telecomvast.blogg.se

Vienna secession exhibit 10
Vienna secession exhibit 10





vienna secession exhibit 10

His medallion-shaped ornaments gave the building its name. The flat, golden ornamentation was designed by the Austrian painter and craftsman Koloman Moser, who was another famous member of the Vienna Secession. The corner of the Medallion House by Otto Wagner, 1898, Vienna, photographed by the author When the family came back in the year 1947, they reclaimed the house that was rightfully theirs. The family however fled into exile during the Second World War and the building was seized by the Nazis. Since 1914, the building had belonged to the Kohn family.

vienna secession exhibit 10

Both buildings are often collectively referred to as the “Wienzeilenhäuser.” The Medallion House runs not only along the Wien River but also around the corner while maintaining its characteristic facade. Right next to the Majolica House stands Otto Wagner’s other apartment building that was constructed in 1898: The Medallion House. The Medallion House: A Fusion Of Classicism And Vienna Secession Medallion House by Otto Wagner, 1898, Vienna, photographed by the author Loos – who also wrote “ornament and crime” – called the creation of new ornamentation “a sign of degeneration,” alluding to Wagner’s architecture. The Austrian architect Adolf Loos severely criticized Wagner’s use of ornamentation. Heavily discussed at the time, the decorated facade of the Majolica House became an infamous attraction. The multicolored appearance of the building’s front caused critical as well as praising reactions. By utilizing such playful and floral motifs, Ludwig created a distinctive reference to Art Nouveau. The flamboyant design of the tiles was made by the artist Alois Ludwig, who was a scholar of Otto Wagner. While the general architecture of the building was nothing new, the polychrome facade made the construction stand out radically. Because of the special quality of the tiles, dust, smut, and dirt generated by the city pose no problem.ĭetail of the Majolica House by Otto Wagner, 1898, Vienna, photographed by the author Hence, the tiles are made to be weatherproof and easy to clean. The architect Otto Wagner always attached great value to the hygienic component of constructions. The expression Majolica House stems from the colorful and glazed ceramic – called maiolica – that was used for the tiles covering the facade.

vienna secession exhibit 10

Located in the inner-city of Vienna, the apartment building displays an exceptional exterior which also provoked the construction’s name. Wagner initially intended to build a magnificent boulevard that ran alongside the Wien River, but those plans were never put into practice.

vienna secession exhibit 10

The Majolica House was built in the year 1898 by the architect Otto Wagner. Entry is €13.80.The Majolica House: A Floral Facade In Vienna Secession Style Majolica House by Otto Wagner, 1898, Vienna, photographed by the author “In the Time of Klimt, the Vienna Secession,” Until June 21, Pinacothèque 2, 8 rue Vignon, Paris 8th. The Secession, with its motto “to every age its art, to art its freedom”, was instrumental in the emergence of the Expressionist movement which followed. This break from accepted norms provided the oxygen for the ‘new art’ to ignite, and like-minded intellectuals – such as Rilke, Jung and Freud – provided the fuel, as is evidenced by Klimt’s fragile conscious-unconscious, male-female exploration of the edges of gender identity. The works in this exhibit are displayed against the striking backdrop of a reproduction of his 112-foot Beethoven Frieze (1901) and a maquette which illustrates his vision. In 1897, Klimt broke away as part of the Vienna Secession collective, which held the ideal of art for social progress and painting “to perfectly integrate with an architectural setting”. However, when Klimt dared to explore his own creative leanings, the powers that be rejected it as obscene. Gustav Klimt was once one of a class of young artists who dutifully painted to strict academic standards for a class of rich patrons who were firmly embedded in the upper echelons of the almighty Austro-Hungarian Empire which, with Vienna as its cultural epicentre, held sway over some 50 million people across 15 countries.







Vienna secession exhibit 10