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Art à la Rue.
Term used to refer to a movement or set of concerns espoused by a small number of left-wing artists and architects in the 1890s and early 1900s, mainly in Brussels and Paris. A significant number of leading Art Nouveau artists and architects, including Victor Horta, Héctor Guimard and Frantz Jourdain (the main spokesman for the movement) were involved. Art à la Rue, which focused specifically on bringing art to the working classes, was part of a broader movement aimed at social reform, whose roots were in the French socialist movement, the political theories of the Russian anarchist Prince Kropotkin and William Morriss later essays. In challenging the élitist status of art, it urged those in the arts to forget the world of museums and collectors and to concentrate instead on relating art to everyday life, so that it assumed a more socially responsive role in society. The main arena for this was the street, where ordinary people spent most of their leisure time. Proponents of Art à la Rue, therefore, urged that the streets should be enlivened with bright colours by means of lithographic posters (e.g. those of Jules Chéret and Theóphile-Alexandre Steinlen) and by artistically designed signs, lights and drinking fountains, in order to make the city a more pleasing place to live; the process would help to shape aesthetic sensibility. Such art was to be deliberately popular in appeal, accessible and intelligible to people of all ages and educational backgrounds. Decorated building façades and shop fronts, too, were singled out as an especially good means of transforming sombre streets into free outdoor museums. With its aim of social reform and its focus on the street as a means of bringing art to the people, to lift morale and to elevate popular taste, the Art à la Rue movement suggests that Art Nouveau was not just a new aesthetic ideal: it also had a strong urbanistic, moral component, which helped to set the stage for the modernists social utopianism of the 1920s.
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