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Fin-de-siècle Vienna remains a central event in the birth of the century's modern culture. Our understanding of what happened in those key decades in Central Europe at the turn of the century has been shaped in the last years by an historiography presided over by Carl Schorske's Fin de Siècle Vienna and the model of the relationship between politics and culture which emerged from his work and that of his followers. Recent scholarship, however, has begun to question the main paradigm of this school, i.e. the "failure of liberalism." This volume reflects not only a whole range of the critiques but also offers alternative ways of understanding the subject, most notably though the concept of "critical modernism" and the integration of previously neglected aspects such as the role of marginality, of the market and the larger Central and European context. As a result this volume offers novel ideas on a subject that is of unending fascination and never fails to captivate the Western imagination.
Vienna around 1900 - a fascinating period in which the metropolis on the Danube became an important center of modernity. Historicism, art nouveau and expressionism, were the defining styles, all of which resonated with a touch of typical Viennese morbidity. Artists such as Gustav Klimt, Koloman Moser and Josef Hoffmann were united in their dream of forging a Gesamtkunstwerk, in which not only art, architecture and crafts, but also art and life itself were combined.
Examines the work of artists trained at the Viennese Women's Academy in the late nineteenth and early twentieth centuries. Explores generational struggles and diverging artistic philosophies on art, craft, and design.
Exploring the paintings of the key artists of the Secessionist Movement within the context of Vienna at the turn of the 20th century, this book, which comprises over 200 colour images, pays special attention for the first time to the contribution made by Koloman Moser to the painting revolution.
Vienna in 1900 was home to a thriving arts and intellectual culture that included many important thinkers and a substantial group of prominent artists, including the founder of the Secession Gustav Klimt. A common thread throughout music and the fine and decorative arts was the redefining of individual identity for the modern age, as the search for a specifically modern Viennese sense of self prompted a dialogue about ornamentation and inner truth in the arts of the age. Edited by distinguished curators Christian Witt-Dörring and Jill Lloyd, Birth of the Modern explores new attitudes—particularly those toward gender and sexuality—that surfaced in Viennese culture in the early twentieth century. The book features essays by, among others, Philipp Blom on the question of identity, Claude Cernuschi on psychological portraiture, Alessandra Comini on music in imperial Vienna, and Jean Clair on the “joyous apocalypse,” alongside images of works by fine and decorative artists, including Klimt, Egon Schiele, Oskar Kokoschka, and Koloman Moser. There is an additional emphasis on fashion with illustrations of important clothing and accessories from the period. A fascinating exploration of the early days of Viennese modernism and a pivotal moment in the development of Austrian history and the arts, Birth of the Modern will be of interest to anyone curious about literature, culture, and intellectual history in turn-of-the-century Vienna.
Vienna and its Secessionist movement at the turn of the last century is the focus of this extraordinary social portrait told through an eminent Viennese family, headed by Hermine and Moriz Gallia, who were among the great patrons of early-twentieth-century Viennese culture at its peak. Good Living Street takes us from the Gallias’ middle-class prosperity in the provinces of central Europe to their arrival in Vienna, following the provision of Emperor Franz Joseph in 1848 that gave Jews freedom of movement and residence, legalized their religious services, opened public service and professions up to them, and allowed them to marry. The Gallias, like so many hundreds of thousands of others, came from across the Hapsburg Empire to Vienna, and for the next two decades the city that became theirs was Europe’s center of art, music, and ideas. The Gallias lived beyond the Ringstrasse in Vienna’s Fourth District on the Wohllebengasse (translation: Good Living Street), named after Vienna’s first nineteenth-century mayor. In this extraordinary book we see the amassing of the Gallias’ rarefied collections of art and design; their cosmopolitan society; we see their religious life and their efforts to circumvent the city’s rampant anti-Semitism by the family’s conversion to Catholicism along with other prominent intellectual Jews, among them Gustav Mahler. While conversion did not free Jews from anti-Semitism, it allowed them to secure positions otherwise barred to them. Two decades later, as Kristallnacht raged and Vienna burned, the Gallias were having movers pack up the contents of their extraordinary apartment designed by Josef Hoffmann. The family successfully fled to Australia, bringing with them the best private collection of art and design to escape Nazi Austria; included were paintings, furniture, three sets of silver cutlery, chandeliers, letters, diaries, books and bookcases, furs—chinchilla, sable, sealskin—and even two pianos, one upright and one Steinway. Not since the publication of Carl Schorske’s acclaimed portrait of Viennese modernism, Fin-de-Siècle Vienna, has a book so brilliantly—and completely—given us this kind of close-up look at turn-of-the-last-century Viennese culture, art, and daily life—when the Hapsburg Empire was fading and modernism and a new order were coming to the fore. Good Living Street re-creates its world, atmosphere, people, energy, and spirit, and brings it all to vivid life.
The Viennese café was a key site of urban modernity around 1900. In the rapidly growing city it functioned simultaneously as home and workplace, affording opportunities for both leisure and intellectual exchange. This volume explores the nature and function of the coffeehouse in the social, cultural, and political world of fin-de-siècle Vienna. Just as the café served as a creative meeting place within the city, so this volume initiates conversations between different disciplines focusing on Vienna at the beginning of the twentieth century. Contributions are drawn from the fields of social and cultural history, literary studies, Jewish studies and art, and architectural and design history. A fresh perspective is also provided by a selection of comparative articles exploring coffeehouse culture elsewhere in Eastern Europe.