Vienna Secession

"Enough of censorship. I am having recourse to self-help. I want to get out."

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Summary of The Vienna Secession

The formation of the Vienna Secession in 1897 marked, quite accurately, the formal
beginning of modern art in Austria - a nation at the time noted for its attachment to a highly
conservative tradition. It was the coalescence of the first movement of artists and designers
who were committed to a forward-thinking, internationalist view of the art world, all-
encompassing in its embrace and integration of genres and fields, and - highly idealistically -
freed from the dictates of entrenched values or prevailing commercial tastes. Led at the
beginning by Gustav Klimt, the Secessionists gave contemporary art its first dedicated venue
in the city. This, in concert with their official journal Ver Sacrum, not only introduced the
Austrian capital to their work, but that of contemporary and historical art movements on a
global scale.

The Secessionists' work provides in large part the visual representations of the new
intellectual and cultural flowering of Vienna around 1900, in fields as diverse as medicine,
music, and philosophy. Before long, however, internal divisions and difficulties arising from
the commercial side of the Secessionists' work ultimately fractured the group's monopoly on
the scene for contemporary and decorative arts. Nonetheless, even today the Secession
remains a key forum in Austria for the promotion and discourse surrounding contemporary
art.

Key Ideas & Accomplishments

 The Vienna Secession was created as a reaction to the conservatism of the artistic
institutions in the Austrian capital at the end of the 19th century. It literally consisted of
a set of artists who broke away from the association that ran the city's own venue for
contemporary art to form their own, progressive group along with a venue to display
their work.
  The Vienna Secession's work is often referred to (during the years before World War
I) as the Austrian version of Jugendstil, the German term for Art Nouveau, and it is the
work of its members in association with that style that has contributed most to its
fame, particularly outside of Austria. The Secession's most dramatic decline in
fortunes occurred at virtually the same time that Jugendstil fell out of style elsewhere
in Europe. When most people speak of the Vienna Secession, they are usually
referring to the initial period of its history between 1897 and 1905.
 The Secession was in large part responsible for the meteoric rise to international fame
of several of its members, including Gustav Klimt, Joseph Maria Olbrich, Koloman
Moser, and Josef Hoffmann, who helped to a large extent put Austrian art back on the
map during the first two decades of the 20th century and beyond.

 The Secession's building created the first dedicated, permanent exhibition space for
contemporary art of all types in the West. It gave a physical form and geographic
location to designers committed to narrowing the gap in prestige between the fine arts
of painting, sculpture, and architecture and the decorative and graphic arts, along with
encouraging the exchanges between these genres.

 Since the Secession was founded to promote innovation in contemporary art and not to
foster the development of any one style, the formal and discursive aspects of its
members' work have changed over the years in keeping with current trends in the art
world. It still exists and its famed building still functions as both an exhibition space
for contemporary art and a location that displays the work of its famous founding
members.

Key Artists

Gustav Klimt

Overview, Artworks, and Biography


 Charles Rennie Mackintosh

Overview, Artworks, and Biography

Artworks and Artists of The Vienna Secession

PROGRESSION OF ART

1897-98
Secession Building Vienna
Artist: Joseph Maria Olbrich

The Secession Building in Vienna is the movement's physical and spiritual home and its
permanent visual form. Designed by Josef Maria Olbrich, a young architect and former
student of Otto Wagner, the building, located in a culturally vibrant part of Vienna, needed to
hold its own against several larger institutional structures. Its somewhat unconventional
appearance led detractors to nickname it "Mahdi's Tomb" or the "Assyrian Convenience," but
its location on the former site of a vegetable market also led to the nickname of "The Golden
Cabbage" for the lattice of leaves in the dome. The leaves appear much like the stylized
crown of foliage at the top of a tree that seems as if breaking through the roof of the building -
much like the Secessionists were themselves breaking free of the mold of the display spaces
that literally contained (and constrained) art in Vienna - as also emphasized by their
journal Ver Sacrum (Sacred Spring), whose title appears to the left of the entrance and
references the ancient Roman rituals of the founding of new communities from old ones.

Above the entrance read the German words "Der Zeit ihr Kunst - der Kunst ihr Freiheit" (To
the Age its Art; to Art its Freedom), a clear reference to the revolutionary nature of the
Secession as an institution devoted to the aesthetic expression of the age, with the implication
that for contemporary art, that expression will naturally change. One can see the abstracted
forms of the gold foliage, along with the thin trunks of trees also outlined in gold, around the
facade, as if to evoke the idea of a protected glade for viewing the artistic work inside. The
use of gold on white arguably emphasizes the purity of the space as well as the precious
nature of the art.

Lit by skylights, the interior of the Secession Building functioned as a highly effective display
space. Movable partitions maximized spatial flexibility for the frequent changes in exhibitions
of the Secession and foreign artists. Its floor plan was divided originally into three parts: a
rectangular central space flanked by side aisles, much like a Roman/early Christian basilica.
One might thus see the building as a kind of temple for contemporary art - the only such space
specifically and permanently dedicated to such a purpose at that time. Its flexibility reflected
the inherently changing and unpredictable nature of contemporary art itself, in virtually every
respect, and thus privileged no individual style, movement, or trend over another. Ironically,
however, it achieved such effectiveness by relying on a very old spatial layout, thereby
suggesting the inability of contemporaneous artistic practice to completely break from
established tropes.

1898
Aureol
Artist: Josef Maria Auchentaller
Auchentaller joined the Secession at its inception, but, as one of Gustav Klimt's supporters,
broke with the group over the search for a gallery space in 1905. This poster, from the year
the Secession Building was built, demonstrates the way that Secessionists from the beginning
exhibited links with foreign artists - in this case, the Art Nouveau graphics that were sweeping
through Europe. This advertising poster for hair coloring draws on French examples,
particularly the techniques of Henri de Toulouse-Lautrec: the nearly-silhouetted figures in the
background whose figures all seem to blend into each other; the flattened planes of color with
minimal shapely articulation besides their well-defined outlines; the use of three colors,
specifically black, golden yellow, and red; and the curvilinear typeface at the center. It also
demonstrates the use of color lithography on a large scale, another technological innovation of
the era.

Likewise, this piece also shows the way that Secessionists accepted the entry of the poster
into the realm of fine art, something that Toulouse-Lautrec and other graphic artists in France
like Jules Cheret, Alphonse Mucha, Pierre Bonnard, and Theophile Steinlen had achieved by
1900. The work of the Secessionists in large-scale graphic advertising and their reproduction
in Ver Sacrum points to how in Vienna the gap in prestige was narrowing between graphic art
and the traditional arts of painting and sculpture - at least in terms of talent if not in terms of
monetary compensation - one of the primary goals of the Secession. Auchentaller himself
would go on to produce numerous other posters over the next decade.

