[1] Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces.

It often appeared not only in capitals, but also in rapidly growing cities that wanted to establish artistic identities (Turin and Palermo in Italy; Glasgow in Scotland; Munich and Darmstadt in Germany; Barcelona in Catalonia, Spain), as well as in centres of independence movements (Helsinki in Finland, then part of the Russian Empire).

The Maison de l'Art Nouveau showed paintings by Georges Seurat, Paul Signac and Toulouse-Lautrec, glass from Louis Comfort Tiffany and Émile Gallé, jewellery by René Lalique, and posters by Aubrey Beardsley.

The Esposizione internazionale d'arte decorativa moderna of 1902 in Turin, Italy, showcased designers from across Europe, including Victor Horta from Belgium and Joseph Maria Olbrich from Vienna, along with local artists such as Carlo Bugatti, Galileo Chini and Eugenio Quarti.

The most striking example was the house and studio built for the artist Albert Ciamberlani at 48, rue Defacqz/Defacqzstraat 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.

[79] 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.

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.

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.

[82] Gustav Klimt and Josef Hoffmann continued collaborating, they organized Kunstschau Exhibition [de] in 1908 in Vienna and built the Stoclet Palace in Brussels (1905–1911) that announced the coming of modernist architecture.

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 (now Poland), most of them heavily influenced by local Lemko (Rusyn) folk art and carpentry (1915–1917).

[100] 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).

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.

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.

Jugendstil masterpieces of other Nordic countries include Engelbrektskyrkan (1914) and Royal Dramatic Theatre (1901–1908) in Stockholm, Sweden[138] and former City Library (now Danish National Business Archives) in Aarhus, Denmark (1898–1901).

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.

[156] His Club Español building [es] (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.

[173] Early Art Nouveau also often featured more stylised forms expressing movement, such as the coup de fouet or "whiplash" line, depicted in the cyclamen plants drawn by designer Hermann Obrist in 1894.

"[176] Earlier Art Nouveau furniture, such as that made by Louis Majorelle and Henry van de Velde, was characterized by the use of exotic and expensive materials, including mahogany with inlays of precious woods and trim, and curving forms without right angles.

These geometric forms were used with particular effect in the architecture and furniture of Joseph Maria Olbrich, Otto Wagner, Koloman Moser and Josef Hoffmann, especially the Stoclet Palace in Brussels, which announced the arrival of Art Deco and modernism.

The Catalan modernist painters (Ramón Casas, Santiago Rusiñol, Aleix Clapés, Joaquim Sunyer, Hermenegildo Anglada Camarasa, Juan Brull, Ricard Canals, Javier Gosé, Josep Maria Sert, Miguel Utrillo, etc.

It frequently included long necklaces made of pearls or sterling-silver chains punctuated by glass beads or ending in a silver or gold pendant, itself often designed as an ornament to hold a single, faceted jewel of amethyst, peridot, or citrine.

By showcasing works from avant-garde jewellers like René Lalique, Henri Vever, and Edward Colonna, Bing elevated jewellery to the status of fine art and fostered international appreciation for the style.

[203] A curling or "whiplash" motif, based on the forms of plants and flowers, was widely used in the early Art Nouveau, but decoration became more abstract and symmetrical in Vienna Secession and other later versions of the style, as in the Stoclet Palace in Brussels (1905–1911).

Bow windows were finally allowed in 1903, and Art Nouveau architects went to the opposite extreme, most notably in the houses of Jules Lavirotte, which were essentially large works of sculpture, completely covered with decoration.

[203] Many Art Nouveau buildings were included in UNESCO World Cultural Heritage list as a part of their city centres (in Bern, Budapest, Lviv, Paris, Porto, Prague, Riga, Saint Petersburg, Strasbourg (Neustadt), Vienna).

[10] In Belgium, the pioneer architects of the Art Nouveau movement, Victor Horta and Henry van de Velde, designed furniture for their houses, using vigorous curving lines and a minimum of decoration.

Beginning in 1886, he worked with painter Paul Gauguin on stoneware designs with applied figures, multiple handles, painted and partially glazed, and collaborated with sculptors Félix Bracquemond, Jules Dalou and Auguste Rodin.

Through its various manifestations, it invented new ornamental systems, no longer dependent on historical formulae, through curvy plant forms in most of the world, geometric decoration in Austria-Hungary and the UK, and reinterpretations of national tradition in the countries of Northern, Central and Eastern Europe.

Aside from exhibitions, this revival might be connected with the "flower power" generation that set the tone at the time recognized its own life ideals in the floral ornament and the erotically "emancipated" art themes of the years around 1900.

Leading proponents of the 1960s psychedelic art movement were San Francisco poster artists such as Rick Griffin, Victor Moscoso, Bonnie MacLean, Stanley Mouse, Alton Kelley, and Wes Wilson.