The Chrysler Museum of Art’s collection explores a movement that challenged tradition through organic forms, intricate craftsmanship and a celebration of nature. The Triumph of Nature: Art Nouveau from the Chrysler Museum of Art will be on view at the Oklahoma City Museum of Art from Oct. 31 to Jan. 24, 2027. The traveling exhibition brings together 127 works, including paintings, prints, jewelry and furniture, exploring a movement that transforms everyday objects into expressions of exuberant natural beauty.
Art Nouveau was a French movement that spanned from 1890 to 1914, ending right before the first World War. Though it has often been overshadowed by the movements that preceded and followed it, the exhibition offers an opportunity to reconsider Art Nouveau’s influence and the radical ideas behind its beauty. The collection of an often-forgotten art movement being featured in a “flyover” state that frequently gets left out of national conversations about creative works is swirling in serendipity.
Lloyd DeWitt served as Irene Leache Curator of European Art and chief curator who developed The Triumph of Nature; he now works as the Janet and Richard Geary Curator of European and American Art at the Portland Art Museum.
“I think of it as a cult of beauty and a return to nature,” he said. “It’s very bold art that really looks outside of the Western tradition and also tries to push the limits of materials.”
DeWitt went on to describe the style: “It’s a very feminine kind of luxurious version of nature that really explores the sense of form and shapes that are gentle and undulating.”
The movement was a response to classicism; the rigid structure of Greek and Roman architecture had worn thin and artists desired something more daring.
“It broke a lot of rules, and that bothered people, but they couldn’t put a finger on why they were bothered by it, because it was so seductive,” said DeWitt.
Art Nouveau was not confined to paintings on a wall; it extended into furniture, glass, interiors and decorative objects. The result was a style that could feel simultaneously delicate and daring. The designers created objects that seemed to defy conventional expectations of structure and form. DeWitt explained how the movement sought to transform everyday surroundings: “It’s about creating a total environment for you to live in, where everything is beautiful, and everything is inspired by nature.”
That combination of beauty and rebellion is central to the movement’s appeal. Its elaborate, labor-intensive craftsmanship also made many pieces expensive to produce. The height of the movement eventually ended as WWI began and the whimsical fantastical Art Nouveau bubble had burst. The wonderful escapist world the movement built didn’t make sense anymore in a brutal period.
The works come from the son of the automobile magnate Walter P. Chrysler Sr., Walter P. Chrysler Jr. and wife Jean Chrysler’s home. Their collection deviated severely from the aesthetic they were so closely associated with, as the Chrysler Building was such an architectural hallmark for the more structural style of Art Deco. This collection highlights the personal perspective of a generational shift in taste and desire.
For DeWitt, the contrast raises questions about Walter Jr.’s desire to establish an identity distinct from his father’s. While much of the couple’s art collection was assembled for public exhibition, the Art Nouveau pieces resided in their home, representing their private rebellious taste.
After WWII, in a time when mid-century modern was in fashion, Walter Jr. found the value in Art Nouveau. Amazing pieces were of little cost because they were so out of style. The couple always had the mindset of completing a comprehensive collection that told the whole story of a movement. Their holdings included works by prominent designers and artists, among them Louis Comfort Tiffany and the French furniture designer Louis Majorelle. The exhibition also features work by Gustav Klimt, Alphonse Mucha and Aubrey Beardsley, reflecting the breadth of Art Nouveau’s influence.
The name of the exhibition came from the constant theme within the works. DeWitt stated, “It is a triumph of nature—not just using it, but embracing it. Creating this return to Eden within this perfected kind of nature.”
For visitors unfamiliar with Art Nouveau, DeWitt recommended approaching the exhibition with curiosity. “I think it’s just to enjoy nature and to look for the motifs. They are hiding everywhere,” he said. “And to think about the contrast and strength and delicacy, just the exuberant artistry of it is the most fun thing.”
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