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  • #KlimtSchiele sounds like a modern cliché in art history, perhaps more than any other pairing. It's impossible to think of one without other. Someone will always ask 'who do you think is better?'.
The @royalacademyarts exhibition of @albertinamuseum drawings somehow manages to avoid this pitting of two fundamentally different artists.
Klimt approached painting with a decorative mind and a classical training. His sitters morph into ethereality and reveal themselves in murals and beneath layers of gold leaf. Schiele was a troubled artist who led a troubled life. His works reveal the cruelty of human life and the power of human sexuality.
The exhibition is wonderfully curated. Each artist has dedicated sections exploring their creative processes. Almost immediately, the viewer can associate the artists' circumstances with their diverging approaches to the human figure. Both are spirited draughtsmen. Their lines are energetic and confident; Schiele does this always, but Klimt's drawings reveal two sides of him, meandering between an architectural mindset and a dream-like one.
The sections on portraiture show just how different their social circles were. Klimt was surrounded by society's finest members; they almost seem unreal in his drawings. Schiele only had his family, close friends, and himself; the drawings are haunting and full of emotion.
As for Schiele's erotic nudes, the exhibition strikes a good balance between his most graphic drawings and the much tamer ones. The viewer can actually appreciate the different levels of eroticism and playfulness in these often controversial works. Contrast these with Klimt's earlier designs for works that were criticised for being too sexual and you begin to grasp the age-old distinction between 'nude' and 'naked'. Art glorifies the nude; nakedness has no place within its sacred halls.
This exhibition isn't a competition between two artists; it's a dialogue about humanity and the human form, showing society at its finest and at its worst. It forces us to consider the other side.
#gustavklimt #egonschiele #royalacademyofarts #viennasecession #wienersezession #drawing #zeichnung #zeichnungen #albertina #albertinamuseum
  • #KlimtSchiele sounds like a modern cliché in art history, perhaps more than any other pairing. It's impossible to think of one without other. Someone will always ask 'who do you think is better?'.
    The @royalacademyarts exhibition of @albertinamuseum drawings somehow manages to avoid this pitting of two fundamentally different artists.
    Klimt approached painting with a decorative mind and a classical training. His sitters morph into ethereality and reveal themselves in murals and beneath layers of gold leaf. Schiele was a troubled artist who led a troubled life. His works reveal the cruelty of human life and the power of human sexuality.
    The exhibition is wonderfully curated. Each artist has dedicated sections exploring their creative processes. Almost immediately, the viewer can associate the artists' circumstances with their diverging approaches to the human figure. Both are spirited draughtsmen. Their lines are energetic and confident; Schiele does this always, but Klimt's drawings reveal two sides of him, meandering between an architectural mindset and a dream-like one.
    The sections on portraiture show just how different their social circles were. Klimt was surrounded by society's finest members; they almost seem unreal in his drawings. Schiele only had his family, close friends, and himself; the drawings are haunting and full of emotion.
    As for Schiele's erotic nudes, the exhibition strikes a good balance between his most graphic drawings and the much tamer ones. The viewer can actually appreciate the different levels of eroticism and playfulness in these often controversial works. Contrast these with Klimt's earlier designs for works that were criticised for being too sexual and you begin to grasp the age-old distinction between 'nude' and 'naked'. Art glorifies the nude; nakedness has no place within its sacred halls.
    This exhibition isn't a competition between two artists; it's a dialogue about humanity and the human form, showing society at its finest and at its worst. It forces us to consider the other side.
    #gustavklimt #egonschiele #royalacademyofarts #viennasecession #wienersezession #drawing #zeichnung #zeichnungen #albertina #albertinamuseum
  • 118 2 2 February, 2019

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  • 🎼🎼🎼 Ein Musik-Genie, das nicht hören kann? Im fünften und letzten Teil der Artikel-Serie über das berühmteste Schlappohr der Welt bzw. über Beethovens Schwerhörigkeit suche ich Antwort auf eine weitere wichtige Beethoven-Frage: Wie war das überhaupt möglich – taub komponieren? Wie konnte jemand wie Beethoven, ein 100%-iges Schlappohr, diese Musik erschaffen? Dazu gibt es Bilder vom Beethoven-Fries von Gustav Klimt. - Die Hörgräte - smart und gelassen bloggen über das Hören mit und ohne Technik (LINK IN DER BIO)
  • 🎼🎼🎼 Ein Musik-Genie, das nicht hören kann? Im fünften und letzten Teil der Artikel-Serie über das berühmteste Schlappohr der Welt bzw. über Beethovens Schwerhörigkeit suche ich Antwort auf eine weitere wichtige Beethoven-Frage: Wie war das überhaupt möglich – taub komponieren? Wie konnte jemand wie Beethoven, ein 100%-iges Schlappohr, diese Musik erschaffen? Dazu gibt es Bilder vom Beethoven-Fries von Gustav Klimt. - Die Hörgräte - smart und gelassen bloggen über das Hören mit und ohne Technik (LINK IN DER BIO)
  • 28 1 12 March, 2019
  • #KlimtSchiele sounds like a modern cliché in art history, perhaps more than any other pairing. It's impossible to think of one without other. Someone will always ask 'who do you think is better?'.
