exhibition dates vienna secession building

#Exhibition dates vienna secession building series

Among their first members: the architects Josef Hoffmann and Josef Maria Olbrich, the painters Josef Engelhart, Carl Moll, Koloman Moser and Alfred Roller who had studied architecture as well as painting. But when fierce differences arose between established and young artists concerning the delegations to exhibitions in Dresden and Munich, the artists around Gustav Klimt finally declared their secession on 24 May. Since 1861 the Genossenschaft (abbreviated to ‘Künstlerhaus’) had been the official representation with its own exhibition house at the Karlsplatz in Vienna. The new association should exist as a kind of club within the ‘Genossenschaft bildender Künstler Wiens’. Gustav Klimt, 35 years old, was elected as president, 85-year-old artist Rudolf von Alt, who had always been an advocate of the young, was elected Honorary President. On 3 April the constituting assembly of the new association was held. This was the beginning of the Vienna Secession. Unwanted reflections and flickering are not an issue with Zumtobel luminaires, and this accentuates the work all the more.On 27 March 1897 art critic Ludwig Hevesi wrote enthusiastically: ‘The art city of Vienna, this gigantic small town, will now finally become a Big-Vienna, a true New-Vienna.’ He had heard that a group of young artists was to found the Association of Visual Artists (Vereinigung Bildender Künstler Österreichs).

#Exhibition dates vienna secession building series

The mixture of diffuse lighting and clear highlights creates a three-dimensional effect for Gustav Klimt’s series of pictures. “Tecton slim tunableWhite” LED luminaires by Zumtobel gently illuminate the ceiling of the high room, while “ Supersystem II” LED spotlights immerse the “Beethoven Frieze” in direct light. In the case of Klimt all the more so, because even if the immense frieze has a dramatic effect in itself, it is only through the incidence of light that the fine details, shining gold and silver sections, glass buttons, and small mirrored panels fully come into their own. Anyone who has ever been to an exhibition space knows how crucial the right lighting is for the impact a work makes. The museum’s gem is in the basement, Gustav Klimt’s “Beethoven Frieze,” a 34-meter mural dating from 1902 that is devoted to the composer Ludwig van Beethoven’s last completed symphony. It is as if the main exhibition space, a textbook white cube, has a skylight. In terms of its color temperature, the ceiling can be adapted such that the impression is of natural daylight. “ Tecton slim tunableWhite” is the name of the new lighting solution, which delivers even brightness by means of LED luminaires in the form of an illuminated ceiling. As part of the general refurbishment of the Secession Building, Vienna-based architect Adolf Krischanitz and Zumtobel developed a new lighting concept. In order for visitors to the building to be able to experience the pleasant feeling of immersing themselves in a gentle lighting ambience, a modern approach was needed for the artificial lighting in the evening and on dark winter days. Olbrich gave light a decisive role in the architecture and created spaces in which people and the works are happy to linger. The atmosphere in the Secession Building is calm and bright, with natural daylight pouring into the white exhibition space through long wall openings. And the building is also something special for those who have the good fortune to actually live in the Austrian capital. Located in a prominent position on Wienzeile and directly next to Naschmarkt, the exhibition venue is even today one of the first attractions tourists to Vienna like to visit. In the late 19th century Joseph Maria Olbrich designed the snow-white structure as an exhibition building for the Vienna Secession group of artists, whose founding president he was. “The frothy golden ball” is how the Viennese lovingly refer to the gilt laurel leaf dome which crowns one of the best-known Art Nouveau buildings there is.