Editing Jugendstil (section)

=== Henry van de Velde and Weimar ===
<gallery heights="220" widths="220" perrow="3">
File:Kunstpalast, Raum 6 Henry Van de Velde Zimmer, Foto Otto Renard, 1902.jpg|Interior of Room 6 of the Arts Palace, Düsseldorf by [[Henry van de Velde]] (1902)
File:Deep plate by Henry van de Velde, Meissen factory, 1903, porcelain with blue underglaze and gold decoration - Hessisches Landesmuseum Darmstadt - Darmstadt, Germany - DSC00722.jpg|Porcelain plate by Henry van de Velde for [[Meissen porcelain|Meissen]] factory (1903) (Darmstadt Museum)
File:Henry van de velde per theodor müller, terrina (1905-06 ca.) e coltello da caviale (1903), argento, weimar.JPG|Silver terrine by Henry van de Velde (1905–06)
</gallery>The city of [[Weimar]] was another important center of the ''Jugendstil'', thanks largely to the Belgian architect and designer [[Henry van de Velde]]. Van de Velde had played an important role in the early Belgian Art Nouveau, building his own house and decorating it in Art Nouveau style, with the strong influence of the British [[Arts and Crafts Movement]]. He was a known in Germany for his work in Belgium and Paris, and began a new career in Dresden in 1897, with a display at the Dresden Exposition of decorative arts. His work became known in Germany through decorative arts journals, and he received several commissions for interiors in Berlin, for a villa in [[Chemnitz]], the [[Folkwang Museum]] in [[Hagen]], and the Nietzsche House in [[Weimar]] for [[Elisabeth Förster-Nietzsche]], the sister of philosopher [[Friedrich Nietzsche]]. He settled in Weimar in 1899 and produced a wide variety of decorative works, including silverware and ceramics, all in strikingly original forms. His silverware was particularly unusual: each piece had its own form, with sleek curving lines, but together they formed a harmonious ensemble. In 1902, he decorated the apartment of Count [[Harry Graf Kessler|Harry Kessler]], a prominent patron of the Impressionist painters.<ref>Sembach (1991), pp. 132–134</ref>

In 1905, with the patronage of the Grand Duke of Weimar, he created the Grand Ducal School of Arts and Crafts in Weimar. He created a showcase of applied arts for the Dresden Exposition of Applied Arts in 1906, decorated with paintings by [[Ludwig von Hofmann]], intended as the main room of a new museum of decoration in Weimar. He transposed the characteristics of his silverware, dishes, and furniture into the architecture. Van de Velde left off the curling vegetal lines of Art Nouveau decoration and replaced them with much simpler, more stylized curves which were part of  the structure of his buildings and decorative works.<ref>Sembach (1991), pp. 132–134</ref>

The importance of Weimar as a cultural center of the ''Jugendstil'' was ended in 1906, when its main patron, Count Harry Kessler, commissioned [[Rodin]] to make a nude statue for the Grand Duke. The Grand Duke was scandalized, and Kessler was forced to resign. The Weimar school of design lost its importance until 1919, when it returned as the [[Bauhaus]] under [[Walter Gropius]], and played a major part in the emergence of [[modern architecture]].<ref>Sembach (1991), p. 139</ref>