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Vienna 1900, Art, Architecture & Design Vienna 1900 : Vienna 1900, art, architecture & design : the Museum of Modern Art, New York, July 3-October 21, 1986 : [brochure Written by Gertje Utley, Emily Bardack Kies, and Kirk Varnedoe] Author Utley, Gertje Date 1986 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/1729 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Vienna1900: Art, Architecture & Design TheMuseum of Modern Art, New York The Museumis gratefulfor generoussup July3-October 21,1986 port of this exhibitionfrom Mr. and Mrs. RonaldS. Lauderand the Lauderfamily, wm : i: m and for additionalsupport from TheInter Thispublication was set in type nationalCouncil of TheMuseum of Modern and printedby Art. An indemnityfor the exhibitionhas TheStar-Ledger, Newark, New Jersey beenprovided by the FederalCouncil on the Artsand the Humanities. 0 H At the End of an Ancient Monarchy, Birth of a New Culture Rising from a flood plain near the ing decades the prerogativesof the river Danube,the walls of the city of Austrian throne would be circum Viennalong stood as the last ramparts scribedon the westby Bismarck's new k;oniglkhe of WesternEurope, looking toward the GermanEmpire, on the east by Buda Orient. At these walls the Turkish pest's desires for autonomousrule invasionfinally foundered in 1683- a over its minority lands, and from victory that established the ruling withinby the energeticrise of a new Hapsburgmonarchy as the defender liberalpolitics. of Christianity,and initiateda grand Nowherewas the newsecular, bur epochof CatholicBaroque culture in gher ascendancymore evident than in CentralEurope. Under Maria There- the capital, Vienna,which began to Elisabeth,Empress of Austria (1837-1898) sia (ruled1740-80) and her sonJoseph expanddramatically with the increas to the Empress Elisabeth, in 1879. II (i 780-90),the governmentalstruc ing influx of immigrants from the These celebrations,with their confi ture of the Austrianempire was estab provinces;and nothing so clearly sym dent pomp, seem in retrospect the lished: a strong Catholic monarchy bolizesthe shifting interplay in the high-watermark of an era of boom joinedto an all-pervasiveand efficient new Austria, between the forces of and bust, of aggressive,often risky administrativebureaucracy. But al traditionand those of change,as Vien- expansion(as signaledby the stock- ready,in the resistanceof Hungarians na's major boulevard, the Ring marketcrash of 1873),and of a certain and Slovaksto Joseph'sefforts to im strasse.The architecture of this broad liberal dream of secular, "progres pose German as the languageof the newthoroughfare, girding the metrop- sive"consensus. empire, the intractable problemsof this vast.complex realm wereevident. Discontents First the victories of Napoleon, then the combinationof the powerof Whateverthe achievementsof the Prince Metternichand the weakness Ringstrasseera, by the late 1800sits of the Hapsburgheirs, shaped Aus failuresand hypocrisieswere becom trian life in the first half of the nine ing more widelycriticized. Its "cos tume" style of facades was increas KolomanMoser. Commemorative Postage Stamp for Emperor Franz JoseFs'jubi- teenthcentury — a periodof neoclas lee.1908. Oesterreichisches Museum fuer angewandte Kunst, Vienna sicalstyle and burgherpiety known as ingly seen as symptomaticof an un the "Biedermeier" epoch, which tenablecompromise between a more would later be seen as a privileged thoroughgoingcommitment to the modernon the one hand, and a more INSIDE momentof pre-industrialcalm. That era closed with the revolutions of tenaciousrespect for traditionon the other. Leaders such as Victor Adler Cultural Background 1848,which wound up usheringonto the stage two newforces, in problem and Karl Lueger,and their newpoliti H 'Young Vienna' and Modern Literature 2 atic collaboration and contention: cal parties (the new-leftSocial Demo first, an aggressivenew middle class, crats and the new-rightChristian So Vienna's Critical Intellects 4 emboldenedby the profitsof industri cialists),fashioned around 1890what S Supporters and Opponents alization and impatient with the the historianCarl Schorskehas called power held by the church and the "politics in a new key" — a more of the New Art 6 shrill,confrontational, and demagogic throne; and second,a new emperor, styleof appealto the masses. the youngFranz Josef I. Onlyeighteen HansMakart(1840-1884) The Aesthetics of Nationalism 8 The new politics brought to the whenhe tookthe throne,he wasto rule olisalong the site of the oldcity walls, S3Dreams and Sexuality 10 the empire for nearly sevendecades, fore a panoplyof problems.The di yokeda pragmaticand even ruthless verse nationalities