2021
漢清講堂做過系列 20世紀維也納世紀維也納專題。後來我才發現此諾貝爾獎主的書，在台大圖書館風行：作者: Kandel, Eric R
The age of insight : the quest to understand the unconscious
226 世紀末的維也納(V): Vienna 1910
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225 世紀末的維也納(IV): Gesamtkunstwerk(整體藝術)
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224 世紀末的維也納(III): Freud's Dreams
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223 世紀末的維也納(II): Gustav Klimt
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222 世紀末的維也納(I): Gold and Geld
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221 昨日的世界(mit Stefan Zweig,佛洛伊德 und Dali) 2018-02 漢清講堂
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『維也納群英 (20世紀之交)』大綱
悼念：崇高的直覺；整體藝術論；生命的黃金樹長青
Vienna 城市、歷史、文化菁英、建築師；
Vienna Secession： 新藝術、分離運動； Gastav Klimt
藝術家； Egon Schiele, Oskar Kokoschka⋯⋯
Vienna Secession, Gustav Klimt, Oskar Kokoschka
Art in Vienna 1898-1918:
［世紀転換期をめぐるウィーン］年譜 1861~1918
http://www.bunka.pref.mie.lg.jp/art-museum/55910038981.htm
Art in Vienna, 1898–1918:
Klimt, Kokoschka, Schiele were the leading figures in the fine arts;其他約40名 Secession artists.
Wagner, Olbrich, Loos and Hoffmann in architecture and the applied arts.
In other fields, Mahler, Freud and Schnitzler were influencing the avant‐garde.
Vienne 1900 : Klimt, Schiele, Moser, Kokoschka
catalogue exposition Paris Grand Palais 3 octobre 2005 - 23 Janvier 2006
Vienne 1900, 2005
“fin de siècle” refers to a whole set of artistic, moral, and social concerns.
Ringeltanz ByFranz Stuck, 1905 ； The Dance by Henri Matisse 1909
Ringeltanz ByFranz Stuck, 1905 ； The Dance by Henri Matisse 1909
Renoir, Rops, Ensor, Munch, Stuck, Klimt, Beardsley
27.10.2015 - 10.01.2016
地點： Veletržnípalác
The international avant-garde movement, of which symbolism was a part, spread all over Europe towards the end of the 19th century
A Catalogue of Early Printed Editions
of the Works of L.v.Beethoven
1833
SONATE / (in D-moll) / für das / PIANO-FORTE / VON / L. VAN BEETHOVEN. / 29tes. WERK. / No. 2. / Preis f 1.15 x C. M. / WIEN, BEI TOBIAS HASLINGER, ...
by Max Klinger (1857-1920). Printed 1881.
Paraphrases about the Finding of a Glove
Max Klinger's Christ in Olympus
Max Klinger (1857 – 1920) was a German symbolist painter, sculptor, printmaker, and writer.
http://www.barnum-review.com/importance-max/
Max Klinger – Brahms Fantasy, 1894
Gustav Mahler 1907(1860-1911) :Alma Mahler 1909(1879-1964).
Mahler, Carl Moll and Alfred Roller in the garden of Carl Moll's villa
c.1903
Gustav Klimt: Painting, Design & Modern Life in Vienna 1900 (Tate Liverpool, 2008)
Vergo, Peter (1975/2015). Art in Vienna 1898-1918: Klimt, Kokoschka, Schiele, and their Contemporaries. London: Phaidon
Vergo, Peter (1975). Art in Vienna 1898-1918: Klimt, Kokoschka, Schiele, and their Contemporaries. London: Phaidon
Vienne 1900 L'art L'architecture Les Arts Décoratifs
1989 Taschen
Gustav Klimt (Austrian, 1862–1918)
"Der Kuss" (The Kiss).1907~08
Gustav Klimt´s painting Photo: Dieter Nagl/AFP/Getty Images.