Here there is an interesting break with French posters, which tend to generally abstract all
aspects of human figures in an almost cartoonish manner. Auchentaller has instead decided to
keep a highly plastic, naturalistic depiction of the faces in this poster, particularly the woman
at the center, which has the effect of animating the movement of the figures overall. It also
arguably makes the connection with the viewer more tangible, as if to show off the
enhancement of the woman's natural glow from using the product advertised, beyond merely
her hair. In this respect, therefore, Auchentaller shows himself not as a derivative artist, but
one sensitive to the demands and requirements of the individual commission.

Lithographed poster
1898
Pallas Athene
Artist: Gustav Klimt

Though the Secessionists were known as a group that attempted to break with artistic
traditions, their relationship with the past was more complex than a simple forward-looking
mentality. Klimt, along with many of his fellow painters and graphic artists, cultivated a keen
understanding of the symbolic nature of mythical and allegorical figures and narratives from
Greece and Rome and other ancient civilizations. With his soft colors and uncertain
boundaries between elements, Klimt begins the dissolution of the figural to abstraction that
would come to full force in the years after he left the Secession. This painting exudes thus a
sensory conception of the imperial, powerful presence of the Greco-Roman goddess of
wisdom, Athena, and the inability of humans to fully grasp that, rather than a crisp, detailed
visual summation of her persona.

Also significantly, the hazy quality of the image also allows Klimt to emphasize the goddess'
androgynous character, a blurring of gendered identity that was featured in ancient
descriptions and depictions of her, and explored by many other artists and cultural luminaries,
at the turn of the century. She is dressed in the military regalia that traditionally identifies her
as a warrior and the protector of her eponymous city, Athens - qualities normally associated
with masculinity. Only the strands of hair that thinly drape down from each side of her neck
(and almost blend with the golden color of her helmet and breastplate) give a hint as to her
femininity. Barely visible at the left side of the painting, she holds the nude figure of Nike,
representing victory, arguably the only clear feminine reference in the work.

The haziness evokes the contemporaneous exploration of dreams by Sigmund Freud, whose
seminal work on the subject would be published in Vienna just two years later. It is tempting
to read Klimt's painting in the context of Freud's view of dreams as the fulfillment of wishes,
which might suggest that the powerful, imperious woman is the object of male desire, but also
potentially that the traditional feminine persona must be costumed in order to attain such
powerful status.

Oil on canvas - Collection of the Wien Museum, Vienna

1899
Poster for the Fifth Secession Exhibition
Artist: Koloman Moser

Moser's poster for the Fifth Secession Exhibition in 1899 is an oft-reproduced work of the
Secession artists, and represents the full flowering of Moser's creative powers in Jugendstil
(the German term for Art Nouveau) graphic design. Amazingly, the imagery here is
lithographed in a set of just three colors - a pale yellow, dark green, and an old gold - and yet
it conveys a clear sense of depth and figural plasticity. Moser's free use of line produces a rare
seamlessness in the design that is difficult to achieve even within Jugendstil. The various
regions of the poster are knit together by the vine-like whiplash curves that also fill nearly all
of the negative space. Even the lettering, for example, blends thoroughly with the rest of the
lines - in most cases, it is not even distinguished from the imagery by a separate border - and
yet manages to stand out just enough to be entirely and easily legible. Thus Moser achieves a
high degree of aesthetic unity without sacrificing functionality.

While there is an emphasis on nature, there is a mysterious, unknown quality that Moser has
left behind: while we can see the central winged figure, it is difficult to define its identity
precisely - is it a sprite, or an angel, or a godlike spirit, or something else? A similar character
is exuded by the plantlike form he grasps - is it a set of grapes, or berries, or other fruit? The
ambiguity of the imagery here acts as a leveler among the viewers, privileging nobody's
knowledge over anyone else's. Like his Art Nouveau contemporary, Hector Guimard, who
was designing his entrances to the Paris Metro at precisely the same moment, Moser uses the
imagery here as a means to democratize the Secession's art, making it equally accessible and
understandable to everyone. Its ambiguity acts as a teaser, drawing the viewer in to the
exhibition and inviting him to explore the group's work more.

Lithograph

1899
Karlsplatz Station, Vienna S-Bahn
Artist: Otto Wagner

Otto Wagner's stations for the Vienna Stadtbahn (city railway), designed also at the same time
as Guimard's Metro stations in Paris, help inextricably link Art Nouveau with the technology
of the age, which places it firmly in the context of contemporaneity that the Secessionists
sought. They also exude the way that the many Art Nouveau artists and architects sought to
break from the past to create a truly modern aesthetic.

It is difficult to say that Wagner completely succeeded on the second count here or in his
other S-bahn stations. Here at Karlsplatz the familiar central archway, symmetrical balance,
and columnar structure of previous architectures are all visible, but the frank expression of
industrial materials and the unusual way in which those are combined with forms of nature -
the green paint applied to the iron, making it look like abstracted or straightened vines, along
with the flattened stenciling of the flower pattern - indicates a move in a different direction.

At this point, the fullest expression of technology as the defining aesthetic, along with the
abandonment of the natural forms of Jugendstil, was yet to come from Wagner - one would
have to wait for the completion of his Postal Savings Bank in 1904. Significantly, the
evolution of the personal style of Wagner, who was Olbrich's teacher at the Academy of Fine
Arts, indicates that he was willing to not only symbolically break with the past by joining the
Secession, but also to incorporate such changes into his own practice. One can also see this in
the way that Wagner's station here relies on three colors: gold, green, and white, reflective of
the way that Jugendstil posters like those of Auchentaller and Moser were lithographed in
three colors, and make liberal use of line to define otherwise flattened surfaces. We thus see
the integral nature of artistic exchange among the Secessionists, even when they were not
officially collaborating on the same work with one another.

1899
Vienna Woods in Autumn
Artist: Adolf Böhm

Bohm, known mostly from his painting and graphic arts, completed the stained glass for the
living room of the large villa that Otto Wagner built for himself on the outskirts of Vienna in
1885-86, nearly fifteen years before this commission was awarded. The completed room
illustrates the concept of the Gesamtkunstwerk that was attractive to both the Secessionists
and other contemporaneous styles and currents such as Art Nouveau and the Arts & Crafts
Movement; in particular, it shows the collaborative nature of the format, as it required the
viewer's immersion within an artistically-designed environment, usually pieced together by a
group of specialists in a variety of media.

