ORADEA - STAINED - GLASS WINDOWS - 1900

The echo and influence of the artistic movement that took place in 1900 brought a new spirit in all modern creation, which in a fact is a final blow to the academic eclecticism, removing its canons and a chivvying through invention originality a great artistic diversity.

The deep attraction we feel four what we call Art Nouveau trend, comes from its aesthetic refinement that exists in all its forms of manifestation, from fashion, applied and industrial art, painting, graphic, sculpture, architecture and decoration.

It generated complex phenomena which cannot expressed in a unique stylistics, but in one that is contradictory, acquiring interest trough its high level of mastery, which gives it an indisputable value and in which, decoration becomes symbol of function tightly connected to architecture but having its particular characteristic.

Oared belongs equally both by its independence and personality to those great European artistic families that hold a well defined place in the Art of 1900, and has an area that spread, from the Citadel to the Railway Station and which bears the signature of architects as: Lechner Ödön, Jakab Dezső and Komor Marcell, Vágó László and József , Mende Valer, Sztaril Ferenc, Lőbl Ferenc, Rimanóczy Kálmán senior and junior, Anton Sallerbek, offering a very varied research and revaluation material.

By analysing them on the whole both as a stylistic unity and the ornament as an intrinsic value of the Art Nouveau, we find out a new style which has combined architectural structure and its possibilities as a means of artistic expression.

Plaster work, statues or medallions, iron work, stained - glass, opaque and coloured glass, justify ornamentation as a principle of architecture having at its base the value of the line, the power of the plant, and the structural symbol.

The stained glass, the opaque and coloured glass that is still preserved in the staircases or the people's houses are of great elegance and equilibrium due to its line which draws with precision spatial transparent moving, liquid vatues, in a graphic language of rare elegance, in which big spots of colour represent dominant compositions of good quality decorative conception, in harmony with the architectural style. As an architectural expression, the ornament as structural symbol, on the one hands, and the qualities of the glass on the other one, benefits by the intimate the relation that will determine the form, that's the symbol of the object which acquires artistic value.

No other style was ever so refined in its ornamental form, having such a varied range of symbols within its aggregate: elegant high windows in a rectangular frame, nicely proportioned related on the one hand to the waved stylistics typical for the flowery art of 1900, to the geometrical sobriety on the other one, and the precious colour, changes glass - this story and legend symbol told in a graphic language. The linear waved, or geometrical drawing, the composition proper, belongs to the most typical stylistics directions 1900, from Europe.

The decorative drawing clearly outlines, beyond the arrangement the town trace, ample or closes change glass in work of art in lines. The features of the line and surely its force creates a reality, inseparable from nature, taking its function, and if for the iron work of 1900 we have used the expression architectural iron work way should we not talk about architectural stained glass related to its scope: utility, logic, structure - window, door, roof, terrace -that's the construction and aggregate of the ornament.