Art Nouveau in France File:Immeuble art nouveau de Jules Lavirotte à Paris (5519755116).jpg|Façade of the
Lavirotte Building by
Jules Lavirotte at 29, ,
Paris (1901) File:XDSC 7288-29-av-Rapp-paris-7.jpg|Doorway of the Lavirotte Building, with ceramic sculptures by File:MuchaFouquet3.jpg|Jewellery shop of
Georges Fouquet at 6, , Paris, designed by
Alphonse Mucha, now in the
Carnavalet Museum (1901) File:Pharmacie Lesage.JPG|
Pharmacie Lesage by
François Rouvray at 78, rue du Général-de-Gaulle,
Douvres-la-Délivrande (1901) File:Villa Majorelle facade.JPG|
Villa Majorelle in
Nancy for furniture designer
Louis Majorelle by architect
Henri Sauvage (1901–02) File:Immeuble rue de l'église détail 1.jpg|Alfred Wagon building at 24, , Paris (1905) File:La Samaritaine rue de la Monnaie 2.jpg|Façade of
La Samaritaine department store by
Frantz Jourdain, , Paris (1905–1910) File:Gare de Rouen Rive-Droite, South View 140215 1.jpg|
Rouen-Rive-Droite railway station by
Adolphe Dervaux, with sculptures by
Camille Lefèvre (1928) Following the 1900 Exposition, the capital of Art Nouveau was Paris. The most extravagant residences in the style were built by
Jules Lavirotte, who entirely covered the façades with ceramic sculptural decoration. The most flamboyant example is the
Lavirotte Building, at 29, (1901). Office buildings and department stores featured high courtyards covered with stained glass cupolas and ceramic decoration. The style was particularly popular in restaurants and cafés, including ''
Maxim's at 3, rue Royale
, and Le Train bleu'' at the
Gare de Lyon (1900). The status of Paris attracted foreign artists to the city. The Swiss-born artist
Eugène Grasset was one of the first creators of French Art Nouveau posters. He helped decorate the cabaret
Le Chat Noir in 1885, made his first posters for the
Fêtes de Paris and a celebrated poster of
Sarah Bernhardt in 1890. In Paris, he taught at the Guérin school of art (''École normale d'enseignement du dessin
), where his students included Augusto Giacometti and Paul Berthon. Swiss-born Théophile-Alexandre Steinlen created the poster for the Paris cabaret Le Chat noir
in 1896. The Czech artist Alphonse Mucha (1860–1939) arrived in Paris in 1888, and in 1895, made a poster for actress Sarah Bernhardt in the play Gismonda'' by
Victorien Sardou in
Théâtre de la Renaissance. The success of this poster led to a contract to produce posters for six more plays by Bernhardt. The city of
Nancy in
Lorraine became the other French capital of the new style. In 1901, the ''Alliance provinciale des industries d'art
, also known as the École de Nancy'', was founded, dedicated to upsetting the hierarchy that put painting and sculpture above the decorative arts. The major artists working there included the glass vase and lamp creators
Émile Gallé, the
Daum brothers in glass design, and the designer
Louis Majorelle, who created furniture with graceful floral and vegetal forms. The architect
Henri Sauvage brought the new architectural style to Nancy with his
Villa Majorelle in 1902. File:Tea set, by Bapst & Falize, Germain Bapst, and Lucien Falize, partially gilt silver, ivory and agate, inv. 23868 A-D, MAD Paris.jpg|Tea set by
Bapst & Falize,
Germain Bapst, and
Lucien Falize, made of partially gilt silver, ivory and agate () File:Cheret, Jules - La Loie Fuller (pl 73).jpg|Poster for the dancer
Loie Fuller by
Jules Chéret (1893) File:Martin nancy1894.jpg|Poster by Camille Martin for ''L'Exposition d'art décoratif'' at the Galeries Poirel in
Nancy (1894) File:Alphonse Mucha - Poster for Victorien Sardou's Gismonda starring Sarah Bernhardt.jpg|Poster by
Alphonse Mucha for
Gismonda starring
Sarah Bernhardt (1894) File:Émile andrè, ed eugéne vallin, porta di un camerino dei magasing françois vaxelaire et cie, nancy 1901 (vetrata di jacques gruber).JPG|Doors with stained glass for the Store of Francois Vaexlaire in Nancy (1901), glass by
Jacques Grüber, doors by
Émile Andrè and
Eugéne Vallin File:Chambre à coucher Majorelle.jpg|Bedroom furniture of the
Villa Majorelle (1901–02), now in the
Museum of Fine Arts of Nancy File:René lalique, pettine in corno, oro, smalti e brillanti, 1902 ca.JPG|Comb of horn, gold, and diamonds by
René Lalique (), in the
Musée d'Orsay, Paris The French style was widely propagated by new magazines, including
The Studio,
Arts et Idées, and
Art et Décoration, whose photographs and colour
lithographs made the style known to designers and wealthy clients around the world. In France, the style reached its summit in 1900, and thereafter slipped rapidly out of fashion, virtually disappearing from France by 1905. Art Nouveau was a luxury style, which required expert and highly-paid craftsmen, and could not be easily or cheaply mass-produced. One of the few Art Nouveau products that could be mass-produced was the perfume bottle, and these are still manufactured in the style today.
Art Nouveau in Belgium File:Belgique - Bruxelles - Hôtel Van Eetvelde - 01.jpg|
Hôtel van Eetvelde in Brussels by
Victor Horta (1895–1901) File:Belgique - Bruxelles - Hôtel Van Eetvelde - 20.jpg|Detail of the Winter Garden of the
Hôtel van Eetvelde File:Henry van de velde, sedia, belgio 1896.JPG|Chair by
Henry van de Velde (1896) File:Philippe Wolfers, Plumes de Paon, KMKG-MRAH.jpg|
Philippe Wolfers, ('Peacock Feathers'), belt buckle (1898) File:Old England facade, Brussels (DSCF7544).jpg|Former
Old England department store in
Brussels by
Paul Saintenoy (1898–99) File:Gustave Serrurier-Bovy.jpg|Bed and mirror by
Gustave Serrurier-Bovy (1898–99), now in the
Musée d'Orsay, Paris File:Maison Saint-Cyr (DSCF7558).jpg|
Saint-Cyr House in Brussels by
Gustave Strauven (1901–1903) File:Maison Cauchie-445.jpg|
House of the architect Paul Cauchie in Brussels, featuring
sgraffito (1905) Belgium was an early centre of Art Nouveau, thanks largely to the architecture of
Victor Horta, who designed one of the first Art Nouveau houses, the
Hôtel Tassel in 1893, and three other townhouses in variations of the same style. They are now
UNESCO World Heritage sites. Horta had a strong influence on the work of the young
Hector Guimard, who came to see the Hôtel Tassel under construction, and later declared that Horta was the "inventor" of the Art Nouveau. Horta's innovation was not the façade, but the interior, using an abundance of iron and glass to open up space and flood the rooms with light, and decorating them with wrought iron columns and railings in curving vegetal forms, which were echoed on the floors and walls, as well as the furniture and carpets which Horta designed.
Paul Hankar was another pioneer of Brussels' Art Nouveau. His house was completed in 1893, the same year as Horta's Hôtel Tassel, and featured
sgraffiti murals on the façade. Hankar was influenced by both
Viollet-le-Duc and the ideas of the English
Arts and Crafts movement. His conception idea was to bring together decorative and fine arts in a coherent whole. He commissioned the sculptor Alfred Crick and the painter to decorate the façades of houses with their work. The most striking example was the house and studio built for the artist Albert Ciamberlani at 48, / in Brussels, for which he created an exuberant façade covered with
sgraffito murals with painted figures and ornament, recreating the decorative architecture of the
Quattrocento, or 15th-century Italy. Belgian designers took advantage of an abundant supply of
ivory imported from the
Belgian Congo; mixed sculptures, combining stone, metal and ivory, by such artists as
Philippe Wolfers, was popular.
