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[ 0 => '[[File:Jugend_magazine_cover_1896.jpg|thumb|Jugend magazine]]', 1 => false, 2 => 'The Jugendstil , equivalent in Germany of the Art Nouveau , is an international modernist artistic movement embracing all the disciplines at the end of the 19th century. The German-speaking peoples, or in this sphere of influence, also used other terms at that time, such as Reformstil or Secessionsstil , to identify this " end of the century " aesthetic .', 3 => false, 4 => '[[Image:Otto Fischer Alte Stadt 1896.jpg|thumb|Poster by Otto Fischer for the Dresden Exhibition in 1896.]]', 5 => '[[Image:MusikzimmerHausBehrensSchiedmayer.jpg|thumb| Music room of the Behrens house in Darmstadt (1901).]]', 6 => '[[Image:Internationale Kunstausstellung Muenchen 1897.jpg|thumb|Poster by Franz von Stuck for the VIIth Secession of Munich (1897]]', 7 => '[[Image:Praha lucerna passage.JPG|thumb|The Lucerna passage in Prague]]', 8 => '[[Image:Rudolf Witzel-Deutsche-Kunst und Dekoration.jpg|thumb| Affiche de [[Josef Rudolf Witzel|J. R. Witzel]]Poster by JR Witzel for the Munich magazine Deutsche-Kunst und Dekoration (1898).]]', 9 => '== History ==', 10 => 'Jugendstil which means youth style which was started in the 1890s and had ended after the first world war in Southern Germany. It was formed by Georg Hirth who was the editor in chief and one of the people who formed the Magazine Munchner Jugend (Jugend Magazine, created in January 1896), which from the beginning welcomed artists and critics defending the new style. He was more of an intellectual then an actual artist and a real major artist who had joined the magazine was Emil Hansen. The term is also used in the Netherlands , Scandinavia and the Baltic countries.', 11 => false, 12 => 'This modernity, which affects and transforms both architecture and the decorative arts , took off in certain German regions in the early 1890s, when an aesthetic battle was waged between conservatives or traditionalists, and the progressives, open to new trends such as Impressionism , Symbolism , Japonism , and, paradoxically, to the ideas developed by Arts & Crafts , born of a reaction on the industrialization of the means of production affecting notably the craft.', 13 => false, 14 => 'These trends emerged between 1875 and 1890. They are noticeably slower in Germany than in Great Britain or France, for example. The German Art Nouveau allows both the emergence of strong individualities and mass production<ref>Klaus-Jürgen Sembach (2007), ''op. cit.''.</ref>. Links are formed between visual artists such as Fritz von Uhde , Wilhelm Trübner , Franz von Stuck , and Eugene Spiro , all of different origins and different backgrounds, but refusing the ambient conformism. Thus, Von Uhde, after a stay in Paris, opened a school in Munich , where he met Franz von Stuck. The latter, one of the initiators of the Munich Secession of 1892 , will form Eugene Spiro. A frequent traveler, Trübner first settled in Frankfurt , while maintaining strong ties with Berlin , where he actively participated in the Berliner Secession (1899).', 15 => false, 16 => 'Open to all these artists, the founder of Jugend , Georg Hirth, believes that the art nouveau begins in Germany with the opening in April 1897 of the Leipzig fair<ref>Georg Hirth, ''Wege zur Freiheit'', Verlag der Münchner Jugend, 1903.