The Female Body and Emotional Experience during the Vienna Secession Elizabeth Leung Introduction: Research Question: Conceptual Framework: Throughout art history, the interpretation of How does one define - The acknowledgement and the female body was a notion of divine “beautiful and subversion of canons and motifs beauty, existing in realms of allegories of representational art” in a of antiquity Venus, building a visual construct of the moment of social - The reworking of traditional beautiful sublime. At the turn of the 20th change? materials for abstraction and century, the Vienna Secession was an Thesis Statement: symbolic representation introduction to a new creative mode of During the Vienna - The building of an emotional depicting the emotional experiences of the Secession, the visual landscape through abstracted self and the interpretations of the other. As dissonance between the material composition the warping of symbolism and material conventional notions of - Visual distortion of concepts of signal the rapid shift towards modernism, a “beautiful” and “ugly” feminine “desirability and fluid environment for expression is further visualizations of beauty” with conventionally explored prompting the interpretation of femininity and the new masculine motifs, sickly color visual truth and identity to diverge from the forms of modernist schemes, and voyeuristic sexual conventional, as seen in the observation of abstraction bring forth a representation a survey of the Secessionist art in fluid environment to - Diversion from the nude as a comparison to the art of the past. examine aesthetics and “Venus” to the nude as visceral its relation to identity. window to emotional expression The Female Body and Emotional Experience during the Vienna Secession Elizabeth Leung Research Problems Encountered: Case Studies: Notice of the Vienna Secessionist coincidence against precursors to Minimalism(such as the design theories of Adolf Loos) that oppose ornamentation and historical allusion. Conclusion: The Vienna Secession was a focal Venus of Willendorf. Self-Portrait with Splayed point for modernism in visual and Pallas Athene, Gustav Klimt, Unknown Artist. 28,000 BCE Fingers. Egon Schiele. social interpretation of gender and 1898. - 25,000 BCE. 1911. sexuality, subverting antique canons with new compositions, coloring, and materials. This art period was a fin-de- siècle moment of social change, bringing forth the question of how the people of today define and express themselves in relativity to their surroundings and the concepts of past Wally in Red Blouse. Egon The Kiss. Gustav Klimt. and future expression. Schiele. 1913. Danae. Gustav Klimt. 1907. 1907 - 1908..