Editing Art Nouveau (section)

==Local variations==
===Art Nouveau in France===
{{Main|École de Nancy|Art Nouveau in Paris}}
<gallery mode="packed" heights="180px">
File:Immeuble art nouveau de Jules Lavirotte à Paris (5519755116).jpg|Façade of the [[Lavirotte Building]] by [[Jules Lavirotte]] at 29, {{lang|fr|avenue Rapp|italic=no}}, [[Paris]] (1901)
File:XDSC 7288-29-av-Rapp-paris-7.jpg|Doorway of the Lavirotte Building, with ceramic sculptures by {{Interlanguage link|Jean-Baptiste Larrivé|fr}}
File:MuchaFouquet3.jpg|Jewellery shop of [[Georges Fouquet]] at 6, {{lang|fr|rue Royale|italic=no}}, 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, France|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, {{lang|fr|place Étienne Pernet|italic=no}}, Paris (1905)
File:La Samaritaine rue de la Monnaie 2.jpg|Façade of [[La Samaritaine]] department store by [[Frantz Jourdain]], {{lang|fr|rue de la Monnaie|italic=no}}, 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)
</gallery>

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, {{lang|fr|avenue Rapp}} (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 [[Rue Royale, Paris|3, ''rue Royale'']], and [[Le Train Bleu (restaurant)|''Le Train bleu'']] at the [[Gare de Lyon]] (1900).{{Sfn|Texier|2012|pp=86–87}}

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 famous 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]].{{Sfn|Lahor|2007|p=104}}<ref>Duncan (1994), p. 37.</ref> Swiss-born [[Théophile-Alexandre Steinlen]] created the famous poster for the Paris [[cabaret]] [[Le Chat Noir|''Le Chat noir'']] in 1896. The [[Czechs|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, France|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 (studio)|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.

<gallery mode="packed" heights="180px">
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 ({{circa|1889}})
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, France|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]] ({{circa|1902}}), in the [[Musée d'Orsay]], Paris
</gallery>

The French style was widely propagated by new magazines, including ''The Studio'', ''Arts et Idées'' and ''Art et Décoration'', whose photographs and colour [[lithograph]]s 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===
{{Main|Art Nouveau in Brussels|Art Nouveau in Antwerp}}
<gallery mode="packed" heights="200px">
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]], {{lang|fr|Plumes de Paon}} ('Peacock Feathers'), belt buckle (1898)
File:Old England facade, Brussels (DSCF7544).jpg|Former [[Old England (department store)|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|[[Cauchie House|House]] of the architect Paul Cauchie in Brussels, featuring [[sgraffito]] (1905)
</gallery>

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 [[Major town houses of the architect Victor Horta (Brussels)|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.{{Sfn|Fahr-Becker|2015|p=136}} 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.{{Sfn|Fahr-Becker|2015|pp=136–137}}

[[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 {{Interlanguage link|Adolphe Crespin|fr|Adolphe Crespin}} 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, {{lang|fr|rue Defacqz|italic=no}}/{{lang|nl|Defacqzstraat|italic=no}} 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.<ref name=":0" /> Hankar died in 1901, when his work was just receiving recognition.{{Sfn|Fahr-Becker|2015|p=140}}

[[Gustave Strauven]] began his career as an assistant designer working with Horta, before he started his own practice at age 21, making some of the most extravagant Art Nouveau buildings in Brussels. His most famous work is the [[Saint-Cyr House]] at 11, {{lang|fr|square Ambiorix|italic=no}}/{{lang|nl|Ambiorixsquare|italic=no}}. The house is only {{convert|4|m}} wide, but is given extraordinary height by his elaborate architectural inventions. It is entirely covered by [[polychrome]] bricks and a network of curling vegetal forms in [[wrought iron]], in a virtually Art Nouveau-Baroque style.{{sfn|Culot|Pirlot|2005|p=87}}

Other important Art Nouveau artists from Belgium included the architect and designer [[Henry van de Velde]], though the most important part of his career was spent in Germany; he strongly influenced the decoration of the [[Jugendstil]]. Others included the decorator [[Gustave Serrurier-Bovy]], and the graphic artist [[Fernand Khnopff]].<ref name="unesco-horta" />{{Sfn|Lahor|2007|p=91}}<ref>Sterner (1982), pp. 38–42.</ref> 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.{{Sfn|Riley|2004|p=323}}

===''Nieuwe Kunst'' in the Netherlands===
<gallery mode="packed" heights="200px">
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 (Amsterdam)|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, Haarlem|Cathedral of St Bavo]] in [[Haarlem]] by [[Joseph Cuypers]] (1930)
</gallery>

In the Netherlands, the style was known as the {{lang|nl|Nieuwe Stijl}} ('New Style'), or {{lang|nl|Nieuwe Kunst}} ('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]].{{Sfn|Riley|2004|p=323}} It was also influenced by the art and imported woods from [[Indonesia]], then the [[Dutch East Indies]], 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 and to recognize the lie, in order to find the essence and not the illusion."{{Sfn|Fahr-Becker|2015|p=171}} Like [[Victor Horta]] and [[Gaudí]], he was an admirer of architectural theories of [[Viollet-le-Duc]].{{Sfn|Fahr-Becker|2015|p=171}} 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 (art)|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.{{Sfn|Fahr-Becker|2015|pp=170–171}}

Other buildings in the style include the [[American Hotel, Amsterdam|American Hotel]] (1898–1900), also by Berlage; and [[Astoria (Amsterdam)|Astoria]] (1904–1905) by [[Herman Hendrik Baanders]] and [[Gerrit van Arkel]] in [[Amsterdam]]; the [[Haarlem railway station|railway station]] in [[Haarlem]] (1906–1908), and the former office building of the [[Holland America Lines]] (1917) in [[Rotterdam]], now the [[Hotel New York (Rotterdam)|Hotel New York]].

Prominent graphic artists and illustrators in the style included [[Jan Toorop]], whose work inclined toward [[mysticism]] and [[symbolism (arts)|symbolism]], even in his posters for salad oil. In their colors and designs, they also sometimes showed the influence of the art of Java.{{Sfn|Fahr-Becker|2015|pp=170–171}}

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 colors, borrowed from the batik decoration of Java.{{Sfn|Fahr-Becker|2015|pp=166–167}}

===Modern Style and Glasgow School in Britain===
{{Main|Modern Style (British Art Nouveau style)}}
{{See also|Glasgow School}}
<gallery mode="packed" heights="180px">
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 (designer)|Archibald Knox]] for [[Liberty (department store)|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 (architect, born 1873)|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|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)<ref>{{cite book|last1=Hodge|first1=Susie|title=The Short Story of Women Artists|date=2020|publisher=Laurence King Publishing |isbn=978-1786276551|page=21}}</ref>
File:Hill House 7 (37376578142).jpg|Interior hallway view, [[Hill House, Helensburgh|Hill House]], [[Helensburgh]], [[Scotland]], designed and built by [[Blackie and Son|Walter Blackie]] (1902–1904)<ref>{{cite book|last1=Goudie|first1=Lachlan|title=The Story of Scottish Art|date=2020|publisher=Thames & Hudson|isbn=978-0-500-29695-0|page=250}}</ref>
</gallery>

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.<ref>{{cite web|url= https://www.vam.ac.uk/articles/arts-and-crafts-an-introduction|title=V&A · Arts and Crafts: An introduction|access-date=29 February 2020|archive-date=15 February 2020|archive-url= https://web.archive.org/web/20200215174007/https://www.vam.ac.uk/articles/arts-and-crafts-an-introduction|url-status=live}}</ref> 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.<ref>Art Nouveau by Rosalind Ormiston and Michael Robinson, 58</ref>

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 Robert Ashbee|Charles Ashbee]].<ref>{{cite web|url= http://www.huntfor.com/arthistory/c19th/artnouveau.htm|title=Art Nouveau – Art Nouveau Art|date=22 February 2013|url-status = dead|archive-url= https://web.archive.org/web/20130222070337/http://www.huntfor.com/arthistory/c19th/artnouveau.htm|archive-date=22 February 2013}}</ref>

The [[Liberty (department store)|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 [[Isle of Man|Manxman]] (of Scottish descent) [[Archibald Knox (designer)|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, Scotland|Glasgow]], with the creations of [[Charles Rennie Mackintosh]] and the [[Glasgow School]], whose work was inspired by [[Scottish baronial architecture]] and Japanese design.<ref>Art Nouveau by Ormiston and Robinson, 61</ref> 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 major reputation as a furniture designer and decorator, working closely with his wife, [[Margaret Macdonald Mackintosh]], a prominent painter and designer. Together they created striking designs that combined geometric straight lines with gently curving floral decoration, particularly a famous symbol of the style, the Glasgow Rose".{{Sfn|Lahor|2007|p=160}}

[[Léon-Victor Solon]], made an important contribution to Art Nouveau ceramics as art director at Mintons. He specialised in plaques and in [[Tubelining|tube-lined]] vases marketed as "secessionist ware" (usually described as named after the [[Viennese Secession|Viennese art movement]]).<ref>{{cite journal |jstor=41809144 |title=Leon Solon and John Wadsworth |journal=Journal of the Decorative Arts Society |issue=9 |pages=41–49 |date=1985 |last=Muter |first=Grant}}</ref> Apart from ceramics, he designed textiles for the [[Thomas Wardle (industrialist)|Leek silk industry]]<ref>He was commissioned by the Wardle family of dyers and printers, trading as Thomas Wardle & Co, and Bernard Wardle and Co.[http://www.whitworth.manchester.ac.uk/collection/recentprojects/wardle/ The Wardel Pattern Books Revealed]{{webarchive |url= https://web.archive.org/web/20131203044031/http://www.whitworth.manchester.ac.uk/collection/recentprojects/wardle/ |date=3 December 2013}}</ref> and [[doublure (bookbinding)|doublure]]s for a bookbinder (G.T.Bagguley of Newcastle-under-Lyme), who patented the ''Sutherland'' binding in 1895.

