Painting and Graphic Arts File:Ernst_Stöhr,_Vampir,_1899.png|Vampire in
Ver Sacrum #12 (1899) p. 8 by
Ernst Stöhr File:Klimt - Beethovenfries - Mittelwand.jpg|Section of the
Beethoven Frieze by
Gustav Klimt in the
Secession Building (1902) File:Alfred roller, XIV austellung... secession, vienna 1902, 02.jpg|Poster for the 14th Secession Exhibit (1902), by
Alfred Roller File:Kolo Moser - Serpentinentänzerin - ca1902.jpeg|
Dance by
Koloman Moser (1902), inspired by dancer
Loïe Fuller File:Maximilian_Liebenwein_-_aus_dem_Märchen_Die_Gänsemagd.jpg|Illustration to
The Goose Girl by
Maximilian Liebenwein, published in
Ver Sacrum in 1902 File:Josef_Maria_Auchentaller_-_Plakat_Seebad_Grado_-_Leopold_Museum_1906.jpg|Advertising poster of
Grado by
Josef Maria Auchentaller (1906) File:Dame_in_Gelb_Max_Kurzweil_1907.jpg|Woman in a Yellow Dress by
Max Kurzweil (1899) File:The Kiss - Gustav Klimt - Google Cultural Institute.jpg|
The Kiss by
Gustav Klimt (1907–08)
Architecture Along with painters and sculptors, several prominent architects were associated with the Vienna Secession, most notably Joseph Maria Olbrich, Otto Wagner and Josef Hoffmann. In 1897–98 Olbrich designed the
Secession Building to display the art of Klimt and the members of the group, and also by foreign artists, including Max Klinger,
Eugène Grasset,
Charles Rennie Mackintosh, and
Arnold Böcklin. Josef Hoffmann became the principal designer of exhibitions at the Secession House. The dome and stylized facade became a symbol of the movement. A group of artists including Koloman Moser,
Othmar Schimkowitz,
Jože Plečnik, and others, under the direction of architect Otto Wagner, decorated two apartment buildings Wagner designed; the
Linke Wienzeile Buildings in 1898–1899. The building at Linke Wienzeile 40 is known as
Majolikahaus or Majolica House. Its facade is entirely covered with
majolica, or colorful fired clay tiles in floral designs. The Art Nouveau ornaments of its facade was done by his student . The other building,
Linke Wienzeile 38, is known as
House with medallions because of its decor of gilded stucco medallions by Wagner's student and frequent collaborator, Koloman Moser. The most ornate earlier decoration was removed but later restored. During this period, Otto Wagner also built extraordinarily stylized stations for the new Vienna urban transport system, the
Stadtbahn, which also became the symbols of the Secession style. The most famous of these is the
Karlsplatz Stadtbahn Station in the center of Vienna, Joseph Maria Olbrich was his collaborator for this project. The style of these buildings marked a transition toward more geometric forms, and the beginnings of modernism. Wagner's later buildings built after 1899, including the
Church of St. Leopold (1902–1907) and especially the
Austrian Postal Savings Bank (1903–1906, extended at 1910–12), had straight lines and geometric forms, a striking use of new materials, such reinforced concrete and aluminum, and a minimum of decoration on the facade or inside. The work of Josef Hoffmann also showed a gradual transition away from floral designs and curving lines. His best-known building, the
Stoclet Palace in Brussels, had a tower of stacked cubic forms, minimum ornament on the facade, and an interior of right angles and geometric designs. The only Art Nouveau elements were the murals by Gustav Klimt. The Stoclet Palace best illustrated Hoffmann's transition from Art Nouveau toward modernism. Secession 2016, Vienna.jpg|
Secession Building by
Joseph Maria Olbrich (1897–98) Majolikahaus_Detail_10.JPG|Floral design by Alois Ludwig on the facade of one of the
Linke Wienzeile Buildings by
Otto Wagner (1898) Wienzeile.JPG|A medallion by
Koloman Moser and sculptures by
Othmar Schimkowitz at Linke Wienzeile 38 (1898) Penzing (Wien) - Kirche am Steinhof (2).JPG|
Church of St. Leopold by
Otto Wagner (1902–1907) Wien - Österreichische Postsparkasse, Georg-Coch-Platz.JPG|
Austrian Postal Savings Bank by
Otto Wagner (1904-1912) Woluwe-St-Pierre - Hoffmann 050917 (1).jpg|
Stoclet Palace by
Josef Hoffmann in Brussels (1905–1911)
