54-650: The Darmstadt Artists' Colony refers both to a group of Jugendstil artists as well as to the buildings in Mathildenhöhe in Darmstadt in which these artists lived and worked in the late 19th and early 20th centuries. The artists were largely financed by patrons and worked together with other members of the group who ideally had concordant artistic tastes. UNESCO recognized the Mathildenhöhe artists' colony in Darmstadt as
108-543: A World Heritage Site in 2021, because of its testimony to early modern architecture and landscape design, and its influence in the reform movements of the early 20th century. The artists' colony was founded in 1899 by Ernest Ludwig, Grand Duke of Hesse . His motto was: " Mein Hessenland blühe und in ihm die Kunst " ("My Hessian land shall flourish and in it, the art"), and he expected the combination of art and trade to provide economic impulses for his land. The artists' goal
162-565: A group of other notable Jugendstil artists, including ( Hermann Muthesius , Theodor Fischer , Josef Hoffmann , Joseph Maria Olbrich , Bruno Paul , Richard Riemerschmid , and Fritz Schumacher , created the Deutscher Werkbund . Modeled after the Arts and Crafts movement in England, its goal was to improve and modernize the design of industrial products and everyday objects. He first major project
216-515: A lesser extent from about 1895 until about 1910. It was the German counterpart of Art Nouveau . The members of the movement were reacting against the historicism and neo-classicism of the official art and architecture academies. It took its name from the art journal Jugend , founded by the German artist Georg Hirth . It was especially active in the graphic arts and interior decoration. Its major centers of activity were Munich and Weimar and
270-582: A major part in the emergence of modern architecture . The architect and designer Peter Behrens (1868–1940) was a key figure in the final years of the Jugendstil , and in the transition to modern architecture. Born in Hamburg , where he studied painting, Behrens moved to Munich in 1890 and worked as a painter, illustrator and bookbinder. In 1890, he was one of the founders of the Munich Secession . In 1899, he
324-963: A new career in Dresden in 1897, with a display at the Dresden Exposition of decorative arts. His work became known in Germany through decorative arts journals, and he received several commissions for interiors in Berlin, for a villa in Chemnitz , the Folkwang Museum in Hagen , and the Nietzsche House in Weimar for Elisabeth Förster-Nietzsche , the sister of philosopher Friedrich Nietzsche . He settled in Weimar in 1899 and produced
378-496: A type face often used in Jugendstil . Another important German graphic artist was Josef Rudolf Witzel (1867–1925), who produced many early covers for Jugend , with curving, floral forms which helped shape the style. The magazine Simplicissimus , published in Munich, was also noted for its Jugendstil graphics, as well as for the modern writers it presented, including Thomas Mann and Rainer Maria Rilke . Important illustrators for
432-540: A wide variety of decorative works, including silverware and ceramics, all in strikingly original forms. His silverware was particularly unusual: each piece had its own form, with sleek curving lines, but together they formed a harmonious ensemble. In 1902, he decorated the apartment of Count Harry Kessler , a prominent patron of the Impressionist painters. In 1905, with the patronage of the Grand Duke of Weimar, he created
486-424: Is a remarkable collection of Jugendstil buildings created beginning in 1899 by Ernest Ludwig, Grand Duke of Hesse , a grandson of Queen Victoria, to promote both commerce and the arts. He brought together a group of designers to create his new community, including Peter Behrens , Hans Christiansen , and Joseph Maria Olbrich . The Colony architecture represented a complete break with the earlier floral style, and
540-823: The Darmstadt Artists' Colony founded in Darmstadt in 1901. Important figures of the movement included the Swiss graphic artist Hermann Obrist , Otto Eckmann , and the Belgian architect and decorator Henry van de Velde . In its earlier years, the style was influenced by the British Modern Style . It was also influenced by Japanese prints. Later, under the Secessionists ' influence, it tended toward abstraction and more geometrical forms. The movement had its origins in Munich with
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#1733202183283648-510: The "Blue House" (the ground floor is covered with blue-glazed tiles) were erected to be sold, while the "Grey House", also known as the "Preacher House", (which has a dark rough plaster surface) was designed as a residence for the court preacher. Olbrich designed the interior of the Grey House; Paul Haustein and Johann Vincenz Cissarz were responsible for the décor of the Blue House and some rooms of