Vienna 1900 : art, architecture & design
MoMA 1986
KLIMT & RODIN: An Artistic Encounter
Marking the centenary of Rodin’s death in 1917 and that of Gustav Klimt in 1918, 'KLIMT & RODIN: An Artistic Encounter' examines the diverse connections between these artists and their impact upon the art world.
Gustav Klimt, Portrait of Helene Klimt (1898). Courtesy of the Kunstmuseum Bern.
“Klimt & Rodin: An Artistic Encounter” is on view at the Legion of Honor, Lincoln Park, 100 34th Avenue, San Francisco, October 14, 2017–January 28, 2018.
遠流有翻譯本《克林姆》 ( Klimt By Frank Whitford 1990)，1994年，雖然出處沒，有幾處可能翻譯錯誤，不過有簡單索引，還是很有幫助 (本書中，主要的維也納文化人都提到、引用了)，譬如說，重要的評論家/記者Karl Kraus (April 28, 1874 – June 12, 1936)卡爾·克勞斯，本書翻譯成"克羅斯"，有6處出處。
Vienna, Austria: The Seductive Art of Gustav Klimt
https://www.youtube.com/watch?v=8J36pYKD508
Gustav Klimt 1904
1902 /1910 at Atter Lake
Klimt in a light Blue Smock/ in sickbed
by Egon Schiele, 1913/1918
https://www.artsy.net/show/legion-of-honor-klimt-and-rodin-an-artistic-encounter
Gustav Klimt. Emilie Flöge - Reforming Fashion, Inspiring Art
Alley in front of Castle Chamber (1912).
Gustav Klimt
,Courtesy of Österreichische Galerie Belvedere, 2892. Artothek/Bridgeman Images
Gustav Klimt, Lake Attersee (Am Attersee) (1900). Courtesy of the Leopold Museum.
Portrait of a Lady (1917–18).
Gustav Klimt,
Courtesy of Lentos Kunstmuseum Linz, inv. nr. 3. Lentos Kunstmuseum, Linz, Austria/Bridgeman Images.
Renoir, Portrait de Stéphane Mallarmé 1892 1842-1898:；Rops,費利西安·羅普斯（1833-1898）
恩索爾（James Ensor，1860-1949比利時）
Munch, 挪威愛德華蒙克（1863-1944年）
Franz Stuck ( 1863 – 1928) was a German painter, sculptor, engraver, and architect.
Klimt, 維也納的新藝術運動由神秘的古斯塔夫克里姆特（1862-1918年）創建。他是塑造新維也納風格的現代美學思想的主角
Beardsley 奧布里文森特比爾茲利（1872-1898）英國唯美運動，插畫家......
The Vienna Hofoper (now Staatsoper), pictured in 1898 during Mahler's conductorship
Hygieia (detail from Medicine)
Gustav Klimt
1900, 1907
Oil on canvas
430 x 300 cm. (entire panel)
Festival Hall, University of Vienna
Related Material
Gustav Klimt's Hygieia: A Source of Cold Comfort
Fountain of Hygieia in Olomouc (in Czech: kašna Hygie), Camillo Sitte (plan 1843~1903) and Karel Lenhart (statue)
許癸厄亞（Hygieia，古希臘語：Ὑγιεία）希臘神話中的健康女神。
許癸厄亞是醫神阿斯克勒庇俄斯的女兒，也是後者的伴神，其典型形象是一個用碗餵蛇的少女。根據普魯塔克的記載，許癸厄亞也曾經是雅典娜的一個別名。[1]
許癸厄亞主司健康與衛生。古代希波克拉底派的醫生宣讀醫師誓詞時，除了阿波羅與阿斯克勒庇俄斯，亦向許癸厄亞、帕那刻亞姐妹宣誓。在雅典於公元前429年爆發慘烈的大瘟疫後，出現了以許癸厄亞為崇拜對象的教派。幾個主要的敬奉她的神殿分別位於厄庇道洛斯、科林斯和帕加馬。
在羅馬神話中，對應於許癸厄亞的神祇是薩盧斯（司健康與繁榮的女神）。
At the same time, it is clear that Hygieia is not the only figure in this painting, hidden amongst her elaborate headdress are the reposing faces of two women and the bare torso of a naked pregnant woman is partially hidden by Hygieia's red robe. Behind Hygieia, or perhaps within Hygieia, are very human very vulnerable women whose downward gazes, flowing hair and nudity speak much more to traditional depictions of women than Hygieia's strange defiance and power. Is Hygieia protecting these women? Is she instead threatening such women? Are these women another side of Hygieia, is she both vulnerable and powerful, innocent and mysterious? These questions are swallowed in the inscrutable gaze of Klimt's Hygieia.
