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"Vienna Secession"
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Art in Vienna 1898-1918 : Klimt, Kokoschka, Schiele and their contemporaries
The artistic stagnation of Vienna at the end of the 19th century was rudely shaken by the artists of the Vienna Secession. Their work shocked a conservative public, but their successive exhibitions, their magazine Ver Sacrum, and their application to the applied arts and architecture soon brought them an enthusiastic following and wealthy patronage. Art in Vienna, 1898-1918: Klimt, Kokoschka, Schiele and their Contemporaries, now published in its 4th edition, brilliantly traces the course of this development. Klimt, Kokoschka and Schiele were the leading figures in the fine arts; Wagner, Olbrich, Loos and Hoffmann in architecture and the applied arts. In other fields, Mahler, Freud and Schnitzler were influencing the avant-garde. The book includes eye-witness accounts of exhibitions, the opening of the Secession building and other events, and the result is a fascinating documentary study of the members of an artistic movement which is much admired today. Some 150 colour images and 75 black-and-white archival illustrations make this a sumptuous and historically engrossing study of a period when Vienna was the centre of the European art world.-- Source other than Library of Congress.
Book
‘Modernism and, or versus traditionalism: the work of the Wagnerschűler Leopold Bauer’. Review of: Jindřich Vybiral, Leopold Bauer, Häretiker der modernen Architektur 1872-1938, Basel: Birkhäuser, 2018
Leopold Bauer counted among the most prominent of the numerous pupils of Otto Wagner and was fully involved with the creation of the distinctive geometric forms of the Secession movement, first in interior design and in the planning of the sizeable Villa. His Villa Reissig in Brno (Brűnn) of 1901-2 is probably the best-preserved building of its kind of the movement. By 1910, however his sympathies also turned towards more traditionalist Classical-Baroque forms when dealing with public commissions. Contemporary critics and later art historians never forgave him for that. The second part of Bauer’s career was mostly spent in his native Moravia, now no longer part of the Hapsburg Empire but of new Czechoslovakia, especially in Opava (Troppau). A rich and diverse output of houses churches offices, hospitals and other tasks is given here the fullest illustration and interpretation by the author, concentrating throughout on the issues of modernity, anti-modernity and a third way.
Journal Article
The Female Secession
Decorative handcrafts are commonly associated with traditional femininity and unthreatening docility. However, the artists connected with interwar Vienna's \"female Secession\" created craft-based artworks that may be understood as sites of feminist resistance. In this book, historian Megan Brandow-Faller tells the story of how these artists disrupted long-established boundaries by working to dislodge fixed oppositions between \"art\" and \"craft,\" \"decorative\" and \"profound,\" and \"masculine\" and \"feminine\" in art.
Tracing the history of the women's art movement in Secessionist Vienna—from its origins in 1897, at the Women's Academy, to the Association of Austrian Women Artists and its radical offshoot, the Wiener Frauenkunst—Brandow-Faller tells the compelling story of a movement that reclaimed the stereotypes attached to the idea of Frauenkunst, or women's art. She shows how generational struggles and diverging artistic philosophies of art, craft, and design drove the conservative and radical wings of Austria's women's art movement apart and explores the ways female artists and craftswomen reinterpreted and extended the Klimt Group's ideas in the interwar years. Brandow-Faller draws a direct connection to the themes that impelled the better-known explosion of feminist art in 1970s America. In this provocative story of a Viennese modernism that never disavowed its ornamental, decorative roots, she gives careful attention to key primary sources, including photographs and reviews of early twentieth-century exhibitions and archival records of school curricula and personnel.
Engagingly written and featuring more than eighty representative illustrations, The Female Secession recaptures the radical potential of what Fanny Harlfinger-Zakucka referred to as \"works from women's hands.\" It will appeal to art historians working in the decorative arts and modernism as well as historians of Secession-era Vienna and gender history.
eBook
Architectural Analysis of the First Major Rehabilitation in the 21st Century of Olbrich’s Secession Building in Vienna
The recent rehabilitation, reconstruction and adaptive reuse of Joseph Maria Olbrich’s Vienna Secession Building, completed in 2018, has brought the building into a contemporary age. This research article analyzes the only extensive rehabilitation carried out on the Secession Building so far in the 21st century. It studies what was accomplished during this specific rehabilitation process, and in particular emphasizes the reasons why such a process is crucial for culture heritage buildings in the city of Vienna. The purpose of this research is to evaluate the rehabilitation procedures used for the Secession Building and to identify any weaknesses to be resolved in the next rehabilitation. It provides an example of rehabilitation for any future similar initiatives, demonstrating both its positive and negative aspects.
