Group of artists with Gustav Klimt (c. 1898)Austrian National Library
At the turn of the century, there was a huge shake-up in the art world. Across Europe, artists were rejecting the traditional associations to which they belonged. They started forming clubs, which were usually called "secessions" (akin to a faction in politics) in Germany and Austria, where they implemented their own modern ideas about art.
Gustav Klimt (1917) by Moriz NährAustrian National Library
Gustav Klimt's work was closely associated with the Vienna Secession. Klimt was one of the co-founders and the first president of the artists' association when it formed in 1897. Until his departure in 1905, Klimt used the Secession to present his latest paintings to the Viennese public.
From 1891, Klimt had been a member of the Association of Austrian Artists—as were most of the important Viennese artists. It was the leading artists' association in the city, and its regular exhibitions in the Künstlerhaus building played a significant role in Vienna's cultural life.
14th exhibition at the Vienna Secession (1902) by Moriz NährAustrian National Library
However, the younger members, in particular, pushed increasingly for the exhibition business to be modernized. In their opinion, the association’s selection process was too strict, offering artists too little room for individual progression. Gustav Klimt was among the younger artists at the time, being in his mid-thirties. He and some of his comrades attempted at first to reform the artists' association but soon realized that the only possible solution was to form their own group.
And so, the Secession was born: the inaugural meeting of the Secession took place on April 3, 1897, with 23 members. One month later, the group broke off from the Association of Austrian Artists permanently and became a completely separate society. Gustav Klimt became President of the Secession, which now only had 13 members. The other members were also important artists, some of whom are still well known today, such as Carl Moll, Koloman Moser, Joseph Maria Olbrich, and Josef Hoffmann.
In April 1898, a year after the Secession was formed, its first exhibition took place. Gustav Klimt created the exhibition poster, which shows the Greek hero Theseus naked and ready for battle.
The nakedness of the fighter caused such a stir that Klimt was reprimanded by the Viennese authorities - an early indication of the group’s radical direction.
Emperor Franz Joseph I visiting the I. Secession exhibition (1898)Secession
In spite of this, or perhaps because of it, the first Secession exhibition was a great success. Emperor Franz Joseph visited the show personally on April 6 and was ceremoniously greeted by the President, Klimt, and the rest of the members.
Plan for the construction of the Secession, Cross section through the entrance hall (1897) by Joseph M. OlbrichSecession
It was an exciting time for all involved; they could finally unleash their creativity. So much so, that Joseph Maria Olbrich constructed a new meeting and exhibition building especially for the Secession in 1898. It was situated in the heart of Vienna, near to Karlsplatz and the Academy of Fine Arts.
Building of the Secession, Getreidemarkt (1903)Secession
Its whole construction signalled innovation and regeneration. In a surprisingly ornate fashion, the compact, white building, which was reminiscent of a temple at first glance, was crowned by a large dome of golden laurel leaves.
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The Secession's motto, a quote by the art critic, Ludwig Hevesi, "Der Zeit ihre Kunst. Der Kunst ihre Freiheit." (To every age its art, to every art its freedom), also appeared in gold above the entrance.
Pallas Athene (1898) by Gustav KlimtWien Museum
The building was opened for the second Secession exhibition in the fall of 1898. During this time, Gustav Klimt had been working on the association's public image. Along with six other paintings at the show, he exhibited an allegory of Pallas Athene, patron goddess of art, who was meant to symbolize the fight for artistic freedom.
Exlibris of the Union of Austrian Artists, Secession (1902) by Gustav KlimtMAK – Museum of Applied Arts
The goddess acted as a battle cry for the young modernists against the traditional art establishment. Conservative art critics launched vehement verbal attacks against the picture. Klimt used her as a trademark image of the Secession and created, for instance, an "ex libris" (stamp of ownership) featuring the goddess for books belonging to the Secession. This meant that she could be used as a kind of logo.
Cover Ver Sacrum, Organ der Vereinigung bildenden Künstler Österreichs, 1898, Vol.1, No 1 (1898)Secession
In addition to the building, slogan, and Pallas Athene mascot, the artists also worked on their own magazine, for which Klimt created a number of decorative and illustrative drawings. The "Ver Sacrum" was published in limited edition so that it, too, should become a work of art. It was first published in 1898 but was shut down five years later due to it being too time-consuming and expensive to produce.
Gustav Klimt on Lake Attersee (1904) by Moriz NährKlimt Foundation
Klimt also used the subsequent Secession exhibitions to showcase his works in a public arena. Each time, he managed to draw yet more press attention to himself and to the Secession. There were usually one or two of his pieces that sparked debate and polarized discussions.
Judith (1901) by Gustav KlimtBelvedere
Often, the debates surrounded illustrations of women, which were perceived to be improper, such as the naked, frontal illustration of "Nuda Veritas" and the equally lightly dressed "Judith," which were described as either erotic or completely obscene.
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In addition to his illustrations of women and some landscapes, which are still famous today, he exhibited some monumental works at the Secession exhibitions. Among them were the Beethoven Frieze, which extended throughout the entire Secession building, and the so-called Faculty Paintings.
Insight The Kunstschau 1908 (1908) by Moriz NährAustrian National Library
The Secession era was perceived as one of radical change and described as a "holy spring." This attracted artists such as the French Impressionists, Auguste Rodin, and the Belgian Symbolists. In total, the Secession staged 23 exhibitions between 1897 and 1905. Klimt also used the Secession for his first and only solo Viennese exhibition during his lifetime, which took place during the winter of 1903–04.
Karl Moll in Jackett by Madame d'Ora, AtelierAustrian National Library
In June 1905, some personal disputes arose, as well as differences in opinion about the role of arts and crafts within the Secession, and the role of the Secession as a commercial enterprise. This was primarily due to Klimt's friend and colleague, Carl Moll, taking the job of Artistic Director at one of the leading galleries in the city, the Miethke Art Gallery.
Armchair, Der reiche Fischzug (The Rich Catch of Fish) (1900) by Portois & Fix, Koloman MoserLos Angeles County Museum of Art
Arts and crafts is defined as the production of utensils with artistic pretensions. The products were manufactured on a large scale, then usually passed on to independent workshops or artists. How artistic these objects were after going through such an outsourced production process is a question which, at the time, had already concerned the art world for many centuries.
Kunstschau 1908 (1908)Austrian National Library
As a result, Klimt and 17 other artists, including Josef Hoffmann, Otto Wagner, Carl Moll, and Alfred Roller, terminated their membership of the Secession. From that point on, they made appearances as the "Klimt Group," and in 1908, they collectively orchestrated the "Kunstschau" (Art Show), a ground-breaking spectacle of Viennese Modernism.