Hofburg Theatre, Vienna by Carl von Hasenauer (Neo-Baroque)
Gustav Klimt - Theatre of Shakespeare [1886]
Painting of Vienna opera house. 1888
藝術史博物館樓梯頂拱1890~91
Gustav Klimt, Secession I, 1898. Poster.
Color lithograph, 97 x 69
Letter "D", Gustav Klimt. Ver Sacrum, T. I, 1898, heft 3.
Pallas Athene, 1898 by Gustav Klimt
Portrait of Josef Pembaur by Gustav Klimt. 1890
約瑟夫彭巴爾長老（生於1848年5月23 日，1923年2月19日 † ，因斯布魯克）是奧地利指揮，作曲家和音樂老師。
Schubert am Klavier 1899
Gustav Klimt (1862-1918), Music, 1895~98
a young woman playing the kithara, instrument of the Greek Sun God Apollo, the god of music, light, order and symmetry. To the right of the young woman, Klimt depicts the man-eating sphinx; to the left, Silenius, the drunken companion of Dionysus, god of wine and drunkenness, both of whom represent the hidden instinctual, sexual undercurrents, opposing Dionysian and Apollonian forces. The influence of Sigmund Freud’s ‘Traumdeutung’ (Interpretation of Dreams), which brought psychoanalysis into public consciousness, had its effect on literature, art and music not only in Austria, but in France, Germany and Russia as well.
Music 1898, Gustav Klimt
尼采
The Birth of Tragedy from the Spirit of Music 第3章
the wise Silenus, the companion of Dionysus,
Sphinx 吃孩子的母親
自然界中性威力的象徵；
Gustav Klimt 「人生は戦いなり（黄金の騎士）」The Life a Fight The Golden Knight by Gustav Klimt
グスタフ・クリムト （１９０３年、愛知県美術館蔵）
德語系Secessions
法國、英國的影響
1889 Berlin；Munich?；1893 Dresden；1897 Vienna
secessio plebis in montem sacrum
Modern Printmakers: Carl Moll : secessio plebis in montem sacrum.
Secessio plebis (withdrawal of the commoners, or Secession of the Plebs)
Secessio plebis was an informal exercise of power by Rome's plebeian citizens, similar to a general strike taken to the extreme. During a secessio plebis, the plebs would simply abandon the city en masse and leave the patrician order to themselves.
The era has come when it is
"He sobbed, he was severely imprisoned,
Whom we live, we go in with fury, speechless;
There are those who rise up and cry, go
You have to look for water, beyond the sea. "
It was not the sore that had been the last of the battles of liberty in open battles, but the ones that were broken into their hands and legs. The signs of glory and oppression, however, affected the nation so much as the plebeians were the wounds that the Roman old hero pointed out at the time of the volc-wars from prison to forum. The secessio plebis in montem sacrum, the emigration to the holy mountain, is also the result of these two kinds of wounds. The oppressed Hungarians were also on the triple holy mountain of their national czimeter, rising above the crown, as in Golgotha at one time, there is the emblem of a stronger faith than any earthly power, the cross; and now they guarded from this base on the triple mountain, the four rivers, the holy crown itself.
