//www.szecesszio.com/images/cornici/e12p144.jpg

After three hours of train trip, really mainly passed out sleeping, departing from Budapest I finally arrived at home. No, I didn’t find out a very fast line between Hungary and Italy, not really. The fact is that I spend an entire day in Wien and really I felt so comfortably at home that I really couldn’t imagine having really left Budapest. The two cities are maybe the most outstanding example of how Secession was an European artistic movement, rather than a national one, able to share experiences and influences without, of course, renouncing to the inner national characteristic of the style.

The author here don’t affirm at all the two cities are identical, or they could be confused. Not at all, since there are differences, by either architectural, urbanistic and artistic point of view. however the development of the Secession and of the Szecesszio have some interconnections which are more evident when comparing some buildings and artistic production in general.

In this first insight, the neoclassical turn-of-the-century tendencies and related applications in the two cities are examined.

Let’s begin this trip. Noticeably, the development of the art fin-de-siecle in both the cities have a common point in a very particular attitude toward classicism:

A building in first distric, in Wien
100_6471
a neoclassic tatse building in the 6th District in Budapest …
100_2680_preview

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The aesthetic of neoclassical style ornament are quite common in various building of the two cities. First two rows, a selection of Wien …

100_6471 100_6404 100_6407 100_6423 100_6426 100_6430

100_6465 100_6503 100_6505

And just below its sister Budapest:

100_0503 100_0522 100_0060 100_0110 100_0115 100_0190 100_0191

100_0316 100_0317 100_0322 100_0338 100_0339 100_0351

However this neoclassical approach is far from being an arrival point in the development of the turn of the century art in both the former Austro-Hungarian Empire capital cities. On the contrary, it is just a starting point, a material and matter of study which was very soon trasfigurated in order into a true modern style. A style in which the line rapidly became much more smooth and curve, in which the neoclassical element was melted with the new attitude toward japan bidimensional art and finally able to figure out a human figure wich was reduced to the very essential line. The line as style in itself, a line which was able to deal with human passions. A line which was able to translate the passions themselves into style, and which through the evocative power of the style and of the beauty, which was able to determine strong reactions in fruitiers. At that point, when this development happened, the classic themes of ten or five years earlier, became sign of the secessionist artistic language who eventually were able to use them in a completely different expression, in other more philosophical terms , a new hermeneutic which was opened to other linguistic horizons as well (japonisme, linearism, symbolism, to quote some of them). Being able to speak different since being able to speak wider, with a more rich expressions; being lover of the beauty since being able to enlarge the vocabulary used to express the adoration of it (or her ? ). The widespread of the symbolic language of the secession had different heritages which eventually were exploited, and neoclassicism was one of them. and the following are effective examples of neoclassical term spoken in secessionist expressions. Not strangely, similar discourses could been heard either in Budapest and Wien, the two sisters, die Schwestern des Secession …

Budapest:

100_0273 100_0282 100_0309 100_0350 100_0377 100_0527
100_0546 100_2670 100_2699 100_2730

and Wien:

100_6439 100_6462 100_6476 100_6480 100_6484 100_6485
100_6511 100_6514 100_6518 100_6528 100_6529 100_6534

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