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Japanese Aesthetics and Gustav Klimt: in Pursuit of a New Voice Svitlana Shiells
Strand 2. Art Nouveau and Politics in the Dawn of Globalisation Japanese Aesthetics and Gustav Klimt: In Pursuit of a New Voice Svitlana Shiells Abstract At the end of the nineteenth century, Japonisme—an artistic lingua franca—became one of the most organic, overarching components of Gustav Klimt’s new art. This paper draws parallels between Gustav Klimt’s Portrait of Sonja Knips and It ō Jakuch ū’s print Golden Pheasant and Bamboo in Snow . The discovery of an unexpectedly close dialogue between Klimt and Jakuch ū and the striking similarity of the formal language of the two works supports the paper’s thesis that It ō Jakuch ū’s print is the primary source of influence behind the conception and execution of the portrait and, by extension, that Klimt’s engagement with Japanese stimuli is one of the main engines behind his creative pursuit, starting at the end of the 1890s. This discovery challenges preconceived notions and existing concepts and illustrates the impossibility of understanding Klimt’s heritage comprehensively and adequately without examining the role of Japonisme in it. Keywords: Gustav Klimt, Japonisme, It ō Jakuch ū, the Vienna Secession, ukiyo-e prints. 1 In the wake of the World Fair of 1873 in Vienna, a strong wave of Japonisme permanently re- shaped the capital of the Austro-Hungarian Empire. According to Hermann Bahr, the Viennese encountered the presence of “Japonisme in all the arts,” which were “impossible to understand without bearing in mind the influence of Japanese art.” 1 Japonisme indeed became a Zeitgeist in fin de siècle Vienna and, in the visual arts, Gustav Klimt was its main advocate. -
Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592
The Evolution of Expressionism In Turn-of-the-Century Vienna: Klirnt and Schiele Stephan Kleinschuster May 6, 1997 AR592 1 1 Until 1897, Classicism in Viennese high art had served as a mimetic construct of the elite society who were both art's staunchest supporters and the purveyors of moral and philosophical values that served as it's staple of judgment. In the following years, from 1898 to 1918, were revolutions of both natures, political and philosophical. The artistic transformation from the Classicism of the Habsburg Monarchy to the expressionism of the Cafe "Nihilism" could be seen most obviously in two of Vienna's foremost artists of the time, Gustav Klimt and Egon Schiele. This paper seeks to compare and contrast the works of these two artists who seem to crystallize the moral, social, political, and artistic upheaval of early Twentieth Century Vienna. It lS fitting that Gustav Klimt and Egon Schiele died six months from one another, both of the Spanish influenza, and both in 1918. It is important to note that even though stylistic variables call for their ultimate contrast, they loved and admired one another, and they both stood for the values that defined Secessionism. Their proximity in philosophy makes it all the more profound to discover their differences. In Klimt came classical objectivity housed in a contemporary conceptual framework. In Schiele came the shift to brutal subjectivity that pushed the limits of this framework. Even though, as will be discussed, the similarity of the subject matter seems to remain a constant, the execution becomes the variable upon which the change becomes dependent. -
Viennese Art, Ugliness, and the Vienna School of Art History: the Vicissitudes of Theory and Practice