1897年4月3日，古斯塔夫·克里姆特（Gustav Klimt 1862~）、約塞夫·霍夫曼（Josef Hoffman）、馬克斯·柯茲威爾（Max Kurzweil）、約瑟夫·馬里亞·歐爾布里希（Joseph Maria Olbrich）和科羅曼·莫塞爾（Koloman Moser）等人成立了維也納分離派組織，克里姆特任主席。歐爾布里希親手設計分離派標誌的展覽館。
典故取自"新的、從羅馬出走的百姓" (successio plebis 平民無法忍受貴族暴政而出走.....)
https://zh.wikipedia.org/wiki/%E7%BB%B4%E4%B9%9F%E7%BA%B3%E5%88%86%E7%A6%BB%E6%B4%BE
Vienna Secession 1898-1998: The Century of Artistic FreedomHardcover – July 1, 1998
by Iaroslava Boubnova (Author), Czech Republic) Galerie Rudolfinum (Prague (Author), Wiener Secession (Author)
Through colour reproductions and a wealth of previously unpublished material this book is a kaleidoscope documenting 130 exhibitions held over the last 100 years in the Vienna Secession, from the beginning of the Modern Movement to the art scene of our own time. After a group of dissident Viennese artists seceded from the established artists guild, they inaugurated their own exhibition space, the "Vienna Secession" in 1898. In 1902, Gustav Klimt painted the famous Beethoven Frieze for an exhibition, in the centre of which stood Max Klinger's monumental sculpture of Beethoven. Today, the Art Nouveau building by Joseph Maria Olbrich, with its striking golden dome of filigree laurel leaves and Klimt's spell-binding cycle of paintings, continues to captivate its visistors. Thanks to the many artists who exhibited during this time the development of international art can be traced. Documents from the archive testify to a unique history, marked by artist's intentions and their experience with collectors, critics and the public.
Ver Sacrum (meaning "Sacred Spring" in Latin) 1898~1903 《神聖之春》(古羅馬習俗，國家危難時，在春天，送青年ㄓ去獻祭)
Alfred Roller (1898), Cover of the first issue of Ver Sacrum
Rainer Maria Rilke, Hugo von Hofmannsthal, Maurice Maeterlinck, Knut Hamsun, Otto Julius Bierbaum, Richard Dehmel, Ricarda Huch, Conrad Ferdinand Meyer, Josef Maria Auchentaller and Arno Holz.[2]
Vienna Secession - Wikipedia
https://en.wikipedia.org/wiki/Vienna_Secession
Above its entrance is the phrase "Der Zeit ihre Kunst. Der Kunst ihre Freiheit." ("To every age its art. To every art its freedom.")
.維也納分離派（德語：Wiener Secession，英語：Vienna Secession），又譯新藝術派，是19世紀後期至20世紀前期新藝術運動（Art Nouveau，又譯藝術革新派）在奧地利的支流。
Art neverexpresses anything but itself. (Oscar Wilde) 1908
The Secession was founded in 1897 by a group of artists led by Gustav Klimt who had split off from the conservative Künstlerhaus. Klimt became the first president of the Association of Visual Artists; other founding members included the painters Kolo Moser and Carl Moll and the architects Josef Hoffmann and Joseph Maria Olbrich. In 1898, Olbrich designed the Secession’s home as a built manifesto; the structure advertised the new association’s commitment to cutting-edge modernist ideas. Another central vehicle for the Secessionist movement was the association’s art magazine Ver Sacrum (Sacred Spring), whose programmatic title adorns the facade in gold letters to this day.
Jugendstil owls - Detail of the facade of the Viennese Secession Building. These designs for the building’s facade decoration are attributed to Koloman Moser.
