Word: jugendstil
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Dates: during 1960-1969
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What Ludwig created was a style. Though politically a puppet, he possessed the taste, the ability and the resources to blend Romanesque, Oriental, Moorish and rococo influences into what later became known as the Jugendstil-the German equivalent of art nouveau. Petzet's point is spectacularly documented in a dramatic display of 907 paintings, drawings, costumes, stage models, furniture and other rarely seen bric-a-brac commissioned and closely supervised in their execution by Ludwig for his many projects. The lot is installed for the summer in a wing of the Wittelsbach family palace, formally known as the Munich...
Every Eye. Ludwig's most famous effort was Neuschwanstein, whose Romanesque-Moorish turrets bedeck Bavarian travel posters. The carvings and furnishings from its marble and mosaic chapel, study and bedroom display a gaunt tension that clearly foreshadows the Jugendstil 30 years before its prime. Sketches for carved colonnades incorporate fantastic root-and-branch configurations that would have delighted Spain's art nouveau master, Antoni Gaudí. Ludwig's two other palaces both evoke the rococo splendors of Louis XIV of France. From Linderhof come tutti-frutti-colored, specially commissioned Sèvres porcelain, embroidered screens inspired...
Almost any photograph of a Northern European city street scene taken around 1900 shows how decisively art nouveau (or its German version, Jugendstil) permeated the Mauve Decade. As the first art style since the Industrial Revolution to integrate every phase of design, its florid, free-flowing lines ornamented buildings and posters, park benches and Metro stations, Tiffany glass and Liberty silks. Yet few styles have had a shorter life. It achieved its purplest popularity between 1895 and 1900, was fading fast by 1914. With the advent of the machined precision of the 1920s Bauhaus modernism, handcrafted art nouveau became...
...West Germany, a group of Munich Jugendstil fanciers, led by Retailer Hans Joachim Ziersch, 53, bought, for $380,000, the 20-room villa built by Franz von Stuck, and restored its public rooms and part of its atelier with another $250,000. At the turn of the century, Von Stuck was Germany's most fashionable painter, earning the equivalent of $250,000 a year. His slickly lecherous nymphs and centaurs were snapped up by wealthy industrialists, his portraits commissioned by royalty, and his banquets were compared to Roman Bacchanalia. Von Stuck's million-mark palazzo, begun...
...blend of crumbling worldliness and gooey sensuality of a Linzertorte. Like his native city, which lies on the fringes of the Western world, his work flirts with the Far East, draws from such predecessors as Egon Schiele and Gustav Klimt as well as the tendrilous enticements of Jugendstil or art nouveau. He mingles oils and tempera with gold and silver foil, beeswax, and bits of peat moss and sand to make his almost bitter, labyrinthine pastries...