The Movement Secession
The Vienna Secession grew out of a dissatisfaction with the traditional practices of the Kunstlerhausgenossenschaft; an association which could have been called the Vienna Academie. The Kunstlerhaus was, in Gustav Klimt's eyes, directed by commercial motivations which were limiting in their disregard of foreign artists and maintained art as something separate from the lives of the majority of the Austrian people. This conflict between new ideals and the establishment came to a head in 1897 when forty members of the Kunstlerhaus seceded and founded their own association with Gustav Klimt as their president.
Group portrait of Vienna Secession members on the occasion of the XIV exhibition in 1902. Left to right: Anton Stark, Gustav Klimt (in armchair), Kolo Moser (in front of Klimt, wearing hat), Adolf Böhm, Maximilian Lenz (reclining), Ernst Stöhr (with hat), Wilhelm List, Emil Orlik (sitting), Maximilian Kurzweil (wearing cap), Leopold Stolba, Carl Moll (reclining), Rudolf Bacher. Photo: Photographic archives of the Austrian National Library, Moriz Nähr There was no strict coda or written philosophy attached to the Vienna Secession but to strive for "art as life" or an art which did not distinguish between 'great art' and the crafts, or art for the rich and art for the poor, was high on their agenda. Their first exhibition was held in the greenhouses of the Society of Horticulture and Klimt designed a poster depicting Theseus and the Minotaur under the protective gaze of Athena who was to become a recurrent figure throughout Klimt's involvement with the Secessionists.
The preface to the catalogue expressed their aims: In our first exhibitions we were at pains to show the modern art of foreign countries to the public, in order to set it a higher standard whereby to appraise our native productions... It is obviously no part of our intention to give a comprehensive view of contemporary art; all we want to do is exhibit the officers of troops who are right up in the firing line. For we are a party and intend to remain a party until the stagnating standards of art in Vienna are revived, and Austrian artists and the Austrian public have produced a picture worthy of the modern movement in art. Our exhibition is bound to make an epoch making effect on Vienna in the artistic field. Artists represented in the associations premier included Giovanni Segantini, Ferdinand Khnopff, Constantin Meunier, Puvis De Chavanne, Auguste Rodin, Franz von Stuck and Max Klinger amongst others. Over 57,000 attendances were recorded and the funds made through these exhibitions were used to buy works of art from within each exhibition. These works were then donated to various public galleries. A large part of this exhibition was devoted to the arts and crafts thus fulfilling the first steps of the Secession group, toward equal recognition of art and handicrafts. In the eleventh room the Secessions journal; Ver Sacrum was brought to the attention of the public. The room was set out as one huge poster and in other areas of the display works were set at eye level and each artist was grouped together instead of being spread about from floor to ceiling.
<The design, the building: The erection of its own exhibition building was on of the guiding principles of the "Association of Visual Artists Vienna Secession" that was discussed in the foundation meeting. The Secession members commissioned the hardly 30-year-old architect Joseph Maria Olbrich, who was at the time a member of Otto Wagner's atelier, to design the building, which was to become a key work of Viennese Art Nouveau. A site along the Ringstrasse was originally chosen, but Olbrich's designs met with violent reaction on the part of the Municipal Council. It was only after the site was transferred to a plot on Friedrichstrasse that the Municipal Council granted permission for "the erection of a provisional exhibition pavilion for the period of the next ten years" (minutes of the meeting of the Municipal Council of 17 November, 1897). The necessary financial resources for construction was partly supplied by patrons, especially the industrial