Nieuwe Kunst in the Netherlands File:Delftsche Slaolie.jpeg|Poster for Delft Salad Oil by
Jan Toorop (1893) File:BeursVanBerlage.jpg|Amsterdam Commodities Exchange by
Hendrik Petrus Berlage (1896–1903) File:H.p. berlage per m.j. hack, stipo-scrittoio, 1895 ca.jpg|Cabinet/Desk by Berlage (1898) File:Vaas met deksel met geabstraheerd floraal decor, 1888-89.jpg|Vase with abstract floral design by
Theo Colenbrander (1898) File:Vase by J. Jurriaan Kok (form) & W. R. Sterken (decoration), Haagsche Plateelbakkerij, Rozenburg, Den Haag, 1901, porcelain - Hessisches Landesmuseum Darmstadt - Darmstadt, Germany - DSC00820.jpg|Porcelain vase designed by J. Jurriaan Kok and decorated by W.R. Sterken (1901) File:Astoria Amsterdam 3.jpg|
Astoria building in
Amsterdam by
Herman Hendrik Baanders and
Gerrit van Arkel (1905) File:Pathe Tuschinski.jpg|
Tuschinski Theatre in Amsterdam by
Hijman Louis de Jong and
Willem Kromhout (1921) File:Haarlem Kathedraal Sint Bavo 06.jpg|
Cathedral of St Bavo in
Haarlem by
Joseph Cuypers (1930) In the Netherlands, the style was known as the ('New Style'), or ('New Art'), and it took a different direction from the more floral and curving style in Belgium. It was influenced by the more geometric and stylised forms of the German
Jugendstil and Austrian
Vienna Secession. It was also influenced by the art and imported woods from the
Dutch East Indies (now
Indonesia), particularly the designs of the textiles and
batik from
Java. The most important architect and furniture designer in the style was
Hendrik Petrus Berlage, who denounced historical styles and advocated a purely functional architecture. He wrote, "It is necessary to fight against the art of illusion, to recognise the lie, in order to find the essence and not the illusion." Like
Victor Horta and
Gaudí, he was an admirer of architectural theories of
Viollet-le-Duc. His furniture was designed to be strictly functional, and to respect the natural forms of wood, rather than bending or twisting it as if it were metal. He pointed to the example of Egyptian furniture, and preferred chairs with right angles. His first and most famous architectural work was the
Beurs van Berlage (1896–1903), the Amsterdam Commodities Exchange, which he built following the principles of
constructivism. Everything was functional, including the lines of rivets that decorated the walls of the main room. He often included very tall towers to his buildings to make them more prominent, a practice used by other Art Nouveau architects of the period, including
Joseph Maria Olbrich in Vienna and
Eliel Saarinen in Finland. Other buildings in the style include the
American Hotel (1898–1900), by W. Kromhout and H. G. Jansen; and
Astoria (1904–1905) by
Herman Hendrik Baanders and
Gerrit van Arkel in
Amsterdam; the
railway station in
Haarlem (1906–1908), and the former office building of the
Holland America Lines (1917) in
Rotterdam, now the
Hotel New York. Prominent graphic artists and illustrators in the style included the
Jan Toorop, whose work inclined toward
mysticism and
symbolism, even in his posters for salad oil. In their colours and designs, they also sometimes showed the influence of the art of his birthplace, Java. Important figures in Dutch ceramics and porcelain included
Jurriaan Kok and
Theo Colenbrander. They used colorful floral pattern and more traditional Art Nouveau motifs, combined with unusual forms of pottery and contrasting dark and light colours, borrowed from the batik decoration of Java.
Modern Style and Glasgow School in Britain File:MackmurdoWren1883.gif|Cover design by
Arthur Mackmurdo for a book on
Christopher Wren (1883) File:Belt buckle designed by Archibald Knox.jpg|Belt buckle by
Archibald Knox for
Liberty department store (1899) File:Glasgow. 59 Dumbarton Road. Art Nouveau detail.jpg|Pub building by James Hoey Craigie at 59 Dumbarton Road,
Glasgow (1899–1900) File:St Vincent Chambers - view from S.jpg|Hatrack building by
James Salmon at 142a, 144
St. Vincent Street, Glasgow (1899–1902) File:Everardsprintingworks.jpg|Former
Everard's Printing Works by Henry Williams,
Broad Street,
Bristol (1900) File:The May Queen, by Margaret Macdonald Mackintosh, 1900, pencil, watercolour, and bodycolour, heightened with silver, on oiled tracing paper, 33 x 69.2 cm, private collection.jpg|
The May Queen by
Margaret Macdonald Mackintosh (1900) File:Hill House 7 (37376578142).jpg|Interior hallway view,
Hill House,
Helensburgh,
Scotland, designed and built by
Walter Blackie (1902–1904) Art Nouveau had its roots in Britain, in the
Arts and Crafts movement which started in the 1860s and reached international recognition by the 1880s. It called for better treatment of decorative arts, and took inspiration in medieval craftmanship and design, and nature. One notable early example of the Modern Style is
Arthur Mackmurdo's design for the cover of his essay on the city churches of
Sir Christopher Wren, published in 1883, as is his Mahogany chair from the same year. Other important innovators in Britain included the graphic designers
Aubrey Beardsley whose drawings featured the curved lines that became the most recognizable feature of the style. Free-flowing
wrought iron from the 1880s could also be adduced, or some flat floral textile designs, most of which owed some impetus to patterns of 19th century design. Other British graphic artists who had an important place in the style included
Walter Crane and
Charles Ashbee. The
Liberty department store in London played an important role, through its colourful stylised floral designs for textiles, and the silver, pewter, and jewellery designs of
Manxman (of Scottish descent)
Archibald Knox. His jewellery designs in materials and forms broke away entirely from the historical traditions of jewellery design. For Art Nouveau architecture and furniture design, the most important centre in Britain was
Glasgow, with the creations of
Charles Rennie Mackintosh and the
Glasgow School, whose work was inspired by
Scottish baronial architecture and Japanese design. Beginning in 1895, Mackintosh displayed his designs at international expositions in London, Vienna, and Turin; his designs particularly influenced the Secession Style in Vienna. His architectural creations included the Glasgow Herald Building (1894) and the library of the
Glasgow School of Art (1897). He also established a reputation as a furniture designer and decorator, working closely with his wife, the painter and designer
Margaret Macdonald Mackintosh. Together they created striking designs that combined geometric straight lines with gently curving floral decoration, particularly a symbol of the style, the Glasgow Rose".
Léon-Victor Solon, made an important contribution to Art Nouveau ceramics as art director at Mintons. He specialised in plaques and in
tube-lined vases marketed as "secessionist ware" (assumed to be named after the
Viennese art movement). He provided art nouveau designs for other clients, textile designs for the
Leek silk industry and bookbindings (specifically
doublures) for the bookbinder G.T. Bagguley of Newcastle-under-Lyme.
George Skipper was perhaps the most active Art Nouveau architect in England. The Edward Everard building in Bristol, built during 1900–01 to house the
printing works of Edward Everard, features an Art Nouveau façade. The figures depicted are of
Johannes Gutenberg and
William Morris, both eminent in the field of printing. A winged figure symbolises the "Spirit of Light", while a figure holding a lamp and mirror symbolises light and truth.
Jugendstil in Germany File:Atelier (Hofatelier) Elvira.jpg|Façade of the
Hofatelier Elvira photography studio in
Munich, designed by
August Endell (1896–1898) File:La colonie dartistes jugendstil (Mathildenhöhe, Darmstadt) (7882268852).jpg|Ernst Ludwig House in
Darmstadt Artists' Colony by
Joseph Maria Olbrich (1900), now hosting Darmstadt Colony Museum File:Mexikoplatz B-Schlachtensee 06-2017.jpg|
Mexikoplatz station in
Berlin by Gustav Hart and Alfred Lesser (1902–1904) File:Sprudelhof Bad Nauheim, Hessen, Germany.jpg|Spa complex Sprudelhof in
Bad Nauheim (1905–1911) File:Hackesche Höfe (Berlin) 1.jpg|
Hackesche Höfe in Berlin by Endell (1906) File:Hochzeitsturm DA.jpg|Wedding tower in Darmstadt Artists' Colony (1908) File:Darmstadt-Mathildenhoehe-Glueckert-Haus-01-gje.jpg|Entrance door of Großes Haus Glückert in Darmstadt Artists' Colony File:2015-02-28 Bonn Graurheindorfer Str 157 Vorderansicht.JPG|Façade of a
former tram depot, now an office building, in
Bonn German Art Nouveau is commonly known by its German name, , or 'Youth Style'. The name is taken from the artistic journal, ('Youth'), which was published in Munich. The magazine was founded in 1896 by
Georg Hirth, who remained editor until his death in 1916. The magazine survived until 1940. During the early 20th century,
Jugendstil was applied only to the graphic arts. It referred especially to the forms of
typography and
graphic design found in German magazines such as
Jugend,
Pan, and
Simplicissimus.
Jugendstil was later applied to other versions of Art Nouveau in Germany, the Netherlands. The term was borrowed from German by several languages of the
Baltic states and
Nordic countries to describe Art Nouveau (see
Naming section). In 1892
Georg Hirth chose the name
Munich Secession for the Association of Visual Artists of
Munich. The
Vienna Secession, founded in 1897, and the
Berlin Secession also took their names from the Munich group. The journals
Jugend and
Simplicissimus, published in Munich, and
Pan, published in Berlin, were important proponents of the
Jugendstil.
Jugendstil art combined sinuous curves and more geometric lines, and was used for covers of novels, advertisements, and
exhibition posters. Designers often created original styles of
typeface that worked harmoniously with the image, e.g.
Arnold Böcklin typeface in 1904.