The @royalacademyarts exhibition of @albertinamuseum drawings somehow manages to avoid this pitting of two fundamentally different artists.
Klimt approached painting with a decorative mind and a classical training. His sitters morph into ethereality and reveal themselves in murals and beneath layers of gold leaf. Schiele was a troubled artist who led a troubled life. His works reveal the cruelty of human life and the power of human sexuality.
The exhibition is wonderfully curated. Each artist has dedicated sections exploring their creative processes. Almost immediately, the viewer can associate the artists' circumstances with their diverging approaches to the human figure. Both are spirited draughtsmen. Their lines are energetic and confident; Schiele does this always, but Klimt's drawings reveal two sides of him, meandering between an architectural mindset and a dream-like one.
The sections on portraiture show just how different their social circles were. Klimt was surrounded by society's finest members; they almost seem unreal in his drawings. Schiele only had his family, close friends, and himself; the drawings are haunting and full of emotion.
As for Schiele's erotic nudes, the exhibition strikes a good balance between his most graphic drawings and the much tamer ones. The viewer can actually appreciate the different levels of eroticism and playfulness in these often controversial works. Contrast these with Klimt's earlier designs for works that were criticised for being too sexual and you begin to grasp the age-old distinction between 'nude' and 'naked'. Art glorifies the nude; nakedness has no place within its sacred halls.
This exhibition isn't a competition between two artists; it's a dialogue about humanity and the human form, showing society at its finest and at its worst. It forces us to consider the other side.
#gustavklimt #egonschiele #royalacademyofarts #viennasecession #wienersezession #drawing #zeichnung #zeichnungen #albertina #albertinamuseum
  • #KlimtSchiele sounds like a modern cliché in art history, perhaps more than any other pairing. It's impossible to think of one without other. Someone will always ask 'who do you think is better?'.
    The @royalacademyarts exhibition of @albertinamuseum drawings somehow manages to avoid this pitting of two fundamentally different artists.
    Klimt approached painting with a decorative mind and a classical training. His sitters morph into ethereality and reveal themselves in murals and beneath layers of gold leaf. Schiele was a troubled artist who led a troubled life. His works reveal the cruelty of human life and the power of human sexuality.
    The exhibition is wonderfully curated. Each artist has dedicated sections exploring their creative processes. Almost immediately, the viewer can associate the artists' circumstances with their diverging approaches to the human figure. Both are spirited draughtsmen. Their lines are energetic and confident; Schiele does this always, but Klimt's drawings reveal two sides of him, meandering between an architectural mindset and a dream-like one.
    The sections on portraiture show just how different their social circles were. Klimt was surrounded by society's finest members; they almost seem unreal in his drawings. Schiele only had his family, close friends, and himself; the drawings are haunting and full of emotion.
    As for Schiele's erotic nudes, the exhibition strikes a good balance between his most graphic drawings and the much tamer ones. The viewer can actually appreciate the different levels of eroticism and playfulness in these often controversial works. Contrast these with Klimt's earlier designs for works that were criticised for being too sexual and you begin to grasp the age-old distinction between 'nude' and 'naked'. Art glorifies the nude; nakedness has no place within its sacred halls.
    This exhibition isn't a competition between two artists; it's a dialogue about humanity and the human form, showing society at its finest and at its worst. It forces us to consider the other side.
