![]() Manao Tupapau (The Ghost of the Dead awakens) Sports at the beach in Wyk on the island of Föhr Please click on the photographs for a larger version of the image. Many thankx to the Museum für Kunst und Gewerbe Hamburg for allowing me to publish the photographs in the posting. One of the most vital periods of creativity in all fields in recent history. Therefore the exhibition project maneuvers at the intersection of utopia and capitalism.” ![]() Adopting a particular focus on the relationship between nature and technology, illuminates the most varied disciplines, ranging far beyond the movement of arts and crafts and reaching as far as the history of medicine and the technology of film-making… The ideal of superior craft in contrast to industrial articles collides with the commercial idea of competition and the marketing strategies at that time. The work itself reflects the time from which it emanates – visual, disruptive, psychological, technical, natural, beautiful and sensual – locating “Art Nouveau in its historical context of ideas as a reform movement with all its manifold facets and extremes. the ongoing Andy Warhol – Ai Weiwei exhibition). It is so nice to be able to contemplate these objects without the additional and unnecessary “noise” of competing wallpaper behind each object. ![]() Particularly interesting are the use of large historical photographs of the objects in use in situ, behind the actual object itself the presence of large three-dimensional structures (such as the Erkerzimmer for the Hotel Gallia in Nice, 1894-1900) built in the gallery and the welcome lack of “wallpaper noise” (as I call it) that has dogged recent exhibitions at the National Gallery of Victoria (eg. The presentation of the work is excellent, just what one would hope for, and the works themselves are magnificent – objects that you would hope existed, but didn’t know for sure that they did. Mackintosh, Madame D’Ora, Louis Majorelle, Paula Modersohn-Becker, William Morris, Alfons Mucha, Richard Riemerschmid, Dante Gabriel Rossetti, Louis C. The outbreak of World War I, the collapse of the Austro-Hungarian Empire, and the recovery of national sovereignty by the Czechs and the Poles had written the last act in the drama of mutual contacts between the Vienna Secession, the Prague Mánes and the Cracow "Sztuka".Exhibition dates: 17th October 2015 – 7th February 2016Īmong the artists exhibited are: Emile Bernard, Edward Burne-Jones, Peter Behrens, Carlo Bugatti, Mariano For-tuny, Loïe Fuller, Emile Gallé, Paul Gauguin, Karl Gräser, Josef Hoffmann, Gustav Klimt, Fernand Khnopff, René Lalique, Elena Luksch-Makowsky, Charles R. After 1905 there followed a decline of the idea of egalitarianism of art and its emotional values the conviction of the artist's special mission in society was abandoned and the new generation of artists, both in Vienna, Prague, as well as in Cracow, in their aggressive manifestos and programs heralded radical changes to the arts. At the same time, they were ready to cause scandals, defending their beliefs, eager to participate in sophisticated parties and frequented outrageous cabarets cafés - the "seats of debauchery and all kind of evil". They had great reverence for Romanticism, disposition for melancholy, irrationality, apathy, and eagerly referred to symbolism, and decadence. The milieu which yield the three above-mentioned associations consisted of ARTISTS-GENIUSES, ARTISTS-NEUROTICS, ARTISTS-PRIESTS, and also ARTISTS-ACTORS who were ready to fulfil their great missions according to the principle of "art for art's sake". The three associations closely collaborated with three art journals, set up almost simultaneously: Ver Sacrum in Vienna, Volné Smĕry in Prague, and Życie in Cracow, which on their pages united an analogous literary content with a beautiful layout and graphic design. Each of them possessed its own, specific kind of a "temple" and salon of art, where - beside exhibiting art - they introduced a new style of exhibition arrangement, using painted friezes, draperies, furniture, and above all - decorative shrubs, plants and festoons of flowers, which made the exhibition space look like a society drawing room or a garden house. The three groups maintained mutual contacts (however cold they proved to be), and jointly participated in many exhibitions, asserting at the same time their distinct national characters. It was at that time that the three art associations: Vereinigung bildender Künstler Österreichs - "Wiener Secession", Towarzystwo Artystów Polskich "Sztuka", and Spolek výtvarných umělců Mánes were set up. The years 18 are regarded as the golden era for three art groups and three art journals in three separate centres of the Habsburg empire - the cities of Vienna, Cracow and Prague. Texto completo no disponible (Saber más. ![]() Localización: Artibus et historiae: an art anthology, ISSN 0391-9064, Nº.Autores: Stefania Krzysztofowicz-Kozakowska.
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