分離派會館主要展覧会
第1回（1898年）：由造園協会開催。会員的、羅丹、Pierre Puvis de Chavannes、Franz Stuck 等国外作品也展出。Franz Joseph I.皇帝蒞臨会場。第2回（1898年）：分離派會館開始使用。
第6回（1900年）： Adolf Fischer 収集的浮世絵・日本工芸品等參展。
第7回（1900年）：Klimt 的「哲学」（為維也納大学天井画而作）展出。
第8回（1900年）：招待蘇格蘭 建築家Charles Rennie Mackintosh。
第10回（1901年）：Klimt 的「医学」（為維也納大学天井画而作）展出。
第14回（1902年）：慶祝Max Klinger貝多芬像（彫刻）完成。Klimt 制作「貝多芬 Freize」壁画。
第18回（1903年）：Klimt 回顧展示。
Filomena Ferreira
CHARLES RENNIE MACKINTOSH ENTHUSIASTS
Charles Rennie Mackintosh is known world wide as the designer from Glasgow who rejected the Revival and Beau Arts style of architecture and decorative arts and developed his own distinctive style. What is less well now is the influence he had on the arts and crafts movement in Vienna and the inspiration he drew from them.
The modern style being created in architecture and design by Mackintosh and his close associates in Glasgow in the late 1890s and early 1900s was being feted across Europe at a time when few in the UK recognised its significance. And, following positive reviews in German and Austrian art magazines, Mackintosh, his designer wife Margaret Macdonald, her sister Frances Macdonald and her husband Herbert McNair, were invited to show at the eighth Vienna Secession exhibition in 1900.
The Four, as were known, made an immediate impact. Like Mackintosh and his circle, the Vienna Secessionists were also looking to break from the past and find new ways to create and interpret art and design, and they found kindred spirits in Glasgow.
2004
The extract from the painting features three figures: a knight in armor representing “Armored Strength”, one woman in the background symbolizing “Ambition” holding up a wreath of victory and a second woman representing “Sympathy” with lowered head and clasped hands.
Josef Hoffmann, Koloman Moser and the industrialist Fritz Waerndorfer founded the Wiener Werkstätte (Viennese Workshop) in 1903. Their aim was to ennoble everyday life through the integration of art and design. The members of the Wiener Werkstätte produced a wide range of design objects – architecture, furniture, everyday items and even fashion and jewellery– that aspired to the ideals of the Gesamtkunstwerk.
1905年，克里姆特完成的《哲學》、《法學》、《醫學》壁畫委託被維也納大學拒絕。他從1897年開始接手此委託，風格發生了巨大轉變，原先的學院氣息被摒棄。
The Wiener Werkstätte produced individual items and worked on major collaborative projects. In 1904 the industrialist Viktor Zuckerkandl contracted Hoffmann to design the Sanatorium Purkersdorf near Vienna. The sanatorium was the first building with an interior designed exclusively by the Wiener Werkstätte. Another prime example is the Palais Stoclet in Brussels for which Gustav Klimt realised a mosaic frieze.
The Stoclet Palace (French: Palais Stoclet, Dutch: Stocletpaleis) 斯托克雷宮 1905~11
is a mansion in Brussels, Belgium. It was built by architect Josef Hoffmann for banker and art lover Adolphe Stoclet between 1905 and 1911
The integration of architects, artists, and artisans makes Stoclet Palace an example of a Gesamtkunstwerk, one of the defining characteristics of Jugendstil. Klimt's sketches for the dining room are in the permanent collection of the Museum für angewandte Kunst (MAK) in Vienna.
整體藝術（德語：Gesamtkunstwerk）
華格納在1849的兩篇論述文章《藝術與革命》和《未來藝術作品》中確切用到「Gesamtkunstwerk」一詞，他談及所有的藝術作品可以在戲劇中集合表現，這一概念整合了詩歌，視覺藝術，歌劇及劇場。雖然早前已有人實驗過此藝術方法，但華格納在德國城市拜羅伊特（Bayreuth）的劇院中真正實現了他的整體藝術，成為第一人。
Only the ‘best materials’ were to be used, regardless of financial implications. In the Wiener Werkstätte’s mission statement of 1905, Hoffmann asserted: ‘As long as our towns, our houses, our rooms, our furniture, our utensils, our clothes and our jewellery, our language and our feelings do not reflect – elegantly, simply and beautifully – the spirit of our own time, we are living at a level far beneath that of our forefathers and no equivocation can disguise these weaknesses.’