[[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 [[Former Everard's Printing Works|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===
{{See also|Jugendstil}}
<gallery mode="packed" heights="180">
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 [[Mathildenhöhe|Darmstadt Artists' Colony]] by [[Joseph Maria Olbrich]] (1900), now hosting Darmstadt Colony Museum
File:Mexikoplatz B-Schlachtensee 06-2017.jpg|[[Berlin Mexikoplatz station|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 [[Bonn tram depot|former tram depot]], now an office building, in [[Bonn]]
</gallery>

German Art Nouveau is commonly known by its German name, {{lang|de|[[Jugendstil]]}}, or 'Youth Style'. The name is taken from the artistic journal, {{lang|de|[[Jugend (magazine)|Jugend]]}} ('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.<ref>A. Philip McMahon, "review of F. Schmalenbach, ''Jugendstil''", ''Parnassus'', vol. 7 (Oct. 1935), 27.</ref> It referred especially to the forms of [[typography]] and [[graphic design]] found in German magazines such as ''[[Jugend (magazine)|Jugend]]'', ''[[Pan (magazine)|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|Naming]] section).<ref name="grove" /><ref>Reinhold Heller, "Recent Scholarship on Vienna's "Golden Age", Gustav Klimt, and Egon Schiele", ''The Art Bulletin'', vol. 59 (Mar. 1977), pp. 111–118.</ref>

In 1892 [[Georg Hirth]] chose the name [[Munich Secession]] for the Association of Visual Artists of [[Munich]]. The [[Vienna Secession]], founded in 1897,<ref name="secession">{{Cite web |url= https://www.secession.at/en/association-of-visual-artists-vienna-secession/ |title=Association of Visual Artists Vienna Secession – Official Website |access-date=16 August 2019 |archive-date=25 April 2019 |archive-url= https://web.archive.org/web/20190425162612/https://www.secession.at/en/association-of-visual-artists-vienna-secession/ |url-status=live}}</ref> and the [[Berlin Secession]] also took their names from the Munich group.

The journals ''Jugend'' and ''[[Simplicissimus]]'', published in Munich, and ''[[Pan (magazine)|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 [[Art exhibition|exhibition]] posters. Designers often created original styles of [[typeface]] that worked harmoniously with the image, e.g. [[Arnold Böcklin (typeface)|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.{{Sfn|Lahor|2007|p=52}} 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.

<gallery mode="packed" heights="180">
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 ({{circa|1900}})
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 Group|WMF]], design no. 232 ({{circa|1906}})
</gallery>

The [[Mathildenhöhe|Darmstadt Artists' Colony]] was founded in 1899 by [[Ernst Ludwig, Grand Duke of Hesse|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 (artist)|Hans Christiansen]]. Ernest Ludwig also commissioned to rebuild the spa complex in [[Bad Nauheim]] at the beginning of century.  A completely new {{Interlanguage link|Sprudelhof|de|Sprudelhof}} complex was constructed in 1905–1911 under the direction of {{Interlanguage link|Wilhelm Jost|de|Wilhelm Jost (Architekt)}} and attained one of the main objectives of Jugendstil: a synthesis of all the arts.<ref>[http://artnouveau.eu/en/city.php?id=8 Bad Nauheim] {{Webarchive|url= https://web.archive.org/web/20190716183217/http://www.artnouveau.eu/en/city.php%3Fid%3D8 |date=16 July 2019}} – Art Nouveau European Route</ref>
Another member of the reigning family who commissioned an Art Nouveau structure was [[Princess Elisabeth of Hesse and by Rhine (1864–1918)|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.<ref>[https://art.nouveau.world/moscow Moscow] {{Webarchive|url= https://web.archive.org/web/20210411172039/https://art.nouveau.world/moscow |date=11 April 2021}} – Art Nouveau World</ref>

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.<ref name="werkbund">{{cite book |last=Junghanns |first=Kurt  |date=1982 |title=Der Deutsche Werkbund. Sein erstes Jahrzehnt|language=de|page=140 |publisher=Henschelverlag Kunst und Gesellschaft |isbn=388520097X}}</ref> Later Belgian [[Henry van de Velde]] joined the movement{{refn|group=nb|Some sources, e.g. Werkbund archive, cite Van de Velde as one of the founding members.<ref>[https://www.museumderdinge.de/deutscher-werkbund/protagonisten/henry-van-de-velde Henry van de Velde] {{Webarchive|url= https://web.archive.org/web/20190808114744/https://www.museumderdinge.de/deutscher-werkbund/protagonisten/henry-van-de-velde |date=8 August 2019}} – Werkbundarchiv</ref>|note}}. The {{Interlanguage link|Grand-Ducal School of Arts and Crafts|de|Kunstgewerbeschule Weimar}}, founded by him in [[Weimar]], was a predecessor of [[Bauhaus]], one of the most influential currents in [[Modern architecture|Modernist architecture]].<ref>{{cite book |editor1-last=Pevsner |editor1-first=Nikolaus |editor2-last=Fleming |editor2-first=John |editor3-last=Honour |editor3-first=Hugh |title=A Dictionary of Architecture and Landscape Architecture |date=1999 |type=Paperback |edition=5th |publisher=Penguin Books |location=London |isbn=978-0-14-051323-3 |page=880}}</ref>

In Berlin, Jugendstil was chosen for the construction of several railway stations. The most notable<ref>[https://art.nouveau.world/berlin Berlin] {{Webarchive|url= https://web.archive.org/web/20210411172053/https://art.nouveau.world/berlin |date=11 April 2021}} – Art Nouveau World</ref> is [[Bülowstraße (Berlin U-Bahn)|Bülowstraße]] by [[Bruno Möhring]] (1900–1902), other examples are [[Berlin Mexikoplatz station|Mexikoplatz]] (1902–1904), [[Berlin Botanischer Garten station|Botanischer Garten]] (1908–1909), [[Berlin-Frohnau station|Frohnau]] (1908–1910), [[Wittenbergplatz (Berlin U-Bahn)|Wittenbergplatz]] (1911–1913) and [[Berlin-Pankow station|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 ''[[Alsace-Lorraine|Reichsland Elsaß-Lothringen]]'') was a specific brand, in that it combined influences from [[Nancy, France|Nancy]] and [[Brussels]], with influences from [[Darmstadt]] and [[Vienna]], to operate a local synthesis which reflected the [[Strasbourg#History|history of the city]] between the Germanic and the French realms.

===Secession in Austria–Hungary===
====Vienna Secession====
{{Main|Vienna Secession}}
<gallery mode="packed" heights="180px">
File:Secession 2016, Vienna.jpg|[[Secession hall (Austria)|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|[[Kirche am Steinhof|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)
</gallery>

[[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.<ref name="secession" /> The painter Klimt became the president of the group. They objected to the conservative orientation toward [[historicism]] expressed by [[Vienna Künstlerhaus]], the official union of artists. The Secession founded a magazine, ''[[Ver Sacrum (magazine)|Ver Sacrum]]'', to promote their works in all media.{{Sfn|Lahor|2007|p=63}} The architect Joseph Olbrich designed the domed Secession building in the new style, which became a showcase for the paintings of Gustav Klimt and other Secession artists.

Klimt became the best-known of the Secession painters, often erasing the border between fine art painting and decorative painting. [[Koloman Moser]] was an extremely versatile artist in the style; his work including magazine illustrations, architecture, silverware, ceramics, porcelain, textiles, stained glass windows, and furniture.

<gallery mode="packed" heights="180px">
File:Ernst Stöhr, Vampir, 1899.png|Vampire in ''[[Ver Sacrum (magazine)|Ver Sacrum]]'', no. 12, p. 8, by [[Ernst Stöhr]] (1899)
File:Dame in Gelb Max Kurzweil 1907.jpg|''Woman in a Yellow Dress'' by [[Max Kurzweil]] (1899)
File:Vetreria johann lötz witwe, coppia di vasi, 1900 ca. 01.jpg|Vase by [[Johann Loetz Witwe]] ({{circa|1900}})
File:Armchair, Der reiche Fischzug (The Rich Catch of Fish) LACMA M.2000.180.39 (2 of 2).jpg|Armchair by [[Koloman Moser]] ({{circa|1900}})
File:Alfred roller, XIV austellung... secession, vienna 1902, 02.jpg|Poster for the 14th Secession Exhibit, by [[Alfred Roller]] (1902)
File:The Kiss - Gustav Klimt - Google Cultural Institute.jpg|''[[The Kiss (Klimt)|The Kiss]]'' by [[Gustav Klimt]] (1907–08)
File:Jugendstilmosaik Hotel Wiesler, Graz 1.jpg|''The Spring'', glass mosaic by [[Leopold Forstner]] in the [[Hotel Wiesler]], [[Graz]]
</gallery>

