DOCSLIB.ORG

Art Nouveau + the Vienna Secession

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Art Nouveau + the Vienna Secession ART NOUVEAU + THE VIENNA SECESSION How to reconcile CRAFTS (individuial) and INDUSTRY (collective)? How to unify ART and LIFE? How to preserve HISTORICAL values under INDUSTRIAL CAPITALISM? HENRY VAN DE VELDE Born: April 3, 1863 Died: October 25, 1957 HENRY VAN DE VELDE HENRY VAN DE VELDE BLOEMENWERF HOUSE | UCCLE, BELGIUM 1896 HENRY VAN DE VELDE BLOEMENWERF HOUSE | UCCLE, BELGIUM 1896 HENRY VAN DE VELDE HAVANA TABACCO SHOP | BERLIN, GERMANY 1900 HENRY VAN DE VELDE HABY’S BARBERSHOP | BERLIN, GERMANY 1901 HENRY VAN DE VELDE HABY’S BARBERSHOP | BERLIN, GERMANY 1901 VICTOR HORTA Born: January 6, 1861 Died: September 8, 1947 VICTOR HORTA VICTOR HORTA LE MAISON DE PEUPLE | BRUSSELS, BELGIUM 1899 VICTOR HORTA LE MAISON DE PEUPLE | BRUSSELS, BELGIUM 1899 VICTOR HORTA LE MAISON DE PEUPLE | BRUSSELS, BELGIUM 1899 VICTOR HORTA LE MAISON DE PEUPLE | BRUSSELS, BELGIUM 1899 VICTOR HORTA LE MAISON DE PEUPLE | BRUSSELS, BELGIUM 1899 VICTOR HORTA LE MAISON DE PEUPLE | BRUSSELS, BELGIUM 1899 VICTOR HORTA L’INNOVATION DEPARTMENT STORE | BRUSSELS, BELGIUM 1901 VICTOR HORTA HOTEL TASSEL | BRUSSELS, BELGIUM 1893 VICTOR HORTA HOTEL TASSEL | BRUSSELS, BELGIUM 1893 VICTOR HORTA HOTEL TASSEL | BRUSSELS, BELGIUM 1893 VICTOR HORTA HOTEL TASSEL | BRUSSELS, BELGIUM 1893 HECTOR GUIMARD Born: March 10, 1867 Died: May 20, 1942 HECTOR GUIMARD HECTOR GUIMARD GUIMARD RESIDENCE | PARIS, FRANCE 1910 HECTOR GUIMARD MAISON COILLIOT | LILLE, FRANCE 1900 HECTOR GUIMARD MAISON COILLIOT | LILLE, FRANCE 1900 HECTOR GUIMARD MAISON COILLIOT | LILLE, FRANCE 1900 HECTOR GUIMARD MAISON COILLIOT | LILLE, FRANCE 1900 HECTOR GUIMARD PARIS METRO ENTRANCE | PARIS, FRANCE 1900 HECTOR GUIMARD PARIS METRO ENTRANCE | PARIS, FRANCE 1900 HECTOR GUIMARD PARIS METRO ENTRANCE | PARIS, FRANCE 1900 HECTOR GUIMARD PARIS METRO ENTRANCE | PARIS, FRANCE 1900 HECTOR GUIMARD PARIS METRO ENTRANCE | PARIS, FRANCE 1900 HECTOR GUIMARD PARIS METRO ENTRANCE | PARIS, FRANCE 1900 ANTONI GAUDI Born: June 25, 1852 Died: June 10, 1926 ANTONI GAUDI ANTONI GAUDI LA CASA BATLLO | BARCELONA, SPAIN 1907 ANTONI GAUDI LA CASA BATLLO | BARCELONA, SPAIN 1907 ANTONI GAUDI LA CASA BATLLO | BARCELONA, SPAIN 1907 ANTONI GAUDI LA CASA BATLLO | BARCELONA, SPAIN 1907 ANTONI GAUDI LA CASA BATLLO | BARCELONA, SPAIN 1907 ANTONI GAUDI LA CASA MILA | BARCELONA, SPAIN 1910 ANTONI GAUDI LA CASA MILA | BARCELONA, SPAIN 1910 ANTONI GAUDI LA CASA MILA | BARCELONA, SPAIN 