702-400: The "Institute for New Music and Music Education" uses the building. Architect Conrad Sutter designed and built this house, as well as designing the entire interior. The building was included in the exhibition against the opinion of the jury, for which Sutter assumed the responsibility. Architect Johann Christoph Gewin drew up plans for the house for the builder Wagner. It was destroyed in
756-523: The 1908 exhibition and moved to what is now the Erbacher Straße on commission of the nearby ducal dairy farm. The particular focus of the last exhibition was the rental residence, for which Albin Müller erected a group of eight three-storey rental apartment buildings on the northern slope of the Mathildenhöhe. Three houses included model interior designs by various colony members. The rear wing of this group
810-569: The Grand Ducal School of Arts and Crafts in Weimar. He created a showcase of applied arts for the Dresden Exposition of Applied Arts in 1906, decorated with paintings by Ludwig von Hofmann , intended as the main room of a new museum of decoration in Weimar. He transposed the characteristics of his silverware, dishes, and furniture into the architecture. Van de Velde left off the curling vegetal lines of Art Nouveau decoration and replaced them with much simpler, more stylized curves which were part of
864-408: The artists' colony. In the middle of the main floor is the meeting room with paintings by Paul Bürck and there are three artist studios on each side of it. There are two underground artists' apartments and underground rooms for business purposes. The entrance is located in a niche that is decorated with gold-plated flower motifs. Two six-metre tall statues, "Man and Woman" or "Strength and Beauty", flank
918-547: The building for a permanent exhibition of pieces produced in his factory. The house was partially destroyed in World War II, later rebuilt and then restored in the 1980s. Today it is used by the German Academy for Language and Poetry . This house was also designed by Joseph Maria Olbrich . The sculptures on the facade are the work of Rudolf Bosselt . Patriz Huber was responsible for the interior design. Bosselt began work on
972-501: The corner house. The three houses were intended to demonstrate living possibilities for the middle classes. They were heavily damaged in World War II. The Grey House made way for a new construction, while the other two were reconstructed with serious modifications. The third exhibition, which was open to artists and craftsmen from Hesse, was centred on a colony of small residences, in order to show that modern forms of living were attainable with limited financial means. The exhibition's theme
1026-438: The details but in accordance with the original plans. The House Christiansen was designed by Olbrich in accordance with painter Hans Christiansen's wishes. The facade was dominated by large areas of colour, but the decoration was at times also figurative. It was painted by Christiansen and offered plenty of material for discussion. The artist and his family lived in the house for quite some time, even though Christiansen worked for
1080-466: The end of the exhibition. Olbrich was commissioned by the firm Opel from Rüsselheim to design a single occupancy house complete with the interior design as part of the small residence colony. Instead of an eat-in kitchen, which was common at the time, there was a small kitchen and a large living room in the ground floor. In the second floor, there were two large bedrooms and a bathroom. The three houses by Mahr, Metzendorf and Wienkoop were dismantled after
1134-470: The entrance and are the work of Ludwig Habich. The artists' houses were grouped around the atelier. Towards the end of the 1980s, the building was rebuilt and turned into a museum ( Museum Künstlerkolonie Darmstadt [ de ] ) about the Darmstadt Artists' Colony. The artists could buy property in favourable conditions and construct residential houses that were to feature in the exhibition. It
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#17332021832831188-597: The financing. The conditions required the houses to have at least three residential rooms, to be made of local building materials, and not to cost more than 4000 Mark for a single occupancy house or 7200 Mark for a dual occupancy house. Moreover, the architects were required to design an interior which cost less than 1000 Mark per residence. The buildings were designed by the local architects Ludwig Mahr , Georg Metzendorf , Josef Rings , Heinrich Walbe , Arthur Wienkoop and Joseph Maria Olbrich . The fully furnished buildings were displayed in 1908 but were dismantled shortly after
