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Art in Vienna 1898 1918
The artistic stagnation of Vienna at the end of the 19th century was rudely shaken by the artists of the Vienna Secession. Their work shocked a conservative public, but their successive exhibitions, their magazine Ver Sacrum, and their application to the applied arts and architecture soon brought them an enthusiastic following and wealthy patronage. Art in Vienna, 1898–1918: Klimt, Kokoschka, Schiele and their Contemporaries, now published in its 4th edition, brilliantly traces the course of this development. Klimt, Kokoschka and Schiele were the leading figures in the fine arts; Wagner, Olbrich, Loos and Hoffmann in architecture and the applied arts. In other fields, Mahler, Freud and Schnitzler were influencing the avant‐garde. The book includes eye‐witness accounts of exhibitions, the opening of the Secession building and other events, and the result is a fascinating documentary study of the members of an artistic movement which is much admired today. Some 150 color images and 75 black and white archival illustrations make this a sumptuous and historically engrossing study of a period when Vienna was the centre of the European art world.
Austrian Expressionism
It shows, as the author puts its, the "connecting impulse" that animated the avant garde and provided the crucial intellectual context in which Austrian Expressionism emerged in the first decade of this century.
Modern Worlds
Published on the twentieth anniversary of the founding of Neue Galerie New York, this stunning volume celebrates the varied achievements of modern art history in the German-speaking world by examining historical developments in Austria and Germany from 1890 to 1940. Illustrated throughout with exquisite reproductions of the museum’s holdings, this book considers the influence of Friedrich Nietzsche and his writings on the fine arts and examines the founding of the Secessionist artists' organizations in Germany and Austria. Insightful essays trace the emergence of Expressionism and abstraction, as well as the development of such movements as Dada and New Objectivity. Evolutions in architect...
New Worlds
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New Worlds
It also tells the stories of the numerous museum officials, patrons, art dealers, and journalists who brought these artworks to the attention of the American public.".
The Vienna School of Art History
Matthew Rampley’s The Vienna School of Art History is the first book in over seventy-five years to study in depth and in context the practices of art history from 1847, the year the first teaching position in the discipline was created, to 1918, the collapse of Austria-Hungary. It traces the emergence of art history as a discipline, the establishment of norms of scholarly inquiry, and the involvement of art historians in wider debates about the cultural and political identity of the monarchy. The so-called Vienna School plays the central role in the study, but Rampley also examines the formation of art history elsewhere in Austria-Hungary. Located in the Habsburg imperial capital, Vienna a...
The Museum Age in Austria-Hungary
This important critical study of the history of public art museums in Austria-Hungary explores their place in the wider history of European museums and collecting, their role as public institutions, and their involvement in the complex cultural politics of the Habsburg Empire. Focusing on institutions in Vienna, Cracow, Prague, Zagreb, and Budapest, The Museum Age in Austria-Hungary traces the evolution of museum culture over the long nineteenth century, from the 1784 installation of imperial art collections in the Belvedere Palace (as a gallery open to the public) to the dissolution of Austria-Hungary after the First World War. Drawing on source materials from across the empire, the authors...
The Memory Factory
The Memory Factory introduces an English-speaking public to the significant women artists of Vienna at the turn of the twentieth century, each chosen for her aesthetic innovations and participation in public exhibitions. These women played important public roles as exhibiting artists, both individually and in collectives, but this history has been silenced over time. Their stories show that the city of Vienna was contradictory and cosmopolitan: despite men-only policies in its main art institutions, it offered a myriad of unexpected ways for women artists to forge successful public careers. Women artists came from the provinces, Russia, and Germany to participate in its vibrant art scene. Ho...
