To Each Century Its Art to Art Its Freedom
In 1896, Gustav Klimt and a number of other artists quit the conservative M�nstlerhaus and founded a new art clan chosen the Secession. The building of the same proper name was completed in 1898.
Frieze: "Der Zeit ihre Kunst. Der Kunst ihre Freiheit" ("To every historic period its art, to every art its freedom") ... The building has been selected to effigy on the national side of the €0.50 Austrian coin
3,000 gold laurel leaves
"The leafwork dome ('golden cabbage') is the symbol of the Secession and visible from afar." - "Secession" on Vienna Now Forever (online Jan. 2017)
Archway surroundings
Entrance surround ... Medusas with snake pilus
Archway environs
Side elevation
Note painted wreath, detailed beneath:
3 owls and wreath ... Further detailed below:
Decorative owls by Joseph Olbrich
Side elevation
Three details below:
Detail #1
Detail #2
Detail #3
Vienna Secession
From the onset, the Vienna Secession brought together Naturalists, Modernists, Impressionists and cross-pollinated amongst all disciplines forming a total work of fine art; a Gesamkunstwerk. In this respect, the Secession drew inspiration from William Morris and the English Arts and Crafts motility which sought to re-unite fine and applied arts. Like Morris, the Secessionists spurned 19th century manufacturing techniques and favoured quality handmade objects, believing that a return to handwork could rescue guild from the moral decay acquired past industrialization.
Stylistically, the Secession has mistakenly been seen every bit synonymous with the Jugendstil motion, the German version of fine art nouveau. It is true that the Secessionists incorporated many of Jugendstil elements in its work such equally the curvilinear lines that decorate the facade of the Secession building. Many of the organization's members had been working in the Jugendstil manner prior to joining and the grouping did honour the Art Nouveau motion in France past devoting an entire issue of Ver Sacrum in 1898 to the work Alphonse Mucha. Nevertheless, the Secession developed its own unique 'Secession-stil' centred around symmetry and repetition rather than natural forms.
The dominant class was the square and the recurring motifs were the grid and checkerboard. The influence came not then much from French and Belgian Fine art Nouveau, merely over again from the Arts and Crafts movement. In detail the work of William Asbhee and Charles Renee Mackintosh both of whom incorporated geometric design and floral-inspired decorative motifs, played a large role in forming the Secession-style. The Secessionist admiration of Mackintosh's work was evident by the fact that he was brought to Vienna for the eighth Secession exhibition.
The influence of Japanese blueprint cannot be understated in relation to the Secession. Japonism had swept through Europe at the cease of the eighteenth century and French artists similar Cezanne and Van Gogh; both of whom were avid collectors of woodblock prints were quick to incorporate elements in their work.
When Japonism arrived in Austria, the Viennese were as well not immune to its influence. The Vienna International Exposition of 1873 featured a Japanese display consummate with a shinto shrine and Japanese garden and hundreds of fine art objects. Japanese pattern was rapidly incorporated by the Secessionists for its restrained use of ornamentation, its preference for natural materials over artifice, the preference for handwork over auto-made, and its residuum of negative and positive space. In a way, the Secessionists saw in Japanese design their ideals of a 'Gesamkunstwerk', whereby design was seamlessly incorporated into everyday life. So strong were these ties that they devoted the Secession exhibit of 1903 to Japanese art.
- Excerpts: R. Rosenman, "Vienna Secession: A History," pub. on Vienna Secession in 2015 (online Jan. 2017)
Secession Building
The large, white, cubic Secession Building was designed by architect Joseph Maria Olbrich in 1897 equally the manifesto of the Secessionist movement. The exhibition hall opened in October 1898.
Nigh of the original interior was looted during Earth War II and the building was left in a desolate state until the passion for Viennese Fine art Nouveau was rediscovered in the 1970s and the pavilion rescued from decay.
The building is quite sober and only uses two colours, white and golden. Due to its massive, unbroken walls, the construction has the advent of existence constructed from a serial of solid cubes. The nigh prominent feature of the otherwise clean blueprint is the dome, made of three,000 gilt laurel leaves. The laurel symbolizes victory, nobility and purity. Today the structure is one of the most treasured examples of a specially Viennese artistic period.
- Secession Building (online Jan. 2017)
Secession Building
Adolf Krischanitz was responsible for the most recent renovation in 1984-88.
Its best-known exhibit is Gustav Klimt famous Beethoven Frieze – a awe-inspiring wall bike – designed in 1902. This exhibition, conceived as an homage to the composer Ludwig van Beethoven, most sublimely embodied the secessionist idea of the gesamtkunstwerk – a comprehensive work of fine art.
A total of nigh 20 exhibitions accept place in the Vienna Secession (in the Main Hall, Gallery, Graphic Cabinet and Ver Sacrum Room) each year.
- Secession Building in Vienna (online Jan. 2017)
From the drove of Paul M. Robinson
From the onset, one of the near of import aims of the secessionists was to have their own exhibition building. They had been required to rent for a considerable sum the building of the Horticultural Society for the first secession exhibition in March of 1898 and had seen the demand to revise exhibition spaces from the traditional Salon model. Thank you to the financial success of this exhibition which drew some 57,000 visitors; including Emperor Franz Josef himself, they were able to undertake the structure of a permanent exhibition building. The location for this building; an area of roughly 1000 square meters on the corner of Karlsplatz simply beneath the window of the University of Fine Arts and a brusk walk from the Ringstrasse, was both symbolic and controversial.
The builder chosen for the projection was Josef Olbrich, a young student of Otto Wagner and one of only three architects (Josef Hoffmann, and Mayreder) who had joined the Secession. He had worked as a primary draugftsman for Wagner on the Stadtbahn during which time he was able to absorb Wagner's trademark art nouveau ornamental details.
By the time Olbrich was designing the Secession building however, we see a desperate simplification of these Art Nouveau elements. Viewing Olbrich'due south original sketches for the building, we can see a gradual reduction of decorative elements to basic geometric forms signifying a break from Wagner'south grandious art nouveau style.
Originally nicknamed 'Mahdi's Tomb' or the 'Assyrian convenience, information technology was non until the gilt cuppola was in place that the most famous of nicknames was coined; 'The golden cabbage.'
Like Klimt, Olbrich incorporated references to classical antiquity in the
owl and gorgon (medussa heads) decorative motifs. Signifying the attributes of Athena; the goddess of wisdom and victory, Olbrich makes her both a liberator and guardian of the arts.- Excerpts: R. Rosenman, "Vienna Secession: A History," pub. on Vienna Secession in 2015 (online January. 2017)
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Source: https://buffaloah.com/a/virtual/aus/vienna/secess/sec.html
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