</ref>, the "Industrial and Commercial Exhibition of Saxony and Thuringia "( Sächsisch-Thüringische Industrie- und Gewerbeausstellung ). This one allowed to discover the architectural experiments of Paul Möbius (1866-1907) and a monumental fresco of Max Klinger , which provoked a controversy but allowed to establish definitively the élan modernist in the opinion. In addition to the industrial-type developments that are put forward, the presence of a certain " Viennese spirit" is evident. The Austrohungarian capital is then the theater of a real revolution, the " Secession ". The big cities of the German Empire, such as Munich , Karlsruhe , Dresden , Berlin and Leipzig , are open to change and organize many similar events, generating a strong emulation. The influence of major international exhibitions such as those of Barcelona (1888) , Paris (1889) or Chicago (1893) is indisputable, because they encourage the exchange of ideas and feed a competitive spirit, not only in terms of industrial and commercial, but also aesthetically.', 17 => false, 18 => 'In terms of ideas, other magazines that Jugend put forward reformist currents and modernists in art in general, such as Pan , Simplicissimus , Deutsche-Kunst and Dekoration or Dekorative Kunst launched by the architect Hermann Muthesius and Julius Meier -Graefe . It was to open in Paris in 1900 a store specializing in decoration and furniture, La Maison Moderne . These magazines advocated new concepts on architecture, drawing, decoration, everyday objects. Young artists like Otto Fischer made their debut, and their greatest feathers were Hermann Obrist and August Endel . Muthesius, promoter of the ideas of William Morris , initiated in 1907 the Deutscher Werkbund with Peter Behrens ; its influence was felt at the time of the emergence of the Bauhaus . Expressionism owes a lot to this movement.', 19 => false, 20 => 'The German aristocracy did not remain insensitive to this "new art": true promoter of the Jugendstil, Prince Ernest-Louis of Hesse meets decorators in England and engages them for his palace of Darmstadt . In 1899 , they founded a colony of artists named Mathildenhöhe including Joseph Maria Olbrich , Peter Behrens and Bernhard Hoetger . In Karlsruhe, Hermann Billing opens an architectural practice that soon shines throughout Germany. In addition, the Belgian architect Henry Van de Velde had a decisive influence.', 21 => false, 22 => 'It was German designers who spread Art Nouveau in Rīga , a city that became an example for Latvia , with the achievements of the architect Mikhail Eisenstein.', 23 => false, 24 => '== Style == ', 25 => 'Jugendstil was also another form of Art Nouveau and it was similar to the idea of Art Nouveau but they had slightly different characteristics to their style such as that Jugendstil included mythological creatures and religious aspects in its posters and design work but there were still some aspects of Art Nouveau such as long elongated flowery aspects, flatness in terms of colour and the long elongated wispy lines the only differences were that Jugendstil was more geometrically formed. Magazine covers exhibit aspects of jugendstil with florally wispy lines such as the jesters hat as he is riding the horse looking back at the people he had just pushed and ”ran over” with the horse, the edges of his hat are accentuated then normal and curved into florally wispy lines. In the first poster there also exhibits Art Nouveau/Jugendstil as there are aspects of flowers being used to chain the man together. The typography used for the title of the Jugendstil is also very flowy and similar to Art Nouveau principles and typography but has a more Geometric neater style to it. This is where the similarities of Art Nouveau and Jugendstil stop, as Jugendstil depicts mythological creatures