コロマン・モーザー（Koloman Moser 1868年3月30日, ヴィーデン - 1918年10月18日 ウィーン）は19世紀末から20世紀始めにウィーンで活躍したデザイナー。ウィーン分離派の一人。愛称はコーロ（Kolo）で、コーロ・モーザーとも呼ばれた。
The coloring is a bit off, but basically this is Koloman Moser's "Trois femmes accroupies" (1914三名蹲女) ...
Gustav Klimt, Goldfish, 1901/02
Oil on canvas
181 x 67 cm
© Kunstmuseum Solothurn, Dübi-Müller-Stiftung, 1980
The Beethovenfries, created by Gustav Klimt,.... is housed in the lower floor.
Medicine 1899-1907. Destroyed 1945
Philosophie 1899–1907. Destroyed 1945
Jurisprudence
Ver Sacrum, 1899- heft 8
Ver Sacrum, year 1899
Ornamental Posters of the Vienna Secession, 1974
Gustav Klimt, Secession I, 1898. Poster.
Color lithograph, 97 x 69
Joseph Maria Olbrich b.1867 d. 1908
Second Vienna Secession exhibition 1898
4th, 1889.3~5
Alfred Roller
Koloman Moser - Vienna Secession, Fifth Exhibition poster
Koloman Moser -Vienna Secession, Thirteenth Exhibition poster
Fourteenth 1902 Alfred Roller b. 1864 d. 1935
https://www.moma.org/collection/works/133912
The main figure, a bowed woman presenting a symbolic sphere of light, is near life size.
The Secession held a series of exhibitions, including one honoring composer Ludwig van Beethoven, for which Roller made this poster. Under the direction of architect and designer Josef Hoffmann, twenty–one artists collaborated on the installation, which was one of the Secession’s greatest public successes, drawing nearly sixty thousand visitors. The bold, condensed lettering in Roller’s design is also a feature of other posters and journal covers he designed around this time. The main figure, a bowed woman presenting a symbolic sphere of light, is near life size. She belongs to a family of similar figures common in modern architecture and design of this period.
Roller, a graphic designer, was a member of the Vienna Secession. This group of young Austrian artists had defected from the nation’s oldest artistic society in a rejection of its conservatism and was committed to the unification of different art forms through a holistic aesthetic.
Gustav Klimt, Beethoven Frieze
https://www.khanacademy.org/humanities/becoming-modern/symbolism/v/gustav-klimt-beethoven-frieze-vienna-secession-1902
Lohengrin, 3. Akt vs 1900
Brünn, 1907
In 1902 Alfred Roller met Gustav Mahler ...Wagner's Tristan und Isolde. Mahler was impressed and decided to employ Roller to design the sets for a new production of the piece. The production, which premiered in February 1903, was a great critical success. Roller continued to design sets for Mahler's productions. Eventually Roller left the Secession and his teaching post at the Kunstgewerbeschule to be appointed chief stage designer to the Vienna State Opera, a position he held until 1909.
floor plan 2
Vienna Secession exhibition catalog. XIV Exhibition, April-June 1902. Max Klinger Beethoven.
Group portrait of the members of the Secession taken on the occasion of the XIVth exhibition 1902: Anton Stark, Gustav Klimt (seated in chair), Kolo Moser (with hat in front of Klimt), Adolf Böhm, Maximilian Lenz (lying), Ernst Stöhr (with hat), Wilhelm List, Emil Orlik (sitting), Maximilian Kurzweil (with cap), Leopold Stolba, Carl Moll (lying), and Rudolf Bacher (from left to right, Photo: Moriz Nähr / Pictorial Archives of the Österreichischen Nationalbibliothek)
The 1902 Beethoven Exhibition
https://www.secession.at/en/1902-beethoven-exhibition/
Max Klinger (18 February 1857 – 5 July 1920) was a German symbolist painter, sculptor, printmaker, and writer.