    #gustavklimt #egonschiele #royalacademyofarts #viennasecession #wienersezession #drawing #zeichnung #zeichnungen #albertina #albertinamuseum
  • 118 2 2 February, 2019
  • Gertrud Loew was the daughter of Gustav Klimt’s physician, Anton Loew. Klimt painted her in 1902 and it is obvious that Klimt was attracted to her, as the only areas of detail are her face and her gold leaf wedding ring, which glitters tremendously. The painting was left behind along with the rest of an extensive collection as the Nazis settled in on Vienna and the family escaped to the United States. Loew’s house became a Nazi headquarters, and her collection was scattered. Although Loew’s daughter Maria returned after the war to try, unsuccessfully, to trace and recover some of their treasures, Gertrud Loew never set foot in her native city again. Gertrud’s son, Anthony, said that she never mentioned the painting or the valuable belongings she had left behind. He recalled that, throughout his childhood, the painting was displayed in the entrance hall of their family home. It was displayed prominently on a stand rather than hung on the wall and faced out to the gardens. After Anthony had left Vienna, he hung a reproduction of the Klimt portrait of his mother in his home in America. #Love #GustavKlimt #Klimt #ViennaSecession #WienerSezession #WienerWerstätte #Vienna #Wien #Österreich #Austria #Kunst #Art #🇦🇹 #Liebe
  • Gertrud Loew was the daughter of Gustav Klimt’s physician, Anton Loew. Klimt painted her in 1902 and it is obvious that Klimt was attracted to her, as the only areas of detail are her face and her gold leaf wedding ring, which glitters tremendously. The painting was left behind along with the rest of an extensive collection as the Nazis settled in on Vienna and the family escaped to the United States. Loew’s house became a Nazi headquarters, and her collection was scattered. Although Loew’s daughter Maria returned after the war to try, unsuccessfully, to trace and recover some of their treasures, Gertrud Loew never set foot in her native city again. Gertrud’s son, Anthony, said that she never mentioned the painting or the valuable belongings she had left behind. He recalled that, throughout his childhood, the painting was displayed in the entrance hall of their family home. It was displayed prominently on a stand rather than hung on the wall and faced out to the gardens. After Anthony had left Vienna, he hung a reproduction of the Klimt portrait of his mother in his home in America. #Love #GustavKlimt #Klimt #ViennaSecession #WienerSezession #WienerWerstätte #Vienna #Wien #Österreich #Austria #Kunst #Art #🇦🇹 #Liebe
  • 36 1 14 December, 2018
  • 31 3 15 November, 2018
  • В 2018 году отмечается 100-летие Венского модерна/модернизма #100летвенскогомодернизма. Этот юбилей немного сконструированный, но очень важный – в 1918 году ушли из жизни главные культурные деятели Вены рубежа веков: архитектор Отто Вагнер, дизайнер Коломан Мозер и художники Густав Климт и Эгон Шиле. Всем четверым, а заодно и венскому модерну в целом, посвящено множество выставок в Вене.
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Здание на фото – Венский сецессион. Оно было построено архитектором Йозефом Марией Ольбрихом для объединения венских художников рубежа XIX-XX веков, которые создали в Австрии стиль модерн. Поэтому словом «сецессион» обозначается как художественное объединение, так и сам стиль. В Германии, кстати, были свои сецессионы – Мюнхенский и Берлинский.
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Белоснежное здание венчает золотой шар из переплетённых листьев. Местные жители прозвали его «золотой капустой» (по форме, на самом деле, слегка напоминает кочан). Постройка предназначалась для выставок современного искусства и не изменила своего назначения по сегодняшний день. На фасаде золотыми буквами обозначен девиз Венского сецессиона: «Времени – его искусство, искусству – его свобода», а также написано название издаваемого объединением журнала “Ver Sacrum” («Весна священная»).
⠀
В подвальном этаже экспонируется знаменитый «Бетховенский фриз» Густава Климта – первого президента и активного деятеля Венского сецессиона. Он складывается из трёх горизонтальных композиций: «Тоска по счастью», «Враждебные силы» (с гигантской обезьяной-Тифоном) и моя любимая – «Искусство, Хор ангелов Рая».
  • В 2018 году отмечается 100-летие Венского модерна/модернизма #100летвенскогомодернизма . Этот юбилей немного сконструированный, но очень важный – в 1918 году ушли из жизни главные культурные деятели Вены рубежа веков: архитектор Отто Вагнер, дизайнер Коломан Мозер и художники Густав Климт и Эгон Шиле. Всем четверым, а заодно и венскому модерну в целом, посвящено множество выставок в Вене.

    Здание на фото – Венский сецессион. Оно было построено архитектором Йозефом Марией Ольбрихом для объединения венских художников рубежа XIX-XX веков, которые создали в Австрии стиль модерн. Поэтому словом «сецессион» обозначается как художественное объединение, так и сам стиль. В Германии, кстати, были свои сецессионы – Мюнхенский и Берлинский.

    Белоснежное здание венчает золотой шар из переплетённых листьев. Местные жители прозвали его «золотой капустой» (по форме, на самом деле, слегка напоминает кочан). Постройка предназначалась для выставок современного искусства и не изменила своего назначения по сегодняшний день. На фасаде золотыми буквами обозначен девиз Венского сецессиона: «Времени – его искусство, искусству – его свобода», а также написано название издаваемого объединением журнала “Ver Sacrum” («Весна священная»).

    В подвальном этаже экспонируется знаменитый «Бетховенский фриз» Густава Климта – первого президента и активного деятеля Венского сецессиона. Он складывается из трёх горизонтальных композиций: «Тоска по счастью», «Враждебные силы» (с гигантской обезьяной-Тифоном) и моя любимая – «Искусство, Хор ангелов Рая».
  • 128 4 5 November, 2018