The most prominent architect of the [[Vienna Secession]] was [[Otto Wagner]],<ref>{{cite web |url= http://artnouveau.eu/upload/magazine_pdf/cdf-27.pdf |title=The "Coup de Fouet" magazine, vol. 27 (2016), pp. 14–25 |access-date=28 July 2019 |archive-date=28 July 2019 |archive-url= https://web.archive.org/web/20190728151903/http://artnouveau.eu/upload/magazine_pdf/cdf-27.pdf |url-status=live}}</ref> 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 [[Vienna Stadtbahn|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.{{Sfn|Lahor|2007|p=120}} 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]].<ref name="werkbund" /> Gustav Klimt and Josef Hoffmann continued collaborating, they organized {{Interlanguage link|Kunstschau Exhibition|de|Kunstschau Wien 1908}} in 1908 in [[Vienna]] and built the [[Stoclet Palace]] in [[Brussels]] (1905–1911) that announced the coming of [[modernist architecture]].<ref name="oudin">Oudin, Bernard, ''Dictionnaire des Architectes'' (1994), pp. 33–34</ref><ref name="sembach">Sembach, ''L'Art Nouveau'' (2013), pp. 203–213</ref> It was designated as a [[World Heritage Site]] by [[UNESCO]] in June 2009.<ref name=stoclet>{{cite web|title=Stoclet House|publisher=[[UNESCO World Heritage Centre]]|date=4 July 2009|url= https://whc.unesco.org/en/list/1298|access-date=24 July 2019|archive-date=21 July 2016|archive-url= https://web.archive.org/web/20160721005708/https://whc.unesco.org/en/list/1298|url-status=live}}</ref>

====Hungarian ''Szecesszió''====
<gallery mode="packed" heights="200px">
File:Museum of Applied Arts. Main facade from south. BudapestDSCN3639.jpg|[[Museum of Applied Arts (Budapest)|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:Török bankhaz 03.JPG|Mosaic on the façade of {{Interlanguage link|Török Bank|fr|Banque Török}} 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<ref>{{cite web |url= http://coupdefouet.es/en/cities.php |title=Cities |work=Art Nouveau European Route}}</ref>
File:Gróf Palace in Szeged (2).JPG|[[Gróf Palace, Szeged|Gróf Palace]] in [[Szeged]] by Ferenc Raichle (1913)
</gallery>

The pioneer and prophet of the {{lang|hu|Szecesszió}} ('Secession' in Hungarian), the architect [[Ödön Lechner]], created buildings which marked a transition from historicism to modernism for Hungarian architecture.<ref name="lechner">{{cite web |url= http://artnouveau.eu/upload/magazine_pdf/cdf-23.pdf |title=The "Coup de Fouet" magazine, vol. 23 (2014), pp. 2–35 |access-date=7 July 2019 |archive-date=14 July 2020 |archive-url= https://web.archive.org/web/20200714050151/http://artnouveau.eu/upload/magazine_pdf/cdf-23.pdf |url-status=live}}</ref>
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|Zsolnay Porcelain Manufactory]].<ref name="lechner" /> This material was used in the construction of notable Hungarian buildings of other styles, e.g. the [[Hungarian Parliament Building]] and [[Matthias Church]].

Works by Ödön Lechner<ref>[https://art.nouveau.world/odon-lechner Ödön Lechner] {{Webarchive|url= https://web.archive.org/web/20210411172053/https://art.nouveau.world/odon-lechner |date=11 April 2021}} – Art Nouveau World</ref> include the [[Museum of Applied Arts (Budapest)|Museum of Applied Arts]] (1893–1896), other building with similar distinctive features are [[Geological Museum (Budapest)|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.<ref name="lechner" /> But Lechner was an inspiration and a master to the following generation of architects who played the main role in popularising the new style.<ref name="lechner" /> Within the process of [[Magyarization]] numerous buildings were commissioned to his disciples in outskirts of the kingdom: e.g. {{Interlanguage link|Marcell Komor|hu|Komor Marcell}} and [[Dezső Jakab]] were commissioned to build the [[Subotica Synagogue|Synagogue]] (1901–1903) and Town Hall (1908–1910) in Szabadka (now [[Subotica]], [[Serbia]]), County Prefecture (1905–1907) and [[Palace of Culture (Târgu Mureș)|Palace of Culture]] (1911–1913) in Marosvásárhely (now [[Târgu Mureș]], [[Romania]]). Later Lechner himself built the [[Blue Church]] in Pozsony (present-day [[Bratislava]], [[Slovakia]]) in 1909–1913.

Another important architect was [[Károly Kós]] who was a follower of [[John Ruskin]] and [[William Morris]]. Kós took the Finnish [[National Romanticism]] movement as a model and the Transylvanian vernacular as the inspiration.<ref>{{cite web |url= http://artnouveau.eu/upload/magazine_pdf/cdf-8.pdf |title=The ''Coup de Fouet'' magazine, vol. 8 (2006), pp. 37–41 |access-date=7 July 2019 |archive-date=23 August 2019 |archive-url= https://web.archive.org/web/20190823093910/http://artnouveau.eu/upload/magazine_pdf/cdf-8.pdf |url-status=live}}</ref> 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).

<gallery mode="packed" heights="200px">
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)
</gallery>

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.<ref>{{cite web |url= http://artnouveau.eu/upload/magazine_pdf/cdf-14.pdf |title=The ''Coup de Fouet'' magazine, vol. 14 (2009), p. 16 |access-date=7 July 2019 |archive-date=16 July 2020 |archive-url= https://web.archive.org/web/20200716050521/http://artnouveau.eu/upload/magazine_pdf/cdf-14.pdf |url-status=live}}</ref> Its artists took part in many projects, including the [[Franz Liszt Academy of Music]] in Budapest.<ref>[https://art.nouveau.world/aladar-korosfoi-kriesch Aladár Körösfői-Kriesch] {{Webarchive|url= https://web.archive.org/web/20210411172053/https://art.nouveau.world/aladar-korosfoi-kriesch |date=11 April 2021}} – Art Nouveau World</ref>

An associate to Gödöllő Art Colony,<ref>[https://journals.ub.uni-heidelberg.de/index.php/icomoshefte/article/download/46884/40389/] {{Webarchive|url=https://web.archive.org/web/20190710203233/https://journals.ub.uni-heidelberg.de/index.php/icomoshefte/article/download/46884/40389/|date=10 July 2019}} The Gödöllő Artists' Colony – article by David A. Hill</ref> [[Miksa Róth]] was also involved in several dozen Szecesszió projects, including Budapest buildings including [[Gresham Palace]] (stained glass, 1906) and {{Interlanguage link|Török Bank|fr|Banque Török}} (mosaics, 1906) and also created mosaics and stained glass for [[Palace of Culture (Târgu Mureș)|Palace of Culture]] (1911–1913) in Marosvásárhely.

A notable furniture designer is {{Interlanguage link|Ödön Faragó|hu|Faragó Ödön}} who combined traditional popular architecture, oriental architecture and international Art Nouveau in a highly picturesque style. {{Interlanguage link|Pál Horti|hu|Horti Pál}}, 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====
<gallery mode="packed" heights="180px">
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, Prostějov|National House]] in [[Prostějov]] by [[Jan Kotěra]] (1905–1907)
File:Jugendstil Prag Gemeindehaus 1.jpg|[[Obecní dům|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 (Prague)|New City Hall]] of Prague by Polívka (1908–1911)
</gallery>

The most notable Secession buildings in ''Prague'' are examples of [[gesamtkunstwerk|total art]] with distinctive architecture, sculpture and paintings.<ref>[https://art.nouveau.world/prague Prague] {{Webarchive|url= https://web.archive.org/web/20210411172023/https://art.nouveau.world/prague |date=11 April 2021}} – Art Nouveau World</ref> [[Praha hlavní nádraží|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 [[Obecní dům|Municipal House]] (1904–1912) was designed by [[Osvald Polívka]] and Antonín Balšánek, painted by famous 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 (Prague)|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, Prostějov|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 [[Slovakia|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 (Eastern Europe)|Galicia]] (now Poland), most of them heavily influenced by local Lemko ([[Rusyns|Rusyn]]) folk art and carpentry (1915–1917).

====Secession in Galicia====
{{main|Art Nouveau in Poland|Young Poland}}
<gallery mode="packed" heights="180px">
File:Palace of Art, façade, 1898 design. Franciszek Mączyński and Jacek Malczewski, 4 Szczepański Square, Old Town, Kraków, Poland.jpg|[[Kraków Society of Friends of Fine Arts|Palace of Art]] in [[Kraków]] by [[Franciszek Mączyński]] (1898–1901) – southern façade
File:Palace of Art, 4,Szczepanski square,secession building, Krakow Old Town.jpg|Palace of Art in Kraków by Mączyński (1898–1901) – eastern façade
File:House under the Globe in Kraków, 2022.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|[[Cathedral of St. Nicholas, Bielsko-Biała|Saint Nicholas' Cathedral]] in Bielsko-Biała by [[Leopold Bauer]] (1909–10)
</gallery>

<gallery mode="packed" heights="200px">
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 ({{circa|1900}})
</gallery>

The most important centres of Secession in [[Galicia (Eastern Europe)|Galicia]] were [[Kraków]], [[Lviv]] and [[Bielsko-Biała]]. The most important example of the style in  Kraków is the [[Kraków Society of Friends of Fine Arts|Palace of Art]] (1898–1901), designed by [[Franciszek Mączyński]] under the influence of the [[Secession hall (Austria)|Secession Hall]] in Vienna. Other important works Mączyński designed in Kraków together with [[Tadeusz Stryjeński]]: the [[House Under the Globe]] (1904–1905) and the [[Helena Modrzejewska National Old Theater|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 [[Church of St. Francis of Assisi, Kraków|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 [[Academic Symphony Orchestra of the Lviv Philharmonic|Lviv's Philharmonic]] (1905–1908), and the [[Industrial School, Lviv|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 [[Cathedral of St. Nicholas, Bielsko-Biała|Saint Nicholas' Cathedral]] (1909–10).