1242-459: The first exhibition in the Mathildenhöhe. Traditionalists Alfred Messel (residence for museum director Paul Ostermann von Roth), Georg Metzendorf (residence for Georg Kaiser), Heinrich Metzendorf (residence for Hofrat Otto Stockhausen) and Friedrich Pützer ( inter alia his own residence, the residence for Dr. Mühlberger and the dual residency house for Finanzrat Dr. Becker and Finanzrat Bornscheuer) were however able to display their concepts on
1296-422: The following years. The Ernst Ludwig House was built as a common atelier following plans drawn up by Joseph Maria Olbrich . Olbrich had worked as an architect and was the central figure in the group of artists, Peter Behrens having been involved at first only as a painter and an illustrator. The laying of the foundation stone took place on 24 March 1900. The atelier was both a worksite and a venue for gatherings in
1350-637: The founding of an association of visual artists in 1892, which broke away from the more formal historical and academic styles of the Academy. Georg Hirth chose the name Munich Secession for the association. Later, the Vienna Secession , founded in 1897 and the Berlin Secession took their own names from the Munich group. The journal of the group, Jugend , begun in 1896, along with another Munich publication, Simplicissimus and Pan in Berlin, became
1404-410: The house, but was not able to cover the costs of construction. Glückert thus took over the house and paid for its completion. Its present appearance approximates its original form. Peter Behrens was a self-taught architect. His design for his own house and its interior represented his debut. Having one and the same architect and interior designer gave the house a particularly pronounced consistency. It
1458-518: The imaginative details of the decoration, in spirals and curling forms, The most prominent graphic artist was Otto Eckmann , who produced numerous illustrations for the movement's journal Jugend , in a sinuous, floral style that was similar to the French style. He also created a type style based upon Japanese calligraphy. Joseph Sattler was another graphic artist who contributed to the style through another artistic journal called Pan . Sattler designed
1512-541: The large financial losses of the first exhibition. The remaining members Olbrich and Habich had been joined at this time by three new members: Johann Vincenz Cissarz [ de ] , Daniel Greiner [ de ] and Paul Haustein [ de ] . The three interconnected houses at the corner of the Stiftstraße and Prinz-Christians-Weg were built in 1904 according to plans by Joseph Maria Olbrich. The corner house (with pilaster strips made of bricks) and
1566-456: The lyricist Karl Krolow , the art historian Hans Maria Wingler and the sculptor Wilhelm Loth were (or are) amongst the inhabitants of this colony. Jugendstil Jugendstil ( German pronunciation: [ˈjuːɡn̩tˌstiːl] ; "Youth Style") was an artistic movement, particularly in the decorative arts , that was influential primarily in Germany and elsewhere in Europe to
1620-545: The magazine included Thomas Theodor Heine . The ideal of designers of the Jugendstil was to make a house a complete work of art, with everything inside, from the furniture to the carpets and the dishware, silverware and the art, in perfect harmony. With this ideal in mind, they established their own workshops to produce furniture. August Endell , Theodor Fischer , Bruno Paul , and especially Richard Riemerschmid were important figures in Jugendstil furniture. Metallwarenfabrik Straub & Schweizer (WMF) was, by 1900,
1674-537: The margins of the artists' colony. The exhibition terrain was surrounded by a fence only for the duration of the exhibition. The houses of the artists' colony and those of the other architects were immediately adjacent to one another in the development. The city of Darmstadt established a new artists' colony in the 1960s. Seven ateliers and residences were erected between 1965 and 1967 according to plans by Rolf Prange , Rudolf Kramer , Bert Seidel , Heribert Hausmann and Reinhold Kargel . The author Heinrich Schirmbeck ,
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1728-502: The most part outside of Darmstadt in later years. The building was completely destroyed in World War II and not reconstructed. A gap was left where it had stood, thereby also destroying the original symmetry of the area. This house, known as "Beaulieu" was erected for the well-off Georg Keller according to plans drawn up by Joseph Maria Olbrich. Following its destruction in the war, it was rebuilt completely differently. The second exhibition featured almost only temporary constructions after
1782-507: The most visible showcases of the new style. The leading figures of this movement, including Peter Behrens , Bernhard Pankok , and Richard Riemerschmid , as well as the majority of the founding members of the Munich Secession, all provided illustrations to Jugend . In the beginning, the style was used primarily in illustrations and graphic arts. Jugendstil combined floral decoration and sinuous curves with more geometric lines, and soon