In this space, Bohm's work effectively represents the last piece of the puzzle (the others
already designed by Wagner) to achieve that immersive effect. At once the stained glass
windows' opacity closes off the living room in which they are installed from the outside
world, yet the landscape they depict, which extends across all the panels, makes it seem as if
the living room constitutes an exterior terrace or balcony that opens onto an infinite expanse
of nature beyond. One could thus argue that Bohm's windows ironically create more of a
connection of the space with nature than actually seeing nature itself through transparent
windows; or, at the very least, that that closeness is heightened because natural light itself
illuminates the windows during the day and bathes the space in radiant color. The effect,
therefore, is to seem to freeze time at a singular moment of perfection, in which the natural
environment has been captured in full bloom and preserved through the technological powers
of art and architecture.

Stained glass - Wagner Villa I, Vienna

1901
Pilgrims Approaching Mount Fuji
Artist: Emil Orlik
The Secessionists' fascination with Japanese art places them squarely within the more
generalized Western attraction to Japanese culture that was spurred by the Japanese displays
at world's fairs throughout the last half of the 19th century. These included Vienna's 1873
Weltausstellung, which first introduced Japanese products directly to an Austrian public.

Orlik's woodcut here, based on his own trip to Japan in 1900-01, highlights probably more
clearly than nearly any other artwork produced by the Secessionists how the group was
influenced by the art of the Far East. The woodcut itself is a defining technique of Japanese
printmaking, as is the elongated horizontal orientation of the work, which also recalls the
horizontal orientation of other Secessionist works, most conspicuously Klimt's Beethoven
Frieze. The flattened planes and forms here (the tree in the background appears as essentially
a silhouette), and uniform colors of the regions evoke the work of the great Japanese artists
Utamaro and Hokusai, as does the limited color palette.

Nonetheless, there are significant ways in which Orlik here breaks with Japanese tradition.
While many Eastern prints illustrate individual scenes from a larger narrative, leaving the
viewer's imagination to fill in the visual aspects of the rest of the story, Orlik constructs this
print with no greater framework behind it, merely as a genre scene. It is arguably less about
the actions of the figures than an experiment with form, balance, color, and pattern, as there
appears to be a rhythm of alternating white-and-beige regions of the figures' clothing as they
are laid out across the image. In Orlik's print there is also a diminished emphasis on the
landscape, which often dramatically frames or forms a backdrop to the figural narrative action
of Japanese works; only the small peak of Mt. Fuji - which often forms a geographic
anchoring purpose in Hokusai's works - is visible in the background here. Orlik's work, which
focuses on ordinary subjects, carries a kind of Realist air, though it also appears empty of any
political content or agenda.

Woodcut
1902
Beethoven Frieze
Artist: Gustav Klimt
The Beethoven Frieze, only a detail of which is shown here, was painted by Gustav Klimt for
the 14th Secession exhibition in 1902 - arguably the group's most famous - dedicated to the
eponymous German composer who was a longtime Vienna resident. It is a monumental work,
measuring some 7 feet tall by 112 feet long, and weighing 4 tons. Painted on the interior walls
of the Secession Building, it was preserved but was not displayed again until 1986; and it is
now permanently on view in the basement.

The main significance of the Beethoven Frieze is that it forms part of the exhibition-as-
Gesamtkustwerk, or total artistic environment that the Secessionists sought to create. For
them, this often included all branches of the arts - not simply the visual arts, but also the
performing arts, such as symphonic works, theater, and opera; accordingly, the contemporary
Viennese composer Gustav Mahler's adaptation of Beethoven's Ninth Symphony was playing
at the opening of this exhibition of the Secession. The Gesamtkunstwerk is underscored by
details such as the incorporation of gems into the painted surfaces to add to the shimmering
effects.

The frieze's narrative tracks the narrative of three female figures, called Genii, that represent
humanity seeking fulfillment. They rely on a gigantic knight in shining armor - said to be
representative of a great leader for the German-speaking countries of Europe - to lead them
through a harrowing minefield of characters, including the ones seen in the excerpt above,
whose elongated and exaggerated forms at once reference the Gorgons like Medusa from
Greek mythology and represent disaster and vices such as sickness, madness, death,
intemperance, and wantonness. Fulfillment does come at the end, represented by a pair of
nude female and male figures locked in an almost erotic embrace in a golden aura, surrounded
by a choir, a reference to the choral performance of Schiller's poem "Ode to Joy" at the end of
the Ninth Symphony.

Despite the modern notion of the Gesamtkunstwerk, the reliance on very old tropes - not only
figures from Greek mythology but the flattened depictions of figures like those seen on
ancient Greek vases - demonstrate the range of influences on the Secessionists. It also
suggests their desire to synthesize a contemporary art from old and new, innovation and
tradition, which responds to the hopes and desires of contemporary society.

Fresco

Beginnings of The Vienna Secession

Background
At the close of the 19th century, Vienna was one of the two capitals of the old Habsburg-ruled
Austro-Hungarian Empire (also called Austria-Hungary), which was essentially a patchwork
of regions home to different nationalities in Eastern and Central Europe, dominated by
Austria and, since 1867, Hungary (which after a revolt against Austrian hegemony forced the
Hapsburgs to accept Hungary as an equal partner above the other ethnic groups within the
empire). Nonetheless, the Empire remained one of the least-industrialized and most
conservative economic, social, political, and cultural great powers within Europe, as
personified in its ruler, Franz Joseph I, who remained on the throne for 68 years until his
death in 1916.

Though the empire included a number of different metropolitan areas, Vienna had long been
the undisputed capital in all important aspects of the Empire's existence. The Empire
remained largely rural, and the increasingly diverse number of artistic groups elsewhere in
Europe throughout the last half of the century that began to grapple with a new, industrialized
and modern world prompted many artists in Vienna to reexamine the entrenched artistic
institutions and practices within their city and the Empire at large. It was also a very
tumultuous time in Vienna, in the next few years many creative and powerful thinkers made it
home: Sigmund Freud, a native of the city developed his theories there, Adolf Hitler and Leon
Trotsky lived there, and the composer Arnold Schoenberg developed his radical melodic ideas
in the city.
Formation
The Secession grew out of dissatisfaction of a group of artists with the system of expositions
of contemporary art in the city during the 1890s. These shows were controlled by the
Association of Austrian Artists, which ran the Kunstlerhaus (Artists' House) - the only
municipal venue for them - and favored the conservative artists who made up a majority of its
members, and generally discouraged its members' efforts in the decorative and applied arts,
which at the time were gaining ground in prestige relative to the traditional fine arts of
painting and sculpture.
Such issues were among those discussed by smaller groups of the young progressive artists
within the Association, who began meeting in the mid-1890s in coffee houses and cafes, the
famous Viennese nodes of intellectual discourse then, and even today. They included the
painters Carl Moll and Koloman Moser, and architects such as Joseph Maria Olbrich and
Josef Hoffmann, the latter two of which were students of the established architect Otto
Wagner, the head of the architecture department at the conservative Vienna School for Fine
Arts.