====Secession in Slovenia, Bosnia, Croatia and Trieste====
<gallery mode="packed" heights="180px">
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)
</gallery>

The most prolific ''Slovenian'' Secession architect was [[Ciril Metod Koch]].<ref name="koch">{{cite web |title=The ''Coup de Fouet'' magazine, vol. 13 (2009), pp. 36–41 |url= http://artnouveau.eu/upload/magazine_pdf/cdf-13.pdf |url-status=live |archive-url= https://web.archive.org/web/20200716034518/http://artnouveau.eu/upload/magazine_pdf/cdf-13.pdf |archive-date=16 July 2020 |access-date=7 July 2019}}</ref> 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:<ref name="koch" /> Pogačnik House (1901), Čuden Building (1901), The Farmers Loan Bank (1906–07), renovated Hauptmann Building in Secession style in 1904.  The highlight of his career was the Loan Bank in Radmannsdorf (now [[Radovljica]]) in 1906.<ref name="koch" />

Other important Slovene architect, who was active also in Bosnia, was [[Josip Vancaš]], the authot of such works like [[Grand Hotel Union]] (1902–1903) or City Savings Bank in Ljubljana (1902–1903) as well as the [[Ješua D. Salom Mansion]] (1901) and the Central Post Office in Sarajevo (1907–1913). Also [[Jože Plečnik]] and [[Max Fabiani]], both important [[Vienna Secession]] architects, were born in Slovenia. The latter designed some buildings in Slovenia and Trieste, like the Bartoli House in [[Trieste]] (1906).

In Croatia, the most important examples of Secession include the [[Kallina House]] in Zagreb by [[Vjekoslav Bastl]] (1903–1904) and the [[Croatian State Archives]] in Zagreb by [[Rudolf Lubinski]] (1911–1913).

===Arta 1900 or Art Nouveau in Romania===
<gallery mode="packed" heights="200px">
File:Belle Époque postcard showing the Art Nouveau headquarter of the Minerva publisher on Bulevardul Regina Elisabeta, close to the intersection with Calea Victoriei.jpg|Minerva publisher headquarter on [[Bulevardul Regina Elisabeta]] in [[Bucharest]], unknown architect ({{circa|1900}}, destroyed by WW2 bombardments)
File:1 Strada Constantin F. Robescu, Bucharest (08).jpg|[[Frieze]] of Strada Constantin F. Robescu no. 1 in Bucharest, unknown architect ({{circa|1900}})
File:7 Piața Mihail Kogălniceanu, Bucharest (01).jpg|Door of Piața Mihail Kogălniceanu no. 7 in Bucharest, unknown architect ({{circa|1900}})
File:Old photo of the Romulus Porescu House in Bucharest (01).jpg|Mixed with [[Beaux-Arts architecture]] - Romulus Porescu House (Strada Doctor Paleologu no. 12) in Bucharest by [[Dimitrie Maimarolu]] (1905)<ref>{{cite book|last1=Constantin|first1=Paul|title=Arta 1900 în România|date=1972|publisher=Editura Meridiane|isbn=|page=93|url=|language=ro}}</ref>
File:Cazinoul din Constanta la rasarit HDR.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)<ref>{{cite web|url=https://turistinbucurestiro.blogspot.com/2013/07/lipscani-72-si-74.html|title=Turist în București: Lipscani 72 si 74|author=|access-date=12 October 2022}}</ref>
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{{sfn|Celac|Carabela|Marcu-Lapadat|2017|p=85}}
</gallery>

[[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 architecture|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.<ref>{{cite book|last1=Florea|first1=Vasile|title=Arta Românească de la Origini până în Prezent|date=2016|publisher=Litera|isbn=978-606-33-1053-9|pages=297, 302, 305, 306, 313, 317}}</ref> 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.

<gallery mode="packed" heights="200px">
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){{sfn|Celac|Carabela|Marcu-Lapadat|2017|p=85}}
</gallery>

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''.<ref>Elena Olariu... p. 16</ref>

[[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",<ref>{{cite web |url= https://infooradea.ro/oradea-capitala-art-nouveau-a-romaniei-celebreaza-ziua-internationala-art-nouveau-2019/ |title=Oradea, capitala Art Nouveau a Romaniei, celebreaza 'Ziua Internațională Art Nouveau 2019' |date=June 7, 2019 |website=infooradea.ro |publisher= |access-date=May 23, 2021 |archive-date=23 May 2021 |archive-url= https://web.archive.org/web/20210523185914/https://infooradea.ro/oradea-capitala-art-nouveau-a-romaniei-celebreaza-ziua-internationala-art-nouveau-2019/ |url-status=live}}</ref> but also in [[Timișoara]], [[Târgu Mureș]] and [[Sibiu]].<ref>{{cite web |url= https://heritageoftimisoara.ro/cladiri/stil/Art+Nouveau+Secession |title=Heritage of Timisoara – Cladiri |author=<!--Not stated--> |date= |website=heritageoftimisoara.ro |publisher= |access-date=May 23, 2021 |archive-date=16 May 2021 |archive-url= https://web.archive.org/web/20210516143920/https://heritageoftimisoara.ro/cladiri/stil/Art+Nouveau+Secession |url-status=live}}</ref><ref>{{cite web |url= https://wondersoftransylvania.com/wonder/the-art-nouveau-public-buildings-of-tirgu-mures |title=The Art Nouveau public buildings of Tîrgu Mureș |last=Ungvári |first=Zrínyi Imre |date= |website=wondersoftransylvania.com |publisher= |access-date=May 23, 2021 |archive-date=23 May 2021 |archive-url= https://web.archive.org/web/20210523185914/https://wondersoftransylvania.com/wonder/the-art-nouveau-public-buildings-of-tirgu-mures |url-status=live}}</ref><ref>{{cite web |url= https://patrimoniu.sibiu.ro/cladiri2/mitropoliei/274 |title=Str. Mitropoliei nr. 20 |author=<!--Not stated--> |date= |website=Patrimoniu.Sibiu.ru |publisher= |access-date=May 23, 2020 |archive-date=23 May 2021 |archive-url= https://web.archive.org/web/20210523184705/https://patrimoniu.sibiu.ro/cladiri2/mitropoliei/274 |url-status=live}}</ref>

===''Stile Liberty'' in Italy===
{{Main|Liberty style|Art Nouveau in Milan|Art Nouveau in Turin}}
<gallery mode="packed" heights="200px">
File:Villino Florio.jpg|Villino Florio in [[Palermo]] by [[Ernesto Basile]] (1899–1902)
File:20161207 Palazzo Castiglioni.jpg|[[Palazzo Castiglioni (Milan)|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 [[Prima Esposizione Internazionale d'Arte Decorativa Moderna|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)
</gallery>

Art Nouveau in Italy was known as {{lang|it|arte nuova}}, {{lang|it|stile floreale}}, {{lang|it|stile moderno}} and especially {{lang|it|stile Liberty}}. [[Liberty style]] took its name from [[Arthur Lasenby Liberty]] and the store he founded in 1874 in London, [[Liberty (department store)|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]]''.<ref>{{cite web |url= http://www.bestofsicily.com/mag/art225.htm |title=Sicilian Liberty – Italianate Art Nouveau – Best of Sicily Magazine |publisher=Bestofsicily.com |date= |access-date=15 February 2022 |archive-date=29 January 2020 |archive-url= https://web.archive.org/web/20200129115420/http://www.bestofsicily.com/mag/art225.htm |url-status=live}}</ref><ref>Henry R. Hope, review of H. Lenning, ''The Art Nouveau'', ''The Art Bulletin'', vol. 34 (June 1952), 168–171 (esp. 168–169): In 1952, Discussing the state of Art Nouveau, the author noted that Art Nouveau was not yet an acceptable study for serious art history or a subject suitable for major museum exhibitions and their respective catalogs. He predicted an impending change</ref><ref name="grove" />

Liberty style architecture varied greatly, and often followed historical styles, particularly the Baroque. Façades were often drenched with decoration and sculpture.  Examples of the Liberty style include the Villino Florio (1899–1902) by [[Ernesto Basile]] in [[Palermo]]; the [[Palazzo Castiglioni (Milan)|Palazzo Castiglioni]] in [[Milan]] by [[Giuseppe Sommaruga]] (1901–1903); Milan, and the [[Casa Guazzoni]] (1904–05) in Milan by Giovanni Battista Bossi (1904–06).<ref>{{cite web |url= http://www.storiadimilano.it/citta/Porta_Orientale/palazzi_liberty.htm |title=Storia di Milano ::: Palazzi e case liberty |access-date=2 August 2019 |archive-date=15 June 2012 |archive-url= https://web.archive.org/web/20120615134905/http://www.storiadimilano.it/citta/Porta_Orientale/palazzi_liberty.htm |url-status=live}}</ref>

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, father of [[Rembrandt Bugatti]], Liberty sculptor, and of [[Ettore Bugatti]], famous automobile designer. He studied at the [[Brera Academy|Milanese Academy of Brera]], and later the {{Lang|fr|[[Académie des Beaux-Arts]]|italic=no}} 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.{{Sfn|Riley|2004|p=310}}

