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The Refectory back stairs at Avon Old Farm. With upswept gables, irregular shingle patterning and a heavy mass of stone, the sandstone buildings on campus showcase Pope Riddle's new confidence. During this time, she became the first woman elected as a Fellow of the American Institute of Architects.

The former Water Tower is now an art gallery and exhibition space, showcased in campus tours of the institution.

Alfred Atmore Pope (1842 - 1913) at his house at Hill-Stead in Connecticut. Pope was among Cleveland's wealthiest industrialists, as he owned lucrative textile and steel companies. He was one of fin-de-siecle New England's leading art collectors, distinguished by a discerning taste in Impressionist painting.

Hill-Stead Museum, Farmington, Connecticut, USA. West facade of main house. Pope's daughter "Effie"

changed her name to Theodate in honour of her maternal grandmother. She collaborated with the firm McKim, Mead and White (Stanford White!) on the house's design. Hill-Stead was built between 1898 - 1901.

Master's Cottages at Avon Old Farm.

Westover School for Girls in Middlebury, Connecticut, 1906 - 1910. Pope Riddle and the school's founder Mary Robbins Hillard worked closely to ensure their mutual vision for innovative women's education would be correctly translated into the built environment.

Theodate Pope Riddle posing for Robert Brandegee, 1910. Heiress to her family's immense fortune, Pope Riddle encouraged her father's interest in avant-garde painting in Paris, and was on intimate terms with leading Post-Impressionist painters.

Mary Cassatt at Hill-Stead, 1908,

photograph by Theodate Pope Riddle.

Sara Handing a Toy to the Baby,

Cassatt of 1903 at Hill-Stead

While modeled on a Cotswold village, Paine and Butler point out that the feel and look of the school is much more unified and monumental, witnessing Pope Riddle's mature sense of confidence, whimsy and authority.

Avon Old Farms is self-consciously imitative of the look and feel of a traditional 'Cotswolds' English village, where fifteenth and sixteenth-century vernacular stone, brick and wattle-and-daub houses are preserved in a beautiful agrarian setting.

Theodate Pope Riddle on site at Westover. Unlike many wealthy society debutantes, she took an active, personal interest in politics. In her youth, she became a suffragette, volunteered at a psychiatric hospital, and joined the Socialist Party.

Construction of the Water Tower, c. 1922. Until the 1950s, the Water Tower was functional as such, until underground cisterns were installed to suit the increased needs of the facility.

Pope Riddle survived the sinking of the Lusitania on Friday 7 May 1915. Her two travel companions did not.

Avon Old Farm School, Connecticut, built 1920 - 1929. When her father died unexpectedly, Pope Riddle used her new wealth to found a boy's school in his honour. She believed not enough attention was paid to the formation of moral character in education, and like many other suffragettes of her time, she was convinced 'character' was acquired through community service and traditional labour.

The Forge Building. Originally used as a workshop where all the metal fittings for the school were made by its own students, it has also been renovated and serves as a classroom and conference lounge.

Some of the "Master's Cottages" at Avon Old Farm

England, Snowshill Village, Gloucestershire.

The Wheelwright Building, Avon Old Farms School. The whitewashed brick interior increases the illusion of a real wattle and daub English building, while retaining brick's durability and heat retention.

The Cotswold village of Bibury, Gloucestershire.

While irregular roof planes, external timber framing in the wattle-and-daub manner, and the combined use of bricks and sandstone gives Avon Old Farms a vernacular, historicist style, some elements are more in line with Art Nouveau modernism. Detail of the Wheelwright building, the Water Tower, and the Forge Building.

The building has been remodeled and now serves as a school chapel. As yet another example of the how architecture is always in flux, many buildings from the '20s and '30s have been reworked to suit needs and ideologies that the architect never could have anticipated.

Halfway through construction, Pope Riddle and her team discovered a viable sandstone supply at the back of the property. She quickly reworked her designs to incorporate sandstone as a major structural material.

An advertisement for the Art Nouveau gallery La Maison Moderne by Manuel Orazi.

La tournée du Chat Noir avec Rodolphe Salis (1896) by Théophile Steinlen, 1896, advertising a tour of popular cabaret performers in other cities. Le Chat Noir was a group of radical young bohemian artists and writers who formed a club promoting alternative entertainment and intellectual stimulation.

