Vienna Secession exhibition postcard. January [13] - February 1901. Klinger-Saal. Interior design by Alfred Roller (1864-1935). Arrangement for M. Klinger's work.
Gustav Klimt (1862-1918), Approaching Thunderstorm (The Large Poplar ll), 1903. Leopold Museum, Vienna 1,008 mm (39.68 in) x 1,007 mm (39.65 in).Gustav Klimt [Public domain], via Wikimedia Commons.In the catalog:SAAL I6. Aufsteigendes Gewitter, 1903. For more information see: http://www.leopoldmuseum.org/en/leopoldcollection/masterpieces/45
Gustav Klimt (1862-1918), Beech Grove I. 1902. Oil on canvas; 100 x 100 cm. Purchased with funds from the Pröll-Heuer-Foundation, 1912Galerie Neue Meister, Staatliche Kunstsammlung Dresdenhttp://www.skd.museum/en/homepage/index.html In the catalog:SAAL V.33. Junge Birken. Privatbesitz, 1901 *We believe the work listed in the catalog refers to this painting. However, it is not certain.
Gustav Klimt (1862-1918), Beethoven Frieze: Lasciviousness, Wantonness, Intemperance. "Lasciviousness, wantonness, intemperance (the group of three women to the right of Typhoeus. Intemperance wears a conspicuously ornamented blue skirt with applications of mother-of-pearl, bronze rings, etc.). Gnawing grief (the woman cowering on the right in the picture). The yearnings and desires of humankind fly past them." -From the Secession webpage. Image courtesy of Secession Archive.In the catalog:…
Gustav Klimt (1862-1918), Beethoven Frieze: This Kiss to the Whole World"Loan from the Österreichische Galerie Belvedere Gustav Klimt, Beethoven Frieze: The Hostile Forces. The hostile forces. The giant Typhoeus, against whom even the gods battle in vain (the monster with mother-of-pearl eyes extending across the entire front wall with his blue wings and snake-like appendages); his daughters, the three gorgons (the three women standing to the left of Typhoeus). Sickness, madness, death (the…
Gustav Klimt (1862-1918), Diesen Kuss der ganzen Welt. Detail aus den Beethoven-Fries. Gustav Klimt [Public domain], via Wikimedia Commons. In the catalog:SAAL III 11. Fries, gemalt anläblich der Ausstellung von Klingers "Beethoven." "Die Sehnsucht nach Glück." "Die feindlichen Gewalten." "Mein Reich ist nicht von dieser Welt," 1902.
Gustav Klimt (1862-1918), Bewegtes Wasser (Moving Water), 1898 (Weidinger 128; Natter 116). Photo courtesy Galerie St. Etienne, New York.In the catalog:SAAL III 17. Bewegtes Wasser. Privatbesitz, 1898.
Gustav Klimt (1862-1918), Sonja Knips (1873-1959), geb. Sophie Amalia Maria Freifrau Potier des Echelles, 1898. Oil on canvas, 141 x 141 cm. Belvedere,Vienna, Upper Belvedere. http://www.belvedere.at/en
In the catalog:SAAL I2. Bildnis einer Dame. Privatbesitz, 1898
Gustav Klimt (1862-1918), Helene Klimt, 1898. Öl auf Malkarton, 59.7 x 49.9 cm. Kunstmuseum Bern, Leihgabe aus Privatsammlung. In the catalog: SAAL VII 48. Bildnis eines Kindes. Privatbesitz, 1898
Gustav Klimt (1862-1918), "Life is a Struggle (Golden Rider)". Oil, tempera, and gold leaf / on canvas. 100.0 x 100.0cm Aichi Prefectural Museum of Art, Japan. In the catalog: SAAL III 13. Das Leben ist ein Kampf, 1903
Gustav Klimt (1862-1918), "Cowstall", Cows in a Stall, 1900/1901. Oil on canvas. 75 x 76.5 cm.
LENTOS Kunstmuseum Linz. www.lentos.at
In the catalog: SAAL V 29. Der schwarze Stier, 1901
Gustav Klimt (1862-1918), Nuda Veritas, 1899. Öl auf Leinwand, 244 x 56,5 cm ohne Rahmen,260 x 64,5 mit Originalrahmen. BT_O_3656. Österreichisches Theatermuseum, Vienna. Kunsthistorisches Museum Vienna. In the catalog: SAAL III 12. Die Wahrheit. Privatbesitz, 1899
Vienna Secession exhibition postcard. 5th secession, November-December 1899. Interior design by Koloman Moser (1868-1918). Grau und silber saal / Hall in gray and silver.
Vienna Secession exhibition postcard. 5th secession, November-December 1899. Interior design by Koloman Moser (1868-1918). Grau und silber saal / Hall in gray and silver.