Portrait of Max Klinger by Emil Orlik, 1902
Klinger had already experienced the issue of Raumkunst in 1883, experimenting with the frescoes in the villa Albers,[105] where he was confronted with the need to combine different arts in a horizontal space. It was a problem he faced also with Christ on Olympus, which he began in Rome in 1889, and that kept him occupied until 1898.
Fig. 65) View of the atrium of Villa Albers (destroyed by a flooding) in Berlin-Steglitz
Fig. 66) Max Klinger, Christ on Olympus (1898)
Elsa Asenijeff, ca. 1900.: his marble statue of Beethoven was an integral part of the Vienna Secession exhibit of 1902.
Beethoven sitting in a concentrated, energetic pose on a richly decorated throne. He is portrayed as a bare-chested Olympic deity with Jupiter’s heraldic animal, the eagle, at his feet — human, but achieving godlike status through his music
Beethoven Torso, 1902, bronze
his marble statue of Beethoven was an integral part of the Vienna Secession exhibit of 1902.
XIVth exhibition 1902, view from the left-hand aisle to the main hall with Klinger’s Beethoven, Photo: Archive of Secession
The Beethovenfries, created by Gustav Klimt,.... is housed in the lower floor.
The Beethoven Frieze is a painting by Gustav Klimt on display in the Secession Building, Vienna, Austria.
The Arts, Paradise Choir, and The Embrace, detail of Beethoven Frieze (1902). Courtesy of the Oesterreichische Galerie im Belvedere, Vienna, Austria
Fifteenth 1902 Adolf Böhm b. 1861 d. 1927
16th 1Eighteenth 1903 Gustav Klimt b. 1862 d. 1918
903 Alfred Roller
Twentieth 1904 Leopold Stolba b. 1863 d. 1929
Egon Schiele Poster for the 49th Exhibition of the Vienna Secession ( Secession 49. Ausstellung) 1918
Vienna 1900: Redefining Portraiture
· in the Age of Angst
Kimbell Art Museum 6.23
Why would a new generation of artists—Oskar Kokoschka, Richard Gerstl, and Egon Schiele—reject the successful, sumptuous portraiture of a Gustav Klimt? What was it that compelled art, as well as science, architecture, literature, music, and dance, to pursue new interests and forms that led from the environmental to the existential and from the façade to the psyche? This lecture examines the answers to these questions, which took shape before the tragedy of World War I.
19世紀末末到20世紀初之頃の世紀末芸術之偏好主題之一：
致命女郎（法語：femme fatale )
Femme fatale - Wikipedia
ファム・ファタール（仏: Femme fatale）は、男にとっての「運命の女」（運命的な恋愛の相手、もしくは赤い糸で結ばれた相手）の意味。また、男を破滅させる魔性の女（悪女）のこと。
The Women of Klimt, Schiele and Kokoschka
Oskar Kokoschka. The Woman Leads the Man (Das Weib führt den Mann)
Oskar Kokoschka. The Woman Leads the Man (Das Weib führt den Mann)
http://arthistorynewsreport.blogspot.tw/2015/10/the-women-of-klimt-schiele-and-kokoschka.html
"'Do you recognize me? Must I introduce myself?' Adele began, in a low, rich voice, with an air of intrigue. "Do you know who is speaking to you?
'I bring you joy, I bring you lust for life! I chase away your sorrow and grief. In a word, I am the Good Spirit of the house.' This slip of a girl did look like a spirit; or a long-limbed water sprite, or a lithe Muse from an Etruscan urn."
- from THE LADY IN GOLD by Anne Marie O'Connor
Contributor to the Washington Post Anne-Marie O’Connor brilliantly regales us with the galvanizing story of Gustav Klimt’s 1907 masterpiece—the breathtaking portrait of a Viennese Jewish socialite, Adele Bloch-Bauer. The celebrated painting, stolen by Nazis during World War II, subsequently became the subject of a decade-long dispute between her heirs and the Austrian government.
When the U.S. Supreme Court became involved in the case, its decision had profound ramifications in the art world. Expertly researched, masterfully told, The Lady in Gold is at once a stunning depiction of fin-de siècle Vienna, a riveting tale of Nazi war crimes, and a fascinating glimpse into the high-stakes workings of the contemporary art world.