Otto Eckmann was one of the most prominent German artists associated with both
Die Jugend and
Pan. His favourite animal was the swan, and so great was his influence that the swan came to serve as the symbol of the entire movement. Another prominent designer in the style was
Richard Riemerschmid, who made furniture, pottery, and other decorative objects in a sober, geometric style that pointed forward toward Art Deco. The Swiss artist
Hermann Obrist, living in Munich, illustrated the
coup de fouet or whiplash motif, a highly stylised double curve suggesting motion taken from the stem of the
cyclamen flower. File:Joseph Sattler-PAN.jpg|Cover of
Pan magazine by
Joseph Sattler (1895) File:Tapestry 'Five Swans', designed by Otto Eckmann, made by Schule fur Kunstweberie, Scherrebek, 1896-1897, wool - Bröhan Museum, Berlin - DSC04157.JPG|Tapestry
The Five Swans by
Otto Eckmann (1896–97) File:Muenchner Secession 1898—1900.jpg|Poster of the
Munich Secession by
Franz Stuck (1898–1900) File:Art Nouveau door handle.jpg|Jugendstil door handle in Berlin () File:Richard Riemerschmid Stuhl 1905 Dresdner Werkstätten für Handwerkskunst 1.jpg|Chair by
Richard Riemerschmid (1902) File:La maison de Peter Behrens (Musée de la colonie d'artistes, Darmstadt) (8728647639).jpg|Jugendstil dining room set and dishes by
Peter Behrens (1900–01) File:Jug, designed by Richard Riemerschmid, made by Merkelbach Wilhelm Reinhold, Grenzhausen, 1902, stoneware with salt glaze and relief - Bröhan Museum, Berlin - DSC03997.JPG|Stoneware jug by Richard Riemerschmid (1902) File:WMF Jugendstil pewter dish.jpg|Jugendstil pewter dish by
WMF, design no. 232 () The
Darmstadt Artists' Colony was founded in 1899 by
Ernest Ludwig, Grand Duke of Hesse. The architect who built Grand Duke's house, as well as the largest structure of the colony (Wedding tower), was
Joseph Maria Olbrich, one of the
Vienna Secession founders. Other notable artists of the colony were
Peter Behrens and
Hans Christiansen. Ernest Ludwig also commissioned to rebuild the spa complex in
Bad Nauheim at the beginning of century. A completely new complex was constructed in 1905–1911 under the direction of and attained one of the main objectives of Jugendstil: a synthesis of all the arts. Another member of the reigning family who commissioned an Art Nouveau structure was
Princess Elisabeth of Hesse and by Rhine. She founded
Marfo-Mariinsky Convent in Moscow in 1908 and its katholikon is recognized as an Art Nouveau masterpiece. Another notable union in German Empire was the
Deutscher Werkbund, founded in 1907 in
Munich at the instigation of
Hermann Muthesius by artists of Darmstadt Colony
Joseph Maria Olbrich,
Peter Behrens; by another founder of
Vienna Secession Josef Hoffmann, as well as by
Wiener Werkstätte (founded by Hoffmann), by
Richard Riemerschmid,
Bruno Paul and other artists and companies. Later Belgian
Henry van de Velde joined the movement. The , founded by him in
Weimar, was a predecessor of
Bauhaus, one of the most influential currents in
Modernist architecture. In Berlin, Jugendstil was chosen for the construction of several railway stations. The most notable is
Bülowstraße by
Bruno Möhring (1900–1902), other examples are
Mexikoplatz (1902–1904),
Botanischer Garten (1908–1909),
Frohnau (1908–1910),
Wittenbergplatz (1911–1913) and
Pankow (1912–1914) stations. Another notable structure of Berlin is
Hackesche Höfe (1906) which used polychrome glazed brick for the courtyard façade.
Art Nouveau in Strasbourg (then part of the German Empire as the capital of the
Reichsland Elsaß-Lothringen) was a specific brand, in that it combined influences from
Nancy and
Brussels, with influences from
Darmstadt and
Vienna, to operate a local synthesis which reflected the
history of the city between the Germanic and the French realms.
Secession in Austria–Hungary Vienna Secession File:Secession 2016, Vienna.jpg|
Secession Hall in
Vienna by
Joseph Maria Olbrich (1897–98) File:Majolikahaus Detail 10.JPG|Floral design by Alois Ludwig on the façade of Maiolica House in Vienna by
Otto Wagner (1898) File:Otto-Wagner-Pavillon Wien.jpg|
Karlsplatz Stadtbahn Station in Vienna by Wagner (1899) Penzing (Wien) - Kirche am Steinhof (2).JPG|
Church of St. Leopold in Vienna by Wagner (1903–1907) File:Otto Wagner Kirche, Wien (02).jpg|Interior of the Church of St. Leopold, with altarpiece by
Leopold Forstner File:20120923 Brussels PalaisStoclet Hoffmann DSC06725 PtrQs.jpg|
Stoclet Palace in
Brussels by
Josef Hoffmann (1905–1911)
Vienna became the centre of a distinct variant of Art Nouveau, which became known as the
Vienna Secession. The movement took its name from
Munich Secession established in 1892. Vienna Secession was founded in April 1897 by a group of artists that included
Gustav Klimt,
Koloman Moser,
Josef Hoffmann,
Joseph Maria Olbrich,
Max Kurzweil,
Ernst Stöhr, and others. he joined the movement soon after its inception to follow his students Hoffmann and Olbrich. His major projects included several stations of the urban rail network (the
Stadtbahn), the
Linke Wienzeile Buildings (consisting of Majolica House, the House of Medallions and the house at Köstlergasse). The Karlsplatz Station is now an exhibition hall of the
Vienna Museum. The
Kirche am Steinhof of Steinhof Psychiatric hospital (1904–1907) is a unique and finely crafted example of Secession religious architecture, with a traditional domed exterior but sleek, modern gold and white interior lit by abundance of modern stained glass. In 1899
Joseph Maria Olbrich moved to
Darmstadt Artists' Colony, in 1903
Koloman Moser and
Josef Hoffmann founded the
Wiener Werkstätte, a training school and workshop for designers and craftsmen of furniture, carpets, textiles and decorative objects. In 1905 Koloman Moser and
Gustav Klimt separated from Vienna Secession, later in 1907 Koloman Moser left
Wiener Werkstätte as well, while its other founder Josef Hoffmann joined the
Deutscher Werkbund. It was designated as a
World Heritage Site by
UNESCO in June 2009.
Hungarian Szecesszió File:Museum of Applied Arts. Main facade from south. BudapestDSCN3639.jpg|
Museum of Applied Arts in
Budapest by
Ödön Lechner (1893–1896) File:Földtani intézet - Budapest.jpg|
Geological Museum of Budapest by Lechner (1898–99) File:Cifrapalota Kecskemét Zsolnay.JPG|Façade detail of
Cifrapalota in
Kecskemét (1902) File:Budapest, Szervita tér 3.jpg|Mosaic on the façade of building in Budapest by
Miksa Róth (1906) File:Four Seasons Gresham Palace Hotel - Facade - Pest Side - Budapest - Hungary.jpg|Relief on the façade of
Gresham Palace in Budapest by
Géza Maróti (1906) File:Black Eagle Palace, Oradea, Romania, 2020.jpg|Black Eagle Palace in Oradea, today in Romania, at that time part of the Austro-Hungarian Empire, by Marcell Komor and
Dezső Jakab (1907–08) File:Timisoara, Casa Brück.jpg|
Brück House in
Timișoara, today in Romania (1911). Along with
Oradea, Timișoara is part of the Art Nouveau European Route File:Gróf Palace in Szeged (2).JPG|
Gróf Palace in
Szeged by Ferenc Raichle (1913) File:Budapest, Visegrádi utca 29, 28.jpg|Spitzer house in Budapest The pioneer and prophet of the ('Secession' in Hungarian), the architect
Ödön Lechner, created buildings which marked a transition from historicism to modernism for Hungarian architecture. His idea for a Hungarian architectural style was the use of
architectural ceramics and oriental motifs. In his works, he used pygorganite placed in production by 1886 by
Zsolnay Porcelain Manufactory. include the
Museum of Applied Arts (1893–1896), other building with similar distinctive features are
Geological Museum (1896–1899) and The Postal Savings Bank building (1899–1902), all in
Budapest. However, due to the opposition of Hungarian architectural establishment to Lechner's success, he soon was unable to get new commissions comparable to his earlier buildings. His most notable buildings include the Roman Catholic Church in
Zebegény (1908–09), pavilions for the Budapest Municipal Zoo (1909–1912) and the Székely National Museum in Sepsiszentgyörgy (now
Sfântu Gheorghe, Romania, 1911–12). File:Pax, received silver medal of the Paris World Exhibiton in 1900.jpg|
Pax, mosaic by
Miksa Róth, which received the silver medal at the Paris World Exhibition in 1900 File:Ödön faragó e jozsef sandor per cooperativa bùtorcsanok, studio, budapest 1901, 07.jpg|Cabinet by Ödön Faragó, from Budapest (1901) File:Window with flower motives from the Villa Alpár.jpg|Window with flower motives from the Villa Alpár in Budapest, by Miksa Róth (1903) The movement that promoted Szecesszió in arts was
Gödöllő Art Colony, founded by
Aladár Körösfői-Kriesch, also a follower
John Ruskin and
William Morris and a professor at the Royal School of Applied Arts in
Budapest in 1901. Its artists took part in many projects, including the
Franz Liszt Academy of Music in Budapest. An associate to Gödöllő Art Colony,
Miksa Róth was also involved in several dozen Szecesszió projects, including Budapest buildings including
Gresham Palace (stained glass, 1906) and (mosaics, 1906) and also created mosaics and stained glass for
Palace of Culture (1911–1913) in Marosvásárhely. A notable furniture designer is who combined traditional popular architecture, oriental architecture and international Art Nouveau in a highly picturesque style. , another Hungarian designer, had a much more sober and functional style, made of oak with delicate traceries of ebony and brass.
