{"id":8987,"date":"2011-03-05T02:22:47","date_gmt":"2011-03-05T02:22:47","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=8987"},"modified":"2011-03-05T02:36:41","modified_gmt":"2011-03-05T02:36:41","slug":"deutsche-kunst-und-dekoration-10-turin-and-vienna","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2011\/03\/05\/deutsche-kunst-und-dekoration-10-turin-and-vienna\/","title":{"rendered":"Deutsche Kunst und Dekoration #10: Turin and Vienna"},"content":{"rendered":"

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Turin exposition poster by Leonardo Bistolfi.<\/em><\/p>\n

Part two of a two-part skate through the contents of\u00a0volume 10<\/a> of Deutsche Kunst und Dekoration<\/em>, the German periodical of art and decoration. In addition to the Heinrich Vogeler feature which was the subject of yesterday’s post, this edition includes articles on the Prima Esposizione Internazionale d’Arte Decorativa Moderna in Turin\u2014another international showcase for the Art Nouveau style\u2014and a feature on the Viennese Secession exhibition of the same year. This latter piece was especially fascinating when seeing such a notable event reported for the first time. There’s more about that below. This volume also includes a piece on the Glasgow Arts and Crafts movement but the photos for that piece are poor quality. As before, anyone wishing to see these samples in greater detail is advised to download the entire volume at the Internet Archive. There’ll be more DK&D<\/em> next week.<\/p>\n

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A feature on dress design shows some rare examples of Art Nouveau style being applied to clothing.<\/p>\n

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Modernism begins here. I love the Secession artists, and as I said above, it’s fascinating seeing an event like the Beethoven exhibition being reported as news. The exhibition was staged in Joseph Maria Olbrich’s Secession building<\/a> in Vienna, a radical “temple of art” and the forerunner of all later white cube gallery spaces. This was a themed exhibition\u2014itself a relatively new idea\u2014which took Max Klinger’s Beethoven sculpture as its central work; the contributions of the other artists were all intended to complement this. Most famous of these were the Beethoven-themed paintings by Gustav Klimt which were arranged as a frieze<\/a> inside the building.<\/p>\n

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Another great pleasure of this edition of DK&D<\/em> is the attention they devote to all aspects of the exhibition. Klinger’s sculpture is usually reproduced in books in a single view; here we get to see it in detail from many different views. So to with the minor works by other artists which adorned walls and doors. Many of these pieces are very advanced for 1902, showing once again how the tendency to abstraction in western art was absolutely inevitable from whichever direction it came. The radical qualities of the Secession came through in their painting, architecture and especially in the graphic design which featured in their showcase magazine, Ver Sacrum<\/em>, and the posters<\/a> produced by Koloman Moser, Alfred Roller, Otto Wagner and others. Something to note here is how every contributing artist was given a stylised monogram as a means to identify their work. These examples are only a few of those shown in the journal.<\/p>\n

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The great Gustav. Klimt’s work has now attained that dubious Impressionist-infested realm of Art-for-people-who-don’t-really-care-much-for-art, a place where once-challenging paintings are reduced to a kind of visual muzak. The ubiquity of his work today obscures its radical qualities, and also his presence at the heart of an art movement with very lofty ideals indeed. The Secessionists wanted to change the world with their art, hence the choice of Beethoven as a venerable predecessor; Klimt himself later admitted that their plans had failed but one has to wonder what he would have thought about his paintings becoming such a fixture of the greetings card market.<\/p>\n

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A plan of the Secession building showing the route visitors were supposed to take through the exhibition.<\/p>\n

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A feature about the Turin exposition begins here and is continued in the next volume. The exposition also had lofty ideals with a pronouncement that “Only original products that show a decisive tendency toward aesthetic renewal of form will be admitted. Neither mere imitations of past styles nor industrial products not inspired by an artistic sense will be accepted.” The entrance above was design by Raimondo D’Aronco.<\/p>\n

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The entrance to the German pavilion, and a typical example of Teutonic bluster. If you overlook the pomposity and sense of foreboding such a gateway inspires (the First World War was only twelve years away), the interior featured some beautiful and original designs, some of which will be seen in the next installment.<\/p>\n

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Previously on { feuilleton }
\n\u2022 Deutsche Kunst und Dekoration #10: Heinrich Vogeler<\/a>
\n\u2022 Deutsche Kunst und Dekoration #9<\/a>
\n\u2022 Deutsche Kunst und Dekoration #8<\/a>
\n\u2022 Deutsche Kunst und Dekoration #7<\/a>
\n\u2022 Deutsche Kunst und Dekoration #6<\/a>
\n\u2022 Deutsche Kunst und Dekoration #5<\/a>
\n\u2022 Deutsche Kunst und Dekoration #4<\/a>
\n\u2022 Deutsche Kunst und Dekoration #2<\/a>
\n\u2022 Deutsche Kunst und Dekoration #1<\/a>
\n\u2022 Deutsche Kunst und Dekoration<\/a>
\n\u2022 Jugend Magazine revisited<\/a>
\n\u2022 Secession posters<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Turin exposition poster by Leonardo Bistolfi. Part two of a two-part skate through the contents of\u00a0volume 10 of Deutsche Kunst und Dekoration, the German periodical of art and decoration. In addition to the Heinrich Vogeler feature which was the subject of yesterday’s post, this edition includes articles on the Prima Esposizione Internazionale d’Arte Decorativa Moderna … Continue reading “Deutsche Kunst und Dekoration #10: Turin and Vienna”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,58,2,51,4,57,43,3,44,41],"tags":[945,2324,7247,120,1209,1021,2325,199,946,2323,1069,2327,2328,2326],"class_list":["post-8987","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art-nouveau","category-art","category-cities","category-design","category-fashion","category-magazines","category-music","category-painting","category-sculpture","tag-alfred-roller","tag-beethoven","tag-deutsche-kunst-und-dekoration","tag-expositions","tag-gustav-klimt","tag-heinrich-vogeler","tag-joseph-maria-olbrich","tag-jugend","tag-koloman-moser","tag-leonardo-bistolfi","tag-max-klinger","tag-otto-wagner","tag-raimondo-daronco","tag-ver-sacrum"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-2kX","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/8987","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=8987"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/8987\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=8987"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=8987"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=8987"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}