!!!Jugendstil
Jugendstil (art nouveau, modern style), style of art at the turn of
the 20%%sup th/% century, in Austria closely associated with the
Vienna Secession and Wiener Werkstaette. Late phase of historicism
and transition to Modernism. The span of Jugendstil ranges from simple
household articles to large-sized wall mosaics, from jewellery and
glass design to architecture.
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The transition from the 19%%sup th/% to the 20%%sup th/% century in
Austria was characterised to a great extent by an uncompromising
rejection of the superficiality of mass-produced art. At the same
time, while the quality of the work of artists such as H. Makart was
much admired, there was also a demand for freshness and unceasing
renewal, and a conscious orientation to the latest developments in
England, France, Belgium, and Germany. This transition phase, which,
in Vienna in the 1890´s, began in part with the establishment of
the Secession (1897), was the start of a rapid and independent
artistic development which was to gain great international
significance.
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The Vienna Secession was modelled after the Munich Sezession (1892)
and the Berlin Sezession (1893). Its goals were to oppose the
conservatism of the academies and to provide an alternative to the
traditional ideas represented by the Vienna Kuenstlerhaus. Following
the English example, one of the new ideals was a focus on arts and
crafts (quality work with a limited number of pieces of each article)
as well as the attempt to coordinate industrial production and
handwork. Painting, architecture, and handicrafts were to be once
again correlated both formally and conceptually in a closely-knit
relationship that was not determined by industrial mass production.
The goal was a synthesis of the arts under the supremacy of
architecture. In the centres of the Austro-Hungarian Empire, the new
ideas flourished and were exchanged. Whereas Prague, Budapest, and
Ljubljana absorbed new influences (such as those from Paris, Brussels,
or Berlin) fairly directly, and gave Jugendstil a strong national
character, in Vienna the brisk influx of artists from all parts of the
empire led to the development of an "international" artistic style.
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In contrast to the western countries, Vienna had no exclusive exponent
of floral art nouveau. The school of Otto Wagner, which exercised a
determining influence in architecture, employed more austere,
classical lines, influenced to a certain extent by the popular
architecture of Mediterranean regions. The geometrical variant of art
nouveau preferred in Austria is characterised by clear and for the
most part symmetrically arranged structures and spaces, precise axes,
and well-organised spacial structuring; often combined with a
predilection for flat roofs. The Secession building by J. M.
Olbrich (1897-1898) strongly shows the influence of this style,
despite its elaborate floral ornamentation.
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For some time, ornament remained an important element of outer
architectural surfaces. In fact, it was often excessively overdone
(particularly in many unexecuted designs by Wagner´s students),
attaining extremes of lavish opulence. Marble, glass, majolica, tiles,
metal appliques, colourful moulding, gilding, and other valuable
materials were used for the decoration of architectural structures.
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The most important architectural works of Vienna Secessionism include,
in addition to the Secession building, O. Wagner´s architectural
design of the Vienna Stadtbahn transit line (1899-1901), his apartment
houses on Wienzeile (Majolikahaus 1899), the Postsparkasse (Postal
Savings Bank, 1904-1906) and the Steinhof church (1904-1907), the
Purkersdorf Sanatorium by J. Hoffmann (1904-1906), the business
premises of Portois & Fix (1899) by M. Fabiani, Haus
Brandstaette No. 6 by J. Plečnik (1903-1905) as well as
numerous villas by architects such as O. Schoenthal, R. Oerley, and
E. Hoppe.
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The new perception of architecture as the leading art form
corresponded to a new self-awareness in the architects themselves, who
expanded the aspirations of their field beyond the design and
construction of buildings to the creation of an entire artistic
ensemble, which included landscaping and gardens, interior design, and
even the artistic design of small objects for the interior. Amongst
the ranks of the architects with this comprehensive approach were O.
Wagner, J. Hoffmann, J. M. Olbrich, J. Plečnik, L. Bauer,
M. Fabiani, R. Oerley, O. Prutscher, J. Urban and others.
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The founding of the Wiener Werkstaette by J. Hoffmann, K. Moser, and
F. Waerndorfer 1903, the Wiener Keramik (Vienna Ceramics) by M.
Powolnyand B. Loeffler in 1906, and the Wiener Mosaikwerkstaette
(Vienna Mosaic Studio) by L. Forstner in 1908, as well as the
existence of other specialised crafts studios, for example, for
painting on glass (C. Geyling´s heirs) simplified the production
sequence from design to fabrication, and so guaranteed the best
possible quality.
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In addition to O. Wagner´s Steinhof Church, another monumental
Gesamtkunstwerk of this era is the Stoclet Palace (1905-1911) in
Brussels, an unparalleled architectural ensemble created by renowned
artists such as G. Klimt, L. Forstner, R. Luksch, and F. Metzner,
headed by the architect J. Hoffmann, together with studios for applied
arts (crafts).