1910 ANTONI GAUDI LA CASA MILA | BARCELONA, SPAIN 1910 ANTONI GAUDI LA CASA MILA | BARCELONA, SPAIN 1910 ANTONI GAUDI CHAPEL OF THE COLONIA GUELL | BARCELONA, SPAIN 1900 ANTONI GAUDI CHAPEL OF THE COLONIA GUELL | BARCELONA, SPAIN 1900 ANTONI GAUDI CHAPEL OF THE COLONIA GUELL | BARCELONA, SPAIN 1900 ANTONI GAUDI CHAPEL OF THE COLONIA GUELL | BARCELONA, SPAIN 1900 ANTONI GAUDI CHAPEL OF THE COLONIA GUELL | BARCELONA, SPAIN 1900 ANTONI GAUDI PALAU GUELL | BARCELONA, SPAIN 1889 ANTONI GAUDI PALAU GUELL | BARCELONA, SPAIN 1889 ANTONI GAUDI PALAU GUELL | BARCELONA, SPAIN 1889 ANTONI GAUDI HOLY FAMILY CHURCH (FAMILIA SAGRADA) | BARCELONA, SPAIN 1882 ANTONI GAUDI HOLY FAMILY CHURCH (FAMILIA SAGRADA) | BARCELONA, SPAIN 1882 ANTONI GAUDI HOLY FAMILY CHURCH (FAMILIA SAGRADA) | BARCELONA, SPAIN 1882 ANTONI GAUDI HOLY FAMILY CHURCH (FAMILIA SAGRADA) | BARCELONA, SPAIN 1882 ANTONI GAUDI HOLY FAMILY CHURCH (FAMILIA SAGRADA) | BARCELONA, SPAIN 1882 ANTONI GAUDI HOLY FAMILY CHURCH (FAMILIA SAGRADA) | BARCELONA, SPAIN 1882 ANTONI GAUDI HOLY FAMILY CHURCH (FAMILIA SAGRADA) | BARCELONA, SPAIN 1882 JOSEF HOFFMANN Born: December 15, 1870 Died: May 7, 1956 JOSEF HOFFMANN JOSEF HOFFMANN PALAIS STOCLET | BRUSSELS, BELGIUM 1911 JOSEF HOFFMANN PALAIS STOCLET | BRUSSELS, BELGIUM 1911 JOSEF HOFFMANN PALAIS STOCLET | BRUSSELS, BELGIUM 1911 JOSEF HOFFMANN PALAIS STOCLET | BRUSSELS, BELGIUM 1911 JOSEF HOFFMANN PALAIS STOCLET | BRUSSELS, BELGIUM 1911 JOSEF HOFFMANN PALAIS STOCLET | BRUSSELS, BELGIUM 1911 JOSEF HOFFMANN PALAIS STOCLET | BRUSSELS, BELGIUM 1911 JOSEF HOFFMANN PALAIS STOCLET | BRUSSELS, BELGIUM 1911 CHARLES RENNIE MACKINTOSH GLASGOW SCHOOL OF ART | GLASGOW, SCOTLAND 1909 CHARLES RENNIE MACKINTOSH GLASGOW SCHOOL OF ART | GLASGOW, SCOTLAND 1909 CHARLES RENNIE MACKINTOSH GLASGOW SCHOOL OF ART | GLASGOW, SCOTLAND 1909 CHARLES RENNIE MACKINTOSH GLASGOW SCHOOL OF ART | GLASGOW, SCOTLAND 1909 CHARLES RENNIE MACKINTOSH GLASGOW SCHOOL OF ART | GLASGOW, SCOTLAND 1909 OTTO WAGNER Born: July 13, 1841 Died: April 11, 1918 OTTO WAGNER OTTO WAGNER MAJOLICA HOUSE | VIENNA, AUSTRIA 1899 OTTO WAGNER MAJOLICA HOUSE | VIENNA, AUSTRIA 1899 OTTO WAGNER MAJOLICA HOUSE | VIENNA, AUSTRIA 1899 OTTO WAGNER MAJOLICA HOUSE | VIENNA, AUSTRIA 1899 OTTO WAGNER VIENNA POST OFFICE SAVINGS | VIENNA, AUSTRIA 1906 OTTO WAGNER VIENNA POST OFFICE SAVINGS | VIENNA, AUSTRIA 1906 OTTO WAGNER VIENNA POST OFFICE SAVINGS | VIENNA, AUSTRIA 1906 OTTO WAGNER VIENNA POST OFFICE SAVINGS | VIENNA, AUSTRIA 1906 OTTO WAGNER VIENNA POST OFFICE SAVINGS | VIENNA, AUSTRIA 1906.