Viennese art, ugliness, and the Vienna school of art history: the vicissitudes of theory and practice Kathryn Simpson Around 1900 in Vienna, the concept of ugliness developed a new significance in both art theory and practice. The theorists of the Vienna school of art history, including Franz Wickhoff, Alois Riegl, and later Otto Benesch and Max Dvoř{k, rejected the scholarly tradition of Germanic contemporaries like renowned art historian Heinrich Wölfflin, who championed classical art as the highest aesthetic good. By contrast the Vienna school art historians opposed absolute aesthetics and its insistence that a specifically classical beauty was the goal of all art.1 At the dawn of the twentieth century, Wickhoff and Riegl both presented radically new theories arguing for a revaluation of aesthetic values, a non-hierarchical relationship between so-called beauty and ugliness, and the importance of developing an art that was appropriate for the age. Ugliness was suddenly spotlighted in Viennese artistic practice as well. Gustav Klimt was the undisputed king of the Viennese art scene; he had inherited the throne from the revered history painter, designer, and decorator Hans Makart, whose sensual, decorative sensibility had defined late-nineteenth-century tastes in Vienna, giving rise to the term Makartstil, or ‘Makart style.’ After three years as the leader of the Vienna Secession movement, Klimt produced a series of works of art which enraged sectors of the intellectual establishment and the general public, who reacted in particular to the purported ugliness of Klimt’s latest visions. Yet shortly thereafter young Viennese artists eager to lead what they called the ‘new art’ movement began to develop deliberate strategies of ugliness to help create and buttress their own antagonistic artistic personae. -
Wittgenstein's Vienna Our Aim Is, by Academic Standards, a Radical One : to Use Each of Our Four Topics As a Mirror in Which to Reflect and to Study All the Others
TOUCHSTONE Gustav Klimt, from Ver Sacrum Wittgenstein' s VIENNA Allan Janik and Stephen Toulmin TOUCHSTONE A Touchstone Book Published by Simon and Schuster Copyright ® 1973 by Allan Janik and Stephen Toulmin All rights reserved including the right of reproduction in whole or in part in any form A Touchstone Book Published by Simon and Schuster A Division of Gulf & Western Corporation Simon & Schuster Building Rockefeller Center 1230 Avenue of the Americas New York, N.Y. 10020 TOUCHSTONE and colophon are trademarks of Simon & Schuster ISBN o-671-2136()-1 ISBN o-671-21725-9Pbk. Library of Congress Catalog Card Number 72-83932 Designed by Eve Metz Manufactured in the United States of America 8 9 10 11 12 13 14 15 16 The publishers wish to thank the following for permission to repro duce photographs: Bettmann Archives, Art Forum, du magazine, and the National Library of Austria. For permission to reproduce a portion of Arnold SchOnberg's Verklarte Nacht, our thanks to As sociated Music Publishers, Inc., New York, N.Y., copyright by Bel mont Music, Los Angeles, California. Contents PREFACE 9 1. Introduction: PROBLEMS AND METHODS 13 2. Habsburg Vienna: CITY OF PARADOXES 33 The Ambiguity of Viennese Life The Habsburg Hausmacht: Francis I The Cilli Affair Francis Joseph The Character of the Viennese Bourgeoisie The Home and Family Life-The Role of the Press The Position of Women-The Failure of Liberalism The Conditions of Working-Class Life : The Housing Problem Viktor Adler and Austrian Social Democracy Karl Lueger and the Christian Social Party Georg von Schonerer and the German Nationalist Party Theodor Herzl and Zionism The Redl Affair Arthur Schnitzler's Literary Diagnosis of the Viennese Malaise Suicide inVienna 3. -
THE SALZKAMMERGUT 245 Gmunden © Lonely Planet Publications Planet Lonely © Dachstein Caves 5Finger Platform Kaiservilla St Wolfgang Hallstatt
© Lonely Planet Publications 245 THE SALZKAMMERGUT The Salzkammergut Sometimes called the ‘cradle of Austrian culture’, the Salzkammergut is a spectacular region of alpine and sub-alpine lakes, picturesque valleys, rolling hills and rugged, steep mountain ranges. The highest mountains climb to almost 3000m. Not least because of the Salzkammergut’s startling beauty, parts of this region – especially those lakes easily reached from Salzburg – can at times be swamped with visitors. But don’t despair – much of the region is remote wil- derness, and even in those heavily visited parts such as the Wolfgangsee and Mondsee, you’ll always find isolated sections where peaceful, glassy waters provide limitless opportunities for boating, swimming, fishing or just sitting on the shore and chucking stones into the water. The popular Hallstätter See is no exception. When the pretty streets in Hallstatt township are full of summer