such as the first magazine cover with the Cherub Angel pulling the flowers tightening its hold over the Man or in the second poster where the Jester riding the horse has ran over two men who seem to be prominent figures either in Politics or as judges because of their wigs which was well known to be used by these people.This shows the Mythological aspects to Jugendstil which differentiates it from Art Nouveau because Art Nouveau depicted women with more renaissance like qualities and in a very ethereal light with borders of flowers surrounding these women and in certain cases there were some exceptions but the subject was always a woman depicting them in a very feminine light.<ref>https://sophietabonehistory.wordpress.com/2016/02/03/jugendstil/</ref>', 26 => false, 27 => '== Notable members ==', 28 => '{{Div col|colwidth=22em}}', 29 => '*[[Jānis Alksnis]]', 30 => '*[[Peter Behrens]]', 31 => '*[[Hans Eduard von Berlepsch-Valendas]]', 32 => '*[[Otto Julius Bierbaum]]', 33 => '*[[Hermann Billing]]', 34 => '*[[Hans Christiansen]]', 35 => '*[[Wilhelm Lucas von Cranach]]', 36 => '*[[Lovis Corinth]]', 37 => '*[[Robert Curjel]]', 38 => '*[[Fritz Drechsler]]', 39 => '*[[Martin Dülfer]]', 40 => '*[[Otto Eckmann]]', 41 => '*[[Mikhaïl Eisenstein]]', 42 => '*[[Céramiques Elchinger|Léon Elchinger]]', 43 => '*[[August Endel]]', 44 => '*[[Frank Eugene]]', 45 => '*[[Theodor Fahrner]]', 46 => '*[[Otto Fischer (peintre)|Otto Fischer]]', 47 => '*[[Friedrich Goldscheider]]', 48 => '*[[Josef Goller]]', 49 => '*[[Ludwig Habich]]', 50 => '*[[Emil Franz Hänsel]]', 51 => '*[[Bruno Héroux]]', 52 => '*[[Hermann Hirzel]] ', 53 => '*[[Bernhard Hoetger]]', 54 => '*[[Adolfo Hohenstein]]', 55 => '*[[Patriz Huber]]', 56 => '*[[Gustav Kampmann]]', 57 => '*[[Max Klinger]]', 58 => '*[[Karl Koepping]]', 59 => '*[[Theodor von Kramer]]', 60 => '*[[Alfred Kusche]]', 61 => '*[[Max Laeuger]]', 62 => '*[[Paul Lange (architecte)|Paul Lange]] ', 63 => '*[[Walter Leistikow]] ', 64 => '*[[Max Liebermann]] ', 65 => '*[[Ephraim Moses Lilien]]', 66 => '*[[Wilhelm List (peintre)|Wilhelm List]]', 67 => '*[[Julius Meier-Graefe]]', 68 => '*[[Jean Mich]]', 69 => '*[[Paul Möbius]]', 70 => '*[[Otto Modersohn]]', 71 => '*[[Paula Modersohn-Becker]]', 72 => '*[[Bruno Möhring]] ', 73 => '*[[Karl Moser]] ', 74 => '*[[Albin Müller]]', 75 => '*[[Hermann Muthesius]]', 76 => '*[[Hermann Obrist]]', 77 => '*[[Viktor Olíva]]', 78 => '*[[Karl Ernst Osthaus]]', 79 => '*[[Konstantīns Pēkšēns]]', 80 => '*[[Bernhard Pankok]]', 81 => '*[[Bruno Paul]]', 82 => '*[[Alfred Pellon]]', 83 => '*[[Maxmilián Pirner]]', 84 => '*[[Max Pommer]] ', 85 => '*[[Franz Rank]]', 86 => '*[[Fritz Rehm]]', 87 => '*[[Karel Reisner]]', 88 => '*[[Richard Riemerschmid]]', 89 => '*[[Josef Kaspar Sattler]]', 90 => '*[[Hugo Schaper]] ', 91 => '*[[Erich Schilling]]', 92 => '*[[Léo Schnug]]', 93 => '*[[Charles Spindler]]', 94 => '*[[Franz von Stuck]]', 95 => '*[[Wilhelm Trübner]]', 96 => '*[[Fritz von Uhde]]', 97 => '*[[Henry Van de Velde]]', 98 => '*[[Heinrich Vogeler]]', 99 => '*[[Clara Westhoff]]', 100 => '*[[Josef Rudolf Witzel]]', 101 => '{{div col end}}', 102 => false, 103 => '== Literature ==', 104 => '* Hans H. Hofstätter, ''Jugendstil et Art Nouveau - Œuvres graphiques'', Paris, Albin Michel, 1985 {{ISBN|978-2226024756}}.', 105 => '* Marie Gispert, ''Utopie et révolte : La gravure allemande du Jugendstil au Bauhaus dans les collections publiques françaises'', Strasbourg, Éditions des Musées de Strasbourg, 2006 {{ISBN|978-2351250372}}.', 106 => '* Klaus-Jürgen Sembach, ''Jugendstil'', Cologne, Taschen, 2007 {{ISBN|978-3-8228-2971-4}}.' ]