The Vienna secession promoted the artistic philosophical goal to “show the modern man his true face.” – Otto Wagner. A circle of artists in Viennarevolutionizedd their artistic identity, they moved away from the traditional influences of Vienna art academy and aspired to promote modern truth. The Vienna Secession was promoted and presented free, as public exhibitions free from the strict guideline of Vienna’s annual salon (Artsy “Vienna Secession,” 2018). To continue the movement, they created their own housed space: The Secession building. The Vienna secession promoted their design ideas by using exhibition posters and they had created a journal of design influences and reproductions, poetry, illustrations and graphic art (Senses “Austrian Artistic Movement” 2011).


BEETHAmong the artists, Gustav Klimt was the leader of the resignation from the Viennese Kunstlerhaus (state art institute). The conflict was because they put in question the “value and status of art itself”. Klimt’s style was motivated by classical myth, symbolism and his critique of modernity (Suites Cultureless “Vienna Secession – Klimt, Freud, and Jung). In 1902, Gustav Klimt painted The Beethoven Frieze, in celebration of the composer Ludwig van Beethoven ( “Beethoven Fries 1902” 2018). The painting features the interpretation of one of Beethoven’s 9th symphonies – the painting illustrates humanity struggling to overcome hostile forces of sickness, madness, recklessness, and intemperance, and finally finding comfort and bliss in the art (Suites Cultureless “Beethoven Frieze – the Kiss to the Whole World).
BEETHOVEN.jpgInge Prader a photographer in Vienna was inspired by the 2015 Annual AIDS charity event, by the Vienna Secession and more specifically Gustav Klimt’s paintings. She uses models and props to bring to life the characters, patterns and design principles of Klimt’s paintings in photography. Semi-nude figures, backdrops of ornament and golden mosaic characterizes the true phase of the Vienna Secession (Azarella, N. 2015).


Shaniel Hira, 2018.




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