and language Music and the Visual Arts 12 presidingover a period of immense drivefor modernizationto the affecta conflictand sweepingchange — the groupsin Austria-Hungarywere buf S The Ringstrasse 14 tionsof imitativehistorical style. (For feted by opposingurges —some seek finalepoch of the age-olddynastic rule more on the Ringstrasse,see p. 14.) he hadinherited. ing localself-determination (especial The new-moneyspirit of the Ring, ly in the Slovak lands) and others In the Exhibition TheRingstrasse Era progressive and expansive but also (especiallyamong the Vienneseedu often apparently crass and uncrea- cated elite) dreaming of cultural, if The Secession 3 In 1860,the principleof a constitu tive, seemedthe essenceof the epoch not political,fusion with the German S3Klimt's 'Golden' Style 5 tional monarchywas established,al — a period dominatedby forces of Empire.Racial and ethnic tensions, as lowingrepresentative government — liberalpolitics that beganto losetheir wellas distastefor newcosmopolitan The Wiener Werkstaette and and the newly prosperous middle elanonly in the 1880s. valuesand doubtsabout new business Geometric Style 7 classes —a share of power.The em The dominantartist of the epoch structures, founddisturbing voice in peror'sauthority was further compro — a "prince" of taste who even go the explicit anti-Semitismof Lueger S3Kunstschau and the Kabarett Fledermaus 9 mised followingAustria's defeat by verned ladies' fashion — was Hans and others. Especiallyamong work Drawing \\ Prussia at Koeniggraetzin 1866.A Makart,a painter of fleshyallegories ers, artisans, and small-business dual Austro-Hungarianempire was and Rubensian historical tableaux. owners threatened by economic 53Later Painting 13 established, with semi-independent Makart'sgrandest moment, and a su change,this "newkey" drew a power Architecture 15 legislaturesat Viennaand Budapest preme instance of life as theater in ful response. overseeingthe elevennational groups Vienna,came in his scenographicor Thecontinuity of the Hapsburgdy of the realm, scattered among the S Floor Plan of the Exhibition 16 chestration of the vast, costumed nasty,and the viabilityof the constitu many territories that stretched from paradeshonoring the twenty-fifthan tional monarchy, were meanwhile the Venetoto Russia.Over the follow- niversary of Franz Josef's marriage bothbrought into doubt. Franz Josef's Continuedon back page '\oung Vienna' and Modern Literature In the 1890s,as the arts of Vien moment,a reaction against natural name "CafeMegalomania." When the tomatic, he felt, of the moral slack na embraced the Germanicver ism in favorof a self-consciously"de placewas torn downin the urbanreno ness of the day. Kraus's positionis sionof Art Nouveauknown as Ju- cadent,"inward-turning cultivation of vationsof the later 1890s,the critic telling, for he was no friend of the gendstil ("youth-style," after the neurasthenic sensibility. Their in Karl Kraus made it the symbolof a Secession,while the Secessionfound Munichmagazine Jugend), its writers spirations— consonant with the air of whole movement,in his essay "The manyof its early defendersin the aes were equally concernedto find the exoticrefinement and muskysensual DemolishedLiterature." Favorite theticorbit of Jung-Wien. voiceof youth.The leadingViennese ity we findin someSecessionist art — cafe readingwas the feuilleton,a brief Theurbane writings of Jung-Wien, poets and writers of the new move stemmedmore from the worldof Bau essayof impressionsand opinion,fre often tinged with the savor of the ment were, like the painter Gustav delairethan from that of Monet. quently by one of the city's leading erotic, were displacedby a new tone Klimt,men in their thirties, with the mj after 1900. Hofmannsthal passed exception of the precociousadoles througha crisisregarding the adequa cent Hugo von Hofmannsthal. The Their 'impressionism' entailed an inward-turning cy of languageto expressprivate ex groupwas known collectively as Jung- cultivation of neurasthenic sensibility. perience;new voiceslike that of Ro Wien(Young Vienna). ml I 1 m bert Musil explored a subjectivity Thesewriters pursued an "impres Like the artists' clubs that were writers, that was an essentialpart of more darkly complexin its media sionism"that had little to do with the the breedingground of the Secession's the daily newspaper.It was this kind tion betweenthe libidoand the larger naturalistvisions of sunlitlandscapes revolt, the writers' group found its of light essay that Kraus railed world; and, as in other areas such we might associate with this term. home in the Viennese cafes. Their againstas the baneof modernwriting, as the Secession'sBeethoven
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