This post is the third of four on Bratislava for the month of October.
From the riverbank, a relaxed stroll up the steps towards the castle lands me at the corner of Zámocké schody and Beblavého, and it’s all cobblestones. I’d like nothing more than to plop somewhere with a tall beer as I look longingly at restaurant placards tempting me with duck or venison. But I can’t, as I have to be back in Vienna this evening. But I leave with a hopeful nod, that these streets, these places seem eternal and timeless (Zeitlos).
I made the photo on 17 May 2018 with a Fujifilm X70 fixed-lens prime and the following settings: 1/250-sec, f/11, ISO1000, and 18.5mm focal length (28mm full-frame equivalent). This post appears on Fotoeins Fotografie at fotoeins.com as https://wp.me/p1BIdT-caP.
This post is the second of four on Bratislava for the month of October.
Like all cities around the world, the streets have to contend with the daily (afternoon) rush of commuters in their cars and on public transport. The eye immediately picks up the brilliant red used by Dopravný podnik Bratislava (DPB) for their trams. The weather was pleasant and I decided to walk throughout the entire nine hours of my day-long visit to the Slovakian capital city.
I made the photo on 17 May 2018 with a Fujifilm X70 fixed-lens prime and the following settings: 1/250-sec, f/11, ISO1000, and 18.5mm focal length (28mm full-frame equivalent). This post appears on Fotoeins Fotografie at fotoeins.com as https://wp.me/p1BIdT-caK.
This post is the first of four on Bratislava for the month of October.
Overcast skies don’t diminish the impact of standing over this famous river in the capital city of Slovakia, a mere 70 kilometres east from Vienna, Austria’s capital.
I’m crossing Bratislava’s Old Bridge (Starý most) for this classic view of the UFO Bridge (Most SNP), the Danube river and the city’s castle (Bratislavský hrad). Interesting thing is that the present incarnation of the Old Bridge was a replacement completed in 2015 which included a new tram track between the Old Town on the north flank and Petržalka on the south flank.
I made the photo on 17 May 2018 with a Fujifilm X70 fixed-lens prime and the following settings: 1/1000-sec, f/11, ISO1000, and 18.5mm focal length (28mm full-frame equivalent). This post appears on Fotoeins Fotografie at fotoeins.com as https://wp.me/p1BIdT-c8J.
From Innsbruck’s Marktplatz, I face the Nordkette mountains across the Inn river with the Inn bridge on the right. This has the appearance of a “standard” panorama, but I’m compelled to frame a shot with a row of brightly coloured houses hugging the river bank and the “crown” of rock hovering in the background. The “bunte Häuser” are located in the Stadtteil (neighbourhood) of Mariahilf.
I made the photo on 10 May 2018 with a Canon EOS6D, 24-105 glass, and settings: 1/800-sec, f/11, ISO500, and 24mm focal length. This post appears on Fotoeins Fotografie at fotoeins.com as https://wp.me/p1BIdT-bPa.
Above/featured: Modernism at Steinhof Church: church by O.Wagner, sculptural angels by O.Schimkowitz, stained glass by K.Moser (HL).
Vienna is as much a present-day cultural capital city as she was for decades and centuries. Many will get a peek and taste of long-established aspects of the city by walking the streets of the Old Town for the atmosphere, chatting in cozy cafés with coffee and cake for the ambience, and swaying to the rhythms of the waltz under the spell of the (blue) Danube.
The early years of the 20th-century were troubled by greater calls for more autonomy from multiple ethnic groups within the patchwork of the Austro-Hungarian empire, by destruction and loss of life from The Great War (World War I), and by subsequent dissolution of the Empire. The capital city became an open theatre for socioeconomic and political changes across all class divisions within an environment where rebellion and revolution were the big talking points against the dogma of long-held traditions. Deep longing for the stability of the old and familiar mingled with equally enthusiastic desire for the radical of the new and mysterious.
Old Busted versus New Hotness
Many in the arts, design, and cultural scene were questioning the excessive persistence of past styles, and were seeking something new to better represent changes happening all around them in Vienna. In 1897, a group of artists and architects resigned from the established Künstlerhaus to form the Vereinigung Bildender Künstler Österreichs (Union of Austrian Artists), known also as the Vienna Secession. Architecture moved towards a sharper focus to geometry and abstraction, and art flowed to the decorative with organic floral-like designs in the Jugendstil, Art Nouveau’s chapter in German-speaking lands. To promote their new ideas, the Secession group produced an official magazine called Ver Sacrum (“sacred spring” in Latin, 1898) and constructed the Secession building (1897) as an exhibition hall to display their work. The Wiener Werkstätte (Vienna Workshops) was created in 1903 as an association of artists whose thinking and applied arts creations were a precursor to the Bauhaus movement. Members of the Werkstätte worked with Vienna’s architects to broaden and unite the various concepts for a complete artwork, or Gesamtkunstwerk, as applied to a living space: the house, its rooms and furnishings, the interplay of light and space, and the tools and utensils for every day aspects of living.
Some of the key figures and influencers of the city’s “new modernism” in the art, design, and architectural scene include:
- Josef Hoffmann,
- Gustav Klimt,
- Oscar Kokoschka,
- Max Kurzweil,
- Adolf Loos,
- Carl Moll,
- Koloman Moser,
- Joseph Maria Olbrich,
- Egon Schiele,
- Othmar Schimkowitz, and
- Otto Wagner.
Some of their work from various locations in Vienna are highlighted below. From the list above, four died in 1918: Klimt on February 6, Wagner on April 11, Moser on October 18, and Schiele on October 31. In the centenary of their deaths, Vienna has marked all of 2018 as the year of Vienna Modernism (Wiener Moderne).
( Click here for more )