Feeling that their voices of progressivism would never be heard otherwise, on April 3rd, 1897
these younger artists announced their intention to form a new organization specifically for the
purposes of creating a venue for their work, especially the decorative arts, and to encourage
contact with foreign practitioners. They sought approval from the Association of Austrian
Artists, but were turned down, and so formally resigned from it, thus creating a new
organization, the Vienna Secession. The painter Gustav Klimt, at the time already of
international renown, was elected the first president. Besides Klimt, the Secession from the
outset included names such as Olbrich, Hoffmann, Moser, Moll, Max Kurzweil, Wilhelm
Bernatzik, Josef Maria Auchentaller, and Ernst Stöhr.

Goals and Principles

On a basic level, the Secessionists sought a venue that gave their art greater exposure, both
with the general public and with collectors. Vienna generally eschewed the independent
dealer system and few public commissions were awarded after the completion of public
buildings on the Ringstrasse by the 1880s as there was little need for them. The Kunstlerhaus,
meanwhile, had taken a 10% commission on works sold there and favored the display of
conservative artworks which catered to established public tastes. The artists of the Secession
wanted very much to free themselves from the commercialism of that art world. As Hermann
Bahr described it in the first issue of Ver Sacrum:
"Our art is not a fight of modern artists against old ones, but the promotion of arts against the
peddlers who pass for artists and have a commercial interest that prevents art from
flourishing. Commerce or art, that is the issue before our Secession. It is not an aesthetic
debate, but a confrontation between two states of the spirit."

Though the source of the Secession's complaints with the existing structure of artistic
institutions in Vienna was an economic and conceptual issue, the other issues that rankled
them were many. Accordingly, from the outset Secession artists postulated several goals for
their group. They intended to:
* Reunite the creative minds of the nation
* Make contacts with artists internationally and promote an exchange of ideas
* Campaign against the nationalist spirit amongst European countries
* Renew the applied and decorative arts
* Create a "total art" (that is, they were committed to the idea of the Gesamtkunstwerk, or
complete artistically-designed environment)
* Create a new artistic expression that was specifically opposed to the inferior art of the
official Vienna salons
The objectives were self-consciously forward-looking and attempted to break with the past
and national traditions, and clearly hoped to inject some new, outside thinking into a system
that for them had become old and stale.

The New Building

The structure that is to this day still synonymous with the movement as a whole, is also one of
the buildings that anchors the city's cultural district.

The Secession secured land from the city to build an exhibition venue in the cultural district
near the Ringstrasse, the series of broad boulevards that encircled the city center. The building
ensured that the Secession remained in the public eye both as a permanent architectural
monument to the movement's existence and as the host site for the frequent shows by its direct
members and foreign artists alike.

Built on the site of an old vegetable market, the Secession Building was strategically located
near a number of important civic and national institutions, including the Academy of Fine
Arts, the Vienna Museum of Fine Arts, the Municipal Concert Hall, the Technical University
of Vienna, and the Kunstlerhaus itself. The task of designing the Secession's new venue fell to
the young architect Joseph Maria Olbrich, a former student of Otto Wagner, representing
Olbrich's first significant independent commission. The Secession gained significant credence
in 1898 when Wagner, long considered by his fellow faculty at the Austrian Academy of the
Fine Arts as a staunch conservative, joined the group, thereby shocking the establishment.

Ver Sacrum
In January 1898, the Secession began publishing its own journal, Ver Sacrum, which appeared
on a monthly basis until January 1900, when it was issued twice monthly (24 issues per year),
with its length reduced to twenty pages. It thus became something more like a regular bulletin
than a magazine. Its publication continued regularly until December 1903, when it ceased due
to the lack of subscribers.

The decision to found a journal to disseminate the movement's work and ideas was not new or
different from many artistic organizations or collectives of the period, but to some extent this
aspect worked to its advantage, since the establishment of a formal organ to publicize it was
useful in establishing the Secession's seriousness and credentials immediately, as it was well-
received by critics at home and abroad. It occasionally created controversy, however: one
issue was confiscated by prudish local authorities because the depiction of nudity in a Klimt
work published in it "created a public outrage," to which Klimt responded that it was more
important to him that his own patrons liked the work.

Ver Sacrum's title translates from Latin as "Sacred Spring," and refers to the legends from
antiquity, particularly from the Romans, concerning rituals for the foundation of new colonies
from existing cities - communities vowed to the god Mars that they would expel the
generation of children born the following spring when they reached roughly 20 years of age to
form their own community.

The association of the Secession with this ritual can be symbolically explained by the cover of
the first issue of Ver Sacrum, designed by Alfred Roller, in which one sees a tree reaching
maturity, with roots shattering the pot in which it has heretofore been planted. It thus forms a
parallel with the way that the young artists of the Secession broke the "mold" within which
they had been cast when they had reached maturity in order to properly flourish. On the cover
within the tree branches are three shields that represent the traditional fine arts of painting,
sculpture, and architecture (somewhat ironic given the Secession's emphasis on contemporary
and decorative arts). The tree or wreath imagery adorned with three shields would appear
periodically throughout Ver Sacrum's run.
Ingeniously, Ver Sacrum was produced in a nearly-square format, unlike virtually every other
major periodical of the era (or today), which allowed for it to accommodate a wide variety of
artistic media. During its six-year run, no two covers were alike; the editorial team (whose
precise makeup was not reported, though it included painter Alfred Roller; the critic Hermann
Bahr; director of the Burgtheater, Max Burckhard; and Wilhelm Scholermann) offered it to
different artists with every issue, in effect giving a large percentage of the group's members
top billing.
Ver Sacrum featured much of the artistic output of the Secession's artists, shown both in
photographs of the Secession's exhibitions and their graphic output, but the texts, both by
critics and some of its artists, largely focused on other artistic subjects, such as the history of
Japanese art or the work of influential foreign artists, such as Aubrey Beardsley. Klimt
himself was one of the major contributors to the journal. Despite its limited run of 300 copies
per issue - which in some ways helped make each issue itself a valuable art object - Ver
Sacrum helped fulfill the goal of the Secession of broadening their own and the nation's
artistic horizons by making connections internationally.