===Art Nouveau and Secession in Serbia===
{{main|Architecture of Serbia#Art Nouveau and Secession style|Serbo-Byzantine Revival architecture}}
<gallery mode="packed" heights="180px">
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 Palace in [[Subotica]] (1904)
File:Small Bridge in Zrenjanin, Serbia..jpg|[[Small Bridge|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 (Belgrade)|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)
</gallery>

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]].<ref>{{cite web |url= https://art.nouveau.world/serbia|title=Art Nouveau World – Serbia|access-date=8 September 2022 }}</ref> Famous Austrian and Hungarian architects would design many buildings in [[Subotica]], [[Novi Sad]], [[Palić]], [[Zrenjanin]], [[Vrbas, Serbia|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.<ref>{{cite web |url= https://thenutshelltimes.com/2019/06/09/art-nouveau-serbia/|title=AFaces and Blossoms of Art Nouveau in Serbia|date=9 June 2019 |access-date=8 September 2022 }}</ref>

===''Modernismo'' and ''Modernisme'' in Spain===
{{Main|Modernisme|Valencian Art Nouveau}}
<gallery mode="packed" heights="180px">
File:El Capricho Gaudí 02.jpg|[[El Capricho|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)<ref name="mila">[https://www.lapedrera.com/en/la-pedrera/chronology Chronology] {{Webarchive|url= https://web.archive.org/web/20190725071759/http://www.lapedrera.com/en/la-pedrera/chronology |date=25 July 2019}} - Official website of Casa Milà</ref>
File:PiC-casaTerrades-RI 51 0004201-0002.jpg|[[Casa de les Punxes]] in Barcelona by [[Josep Puig i Cadafalch]] (1905)
File:Casa Gallardo.jpg|[[House of Gallardo|Casa Gallardo]] in [[Madrid]] by Federico Arias Rey (1911–1914)
File:Santuario Novelda.jpg|{{Interlanguage link|Sanctuary of Maria Magdalena|ca|Santuari de Santa Maria Magdalena}} in [[Novelda]], [[Valencian Community]] (1918–1946)
</gallery>

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 {{lang|ca|[[Modernisme]]}} 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). According to UNESCO, "the architecture of the park combined elements from the Arts and Crafts movement, Symbolism, Expressionism, and Rationalism, and presaged and influenced many forms and techniques of 20th-century Modernism."<ref>Citation of Parc Guell in UNESCO classification</ref><ref>James Grady, "Special Bibliographical Supplement: A Bibliography of the Art Nouveau", in ''The Journal of the Society of Architectural Historians'', vol. 14 (May 1955), pp. 18–27.</ref><ref>[https://palauguell.cat/en/cronologia Cronologia] {{Webarchive|url= https://web.archive.org/web/20200919122152/https://www.palauguell.cat/en/cronologia |date=19 September 2020}} – Official website of Palau Güell</ref>
He integrated crafts as [[ceramic]]s, [[stained glass]], [[wrought iron]]work [[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),<ref name="mila" /> are most closely related to the stylistic elements of Art Nouveau.<ref name="duncan52">Duncan (1994), p. 52.</ref> Later structures such as  ''[[Sagrada Família]]'' combined Art Nouveau elements with revivalist [[Neo-Gothic]].<ref name="duncan52" /> [[Casa Batlló]], [[Casa Milà]], [[Güell Pavilions]], and [[Parc Güell]] were results of his collaboration with [[Josep Maria Jujol]], who himself created houses in [[Sant Joan Despí]] (1913–1926), several churches near [[Tarragona]] (1918 and 1926) and the sinuous Casa Planells (1924) in [[Barcelona]].

Besides the dominating presence of Gaudí, [[Lluís Domènech i Montaner]] also used Art Nouveau in Barcelona in buildings such as the [[Castell dels Tres Dragons]] (1888), [[Casa Lleó Morera]], [[Palau de la Música Catalana]] (1905) and [[Hospital de Sant Pau]] (1901–1930).<ref name="duncan52" /> The two latter buildings have been listed by [[UNESCO]] as [[World Cultural Heritage]].<ref name="montaner">{{cite web |url= https://whc.unesco.org/en/list/804/multiple=1&unique_number=950 |archive-url= https://web.archive.org/web/20220106053844/https://whc.unesco.org/en/list/804/multiple%3D1%26unique_number%3D950 |archive-date=6 January 2022 |title=World Heritage List: Palau de la Música Catalana and Hospital de Sant Pau, Barcelona |publisher=UNESCO |access-date=19 March 2022}}</ref>

Another major modernista was [[Josep Puig i Cadafalch]], who designed the [[Casa Martí]] and its {{Lang|ca|[[Els Quatre Gats]]|italic=no}} café, the Casimir Casaramona textile factory (now the [[CaixaForum Barcelona|CaixaFòrum]] art museum), Casa Macaya, [[Casa Amatller]], the Palau del Baró de Quadras (housing Casa Àsia for 10 years until 2013) and the {{lang|es|italic=unset|[[Casa de les Punxes]]}} ('House of Spikes').

A [[Valencian Art Nouveau|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 [[Art Nouveau in Madrid|Madrilenian Art Nouveau]] or {{lang|es|Modernismo madrileño}}, 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 {{ill|Francisco Andrés Octavio|es}}.

{{see also|Art Nouveau in Alcoy}}
<gallery mode="packed" heights="180px">
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 {{Interlanguage link|Lambert Escaler|ca}} (1902)
File:140 La sardana, plafó de marqueteria de Gaspar Homar.jpg|Furniture by {{Interlanguage link|Gaspar Homar|ca}} (1903)
File:Gaudi-prie-dieu.jpg|[[Prie-dieu|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)
</gallery>

The {{lang|ca|[[Modernisme]]}} 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, {{Interlanguage link|Pere Romeu i Borràs|ca}} decided to open a café in Barcelona that was named {{Lang|ca|[[Els Quatre Gats]]}} (Four Cats in Catalan).<ref>{{Cite book |title=Els Quarte Gats: Art in Barcelona Around 1900 |last=McCully |first=Marilyn |publisher=Princeton University Press |date=1978 |page=64}}</ref> 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 [[Confidant from the Batlló House|for the Battle House]]. He influenced another notable Catalan furniture designer, {{Interlanguage link|Gaspar Homar|ca}} (1870–1953) who often combined marquetry and mosaics with his furnishings.{{Sfn|Riley|2004|p=311}}

===''Arte Nova'' in Portugal===
<gallery mode="packed" heights="200px">
File:PRO ARTE (23943640572).jpg|[[Casa-Museu Dr. Anastácio Gonçalves|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, Portugal|Aveiro]] (1907–1909)<ref>[http://www.monumentos.gov.pt/Site/APP_PagesUser/SIPA.aspx?id=5402 Casa do Major Pessoa] {{Webarchive|url= https://web.archive.org/web/20200811152215/http://www.monumentos.gov.pt/Site/APP_PagesUser/SIPA.aspx?id=5402 |date=11 August 2020}} - Sistema de Informação para o Património Arquitetónico</ref>
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)
</gallery>

The Art Nouveau variant in [[Aveiro, Portugal|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.<ref name="aveiro">{{cite web |url= http://artnouveau.eu/upload/magazine_pdf/cdf-11.pdf |title=The ''Coup de Fouet'' magazine, vol. 11 (2008), pp. 2–7 |access-date=7 July 2019 |archive-date=18 July 2020 |archive-url= https://web.archive.org/web/20200718020004/http://artnouveau.eu/upload/magazine_pdf/cdf-11.pdf |url-status=live}}</ref> Another distinctive feature of Arte Nova was the use of locally produced tiles with Art Nouveau motifs.<ref name="aveiro" />

The most influential artist of Arte Nova was Francisco Augusto da Silva Rocha.<ref name="aveiro" /> Though he was not trained as an architect, he designed many buildings in Aveiro and in other cities in Portugal.<ref>[https://art.nouveau.world/francisco-augusto-da-silva-rocha Francisco Augusto da Silva Rocha] {{Webarchive|url= https://web.archive.org/web/20201031020617/https://art.nouveau.world/francisco-augusto-da-silva-rocha |date=31 October 2020}} – Art Nouveau World</ref><ref name="aveiro" /> One of them, the Major Pessoa residence, has both an Art Nouveau façade and interior, and now hosts the Museum of Arte Nova.<ref name="aveiro" />

There are other examples of Arte Nova in other cities of Portugal.<ref>[https://art.nouveau.world/lisbon Lisbon] {{Webarchive|url= https://web.archive.org/web/20210317061222/https://art.nouveau.world/lisbon |date=17 March 2021}} – Art Nouveau World</ref><ref>[https://art.nouveau.world/porto Porto] {{Webarchive|url= https://web.archive.org/web/20210305074248/https://art.nouveau.world/porto |date=5 March 2021}} – Art Nouveau World</ref> Some of them are the [[Casa-Museu Dr. Anastácio Gonçalves|Museum-Residence Dr. Anastácio Gonçalves]] by {{Interlanguage link|Manuel Joaquim Norte Júnior|pt}} (1904–1905) in [[Lisbon]], [[Café Majestic]] by {{Interlanguage link|João Queiroz|pt}} (1921) and [[Livraria Lello]] bookstore by {{Interlanguage link|Xavier Esteves|pt}} (1906), both in [[Porto]].

