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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 anonymous artistic revolution. Defining itself as a “total art”, without any political or commercial constraint, the Viennese Secession represented the ideological turmoil that affected craftsmen, architects, graphic artists, and designers from this period. Turning away from an established art and immersing themselves in organic, voluptuous, and decorative shapes, these artists opened themselves to an evocative, erotic aesthetic that blatantly offended the bourgeoisie of the time. Painting, sculpture, and architecture are addressed by the authors and highlight the diversity and richness of a movement whose motto proclaimed “for each time its art, for each art its liberty” – a declaration to the innovation and originality of this revolutionary art movement.
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.
With work by Klimt, Schiele and others, Ver Sacrum set the standard for magazine design This book gathers the covers of Ver Sacrum, the official magazine of the Vienna Secession, which ran from 1898 to 1903. Published for the 120th anniversary of this historic magazine, it reproduces all 120 regular issues--plus some special, limited-edition covers--in 1:1 scale, alongside a selection of block prints, lithographs and copper engravings. Ver Sacrum (meaning "Sacred Spring" in Latin) was conceived by Gustav Klimt, Max Kurzweil and Ludwig Hevesi. During its six years of activity, 471 original drawings were made specifically for the magazine, along with 55 lithographs and copper engravings and 216 block prints, by artists such as Gustav Klimt, Egon Schiele, Koloman Moser, Otto Wagner, Max Fabiani, Joseph Maria Olbrich and Josef Hoffmann. Writers such as Rainer Maria Rilke, Hugo von Hofmannsthal, Maurice Maeterlinck, Knut Hamsun, Otto Julius Bierbaum, Richard Dehmel, Ricarda Huch, Conrad Ferdinand Meyer and Arno Holz were published in its pages. Ver Sacrum reveals the tremendous originality of the Jugendstil language, a cornerstone of modernity that elaborated new forms of design, illustration and print/editorial composition.
Med udgangspunkt i de udstillinger som fandt sted i Wiener Secession mellem 1898 og 1998, giver bogen et indtryk af kunsten i det 20. århundrede og skildrer samtidig udstillingsbygningens historie
"At the start of the 20th century, more than fifty artists gathered in Vienna with varying ideas but a common determination: to be free of the bourgeois morality and its obsolete traditions. The Vienna Secession, founded in 1897, would shape a distinctive form of art in Vienna and all over the world. Gustav Klimt, Richard Strauss, Otto Wagner, Sigmund Freud, Egon Schiele, and others all sought ways to break with the classicism of the Austro-Hungarian Empire on its decline. In his atmosphere of artistic, intellectual, and political effervescence, a new world was born."--Sitio web del editor.
Discusses the origins, growth, and aesthetic values of the Vienna Secession, examining architecture, paintings, and graphics by the association's progressive artists.
As teacher, artist, craftsman and co-founder of the Vienna Secession, Koloman Moser (1868-1918) had an immense influence on the tastes of his time. His talents ranged from stained glass to stage design and postage stamps, and he devoted his latter years to painting.
Tracing the career of Koloman Moser, one of the most influential figures in 20th-century design, this stunning book focuses on Moser’s accomplishments in the decorative arts. During his short career, Koloman Moser became a towering figure in Viennese culture. His varied work in interior and graphic design, furniture, textiles, jewelry, metalwork, glass, and earthenware helped usher in the modern era. This book surveys the entirety of Moser’s oeuvre. It examines his work as a graphic designer and his involvement with the Vienna Secession, with special focus given to his role as an illustrator for the journal Ver Sacrum (Sacred Spring). Moser’s forays into textile design and ceramic work are also introduced. The book features his designs for the Vienna Secession, Thonet Brothers, and the Mautner family, among others that characterize his early modern style. The book also explores Moser’s seminal role as a founding member of the Vienna Workshops, along with architect Josef Hoffmann and patron Fritz Waerndorfer. Included are many reproductions of Moser’s masterpieces, including the window of the Steinhof Chapel, his exhibition posters, postage stamps and currency, and elegant examples from his design portfolio, "The Source."
Vienna is unique amongst world capitals in its consistent international importance over the centuries. From the ascent of the Habsburgs as Europe's leading dynasty to the Congress of Vienna, which reordered Europe after Napoleon, to bridge- building summits during the Cold War, it is the Austrian capital that has been the scene of key moments in European and world affairs. History has been shaped by scores of figures influenced by their time in Vienna, including: Empress Maria Theresa, Count Metternich, Bertha von Suttner, Theodore Herzl, Gustav Mahler, Adolf Hitler, Josef Stalin, John F. Kennedy and many others. In a city of great composers and thinkers it is here that both the most positive and destructive ideas of recent history have developed. From its time as the capital of an imperial superpower, through war, dissolution, dictatorship to democracy Vienna has reinvented itself and its relevance to the rest of the world.
Influenced by Art Nouveau, this movement (created in 1897 by Gustav Klimt, Carl Moll, and Josef Hoffmann) was not an anonymous artistic revolution. Defining itself as a “total art”, without any political or commercial constraint, the Viennese Secession represented the ideological turmoil that affected craftsmen, architects, graphic artists, and designers from this period. Turning away from an established art and immersing themselves in organic, voluptuous, and decorative shapes, these artists opened themselves to an evocative, erotic aesthetic that blatantly offended the bourgeoisie of the time. Painting, sculpture, and architecture are addressed by the authors and highlight the diversity and richness of a movement whose motto proclaimed “for each time its art, for each art its liberty” – a declaration to the innovation and originality of this revolutionary art movement.