The Vienna Secession: Concepts, Styles, and Trends

Relationship with Art Nouveau

At the time, the rise of Jugendstil/Art Nouveau - which became evident in Olbrich's design for
the Secession's new building and would soon find expression in Wagner's work - was the
trend throughout Europe. Most of the Secessionist artists worked to varying degrees in Art
Nouveau during the movement's early years. The Secession in a historical context is thus
often thought of as the Austrian branch of Art Nouveau/Jugendstil (especially since Art
Nouveau died out in most European countries about the same time that the Secession itself
declined precipitously).

The characteristics of Jugendstil / Art Nouveau had much in common with the tenets of the
Secession. The names "Art Nouveau" (New Art) and "Jugendstil" (Youth Style) speak to the
notion that the style was the wave of the future and represented a break from the stodginess of
the past, obviously a goal that the Secession shared. Art Nouveau artists often encouraged
international exchanges of ideas, another stated goal of the Secession, and often Jugendstil
designers sought to broaden the reach of or to democratize art, to make it accessible - or at
least understandable - to people of all classes and backgrounds. In both Art Nouveau and the
art of the Secessionists, there is an emphasis on nature, but usually in a way that abstracts or
stylizes it from a veristic representation.

Because the Secession emphasized contemporary art rather than a particular style, it is logical
that the group moved away from Art Nouveau as the style itself died out (thus in some ways
the Secession is constantly "reinventing" itself). Nonetheless, many Austro-Hungarian,
German, or Italian Art Nouveau works from this period (roughly 1895-1905) are labeled as
"Secessionstil" or "Sezessionstil" because of their resemblance to the Jugendstil work of the
Vienna Secession. Its concern with the complete environment that integrated the traditional
fine arts with the decorative and even the performing arts (particularly music and theater)
distinguished it from the later Berlin Secession (founded 1898) and earlier Munich Secession
(1892), both of which emphasized painting almost exclusively.

Japanese Influence
Also like Art Nouveau, the Secession was greatly influenced by Japanese art and design,
which had first been introduced to Vienna in 1873 when the city hosted its only world's fair -
the first to be held somewhere other than London or Paris.
Japanese artistic influence can easily be detected in the work of the Secessionists. Klimt and
other painters favored the exaggerated vertical forms for figures in their paintings. The
flattened forms of figures, spatial depth, and three-dimensional objects mimic those of
Japanese designers. In some cases, such as the advertisement for the 6th Secession exhibition
in 1900, Japanese prints were literally appropriated as the illustration featured on an
extremely elongated vertical poster. The entire show was devoted to Japanese art.
Secessionist artists saw many parallels between their own art and that of Japan: the complete,
designed environment, or Gesamtkunstwerk; the sense of abstraction and the balance between
positive and negative space; the interest in the square and elongated vertical formats; and the
emphasis on handcraft as opposed to the machine-made and mechanical reproduction. The
latter was especially important in Austria-Hungary, an empire which was largely rural and
where few centers of industry existed outside of Vienna; instead, folk art and crafts dominated
provincial life.

Relationship with Ancient Art

At the beginning, the Secession was an avant-garde group that presented itself as such, hoping
to make a clear break from the art of the past. But anyone who saw the Secessionists' work
from the first decade of its history would have noticed the clear links with ancient themes and
narratives. The title of Ver Sacrum and its analogous thematic associations were, as noted
above, clearly derived from Roman sources, particularly the idea of seceding from a
community to found another.

The Secession Building itself is filled with classical associations. Above the main entrance,
one can find reliefs of the three Gorgons, including Medusa, who were supposed to
correspond to the three branches of the fine arts (painting, sculpture, and architecture). The
entangled snakes of their hair suggest the seamless harmony between the various arts. Both
the design of the facade and the interior use a symmetry that strongly reflects those of early
Christian basilicas from the late Roman era. The buildings of Otto Wagner carried out during
the golden era of the Secession largely reflect a kind of presence and balance normally
associated with classical structures, and the kinds of figural sculpture to accompany them,
largely produced by Othmar Shimkowitz, exude a classical formality, replete with figures
draped in togas or classical gowns and holding wreaths, or narrative scenes played out in long
relief friezes.

The blending of old and new carried a certain significance for the Secessionists' mission, but
it was also very likely a necessary convenience in order to ensure their relevance for their
audience, whose familiarity with contemporary art would have been thin, especially at the
moment that the Secession was founded. Instead, most cultured Viennese citizens would have
been familiar with the narratives and traditions of classical antiquity, which at the turn of the
century still formed the basis of a well-rounded Western education, particularly in German-
speaking countries.

Exhibitions and Foreign Links

The Secession's exhibitions became the organization's primary way of disseminating its avant-
garde message. Until 1905, the exhibitions were organized by Klimt, Hoffmann, and Carl
Moll. The first exhibition in March 1898, held before the official Secession Building was
completed, drew some 57,000 visitors, including the Emperor Franz Joseph, a significant feat
considering that Franz Joseph was not known for his interest in art and what taste he did
exhibit favored the old-fashioned and conservative.
Opened in October 1898, the Secession Building hosted four exhibitions a year, a grueling
schedule, but one that permitted the Secessionists to both introduce their own art and explore
foreign works. The most famous of these was the 14th exhibition in 1902, which was dedicated
to longtime 19th-century Vienna resident and composer Ludwig van Beethoven. For this
exhibition, Josef Hoffmann designed the galleries and Gustav Klimt created his
famous Beethoven Frieze, a thirty-four-meter-long fresco dedicated to the composer but
featured in an adjoining space to the central hall.
The Secession's frequent exhibitions invited artists from abroad, who were altogether usually
highly enthusiastic about presenting their work in one of the great European capitals of
culture, particularly one in which many of them had not exhibited before. Most notably, in
1900 the Secession welcomed Scottish designers Charles Rennie Mackintosh, his wife
Margaret, and Herbert and Frances McNair, collectively known as the "Glasgow Four,"
whose highly geometric, often rectilinear forms were well-received by Austrian designers;
other British artists such as Charles Robert Ashbee were also featured in the same show.
Similar influences could be traced to the designers of the British Arts & Crafts Movement,
whose work was known for its emphasis on utility and simplicity. The Secession, however,
was not an organization designed for the explicit promotion of any one style; instead, it was a
venue dedicated for the promotion of contemporary art in all fields.
The participation of foreign artists in the Secession's exhibitions helped lend extra credibility
to their work amongst the general public, both at home and abroad. To cement the
organization's reputation, from the start the Secessionists also created the rank of
corresponding membership for foreign artists who exhibited. Today this list includes an
impressive bevy of names: James Abbott McNeill Whistler, Henry van de Velde, Auguste
Rodin, Heinrich Tessenow, Pierre Puvis de Chavannes, Henry Moore, Edward Burne-
Jones, Henri Cartier-Bresson, Jean Dampt, Frank Brangwyn, Jan Toorop, Rupert Carabin, and
Anders Zorn, among others. Corresponding membership is also open to "individuals (writers,
publicists, curators, etc.) who are friends of the Secession and have made significant
contributions to the arts and their preservation."

