It was most prominent in architecture, appearing in department stores, apartment buildings, and churches; and in the decorative arts, particularly glassware, furniture, and jewelry.

Besides Guimard, major artists included René Lalique in glassware, Louis Majorelle in furniture, and Alphonse Mucha in graphic arts, It spread quickly to other countries, but lost favor after 1910 and came to an end with the First World War.

The Maison de l'Art Nouveau showed paintings by Georges Seurat, Paul Signac and Toulouse-Lautrec, glass from Louis Comfort Tiffany and Émile Gallé, jewelry by René Lalique, and posters by Aubrey Beardsley.

It was simply the name of a house opened as a rallying point for all the young and ardent artists impatient to show the modernity of their tendencies.

In 1902 the director of public works of Paris, Louis Bonnier, announced a reform of the law, which followed the model of other European cities.

The new rules, put into effect in 1902, used proportionality as the standard; the wider the street, the higher the buildings could be, and the more variety of architecture and ornament the architects could use on the facade.

It was also prominent in the Palace of Decorative Arts, where works of Louis Majorelle and René Lalique, Daum, and other French designers were displayed.

The Paris Métro, completed shortly after the Exposition opened, featured the Art Nouveau edicules designed for the stations by Hector Guimard.

The first was the Castel Béranger (1895–98) by Hector Guimard, built shortly after he visited Brussels, met Paul Hankar and toured the Hôtel Tassel, the town house completed by Victor Horta in 1893, and which had a major impact on his style.

The Hôtel Mezzara, (1910) at 60 rue de La Fontaine ((16th) was more classical in style, but also had an interesting asymmetric wing and his characteristic curves, arches, and floral wrought iron designs.

[8] The architect Frantz Jourdain was best known for the La Samaritaine Department store, but also designed office buildings in the later, more moderate Art Nouveau style.

Much of the building has been modernized, but the entrance features an Art Nouveau door and ironwork and stained glass windows by the architect's son.

The most famous example is the Galeries Lafayette department store on Boulevard Haussmann, built by architect Georges Chedanne and his pupil Ferdinand Chanut.

Several churches were built in Paris which incorporated Art Nouveau features, usually combined with other styles, including neo-Gothic.

Sometimes the Art Nouveau furniture and other decorative objects resembled the Rocaille or Rococo style of the reign of Louis XV, with its curving floral and vegetal designs, particularly in table legs, drawer handles and other ornament.

His house and workshops were in Nancy in Lorraine, but he also had a large residence and showroom in Paris, and he was a leading participant in all of the major expositions and salons of the period.

The Cabinet by Louis Majorelle illustrated in the gallery below, from about 1900–1910, (now in the Dallas Museum of Art) is crafted of mahogany, oak and walnut, with inlays of exotic hardwoods.

It predominantly featured the same motifs as the furniture and other media; flowing lines and floral designs, with rich colors.

The Daum process often involved modeling the glass while it was hot, and adding polychrome powdered enamels which vitrified on the surface.

Other important figures in ceramic arts included Auguste Delaherche, Clément Massier, and Jean Carriès.

His pavilion at the Exposition Universelle (1900) was entirely covered in ceramic sculpture on classical and Art Nouveau themes, including bicycles.

Born in Belgium, he moved to Paris, and became a lead designer for Art Nouveau gallery owner Siegfried Bing.

Besides metal work, He designed furniture, wrote for newspapers, and created stage sets and posters for the Le Chat Noir cabaret.

One classic example is the Cascade Pendant designed by Alfons Mucha and made by Fouquet, now on display at the Petit Palais.

[16] Louis Aucoc and his family firm, where Lalique had been an apprentice, was another important creator of Art Nouveau jewelry.

[17] Paris in the 1890s was covered with colorful Art Nouveau posters selling bicycles, beverages, medicines, voyages to the South of France, all with the same spirit of movement and gaiety.

[17] Other important early figures in the genre included Eugène Grasset, who taught at the major schools of graphic arts and design in Paris, and who published books of images in the new style, and Jules Chéret, who became famous for his posters of actresses and dancers in twisting Baroque poses.

[17] Art Nouveau painting was decorative, intended to harmonize with architecture and interior design, usually in the form of murals, panels or screens.

Maurice Denis, Pierre Bonnard and the other Nabis often made decorative paintings tailored to particular rooms or settings.

They were often inspired by Japanese panel paintings, which had become very popular in Paris during the period, largely through the efforts of Siegfried Bing and his Maison de l'Art Nouveau beginning in 1895.