Fin-De-Siecle Vienna von Carl E. Schorske

Art nouveau architecture designs by the seemingly (and obviously unjustly) half-forgotten architect Em. van Averbeke. That golden light could well summarise fin-de-siècle: the last warm days of autu…

Left- Paper sample print for fabric Rax, 1911. Right- Paper sample print for fabric Schatten 1916 color print proof on paper, Rosengarten 1911/1913 4 furnishing materials lace table clothes living room in the Wolko Gartenberg Apt. 1921 featuring Regenbogen fabric Josef Urban's office with wall covering Pappelrose 1911/1916 oman's blouse for Nelly Peche 1915 feat. Einsame Blume Dress by Paul Poiret feat. textile Diomedes by Peche 1919 all designs by Dagobert Peche

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Discover one of the world’s most important collections of Austrian art at Leopold Museum, including masterpieces by Egon Schiele and Gustav Klimt.

Koloman Moser- Die Flache

Gustav Mahler's music is more popular than ever, yet few are aware of its roots in German literary and cultural history in general, and in fin-de-siècle Viennese culture in particular. Taking as its point of departure the many references to literature, philosophy, and the visual arts that Mahler uses to illustrate the meaning of his music, Reading Mahler seeks to remedy this deficit, particularly in view of the interest the centennial of Mahler's death in 2011 will certainly generate. The book is designed for a broad readership: it helps audiences, critics, and those interested in musical and cultural history understand the context and meaning of the literary, philosophical, and visual influences on Mahler's music and thinking that may have been self-evident to middle-class Viennese a hundred years ago but are much more obscure today. It shows that Mahler's oeuvre, despite its reliance on texts and images from the eighteenth and nineteenth centuries, is far more indebted to fin-de-siècle modernism and to an eclectic, proto-avantgardist agenda than has been previously realized. Furthermore, Reading Mahler is the first book to make Mahler's position within German-Jewish culture its analytical center. It also probes Mahler's problematic relationship with the musical and textual legacy of Richard Wagner, often overlooked in existing scholarship. By integrating newer approaches in humanistic research -- cultural studies, gender studies, and Jewish studies -- Reading Mahler exposes Mahler's critical view of German cultural history and offers a new understanding of his music. CARL NIEKERK is Associate Professor in the Department of German, the Program in Comparative and World Literature, and the Program in Jewish Culture and Society at the University of Illinois at Urbana-Champaign.

Ugo Zovetti Wiener Werkstatte 1910-12

Travel to Austria and experience nature, mountains and lakes, and cultural treasures. Everything you need to know from Austria's official travel portal.

When Alma Mahler walked into a room, heads turned. Her magnetic presence and charismatic allure were like “an electric charge” in any gathering. She was a femme fatale who commanded fascination, ad…

Brandstätter, Christian. Wiener Werkstätte Design in Vienna, 1903-1932: Architecture, Furniture, Commercial Art, Postcards, Bookbinding, Posters, Glass, Ceramics, Metal, Fashion, Textiles, Accessories, Jewelry. New York, N.Y: Harry N. Abrams, 2003. Print.

To dive into the Fin de Siecle era when in Vienna in 2020 copy these tips, walks and addresses to explore art, architecture, music and more.

Textile Sketch Design of a woven velour carpet for Palais Stoclet Pencil and watercolor c. 1910 "Bellflower" Sketch for carpet desi...

Lee F. Mindel tours two of Vienna’s architectural gems

"Waldidyll"( Forest Idyll) Fabric design c. 1910- 1911

Die Fläche (The Surface) was a Viennese graphic arts periodical […]

Vogel Bulow, pre-print drawing, 1899 Baumfalke, color proof on paper, 1910/1911 Spiel der Wellen, print proof on paper, 1899 dress featuring Bergfalter, 1911 all designs by Koloman Moser

Josef Hoffmann (1870-1956): Studied at the Akademie der bildenden Künste in Vienna Worked in Otto Wagner’s architectural practice Founding member of the Vienna Secession Artistic director of the Wiener Werkstatte and professor Primarily an architect, but created work in all branches of the workshop

Left- Paper sample print for fabric Rax, 1911. Right- Paper sample print for fabric Schatten 1916 color print proof on paper, Rosengarten 1911/1913 4 furnishing materials lace table clothes living room in the Wolko Gartenberg Apt. 1921 featuring Regenbogen fabric Josef Urban's office with wall covering Pappelrose 1911/1916 oman's blouse for Nelly Peche 1915 feat. Einsame Blume Dress by Paul Poiret feat. textile Diomedes by Peche 1919 all designs by Dagobert Peche

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Leaves, 1923 Above design by Maria Likarz-Strauss Maria Likarz-Strauss was one of the most prolific pattern designers in the Vienna Workshops, but her name is rarely mentioned in books on the subject. She seems to have been influential in her time however. According to Daniel Walker, director of The Textile Museum in Washington DC, “she was the most active textile designer in the workshop [Wiener Werkstätte], with almost 200 designs attributed to her.” Likarz-Strauss had a broad stylistic range that incorporated the stylized floral elements associated with Peche with the formal geometric patterns that originated with Hoffman. Yet, she is most well known for her abstract patterns with infinite repeats, which reflect the international trends that led to the Art Deco Style. Mathilde Flogl learned design, applied graphic and creative enamelling and was trained under Joseph Hoffmann. She was admitted in 1916 at the Wiener Werkstatte. From 1918 she designed more than 120 textile patterns for the Wiener Werkstatte. She was influenced by Dagobert Peche and Maria Likarz Strauss. Flowers 1920 Bambi 1925 Caliopsis 1930Above Designs by Mathilde Flogl

Gustav Klimt Portrait of Emilie Flöge [1893] 41x24cm oil/cardboard Albertina, Vienna, Austria Emilie Louise Flöge (30 August 1874 in Vienna – 26 May 1952 in Vienna) was an Austrian fashion designer, and businesswoman. She was the life companion of the painter Gustav Klimt. Emilie Flöge was a member of the Viennese bohemian (Bohemianism) and Fin de siècle circles. She was the life companion of the painter Gustav Klimt. In 1891, Helene, the older sister of Emilie, married Ernst Klimt, the brother of Gustav Klimt. When Ernst died in December 1892, Gustav was made Helene's guardian. At that time Emilie was eighteen years old and Gustav became a frequent guest at the home of her parents, spending the summers with the Flöge family at Lake Attersee. Source: art-klimt.com

For those who moved in high society in fin-de-siècle Vienna, the city sat at the pinnacle of elegance and culture. Provocative political ideas were discussed in private salons and coffeehouses along t

A drawing I did of the Vienna Secession building, an iconic landmark of the Wiener Werkstätte made famous by Gustav Klimt, Kokoschka, Schiele and many more. The print is printed on high quality DIN A4 watercolor paper (1800g/m²) It measures: 210 x 297 mm / 11.69 x 8.27 inches It is sold without a frame! This print will be shipped in a clear protective sheet in a hard cover cardboard envelope for guaranteed protection. My drawings are made digitally with Adobe Sketch. If you have any questions let me know :) Love, Nina

Jacquard-woven cotton and linen 12" x 21"

Viennas Leopold Museum houses the worlds greatest collection of works by expressionist painter Egon Shiele.

Alex Ross on the influence of Carl Schorske and his book “Fin-de-Siècle Vienna.”

Koloman Moser- Die Flache