Secession in Bohemia, Moravia and Slovakia File:Secesní budova Hlavního nádraží.jpg|
Praha hlavní nádraží railway station by
Josef Fanta (1901–1909) File:Skalica Spolkovy dom.jpg|Cultural House in
Skalica by
Dušan Jurkovič (1905) File:Divadlo (Prostějov- czech republic).jpg|
National House in
Prostějov by
Jan Kotěra (1905–1907) File:Jugendstil Prag Gemeindehaus 1.jpg|
Municipal House in
Prague by
Osvald Polívka and Antonín Balšánek (1905–1912) File:The Municipal House (Obecni Dum) ceiling, Prague - 8906.jpg|Frescoes of Municipal House by
Alphonse Mucha File:St Vitus Prague September 2016-22.jpg|Stained glass window of
St. Vitus Cathedral in Prague by Mucha File:Prague Praha 2014 Holmstad Praha - huset - house Art Nouveau jugend Narodni Trida 7 - 12.jpg|Ceramic relief of Viola Theater in Prague by
Ladislav Šaloun File:Prague - Nová radnice.jpg|
New City Hall of Prague by Polívka (1908–1911) The most notable Secession buildings in Prague are examples of
total art with distinctive architecture, sculpture and paintings.
The main railway station (1901–1909) was designed by
Josef Fanta and features paintings of
Václav Jansa and sculptures of
Ladislav Šaloun and
Stanislav Sucharda along with other artists. The
Municipal House (1904–1912) was designed by
Osvald Polívka and Antonín Balšánek, painted by the Czech painter
Alphonse Mucha and features sculptures of
Josef Mařatka and
Ladislav Šaloun. Polívka, Mařatka, and Šaloun simultaneously cooperated in the construction of
New City Hall (1908–1911) along with
Stanislav Sucharda, and Mucha later painted
St. Vitus Cathedral's stained glass windows in his distinctive style. The most important Czech architect of this period was
Jan Kotěra, who studied in Vienna under Otto Wagner. His best-known works are the Peterka House at 12 Wenceslas Square in Prague (1899–1900), the
National House in
Prostějov (1905–1907) and the
Museum of Eastern Bohemia in
Hradec Králové (1909–1912). Many important Vienesse architects were born in
Moravia or
Austrian Silesia, like
Josef Hoffmann,
Hubert Gessner,
Joseph Maria Olbrich and
Leopold Bauer. The style of combining Hungarian Szecesszió and national architectural elements was typical for a
Slovak architect
Dušan Jurkovič. His most original works are the Cultural House in Szakolca (now
Skalica in
Slovakia, 1905), the buildings of spa in
Luhačovice (now Czech Republic) in 1901–1903 and 35 war cemeteries near
Nowy Żmigród in
Galicia (now Poland), most of them heavily influenced by local Lemko (
Rusyn) folk art and carpentry (1915–1917).
Secession in Galicia File:Palace of Art, façade, 1898 design. Franciszek Mączyński and Jacek Malczewski, 4 Szczepański Square, Old Town, Kraków, Poland.jpg|
Palace of Art in
Kraków by
Franciszek Mączyński (1898–1901) – southern façade File:Pałac Sztuki (Palace of Art), 1898 design. by Franciszek Mączyński, 4 Szczepański Square, Old Town, Kraków, Poland.jpg|Palace of Art in Kraków by Mączyński (1898–1901)eastern façade File:Pod Globusem (Under the Globe) house, 1904 design. Franciszek Mączyński and Tadeusz Stryjeński, 11 Basztowa Street, Kraków, Poland.jpg|House Under the Globe in Kraków by Mączyński and
Tadeusz Stryjeński (1904–05) File:Kraków ul. Długa 1. Dom Izby Przemysłowo-Handlowej A 318 w2.jpg|Interior of the House Under the Globe in Kraków by
Józef Mehoffer File:Головний залізничний вокзал (Львів) P1900308.jpg|
Lviv railway station by
Władysław Sadłowski (1899–1904) File:Bielsko-Biała, Frog House.jpg|
Frog House in
Bielsko-Biała by Emanuel Rost (1903) File:Bielsko-Biała - Cathedral of St. Nicholas (02).jpg|
Saint Nicholas' Cathedral in Bielsko-Biała by
Leopold Bauer (1909–10) File:Jozef Mehoffer - Witraz - MNK IV-Sz-2346 (20635).jpg|
Vita somnium breve, stained glass by Mehoffer (1895), in the
National Museum in Kraków File:Krakow Medical Society house, Apollo-stained glass window design by Stanisław Wyspiański, 4 Radziwillowska street, Krakow, Poland.jpg|
Apollo (System Copernicus), stained glass by
Stanisław Wyspiański, House of the Medical Society in Kraków (1905) File:Kazimierz Stabrowski, Paw - portret Zofii z Jakimowiczów Borucińskiej.jpg|
Peacock. Portrait of Zofia Borucińska by
Kazimierz Stabrowski (1908) File:Kazimierz Sichulski - The Hutsul Madonna triptych, 1909.jpg|
The Hutsul Madonna triptych by
Kazimierz Sichulski (1909), in the
Österreichische Galerie Belvedere,
Vienna File:Pollera Hotel, stained glass window I, ca. 1900 design. by Stanisław Wyspiański, 30 Szpitalna street, Old Town, Kraków, Poland.jpg|"Iris" stained glass window,
Kraków, Pollera Hotel, 30 Szpitalna Street () The most important centres of Secession in
Galicia were
Kraków,
Lviv and
Bielsko-Biała. The most important example of the style in Kraków is the
Palace of Art (1898–1901), designed by
Franciszek Mączyński under the influence of the
Secession Hall in Vienna. Other important works Mączyński designed in Kraków together with
Tadeusz Stryjeński: the
House Under the Globe (1904–1905) and the
Old Theater (1903–1906). The most important interior designers were
Stanisław Wyspiański and
Józef Mehoffer, who designed many stained glass windows and building interiors. The most important work of the former are the stained glasses in the
Franciscan Church and in the House of the Krakow Medical Society (1905) and of the latter in the interior of the
House Under the Globe. In Lviv the most important architect was
Władysław Sadłowski, who studied in Vienna and was influenced by
Otto Wagner. He designed the
Lviv railway station (1899–1904), the
Lviv's Philharmonic (1905–1908), and the
Industrial School (1907–1908). Other important architected, also inspired by Wagner, was
Ivan Levynskyi. One of the most famous buildings in Bielsko-Biała is the so-called
Frog House by Emanuel Rost (1903). Other important examples of Secession were designed by Vienesse architects:
Max Fabiani, the author of the house at 1 Barlickiego Street (1900) as well as
Leopold Bauer, who designed the house at 51 Stojałowskiego Street (1903) and the rebuilding of the
Saint Nicholas' Cathedral (1909–10).
Secession in Slovenia, Bosnia, Croatia and Trieste File:Sarajevo - Art Nouveau building.JPG|
Ješua D. Salom Mansion in
Sarajevo by
Josip Vancaš (1901) File:Ljubljana Grand Hotel Union on Miklosiceva street.jpg|
Grand Hotel Union in
Ljubljana by Vancaš (1902–03) File:Alojz Bastl- Vjekoslav Bastl- Kuća Kallina 1903-4. Masarykova 21-23 - Gundulićeva 23.jpg|
Kallina House in
Zagreb by
Vjekoslav Bastl (1903–04) File:Ljubljana BW 2014-10-09 12-22-15.jpg|Hauptmann Building in Ljubljana by
Ciril Metod Koch (1904) File:Piazza della Borsa 7 (IMG 20211010 081811).jpg|Bartoli House in
Trieste by
Max Fabiani (1906) File:Sarajevo Central Post Office.JPG|Central Post Office in Sarajevo by Vancaš (1907–1913) File:Archivo Nacional, Zagreb, Croacia, 2014-04-13, DD 01.JPG|
Croatian State Archives in Zagreb by
Rudolf Lubinski (1911–1913) The most prolific
Slovenian Secession architect was
Ciril Metod Koch. He studied at
Otto Wagner's classes in Vienna and worked in the Laybach (now
Ljubljana,
Slovenia) City Council from 1894 to 1923. After the earthquake in Laybach in 1895, he designed many secular buildings in Secession style that he adopted from 1900 to 1910: File:Constanța Casino 2025 (54606449888).jpg|
Constanța Casino in
Constanța by
Daniel Renard and
Petre Antonescu (1905–1910) File:72-74 Strada Lipscani, Bucharest (01).jpg|Mixed with Beaux-Arts architecture - Former Al. Assan shop (
Strada Lipscani no. 72–74) in Bucharest, unknown architect (before 1906) File:9 Strada Biserica Amzei, Bucharest (01).jpg|Mixed with Beaux-Arts architecture - Mița the Cyclist House in Bucharest by Nicolae C. Mihăescu (1908), mix of Beaux Arts and Art Nouveau Art Nouveau appeared in Romania during the same years as in Western Europe (early 1890s until the outbreak of World War I in 1914), but here few of the buildings are in this style, the
Beaux-Arts style being predominant. The most famous is the
Constanța Casino. Most of the Romanian examples of Art Nouveau architecture are actually mixes of Beaux Arts and Art Nouveau, like the Romulus Porescu House or house no. 61 on Strada Vasile Lascăr, both in Bucharest. This is similar to what was happening in France, where eclecticism was more popular, pure Art Nouveau buildings and structures being relatively rare. Despite most houses from the reign of Carol I being Beaux-Arts, some of them have Art Nouveau stoves inside, since the style of the exterior did not always dictate that of the stove or the entire interior. Stefan Luchian - Tanara - desen pentru coperta revistei Ileana.jpg|
Young woman by
Ștefan Luchian, drawing for the cover of
Ileana magazine (1900) Stefan luchian, pannello decorativo con primavera, 1901.JPG|
Spring, decorative panel by Luchian (1901) Allegorical Scene (Woman with Lyre - Allegory of Music), by Nicolae Vermont, 1903.jpg|
Woman with Lyre (Allegory of Music) by
Nicolae Vermont (1903) Elena Alexandrina Bednarik - Zâna apelor.jpg|
The Water Fairy by
Elena Alexandrina Bednarik (1908) File:Art Nouveau polychrome tiled stove in the Mița the Cyclist House, Bucharest (04).jpg|Stove in the
Mița the Cyclist House (Strada Biserica Amzei no. 9), Bucharest, possibly designed by
Nicolae C. Mihăescu (1908) One of the most notable Art Nouveau painters from Romania was
Ștefan Luchian, who quickly took over the innovative and decorative directions of Art Nouveau for a short period of time. This period coincided with the founding of the Ileana Society in 1897, of which he was a founding member, a society that organized an exhibition at the Union Hotel titled
The Exhibition of Independent Artists (1898) and published the
Ileana Magazine.