1836-431: The neighbouring Exhibition Building, which were opened in 1908 as a venue for the members of the artists' colony to display their artistic work. The building stands on a former reservoir, part of the Darmstadt water network, which was originally only sealed over with earth. This House was designed by Olbrich as a venue for displays of industrial and trade products from Upper Hesse and largely decorated by him as well. Today,
1890-490: The structure of his buildings and decorative works. The importance of Weimar as a cultural center of the Jugendstil was ended in 1906, when its main patron, Count Harry Kessler, commissioned Rodin to make a nude statue for the Grand Duke. The Grand Duke was scandalized, and Kessler was forced to resign. The Weimar school of design lost its importance until 1919, when it returned as the Bauhaus under Walter Gropius , and played
1944-438: 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 . The Swiss artist Hermann Obrist , living in Munich, made designs with sinuous double curves, modeled after plants and flowers, which were a prominent motif of the early style. The Darmstadt Artists' Colony
1998-516: The title "A Document of German Art". The exhibits were the colony's individual houses, the studios and various temporary constructions. The exhibition was opened on 15 May with a festival proposed by Peter Behrens and inspired interest far beyond Darmstadt's borders, but ended nonetheless with a large financial loss in October. Paul Bürck , Hans Christiansen and Patriz Huber left the colony shortly afterwards, as did Peter Behrens and Rudolf Bosselt in
2052-624: The war. The small residence colony was erected on the eastern slope of the Mathildenhöhe as a model for residences for less well-off classes. It was made up of one dual occupancy house, two semi-detached houses and three single occupancy houses. The model houses were exhibited collectively by the Ernst Ludwig Society and the Hesse Central Society for the Construction of Cheaper Apartments. Six industrialist magnates from Hesse provided
2106-1253: The world's largest producer of household metalware, mainly in the Jugendstil style, designed in the WMF Art Studio under Albert Mayer. WMF purchased Orivit, another company known for its Jugendstil pewter, in 1905. Deutsches Polen-Institut Look for Deutsches Polen-Institut on one of Misplaced Pages's sister projects : [REDACTED] Wiktionary (dictionary) [REDACTED] Wikibooks (textbooks) [REDACTED] Wikiquote (quotations) [REDACTED] Wikisource (library) [REDACTED] Wikiversity (learning resources) [REDACTED] Commons (media) [REDACTED] Wikivoyage (travel guide) [REDACTED] Wikinews (news source) [REDACTED] Wikidata (linked database) [REDACTED] Wikispecies (species directory) Misplaced Pages does not have an article with this exact name. Please search for Deutsches Polen-Institut in Misplaced Pages to check for alternative titles or spellings. You need to log in or create an account and be autoconfirmed to create new articles. Alternatively, you can use
2160-459: Was AEG turbine factory in Berlin (1908–1909). Behren's assistants and students at this time included Mies van der Rohe , C. E. Jeanerette (the future Le Corbusier ), and Walter Gropius , the future head of the Bauhaus . The work of Behrens and the Werkbund effectively launched the transition from the Jugendstil to modernism in Germany, and the end of the Jugendstil . In Berlin, August Endell
2214-554: Was a five-storey atelier. This row of apartment buildings was destroyed in World War II, but the atelier with its brown striped southern facade survived. The sycamore grove and the lion gate (now the entrance gate to the Park Rosenhöhe) can still be seen today. The colony members at this time were Heinrich Jobst , Friedrich Wilhelm Kleukens , Albin Müller , Fritz Osswald , Emanuel Josef Margold , Edmund Körner and Bernhard Hoetger . Darmstadt's local architects did not take part in
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2268-401: Was also responsible for the ground floor interior. It is the smallest of the houses and its particular form is the result of the quadratic shape of the property on which it is built, which lies at the intersection of two streets. It survived the war unscathed and was restored to its original appearance in 1991–1992 following several less fortunate attempts to renovate and redesign it. The building
2322-562: Was another important center of the Jugendstil , thanks largely to the Belgian architect and designer Henry van de Velde . Van de Velde had played an important role in the early Belgian Art Nouveau, building his own house and decorating it in Art Nouveau style, with the strong influence of the British Arts and Crafts Movement . He was a known in Germany for his work in Belgium and Paris, and began
