Every city has at least one, initially rejected building which later turns into an iconic landmark. The controversial design slowly grows on the sceptical residents and their creative genius produces an affectionate nickname for it. The nickname is slightly embarrassing but soon becomes part of the urban folklore.
So, while London has its Gherkin and Cheesegrater, NewYork – its Lipstick, Boston – the Sponge, Beijing – two Beehives, Vienna is proud of its “Golden cabbage”.
The “cabbage” is situated in the centre of the city, on the busy Karlsplatz.
It is a white, unusually shaped building with a gold cupola.
During its construction between 1897 and 1889 the shocked contemporaries produced hurtful names for it such as “crematorium” or “Assyrian lavatory”
The building was meant to be a “temple of art”, a symbol of the progressive art movement.
Everyone knows the legendary story of the Parisian “La Boheme“ rising against the academic suppression during the Impressionism period.
The story of the Viennese Secession appears neglected by the public and art historians. Is it because Vienna did not have an artistic revolution? It was more like a dramatic separation (secession).
The cultural and political elite accepted the new movement. The Emperor was the honourable guest of the first Secession exhibition. The City hall gave them a plot of land at the corner of the Karlsplatz to build a showcase Pavilion.
The Secession began with informal meetings in two Viennese cafes. Between the beers and wines, some frustrated members of the Artistic Association decided to form a group and rent a venue where they could display their paintings, cancelled by the establishment.
The exhibitions proved to be very popular and amassed a small fortune.
This success motivated the group to cut all ties with the Artistic Association.
In 1889 around 24 artists defected and in total 50 art people opened a new chapter in the capital’s creative history. The progressive movement put Austria back on the artistic map and has kept it there since.
The first president and wildly-accepted leader was Gustav Klimt ( the author of the famous “The Kiss”).
Klimt was at the peak of his fame, given the Emperor’s prize for his panel paintings on the Burgtheatre in Vienna.
A young architect member of the group designed the Pavilion with the distinctive glided dome. The building appeared unusual for Viennese conservative taste, yet it was a concrete manifestation of the Secession philosophy.
The group included architects, painters, musicians, decorators and illustrators. Most of them believed that the creation of art is not for the sake of the art itself but to bring beauty to everyday ordinary life.
They upheld the artistic freedom and the integration of the artistic genres.
The motto of the movement could be seen above the front entrance of the pavilion “To every age its art. To every art its freedom”.
Three Gorgons (Medusa’s heads) represent the synthesis of three arts – Painting, Architecture and Sculpture.
Inside, special partitions could be rearranged, so every exhibition could come with its own unique designs.
The group split after eight years. The “Cabbage“continued functioning. During the Nazi regime the “Secession” was classified as a “decadence” and the building was destroyed.
After WWII the Pavilion was re-erected and now functions as an independent cultural centre. It is open for visitors.
The series “Autumn in Vienna” will continue with the post “What is in the basement?”
1 Comment
Напълно съм съгласна,че без изкуство ежедневието ни не е красиво. Не знаех, че непризнатият Виенски сецесион е така здраво вкоренен в светогледа ни. Какво откритие ! Благодаря!!!