Transylvania has examples of both Art Nouveau and Romanian Revival buildings, the former being from the Austro-Hungarian era. Most of them can be found in
Oradea, nicknamed the "Art Nouveau capital of Romania", but also in
Timișoara,
Târgu Mureș and
Sibiu.
Stile Liberty in Italy File:
Villino Florio in
Palermo by
Ernesto Basile (1899–1902) File:20161207 Palazzo Castiglioni.jpg|
Palazzo Castiglioni in
Milan by
Giuseppe Sommaruga (1901–1903) File:Leonardo Bistolfi - Prima Esposizione Internazionale d’Arte Decorativa Moderna, Torino 1902.jpg|Poster for the
1902 Turin Exposition by
Leonardo Bistolfi File:Cobra Chair and Writing Desk..jpg|
Cobra chair and desk by
Carlo Bugatti (1902), in the
Brooklyn Museum, New York City File:Malpighi12 cancello1.JPG|Entrance of
Casa Guazzoni in Milan by Giovanni Battista Bossi (1904–1906) Art Nouveau in Italy was known as , , and especially .
Liberty style took its name from
Arthur Lasenby Liberty and the store he founded in 1874 in London,
Liberty department store, which specialised in importing ornaments, textiles and art objects from Japan and the Far East, and whose colourful textiles which were particularly popular in Italy. Notable Italian designers in the style included
Galileo Chini, whose ceramics were often inspired both by
majolica patterns. He was later known as a painter and a theatrical scenery designer; he designed the sets for two celebrated Puccini operas
Gianni Schicchi and
Turandot. Colorful frescoes, painted or in ceramics, and sculpture, both in the interior and exterior, were a popular feature of Liberty style. They drew upon both classical and floral themes. as in the baths of Acque della Salute, and in the Casa Guazzoni in Milan. The most important figure in
Liberty style design was
Carlo Bugatti, the son of an architect and decorator, as well as the father of the Liberty sculptor
Rembrandt Bugatti, and of the automobile designer
Ettore Bugatti. He studied at the
Milanese Academy of Brera, and later the in Paris. His work was distinguished by its exoticism and eccentricity, included silverware, textiles, ceramics, and musical instruments, but he is best remembered for his innovative furniture designs, shown first in the 1888 Milan Fine Arts Fair. His furniture often featured a keyhole design, and had unusual coverings, including parchment and silk, and inlays of bone and ivory. It also sometimes had surprising organic shapes, copied after snails and cobras.
Art Nouveau and Secession in Serbia File:Pančevo Banka2.JPG|Pučka Bank in
Pančevo by
Albert Kálmán Kőrössy and Ullmann Gyula (1868) File:Zgrada Ministarstva prosvete u Beogradu - 0035.JPG|
House of Vuk's Foundation in
Belgrade by
Aleksandar Bugarski (1879) File:Jodna banja u Novom Sadu 2022.jpg|Iodine Spa in
Novi Sad (1897) File:Wiki.Vojvodina VII Subotica 4599 03.jpg|
Subotica Synagogue by Marcell Komor and
Dezső Jakab (1901) File:Centar I, Subotica, Serbia - panoramio (3).jpg|
Raichle's Palace in
Subotica (1904) File:Small Bridge in Zrenjanin, Serbia..jpg|
Karađorđević Bridge (previously named Franz Josef Bridge) in
Zrenjanin (1904) File:Sinagoga u Novom Sadu.JPG|
Novi Sad Synagogue by
Lipót Baumhorn (1905) File:Beograd Kuca trgovca Stamenkovica Kralja Petra 41.jpg|
Building of Merchant Stamenković in Belgrade by Nikola Nestorović and Andra Stevanović (1907) File:Hotel Moskva (Belgrade).jpg|
Hotel Moskva in Belgrade by Jovan Ilkić (1908) File:Novisad7.jpg|Menrat's Palace in Novi Sad by
Lipót Baumhorn (1908) File:Centar I, Subotica, Serbia - panoramio (4).jpg|Subotica City Hall by
Dezső Jakab (1910) File:House of Mika Alas in 2020 (2).jpg|
Mika Alas's House in Belgrade by
Petar Bajalović (1910) Due to the close proximity to Austria–Hungary and
Vojvodina being part of the empire until 1918, both the Vienna Secession and Hungarian Szecesszió were prevalent movements in what is today's northern Serbia, as well as the Capital of
Belgrade. Famous Austrian and Hungarian architects would design many buildings in
Subotica,
Novi Sad,
Palić,
Zrenjanin,
Vrbas,
Senta, and
Kikinda. Art Nouveau heritage in
Belgrade,
Pančevo,
Aranđelovac, and
Vrnjačka Banja are a mixture of French, German, Austrian, Hungarian, and local Serbian movements. From the curvy floral beauty of the Subotica's Synagogue to the Morava-style inspired rosettes on Belgrade's telegraph building, Art Nouveau architecture takes various shapes in present-day Serbia. In the early 1900s, north of the Sava and the Danube, resurgent Hungarian national sentiment infused the buildings in
Subotica and
Senta with local floral ethnic motifs, while in the tiny Kingdom of Serbia, national romantics like Branko Tanezević and Dragutin Inkiostiri-Medenjak (both born in the Austro-Hungarian Empire), translated Serbia's traditional motifs into marvellous buildings. Other architects, like Milan Antonović and Nikola Nestorović brought the then-fashionable sinuous lines and natural motifs to the homes and businesses of their wealthy patrons, so they could show off their worldliness and keeping up with the trends in Paris, Munich and Vienna.
