In fact, it was often excessively overdone (particularly in many unexecuted designs by Wagner´s students), attaining extremes of lavish opulence. Olbrich (1897-1898) strongly shows the influence of this style, despite its elaborate floral ornamentation.įor some time, ornament remained an important element of outer architectural surfaces. The geometrical variant of art nouveau preferred in Austria is characterised by clear and for the most part symmetrically arranged structures and spaces, precise axes, and well-organised spacial structuring often combined with a predilection for flat roofs. The school of Otto Wagner, which exercised a determining influence in architecture, employed more austere, classical lines, influenced to a certain extent by the popular architecture of Mediterranean regions. In contrast to the western countries, Vienna had no exclusive exponent of floral art nouveau. Whereas Prague, Budapest, and Ljubljana absorbed new influences (such as those from Paris, Brussels, or Berlin) fairly directly, and gave Jugendstil a strong national character, in Vienna the brisk influx of artists from all parts of the empire led to the development of an 'international' artistic style. In the centres of the Austro-Hungarian Empire, the new ideas flourished and were exchanged. The goal was a synthesis of the arts under the supremacy of architecture. Painting, architecture, and handicrafts were to be once again correlated both formally and conceptually in a closely-knit relationship that was not determined by industrial mass production. Following the English example, one of the new ideals was a focus on arts and crafts (quality work with a limited number of pieces of each article) as well as the attempt to coordinate industrial production and handwork. Its goals were to oppose the conservatism of the academies and to provide an alternative to the traditional ideas represented by the Vienna Künstlerhaus. The Vienna Secession was modelled after the Munich Sezession (1892) and the Berlin Sezession (1893). This transition phase, which, in Vienna in the 1890´s, began in part with the establishment of the Secession (1897), was the start of a rapid and independent artistic development which was to gain great international significance. Makart was much admired, there was also a demand for freshness and unceasing renewal, and a conscious orientation to the latest developments in England, France, Belgium, and Germany.

At the same time, while the quality of the work of artists such as H.

The transition from the 19 th to the 20 th century in Austria was characterised to a great extent by an uncompromising rejection of the superficiality of mass-produced art. The span of Jugendstil ranges from simple household articles to large-sized wall mosaics, from jewellery and glass design to architecture. Late phase of historicism and transition to Modernism. Jugendstil (art nouveau, modern style), style of art at the turn of the 20 th century, in Austria closely associated with the Vienna Secession and Wiener Werkstätte. Jugendstil: Front view of Hotel Wiesler in Graz. Jugendherbergen - Jüngling vom Magdalensberg (7/25)

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Vienna secession and jugendstil group