Load more

Recommended publications
  • Art Nouveau Ukrainian Architecture in a Global Context
    Art Nouveau Ukrainian Architecture in a Global Context Author(s): Nelia Romaniuk Source: Kyiv-Mohyla Humanities Journal 6 (2019): 137–148 Published by: National University of Kyiv-Mohyla Academy http://kmhj.ukma.edu.ua/ Art Nouveau Ukrainian Architecture in a Global Context Nelia Romaniuk Zhytomyr National Agroecological University, Department of History Abstract The article is dedicated to Ukrainian Art Nouveau architecture, which became a unique phenomenon in the development of late nineteenth and early twentieth-century architecture. Along with the reality that architecture in Ukraine evolved as a component of the European artistic movement, a distinctive architectural style was formed, based on the development of the traditions of folk architecture and ornamentation. This style produced much innovation in the shaping, decor, and ornamentation of buildings. Significant contributions to the development of architectural modernism in Ukraine were made by Opanas Slastion, Vasyl Krychevskyi, Yevhen Serdiuk, Oleksandr Verbytskyi, Serhii Tymoshenko, Oleksandr Lushpynskyi, Ivan Levynskyi, Dmytro Diachenko, and others. Ukrainian Art Nouveau architecture was represented by five main architectural styles: modernist, folkloric, rationalist, neo-baroque, and Vienna Secession. Due to an attainment of the possibilities embodied in the constructions, developed techniques, and in the design of interior space and external features — such as walls, roofs, doors and windows, columns and balustrades — this style formed its own expressive system, which included a significant number of socially significant types of buildings (dwellings, schools, hospitals, warehouses, government buildings, places of worship). The styles of Ukrainian architectural modernism have not exhausted their potential and may yet have a continuation in contemporary architecture and that of the future.
    [Show full text]
  • A House in the City – in the Context of Secession Aesthetics
    MaRia MaLzacheR* a hoUse in the citY – in the conteXt oF secession aesthetics DoM MieszkaLnY w MieŚcie – w kontekŚcie estetYki secesYjnej a b s t r a c t a new image of the house in the city is presented against the background of the secession aesthetics as a manifestation of new attempts, concepts and modernist trends in early 20th-century architecture and denial of the stylistic principles of jaded historical forms of art. the search for a new expression of buildings and achieve- ment of “architectural unity” indicate the dualistic challenge of creating a form os- cillating between utility and aesthetics. the means of expression of the secession aesthetics associated with the aspects of visual perception, as carriers of ideas, sym- bols and semantic connotations in the creation of new transformations of the archi- tectural urban space are analysed on the bases of selected examples: houses in cities and towns of autonomous Galicia. Keywords: house, Secession architecture, aesthetics s treszczenie w artykule przedstawiono zagadnienia związane z kształtowaniem nowego obli- cza domu mieszkalnego w mieście w kontekście estetyki secesyjnej jako przejaw wyrazu nowych dążeń, poglądów i modernistycznych tendencji w architekturze po- czątku XX w. oraz negacji stylistycznego kanonu przeżytych form historycznych. Poszukiwania nowego wyrazu budowli i osiągnięcia „architektonicznej jedności” ukazują dualistyczną dążność kształtowania jej formy oscylującej pomiędzy jej użytecznością a estetyką. Środki wyrazu estetyki secesyjnej związane z aspektem percepcji wizualnej, jako nośniki idei, symboli i konotacji znaczeń w kreowaniu nowej transformacji przestrzeni architektonicznej miasta, zanalizowano na wybra- nych przykładach – domów mieszkalnych ośrodków i miast autonomicznej Galicji. Słowa kluczowe: dom mieszkalny, architektura secesyjna, estetyka * PhD.
