Yale Literary Magazine critic summarized the editoral attitude by noting that "Jugend's political and social platform [was] one opposition—opposition to everything." For all that, Jugend's contribution to the literature of the early modern period remained modest, especially compared to Albert Langen's competing journal Simplicissimus, which was also founded in 1896. Jugend's editorial identity originally focused on national and Bavarian regional issues. That changed in the mid-1920s, when it began catering to, and then entered into dialogue with groups of young artists breaking with traditional approaches to art in the late 19th and early 20th centuries in the Jungendstil in multiple German cities, as well as a series of so-called secessions in Paris, Vienna, Munich, Berlin, Dresden and elsewhere. After 1933, the magazine was forced to cater to the Nazis, which restricted its editorial vision to the neoclassical propaganda approved by the regime, in the Great German Art Exhibition of 1937, which was presented in counterpoint to the 650 pieces confiscated from German museums in the Degenerate Art Exhibition. Legacy The use of integrating and matching typefaces into the illustration continues to influence graphic design. Germany's gesamtkunstwerk ("synthesized artwork") tradition, which came to the fore in German Art Nouveau led to a reexamination of "how to reconcile art with industry, ornamentation with functionalism." Gallery (Selection was limited by availability.) See also Gesamtkunstwerk List of magazines in Germany Pan (magazine) Secession (art) Simplicissimus (magazine) Ulenspiegel References External links Jugend – Münchner illustrierte Wochenschrift für Kunst und Leben – digital version at University Library Heidelberg 1896 establishments in Germany 1940 disestablishments in Germany Art Nouveau magazines Defunct magazines published in Germany Visual arts magazines published in Germany German-language magazines Magazines established in 1896 Magazines disestablished in 1940 Magazines published in Munich