Wiener Secession by Victoria Charles download in iPad, ePub, pdf
Otto Wagner's Majolika Haus in Vienna c. Unlike other movements, there is no one style that unites the work of artists who were part of the Vienna Secession.
Even Gustav Klimt who had by then risen to fame as a decorator for Ringstrasse buildings, began to visit the Siebener Club. The Secession building most nearly represents the movement. Now Klimt presents her as liberator of the arts, overseeing the conquest of historicism and inherited culture by the new generation of artists.
The Klimt frieze has been restored and can be seen in the gallery today. Wagner's way of modifying Art Nouveau decoration in a classical manner did not find favour with some of his pupils who broke away to form the Secessionists. There was a neo-greek parliament, a gothic City Hall, neo-baroque apartment buildings and most importantly only two exhibition bodies favouring classical-style art. Secession artists were concerned, above all else, with the possibilities of art outside the confines of academic tradition. So strong were these ties that they devoted the Secession exhibit of to Japanese art.
The emphasis on flat visual planes, strong colours, patterned surfaces, and linear outlines appealed to the secessionists and helped form a bridge between fine and graphic arts. When Japonism arrived in Austria, the Viennese were also not immune to its influence. In this respect, the Secession drew inspiration from William Morris and the English Arts and Crafts movement which sought to re-unite fine and applied arts. Klimt was by then the most recognized of the breakaway artists, having risen to fame as decorator during the great building boom of the Ringstrasse. The reverse side features a small portion of the Beethoven Frieze by Gustav Klimt.
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