    [Show full text]
  • JASPER JOHNS 1930 Born in Augusta, Georgia Currently Lives
    JASPER JOHNS 1930 Born in Augusta, Georgia Currently lives and works in Connecticut and Saint Martin Education 1947-48 Attends University of South Carolina 1949 Parsons School of Design, New York Selected Solo Exhibitions 2009 Focus: Jasper Johns, The Museum of Modern Art, New York 2008 Jasper Johns: Black and White Prints, Bobbie Greenfield Gallery, Santa Monica, California Jasper Johns: The Prints, The Madison Museum of Contemporary Art, Madison, Wisconsin Jasper Johns: Drawings 1997 – 2007, Matthew Marks Gallery, New York Jasper Johns: Gray, Metropolitan Museum of Art, New York 2007 Jasper Johns: From Plate to Print, Yale University Art Gallery, New Haven Jasper Johns: Gray, Art Institute of Chicago; Metropolitan Museum of Art, New York Jasper Johns-An Allegory of Painting, 1955-1965, National Gallery of Art, Washington, DC; Kunstmuseum Basel, Switzerland States and Variations: Prints by Jasper Johns, National Gallery of Art, Washington, D.C. 2006 Jasper Johns: From Plate to Print, Yale University Art Gallery Jasper Johns: Usuyuki, Craig F. Starr Associates, New York 2005 Jasper Johns: Catenary, Matthew Marks Gallery, New York Jasper Johns: Prints, Amarillo Museum of Art, Amarillo, Texas 2004 Jasper Johns: Prints From The Low Road Studio, Leo Castelli Gallery, New York 2003 Jasper Johns: Drawings, The Menil Collection, Houston, Texas Jasper Johns: Numbers, Cleveland Museum of Art, Cleveland; Los Angeles County Museum of Art Past Things and Present: Jasper Johns since 1983, Walker Art Center Minneapolis; Greenville County Museum of
    [Show full text]
  • Inspiration Beethoven
    DE | EN 08.12.2020–05.04.2021 INSPIRATION BEETHOVEN EINE SYMPHONIE IN BILDERN AUS WIEN 1900 PRESSEBILDER | PRESS IMAGES 01 01 CASPAR VON ZUMBUSCH CASPAR VON ZUMBUSCH 1830–1915 1830–1915 Reduktion des Denkmals für Ludwig van Beethoven, 1877 Reduction of the memorial to Ludwig van Beethoven, 1877 Bronze, 53 × 24 × 27 cm Bronze, 53 × 24 × 27 cm Belvedere, Wien Belvedere, Vienna Foto: Belvedere, Wien Photo: Belvedere, Vienna 02 02 GUSTAV KLIMT GUSTAV KLIMT 1862–1918 1862–1918 Schubert am Klavier. Schubert at the Piano. Entwurf für den Musiksalon im Palais Dumba, 1896 Study for the music room in Palais Dumba, 1896 Öl auf Leinwand, 30 × 39 cm Oil on canvas, 30 × 39 cm Privatsammlung/Dauerleihgabe im Leopold Museum, Wien Private Collection/Permanent Loan, Leopold Museum, Vienna Foto: Leopold Museum, Wien/Manfred Thumberger Photo: Leopold Museum, Vienna/Manfred Thumberger 03 03 JOSEF MARIA AUCHENTALLER JOSEF MARIA AUCHENTALLER 1865–1949 1865–1949 Elfe am Bach. Für das Beethoven-Musikzimmer Elf at the Brook. For the Beethoven Music Room der Villa Scheid in Wien, 1898/99 of Villa Scheid in Vienna, 1898/99 Öl auf Leinwand, 176,5 × 88,3 cm Oil on canvas, 176,5 × 88,3 cm Andreas Maleta, aus der Victor & Martha Thonet Sammlung, Andreas Maleta, from the Victor & Martha Thonet Collection, Galerie punkt12, Wien gallery punkt12, Vienna Foto: amp, Andreas Maleta press & publication, Wien, 2020 Photo: amp, Andreas Maleta press & publication, Vienna, 2020 04 04 JOSEF MARIA AUCHENTALLER JOSEF MARIA AUCHENTALLER 1865–1949 1865–1949 Elfenreigen. Für das Beethoven-Musikzimmer
    [Show full text]
  • The New Scene of Ukraine 6 - 7 December 2019, Vienna
