Jugendstil

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Jugendstil is defined as "a style of architecture or decorative art similar to Art Nouveau, popular in German-speaking areas of Europe during the late 19th and early 20th centuries".[1] Jugendstil was also popular in the Nordic countries, where it became integrated with the National Romantic Style.

Art Nouveau became the dominant style between 1896 and 1909. Munich, Germany was one main center of Jugendstil (meaning "youth style").

Henry Van de Velde was a Belgian theorist who influenced many others to continue in this style of graphic art including Peter Behrens, Hermann Obrist, and Richard Riemerschmid.

The art of Jugendstil was applied to a wide range of products, furniture, and architecture. It inspired artists and influenced them to create an expressive look for cartoons and caricatures throughout Europe.

In Vienna, a different style was developed around 1900 with members of the Vienna Secession.

In 1903 Josef Hoffmann and Koloman Moser founded the historical Wiener Werkstätte and created works of craftsmanship in a very distinctive style: the Wiener Werkstätte Style.

Magazine "Jugend" (Youth) gave Jugendstil its name. Cover drawing by Heinrich Kley.
Magazine "Jugend" (Youth) gave Jugendstil its name. Cover drawing by Heinrich Kley.

The term "Jugendstil" originated in 1896, when it was published in the trend-setting cultural weekly Jugend, founded by Georg Hirth. The word Jugendstil is a distinctly German word used in the vocabulary of graphic design. Drawing from traditional German printmaking, the style uses precise and hard edges, an element which was rather different from the naturalistic style of the time. Within the field of Jugendstil art there are a variety of different methods, applied by the various individual artists. Methods range from classic to romantic. One feature that sets Jugendstil apart is the typography used. Typically the letter and image combination is unmistakable. The combination was used for covers of novels, advertisements, or exhibition posters. Designers often used unique display typefaces which worked harmoniously with the image.

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  1. ^ Webster's II New College Dictionary Third Edition

  • Heller, Steven, and Seymour Chwast. Graphic Style from Victorian to Digital. New ed. New York: Harry N. Abrams, Inc., 2001. p. 53-57.

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