Wagner’s approach to design was closely tied to that of the Secession-a progressive group of Austrian artists, architects and designers who pursued artistic rejuvenation in combining quality building processes with new materials and technologies, and expressive modernist forms. “It is simply an artistic absurdity,” he believed, for a man to spend his “life in interiors executed in the styles of past centuries.” “A man in a modern traveling suit,” he noted, “fits very well with the waiting room of a train station with sleeping cars, with all our vehicles.” Such sportswear was an easy complement to the industrialized and rapidly growing society of late-nineteenth- and early-twentieth century Austria, and by Wagner’s light, was categorically distinguished from the “costumes” of past generations. The daily attire of the modern businessman or athlete provided a model for architecture in that they were stylish yet sleek, comfortable, well-made and practical for a wide range of uses. In elucidating his theory, Wagner applied the metaphor of fashion to building design. Extraneous ornament, therefore, was not only impractical and inefficient, it was also decidedly unmodern. The purpose of beauty, he argued, was to give artistic expression to function. In his 1896 manifesto Modern Architecture, Wagner expressed his ideal of practical and efficiently designed architecture. If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to. If you would like to reproduce text from a MoMA publication, please email text_permi. For more information about film loans and our Circulating Film and Video Library, please visit. For access to motion picture film stills for research purposes, please contact the Film Study Center at. Motion picture film stills cannot be licensed by MoMA/Scala. All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at. At this time, MoMA produced video cannot be licensed by MoMA/Scala. MoMA licenses archival audio and select out of copyright film clips from our film collection. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). Gallery label from Shaping Modernity 1880–1980, March 28, 2012–September 8, 2013. She belongs to a family of similar figures common in modern architecture and design of this period. The main figure, a bowed woman presenting a symbolic sphere of light, is near life size. The bold, condensed lettering in Roller’s design is also a feature of other posters and journal covers he designed around this time. Under the direction of architect and designer Josef Hoffmann, twenty–one artists collaborated on the installation, which was one of the Secession’s greatest public successes, drawing nearly sixty thousand visitors. The Secession held a series of exhibitions, including one honoring composer Ludwig van Beethoven, for which Roller made this poster. This group of young Austrian artists had defected from the nation’s oldest artistic society in a rejection of its conservatism and was committed to the unification of different art forms through a holistic aesthetic. Roller, a graphic designer, was a member of the Vienna Secession.
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