Viennese Modernism - Klimt, Wagner, Schiele, Moser

Vienna at the turn of the twentieth century was a city in ferment – a bastion of the established order, a hotbed of radical politics, a crucible of intellectual and artistic revolution. 

As the capital of a multinational empire, residence of Europe’s premier monarchy, centre of an omnipresent bureaucracy and headquarters of a formidable army, Vienna projected an image of unshakeable power and respect for tradition. Lift not the painted veil: behind it lay widespread discontent, a crumbling moral order and myriad cracks in the coherence of empire. With remarkable suddenness, there emerged from this complacent, decadent and artistically stagnant society a brilliant array of artists and intellectuals  who were determined to break with the past and were prepared to risk affronting the establishment in doing so. 

This was the city of Mahler, Schönberg, Schnitzler and Freud, and also of the protagonists of this tour, Klimt, Schiele and Otto Wagner and their friends, collaborators and rivals. The Great War brought Austrian suzerainty of Central Europe crashing to an end, causing death, destruction and trauma along the way. And then the ’flu pandemic of 1918 killed even more, including Schiele, Klimt and Moser.

In the first decades of the twentieth century Art Nouveau in its multifarious manifestations and transformations spread like wildfire around Europe and beyond. In the realm of architecture and ornamentation the Viennese variant was more measured than elsewhere, and more classical. In the first years of the new century, applied ornament retreated further to expose pure form and rational design. Here are the roots of modernism which, in turn, became the dominant orthodoxy of the twentieth century.

By contrast, the revolution in painting and the graphic arts had little international influence, but resulted in works which were exceptionally luxuriant and expressive.