Modernismo and Modernisme in Spain File:El Capricho Gaudí 02.jpg|
El Capricho de Gaudí in
Comillas,
Cantabria, by
Antoni Gaudí (1883–1885) File:Σαγράδα Φαμίλια 2941.jpg|
Sagrada Família basilica in
Barcelona by Gaudí (1883–) File:17-12-03-Hospital de Sant Pau (BCN) Pavelló de Sant Rafael-RalfR-DSCF0580.jpg|
Hospital de Sant Pau by
Lluis Domenech i Montaner (1901–1930) File:Gaudi Casa Batllo 02.jpg|
Trencadís façade of
Casa Batlló in Barcelona by Gaudí and
Josep Maria Jujol (1904–1906) File:Casa Milà, general view.jpg|
Casa Milà in Barcelona by Gaudí (1906–1912) File:PiC-casaTerrades-RI 51 0004201-0002.jpg|
Casa de les Punxes in Barcelona by
Josep Puig i Cadafalch (1905) File:Casa Gallardo.jpg|
Casa Gallardo in
Madrid by Federico Arias Rey (1911–1914) File:Santuario Novelda.jpg| in
Novelda,
Valencian Community (1918–1946) A highly original variant of the style emerged in
Barcelona,
Catalonia, at about the same time that the Art Nouveau style appeared in Belgium and France. It was called in Catalan and
Modernismo in Spanish. Its most famous creator was
Antoni Gaudí. Gaudí used floral and organic forms in a very novel way in
Palau Güell (1886–1890). He integrated crafts as
ceramics,
stained glass,
wrought ironwork
forging and
carpentry into his architecture. In his
Güell Pavilions (1884–1887) and then
Parc Güell (1900–1914) he also used a new technique called
trencadís, which used waste ceramic pieces. His designs from about 1903, the
Casa Batlló (1904–1906) and
Casa Milà (1906–1912), Later structures such as
Sagrada Família combined Art Nouveau elements with revivalist
Neo-Gothic. Another major modernista was
Josep Puig i Cadafalch, who designed the
Casa Martí and its café, the Casimir Casaramona textile factory (now the
CaixaFòrum art museum), Casa Macaya,
Casa Amatller, the Palau del Baró de Quadras (housing Casa Àsia for 10 years until 2013) and the ('House of Spikes'). A
distinctive Art Nouveau movement was also in the
Valencian Community. Some of the notable architects were Demetrio Ribes Marco,
Vicente Pascual Pastor,
Timoteo Briet Montaud, and
José María Manuel Cortina Pérez. Valencian Art Nouveau defining characteristics are a notable use of ceramics in decoration, both in the façade and in ornamentation, and also the use of Valencian regional motives. Another remarkable variant is the
Madrilenian Art Nouveau or , with such notable buildings as the
Longoria Palace, the
Casino de Madrid or the
Cementerio de la Almudena, among others. Renowned modernistas from Madrid were architects
José López Sallaberry,
Fernando Arbós y Tremanti and . File:Ramon Casas - Ramon Casas and Pere Romeu on a Tandem - Google Art Project.jpg|
Ramon Casas and Pere Romeu on a Tandem by
Ramon Casas (1897) File:El Petó Perdut. Lambert Escaler i Milà.JPG|Sculpture of polychrome terracota by (1902) File:140 La sardana, plafó de marqueteria de Gaspar Homar.jpg|Furniture by (1903) File:Gaudi-prie-dieu.jpg|
Prie Dieu, or prayer desk, designed by
Antoni Gaudí for
Casa Batlló (1904–1906) File:Palau de la Música Catalana-1.jpg|Stained glass ceiling of
Palau de la Música Catalana by Antoni Rigalt (1905–1908) File:Detall dels vitralls del palau de l'Exposició de València.jpg|Window of the Palace of the Valencian Regional Exposition, in
Valencia (1908) The movement left a wide art heritage including drawings, paintings, sculptures, glass and metal work, mosaics, ceramics, and furniture. A part of it can be found in
Museu Nacional d'Art de Catalunya. Inspired by a Paris café called
Le Chat Noir, where he had previously worked, decided to open a café in Barcelona that was named (Four Cats in Catalan). The café became a central meeting point for Barcelona's most prominent figures of
Modernisme, such as
Pablo Picasso and
Ramon Casas i Carbó who helped to promote the movement by his posters and postcards. For the café he created a picture called
Ramon Casas and Pere Romeu on a Tandem that was replaced with his another composition entitled
Ramon Casas and Pere Romeu in an Automobile in 1901, symbolizing the new century.
Antoni Gaudí designed furniture for many of the houses he built; one example is an armchair called the
for the Battle House. He influenced another notable Catalan furniture designer, (1870–1953) who often combined marquetry and mosaics with his furnishings.
Arte Nova in Portugal File:PRO ARTE (23943640572).jpg|
Museum-Residence Dr. Anastácio Gonçalves in
Lisbon (1904–05) File:A Livraria Lello e Irmão-A ponte de encanto.jpg|
Livraria Lello bookstore in
Porto (1906) File:Aveiro Casa do Major Pessoa 856.jpg|Façade of Major Pessoa Residence in
Aveiro (1907–1909) File:Porta Assimétrica Casa do Major Pessoa.jpg|Atrium of Major Pessoa Residence File:Avenida Almirante Reis n 2 (fachada L Intendente) 7146.jpg|Details of Almirante Reis, 2-2K building in Lisbon (1908) File:Azulejo Casa da Cooperativa Agrícola em Aveiro.jpg|Ceramic tile of Cooperativa Agrícola in Aveiro (1913) The Art Nouveau variant in
Aveiro (Portugal) was called
Arte Nova, and its principal characteristic feature was ostentation: the style was used by bourgeoisie who wanted to express their wealth on the façades while leaving the interiors conservative. Another distinctive feature of Arte Nova was the use of locally produced tiles with Art Nouveau motifs. Some of them are the
Museum-Residence Dr. Anastácio Gonçalves by (1904–1905) in
Lisbon,
Café Majestic by (1921) and
Livraria Lello bookstore by (1906), both in
Porto.
Jugendstil in the Nordic countries Finland File:Lart nouveau à Helsinki limmeuble Pohjola (7624127520).jpg|Main entrance of the
Pohjola Insurance building in
Helsinki, sculptures by
Hilda Flodin (1899–1901) File:Tampere Cathedral.jpg|
Tampere Cathedral in the Finnish
National Romantic Style by
Lars Sonck (1902–1907) File:Gallen-Kallela - Tuonelan joella.JPG|
By the River of Tuonela in the Finnish
National Romantic Style by
Akseli Gallen-Kallela (1903) File:Eliel saarinen, sedia con braccioli, helsinki 1907-08 ca.JPG|Chair by
Eliel Saarinen (1907–1908) File:Estación central de FF.CC. de Helsinki, Finlandia, 2012-08-14, DD 04.JPG|Statues at
Helsinki Central railway station by
Emil Wikström (1919) Art Nouveau was popular in the
Nordic countries, where it was usually known as
Jugendstil, and was often combined with the
National Romantic Style of each country. The Nordic country with the largest number of Jugendstil buildings is the
Grand Duchy of Finland, then a part of
Russian Empire. The Jugendstil period coincided with
Golden Age of Finnish Art and national awakening. After
Paris Exposition in 1900 the leading Finnish artist was
Akseli Gallen-Kallela. He is known for his illustrations of the
Kalevala, the Finnish national epic, as well as for painting numerous Judendstil buildings in the Duchy. The architects of the Finnish pavilion at the Exposition were
Herman Gesellius,
Armas Lindgren, and
Eliel Saarinen. They worked together from 1896 to 1905 and created many notable buildings in
Helsinki including
Pohjola Insurance building (1899–1901) and
National Museum of Finland (1905–1910) as well as their joint residence
Hvitträsk in
Kirkkonummi (1902). Architects were inspired by Nordic legends and nature, rough granite façade thus became a symbol for belonging to the Finnish nation. After the firm dissolved, Saarinen designed the
Helsinki Railway Station (1905–1914) in clearer forms, influenced by American architecture.
Norway File:Lars kinsarvik, poltroncina, norvegia ante 1900, 02.JPG|Viking-Art Nouveau chair by Lars Kinsarvik (1900) File:Jugendstilsenteret.jpg|
Art Nouveau Centre in
Ålesund (1905–1907) File:Norges kongesagaer-Tittelblad 1914-utgave-G. Munthe.jpg|Graphic design by
Gerhard Munthe (1914) File:JS Spisestue.jpg|Interior of Art Nouveau Centre in Ålesund File:Ornaments from a door (8474785119).jpg|Ornaments of a door in Art Nouveau Centre in Ålesund Norway also was aspiring independence (from Sweden) and local Art Nouveau was connected with a revival inspired by
Viking folk art and crafts. Notable designers included Lars Kisarvik, who designed chairs with traditional Viking and
Celtic patterns, and
Gerhard Munthe, who designed a chair with a stylised dragon-head emblem from ancient Viking ships, as well as a wide variety of posters, paintings and graphics. The Norwegian
town of Ålesund is regarded as the main centre of Art Nouveau in Scandinavia because it was completely reconstructed after a fire of 23 January 1904. About 350 buildings were built between 1904 and 1907 under an urban plan designed by the engineer Frederik Næsser. The merger of unity and variety gave birth to a style known as Ål Stil. Buildings of the style have linear decor and echoes of both Jugendstil and vernacular elements, e.g. towers of
stave churches or the crested roofs. and former City Library (now
Danish National Business Archives) in
Aarhus, Denmark (1898–1901). The architect of the latter is
Hack Kampmann, then a proponent of
National Romantic Style who also created
Custom House,
Theatre and
Villa Kampen in
Aarhus. Denmark's most notable Art Nouveau designer was the silversmith
Georg Jensen. The
Baltic Exhibition in Malmö 1914 can be seen as the last major manifestation of the Jugendstil in Sweden.