visitors, across the lake a sleepy, swampy Obertraun retains a village atmosphere. Strike out deeper into the region, and you will be rewarded with isolated splendour. Salt is the ‘white gold’ of the Salzkammergut, and the mines that made it famous now make for an interesting journey back in time to the settlers of the Iron Age Hallstatt culture, and to the Celts and Romans – all of whom sullied their hands in the mines. Along the western side of the Hallstätter See is a pipeline reputed to be the oldest in the world, used to transport brine. Today, the narrow swathe cut out to build and service the pipeline is a lush hiking trail. Whatever your reason for coming to the Salzkammergut – swimming, boating, hiking, climbing or exploring cultures – this region rewards the curious and adventurous. -
Birth of Modernism
EN OPENING MARCH 16TH BIRTH OF (Details) Wien Museum, © Leopold Werke: Moriz Nähr ÖNB/Wien, Klimt, Weitere Gustav Pf 31931 D (2). MODERNISM PRESS RELEASE VIENNA 1900 BIRTH OF MODERNISM FROM 16TH MARCH 2019 The exhibition Vienna 1900. Birth of Modernism has been conceived as the Leopold Muse- um’s new permanent presentation. It affords insights into the enormous wealth and diver- sity of this era’s artistic and intellectual achievements with all their cultural, social, political and scientific implications. Based on the collection of the Leopold Museum compiled by Ru- dolf Leopold and complemented by select loans from more than 50 private and institutional collections, the exhibition conveys the atmosphere of the former metropolis Vienna in a unique manner and highlights the sense of departure characterized by contrasts prevalent at the turn of the century. The presentation spans three floors and features some 1,300 exhibits over more than 3,000 m2 of exhibition space, presenting a singular variety of media ranging from painting, graphic art, sculpture and photography, via glass, ceramics, metals, GUSTAV KLIMT textiles, leather and jewelry, all the way to items of furniture and entire furnishings of apart- Death and Life, 1910/11, reworked in 1915/16 ments. The exhibition, whose thematic emphases are complemented by a great number of Leopold Museum, Vienna archival materials, spans the period of around 1870 to 1930. Photo: Leopold Museum, Vienna/ Manfred Thumberger UPHEAVAL AND DEPARTURE IN VIBRANT FIN-DE-SIÈCLE VIENNA At the turn of the century, Vienna was the breeding ground for an unprecedentedly fruitful intellectual life in the areas of arts and sciences. -
Modern Steam - an Economic and Environmental Alternative to Diesel Traction
Institution of Mechanical Engineers Railway Division The Sir Seymour Biscoe Tritton Lecture MODERN STEAM - AN ECONOMIC AND ENVIRONMENTAL ALTERNATIVE TO DIESEL TRACTION ROGER WALLER, Dipl.-Eng.ETH Lecture presented at the Sir Seymour Biscoe Tritton Lecture on Monday 3 February 2003 and Tuesday 4 February 2003 © Institution of Mechanical Engineers 2003 This publication is copyright under the Berne Convention and the International Copyright Convention. All rights reserved. Apart from any fair dealing for the purpose of private study, research, criticism or review, as permitted under the Copyright, Designs and Patents Act, 1988, no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission of the copyright owners. Reprographic reproduction is permitted only in accordance with the terms of licenses issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1P 9HE. Unlicensed multiple copying of the contents of the publication without permission is illegal. Printed in Great Britain by Moreton Hall Press Limited, Bury St Edmunds, Suffolk The Sir Seymour Biscoe Tritton Lecture MODERN STEAM - AN ECONOMIC AND ENVIRONMENTAL ALTERNATIVE TO DIESEL TRACTION ROGER WALLER, Dipl.-Eng.ETH 1. INTRODUCTION At that time the only steam operated railway in Switzerland, the Brienz-Rothorn Railway, was about to purchase yet another More than 30 years have elapsed since a paper on steam diesel locomotive. Diesel traction had been introduced in 1973, locomotive development was presented to the Institution of when a solution had to be found to improve the economics and Locomotive Engineers. Whilst that paper [1] given by Mr. -
