![]() ![]() The artistic stagnation of Vienna at the end of the 19th century was rudely shaken by the artists of the Vienna Secession. 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 Alfred Roller's set design sketch for Elektra by Richard Strauss, 1909 Stories from the Secession - Radical music and art ![]()
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