Architecture
The only four architects to join the Secession in its first two years of existence were Olbrich,
Hoffmann, Julius Mayreder, and Otto Wagner. As Olbrich left Vienna in 1899 for the
Darmstadt Artists' Colony, Hoffmann only completed a few small residences before 1903, and
Mayreder favored a much more Baroque style, it is nearly impossible to speak of an
individual "Secession Style" or set of defining characteristics of the buildings.

Much of the architecture associated with the Secession consists, therefore, of Wagner's own
practice between 1898 and 1905. In these seven short years, however, Wagner designed some
of his most iconic works: the stations for the new Vienna Metropolitan Railway, (Vienna
Stadtbahn, 1898-99); the Majolikahaus apartment building (1898), the Steinhof Church
(1904-07) and the Austrian Postal Savings Bank (Postsparkasse, 1904). Wagner had affirmed
his allegiance to the Secession in June 1899, when he was nearly 60 years old, and his
buildings from the turn of the century vacillate between the classicism of his training and
longtime practice, on the one hand, and affinities for Jugendstil and a technological
modernism that expresses a fascination with industrial materials and forms.

Graphic Art
The Secession's graphic output was prodigious, spurred on by the publication of Ver Sacrum,
which inherently welcomed two-dimensional works on paper. It was also aided by the group's
general interest in Japanese art and the advertising that the group produced for its own
exhibitions, each of which demanded its own poster. Many of these now rank among the best-
known works of Jugendstil/Art Nouveau design from the turn of the century.

The vast majority of the Secessionists were themselves painters, printmakers, or graphic
artists of another variety. They were fortunate to be working during essentially the golden age
of poster development, when color photography had not yet been invented, but the perfection
of technology for high-volume color lithography had just been achieved. Thus, the large-scale
designs for the Secession's graphic work constituted the most prominent and widely-
disseminated examples of their art.
The Secession's prominence in graphic design declined sharply after 1903 due to the
formation of the Wiener Werkstätte that year and the cessation of publication of Ver Sacrum.
The former poached Moser, the Secession's leading graphic artist, who formally quit the
Secession two years later with Klimt and others (though he would move on from the
Werkstätte too in 1907). The Werkstätte itself would go on to produce some of its own very
notable example of typography and graphics, including its famous and very collectible
postcards.

Later Developments - After The Vienna Secession

Decline
Despite their attempts to promote contemporary art and the equality amongst the arts against
base institutional commercialism, the Secessionists could not extricate themselves from the
question of economics. This came to the forefront in two instances in the middle of the first
decade of the 20th century.

The first concerned the decorative or applied arts, which the Secession certainly promoted,
but almost inherently - due to the utilitarian nature of its genre - required a commercial outlet
to survive. In 1903, the architect Josef Hoffmann and the designer Koloman Moser formed -
without resigning from the Secession - the Wiener Werkstätte (Vienna Workshops), a union
of artists-craftsmen dedicated solely to the artistic production and marketing of these kinds of
goods, underwritten by the fortune of Fritz Warendorfer, a member of a family of textile
magnates. With the energies of two of its most brilliant members focused elsewhere, the
Secession could no longer claim to be the center for Austrian decorative arts.

The second blow to the Secession came two years later, and was more serious. It arose from a
proposal by Klimt that, in order to reach a buying public, the Secession purchase the Gallery
Miethke in order to effectively market its work. His suggestion (whose supporters have been
called the "Stylists" - as opposed to the "Naturalists," primarily easel painters), however, lost,
and so on 14 June 1905, Klimt, Koloman Moser, Auchentaller, and several other prominent
members (often called the Klimtgruppe) formally resigned. This break shattered the
Secession, as it lost virtually all of its most accomplished members, including Klimt. Klimt
worked thereafter unaffiliated with any other group of artists until his death in 1918, though
he remained close to both Hoffmann and Moser and was invited to create several works in
collaboration with the Wiener Werkstätte, such as his monumental Tree of Life murals for the
dining room of the Palais Stoclet in Brussels, finished in 1911.
The departure of the duo of Klimt and Moser, in particular, also deprived the Secession of the
possibility of adding their brightest pupils to its ranks, as both Klimt and Moser were known
for mentoring highly talented younger artists, such as Egon Schiele, Oskar Kokoschka, and
Jutta Sika. Schiele and Kokoschka would go on to become accomplished artists in their own
right, and might be best categorized as some of the earliest Expressionists in Austria. The year
1918 was especially harsh for Austrian art, as Klimt, Moser, Wagner, and Schiele all went to
their reward, the latter due to the great influenza pandemic.

The Secession Since 1905

The Secession's fortunes have waxed and waned since its founding. It is a testament to its
members' commitment that it did not dissolve in 1905 after the Klimtgruppe seceded, but it
was never able to regain the prestige that it had previously enjoyed. The members of
the Klimtgruppe joined other artistic societies, many of which were intended to unite artists in
all German-speaking countries. These in some ways usurped the Secession's mission to
function as the bridge to foreign artists' work and encourage artistic exchange.
Nonetheless, the Secession did continue to contribute to the international dialogue among
contemporary artists. An exhibition on modern art in 1924, for example, brought together a
number of the masters of the era, including Picasso, El Lissitzky, and Piet Mondrian, and a
retrospective of English painting from the previous three hundred years, held in 1927, brought
a record number of visitors.

The Secession also continued to attract new members, in some cases artists and designers with
significant prestige. The great German architect Peter Behrens, for example, joined in 1938,
albeit just two years before his death. Oskar Kokoschka was still a student when the Secession
was at its peak but had been mentored by many of its formal members at the School of Arts
and Crafts (Kunstgewerbeschule) and later worked in concert with the Weiner Werkstätte
before 1932. He, however, did not join the Secession until 1945, while he was living in Great
Britain in exile, and would not return to Austria, living in Switzerland until his death in 1980.