The Demise of the World of the Gutnajers: the Warsaw Art Market in World War II
The Demise of the World of the Gutnajers: The Warsaw Art Market in World War II Nawojka Ciesli´ nska-Lobkowicz´ Downloaded from https://academic.oup.com/hgs/article-abstract/33/3/333/5702591 by University of Cambridge user on 11 February 2020 Warsaw/Starnberg A substantial number of Jewish art and antiques dealers operated in pre-World War II Warsaw. Particularly respected were the salons of the brothers Bernard and Abe Gutnajer. Virtually everyone in their milieu perished in the Warsaw ghetto or Treblinka. Taking their place were new “Aryan” dealers and a clientele of “new” money. The Warsaw art market under the German occupation experienced a particular growth between the start of the Jewish ghetto’s liquidation in mid-1942 and the outbreak of the Warsaw Uprising in August 1944, as “abandoned” property flooded the market. After decades of subsequent turbulent history, researchers can hardly hope to document the provenance of more than a fraction of tens of thousands of surviving works of art and valuable antiques. We are looking at a group portrait of three men1 whose poses suggest that they are family, probably brothers. Elegantly dressed, they face the camera with composure. The man on the left, balding slightly, sports an impressive moustache and the bi-colored sash of a professional association along with a large pearl tie pin. He is the eldest. The middle brother stands on the right, a badge in his lapel, his left hand holding a roll or a thin tube that extends beyond the frame. The youngest brother doi:10.1093/hgs/dcz041 Holocaust and Genocide Studies 33, no. -
Timeline / 1870 to 1930 / FINE and APPLIED ARTS
Timeline / 1870 to 1930 / FINE AND APPLIED ARTS Date Country Theme 1872 France Fine And Applied Arts Impression, Sunrise by the Impressionist painter Claude Monet. 1872 - 1874 Portugal Fine And Applied Arts O Desterrado (The Outcast), a sculpture by António Soares dos Reis (1847–89) is an idealised self-portrait. It conveys the collective feelings of his contemporary intellectuals and the feelings of loneliness and longing common to those who had left their homeland. The sculptor’s romantic sensibility enabled him to shape feelings and psychological tensions in the marble. 1873 Turkey Fine And Applied Arts First art exhibition in #stanbul, organised by #eker Ahmed Pa#a. 1874 Austria Fine And Applied Arts Kasper von Zumbusch (1830–1915) begins work on a monument to Empress Maria Theresia, situated on Maria-Theresien-Platz at the Ringstrasse in Vienna. 1876 France Fine And Applied Arts Dance at Le moulin de la Galette by the Impressionist painter Pierre-Auguste Renoir. 1876 Romania Fine And Applied Arts 19 February: birth of the great Romanian sculptor Constantin Brâncu#i, author of sculptures such as Mademoiselle Pogany, The Kiss, Bird in Space, and The Endless Column. His works are today exhibited in museums in France, the USA and Romania. 1877 Austria Fine And Applied Arts The Austrian glass manufacture Lobmayr produces glass cups in the Oriental Style. 1877 - 1882 Romania Fine And Applied Arts Ion Georgescu, considered to be the first Romanian modern sculptor, studies in Paris, where he exhibits his first works. 1877 Austria Fine And Applied Arts The Viennese Stock Market is completed to a design by Theophil Hansen. -
The Alma-Tademas' Studio-Houses and Beyond
This is a repository copy of Introduction : The Alma-Tademas' Studio-Houses and Beyond. White Rose Research Online URL for this paper: https://eprints.whiterose.ac.uk/134823/ Version: Published Version Article: Prettejohn, Elizabeth Francesca orcid.org/0000-0001-6615-0448 and Trippi, Peter (2018) Introduction : The Alma-Tademas' Studio-Houses and Beyond. British Art Studies. ISSN 2058-5462 10.17658/issn.2058-5462/issue-09/prettejohn-trippi Reuse This article is distributed under the terms of the Creative Commons Attribution-NonCommercial (CC BY-NC) licence. This licence allows you to remix, tweak, and build upon this work non-commercially, and any new works must also acknowledge the authors and be non-commercial. You don’t have to license any derivative works on the same terms. More information and the full terms of the licence here: https://creativecommons.org/licenses/ Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ British Art Studies Summer 2018 British Art Studies Issue 9, published 7 August 2018 Cover image: Jonathan Law, Pattern, excerpt from ilm, 2018.. Digital image courtesy of Paul Mellon Centre for Studies in British Art with support from the staf of Leighton House Museum, The Royal Borough of Kensington and Chelsea. PDF generated on 7 August 2018 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. -