===''Jugendstil'' in the Nordic countries===
====Finland====
<gallery mode="packed" heights="200px">
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)
</gallery>

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]].<ref>{{Cite web |url= https://art.nouveau.world/ |title=Art Nouveau World |access-date=11 April 2021 |archive-date=21 March 2021 |archive-url= https://web.archive.org/web/20210321215613/https://art.nouveau.world/ |url-status=live}}</ref> The Jugendstil period coincided with [[Golden Age of Finnish Art]] and national awakening. After [[Exposition Universelle (1900)|Paris Exposition]] in 1900 the leading Finnish artist was [[Akseli Gallen-Kallela]].<ref>Martin, T. & Pusa, E. 1985, p. 12.</ref> 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)<ref>[http://museums.eu/museum/details/1012/national-museum-of-finland National Museum of Finland] {{Webarchive|url= https://web.archive.org/web/20190726191408/http://museums.eu/museum/details/1012/national-museum-of-finland |date=26 July 2019}} – Museums of EU</ref> 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.<ref name="helsinki">{{cite web|url= http://www.artnouveau.eu/en/city.php?id=136|title=Art Nouveau European Route: Helsinki|website=www.artnouveau.eu|access-date=2 January 2016|archive-date=26 April 2016|archive-url= https://web.archive.org/web/20160426154532/http://www.artnouveau.eu/en/city.php?id=136|url-status=live}}</ref> After the firm dissolved, Saarinen designed the [[Helsinki Central railway station|Helsinki Railway Station]] (1905–1914) in clearer forms, influenced by American architecture.<ref name="helsinki" /> The sculptor who worked with Saarinen in construction of National Museum of Finland and Helsinki Railway Station was [[Emil Wikström]].

Another architect who created several notable works in Finland was [[Lars Sonck]]. His major Jugendstil works include [[Tampere Cathedral]] (1902–1907), [[Ainola]], the home of [[Jean Sibelius]] (1903), Headquarters of the Helsinki Telephone Association (1903–1907) and [[Kallio Church]] in Helsinki (1908–1912). Also, [[Magnus Schjerfbeck]], brother of [[Helene Schjerfbeck]], made [[tuberculosis]] [[sanatorium]] known as [[Nummela Sanatorium]] in 1903 using the Jugendstil style.<ref>{{cite web|url= https://www.mfa.fi/en/architects/magnus-schjerfbeck-2/|title=Magnus Schjerfbeck|work=Museum of Finnish Architecture|access-date=15 February 2020|archive-date=15 February 2020|archive-url= https://web.archive.org/web/20200215055401/https://www.mfa.fi/en/architects/magnus-schjerfbeck-2/|url-status=live}}</ref><ref>{{cite journal |last1=Palmberg |first1=Albert |title=The control of tuberculosis in Finland |url= https://www.resmedjournal.com/article/S0366-0850(08)80065-8/pdf |journal=British Journal of Tuberculosis |date=April 1908 |volume=2 |issue=2 |pages=109–114 |doi=10.1016/S0366-0850(08)80065-8 |access-date=26 March 2019 |archive-date=15 February 2022 |archive-url= https://web.archive.org/web/20220215083555/https://www.resmedjournal.com/article/S0366-0850%2808%2980065-8/pdf |url-status=live}}</ref><ref>{{cite journal |title=Experiences of the sanocrysin treatment at Nummela Sanatorium in Finland |journal=Acta Medica Scandinavica |volume=64 |pages=123–130 |first=Axel |last=von Bonsdorff |date=1926 |doi=10.1111/j.0954-6820.1926.tb14017.x}}</ref>

====Norway====
<gallery mode="packed" heights="200px">
File:Lars kinsarvik, poltroncina, norvegia ante 1900, 02.JPG|Viking-Art Nouveau chair by Lars Kinsarvik (1900)
File:Jugendstilsenteret.jpg|[[Jugendstilsenteret|Art Nouveau Centre]] in [[Ålesund (town)|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
</gallery>

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 art|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.{{Sfn|Riley|2004|p=312}}

The Norwegian [[Ålesund (town)|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.<ref name="Alesund">{{cite web|url= http://www.artnouveau.eu/en/city.php?id=1|title=Art Nouveau European Route: Ålesund|website=www.artnouveau.eu|access-date=2 January 2016|archive-date=4 June 2016|archive-url= https://web.archive.org/web/20160604070559/http://artnouveau.eu/en/city.php?id=1|url-status=live}}</ref> 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 church]]es or the crested roofs.<ref name="Alesund" /> One of the buildings, Swan Pharmacy, now hosts the [[Jugendstilsenteret|Art Nouveau Centre]].

====Sweden and Denmark====
<gallery mode="packed" heights="200px">
Vase with blackberry, painting by Per Algot Eriksson, Porzellanfabrik Rorstrand, Stockholm, silver by E. Lefebvre, Paris, porcelain and silver - Bröhan Museum, Berlin - DSC04069.JPG|Vase with blackberry, painting by Per Algot Eriksson, and silver by E. Lefebvre, in the [[Bröhan Museum]], [[Berlin]]
File:Mocha Cup and Saucer from the 'Iris' Service LACMA AC1998.265.25.1-.2.jpg|Cup and saucer from the 'iris' service (1897), in the [[Los Angeles County Museum of Art]]
File: Inkwell and stamp box, by Jens Dahl-Jensen, Copenhagen, c. 1900, Bing and Grondahl porcelain - Hessisches Landesmuseum Darmstadt - Darmstadt, Germany - DSC00749.jpg|Inkwell and stamp box, by Jens Dahl-Jensen ({{circa|1900}}), in the [[Hessisches Landesmuseum Darmstadt]], Germany
File:Erhvervsarkivet-Læsesalen.jpg|Great Hall of City Library of [[Aarhus]] by [[Karl Hansen Reistrup]]
File:Engelbrektskyrkan, altare.jpg|Altar of [[Engelbrektskyrkan]] in [[Stockholm]] (1914)
File:Baltiska_1914b.jpg|Poster for the [[Baltic Exhibition]] in [[Malmö]] (1914)
</gallery>

Jugendstil masterpieces of other Nordic countries include [[Engelbrektskyrkan]] (1914) and [[Royal Dramatic Theatre]] (1901–1908) in [[Stockholm]], Sweden<ref>[https://art.nouveau.world/stockholm Stockholm] {{Webarchive|url= https://web.archive.org/web/20210411172217/https://art.nouveau.world/stockholm |date=11 April 2021}} – Art Nouveau World</ref> and former City Library (now [[Danish National Business Archives]]) in [[Aarhus]], Denmark (1898–1901).<ref>[https://art.nouveau.world/aarhus Aarhus] {{Webarchive|url= https://web.archive.org/web/20210411172039/https://art.nouveau.world/aarhus |date=11 April 2021}} – Art Nouveau World</ref> The architect of the latter is [[Hack Kampmann]], then a proponent of [[National Romantic Style]] who also created [[Aarhus Custom House|Custom House]], [[Aarhus Theatre|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.<ref>{{Cite web |url= https://malmo.se/Uppleva-och-gora/Arkitektur-och-kulturarv/Kulturarv-Malmo/Handelser-och-fenomen/Baltiska-utstallningen.html |title=Baltiska utställningen 1914 |access-date=24 November 2020 |archive-date=24 October 2020 |archive-url= https://web.archive.org/web/20201024094502/https://malmo.se/Uppleva-och-gora/Arkitektur-och-kulturarv/Kulturarv-Malmo/Handelser-och-fenomen/Baltiska-utstallningen.html |url-status=live}}</ref>

===''Modern'' in Russia===
{{Main|Mir Iskusstva|Ballets Russes|Art Nouveau architecture in Russia}}
<gallery mode="packed" heights="200px">
File:Fabergé egg Rome 03.JPG|An Art Nouveau [[Fabergé egg]]{{refn|group=nb|Made as an Easter gift from Emperor [[Nicholas II of Russia]] to his wife|note}} (1898)
File:Firebird.jpg|Illustration of the ''[[Tsarevitch Ivan, the Firebird and the Gray Wolf|Firebird]]'' by [[Ivan Bilibin]] (1899)
File:Sergueï vassilievitch malioutine per manifatture di talachkino, coppia di sedie, smolensk 1900 ca.JPG|Chairs by [[Sergey Malyutin]] ({{circa|1900}}), 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 ''[[Scheherazade (Rimsky-Korsakov)|Sheherazade]]'' by [[Léon Bakst]] (1910)
File:Bakst Nizhinsky.jpg|Program design for ''Afternoon of a Faun'' by Bakst for [[Ballets Russes]] (1912)
</gallery>

{{lang|ru|Модерн}} ('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, {{lang|ru|Мир искусства}} (''[[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 {{lang|fr|italic=unset|[[Ballets Russes]]}}, 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, {{lang|fr|[[L'Illustration]]}}, {{lang|fr|[[La Vie Parisienne (magazine)|La Vie parisienne]]}} and {{lang|fr|[[Gazette du Bon Ton|Gazette du bon ton]]}}, and the Russian style became known in Paris as {{lang|fr|à la Bakst}}. 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.<ref>Duncan, Alistair, ''Art Déco'', Thames and Hudson (1988), pp. 147–48</ref>

Of Russian architects, the most prominent in the pure Art Nouveau style was [[Fyodor Schechtel]]. The most famous example is the [[Gorky Museum|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.{{Sfn|Fahr-Becker|2015|pp=189–192}} 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.{{Sfn|Fahr-Becker|2015|pp=189–192}}

<gallery mode="packed" heights="200px">
File:Wiki Metropol Hotel Moscow Artwork 2.jpg|Façade of the [[Hotel Metropol (Moscow)|Hotel Metropol]] in [[Moscow]] with mosaics by [[Mikhail Vrubel]] (1899–1907)
File:Особняк Рябушинского02.JPG|[[Gorky Museum|Ryabushinsky House]] in Moscow by [[Fyodor Schechtel]] (1900)
File:Moscow. Ryabushinsky House. Interiors. Main stairs - 028.JPG|Main staircase of [[Gorky Museum|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 (design)|Cartouche]] with a [[mascaron (architecture)|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)
</gallery>

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 Vasilyevich Vasilyev|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, Russia|Vladimir]] and [[Saint George Cathedral, Yuryev-Polsky|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 architecture|Russian Revival]] style.  The two best-known colonies were [[Abramtsevo Colony|Abramtsevo]], funded by [[Savva Mamontov]], and [[Talashkino]], [[Smolensk Governorate]], funded by [[Princess Maria Tenisheva]].

