THE BEETHOVEN EXHIBITION 1902 SYNOPSIS
CONTEMPORARY CRITICISM THE HISTORY OF THE BEETHOVEN FRIEZE
XIVth exhibition 1902, left side-aisle with the "Beethoven Frieze" by Gustav Klimt
Poster design by Alfred Roller, catalogue on the XIVth exhibition 1902
A total of 21 artists collaborated on the exhibition under the direction of Josef Hoffmann. The exhibition centered around Max Klinger's Beethoven statue placed in the main hall. In addition to Klimt's Beethoven Frieze, wall paintings and decorations by Alfred Roller, Adolf Böhm, Ferdinand Andri and numerous other artists were presented. The declared aim of the exhibition was to reunite the separate arts - architecture, painting, sculpture and music - under a common theme: the "work of art" was to emerge from the interplay of the design of the rooms, the wall paintings and sculpture.
Klimt's monumental wall cycle was located in the left-hand aisle, which visitors to the exhibition entered first. An opening in the wall offered a view of Max Klinger's Beethoven statue, indicating the interplay of architecture, painting (Klimt's Beethoven Frieze) and sculpture (Klinger's Beethoven) as soon as the visitor entered.
XIVth exhibition 1902, main hall with "Beethoven statue" by Max Klinger
XIVth exhibition 1902, main hall
The XIVth exhibition drew nearly 60,000 visitors, thus becoming one of the Secession's
greatest public successes. It also proved fundamentally important to Klimt's further
development, as well as that of numerous other participating artists: the ideal
of the interplay and aesthetic integration of all artistic disciplines and the
collaboration tested in the Beethoven exhibition was successfully continued by
the Wiener Werkstätte, among others.
Today the Beethoven
Frieze is considered one of Klimt's key works and one of the high points of Viennese
For further information and photographic material please contact:
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