    The New Scene of Ukraine 6 - 7 December 2019, Vienna Program Participants Konstantin Akinsha - Art historian and independent curator, Budapest/Kyiv Konstantin Akinsha is an International curator and art historian, based in Budapest, Hungary. In late 1980s — early 1990s he was one of the major figures in contemporary Ukrainian art. In the last two decades he has been working and living in USA and Europe. For many years he served as the contributing editor of Art News magazine, curated exhibitions of international modernism and Russian avant-garde in major international museums — Belvedere (Vienna, Austria), Neue Galerie (New York, USA) etc. ALISA LOZHKINA - independent curator, Kyiv Alisa Lozhkina is an independent curator and writer based in Kyiv. From 2010–2016 she was the editor in chief of the major Ukrainian art publication — ART UKRAINE magazine. From 2013–2016 she served as a deputy director general National Art and Museum Complex “Mystetskyi Arsenal” (Kyiv, Ukraine). She curated a bunch of large-scale exhibitions in Ukraine and abroad. Contributed to various Ukrainian and international art media. In November 2019 Alisa Lozhkina presented a monograph on the development of Ukrainian art from early modernism till now. The book titled "Permanent Revolution. Ukrainian Art of the XX - early XXI century" was published parallelly in Kyiv by ArtHuss publishing house and in Paris by Nouvelles Editions Place. ALISA LOZHKINA and KONSTANTIN AKINSHA as curatorial duo Alisa Lozhkina and Konstantin Akinsha’s curatorial duo has been focusing on the international presentation of contemporary Ukrainian art since 2014. Right after the revolution on Maidan, they arranged the exhibition “I am a Drop in the Ocean.
    [Show full text]
  • 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.
    [Show full text]
  • Style and Seduction Review
    Elana Shapira. Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siècle Vienna. Waltham: Brandeis University Press, 2016. xv + 314 pp. Illustrations. $40.00 (paper), ISBN 978-1-61168-921-1. Reviewed by Leslie Topp (Birkbeck, University of London) Published on HABSBURG (July, 2017) Commissioned by Jonathan Kwan Architecture, Design and Identity in Fin-de-Siecle Vienna Elana Shapira’s book investigates the ways in which as secessionist, modernist, and avant-garde. The seces- Jewish patrons, critics, salonniers, and collectors sup- sionist chapter presents rich new research on the critic ported advanced architecture and interior design in Vi- Ludwig Hevesi and the dynamic industrialist and art sup- enna between the mid-nineteenth century and the First porter Karl Wittgenstein; Shapira emphasizes their piv- World War. She convincingly argues that patronage and otal importance to the Vienna Secession and its sensa- other types of intellectual and social support for inno- tional new building on the Naschmarkt designed 1898 vation in architecture and design were deployed by a by Joseph Maria Olbrich, while also arguing that the Se- wide range of Viennese Jews in order to stake a claim cession was crucial to their own image formation as at- for cultural authority in an often hostile context. She tractive outsiders. The modernists include Isidor Singer usefully rejects pat interpretations of patronage as a and Heinrich Kanner, who worked with Otto Wagner to tool of assimilation–as a way of blending in. She ar- craft an sophisticated modern image for their newspa- gues instead, following Hannah Arendt and the literary per, Die Zeit.