===Ukrainian ''Modern'' architecture===
{{Main|Ukrainian Art Nouveau|Hutsul Secession}}
<gallery mode="packed" heights="150px">
File:Будинок земства P1230868 пл. Конституції, 2.jpg|[[Poltava Governorate Zemstvo Building|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)
</gallery>

Early 20th-century architecture in Ukrainian lands (southwestern part of the Russian Empire, [[Eastern Galicia]], [[Bukovina]] and [[Zakarpattia Oblast|Transcarpathia]] in Austria-Hungary) developed under the influence of [[Ukrainian architecture#Vernacular architecture|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]], [[Dnipro (city)|Katerynoslav]] and a number of other places in the Russian Empire. In [[Western Ukraine]], which was at that time part of Austria-Hungary, the [[Hutsul Secession|local Ukrainian style]] was influenced by [[Hutsul]] architecture, as well as Western European trends and influences from [[Dnieper Ukraine|Great Ukraine]].<ref>{{cite web|url=http://www.alyoshin.ru/Files/publika/4enelik/4enelik_04.html|title=Ukrainian modern architecture|access-date=8 December 2023|archive-date=16 April 2013|archive-url=https://web.archive.org/web/20130416030056/http://www.alyoshin.ru/Files/publika/4enelik/4enelik_04.html#b}}</ref>

===''Jūgendstils'' (Art Nouveau in Riga)===
{{Main|Art Nouveau architecture in Riga}}
<gallery mode="packed" heights="200px">
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)
</gallery>

[[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.<ref>{{cite web|url= http://www.artnouveau.eu/en/city.php?id=46|title=Art Nouveau European Route: Riga|website=www.artnouveau.eu|access-date=7 July 2019|archive-date=23 July 2020|archive-url= https://web.archive.org/web/20200723054317/http://www.artnouveau.eu/en/city.php?id=46|url-status=live}}</ref> 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]].<ref>{{cite web |url= https://whc.unesco.org/en/list/852 |title=Historic Centre of Riga |author=<!--Staff writer(s); no by-line.--> |publisher=[[UNESCO]] |access-date=11 March 2016 |archive-date=22 June 2020 |archive-url= https://web.archive.org/web/20200622180500/http://whc.unesco.org/en/list/852/|url-status= live}}</ref>

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 {{lang|de|Warenhausstil}} in German,
* National Romantic Art Nouveau was inspired by local folk art, monumental volumes and the use of natural building materials.
Some later [[Neoclassical architecture|Neo-Classical]] buildings also contained Art Nouveau details.

===''Style Sapin'' in La Chaux-de-Fonds, Switzerland===
{{Main|Style Sapin}}
<gallery mode="packed" heights="200px">
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 [[Symbolism (arts)|symbolist]] murals by L'Epplattenier were added later.
File:La-Chaux-de-fonds-architecture-detail-1.jpg|Crematorium, with stylised ''[[Style Sapin|sapin]]'' or pine cone detail
File:La-Chaux-de-fonds-architecture-detail-2.jpg|Crematorium, with pine cone detail
</gallery>

A variation called {{lang|fr|[[Style Sapin]]}} ('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 {{lang|fr|sapin}}, '[[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]].<ref name="La Chaux-de-Fonds">{{cite web |url= http://artnouveau.eu/upload/magazine_pdf/cdf-16.pdf |title=The ''Coup de Fouet'' magazine, vol. 16 (2010), pp. 2–10 |access-date=7 July 2019 |archive-date=25 July 2019 |archive-url= https://web.archive.org/web/20190725071706/http://artnouveau.eu/upload/magazine_pdf/cdf-16.pdf |url-status=live}}</ref>

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'Epplattenier, 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.{{Sfn|Journel|2015|p=49}}<ref name="La Chaux-de-Fonds" /><ref>[http://www.chaux-de-fonds.ch/histoire-patrimoine/art-nouveau/art-nouveau/ecole-d-art-et-style-sapin Ecole d'art et Style sapin] {{Webarchive|url= https://web.archive.org/web/20190726143812/http://www.chaux-de-fonds.ch/histoire-patrimoine/art-nouveau/art-nouveau/ecole-d-art-et-style-sapin |date=26 July 2019}} – La Chaux-de-Fonds</ref><ref>{{cite web |url= http://www.fondationlecorbusier.fr/corbuweb/morpheus.aspx?sysId=13&IrisObjectId=5422&sysLanguage=en-en&itemPos=68&itemCount=78&sysParentId=64 |title=Fondation Le Corbusier |access-date=28 July 2019 |archive-date=14 March 2014 |archive-url= https://web.archive.org/web/20140314011634/http://www.fondationlecorbusier.fr/corbuweb/morpheus.aspx?sysId=13&IrisObjectId=5422&sysLanguage=en-en&itemPos=68&itemCount=78&sysParentId=64 |url-status=live}}</ref>

===''Tiffany Style'' and Louis Sullivan in the United States===
<gallery mode="packed" heights="200">
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 [[World's Columbian Exposition|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, New York|Buffalo, N.Y.]], by Sullivan (1896)
File:Carson, Pirie, Scott and Company Building 1 South State Street entrance.jpg|[[State Street (Chicago)|South State Street]] entrance to the [[Sullivan Center|Carson, Pirie, Scott and Company Store]] in [[Chicago|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 ({{circa|1902}}), 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, New York|Oyster Bay, N.Y.]] (1908)
</gallery>

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 Museum and School|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 [[Exposition Universelle (1900)|''1900 Exposition Universelle'']] in Paris; his stained glass window called the ''Flight of Souls'' won a gold medal.{{Sfn|Lahor|2007|p=167}} 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|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 (architecture)|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.<ref>{{cite encyclopedia |url= https://www.britannica.com/biography/Louis-Sullivan/Legacy |title=Louis Sullivan |encyclopedia=[[Encyclopædia Britannica]] |access-date=27 July 2019 |first=H.F. |last=Koeper |archive-date=27 July 2019 |archive-url= https://web.archive.org/web/20190727133015/https://www.britannica.com/biography/Louis-Sullivan/Legacy |url-status=live}}</ref><ref>{{cite web |url= https://www.thoughtco.com/louis-sullivan-americas-first-modern-architect-177875 |title=About Louis Sullivan, Architect |work=ThoughtCo. |date=15 November 2018 |access-date=27 July 2019 |first=Jackie |last=Craven |archive-date=27 July 2019 |archive-url= https://web.archive.org/web/20190727133016/https://www.thoughtco.com/louis-sullivan-americas-first-modern-architect-177875 |url-status=live}}</ref>

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]], Minnestota (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.{{Sfn|Fahr-Becker|2015|pp=325–330}}

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===
<gallery mode="packed" heights="200px">
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 {{Interlanguage link|Club Español building|es|Club Español de Rosario}} 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)
</gallery>

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.<ref name="buenos aires">{{cite web|url= http://www.artnouveau.eu/en/city.php?id=4|title=Art Nouveau European Route: Buenos Aires|website=www.artnouveau.eu|access-date=7 July 2019|archive-date=23 July 2020|archive-url= https://web.archive.org/web/20200723161549/http://www.artnouveau.eu/en/city.php?id=4|url-status=live}}</ref> Cities with the most notable Art Nouveau heritage in Argentina are [[Buenos Aires]], [[Rosario]] and [[Mar del Plata]].<ref>{{cite web|url= http://artnouveau.eu/en/map.php|title=Art Nouveau European Route: Map|website=www.artnouveau.eu|access-date=7 July 2019|archive-date=17 April 2019|archive-url= https://web.archive.org/web/20190417144224/http://artnouveau.eu/en/map.php|url-status=live}}</ref>

Paris was a prototype for Buenos Aires with the construction of large boulevards and avenues in the 19th century.<ref name="buenos aires" /> The local style along with French influence was also following Italian Liberty as many architects ([[Virginio Colombo]], [[Francisco Gianotti]], [[Mario Palanti]]) were Italians. In works of {{Interlanguage link|Julián García Núñez|es}} Catalan influence can be noted as he completed his studies in Barcelona in 1900 as well as in the work of Eduardo Rodríguez Ortega.<ref name="buenos aires" /> The influence of [[Vienna Secession]] can be found at Paso y Viamonte building, Club Español, Regimiento de Granaderos a Caballo and the Savoy hotel.<ref name="buenos aires" />

Some local features are the adaptation to the previously existent "chorizo house" format of buildings, which implied a relatively narrow façade for an actually deep building inside of the block, with multiple patios or holes for air and light; as well as the characteristic "cut corners" on every block that was a requirement by law in Buenos Aires since the end of the 1800s; material availability was also different than in Europe, and buildings will often be covered of a "simil piedra París" which was an imitation of the Parisian stone made by mixing cement with sand and different minerals.