magnate Karl Wittgenstein, and partly from the proceeds of the first exhibition in the k..k.Gartenbaugesellschaft (Royal and Imperial Gardening Society). The Municipality of Vienna allocated the site along the Wienzeile. Joseph Maria Olbrich design the building over the course ten months, continually modifying his designs to correspond to new requirements, while reviewing and refining them at the same time. The cornerstone was laid on 28 April 1898 within the framework of a small celebration. Only six months later, on 29 October 1898, the construction was complete. The Architecture: The ground plan and cross-section of the Secession reveals very simple geometrical forms. The building itself covers an area of about 1000m2 and has a centralised floor plan. Olbrich exploited the square as a basic motif in a number of cruciform combinations in the entrance area and exhibition wing. This scheme for the floor plan determines the e entire [plastic] shape of the building is evolved from elevationlevationand with it the of the building. Unbroken planes dominate on the exterior of the building. The massive, unbroken walls lend the exterior the appearance of being constructed from a series of solid cubes. However, this rather rigid geometry is utilised by Olbrich as a general framework, which he softens with sinuous lines, curves and overlapping. Olbrich laid out the design so that it incorporated a "head" and a "body", i.e. a formal entrance area and a functional exhibition area. The entrance is flanked by hermetic blocks that are dominated by four pylons that encase the dome. The exhibition hall has a basilica form with a lofty nave and two lower aisles and a closing transept/asp. It is almost completely covered by tent-like glazed roofs which bathe the interior in a constant/even light. The Symbolism of the Architecture. The laurel leaf is the dominant symbol in the completed building. It can be found on the pilasters of the front/anterior wing and the entrance niche/recess, as well as in the various garlands along the side elevations and it hovers over the building in the form of the 3000 gilt leaves and 700 berries of the dome. The entrance area is decorated by the masks of the three Gorgons, which symbolise architecture, sculpture and painting. The side elevations also feature owls that were formed by Olbrich himself (to the designs of Kolo Moser). The Gorgons and the owl are attributes of Pallas Athene, the godess of wisdom, victory and the crafts. Joseph Maria Olbrich integrated a symbolic language in the building, that is given a fresh and unacademic/unpedantic interpretation here. Contemporary Reaction: The Secession building, which is now recognised as one the high points of any visit to Vienna, was heaped with derision at the turn of the century. The building was described as Opiniona "Temple for Bullfrogs", "A Temple of the Anarchic Art Movement", a "mausoleum", a "Pharoah's Tomb", "The Grave of the Mahdi" and a "crematorium", the dome was know as "a head of cabbage", the whole building dismissed as a "a bastard between temple and warehouse" and "a cross between a greenhouse and a blast furnace". The History of the Building The Vienna Secession was adapted and renovated several times in the course of its hundred year history. The entrance hall was already being altered in 1901. In 1908, part of the ornamentation and the slogan "Der Zeit ihre Kunst. Der Kunst ihre Freiheit" ("For every time its art. For art its Freedom") were removed The building was damaged by bombs during World War II and set on fire by the retreating German army. During the reconstruction in 1963 the original décor was renewed and a second floor inserted in the entrance hall. Adolf Krischanitz was responsible for the most recent renovation in 1984/85. Alongside the restitution of the central entrance hall and main exhibitions spaces to their original proportions, the ancilliary rooms for exhibition organisation and administration were reorganised and developed further. A total of about 20 exhibitions take place in the Vienna Secession (in the Main Hall, Gallery, Graphic Cabinet and Ver Sacrum Room)each year. The total exhibition area is approx. 1000 m2. All of the exhibitions are accompanied by a publication and often by parallel events, lectures, symposia, art discussions, etc.
