![]() He recognised kindred spirits, as did Richard Strauss, who found in Klimt’s Judith II echoes of the soundworld he had created in his opera Salome. Arnold Schoenberg mixed with young Secessionists such as Oskar Kokoschka at Vienna’s Café Central, and had his portrait painted by Richard Gerstl. Ver Sacrum, the official magazine of the Secession, featured numerous contributions in the form of sheet music from composers such as d’Albert and Hugo Wolf. Yet it might surprise some of their admirers to learn that music was almost as important as visual arts in the minds of those radical Austrian artists perhaps not so surprising, given that the city also gave the world Beethoven and Mozart. Although the Viennese Secessionists worked in art and applied architecture, they had a very strong kinship with the music of their day, and the great masters who still cast a cultural shadow.īeethoven was a touchstone - Gustav Klimt exhibited his Beethoven Frieze in 1902, at the fourteenth Secessionist exhibition which also featured German artist Max Klinger’s monumental statue of the composer. The lush, golden canvasses of the Viennese Secession are known and loved throughout the world. The Viennese Secessionist artists didn't just limit their influence to painting, as Art In Vienna explains ![]() It is a much-needed contribution to design history that illuminates the role of gender in Central European art education and professional practice.” -Rebecca Houze, author of Textiles, Fashion, and Design Reform in Austria-Hungary Before the First World War: Principles of Dress “Following the book’s aim of ‘bring a lost female heritage in handcraft and decorative art into focus,’ the book’s greatest strength lies in is its scope and interdisciplinary appeal, which allows scholars from a variety of disciplines to integrate the decorative and its proponents, the forgotten women of the female Secession, into their research and syllabi.” -Franziska Schweiger, Journal of Design History “Brandow-Faller breaks new ground in the history of the decorative arts.Alfred Roller's set design sketch for Elektra by Richard Strauss, 1909 Stories from the Secession - Radical music and art Brandow-Faller persuasively argues that the self-consciously feminine art produced by Women’s Academy artists should be understood as part of a feminist lineage that leads through the artwork of 1970s feminist artists such as Judy Chicago and Miriam Schapiro and on to that of craftivists of the twenty-first century.” -Bibiana Obler, author of Intimate Collaborations: Kandinsky and Münter, Arp and Taeuber “This beautifully illustrated study brings new attention to the overlooked achievements of women artists in Vienna in the early twentieth century. ![]() “Impeccably researched, The Female Secession is an invaluable contribution to scholarship on early twentieth-century Austrian art and to feminist art history. In this provocative story of a Viennese modernism that never disavowed its ornamental, decorative roots, she gives careful attention to key primary sources, including photographs and reviews of early twentieth-century exhibitions and archival records of school curricula and personnel.Įngagingly written and featuring more than eighty representative illustrations, The Female Secession recaptures the radical potential of what Fanny Harlfinger-Zakucka referred to as “works from women’s hands.” It will appeal to art historians working in the decorative arts and modernism as well as historians of Secession-era Vienna and gender history. Brandow-Faller draws a direct connection to the themes that impelled the better-known explosion of feminist art in 1970s America. ![]() She shows how generational struggles and diverging artistic philosophies of art, craft, and design drove the conservative and radical wings of Austria’s women’s art movement apart and explores the ways female artists and craftswomen reinterpreted and extended the Klimt Group’s ideas in the interwar years. Tracing the history of the women’s art movement in Secessionist Vienna-from its origins in 1897, at the Women’s Academy, to the Association of Austrian Women Artists and its radical offshoot, the Wiener Frauenkunst-Brandow-Faller tells the compelling story of a movement that reclaimed the stereotypes attached to the idea of Frauenkunst, or women’s art. In this book, historian Megan Brandow-Faller tells the story of how these artists disrupted long-established boundaries by working to dislodge fixed oppositions between “art” and “craft,” “decorative” and “profound,” and “masculine” and “feminine” in art. However, the artists connected with interwar Vienna’s “female Secession” created craft-based artworks that may be understood as sites of feminist resistance. Decorative handcrafts are commonly associated with traditional femininity and unthreatening docility.
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