Charles Lalande's theatre 'in the Italian style' opened, to great fanfare, in 1873. It combines a typically ornate Beaux-Arts classicism with much ornament and decoration, such as the use of caryatids and mascarons with double paired columns.

In December of 1894, Mucha visited a printing shop that was in crisis: Sarah Bernhardt was due to star in a lavish adaptation of Victorine Sardou's Greek melodrama "Gismonda" at the Théâtre de la Renaissance, but the promoter had backed out at the last minute, leaving Bernhardt without a poster. Mucha promised to deliver an elaborate design within two weeks. The poster was so successful that Bernhardt signed him on for a six year contract as chief illustrator for her theatre's advertising campaign.

The Four Seasons, by Alfons Mucha, c. 1895. Phenomenally popular, his work and its imitators was originally called 'Mucha style', but he rejected solidarity with other commercial artists and insisted his art was a unique product of his ethnic Czech heritage. The public thought otherwise, and called the style 'the new art', or Art Nouveau.

Theatre advertising by Mucha, c. 1896. His posters were avidly collected by the Parisian public.

After the Battle of Grunwald, Alfons Mucha, 1924.

1903, vol 8, Cover of Simplicissus: Bebel in Dresden

Henry van de Velde, Cigar Shop in Brussels, 1897.

Henry van de Velde, Haymakers of 1892.

Eugene Rousseau, Jardiniere of 1897. Ornament from within: plasticity of form.

Henry van de Velde, Chair of 1896. Many Art Nouveau artists considered the totality of their environment, designing houses, furnishings, clothing and artwork as an integration of ornament and structure.

Henry van de Velde, 1863 - 1967

Holy Mount Athos, by Mucha, 1926, at Moravský Krumlov, Czech Republic.

Mucha, The coronation of the Serbian Tsar Stefan Dušan as East Roman Emperor, from The Slavonic Epic Cycle (no. 6), 1926.

Alfons Mucha at work on what he considered his masterpiece: the massive Slav Epoch series, 1911 - c. 1930, now on display in a castle in the southern Czech Republic. He hated being identified as a commercial artist, and preferred the political and spiritual goals espoused in his Slav Epoch cycle.

The Bloemenwerf Interior at Uccle

Jugendstilsenteret is a national Art Nouveau Centre located in the former Swan Pharmacy building in central Ålesund, the Art Nouveau town of Norway (1905 - 1907).

Van de Velde also designed luxury textiles (left, The Adoration) and special editions of books (right, the Ibsen 1911 edition of Nietzsche's 'Thus Spoke Zarathustra', where he famously asserted that 'God is Dead').

The Palais Stoclet is in dialogue with other developments across Europe, including the inspirational influence of the English Arts and Crafts movement. Charles Rennie Mackintosh's Design for the House of An Art Lover, 1900.

Le Corbusier's favourite Art Nouveau building: Joseph Hoffman's Palais Stoclet, built between 1905 - 1911, Brussels, for a wealthy art collector.

Henry van de Velde, Bloemenwerd, built in 1895. It is located at Uccle, Belgium. Conceived as a total unit, van de Velde's suburban bohemianism is inspired by the English Arts and Crafts movement, and especially William Morris' 'Red House' of 1860.

Joseph Maria Olbrich, houses at the Darmstadt artist colony, 1901 - 1904. Colquhoun calls this 'suburban eclectism raised to artistic frenzy'.

In Germany, Austria, the Netherlands, Scandinavia and even parts of France, Art Nouveau is known as Jugendstil, The Style of the Youth. Carvings from Metz, near the German-Belgian border with France.

Jugendstil was named after the Munich-based 'Jugend', which ran from 1896 - 1940. New technological advances in printing revitalized the magazine industry, allowing for the widespread dissemination of new aesthetic styles.

Music room of the Peter Behrens House with Schiedmayer grand piano. Darmstadt Artist Colony 1901.

The secession building in Vienna was built during 1897 by Joseph Maria Olbrich for exhibitions of the secession group.

Another influential Art Nouveau magazine was Simplicissimus, which ran from 1894 - 1967, with a hiatus between 1941 - 1951. These are 1904 caricatures of the German generals by Bruno Paul.

Lucien Weissenbuger, 1903, Nancy: Rue Lionnais.

Jugendstil typography at the Moninger Brewery

James Webb worked up Morris' original designs for the house: every aspect and detail of the construction was thought over.

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