Abstract:

An art movement emerges at the end of the 19th century in the early 20th century, where elegant decorative ornaments were at the forefront and curves and plant-like patterns were mostly used. This new movement, which emulates more the nature, has been effective for a short period, but its effect lasts for a long time. It simultaneously affects all Europe and the Ottoman Empire. The movement, rising with a rapid acceleration in the field of decoration, especially in furniture and glass design, creates its own brands and designs in a short period of time. In the same century, with the modernization and changing world views along with Westernization, the Ottoman society sustaining an Eastern identity also gets closer to the West and starts to follow the fashion of the period. The Ottoman accepts Art Nouveau, also a new trend for Europe, at the same time within the dynamics of the century and switches to the application. This new style which is called Tarz-ı cedid (the new style), is noteworthy in terms of emphasizing the modernity of the capital with its reflections in architecture and daily-used household articles. The aim of this study is to describe the Art Nouveau, which was adopted simultaneously with the West by the Ottomans, through the furniture examples of Emile Gallé, one of the leading glass masters of the movement that are being used in the Ottoman palace and to redound the aforementioned works of the artist into the literature.