Recent Scholarship on Vienna's “Golden Age,” Gustav Klimt, and Egon Schiele
1977; College Art Association; Volume: 59; Issue: 1 Linguagem: Inglês
10.1080/00043079.1977.10787376
ISSN1559-6478
Autores Tópico(s)Central European national history
ResumoJudging by the quantity of publications and by the apparent popularity of reproductions of Gustav Klimt's and Egon Schiele's paintings, one must conclude that the art created in Vienna during the two decades following the founding of the Secession in 1897 has a particular relevance for Western Europe and America today. Specific reasons for this sense of affinity, however, are not so easily determined. The Viennese artists of the time had little direct influence on the developments of art outside the Austro-Hungarian and German Empires, and even the opulent and historically significant art of the Austrian Baroque and Rococo has received little attention outside the German-speaking areas of Europe. Thus the scholarly and popular interest today in turn-of-the-century Vienna is difficult to explain immediately, except perhaps by a common adulation of the erotic content so prevalent in that art or by a counter-cultural desire for escapism. The sensual and decorative forms and imagery of Vienna's Secessionsstil have been frequently adapted in the pamphlets and posters of the hippie and drug cultures of the 1960's and commercially reflected in the dress and record-jacket imagery and typography of popular singers, singing groups, and music combos. Nevertheless, the major interest in Jahrhundertwende Vienna is not limited to a pubescent, alternative culture of revolt and withdrawal, nor is it expressed solely in the recycling of the Secessionsstil by the adult establishment into commercially lucrative products.
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