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Münchener Kunst-Ausstellung 1917, verbunden mit einer kunstgewerblichen
Abteilung zugunsten der Nationalsammlung für die Hinterbliebenen der gefallenen Krieger im königlichen Glaspalast. Veranstaltet von Münchener Künstlergenossenschaft und der Secession, 1. Juli bis Ende September. Offizieller
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By the end of the nineteenth century, more artists lived in Munich than lived in Vienna and Berlin put together. However, the art community there was dominated by the conservative attitudes of the Munich
Artists' Association and its supporters in the government. These attitudes found expression in
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Münchener
Secession) was an association of visual artists who broke away from the mainstream Munich Artists' Association in 1892, to promote and defend their art in the face of what they considered official paternalism and its conservative policies. They acted as a form of
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In 1992, the secession celebrated its centennial and, in March of the following year, the
Society of Friends and Sponsors of the Munich Secession was created to support the secession's continuing goals, maintain the Secessionsgalerie and promote exhibitions.
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To address this situation, a group of artists with a progressive outlook gathered together in 1892, announced their separation from the official
Artists' Association and established the Munich Secession, with an eye toward exhibiting at the upcoming
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Key figures in the movement included
Bernhard Buttersack, Ludwig Dill, Bruno Piglhein, Ludwig von Herterich, Paul Hoecker, Albert von Keller, Gotthardt Kuehl, Hugo von Habermann, Robert Poetzelberger, Franz von Stuck, Fritz von Uhde and Heinrich von
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and
Pilotystraße. Construction began immediately and their debut exhibition took place on 16 July 1893, in the first portion of the building to be completed. Over 4,000 visitors came to see 876 works by 297 artists.
246:, organized by the Artists' Association. This led to a bitter debate about responsibility and the exhibition's content which grew so furious, it attracted the attention of the Ministry of State for Science and Art.
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Man soll auf unseren
Ausstellungen Kunst sehen und jedes Talent, ob älterer oder neuerer Richtung, dessen Werke München zur Ehre gereichen, soll seine Blüte reich entfalten können.
261:(One should see, in our exhibitions, every form of art, whether old or new, which will redound to the glory of Munich, whose art will be allowed to develop to its full flowering.)
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The success of this effort eventually allowed them to come to an agreement with Franz von
Lenbach and the Artists' Association. As a result, the art exhibition building on the
180:, using their influence to assure their economic survival and obtain commissions. In 1901, the association split again when some dissatisfied members formed the group
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founded the
Prinzregent-Luitpold-Stiftung zur Förderung der Kunst, des Kunstgewerbes und des Handwerks in München, an art foundation devoted to promoting traditional
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At first, the secession had some difficulty finding a building for their exhibitions. The city of Frankfurt offered to provide the necessary space and 500,000
254:. They called for a transformation in the ideas of what constitutes art and promoted the idea of an artists' freedom to present works directly to the public.
296:, a writer and journalist who coined the word "secession" to describe the spirit of the various art movements at that time. In 1896, he would establish the
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In this statement of principles, the artists declared their intentions to move away from outmoded principles and a conservative conception of what art is.
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373:, if the group would move there permanently. Their first exhibition actually took place at Berlin's National Exhibition Building (now known as
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On 4 April 1892, ninety-six artists who had resigned from the official association, established the Association of Visual Artists of Munich.
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in the service of the state. This foundation created and maintained a high level of artistic quality and brought world attention to the
423:(bringing into line). Artists were eventually required to obtain state endorsement for all of their works. Those who were considered "
702:. Catalog of the "Upper Bavarian Cultural Days" exhibit in Dachau (1989). Kreis- und Stadtsparkasse Dachau-Indersdorf, Dachau 1989.
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Offizieller Katalog der Internationalen Kunst-Ausstellung des Vereins bildender Künstler Münchens (E. V.) "Secession" 1908.
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Offizieller Katalog der Internationalen Kunst-Ausstellung des Vereins bildender Künstler Münchens (E. V.) "Secession" 1906.
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Offizieller Katalog der Internationalen Kunst-Ausstellung des Vereins bildender Künstler Münchens (A. V.) "Secession" 1898.
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Zur Münchner Secession. Genese, Ursachen und Zielsetzungen dieser intentionell neuartigen Münchner Künstlervereinigung
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Baurat (city construction supervisor) Franz von Brandl provided the secession with some free land at the corner of
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became the first secretary. In a few months the original name gave way to the more popular name: Munich Secession.
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party began their crusade to bring all forms of artistic expression under their control: a process known as
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427:" were not allowed to paint. In 1938, the Munich Secession was dissolved as part of the
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Poster by Franz von Stuck for the Seventh International Art Exhibition in Munich, 1897.
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Münchener Secession 1892. Otto Barone Hierl-Deronco, Maler und Mitbegründer, 1859–1935
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Leo Putz, Max Feldbauer und der Kreis der "Scholle" und die "Jugend" in Dachau um 1900
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556:. Schriften aus dem Institut für Kunstgeschichte der Universität München, Vol. 46,
455:(New Munich Artists' Association) were founded and led to the establishment of the
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Another factor was the complete financial failure of an exhibition in 1888 at the
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the official "mission statements", written by the so-called "Prince of Painters" (
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184:. Another split occurred in 1913, with the founding of the New Munich Secession.