The Secession Building, a key symbol of modernist art in Austria, was purposely burned by
the anti-modern Nazis during World War II, but it was rebuilt in the aftermath of the conflict.
Josef Hoffmann even served as president of the Secession in 1948-49, long after the Wiener
Werkstätte, which he had co-founded as an offshoot of the Secession, had collapsed.
In 1984-85, the Secession Building itself underwent a significant renovation, one which
restored Klimt's own Beethoven Frieze to permanent exhibition in the basement. The main
exhibition space began, over the next several years, to host shows by several cutting-edge
artists. Hermann Nitsch installed a series of paintings that recalled the spirit of
the Gesamtkunstwerk pursued by the Secession's founders. Some two and a half years
later, Joseph Kosuth curated the artistic section of an exhibition on the philosopher Ludwig
Wittgenstein, whose father had been one of the Secessionists major backers at the beginning
of the century. The arrangement of paintings, in the manner of a large continuous panorama,
paid homage to the Beethoven Frieze. Klimt's work has served as the inspiration behind
several other contemporary artists' ideas for exhibitions in the Secession Building,
including Sol LeWitt and Daniel Buren, both of whom are famous for their works that critique
the traditional notions of museum and gallery spaces. The Secession's general exposition
policy is to favor artists who have ideas on how to engage with specifically the site and the
history of the organization.

The Secession remains the only exhibition venue entirely managed by artists in Austria; it is
run by a board of twelve artists. In recent years, it has been the subject of numerous tributes,
including two separate Euro coins. In 2004, the European Union issued a 100-euro
commemorative coin featuring the Secession building on the obverse and a detail of Klimt's
Beethoven frieze on the reverse. The regular-issue Austrian 50 Euro Cent coin, meanwhile,
features a detail of the dome and entrance of the Secession building, symbolizing the dual
births of Jugendstil and the near-simultaneous new century.

MAUZOLEJ PETRA II
PETROVIĆA NJEGOŠA
– LOVĆEN

Foto: Furaj.ba
Ako ste za svoju iduću destinaciju izabrali Crnu Goru, pobrinite se da u
vašu turu uključite i impresivni mauzolej Petra II Petrovića Njegoša u
Nacionalnom parku Lovćen. Lovćen je planina i nacionalni park u
jugozapadnoj Crnoj Gori, a ima dva impozantna vrha, Štirovnik (1.749
m) i Jezerski vrh (1657 m).

Stojeći na granici između dvije potpuno različite prirodne cjeline, mora

i kopna, Lovćen je pod utjecajem ove dvije klime. Postoji 1158 biljnih
vrsta na Lovćenu, od čega su četiri endemske. Lovćen je osnovan 1952.
godine, pun bogate historijske, kulturne i arhitektonske baštine
zaštićene pod vlasništvom nacionalnog parka. Ovo područje karakterišu
mnogi elementi tipične nacionalne gradnje kao što su stare kuće,
seoska guvna, te takozvani katuni (pastirske ljetne kućice) koji su
posebno tipični za ovaj dio Crne Gore.

VELIČANSTVENI MAUZOLEJ

Najveći i najvažniji spomenik nacionalnog parka Lovćen je mauzolej

Petra II Petrovića Njegoša, poznatog pjesnika i filozofa. Veličanstveni
mauzolej nalazi se na vrhu drugog najvišeg vrha Lovćena, Jezerskog
vrha. Mjesto za svoj pokop izabrao je sam Njegoš kao svoju posljednju
želju.

Međutim, Njegoš je izrazio želju da bude pokopan u kapelici koju je

sagradio za života. To je učinjeno, ali je izvorna kapela uništena kad je
Austro-Ugarska vojska provalila u Crnu Goru u Prvom svjetskom ratu.
Njegoševi ostaci su potom prebačeni u manastir na Cetinju i pokopani u
kapeli obnovljenoj od strane kralja Aleksandra 1920. Tokom
komunističkog perioda kapela je bila rastavljena i podignut je mauzolej
u stilu bečke secesije.
 Foto: Furaj.ba

Mauzolej je otvoren 13.7. 1974 godine. Dug je 37m, širok 15,4m i

visok blizu 11m. Za doći do mauzoleja treba malo napora, pa ćete se
zato morati penjati uz 461 stepenicu sve do ulaza gdje dva granitna
diva “čuvaju” grobnicu najveće crnogorske historijske ličnosti.
 Foto: Furaj.ba

GRANITNA FIGURA

Unutar mauzoleja naći ćete grandioznu skulpturu Njegoša, djelo

poznatog vajara Ivana Meštrovića. To je ujedno i najimpresivniji dio
mauzoleja. Izgrađena je od tamno-zelenog mermera sa šest bočnih i
jednom centralnom nišom. Na visini od 9m svod je prekriven
mozaikom s 200 000 pozlaćenih pločica. Njegoševa granitna figura
teška 28 tona i visoka 3,74 m, dominira ispred centralne niše. U samom
pročelju je mermerni sarkofag s Njegoševim ostacima. Na nadgrobnoj
ploči isklesani su u reljefu crnogorski grb i krst, simboli Njegoševe
duhovne i svjetovne vlasti.
 Foto: Furaj.ba

Ne propustite posjetiti ovu atrakciju jer pogled s mauzoleja oduzima

dah i daje vam najbolji panoramski pogled u cijeloj Crnoj Gori. Za sve
posjetitelje ovo je nezaboravno iskustvo.
 Foto: Furaj.ba

Foto: Furaj.ba

Secesijska arhitektura u Bosni i Hercegovini

1 jezik
 Stranica
 Razgovor
 Čitaj
 Uredi
 Uredi izvor
 Historija
Alati

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S Wikipedije, slobodne enciklopedije

Zgrada glavne pošte

Secesijska arhitektura u Bosni i Hercegovini javlja se na samom početku 20.
vijeka pod uticajem međunarodnog pokreta u umjetnosti sa kraja 19.
vijeka. Secesijska arhitektura je složena umjetnička pojava i prvenstveno predstavlja
izraz i shvatanje upotrebe ukrasnih elemenata. Suština nove umjetnosti nije vječna i
kanonizirana ljepota, nego odraz duha svoga vremena. Glavni elementi
prepoznatljivosti secesijske arhitekture su raščlanjenost elemeneta i dekorativnost.

Secesijska arhitektura u Bosni i Hercegovini[uredi | uredi izvor]

Secesijska arhitektura u Bosni i Hercegovini se pojavila zajedno sa političkim
smjerovima koji su nastojali da odcijepe bosansku kulturu od njenih prijašnjih
udruženja i asimiliraju je u evropski kolotok.

Za svjetsku izložbu u Parizu 1900. godine arhitekta Zemaljske vlade u Sarajevu Karlo
Panek, projektirao je paviljon Bosne i Hercegovine, koji je predstavljao simbolički
sklop graditeljskih oblika različitih epoha. Dominirali su oblici islamske umjetnosti,
kao izraz bosanskohercegovačkog podneblja.[1] Paviljon je sadržavao i elemente
secesijske umjetnosti iskazani u biomorfnoj stiliziranoj ornamentici (zmijolike linije,
floralna dekoracija, dinamika motiva). Za svoje djelo Panek dobio je nagradu
francuskog ministra.

