Of all the iconoclastic art movements of the late nineteenth and twentieth centuries, Art Nouveau (literally “new art”) was the most self-consciously modern. It broke with the long-standing European tradition of realistic painting that conveyed a lifelike three-dimensionality. Instead, Art Nouveau artists opted for a two-dimensional stylization of natural forms, with an emphasis on pattern.
Likewise, the early modern dancers abandoned long-standing European dance traditions, breaking out of the set vocabulary and spatial geography of classical ballet.
As he emerged as a leading figure of modern dance in Europe, Laban’s familiarity with Art Nouveau not only inspired his search for new forms, but also provided him with a deep understanding of how to create beautiful patterns.
Find out more in my October online workshop, “His Hand and Head: How Laban Created Movement Patterns,” offered through the Laban/Bartenieff Institute of Movement Studies.