Klimt and the Ringstrasse
— 1 — Klimt and the Ringstrasse Herausgegeben von Agnes Husslein-Arco und Alexander Klee Edited by Agnes Husslein-Arco and Alexander Klee Inhalt Agnes Husslein-Arco 9 Klimt und die Ringstraße Klimt and the Ringstrasse Cornelia Reiter 13 Die Schule von Carl Rahl. Eduard Bitterlichs Kartonzyklus für das Palais Epstein The Viennese School of Carl Rahl. Eduard Bitterlich’s series of cartoons for Palais Epstein Eric Anderson 23 Jakob von Falke und der Geschmack Jakob von Falke and Ringstrasse-era taste Markus Fellinger 35 Klimt, die Künstler-Compagnie und das Theater Klimt, the Künstler Compagnie, and the Theater Walter Krause 49 Europa und die Skulpturen der Wiener Ringstraße Europe and the Sculptures of the Ringstrasse Karlheinz Rossbacher 61 Salons und Salonièren der Ringstraßenzeit Salons and Salonnières of the Ringstrasse-era Gert Selle 77 Thonet Nr. 14 Thonet No. 14 Wiener Zeitung, 28. April 1867 84 Die Möbelexposition aus massiv gebogenem Längenholze der Herren Gebrüder Thonet The exhibition of solid bentwood furniture by Gebrüder Thonet Alexander Klee 87 Kunst begreifen. Die Funktion des Sammelns am Ende des 19. Jahrhunderts in Wien Feeling Art. The role of collecting in the late nineteenth century in Vienna Alexander Klee 93 Anton Oelzelt. Baumagnat und Sammler Anton Oelzelt. Construction magnate and collector Alexander Klee 103 Friedrich Franz Josef Freiherr von Leitenberger. Das kosmopolitische Großbürgertum Baron Friedrich Franz Josef von Leitenberger. The cosmopolitan grande bourgeoisie Alexander Klee 111 Nicolaus Dumba. Philanthrop, -
Zweigheft 16 Stefan Zweig Centre Salzburg Edmundsburg Mönchsberg 2 5020 Salzburg Österreich
zweigheft 16 Stefan Zweig Centre Salzburg Edmundsburg Mönchsberg 2 5020 Salzburg Österreich Tel.: +43 (0)662 8044- 7641 Fax: +43 (0)662 8044- 7649 E-Mail: [email protected] www.stefan-zweig-centre-salzburg.at Öffnungszeiten: Montag, Mittwoch, Donnerstag und Freitag von 14–16 Uhr Führungen nach telefonischer Vereinbarung Das Stefan Zweig Centre Salzburg erreichen Sie vom Toscaninihof über die Clemens-Holzmeister-Stiege oder mit dem Lift im Zugang zu den Altstadtgaragen. zweigheft 16 3 4 Inhalt Editorial 4 CELSO LAFER DER PAZIFISMUS STEFAN ZWEIGS 11 MATTHEW WERLEY STEFAN ZWEIG DIE SCHWEIGSAME FRAU UND DIE WIENER STAATSOPER 15 VERANSTALTUNGSPROGRAMM 32 Text- und Bildnachweise 48 5 Editorial Sehr geehrte Damen und Herren, liebe Freunde des Stefan Zweig Centre Salzburg! Ja, es ist richtig, dass Marko Feingold, der Präsident der Isra- elitischen Kultusgemeinde von Salzburg und wir vom Stefan Zweig Centre mehrfach auf den Missstand hingewiesen ha- ben, dass in unserer Stadt etwas Wichtiges fehlt: Im Zentrum von Salzburg gibt es keine Straße, keinen Platz, keine Brücke, nicht einmal einen Kai, der nach Stefan Zweig benannt ist. Viele dritt- und viertrangige Künstler aus den Bereichen Musik, Literatur und bildende Kunst wurde die Ehre zuteil, auch einige Namen von Personen, die ein herzliches Nahe- Verhältnis zum Nationalsozialismus hatten, schmücken bis heute Straßenschilder. Das alles wäre an dieser Stelle nicht weiter erwähnenswert, wenn es für Stefan Zweig, eine Persönlichkeit, die weltweit mit Salzburg assoziiert wird, diese Ehre ebenfalls gäbe. Der sogenannte Stefan-Zweig-Weg auf den Kapuzinerberg ist (abgesehen von seiner unappetit- lichen Entstehungsgeschichte) nichts als ein potemkinscher Etikettenschwindel, denn es gibt keine Postanschrift auf die- sem Wanderweg, und will man an jene Personen schreiben, die hier wohnen, muss man als Adresse Kapuzinerberg 9 oder Kapuzinerberg 12 auf das Briefkuvert schreiben.