Page 49 - Best Bid 7 | 2017

1906 - RuDOLF JETTmAR
SECESSION XXVII AUSSTELLUNG,
LITOgRAFIA A COLORI, Cm 63 X 45
COLOuR LIThOgRAPhY, IN. 24,80 X 17,71

VENDuTo a
SolD aT
€ 4.750

1923 - OsKAR KOKOsChKA EgON sChIELE
KUNSTSAKLON WOLFSBERG ZÜRICH sECEssION 49 AussTELLuNg 1918
LITOgRAFIA A COLORI, Cm 128 X 90,5 LITOgRAFIA A COLORI, Cm 68 X 53
COLOuR LIThOgRAPhY, IN. 50,39 X 35,63 COLOuR LIThOgRAPhY, IN. 26,77 X 20,86

COURTESY OF ARCHIVIO STORICO BOLAFFI

VENDuTo a

SolD aT communication. And Paris was also
€ 5.250 the city that invented the affiche, ça

a revolutionary message via the va sans dire.

particularly appropriate means Our Twentieth Century Art

of public propaganda. The aim auction proved that affiches from

was to produce universal and secessionist circles continue to have

collective art, but it immediately to send a revolutionary an incredible appeal in international
became clear how much social message via collectors’ circles. It is no surprise
impact the poster would acquire that the small lot up for auction
by conveying national and public propaganda attracted such a large number

international ideas and messages. of enthusiasts: each piece was a

The secessionists played a vital graphic statement of intent created

role in artistic development in general, not to mention their by illustrious artists. It is impossible not to appreciate schulz’s
influence on the typographical panorama in central European, muse or not to recognise the secession palace by Jettmar.
to the extent that the works from those years still provide Or again not to lose oneself in the melancholy liquid gaze of
an emblematic insight into their ideas and artistic taste and Kokoschka, one of Klimt’s young students, a rebel among rebels,
represent a unique and irreplaceable document in the history increasingly driven towards a certain expressionism that shook
of the affiche.
off any symbols to become pure, indecent, psychotic emotion.

The secessions were young, dynamic movements free of This is the same inner nature that emerges in the final
dogma and cold academic mandates, where artists could secessionist poster by Egon schiele, who depicted himself sat at
master their own language, a definite social role and a whole a table surrounded by fellow artists to emphasise the solidarity
new commitment to communication. These movements found that was such an integral part of the group, marking the start of
fertile ground for change in Austria and germany: munich an intimate image more similar to his style and interior world.
was the pioneer of this radical movement in 1892, Vienna was
flooded with anti-academy feeling in 1897 and it was Berlin’s A changed world, a reflection of the post-war period, in which
turn the year after. But how were they to spread their message? artists also began to discuss new directions. In this very work,
The answer came from Paris, the city of light, the catalyst the last he would ever make, schiele laid the foundations for
for an irresistible cultural dynamism that also invested in passing the baton on to the modern Avant-garde.

47b 7.2017 results