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691:. Verlag der Münchener Künstlergenossenschaft und Secession, Munich 1917. —
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Wie Hitler den deutschen Geist zerstörte. Kulturpolitik im Dritten Reich
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That same year saw the creation of another breakaway association, the
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The Munich Secession. Art and Artists in Turn-Of-The-Century Munich,
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325:, a member of the liberal opposition to the government's policies.
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736:(Princeton, New Jersey: Princeton University Press, 1990),
852:. Seemann, Leipzig/Berlin 1893, S. 185–188. —
770:. Exhibition catalog. Galerie Konrad Bayer, Munich 1996.
215:. Matters came to a head in 1891 when the Prince-Regent
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Bruno Piglhein, first president of the Munich Secession
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Kunstchronik. Wochenschrift für Kunst und Kunstgewerbe
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Secession 1892–1914. Die Münchner Secession 1892–1914
292:
Financial support initially came from three sources:
709:. "Miscellanea Bavarica Monacensia", Vol. 158,
51:. Unsourced material may be challenged and removed.
751:Norbert Hierl-Deronco, Otto Hierl-Deronco (Ill.):
587:Memorandum des Vereins Bildender Künstler Münchens
457:Bundesverband Bildender Künstlerinnen und Künstler
196:Franz von Lenbach, the "Prince of Painters". From
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239:and other contemporary trends in the art world.
680:Zweite Auflage. Bruckmann, Munich 1908. —
670:Zweite Auflage. Bruckmann, Munich 1906. —
660:Vierte Auflage. Bruckmann, Munich 1898. —
438:Following the end of World War II in 1946, the
773:Jochen Meister, Bettina Best, Andreas Strobl:
775:Münchener Secession. Geschichte und Gegenwart
755:. Hierl-Deronco, Krailling vor München 1994,
834:Die Ausstellung der Münchener „24" in Berlin
717:. Kommissionsverlag UNI-Druck, Munich 1992,
564:. Tuduv-Verlags-Gesellschaft, München 1989,
405:) was transferred to the secession in 1897.
636:. Ellert & Richter, Hamburg 2005,
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652:Further reading and documentary materials
467:Founding members of the secession's board
459:(Federal Association of Visual Artists).
359:The National Exhibition Building (ULAP),
111:Learn how and when to remove this message
792:. Edition Minerva, Wolfratshausen 2008,
744:. (Based on a dissertation submitted to
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820:New Munich Artists' Association website
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605:Historisches zur Münchener Secession
453:Neue Münchner Künstlergenossenschaft
285:was elected the first president and
49:adding citations to reliable sources
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725:. (Based on a dissertation for the
554:Die Anfänge der Münchener Secession
343:followed five years later, and the
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825:Complete catalogs 1893-1947 (PDF)
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316:Hans Veit zu Toerring-Jettenbach
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18:German art movement founded 1892
777:. Prestel-Verlag, Munich 2007,
768:Die Münchener Secession um 1900
36:needs additional citations for
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788:Michael Buhrs, Bettina Best:
572:. (based on a thesis for the
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314:party's official organ; and
252:World's Columbian Exposition
227:, but was firmly opposed to
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144:1892-1938 and 1946-present
620:, retrieved 22 June 2012.
347:was established in 1898.
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815:Munich Secession website
618:muenchenersecession.de
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727:University of Bamberg
612:13 April 2014 at the
429:Kulturellen Säuberung
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705:Markus Harzenetter:
574:University of Munich
517:Robert Poetzelberger
490:Ludwig von Herterich
312:Democratic Socialist
225:Academy of Fine Arts
45:improve this article
840:, Adolf Rosenberg:
746:Stanford University
693:Digital collections
591:Secession 1892–1914
589:. In: Buhrs, Best:
474:Bernhard Buttersack
391:Prinzregentenstraße
217:Luitpold of Bavaria
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533:Heinrich von Zügel
519:, second secretary
513:, second president
511:Hugo von Habermann
433:cultural cleansing
415:National Socialist
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60:"Munich Secession"
854:Digital magazines
844:. Vol.4.1892/93,
798:978-3-938832-33-2
783:978-3-7913-3877-4
501:Albert von Keller
497:, first secretary
486:, first president
386:) early in 1893.
308:Georg von Vollmar
213:Franz von Lenbach
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38:verification
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441:Neue Gruppe
435:) process.
399:Königsplatz
379: [
364: 1885
351:Exhibitions
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298:Art-Nouveau
294:Georg Hirth
178:cooperative
874:Modern art
863:Categories
540:References
425:degenerate
371:gold marks
269:Foundation
244:Glaspalast
209:Malerfürst
188:Background
101:April 2014
71:newspapers
800:. –
682:Full text
672:Full text
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401:(now the
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748:, 1987).
729:, 1991).
715:846909-x
610:Archived
451:and the
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182:Phalanx
152:Germany
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161:Zügel.
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78:books
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376:ULAP
167:The
64:news
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