Modern in Russia File:Fabergé egg Rome 03.JPG|An Art Nouveau
Fabergé egg (1898) File:Firebird.jpg|Illustration of the
Firebird by
Ivan Bilibin (1899) File:Sergueï vassilievitch malioutine per manifatture di talachkino, coppia di sedie, smolensk 1900 ca.JPG|Chairs by
Sergey Malyutin (), Talashkino Art Colony File:Bogatyr fireplace (M.Vrubel, GTG) by shakko.jpg|Ceramic fireplace on Russian folklore theme by
Mikhail Vrubel (1908) File:Scheherazade (Rimsky-Korsakov) 02 by L. Bakst 2.jpg|Set for
Nikolai Rimsky-Korsakov's ballet
Sheherazade by
Léon Bakst (1910) File:Bakst Nizhinsky.jpg|Program design for
Afternoon of a Faun by Bakst for
Ballets Russes (1912) ('Modern') was a very colourful Russian variation of Art Nouveau which appeared in Moscow and
Saint Petersburg in 1898 with the publication of a new art journal, (
Mir Iskusstva, 'The World of Art'), by Russian artists
Alexandre Benois and
Léon Bakst, and chief editor
Sergei Diaghilev. The magazine organized exhibitions of leading Russian artists, including
Mikhail Vrubel,
Konstantin Somov,
Isaac Levitan, and the book illustrator
Ivan Bilibin. The World of Art style made less use of the vegetal and floral forms of French Art Nouveau; it drew heavily upon the bright colours and exotic designs of Russian folklore and fairy tales. The most influential contribution of the
Mir Iskusstva was the creation of a new ballet company, the , headed by Diaghilev, with costumes and sets designed by Bakst and Benois. The new ballet company premiered in Paris in 1909, and performed there every year through 1913. The exotic and colourful sets designed by Benois and Bakst had a major impact on French art and design. The costume and set designs were reproduced in the leading Paris magazines, , and , and the Russian style became known in Paris as . The company was stranded in Paris first by the outbreak of World War I, and then by the
Russian Revolution in 1917, and ironically never performed in Russia. Of Russian architects, the most prominent in the pure Art Nouveau style was
Fyodor Schechtel. The most famous example is the
Ryabushinsky House in Moscow. It was built by a Russian businessman and newspaper owner, and then, after the
Russian Revolution, became the residence of the writer
Maxim Gorky, and is now the
Gorky Museum. Its main staircase, made of a polished aggregate of concrete, marble and granite, has flowing, curling lines like the waves of the sea, and is illuminated by a lamp in the form of a floating jellyfish. The interior also features doors, windows and ceiling decorated with colorful frescoes of mosaic. Schechtel, who is also considered a major figure in
Russian symbolism, designed several other landmark buildings in Moscow, including the rebuilding of the
Moscow Yaroslavsky railway station, in a more traditional Moscow revival style. File:Wiki Metropol Hotel Moscow Artwork 2.jpg|Façade of the
Hotel Metropol in
Moscow with mosaics by
Mikhail Vrubel (1899–1907) File:Особняк Рябушинского02.JPG|
Ryabushinsky House in Moscow by
Fyodor Schechtel (1900) File:Moscow. Ryabushinsky House. Interiors. Main stairs - 028.JPG|Main staircase of
Ryabushinsky House in Moscow by Schechtel (1900) File:Teremok (Talashkino; 2013-11-10) 02.JPG|Teremok House in
Talashkino, a
Russian Revival work by
Sergey Malyutin (1901–02) File:Церковь во имя Святого Духа (1903-1906).jpg|Holy Spirit Church in Talashkino by Malyutin (1903–1906) File:Singer House SPB 01.jpg|
Singer House in
Saint-Petersburg by
Pavel Suzor (1904) File:Singer House Saint Petersburg bronze decoration detail.jpg|
Cartouche with a
mascaron, on the façade of the Singer House File:Moscow 05-2012 PertsovaHouse.jpg|Pertsova House in Moscow by Malyutin (1905–1907) File:Belmond Grand Hotel Europe Saint Petersburg Dining room stained glass.jpg|Dining room of the
Grand Hotel Europe in Saint Petersburg (1910) Other Russian architects of the period created
Russian Revival architecture, which drew from historic
Russian architecture. These buildings were created mostly in wood, and referred to the
Architecture of Kievan Rus'. One example is the Teremok House in
Talashkino (1901–1902) by
Sergey Malyutin, and Pertsova House (also known as Pertsov House) in Moscow (1905–1907). He also was a member of
Mir iskusstva movement. The
Saint Petersburg architect
Nikolai Vasilyev built in a range of styles before emigrating in 1923. This building is most notable for stone carvings made by Sergei Vashkov inspired by the carvings of
Cathedral of Saint Demetrius in
Vladimir and
Saint George Cathedral in Yuryev-Polsky of the 12th and 13th centuries. Another example of this Russian Revival architecture is the
Marfo-Mariinsky Convent (1908–1912), an updated Russian Orthodox Church by
Alexey Shchusev, who later, ironically, designed
Lenin's Mausoleum in Moscow. Several art colonies in Russia in this period were built in the
Russian Revival style. The two best-known colonies were
Abramtsevo, funded by
Savva Mamontov, and
Talashkino,
Smolensk Governorate, funded by
Princess Maria Tenisheva.
Ukrainian Modern architecture File:Будинок земства P1230868 пл. Конституції, 2.jpg|
Zemstvo Building in
Poltava by Vasyl Krychevskyi (1903–1908) File:1. Львів поліклініка — Будинок.JPG|Dnister credit society building in
Lviv by
Ivan Levynskyi (1905–06) File:Київ, Паньківська вул., 8.jpg|Building on Pankivska Street, 8 in
Kyiv by Mykola Shekhonin (1909–1914) File:Albashy station.jpg|Albashy railway station in
Krasnodar Krai, Southern Russia (historic
Kuban region) by Serhiy Tymoshenko (1910) File:BudynokHrennikova01.jpg|
Khrennikov House (now Hotel Ukraine) in
Dnipro by P. Fetisov and L. Khoinovskyi (1910–1913), detail File:Земська двокомплектна школа. Село Кізлівка. 1912 р..jpg|Zemstvo school in Kizlivka,
Poltava Oblast by Opanas Slastion (1912) File:Художнє училище 1913р., вул. Червонопрапорна, 8, м.Харків.JPG|
Kharkiv State Academy of Design and Arts (1913) Early 20th-century architecture in Ukrainian lands (southwestern part of the Russian Empire,
Eastern Galicia,
Bukovina and
Transcarpathia in Austria-Hungary) developed under the influence of
Ukrainian folk architecture, as well as trends of European Art Nouveau, such as
Zakopane Style. Ukrainian "modern" architecture first came to prominence in
Poltava Governorate, where its most active promoters were
Vasyl Krychevskyi and
Opanas Slastion. In the late 1900s and early 1910s, a number of buildings in what was then known simply as "Ukrainian style" were constructed in
Kyiv,
Kharkiv,
Odesa,
Katerynoslav and a number of other places in the Russian Empire. In
Western Ukraine, which was at that time part of Austria-Hungary, the
local Ukrainian style was influenced by
Hutsul architecture, as well as Western European trends and influences from
Great Ukraine.
Jūgendstils (Art Nouveau in Riga) File:Riga Elizabetes ielā 10b,.JPG|Façade of house at Elizabetes ielā, 10b, by
Mikhail Eisenstein (1903) File:Shell (45628779401).jpg|Stairway in Pēkšēns House by
Konstantīns Pēkšēns (1903), now hosting Riga Jūgendstils museum File:Riga, Vilandes 10 (3) 2014-03-13.jpg|National Romantic decoration on a house built by Pēkšēns (1908) File:Ministry of Education and Science of Latvia.jpg|Ministry of Education, built by Edgar Friesendorf (1911)
Riga, the present-day capital of
Latvia, was at the time one of the major cities of the
Russian Empire.
Art Nouveau architecture in Riga nevertheless developed according to its own dynamics, and the style became overwhelmingly popular in the city. Soon after the Latvian Ethnographic Exhibition in 1896 and the Industrial and Handicrafts Exhibition in 1901, Art Nouveau became the dominant style in the city. Thus Art Nouveau architecture accounts for one-third of all the buildings in the centre of Riga, making it the city with the highest concentration of such buildings anywhere in the world. The quantity and quality of Art Nouveau architecture was among the criteria for including Riga in
UNESCO World Cultural Heritage. There were different variations of Art Nouveau architecture in Riga: • in Eclectic Art Nouveau, floral and other nature-inspired elements of decoration were most popular. Examples of that variation are works of
Mikhail Eisenstein, • in Perpendicular Art Nouveau, geometrical ornaments were integrated into the vertical compositions of the façades. Several department stores were built in this style, and it is sometimes also referred to as "department store style" or in German, • National Romantic Art Nouveau was inspired by local folk art, monumental volumes and the use of natural building materials. Some later
Neo-Classical buildings also contained Art Nouveau details.
Style Sapin in La Chaux-de-Fonds, Switzerland File:Cdffallet.jpg|
Villa Fallet with fir-inspired decoration by
Le Corbusier (1904–05) File:La-Chaux-de-Fonds-crematoire-interieur-4.jpg|Crematorium (1908–1910), interior, with stylised fir tree design on ceiling. The
symbolist murals by L'Epplattenier were added later. File:La-Chaux-de-fonds-architecture-detail-1.jpg|Crematorium, with stylised
sapin or pine cone detail File:La-Chaux-de-fonds-architecture-detail-2.jpg|Crematorium, with pine cone detail A variation called ('Fir-tree Style') emerged in
La Chaux-de-Fonds in the
Canton of Neuchâtel in Switzerland. The style was launched by the painter and artist
Charles l’Eplattenier and was inspired especially by the , '
fir tree', and other plants and wildlife of the
Jura Mountains. One of his major works was the crematorium in the town, which featured triangular tree forms, pine cones, and other natural themes from the region. The style also blended in the more geometric stylistic elements of
Jugendstil and
Vienna Secession. Another notable building in the style is the
Villa Fallet La Chaux-de-Fonds, a chalet designed and built in 1905 by a student of L'Eplattenier, the eighteen-year-old
Le Corbusier. The form of the house was a traditional Swiss
chalet, but the decoration of the façade included triangular trees and other natural features. Le Corbusier built two more chalets in the area, including the Villa Stotzer, in a more traditional chalet style.
