Jugendstil &Aubrey Beardsley

By Nicole Lawrence

Jugendstil• Artistic style• Started in Germany• mid-1890’s through the first decade of the

20th century• It’s name came from the Munich magazine Die

Jugen (“Youth”) that featured Art Nouveau designs

(Britannica)

Male voice

Female voice

Jugendstil

• Two phases– Early

• before 1900• Mainly floral• Rooted in English Art Nouveau and Japanese arts and prints

– Second phase• More abstract• Grew out of Viennese work of Henry van de Velde

– Belgian-born architect and designer

(Britannica)

Jugendstil

• Characterized by “expressions of sensual freedom, signaled by female forms, floral and organic motifs, and suggestions of primal eroticism as a liberating force from the bonds of convention” (Drukker & McVarish)

Jugendstil

Jugendstil

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Peter Behrens, The Kiss, 1898“6-color woodcut, controversial for its androgenous imagery, was first reproduced in

Pan magazine.” Meggs pg. 219

Jugend

On the left: Otto Eckmann cover of Jugend, 1896, “often blended curvilinear stylization with traditional realism” Meggs pg. 217

On the right: Hans Christiansen cover of Jugend, 1899, “the stylized curves of the illustration’s flat shapes” Meggs pg. 217

Munchner Jugend

• Munchner Jugend magazine• First published in 1896 by Georg Hirth• Published until 1914 (WWI)• Promoted a contemporary lifestyle• Every masthead was different handcreated typeface• Otto Eckmann– Artist who gave up painting for design– His designs for the magazine “demonstrate the attention

to letter and image relations that distinguished the style of the period” (Drukker and McVarish)

Munchner Jugend

• Used illustrations and designs of German Art Nouveau artists– Black and white and tinted illustrations– Hand lettering– Architectural and furniture design

• “Radical departure from traditional German decorative arts and graphic design”– Traditional was more “stodgy and formulaic”(fontcraft.com)

Munchner Jugend magazine

Munchner Jugend magazine

Jugendstil Fonts

• Original four fonts used in Jugend– Jugend–Campobello–Munich–Phaeton

Jugendstil Fonts: Jugend

Jugendstil Fonts: Campobello

Jugendstil Fonts: Munich

Jugendstil Fonts: Phaeton

Other Jugendstil FontsZauberer- Art Nouveau twist on classic German gothic lettering

Kunsthand- classic example of artist’s lettering

Wolfram- heavy-weight display font

Aubrey Beardsley• English illustrator/author• Drawings– Black ink– Influenced by Japanese woodcuts style– Emphasized “the grotesque, the decadent, and the

erotic” (Wikipedia)• Leading figure in the Aesthetic movement• Significant contribution to development of Art

Nouveau style and the poster movement• Most controversial artist of the era

Aubrey Beardsley• “Aubrey Beardsley was

an enfant terrible of art nouveau, with his striking pen line, vibrant black-and-white work, and shockingly exotic imagery.” Meggs pg. 200

Salomé, 1896“easily as perverse and implicitly wicked as the text” (Drucker

and McVarish, pg. 176)

Aubrey Beardsley

• “Most of his images are done in ink, and feature large dark areas contrasted with large blank ones, and areas of fine detail contrasted with areas with none at all” (Wikipedia)

The Stomach Dance, 1894

Aubrey Beardsley• Inspired by Japanese

shunga– Featured enormous

genitalia• Themes of history and

mythology– Aristophane’s Lysistrata– Drawings for Oscar Wilde’s

play Salome• Extremely erotic

Illustration from Salome by Beardsley

Aubrey Beardsley• Produced illustrations for

books and magazines– The Studio– The Savoy

• Wrote erotic novels and tales– Under the Hill

• Did some political cartoons

The Savoy magazine,Beardsley was co-founder

Aubrey Beardsley

• He said, “I have one aim– the grotesque. If I am not grotesque I am nothing.”

(Wikipedia)

Der Puderquast, 1893

Aubrey Beardsley

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• Morte d’Arthur, 1893• Full page illustration• Beardsley’s “emerging

ability to compose contour line, textured areas, and black and white shapes into powerful compositions. The contrast between geometric shapes reflects the influence of the Japanese print.”

• Meggs, pg. 200

Aubrey Beardsley

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• Morte d’Arthur, 1893

• Chapter opening• “William Morris’s

lyrical bouquets were replaced by rollicking mythological nymphs in a briar border design.”

Meggs, pg. 200

Aubrey Beardsley• Illustration by Beardsley for

Oscar Wilde’s Salomé, 1894• “John the Baptist and

Salome, who was given his head on a platter by Herod after her dance, are remarkable symbolic figures. The dynamic interplay between positive and negative shapes has seldem been equaled.”

• Meggs, pg. 201

Sources• www.britannica.com/EBchecked/topic/1241656/Jugendstilhttp:/• www.fontcraft.com/fontcraft/index.php/2009/01/our-jugendstil-collection/• http://www.fontcraft.com/fontcraft/2010/08/28/heidelberg-archive-of-jugend-

magazine/• http://www.essential-architecture.com/STYLE/STY-Jugendstil.htm• Drukker & McVarish- Graphic Design History: A Critical Guide• Meggs• http://en.wikipedia.org/wiki/Aubrey_Beardsley• http:/www.lib.monash.edu.au/exhibitions/magazines/xmagazines2.html