Here, not only works of international artists’ styles were shown, but also new forms of exhibition design, for which the Secessionist exhibitions should become famous. Gartenbau-Gesellschaft on the Parkring in the centre of Vienna. The name Ver Sacrum (Holy Spring) referred to rituals in antiquity, and Max Burckhard would write on this subject for the first issue.Īt the end of March in 1898 the Vienna Secession opened its first exhibition in the building of the K.K. It showed a young blossoming tree in a wooden vessel, its roots bursting through into the open space – symbolising the artists bursting the corset of historicism.
The first issue was published in January 1889, even before the Secession’s first exhibition. Ver Sacrum lasted until 1903, and for a while could be found across Europe. From the beginning, there was a broad aesthetic spectrum, as the artists did not follow a certain common style, and a euphoric sense of a new world of art.
The publication announced the intention of using exhibitions as a field for experiments in the aesthetic fusion of art and literature, graphic art and text. Immediately after leaving the Künstlerhaus, the dissidents prepared the journalistic ground for their future exhibitions by founding the art magazine Ver Sacrum. This final break with the Künstlerhaus manifested itself in a change in the Vereinigung’s statutes as well, forbidding its members to participate in the public exhibitions of other houses.ĭespite only existing for eight years from 1897 to 1905, the new style of exhibiting fine arts and arts and crafts, and the new exhibition hall, led to the group being known as the ‘Vienna Secession’. Among their first members: the architects Josef Hoffmann and Josef Maria Olbrich, the painters Josef Engelhart, Carl Moll, Koloman Moser and Alfred Roller who had studied architecture as well as painting. But when fierce differences arose between established and young artists concerning the delegations to exhibitions in Dresden and Munich, the artists around Gustav Klimt finally declared their secession on 24 May. Since 1861 the Genossenschaft (abbreviated to ‘Künstlerhaus’) had been the official representation with its own exhibition house at the Karlsplatz in Vienna. The new association should exist as a kind of club within the ‘Genossenschaft bildender Künstler Wiens’. Gustav Klimt, 35 years old, was elected as president, 85-year-old artist Rudolf von Alt, who had always been an advocate of the young, was elected Honorary President. On 3 April the constituting assembly of the new association was held. This was the beginning of the Vienna Secession. His villas in the 19th district still give an impression of the style that dominated at that time.On 27 March 1897 art critic Ludwig Hevesi wrote enthusiastically: ‘The art city of Vienna, this gigantic small town, will now finally become a Big-Vienna, a true New-Vienna.’ He had heard that a group of young artists was to found the Association of Visual Artists (Vereinigung Bildender Künstler Österreichs). Another important representative of Viennese Art Nouveau was Josef Hoffmann.
Built by Joseph Maria Olbrich in 1898, it was the first exhibition building in Central Europe to be dedicated to modern art. Marble, glass, tiles, metal applications, colorful pieces, and gilding ennobled the houses.įloral ornaments are on one of the most important Art Nouveau buildings, the Vienna Secession. These were used especially for the exterior design. The noteworthy component of Art Nouveau architecture were the ornaments. The most important Wagner buildings in Vienna are the stations, premises and bridges of the former Stadtbahn (today U4 and U6), the Majolika House and Muse House on Wienzeile, the Church on Steinhof and the Postal Savings Bank. His buildings are clear and usually symmetrically-arranged - matter-of-fact and down-to-earth. He preferred a geometric variant of Art Nouveau. Above all, it was Otto Wagner who shaped Vienna's skyline as we know it today.
In architecture too, master builders blazed new trails. Vienna was one of the birthplaces of modernity at the beginning of the last century.
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