    [Show full text]
  • The Portrait in Vienna 1900 Ebook
    FACING THE MODERN : THE PORTRAIT IN VIENNA 1900 PDF, EPUB, EBOOK Gemma Blackshaw | 192 pages | 26 Nov 2013 | Yale University Press | 9781857095616 | English | New Haven, United States Facing the Modern : The Portrait in Vienna 1900 PDF Book He trained briefly at the Vienna Academy of Fine Arts before turning to painting miniatures to support himself, going on to establish a successful and lucrative portrait practice. The safest course was to commission the portrait painters most in demand by the highest levels of society — but who were these? Janet marked it as to-read Jan 27, You can find our Community Guidelines in full here. Emmeline marked it as to-read Dec 15, John marked it as to-read Oct 28, An untrained painter, his pictures were nevertheless considered good enough to be exhibited alongside Franz Marc and Wassily Kandinsky as fellow members of the expressionist Blue Rider group. Binding: Hardcover Language: english. I am held by the painting's symmetry, the way that Zuckerkandl looks directly at us. He was considered one of the finest portrait painters of his time. Download as PDF Printable version. Her mother Aranka rejected this, as well as a subsequent version portraying her as a bare-breasted exotic dancer, leading Klimt to his celebrated, unfinished, Posthumous Portrait of Ria Munk III. About the Author Gemma Blackshaw is associate professor of history of art and visual culture at Plymouth University. Lists with This Book. Mary Kennedy rated it it was amazing Nov 19, Wikimedia Commons has media related to Franz Eybl. Petersburg and then in Munich , where she met and married the Austrian sculptor Richard Luksch.
    [Show full text]
  • Press Kit Secession
    SECESSION The Vienna Secession is an exhibition space that occupies a unique position in the history of modern art, combining a contemporary, forward-looking program with a building whose architecture is an icon of the spirit of adventure around 1900. This architecture has aged well and as a result, its functionality and aesthetic elegance continue to offer excellent conditions for today’s artistic and exhibition practice. The Secession is designed to be used in many different ways, a challenge taken up by artists who engage with both the inside and the outside of the building, producing an ongoing series of specially developed artistic ideas and concepts. Artists have often engaged with both the façade and the dome composed of 3000 gold-plated iron laurel leaves. The magnificent Hauptraum (main gallery) with its glass roof, one of the very first “white cubes,” is particularly well suited for interventions on account of its flexibility. With the Grafisches Kabinett (print room) on the upper floor and the three- room gallery in the basement, this ensures a wide range of options for exhibitions. In keeping with the motto that adorns its facade—“For every time, its art. For art, its freedom.”—the Secession hosts an international program that explores current forms of artistic expression in solo and themed exhibitions. It is a sounding board for the aesthetic and critical discourses on art, culture, and society that define our era, and for the political significance accruing to them. The Secession is an important forum for young experimental art, but its concept also includes prominent, already established positions.
    [Show full text]
  • Art. Light. Freedom – Vienna Secession Is Brought to Life with Tunablewhite
    Press information Art. Light. Freedom – Vienna Secession is brought to life with tunableWhite “To the age its art, to art its freedom” grandly adorns the main entrance. In striking capital letters. As it has done for more than one hundred years. And now the creative freedom associated with this place has become even greater. Throughout the building. Thanks to artificial light that replicates the quality of daylight. Or to be more precise, thanks to tunableWhite LED lighting solutions developed and realised by Zumtobel together with the architect Adolf Krischanitz. Dornbirn, 13. March 2019 – It stands resplendent on the Karlsplatz square. Flanked by traffic on all sides, it still somehow manages to radiate a feeling of incredible serenity. White walls, golden ornaments – perhaps brighter now than ever before. Then there are the pale green inner sides of the bay leaves that perfectly come together to form a sphere on the roof. The Latin words “Ver Sacrum” (holy spring), the name of the official journal of the Union of Austrian Artists (Die Vereinigung bildender Künstler Österreichs) in the early years of the Secession, can be seen to the left of the front steps. Designed by architect Joseph Maria Olbrich and opened in 1898 as a showroom for the Union of Austrian Artists, the Vienna Secession (or Wiener Secession) is more than just a building. It is an architectural manifesto for Art Nouveau – or, as they call it in the German-speaking world, for the Jugendstil. For a return to the origins. For getting back to nature. And now, after a year of general refurbishment under the direction of the renowned Viennese architect Adolf Krischanitz, the Wiener Secession is shining with fantastic new splendour.