Furniture Secession architects often designed furniture to accompany their architectural projects, along with carpets, lamps, wallpaper, and even bathroom fixtures and even towels. The furniture presented by the Secession at the 1900
Paris Universal Exposition was particularly praised, and won international attention for its creators, including
Else Unger and Emilio Zago. Later in the movement, in 1902, the architect Otto Wagner designed chairs using modern materials, including aluminum, combined with wood, to match the architecture of his Austrian Postal Savings Bank building. In 1905 Josef Hoffmann produced an adjustable-backed chair which reflected the more geometric forms of the late Secession. File:Otto wagner, sedia con braccioli n.8, vienna 1898-99.jpg|Armchair by Otto Wagner (1898–99) File:Pillar cabinet (pfeilerschrank) - LACMA M.2007.162.jpg|Cabinet by
Joseph Maria Olbrich, of maple, fruitwood, ebony and brass (c. 1900) (Los Angeles County Museum of Art) File:Fauteuil de J.M. Olbrich (Musée de la colonie dartistes, Darmstadt) (7928651530).jpg|Armchair by
Joseph Maria Olbrich made for the
Darmstadt Artists' Colony (1900) File:Armchair model 718 F, Otto Wagner, Vienna, made by Gebruder Thonet, c. 1905-1906, beechwood, aluminum, caning under upholstery - Montreal Museum of Fine Arts - Montreal, Canada - DSC09152.jpg|Otto Wagner, Armchair of beechwood, aluminum, and cane under the upholstery (1905–06) (Montreal Museum of Fine Arts) File:Otto wagner, armadio, creato per la sede del giornale die zeit a vienna, 1902.JPG|Cabinet made for the offices of the newspaper
Die Zeit,
Otto Wagner, (1902) File:Otto wagner, tavolino portavivande, creato per la villa dell'artista, vienna 1904.JPG|Wagner, Otto, Portable table made for Wagner's villa (1904) File:Bookcase - LACMA M.2003.29.jpg|Bookcase by
Koloman Moser (1902) (Los Angeles County Museum of Art) File:Koloman_Moser_-_Inlaid_Armoire_from_the_Eisler-Terramare_Apartment_Bedroom_-_Google_Art_Project.jpg|Inlaid Armoire by
Koloman Moser (1903) (Leopold Museum) File:Ngv design, josef hoffmann, adjustable-back chair (stitzmachine) 1905 circa 02.JPG|Adjustable-back chair
Model 670 "Sitzmaschine" by
Josef Hoffmann (1905)
Glass Glass, particularly
stained glass windows, played a significant part in the Vienna Secession.
Leopold Forstner was in important artist in this domain, working closely with Otto Wagner and other architects. He designed the windows for the Austrian Postal Savings Bank, one of the landmarks of the Vienna Secession style, and also for the
St. Charles Borromeo Cemetery Church, the most notable of Vienna Secession churches. Another notable figure in Secession glass art was Johann Loetz Witwe, who made a striking series of iridescent vases which won a gold medal at the 1900 Paris Exposition. File:Johann loetz witwe, vaso iridescente giallo e blu, serie farfalle 1900.jpg|Vase by Johann Loetz Witwe (1900) File:Johann loetz witwe, vasi iridescenti, 1900.jpg|Iridescent vases by Johann Loetz Witwe (1900) File:Karl-Borromäus-Kirche-Innen2.jpg|Stained glass window of
St. Charles Borromeo Cemetery Church by
Leopold Forstner (1908–1911) File:Phänomen.jpg|Loetz Phänomen 2/484 'Medici' in Maron glass (10") File:Spreading Chestnut.jpg|
Ceramics Mosaics of
ceramic tiles were another important element of the Vienna Secession style. They were used to decorate both building facades and interiors. Otto Wagner used them to decorate the Majolika House, where they served both as decoration and for a practical purpose; the facade could be efficiently cleaned with the use of fire hoses. File:Wien - Otto-Wagner-Kirche, Innenansicht.JPG|Altar wall mosaics of
Church of St. Leopold by Leopold Forstner File:Otto-Wagner-Kirche Seitenaltar links 2.jpg|Altar mosaics of Church of St. Leopold by Bruno Mayer (1903–1907)
Other genres File:Wien_-_Marc-Anton-Monument_(2).JPG|The monument to
Mark Antony by Arthur Strasser (1899) File:Klinger_Beethoven2.jpg|
Beethoven torso statue by
Max Klinger for XIV Secession exhibition (1902) File:Jugendstil lamp - Friedhofskirche zum Heiligen Karl Borromäus - Max Hegele - Vienna.jpg|A lamp in
St. Charles Borromeo Cemetery Church File:Ankeruhr Wien.jpg| clock by
Franz Matsch (1911–1914) ==Influence==