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The course of architectural development in the 20%%sup th/% century
was strongly influenced by A. Loos, who, in numerous essays and in
his own architectural works, opposed ornament and insisted on
functionalism in architecture. The dignified simplicity and noble
austerity of the outer structure was complemented in the interior by
choice materials, such as marble, rare types of wood, and precious
metals, all used to advantage with highest quality workmanship.
Examples of Loos´ work are the Cafe Museum (1899), the Kaerntner
Bar (1907), the Goldman & Salatsch Building on Michaelerplatz square
(1909-1911), and several entranceways and business premises in Vienna,
as well as private residences throughout the entire region of the
Austro-Hungarian Empire.
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As in architecture, Loos also fostered an approach of functional
simplicity and the use of the best materials in the applied arts. He
believed that instead of unnecessary decoration, the material - the
grain of the wood, for instance - should speak for itself. Closely
related to architecture and the applied arts was Jugendstil sculpture.
There are only a few examples of free-standing outdoor sculptures,
such as the Mozart Fountain (1905) by K. Wollek or the Karl Borromaeus
Fountain (1909) by J. Engelhart and J. Plečnik in Vienna. The
majority of sculpted works either fall into the category of
architectural sculpture or are small pieces, more in the character of
applied arts. Among the most notable sculptors of this era were F.
Barwig, J. Engelhart, A. Strasser, F. Metzner, K. Wollek, R. Luksch,
and M. Powolny.
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The founding of the Vienna Secession and, in particular, the
construction of its exhibition hall, provided the art world with an
alternative to the conservative approach of the Kuenstlerhaus, and an
opportunity to reach a broad public. Not only Secession members, but
also numerous artists from abroad (such as C. Meunier, M. Klinger, A.
Rodin, F. Hodler, C. R. Mackintosh) were able to exhibit their
works there. The leader of the group and its first president was
Gustav Klimt. In 1900 another group of artists broke away from the
Kuenstlerhaus and founded the Hagenbund. In 1902 this group opened
its own exhibition building, the Zedlitzhalle, designed by J. Urban.
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With more opportunities for artists to display their works, painting
was able to evolve more freely. In contrast to the applied arts and
sculpture, which were relatively dependent on architecture, the art of
painting developed independently. The leading figures in Jugendstil
painting and graphic arts in Austria were such artists as G. Klimt, C.
Moll, W. Bernatzik, F. v. Myrbach, J. Engelhart, E. Schiele,
R. Jettmar, M. Kurzweil, W. List, K. Moser, F. Matsch, O.
Kokoschka, F. Andri, L. H. Jungnickel, A. Roller, R. Geyling,
and L. Forstner.
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The involvement of certain artists with impressionist (G. Klimt, C.
Moll, W. Bernatzik) or symbolist (R. Jettmar) forms stood in contrast
to first expressionist efforts, particularly among the younger artists
(E. Schiele, R. Gerstl, O. Kokoschka). Of great significance was the
decorative character of the pictures, areas of which were filled with
highly ornamental figural, floral, or abstract geometric patterns. The
influence of Japanese applied arts such as coloured woodcuts is
particularly noticeable in the graphic arts. Advertising and posters,
illustrations and illuminations, as well as script and textile design
all became important disciplines within the field of graphic arts.
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Notable Austrian artists such as A. Roller or R. Teschner also worked
with great success in the field of theatre, designing sets and
costumes.
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The end of Jugendstil in Austria came with World War I and the
breakdown of the Empire. In 1918, the year in which the war ended,
four of the greatest J. artists died: O. Wagner, G. Klimt, K. Moser,
and E. Schiele.
!Literature
W. Neuwirth, Das Glas des Jugendst., 1973; idem, Oesterr.
Keramik des Jugendst., 1974; idem, Wiener Gold- und Silberschmiede und
ihre Punzen 1867-1922, 2 vols., 1976; V. J. Behal, Moebel des
Jugendst., 1981; G. Wunberg (ed.), Die Wiener Moderne - Literatur,
Kunst und Musik zwischen 1890 und 1910, 1981; C. Schorske, Wien -
Geist und Gesellschaft des Fin-de-Siècle, 1982; W. J.
Schweiger, Die Wiener Werkstaette - Kunst und Handwerk 1903-32, 1982;
T. Hansen, Wiener Werkstaette - Mode, Schmuck, Accessoires, 1984;
W. M. Pabst, Wiener Grafik um 1900, 1984; R. Waissenberger (ed.),
Vienna 1890-1920, 1984; Traum und Wirklichkeit - Wien 1870-1930,
exhibition catalogue, Vienna 1985; P. Berner, E. Brix and W. Mantl
(eds.), Wien um 1900 - Aufbruch in die Moderne, 1986; K. Varnedoe,
Wien 1900 - Kunst, Architektur und Design, 1987.
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