The introduction of Art Nouveau in [[Rosario]] is connected to {{Interlanguage link|Francisco Roca Simó|es}} who trained in Barcelona.<ref>{{cite web|url= http://www.artnouveau.eu/en/city.php?id=47|title=Art Nouveau European Route: Rosario|website=www.artnouveau.eu|access-date=7 July 2019|archive-date=23 July 2020|archive-url= https://web.archive.org/web/20200723165256/http://www.artnouveau.eu/en/city.php?id=47|url-status=live}}</ref> His {{Interlanguage link|Club Español building|es|Club Español de Rosario}} (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.<ref name="club">{{cite web |url= http://artnouveau.eu/upload/magazine_pdf/cdf-20.pdf |title=The ''Coup de Fouet'' magazine, vol. 10 (2012), pp. 44–47 |access-date=7 July 2019 |archive-date=16 July 2020 |archive-url= https://web.archive.org/web/20200716033939/http://artnouveau.eu/upload/magazine_pdf/cdf-20.pdf |url-status=live}}</ref> The sculptor of the building is Diego Masana from Barcelona.<ref name="club" />

Belgian influence on Argentinian Art Nouveau is represented by the Villa Ortiz Basualdo, now hosting the [[Juan Carlos Castagnino Municipal Museum of Art]] in [[Mar del Plata]] where the furniture, interiors, and lighting are by [[Gustave Serrurier-Bovy]].

===Art Nouveau in the rest of the world===
<gallery mode="packed" heights="200px">
File:Theatre municipal - Tunis.jpg|[[Théâtre municipal de Tunis|Théâtre municipal]] in [[Tunis]], Tunisia (1902)
File:Bellas Artes 01.jpg|Art Nouveau/Neoclassical [[Palacio de Bellas Artes]] (Palace of Fine Arts) in [[Mexico City]], Mexico (1904–1934)
File:Ephraim Moses Lilien - An Allegorical Wedding- Sketch for a carpet dedicated to Mr. and Mrs. David Wolffsohn Triptych (from... - Google Art Project.jpg|An Allegorical Wedding: Sketch for a carpet (Triptych from right to left): ''Exile'', ''Marriage'' and ''Redemption'' by [[Ephraim Moses Lilien]] (1906)
File:Lüderitz Goerke-Haus 07.jpg|Goerke-Haus in [[Lüderitz]], Namibia (1909–1910)
File:Gran Vitral Tiffany del Hotel Ciudad de Mexico - panoramio.jpg|[[Old Portal de Mercaderes (Mexico_City)#Gran_Hotel Ciudad_de_México|Mexico City Gran Hotel]] interior, built in 1918 by [[Jacques Grüber]]<ref>{{cite book |url= https://books.google.com/books?id=DWV4UJqhofAC&dq=gran+hotel+de+la+ciudad+de+mexico&pg=PT321 |via=Google Books |title=DK Eyewitness Top 10 Mexico City |location=London |publisher=[[DK (publisher)|DK]] / Penguin |date=2012 |isbn=9780756694562 |access-date=12 February 2022 |archive-date=12 February 2022 |archive-url= https://web.archive.org/web/20220212202056/https://books.google.co.ve/books?id=DWV4UJqhofAC&pg=PT321&dq=gran+hotel+de+la+ciudad+de+mexico&hl=es&sa=X&ved=2ahUKEwjA4L2Isvr1AhXMTDABHfaOBvYQ6AF6BAgHEAI#v=onepage&q=gran%20hotel%20de%20la%20ciudad%20de%20mexico&f=false |url-status=live}}</ref><ref>{{cite book |url= https://books.google.com/books?id=N4sbDAAAQBAJ&dq=gran+hotel+de+la+ciudad+de+mexico&pg=PT23 |title=Rough Guides Snapshot: Mexico City |location=London |date=2016 |isbn=9780241290705 |publisher=[[Rough Guides]] / Penguin |access-date=12 February 2022 |archive-date=15 February 2022 |archive-url= https://web.archive.org/web/20220215083538/https://books.google.co.ve/books?id=N4sbDAAAQBAJ&pg=PT23&dq=gran+hotel+de+la+ciudad+de+mexico&hl=es&sa=X&ved=2ahUKEwjA4L2Isvr1AhXMTDABHfaOBvYQ6AF6BAgLEAI#v=onepage&q=gran%20hotel%20de%20la%20ciudad%20de%20mexico&f=false |url-status=live}}</ref>
File:Teatro Faenza.JPG|[[Faenza Theatre]] in [[Bogotá]], Colombia (1924)
</gallery>

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.<ref>{{cite web|url= http://www.artnouveau.eu/en/city.php?id=21|title=Art Nouveau European Route: Havana|website=www.artnouveau.eu|access-date=7 July 2019|archive-date=23 July 2020|archive-url= https://web.archive.org/web/20200723163856/http://www.artnouveau.eu/en/city.php?id=21|url-status=live}}</ref> 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]],<ref>{{cite web |url= http://artnouveau.eu/upload/magazine_pdf/cdf-12.pdf |title=The ''Coup de Fouet'' magazine, vol. 12 (2008), pp. 28–29 |access-date=15 July 2019 |archive-date=15 July 2019 |archive-url= https://web.archive.org/web/20190715192205/http://artnouveau.eu/upload/magazine_pdf/cdf-12.pdf |url-status=live}}</ref>
* French were behind Art Nouveau in [[Tunisia]] (that was a [[French protectorate of Tunisia|French protectorate]] then),
* Germans were behind Jugendstil heritage of [[Lüderitz]], Namibia;<ref>{{cite web|url= http://artnouveau.eu/en/city.php?id=30|title=Art Nouveau European Route: Lüderitz|website=www.artnouveau.eu|access-date=7 July 2019|archive-date=23 July 2020|archive-url= https://web.archive.org/web/20200723163905/http://artnouveau.eu/en/city.php?id=30|url-status=live}}</ref> [[Qingdao]], China,
* Italians were behind Art Nouveau in [[Valparaíso]], Chile;<ref>{{cite web|url= http://www.artnouveau.eu/en/city.php?id=59|title=Art Nouveau European Route: Valparaiso|website=www.artnouveau.eu|access-date=7 July 2019|archive-date=23 July 2020|archive-url= https://web.archive.org/web/20200723163903/http://www.artnouveau.eu/en/city.php?id=59|url-status=live}}</ref> [[Montevideo]], Uruguay; [[Rio de Janeiro]], Brazil,<ref>[https://art.nouveau.world/villino-silveira Villino Silveira] {{Webarchive|url= https://web.archive.org/web/20210411172108/https://art.nouveau.world/villino-silveira |date=11 April 2021}} – Art Nouveau World</ref>
* Russians were behind Art Nouveau heritage of [[Harbin]], China,<ref>[https://art.nouveau.world/harbin Harbin] {{Webarchive|url= https://web.archive.org/web/20210411172039/https://art.nouveau.world/harbin |date=11 April 2021}} – Art Nouveau World</ref>
* Art Nouveau Heritage in Lima consists of work of Italians Masperi brothers, French architect [[Claude Sahut]] and British masters of stained glass<ref>{{cite web |url= http://artnouveau.eu/upload/magazine_pdf/cdf-30.pdf |title=The ''Coup de Fouet'' magazine, vol. 30 (2018), pp. 77–83 |access-date=7 July 2019 |archive-date=15 February 2022 |archive-url= https://web.archive.org/web/20220215083538/http://artnouveau.eu/upload/magazine_pdf/cdf-30.pdf |url-status=live}}</ref>
* [[Palacio de Bellas Artes]] in Mexico City was a result of the cooperation of Italians (architect [[Adamo Boari]] and sculptor [[Leonardo Bistolfi]]), local architect {{Interlanguage link|Federico Mariscal (architect)|es|Federico Ernesto Mariscal Piña|lt=Federico Mariscal}}, Hungarian artists [[Aladár Körösfői-Kriesch]], [[Géza Maróti]] and [[Miksa Róth]], Catalan sculptor [[Agustí Querol Subirats]] and French master [[Edgar Brandt]].<ref>[https://art.nouveau.world/palacio-de-bellas-artes Palacio de Bellas Artes] {{Webarchive|url= https://web.archive.org/web/20210411172200/https://art.nouveau.world/palacio-de-bellas-artes |date=11 April 2021}} – Art Nouveau World</ref>

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)|Palestine region]] in dating to the late Ottoman and [[Mandatory Palestine|British Mandate]] periods. It has been described as "a fusion of [[Asian art|oriental art]] and Jugendstil."<ref>{{Cite web |url= http://www.artatthecenter.com/HTML/Artists.cfm?ID=35 |title=AATC Artists – Ze'ev Raban |access-date=12 January 2020 |archive-date=10 May 2004 |archive-url= https://web.archive.org/web/20040510054054/http://artatthecenter.com/html/Artists.cfm?ID=35 |url-status=live}}</ref> Several artists associated with the Bezalel school were noted for their Art Nouveau style, including [[Ze'ev Raban]], [[Ephraim Moses Lilien]] and [[Abel Pann]].<ref>{{cite book |last1=Mishofy |first1=Alec |title= Secularizing the Sacred |date=2019 |publisher=Brill}}</ref>