    [Show full text]
  • Vienna Secession Collection
    COLLECTORS’ EDITIONS Tel: 609-520-1669 Post Office Box 7005 [email protected] Princeton, N.J. 08543-7005 Carol S. Fruchter Catalogue 64: THE VIENNA SECESSION The Vienna Secession was one of the revolutionary artistic movements that ushered in Modernism. It was founded in 1897 and opened its Secessionist building in central Vienna the following year; the credo proclaimed on the façade translates as: “To the age its art; to art its freedom.” The progressive reach of its concepts and styles would influence fine and graphic arts, architecture, decorative and applied arts. Otto Wagner, Josef Hoffmann, Josef Maria Olbrich, Gustav Klimt, Carl Moll, Dagobert Peche, Josef Urban, Koloman Moser and others were among its innovative talents. The Wiener Werkstatte, established in 1903, was within the movement’s artistic zeit geist. This catalogue includes books, prints, ball souvenirs, periodicals, exposition and exhibition catalogues, an original textile drawing, and ephemeral material. Original material from the movement has become increasingly scarce as the importance and brilliance of its artists and designers has found widespread public recognition. 1. (BALL DER STADT) GEYLING, REMIGIUS. Ball der Stadt, Wien. Gedenktage aus dem Jahre 1809. Vienna: Wilhelm Melzer, 1909. Only edition. Oblong octavo. White kid leather decoratively stamped in gilt, red, and black. Secession-style endpapers, title-page, and one-page text within border followed by twelve color lithographic illustrations by Geyling of the City Ball in 1909 and the events that it commemorated. Geyling’s style is a strong, appealing example of Vienna Secession graphic art. Each page is printed on card by the noted Secessionist printer A.
    [Show full text]
  • Selected Works I Collect Wooden Street Barriers from Construc- Tion Sites and Glue Them to Boards
    Ovidiu Anton selected works I collect wooden street barriers from construc- tion sites and glue them to boards. Out of these boards I make design classics like Le Corbusier‘s Tabouret Cabanon or Josef Hoffmann‘s Nesting Tables. This poor material from the street, that one knows as signal-object which says Stop!, For- bidden!, Not here!, Go there!, ... is going to be transformed into a furniture piece for the private space and then seen as a design object with copyrights (Cassina, Wittmann, ...). What happens if I - as an artist - collect this material from different cultural, economic and urban spaces and create another circuit or „migration“ of that (more or less) poor mate- rial with that gesture of modification? What if these objects - the design classics - I‘m building, are merging into the context of fine art? I‘m trying to reflect the value of that end-product and to question the legitimacy of an artistic subject creating that contextual object. Tabouret Cabanon / Le Corbusier + Nesting Tables / Hoffmann, street barriers wood, glue installation ca. 150 x 150 cm 2012 Photo: http://cassina.com/en/collection/chairs/lc14-tabourets This series of Le Corbusier‘s Tabouret Cabanon is made out of leftovers from exhibition-displays of the Vienna Secession. Each face of the box was part of either a pedestal or a wall or whatsoever was part of an installation in that institution the last few years. It carries its own individual history. I made 18 pieces to re-enact Cassina‘s famous product-shot of these taborets. Cassina, the italian manufacturing company for designer furniture, has the rights of Le Corbusier‘s Ta- bouret Cabanon (LC14 01), which is a box with the measures of 27 x 43 x 27 cm.
    [Show full text]