Journal Article
Influenţe Secession În Lirica Blagiană
Secession Influences in Blaga’s Poetry (Influențe Secession în lirica blagiană) – This essay analyses the impact of the years spent in Vienna on the formation of Lucian Blaga, taking into consideration the fact that, at the end of the 19th century and the beginning of the 20th century, the capital of the Empire was the centre of an impressive art movement called the \"Vienna Secession\". The aim of this paper is to identify the similarities that can be established between the art of the painter Gustav Klimt, a representative figure for that period and the president of Secession, and the poetry of Blaga. The comparison includes the symbols to be found in the works of the two artists, such as the spring flowers and the serpents, the dominant colours, the type of lines used in the creation of their images and the reaction of people to their modern art.
Journal Article
The Female Secession
Decorative handcrafts are commonly associated with traditional
femininity and unthreatening docility. However, the artists
connected with interwar Vienna's \"female Secession\" created
craft-based artworks that may be understood as sites of feminist
resistance. In this book, historian Megan Brandow-Faller tells the
story of how these artists disrupted long-established boundaries by
working to dislodge fixed oppositions between \"art\" and \"craft,\"
\"decorative\" and \"profound,\" and \"masculine\" and \"feminine\" in
art.
Tracing the history of the women's art movement in Secessionist
Vienna-from its origins in 1897, at the Women's Academy, to the
Association of Austrian Women Artists and its radical offshoot, the
Wiener Frauenkunst-Brandow-Faller tells the compelling story of a
movement that reclaimed the stereotypes attached to the idea of
Frauenkunst , or women's art. She shows how generational
struggles and diverging artistic philosophies of art, craft, and
design drove the conservative and radical wings of Austria's
women's art movement apart and explores the ways female artists and
craftswomen reinterpreted and extended the Klimt Group's ideas in
the interwar years. Brandow-Faller draws a direct connection to the
themes that impelled the better-known explosion of feminist art in
1970s America. In this provocative story of a Viennese modernism
that never disavowed its ornamental, decorative roots, she gives
careful attention to key primary sources, including photographs and
reviews of early twentieth-century exhibitions and archival records
of school curricula and personnel.
Engagingly written and featuring more than eighty representative
illustrations, The Female Secession recaptures the radical
potential of what Fanny Harlfinger-Zakucka referred to as \"works
from women's hands.\" It will appeal to art historians working in
the decorative arts and modernism as well as historians of
Secession-era Vienna and gender history.
eBook
‘Ludwig Hevesi and art in fin-de-siècle Vienna’. Review of: Ilona Sármány-Parsons, Bécs művészeti élete Ferenc József korában, ahogy Hevesi Lajos látta The artistic life in Vienna in Franz Joseph’s time, as seen by Lajos Hevesi
Following a biographical outline of Ludwig Hevesi’s career, the volume chronicles the exhibition life of Vienna from the 1870s to 1910 with the help of Hevesi’s art criticism feuilletons examined in strict chronological order. His critiques are contextualized in contemporary art journalism, confronting his views with those of his colleagues (e.g. Albert Ilg, Franz Adalbert Seligmann, Hermann Bahr, Franz Servaes or occasionally Karl Kraus). Apart from the reconstruction of the permanently changing individual styles of the painters, new light is cast on the social network of the artistic sphere, sponsorship and the art market from the 1890s onwards. The decisive role of Hevesi in assisting the breakthrough of the Viennese Secession and in shaping the Austrian Canon in painting is demonstrated with an abundance of quotations from contemporary sources.
Journal Article
Projekt najamne stambene zgrade Radnić inženjera Ante Radice u Splitu
Članak je prilog najamnoj stambenoj izgradnji Splita između dva svjetska rata. Proučava nacrte za zgradu Mate Radnića, načinjene u duhu arhitektonskog rukopisa inženjera Petra Senjanovića, te nacrte Građevinske dozvole za prizemnu građevinu u Ulici sv. Ćirila i Metoda u Splitu iz 1921. godine, potpisane od inženjera Ante Radice i zidarskog majstora Josipa Lete. Nacrti predstavljaju
rijetke očuvane planove za izgradnju najamne stambene izgradnje u Splitu dvadesetih godina s karakterističnom mješavinom bečke secesije i historicizma s regionalnim obilježjima.
Paper
La Sécession Viennoise
« À chaque âge son art, à chaque art sa liberté.» Voila la devise de la Sécession viennoise, mouvement dissident (1892-1906), qui fut porté par une vingtaine d'artistes éclairés luttant contre l'académisme conservateur pétrifiant Vienne et tout l'empire austro-hongrois.Courant de l'Art nouveau, la Sécession, officiellement fondée en 1897 par.
eBook
The Viennese Secession
A symbol of modernity, the Viennese Secession was defined by the rebellion of twenty artists who were against the conservative Vienna Künstlerhaus' oppressive influence over the city, the epoch, and the whole Austro-Hungarian Empire.Influenced by Art Nouveau, this movement (created in 1897 by Gustav Klimt, Carl Moll, and Josef Hoffmann) was not an.
eBook