Osnovni vid izražavanja secesijske arhitekture u Bosni i Hercegovini podrazumjevao

je odvajanje od historicizma i kulturoloških aspekata društva.

Stambeni objekti[uredi | uredi izvor]

Daljni razvoj obilježen je dominacijom dekorativnog shvatanja nove arhitekture. Njen
duh najbogatije se izrazio u stambenoj arhitekturi (stambena vila, zgrade kolektivnog
stanovanja, najamne stambene zgrade, stambena palača), prvenstveno što je
najzastupljenija, ali i zbog slobodnijeg odnosa prema ovoj arhitektonskoj temi.
Posebno pažljivo i studiozno rješavana su unutrašnja pročelja, okrenuta ka jugu,
najčešće u vidu lođa u drvenoj konstrukciji, u finoj i bogatoj izvedbi. Tako stambena
zgrada dobiva dva pročelja, ono više reprezentativno, prema ulici, i drugo više
intimno, prema dvorištu, stilski jedinstvena, oblikovana različito.[1] Poznatiji objekti u
stilu secesije su:

 Palata Ješue D. Saloma izgrađena je 1901. godine. Autor projekta je

arhitekt Josip Vancaš.[2]
 Stambeno-poslovna zgrada u ulici Mula Mustafe Bašeskije, po projektu
Josipa Vancaša iz 1900.[3]
 Stambeno-poslovna zgrada u ulici Maršala Tita 27 (Sarajevo), projektant
nepoznat
 Salomova palata u Titovoj ulici u Sarajevu, izgradjena 1912. godine. Autor
projekta je Rudolf Tenies.
 Palata Musafija u Sarajevu izgrađena je 1913. godine po projektu Josipa
Pospišila.[4]
 Zgrada "Napretka", po projektu Dionis Sunko.
 Zgrada Srpskog kulturno-prosvjetnog društva
"Prosvjeta"po projektu Miloša Miladinovića
 Oficirski paviljoni, izgrađeni između 1909. i 1914. godine. Autor
urbanističkog rješenja, kao i projektant pojedinih objekata je Rudolf Tenies.
[5]

 Grupa zgrada u Kotromanićevoj ulici

Sakralni objekti[uredi | uredi izvor]
Vjerski objekti izgrađeni u periodu 1900-1918. nisu rađeni u duhu secesijske
umjetnosti. Svi ovi objekti izgrađeni su u duhu historicizma u skladu sa ustaljenim
pravilima primjene historijskih stilova i njihovih semantičkih značenja. Secesijski oblici
javljaju se na nekoliko vjerskih objekata kao detalji: na zvoniku crkve svetog Ilije u
Zenici, iznad portala župne crkve u Bugojnu i crkvi ženskog samostana u Čardaku
kod Modriče.[1]

Ostali objekti[uredi | uredi izvor]

Secesijska obilježja poprimaju i industrijski objekti, banke i pošte:

 Tvornica vagona
 Paromlin u Sarajevu.
 Fabrika ćilima Sarajevo 1912. godine, objekat je sa najljepšim secesijskim
pročelje.[1]
 Banka na Obali kod mosta Drvenija u Sarajevu[6]
 Gradsko kupatilo u Mostaru sa svojim arhaičko-orijentalnim elementima je
primjer secesijskog istraživanja u raznim smjerovima.[7]
 Zgrada glavne pošte u Sarajevu iz 1913. godine Josipa Vancaša
predstavlja najmonumentalnije djelo secesije u BiH.
 Zgrada Klostera i Zgrada I zasjedanja AVNOJ-a
Dekorativni oblici[uredi | uredi izvor]
Razvoj secesijske arhitekture obilježen je dominacije dekorativnog shvatanja. U
Bosni i Hercegovini arhitekte su se oslanjale na bečke uzore, a Wagnerova
arhitektura je najviše interpretirana. Najtipičniji oblici dekoracije su: biomorfne
stilizacije, floralni ornamenti, ritmizirane linije, nabujale vitice, polipi, glava Meduze sa
zmijama.

Horizontalno tekući dekorativni motiv, često je primjenjivan i u različitim rješenjima.

Floralni motiv je najčešće na portalima i to na dijelovima od kovanog željeza. Motiv

cvijeta javlja se na zidnoj ravni (kultivirani malter). Prisutni su cvjetovi: perunike,
orhideje, ljubičice, a ponajviše blještavog suncokreta i kestena.

Maskeron, u vidu glave žene sa obiljem traka i vitica koje se spuštaju niz
međuprozorske stupce, ponekad je dominantan motiv na pročelju, ali i u zoni atike.

Rokoko vjenčići i girlande, u Beču kao izraz mjesta, u Sarajevu su se često koristili.
Najčešće kiparske teme su atlanti koji podupiru doksat ili piramidalna kompozicija u
zoni atike koja naglašava ugao građevine.

Literatura[uredi | uredi izvor]

 Ibrahim Krzović - Arhitektura secesije u Bosni i Hercegovini, Kulturno
naslijeđe, Sarajevo
 Nedžad Kurto - Sarajevo 1492-1992, Oko, Sarajevo.
 Jela Božić, -Arhitekt Josip pl. Vancaš, Značaj i doprinos arhitekturi
Sarajeva u periodu austrougarske uprave, doktorska disertacija, Sarajevo,
1989.

Reference[uredi | uredi izvor]

1. ^ Vrati se na:a b c d "Nedžad Kurto: ARHITEKTURA BIH- Razvoj bosanskog stila".
Pristupljeno 9. 2. 2017.
2. ^ "Borislav Spasojević: Arhitektura stambenih palata austrougarskog perioda u
Sarajevu-". RABIC Sarajevo, 1999. Pristupljeno 9. 2. 2017.
3. ^ "Zgrada u ulici Mula Mustafe Bašeksije u Sarajevu" (PDF). Komisija za nacionalne
spomenike. Pristupljeno 13. 9. 2018.[mrtav link]
4. ^ "Palata Musafija" (PDF). kons.gov.ba. Pristupljeno 13. 9. 2016.[mrtav link]
5. ^ "Oficirski paviljoni u Sarajevu". kons.gov.ba. Pristupljeno 13. 9. 2016.[mrtav link]
6. ^ "Zgrada Banke na Obali". Komisija za nacionalne spomenike. Pristupljeno 13. 9. 2016.
[mrtav link]

7. ^ "Amir Pašić: Arhitektura Bosne i Hercegovine, Austrougarski period (1878-

1918)" (PDF). Univerzitet u Sarajevu Filozofski fakultet Odsjek za historiju, Sarajevo.
2014. Pristupljeno 10. 9. 2017.

Vanjski linkovi