How the Vienna Secession movement shaped Austria’s cultural identity

By Imogen Lee - Singapore

The Vienna Secession was more than an artistic movement. Spanning from 1897-1905, it marked the ‘Fin de siècle’ period in Austria, when a group of prominent artists, sculptors and architects broke away from the Association of Austrian Artists, in opposition to the conservative and traditional practices of the institution, who typically dissuaded its members participation in the decorative and applied arts (Vienna Secession; Vienna Secession, Formation). Those who resigned formed a group known as the ‘Vereinigung Bildender Künstler Österreichs,’ founded and led by Austrian artist Gustav Klimt (Vienna Secession). The significance of this movement is notably more profound when contextualised by the decline of the Austro-Hungarian empire, prompting questions of Viennese national identity to come into fruition.  Ultimately, this movement facilitated the visual representation of the intellectual and cultural flourishing of Vienna during the beginning of the 20th century and contributed to the broader ‘Art Nouveau’ movement that was taking place across the globe (Secession).

Though it took on many forms, a notable output of the movement was seen in painting that was heavily influenced by mythology.  For example, Austrian artist Koloman Moser was a prominent figure of the movement who significantly shaped 20th century graphic art (Takac). Moser drew inspiration from motifs of classical Greco-Roman art, reflected in his painting Venus in the Grotto, where the magnificent goddess of love is framed by an oval, intended to represent a grotto (Secession, Koloman Moser, Venus in the Grotto). 

Venus in the Grotto

The Kiss

Philosophy

Many artworks of prominent Viennese secessionists were characterised by floral designs, notably the work of Gustav Klimt, the aforementioned centrepiece of the movement (Witek). Imbued with myth, allegory and eroticism, his works are full of floral motifs and gold details, bringing the subjects of his canvas to life (Witek). Perhaps the best known painting of Klimt’s is Der Kuss, originally entitled Liebespaar (The Kiss). The painting depicts a man embracing a woman, intimately interlocked on a flowerbed. The use of gold leaf that surrounds and clothes the couple recalls the influence of medieval gold-ground paintings (The Kiss). The theme of love and intimacy is prominent in this work of art, leading to interpretations of the piece, such as its representation of the Greek legend: Orpheus and Eurydice, when Orpheus turns around to caress Eurydice, thus tragically losing his love to the underworld (The Kiss). In contrast to the vibrancy of ‘Der Kuss,’ Klimt’s black and white painting Philosophy, that signifies in his words: ‘the beginning of life, fruition, decay’ portrays a mass of nude and statuesque figures (Klimt University of Vienna Ceiling Paintings). Despite its reverence worldwide, it attracted scrutiny from Austrian art critics who were disturbed by the trance-like nature of the men and women (Klimt University of Vienna Ceiling Paintings). However, this did not stop the evocative and controversial painting from being the first picture presented to the Austrian government at the seventh Vienna Secession exhibition in March 1900, demonstrating the cultural significance of the movement’s works (Klimt University of Vienna Ceiling Paintings).

Architectural developments played a big part of the Vienna Secession, with many secessionist architects responsible for the design of prominent buildings in Austria today. It was Jospeh Maria Olbrich, one of the founders of the movement, who designed the famous Secessionsgebäude, a white and lofty structure (Takac). The most striking feature of the building is the impressive 8.5 metre wide dome, affectionately nicknamed the ‘golden cabbage’ by locals, mirroring the gleaming masterpieces within (Secession Building: Architecture, Art, and History). It is a vessel of contemporary art, which epitomises the revolution of Austrian culture during the fin de siècle period. Perhaps the most notable feature of the building is its golden inscription, ‘Der Zeit ihre Kunst, der Kunst ihre Freiheit’ meaning ‘to every age its art, to art its freedom’ - a motto of the movement (Graf). The free and boundless flourishing of the movement is emphasised by the Latin phrase ‘Ver Sacrum’ on the left of the building which translates to ‘Holy Spring’ (Graf). This phrase was not only the title of the Secession’s magazine, but also emblematic of the blossoming period of Austrian cultural development. The fertile connotations of the season ‘Spring’ reinforce the objectives of the movement: a break from the institutionalised rigor of academic art, and a call for new and innovative ideas. The building’s legacy has survived into the long term, and nowadays tourists and locals alike come to see the glorious exhibitions within (Secession Building: Architecture, Art, and History). Another architectural feat of the movement was the Stadtbahn pavilions, designed by Austrian architect Otto Wagner and built in the Viennese town square Karlzplatz as a station for the railway (Graf). Unlike the Secession building, the pavilions had a practical purpose, inspired by the popular Art Deco principle that form should follow function (Graf). This meant that the form of the pavilions were of paramount importance, the design of aesthetic features following suit. The buildings were constructed with steel frame and marble slabs, then embellished with golden, floral and geometrical motifs, typifying many of the Secession’s pieces (Karlsplatz Stadtbahn Station). Due to the construction of the metro in the 1960s, the city wanted to tear down the pavilions, but thankfully protests against demolition plans allowed them to remain, signifying national pride over the Secessionist landmarks (Graf). 

Karlzplatz Station

Secession Building

Many Secessionist architects carried the value of function and purpose from building exteriors to interiors. The movement allowed for innovative interior design, where furniture would marry art and utility. Secessionists were determined to eradicate the over-embellishment and heaviness of industrial home furnishing (Johnston). For example, Wagner designed chairs using materials like aluminium combined with wood to fashion armchairs and cabinets (Vienna Secession). Austrian designer Josef Hoffman, a pioneer of Vienna Secession architecture, produced chairs with adjustable backs and geometric shapes (Vienna Secession). Overall the movement’s interior design was characterised by a skilled craftsmanship, practicality, and strong geometry, which influenced this mini-renaissance in interior design.

A chair inspired by the furniture models of Wagner

A chair inspired by Hoffman’s adjustable backs

By and large, the Vienna Secession has a significant impact on the city’s art and design, serving as a visual manifestation of cultural change in Austria between the 19th and 20th century, and the establishment of its identity as an entity free from imperial constraints. Even today, if you were to look at the front side of a 50 cent euro coin in Austria, you would see the Secession building represented by a circle, acknowledging this pillar of national cultural identity (Vienna Secession).

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