Muungano wa Vienna ulijitokeza kutokana na kutoridhika na mazoea ya jadi ya Kunstlerhausgenossenschaft, shirika ambalo lingeweza kuitwa Vienna Academie. Kunstlerhaus ilikuwa, kwa macho ya Gustav Klimt, inaongozwa na nia ya kibiashara ambayo ilikuwa ikizuia katika kupuuza wasanii wa kigeni na kudumisha sanaa kama kitu tofauti na maisha ya wengi wa watu wa Austria. Mapambano kati ya watu wa zamani na watu wa zamani yalifikia kilele mwaka 1897 wakati watu 40 wa Kunstlerhaus walipojitenga na kuanzisha shirika lao wenyewe na Gustav Klimt kuwa rais wao. Picha ya kikundi cha wanachama wa Vienna Secession wakati wa maonyesho ya XIV ya 1902. Kutoka kushoto kwenda kulia: Anton Stark, Gustav Klimt (katika kiti), Kolo Moser (kimbele ya Klimt, amevaa kofia), Adolf Böhm, Maximilian Lenz (aliyepiga), Ernst Stöhr (na kofia), Wilhelm List, Emil Orlik (akiketi), Maximilian Kurzweil (aliyevaa kofia), Leopold Stolba, Carl Moll (aliyepiga), Rudolf Bach. "Mwanzoni mwa karne ya 19 kulikuwa na ""maonyesho ya sanaa ya Vienna,"" ambayo ilijulikana kama ""maonyesho ya sanaa ya Vienna,"" ambayo ilijumuisha sanaa ya sanaa na sanaa ya sanaa, na ambayo haikuwa na tofauti kati ya sanaa ya sanaa na sanaa ya sanaa." Maonyesho yao ya kwanza yalifanyika katika vyumba vya kulima vya Society of Horticulture na Klimt alibuni bango linaloonyesha Theseus na Minotaur chini ya macho ya Athena, ambaye alikuwa na kuwa mtu wa mara kwa mara katika ushiriki wa Klimt na Secessionists. "Kwanza, katika utangulizi wa orodha hiyo, walionyesha malengo yao: ""Katika maonyesho yetu ya kwanza tulijitahidi kuonyesha sanaa ya kisasa ya nchi za kigeni kwa umma, ili kuanzisha kiwango cha juu zaidi cha kupima uzalishaji wetu wa asili." Ni wazi kwamba hatuna nia ya kutoa mtazamo kamili wa sanaa ya kisasa; tunataka tu kuonyesha maafisa wa vikosi ambao wako juu kabisa katika mstari wa risasi. """Kwa sababu sisi ni chama na tunakusudia kubaki chama mpaka viwango vya sanaa vya Vienna vinavyozidi kuzorota virejeshwe, na wasanii wa Austria na umma wa Austria wametoa picha inayostahili harakati ya kisasa katika sanaa." Maonyesho yetu ni wajibu wa kufanya enzi kufanya athari juu ya Vienna katika uwanja wa kisanii. Wasanii waliowakilishwa katika chama cha premier ni pamoja na Giovanni Segantini, Ferdinand Khnopff, Constantin Meunier, Puvis De Chavanne, Auguste Rodin, Franz von Stuck na Max Klinger miongoni mwa wengine. Zaidi ya wahudhuriaji 57,000 waliorekodiwa na fedha zilizopatikana kupitia maonyesho haya zilitumiwa kununua kazi za sanaa kutoka ndani ya kila maonyesho. Kisha kazi hizo zilikabidhiwa kwenye maonyesho mbalimbali ya umma. Sehemu kubwa ya maonyesho hayo ilitolewa kwa ajili ya sanaa na ufundi, hivyo kutimiza hatua za kwanza za kundi Secession, kuelekea utambuzi sawa wa sanaa na ufundi. Katika chumba cha kumi na moja jarida la Secessions; Ver Sacrum lililetwa kwa uangalifu wa umma. Chumba hicho kilikuwa kama bango kubwa, na katika sehemu nyingine za maonyesho, kazi zilikuwa ziko katika kiwango cha macho, na kila msanii alikuwa amekusanywa pamoja badala ya kuenea kutoka sakafu hadi dari. "Kutengenezwa kwa jengo la maonyesho ya sanaa ya Vienna ni moja ya kanuni za kuongoza za ""Chama cha Wasanii wa Visual Vienna Secession"" ambayo ilizungumziwa katika mkutano wa msingi." Mkurugenzi wa ujenzi wa Vienna, Joseph Maria Olbrich, ambaye alikuwa na umri wa miaka 30 tu, aliamua kuunda jengo hilo, ambalo baadaye lilikuja kuwa mojawapo ya kazi muhimu za Art Nouveau ya Vienna. Mwanzoni eneo lililo kando ya Ringstrasse lilichaguliwa, lakini miradi ya Olbrich ilipatwa na itikio kali kutoka kwa Halmashauri ya Manispaa. "Kama vile ilivyotarajiwa, Baraza la Manispaa la Friedrichstrasse lilitoa idhini ya ujenzi wa ""maonyesho ya muda wa miaka kumi ijayo"" (mkataba wa mkutano wa Baraza la Manispaa ya 17 Novemba 1897)." "Mali za ujenzi zilitolewa kwa sehemu na wafadhili, hasa mtaalamu wa viwanda Karl Wittgenstein, na kwa sehemu kutoka kwa mapato ya maonyesho ya kwanza katika ""Kings-Gartenbaugesellschaft.""" Manispaa ya Vienna iligawa eneo hilo kando ya Wienzeile. Joseph Maria Olbrich alibuni jengo hilo kwa miezi kumi, akibadilisha miundo yake ili ipatane na mahitaji mapya, huku akirekebisha na kurekebisha wakati huohuo. Jiwe la msingi la jengo hilo lilitolewa tarehe 28 Aprili 1898 na kuanzishwa kwa sherehe ya kuadhimisha siku ya kuzaliwa kwa Mfalme. Baada ya miezi sita tu, Oktoba 29, 1898, ujenzi ulikamilika. Usanifu: Mpango wa ardhi na sehemu ya msalaba wa Utofauti unafunua aina rahisi sana za kijiometri. Jengo hilo lina eneo la karibu 1000m2 na lina mpango wa sakafu ya kati. Olbrich alitumia mraba huo kama msingi katika mchanganyiko kadhaa wa msalaba katika eneo la kuingia na mrengo wa maonyesho. Mpango huu kwa ajili ya mpango wa ghorofa huamua e nzima [plastic] umbo la jengo ni maendeleo kutoka elevationlevationand pamoja na hilo la jengo. Ndege zisizovunjika zinatawala nje ya jengo hilo. Kuta kubwa, zisizovunjika hufanya nje ya jengo hilo ionekane kama zimejengwa kwa vipande-vipande. Hata hivyo, hii geometry badala ngumu ni kutumika na Olbrich kama mfumo wa jumla, ambayo yeye softened na mistari sinuous, curves na overlapping. Olbrich aliweka muundo huo ili ujumuishe "kichwa" na "mwili", yaani eneo rasmi la kuingia na eneo la maonyesho ya kazi. Mlango huo umezungukwa na vitalu vilivyofungwa kwa utulivu ambavyo vimezungukwa na nguzo nne zinazofunika mnara huo. Jumba la maonyesho lina fomu ya basilica na nave ya juu na aisles mbili za chini na transept ya kufunga. Karibu kabisa imefunikwa na paa za kioo kama hema ambazo huoga ndani katika nuru ya mara kwa mara. Ishara ya Usanifu-ujenzi. Jani la laurel ndilo ishara kuu katika jengo hilo lililokamilika. Inaweza kupatikana kwenye pilasters ya mbele ya mrengo wa mbele na niche ya kuingia, pamoja na katika garlands mbalimbali kando ya elevations upande, na huangaza juu ya jengo katika fomu ya majani 3000 ya dhahabu na berries 700 ya dome. Eneo la kuingia limepambwa na vinyago vya Gorgons tatu, ambazo zinawakilisha usanifu, sanamu na uchoraji. Sehemu za upande pia zina vipepeo waliotengenezwa na Olbrich mwenyewe (kwa miundo ya Kolo Moser). Gorgoni ni mungu wa Athene, mungu wa hekima, ushindi na ufundi. Joseph Maria Olbrich aliunganisha lugha ya ishara katika jengo hilo, ambayo inapewa tafsiri mpya na isiyo ya kitaaluma / isiyo ya kawaida hapa. Jengo la Secession, ambalo sasa linatambuliwa kama moja ya mambo makuu ya ziara yoyote ya Vienna, lilipigwa na dhihaka mwishoni mwa karne. "Jengo hilo lilitajwa kama ""Temple for Bullfrogs,"" ""Temple of the Anarchic Art Movement,"" ""Mausoleum,"" ""Pharaoh's Tomb,"" ""The Tomb of the Mahdi,"" na ""Crematorium,"" dome ilijulikana kama ""a head of cabbage,"" na jengo lote lilikataliwa kama ""a bastard between temple and warehouse"" na ""a cross between a greenhouse and a blast furnace.""" Historia ya Jengo The Vienna Secession ilibadilishwa na kurekebishwa mara kadhaa katika kipindi cha historia yake ya miaka mia moja. Jumba la majumba la majumba la majumba la majumba la majumba la majumba la majumba la majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba ya majumba. "Mwaka 1908 katika maandishi yake ya kwanza, alitoa kauli mbiu ya ""Der Zeit ihre Kunst.""" Der Kunst ihre Freiheit" ("Kwa kila wakati sanaa yake. "Jengo hilo liliharibiwa na mabomu wakati wa Vita vya Pili vya Ulimwengu na kuharibiwa na moto na jeshi la Ujerumani lililokuwa likirudi nyuma.""" Wakati wa ujenzi wa mwaka wa 1963, mapambo ya awali yalirekebishwa na ghorofa ya pili iliingizwa katika ukumbi wa kuingia. Adolf Krischnitz alikuwa na jukumu la ukarabati wa hivi karibuni katika 1984-85. Pamoja na kurudishwa kwa ukumbi wa kuingia kuu na nafasi kuu za maonyesho kwa uwiano wao wa awali, vyumba vya ziada kwa ajili ya shirika la maonyesho na utawala vilipangwa upya na kuendelezwa zaidi. Maonyesho ya jumla ya 20 hufanyika katika Vienna Secession (katika Jumba Kuu, Jumba la Maonyesho, Kabineti ya Graphic na Chumba cha Ver Sacrum) kila mwaka. Jumla ya eneo la maonyesho ni takriban. 1000 m2 Maonyesho yote yanaambatana na chapisho na mara nyingi na matukio sambamba, mihadhara, makusanyiko, majadiliano ya sanaa, nk.