Am I Secessonist OR Loos???

  Hi...meet ya again... my 3rd assignment! This time i need to choose which movement are suitable with my carrier background! Which one was influenced me...before i make a decision, lets get a research about this two of movement SECESSIONIST and LOOS!

Vienna Secession

(was founded on 3 April 1897 by artists Gustav Klimt)

  

GUSTAV KLIMT (1862- 1918)

Potrait of Gustav Klimt

   In shortly about Gustav, he is Austrian painter and draughtsman, best known for his decorative sensual portraits of women. The leading exponent of Art Nouveau, founder and president of the Vienna Secession.

   

   Klimt became one of the founding members and president of the Wiener Sezession (Vienna Secession) in 1897 and of the group's periodical Ver Sacrum (Sacred Spring). He remained with the Secession until 1908. 

   The group's goals were to provide exhibitions for unconventional young artists, to bring the best foreign artists' works to Vienna, and to publish its own magazine to showcase members' work. The group declared no manifesto and did not set out to encourage any particular style Naturalists, Realists, and Symbolists all coexisted. 

The Frieze is a major highlight of Gustav Klimt: Painting, Design and Modern Life in Vienna 1900

His Nuda Verita (1899) defined his bid to further shake up the establishment.

  He also known as Klimt's 'Golden Phase' was marked by positive critical reaction and success. Many of his oil paintings from this period used gold leaf, the prominent use of gold can first be traced back to Pallas Athene (1898), although the works most popularly associated with this period are the Portrait of Adele Bloch-Bauer I (1907) and The Kiss (1907–1908). Instead of painting,Vienna Secession also have promoted their design aesthetic with exhibition posters and its own journal, as Ver Sacrum (Sacred Spring). 

Ver Sacrum: Cover of the first edition. Design by A. Roller, 1898.

  The journal housed reproductions, poetry illustrations, graphic art, decorative borders, object design, and cutting-edge conceptions for layout. The artistic layout lay in the hands of artists of the Vienna Secession and frequently presented original printed graphics (especially by G. Klimt, K. Moser, J. Hoffmann and A. Roller), numerous numbers were in the form of monographs and thus familiarised a broad readership with the works of individual artists who were playing an important role in the development of modern art. After 1900, Ver Sacrum was only published as an internal information journal for members of the Vienna Secession.

   Art historians note an eclectic range of influences contributing to Klimt's distinct style, including Egyptian, Minoan, Classical Greek, and Byzantine inspirations. Klimt was also inspired by the engravings of Albrecht Dürer, late medieval European painting. His mature works are characterized by a rejection of earlier naturalistic styles, and make use of symbols or symbolic elements to convey psychological ideas and emphasize the "freedom" of art from traditional culture.


Adolf Loos
(1870-1933) 

Portrait of Adolf Loos

  
   He was an architect who became the most important pioneers of the modern movement and famous for his ideas than for his buildings. Adolf Loos believed that reason should determine the way we build, and he opposed the decorative Art Nouveau movement. In Ornament & Crime and other essays, Loos described the suppression of decoration as necessary for regulating passion. 

   The visual distinction is not between complicated and simple, but between "organic" and superfluous decoration. Loos was also interested in the decorative art, collecting sterling silver and high quality leather goods, which he note for their plant yet luxurious appeal.
   
   Loos attacked contemporary design as well as the imitative styling of the nineteenth century. He looked on contemporary decoration as mass-produced, mass-consumed trash. Loos acted as a model and a seer for architects of the 1920s. His fight for freedom from the decorative styles of the nineteenth century led a campaign for future architects. Loos stylistic features home design mostly was straight lines, clear planar walls & windows, clean curves, raumplan (plan of volume) system of contiguous, merging spaces, each room on the different level, with floors and ceilings set at different hight.

Simple, plain, modern garden facade, Vienna, Austria by Adolf Loos -1910

   Too much explanation from this two ideologies and eras between Secession & Loos...and i personally agreed with the design and the philosophy of Secession, because the design are almost constructivist in inspiration.! Great!!!

see ya in next assignment *____*

"Joy Of Work"

Art Nouveau! my second assignment that need me to relate this into modern thinking..hurmm..

Lets checked it out!

Art Nouveau 

(1880-1914)

   Art Nouveau mean a style of fine and applied art current in the late 19th and early 20th centuries, characterized chiefly by curvilinear motifs often derived from natural forms. 

This movement walked under the flag of an art that would break all connections to classical times, and bring down the barriers between the fine arts and applied arts. 

  

   Seemingly a response to the clutter of the Victorian era and the Industrial Revolution, which introduced mass production of standard everyday objects, Art Nouveau embraced a high standard of craftsmanship to decor. Like the Arts and Crafts movement, it not only showed in applied art, but heavily in architecture, sculpture and many forms of functional decor. A very uniform art style; a strong belief was that all arts should work in harmony to create a "total work of art", or Gesamtkunstwerk:, where all things conformed to the principles of Art Nouveau. 

Stairway at Hôtel Tassel, by Victor Horta

Tiffany Lamp by Louis Comfort Tiffany

   An artist should work on everything from architecture to furniture design so that art would become a part of everyday life. By making beauty and harmony a part of everyday life, artists make people's lives better. This approach has been represented in painting, architecture, furniture, glassware, graphic design, jewelry, pottery, metalwork, and textiles and sculpture. Advertising posters were welcomed into art, and fence has been proclaimed a suitable exhibition place for this new art. This was a sharp contrast to the traditional separation of art into the distinct categories of fine art (painting and sculpture) and applied arts (ceramics, furniture, and other practical objects).    

    

   The primary thematic visual elements of Art Nouveau are flowers, roots and buds, as well as spider webs, peacock feathers and locusts, featured on everything from wallpaper to fabrics and furniture. Serpentine curving lines and complex patterns, taken from nature, were to be seen on painted and carved surfaces. Art Nouveau artifacts are beautiful objects of art, but not necessarily very functional.

Conclusion from this, today...Art Nouveau is seen primarily as the bridge from stuffy classicism to modernism. But it is much more than a link between two design eras. Especially in it’s emphasis on the potential beauty of even the most mundane object, Art Nouveau elevates the work of the decorative artist, celebrating the art in the artisan. 

The design is still can be used untill today for me as a designer! Awesome!