Everyone emphasized the importance of handmade, decorative, ornamental and functional design. William Morris started the movement as a reaction against the machine and emphasized the importance of working with your hands. He didn't see the beauty of mechanically produced things, nor did Art Nouveau artists and modernist architects. They all collectively emphasized the importance of new, never-before-seen structures and styles that would inspire people and bring beauty to a world that was becoming bland and repetitive.4. According to Pevsner, what distinguishes Modernism (and Gaudi in particular) from the general trend of Art Nouveau? Although Gaudi was one of the leading innovators of Art Nouveau and Modernism in the world at the time and in Barcelona, ​​his style eventually developed into something entirely his own and its originality is not surprising. Its style can be linked to many different styles including Spanish, Late Gothic, Moroccan, Spanish Baroque and a major emphasis on exuberance, fantasy and nature. Gaudi tried to make his creations look as if they were born from the ground, especially that of his life's work, the Sagrada Familia. He also believed in using his surroundings and recycling things into beautiful creations such as the chimneys of Casa Milà and many of his other buildings. This was kind of his forte and it was extraordinary. This may be in bad taste, but it is full of vitality and handled with ruthless audacity.5. 5. Pevsner's text is more than 75 years old. Its clarity of outline makes it valuable even today. But what is Pevsner's appreciation for Art Nouveau in general and Modernism in particular? Although Pevsner disliked Art Nouveau for its extravagances, he realized that it had demonstrated that a... art should moralize, should indicate a morality congenial to established society: and, in his weakest moments, Ruskin fell deeply in this mistake like everyone else. how it defines who we are. People are only in the right moral state when they have learned to love doing so. If they continue to enjoy immoral things, they are still in a vicious state. Art, like people, works in a similar way. Taste for any art is not a moral quality, but taste for good ones is. A work of art may appear beautiful to the eye, but if it is an expression of pleasure in a prolonged base thing, pleasure is an immoral quality, and therefore in bad taste. A Greek statue instead expresses pleasure in perpetual contemplation of a good and perfect thing. This is all a moral quality, it is the taste of angels.