Gustav Klimt (1862-1918), Goldfische. Öl auf Leinwand, 181 × 66,5 cm. Schweiz Österreich, Privatsammlung. Gustav Klimt [Public domain or Public domain], via Wikimedia Commons. In the catalog:SAAL III 14. Goldfische, 1902
Vienna Secession exhibition postcard. 2nd secession, November-December 1898. Interior design by Joseph Maria Olbrich (1876-1908). Mittelsaal / Middle Room. Reproduced in V. S. catalog 10.
Vienna Secession exhibition postcard. Interior design by Joseph Maria Olbrich (1876-1908). Mittelsaal / Middle room. Alfred Roller "Bergpredigt" (Sermon on the mount).
Vienna Secession exhibition postcard. Middle room - Arthur Strasser (1854-1927). 'Mark Anthony' sculpture. Interior design by Joseph Maria Olbrich (1876-1908). 'Naturgrosses Modell Zu Dem Centralraum Eines Sculpturen-Museums'
Gustav Klimt (1862-1918), Judith, 1901. Oil and gold plating on canvas, 84 x 42 cm. Belvedere,Vienna, Upper Belvedere. http://www.belvedere.at/en
In the catalog: SAAL III 20. Judith und Holofernes. Privatbesitz, 1901.
Gustav Klimt (1862-1918), Portrait of Hermine Gallia, 1904. Oil on canvas, 170.5 x 96.5 cm. NG6434. National Gallery, London, Great Britain. In the catalog: SAAL VII. 44. Bildnis einer Dame. Privatbesitz. Unvollenet. *We believe this work to be the painting listed in the catalog. However, it is not certain.
Gustav Klimt (1862-1918), Secession I, 1898. Poster. Color lithograph, 97 x 69 cm. Gift of Bates Lowry. 207.1968. The Museum of Modern Art, New York
Klimt adopts the use of white space and asymmetrical design of Aubrey Beardsley (1872-1898). Goddess Athena, who personified wisdom, is the figure at the right. This ties the text at the bottom of the poster with the frieze-like panel at the top, which depicts Theseus fighting the Minotaur, symbolizing the artistic struggle against philistinism,…
Joseph Maria Olbrich (1867-1908), Secession II, 1898. Poster. Color lithograph, 58 x 51 cm. Acquired by exchange. 329.1977. The Museum of Modern Art, New York.
Joseph Maria Olbrich (1867-1908) was the architect of the Secession building. He also designed this poster with its elegant cursive “S”s. Richard Harflinger (1873-1948) remade the poster for a 1913 exhibition of Secession posters.
Alfred Roller (1864-1935), Secession XIV (Beethoven). Poster. Color lithograph, 230 x 80 cm. Gift of Joseph H. Heil, by exchange. 148.2010. The Museum of Modern Art, New York.
Alfred Roller (1864-1935) was a painter and designer. For the Beethoven exhibition Roller designed this very tall poster with a near life-size drawing of a bowed woman symbolically presenting an orb of light. The text is in bold, condensed lettering which features in Roller’s other graphic designs of this period.
Alfred Roller (1864-1935), Secession XVI, 1902. Poster. Color lithograph, 95 x 32 cm. Gift of Jo Carole and Robert S. Lauder. 149.2010. The Museum of Modern Art, New York.
The word “Secession” is in a short blunt curvilinear hand except for the three “S”s which are extremely elongated and seem to rest on dense block of text, like a woodblock but carved with a slight white line to delineate the letters. Behind the text is a pale red geometrical pattern.
Gustav Klimt (1862-1918), The Tall Poplar Tree I/Die grosse Pappel I, 1900. Oil on canvas. Neue Galerie New York. This work is part of the collection of Estée Lauder and was made available through the generosity of Estée Lauder. In the catalog: SAAL V. 31. Die grosse Pappel. Privatbesitz. 1901.
Vienna Secession exhibition postcard. Saal X. Collections by Charles Rennie Mackintosh (1868-1928) and Margaret Macdonald-Mackintosh (1865-1933). Ver-Sacrum-Zimmer (reproduced in V. S. catalog X).
Vienna Secession exhibition postcard. Saal IV. Interior design by Leopold Bauer (1872-1938). Sculpture no. 152 'Der Wanderer' by Richard Luksch, wood & stone. "si quis totum diem arrens advesperum pervenit satis est" - Seneca.
Vienna Secession exhibition catalog. XIX Exhibition, January-February 1904. Cuno Amiet; Axel Gallén; Ferd. Holder; L. V. Hofmann; Wilhelm Laage; Hans V. Marées; Edvard Munch; Thorn Prikker; Emil Rud. Weiss.