2376-481: Was both editor of Pan magazine and a major figure in Jugendstil decoration, designing hotels and theaters, such as the interior of Buntes Theater in Berlin (1901), destroyed during World War II. He designed every detail of the interior down to the nails. with each room in a different color, and on a different theme. He also designed the Hackesche Höfe , a complex of buildings in the centre of Berlin, noted for
2430-427: Was envisaged that the efforts to combine architecture, interior design, handicraft and painting should thus be demonstrated with concrete examples. Only Olbrich, Christiansen, Habich and Behrens could afford to build homes of their own but there were nonetheless eight fully furnished houses in the first exhibition. Wilhelm Deiters was the manager of the artists' colony. His house was designed by Joseph Maria Olbrich, who
2484-458: Was free and applied art. Besides Olbrich, the colony also housed Albin Müller , Jakob Julius Scharvogel [ de ] , Joseph Emil Schneckendorf [ de ] , Ernst Riegel [ de ] , Friedrich Wilhelm Kleukens [ de ] and Heinrich Jobst [ de ] at the time. Joseph Maria Olbrich planned the Wedding Tower [ de ] and
2538-499: Was however also the single most expensive house in the exhibition, with total costs of 200,000 Mark. Behrens never lived in it, choosing instead to sell it shortly after the exhibition. It was heavily damaged in World War II , but at least the exterior has been largely restored to its original state. Some articles and pieces of furniture were apparently removed from the house at an earlier date and have thus survived. Olbrich's own house
2592-496: Was invited to participate in the Darmstadt Artists' Colony , where he designed his own house and all of its contents, including the furniture, towels and dishes. After 1900 he became involved in industrial design and the reform of architecture to more functional forms. In 1902, he participated in the Turin International Exposition, one of the first major Europe-wide showcases of Art Nouveau. In 1907, Behrens and
2646-599: Was much bolder in its design. Behrens and several of the other architects built their own houses there, and designed every detail, from the doorknobs to the dishes. The most impressive building of the Colony is the Ernst-Ludwig House, named for the Grand Duke, which contained the workshops of the artists. It was designed by Olbrich, with an entrance in the form of a three-quarter circle, flanked by two statues, Force and Beauty , by Ludwig Habich (1901). The city of Weimar
2700-413: Was relatively cheap at 75,000 Mark. The building had a red hip roof that continued down over the ground floor on the northern side. Olbrich himself had also designed the entire interior. The house was heavily damaged in World War II. It was rebuilt in 1950–1951, although everything above the ground floor was completely changed. Only the white and blue tiles on the facade recall the original construction. It
2754-464: Was the home of the German Polish Institute [ de ] from 1996 to 2016. Joseph Maria Olbrich also designed this house for Julius Glückert. It was the largest in the exhibition. Julius Glückert was a producer of furniture and an important promoter of the artists' colony. He had envisaged selling the house as soon as it was finished, but decided shortly before its completion to use
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#17332021832832808-547: Was to be the development of modern and forward-looking forms of construction and living. To this end, Ernst Ludwig brought together several artists of the Art Nouveau in Darmstadt: Peter Behrens , Paul Bürck , Rudolf Bosselt , Hans Christiansen , Ludwig Habich [ de ] , Patriz Huber [ de ] and Joseph Maria Olbrich . The first exhibition of the artists' colony took place in 1901 with
2862-555: Was used by the German Polish Institute from 1980 to 1996. Joseph Maria Olbrich was the architect of the Ludwig Habich's House, which was the studio and residence of sculptor Ludwig Habich. Patriz Huber was responsible for the interior design. The building is notable for its flat roof and solid geometry with its Spartan decoration. After suffering serious damage during the war, it was rebuilt in 1951 with certain changes in
2916-474: Was used for covers of novels, advertisements, and exhibition posters. Designers often created original styles of typeface that worked harmoniously with the image, such as the Arnold Böcklin typeface created in 1904. Otto Eckmann was one of the most prominent German artists associated with both Jugend and Pan . His favourite animal was the swan, and so great was his influence that the swan came to serve as
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