French rule. This essay reveals the myriad means of communication and material culture used by Lorrainers to rekindle this desire on regional, national, and international levels, and make it the central unifying tangible goal of the weary French nation as the First World War dragged on.
This public lecture, given on 27 January 2017 at the Carnegie Museum of Art in Pittsburgh (PA, US... more This public lecture, given on 27 January 2017 at the Carnegie Museum of Art in Pittsburgh (PA, USA), is meant to function as a general overview of the way that world's fairs facilitated competition and comparison between nations' cultural products during the late nineteenth century, and specifically the global politics surrounding the 1867 Exposition Universelle in Paris. It is based on the extensive published historiography of international expositions, but, since it is the unpublished script of a symposium paper meant for a general public audience, it does not cite specific sources.
Uniform in their dullness [and] lack of inspiration, [James] Longacre's contributions to…regular ... more Uniform in their dullness [and] lack of inspiration, [James] Longacre's contributions to…regular coinages were a decided step backward from the art of [his predecessors]….Whatever his previous qualities as an engraver of portraits, he seems not to have brought much imagination to his important post at the Philadelphia Mint. 1
The idea of modernity normally centers on newness, and the story of the development of modernism ... more The idea of modernity normally centers on newness, and the story of the development of modernism in art and especially architecture since the mid-nineteenth century is no exception. Historians have long since recounted how the conception of modernism as it was understood in the late 1800s involved the creation of a visual aesthetic that expressed the zeitgeist, or spirit of the times, as opposed to reviving those that existed in the past. It included finding forms that could serve the functions of new building types-like railroad stations, corporate offices, and exhibition halls, among others-and would make use of new industrial technologies and materials like iron, steel, glass, and concrete. 1 To be sure, the evolution of modernism in architecture roughly between 1885 and the First World War (and beyond) involved all of these changes and developments. But as scholars have also so often observed, the acceptance of this newness-particularly when applied to every phase of architectural design and construction-was far from universal, even after the Second World War. 2 Instead, in many places, being modern meant a blending of old and new, of tradition and progressivism, or the familiar and the avant--garde. The most successful-that is, the most--enthusiastically--received and the longest--lasting-versions of modernism were, I contend, more than simply a blend of old and new. They involved a specific attention to geography and local political and social concerns that cultivated an enthusiastic and loyal public and in turn ensured their survival for several decades. These "regional modernisms," as I have chosen to call them, included a diverse number of centers in both Europe and North
Journal of the Society of Architectural Historians, Mar 1, 2018
Southeastern College Art Conference Review, 2015
Review of exhibition "The Paris of Toulouse-Lautrec: Prints and Posters" at the Museum of Modern ... more Review of exhibition "The Paris of Toulouse-Lautrec: Prints and Posters" at the Museum of Modern Art, New York, NY (USA).
Nineteenth-Century Art Worldwide, Oct 15, 2013
Zanten, and Gérard Uniack. New York: The Museum of Modern Art, in association with the Cité de l'... more Zanten, and Gérard Uniack. New York: The Museum of Modern Art, in association with the Cité de l'Architecture et du Patrimoine and the Bibliothèque Nationale de France, with the special participation of the Académie d'Architecture and the Bibliothèque Sainte-Geneviève, 2013.