Art Nouveau is an international style of art, architecture, and applied art, especially the decorative arts. The style is known by different names in different languages: Jugendstil in German, Stile Liberty in Italian, Modernisme in Catalan, and also known as the Modern Style in English. It was popular between 1890 and 1910 during the Belle Époque period, and was a reaction against the academic art, eclecticism and historicism of 19th century architecture and decoration. It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces.
Jugendstil was an artistic movement, particularly in the decorative arts, that was influential primarily in Germany and elsewhere in Europe to a lesser extent from about 1895 until about 1910. It was the German counterpart of Art Nouveau. The members of the movement were reacting against the historicism and neo-classicism of the official art and architecture academies. It took its name from the art journal Jugend, founded by the German artist Georg Hirth. It was especially active in the graphic arts and interior decoration.
Josef Albers was a German-born artist and educator. The first living artist to be given a solo show at MoMA and at the Metropolitan Museum of Art in New York, he taught at the Bauhaus and Black Mountain College, headed Yale University's department of design, and is considered one of the most influential teachers of the visual arts in the twentieth century.
Samuel Siegfried Bing, who usually gave his name as S. Bing, was a German-French art dealer who lived in Paris as an adult, and who helped introduce Japanese art and artworks to the West and was a factor in the development of the Art Nouveau style during the late nineteenth century.
Henry Clemens van de Velde was a Belgian painter, architect, interior designer, and art theorist. Together with Victor Horta and Paul Hankar, he is considered one of the founders of Art Nouveau in Belgium. He worked in Paris with Samuel Bing, the founder of the first gallery of Art Nouveau in Paris. Van de Velde spent the most important part of his career in Germany and became a major figure in the German Jugendstil. He had a decisive influence on German architecture and design at the beginning of the 20th century.
Hagen Hauptbahnhof is a railway station serving the city of Hagen in western Germany. It is an important rail hub for the southeastern Ruhr area, offering regional and long distance connections. The station was opened in 1848 as part of the Bergisch-Märkische Railway Company's Elberfeld–Dortmund line and is one of the few stations in the Ruhr valley to retain its original station hall, which dates back to 1910.
Karl Ernst Osthaus was an important German patron of avant-garde art and architecture.
Heinrich Mathias Ernst Campendonk was a painter and graphic designer born in Germany who became a naturalized Dutch citizen.
Alfred Manessier was a non-figurative French painter, stained glass artist, and tapestry designer, part of the new School of Paris and the Salon de Mai.
Brian Clarke is a British painter, architectural artist and printmaker, known for his large-scale stained glass and mosaic projects, symbolist paintings, set designs, and collaborations with major figures in Modern and contemporary architecture.
Dieterich Spahn was a German-born American artist working in the fields of stained glass and painting. In a career spanning more than four decades he produced roughly 370 stained glass commissions for places of worship, hospitals, universities and private residences throughout the United States. In addition to stained glass, Spahn continues to explore new media and techniques with his painting.
Wilhelm Peter Hubert Fick, called Willy Fick, was a German graphic artist born in Cologne. He belonged to the Dada movement, and in 1919 became a founding member of the artist circle called Stupid, together with Heinrich Hoerle, Angelika Hoerle (1899–1923), who was the sister of Willy Fick and the wife of Heinrich Hoerle, Anton Räderscheidt, his wife Marta Hegemann, and Franz Wilhelm Seiwert. Fick was a Cologne dadaist from 1916 until 1923 and a scholarship student of Jan Thorn-Prikker at the Cologne School of Applied Arts /Kölner Werkschulen from 1928 until 1931. Duesseldorf art agent Johanna Ey represented his Weimar period works. Many works were destroyed by bombing in World War II but preserved in archival photographs in the Rheinisches Bildarchiv / Rhineland Picture Archive. Fick painted and cartooned until his death in Canada in 1967.
Peter W. Dohmen (1904–1977) was a well-known and highly accomplished German liturgical artist who migrated to the United States with his family after the Second World War. In pre-war Germany, he had won numerous competitions for large frescoes, up to 10 stories high, and art works for public buildings. When he refused several times invitations to become a member of the Nazi party, which recruited accomplished people, he was put on the "black list" and no longer qualified for governmental contracts.
Cornelis van der Sluys was a Dutch furniture and textile designer, interior designer, decorator, glass painter, sculptor, goldsmith, organizer, and publicist.
The Art Nouveau movement of architecture and design first appeared in Brussels, Belgium, in the early 1890s, and quickly spread to France and to the rest of Europe. It began as a reaction against the formal vocabulary of European academic art, eclecticism and historicism of the 19th century, and was based upon an innovative use of new materials, such as iron and glass, to open larger interior spaces and provide maximum light; curving lines such as the whiplash line; and other designs inspired by plants and other natural forms.
Friedrich Deneken was a German art historian and museum director.
The whiplash or whiplash line is a motif of decorative art and design that was particularly popular in Art Nouveau. It is an asymmetrical, sinuous line, often in an ornamental S curve, usually inspired by natural forms such as plants and flowers, which suggests dynamism and movement. It took its name from a woven fabric panel called "Coup de Fouet" ("Whiplash") by the German artist Hermann Obrist (1895) which depicted the stems and roots of the cyclamen flower. The panel was later reproduced by the textile workshop of the Darmstadt Artists Colony.
Divided into three houses, the Kunstmuseen Krefeld are dedicated in particular to modern and contemporary art. Thanks to the early and consistent orientation, especially under the director Paul Wember, an international reputation has been built up since the late 1950s. In addition to the construction of the Kaiser Wilhelm Museum on Joseph-Beuys-Platz as the main building, the museum has presentation venues for special exhibitions in the villa ensemble Haus Lange and Haus Esters on Wilhelmshofallee. Since 1 September 2016, the museums have been headed by Katia Baudin, former deputy director of the Museum Ludwig in Cologne.
Max Creutz was a German art historian and curator of the Museum für Angewandte Kunst Köln and the Kaiser-Wilhelm-Museum in Krefeld where he worked from 1922 until his death. In Cologne, in 1914 he was instrumental in the first exhibition of the Deutscher Werkbund, Deutsche Werkbundausstellung. In Krefeld, he succeeded in acquiring modern art exhibits, including works by Max Ernst, Wassily Kandinsky, and Alexej von Jawlensky. He included a substantial collection of art, crafts and design from the Bauhaus.
Hugo Tutein Nolthenius was a Dutch industrialist and art collector.