Tiffany Style and Louis Sullivan in the United States File:Wainright 6.jpg|Windows of the
Wainwright Building in
St. Louis, Missouri, by
Louis Sullivan (1891) File:Tiffany Chapel from HABS crop.jpg|
Tiffany Chapel from the
1893 Word's Columbian Exposition, now in the
Charles Hosmer Morse Museum of American Art in
Winter Park, Florida File:Vase by Louis Comfort Tiffany, 1893-1896 - Cincinnati Art Museum - DSC04306.JPG|Glass vase by
Louis Comfort Tiffany (1893–1896), now in the
Cincinnati Art Museum File:The Century Magazine- Midsummer Holiday Number MET DT8268.jpg|
Century Magazine, poster by
Louis John Rhead (1894) File:Prudential Guaranty Building 02.jpg|Detail of the
Prudential (Guaranty) Building in
Buffalo, N.Y., by Sullivan (1896) File:Carson, Pirie, Scott and Company Building 1 South State Street entrance.jpg|
South State Street entrance to the
Carson, Pirie, Scott and Company Store in
Chicago, Illinois, by Sullivan (1899) File:Wade Chapel stained glass window.jpg|The
Flight of Souls window by Tiffany won a gold medal at the 1900 Paris Exposition File:Wisteria Tiffany Studios Lamp (cropped).jpg|Wisteria lamp by Tiffany (), in the
Virginia Museum of Fine Arts File:2017BankOwatonnaMN.jpg|
National Farmer's Bank of Owatonna by Sullivan (1907–08) File:Louis c. tiffany, veduta di osyster bay, 1908.JPG|Tiffany window in his house at
Oyster Bay, N.Y. (1908) In the United States, the firm of
Louis Comfort Tiffany played a central role in American Art Nouveau. Born in 1848, he studied at the
National Academy of Design in New York City, began working with glass at the age of 24, entered the family business started by his father, and in 1885 set up his own enterprise devoted to fine glass, and developed new techniques for its colouring. In 1893, he began making glass vases and bowls, again developing new techniques that allowed more original shapes and colouring, and began experimenting with decorative window glass. Layers of glass were printed, marbled and superimposed, giving an exceptional richness and variety of colour in 1895 his new works were featured in the Art Nouveau gallery of Siegfried Bing, giving him a new European clientele. After the death of his father in 1902, he took over the entire Tiffany enterprise, but still devoted much of his time to designing and manufacturing glass art objects. At the urging of
Thomas Edison, he began to manufacture electric lamps with multicoloured glass shades in structures of bronze and iron, or decorated with mosaics, produced in numerous series and editions, each made with the care of a piece of jewellery. A team of designers and craftsmen worked on each product. The Tiffany lamp in particular became one of the icons of the Art Nouveau, but Tiffany's craftsmen designed and made extraordinary windows, vases, and other glass art. Tiffany's glass also had great success at the
1900 Exposition Universelle in Paris; his stained glass window called the
Flight of Souls won a gold medal. The Columbian Exposition was an important venue for Tiffany; a chapel he designed was shown at the Pavilion of Art and Industry. The Tiffany Chapel, along with one of the windows of Tiffany's home in New York, are now on display at the
Charles Hosmer Morse Museum of American Art in
Winter Park, Florida. Another important figure in American Art Nouveau was the architect
Louis Sullivan. Sullivan was a leading pioneer of American modern architecture. He was the founder of the
Chicago School, the architect of some of the first skyscrapers, and the teacher of
Frank Lloyd Wright. His most famous saying was "Form follows function." While the form of his buildings was shaped by their function, his decoration was an example of American Art Nouveau. At the 1893
World's Columbian Exposition in Chicago, most famous for the neoclassical architecture of its renowned
White City, he designed a spectacular Art Nouveau entrance for the very functional Transportation Building. While the architecture of his
Carson, Pirie, Scott and Company Building (1899) (now the
Sullivan Center) was strikingly modern and functional, he surrounded the windows with stylised floral decoration. He invented equally original decoration for the
National Farmer's Bank of Owatonna, Minnesota (1907–1908) and the Merchants' National Bank in Grinell, Iowa. He invented a specifically American variety of Art Nouveau, declaring that decorative forms should oscillate, surge, mix and derive without end. He created works of great precision which sometimes combined Gothic with Art Nouveau themes. Also worth noting are the
Uhl brothers from Toledo, Ohio, who set new standards in metal furniture production with their designs for the
Toledo Metal Furniture Co. Art Nouveau in Argentina File:Entrance_of_Casa_de_los_lirios,_Buenos_Aires..jpg|alt=Entrance of Casa de los lirios, by Eduardo Rodríguez Ortega in Buenos Aires (1905). It features a black door made of metallic irises flowers, behind is the marble staircase and a wooden door, both in curvy organic shapes, behind that is the lift.|Entrance of Casa de los lirios in
Buenos Aires by Eduardo Rodríguez Ortega (1905) File:No_Hi_Ha_Somnis_Impossibles,_Art_Nouveau_building_in_Buenos_Aires_City,_by_Eduardo_Rodriguez_Ortega_(1907).jpg|alt=No Hi Ha Somnis Impossibles building by Eduardo Rodriguez Ortega in Buenos Aires (1907)|No Hi Ha Somnis Impossibles building in Buenos Aires by Eduardo Rodriguez Ortega (1907) File:Entre luces y colores.jpg|Stained glass and sculptures by Ercole Pasina in Calise House in Buenos Aires (1911) File:Cúpula_y_boveda_de_Galería_Güemes.jpg|
Galería Güemes in Buenos Aires by
Francesco Gianotti (1914) File:Confitería_del_Molino_in_2022.jpg|alt=Confitería del Molino by Francesco Gianotti in Buenos Aires (1916). 5 floors building on a corner with pointy dome covered in stained glass "petals" with a windmill at the centre.|
Confitería del Molino in Buenos Aires by Francesco Gianotti (1916) File:Club Español Rosario 2.jpg|Metal work, ceramics and statues at the façade of in
Rosario (1912) File:Palacio_Cabanellas_3.jpg|Palacio Cabanellas in Rosario by Francesc Roca i Simó (1916) File:Palacio_Barolo_Dramatic.jpg|
Palacio Barolo in Buenos Aires by
Mario Palanti (1923) Flooded with European immigrants, Argentina welcomed all artistic and architectural European styles, including Art Nouveau. There was an environment of huge investments and flexible rules for construction, which encouraged young architects from Europe to come and grow their portfolio to later go back to Europe. As a result of this, Argentina became the country outside of Europe with most art nouveau buildings. Cities with the most notable Art Nouveau heritage in Argentina are
Buenos Aires,
Rosario and
Mar del Plata. Paris was a prototype for Buenos Aires with the construction of large boulevards and avenues in the 19th century. His (1912) features one of the largest stained glass windows in Latin America produced (as well as tiling and ceramics) by the local firm Buxadera, Fornells y Cía. The sculptor of the building is Diego Masana from Barcelona. File:Teatro Faenza.JPG|
Faenza Theatre in
Bogotá, Colombia (1924) As in Argentina, Art Nouveau in other countries was mostly influenced by foreign artists: • Spaniards were behind Art Nouveau projects in
Havana, Cuba, they were even not qualified enough to be called architects. Spaniards were not directly involved in works in
Ponce, Puerto Rico but were an inspiration and a subject of study for local architects in the development of local styles such as
Ponce Creole, • French were behind Art Nouveau in
Tunisia (that was a
French protectorate then), • Germans were behind Jugendstil heritage of
Lüderitz, Namibia;
Qingdao, China, • Italians were behind Art Nouveau in
Valparaíso, Chile;
Montevideo, Uruguay;
Rio de Janeiro, Brazil, • Russians were behind Art Nouveau heritage of
Harbin, China, • Art Nouveau Heritage in Lima consists of work of Italians Masperi brothers, French architect
Claude Sahut and British masters of stained glass •
Palacio de Bellas Artes in Mexico City was a result of the cooperation of Italians (architect
Adamo Boari and sculptor
Leonardo Bistolfi), local architect , Hungarian artists
Aladár Körösfői-Kriesch,
Géza Maróti and
Miksa Róth, Catalan sculptor
Agustí Querol Subirats and French master
Edgar Brandt. Art Nouveau motifs can also be found in
French Colonial artchitechture throughout
French Indochina. A notable art movement called
Bezalel school appeared in the
Palestine region in dating to the late Ottoman and
British Mandate periods. It has been described as "a fusion of
oriental art and Jugendstil." Several artists associated with the Bezalel school were noted for their Art Nouveau style, including
Ze'ev Raban,
Ephraim Moses Lilien and
Abel Pann. ==Characteristics, decoration and motifs==