A Long-Lost Klimt Drawing
A woman stole and hid a Klimt drawing in her cupboard for years before leaving instructions for it to be returned to the city upon her death.
Just Turned Up in a Former Museum Secretary's Cupboard |
Portrait of Sonja Knips (1898).
Gustav Klimt,
Courtesy of Österreichische Galerie Belvedere.
PORTRAIT OF A WOMAN IN THREE-QUARTER PROFILE
(STUDY FOR THE BEETHOVEN FRIEZE: LASCIVIOUSNESS), 1901, GUSTAV KLIMT
PORTRAIT OF A WOMAN IN THREE-QUARTER PROFILE (STUDY FOR THE BEETHOVEN FRIEZE: LASCIVIOUSNESS), 1901, GUSTAV KLIMT
LADY WITH PLUMED HAT, 1908, GUSTAV KLIMT
The Black Feather Hat (1910).
Gustav Klimt,
Courtesy of the Fine Arts Museum of San Francisco.
Gustav Klimt (Austrian, 1862–1918)
| Mäda Primavesi (1903–2000) | 1912–13
The Virgin (1913).
Gustav Klimt,
Courtesy of the National Gallery of Prague.
Eugenia (Mäda) Primavesi, 1913/14
Oil on canvas
140 x 85 cm
© Toyota Municipal Museum of Art
Gustav Klimt, Johanna Staude (1917–1918). Courtesy of the Österreichische Galerie Belvedere.
Gustav Klimt, Baby (Cradle) 1917–1918. Courtesy of the Fine Arts Museums of San Francisco.
LEFT: DETAIL FROM TWO STUDIES FOR A SKELETON BY GUSTAVE KLIMT; RIGHT: DETAIL FROM THE PACER BY EGON SCHIELE
Definitions of pacer
noun
a pacesetter.
Sallie was going to be the next pacer , so she got ready for her twenty mile loop.
a horse bred or trained to have a distinctive lateral gait in which both legs on the same side are lifted together, used in some types of racing.
Pacing is faster than trotting, which is why pacers and trotters run separately in harness racing
A Kunsthalle or Kunsthaus is a term in German-speaking regions for a facility that mounts art exhibitions.
1917年，Klimt 與Egon Schiele 成立Kunsthaus，宗旨：所有奧地利培養的藝術家應該為其祖國的榮耀而創作。
A Kunsthalle or Kunsthaus is a term in German-speaking regions for a facility that mounts art exhibitions. The term roughly means "Art Gallery" in English but with a somewhat more specific meaning. A Kunsthalle is often operated by a non-profit Kunstverein ("Art Association") and a Kunsthaus ("Art House") refers more to a gallery or museum with associated artists, symposia, studios and workshops. A Kunsthalle is also similar to a Kunstmuseum ("Art Museum"), but the terms mean different things historically. In the strictest sense a Kunstmuseum has its own permanent collection and a Kunsthalle does not.
Kunstschau 1908 pavilion, designed by Josef Hoffmann.；Kokoschka- Poster for The Kunstschau. 1908.
Vives Chillida, Julio (2008). Josef Hoffmann y Jacob & Josef Kohn en la Kunstschau Wien de 1908, (La pequeña casa de campo: una efímera obra de arte total). Lulu.com (print on demand). ISBN 978-1-4092-0239-4.
in the Kunstschau Wien of 1908, (The small country house: an ephemeral total work of art)
Art never expresses anything but itself. (Oscar Wilde)
Die träumenden Knaben (The Dreaming Youths)
On June 2, it will be 108 years since the opening of the 1908 Kunstschau in Vienna- an international art exhibition which introduced Oskar Kokoschka to the Viennese public.
https://www.theviennasecession.com/oskar-kokoschkas-the-dreaming-youths/
'Art and child' designed by Adolf Boehm, shown at the Kunstschau
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