I’m on board an S-Bahn Tyrol S5 train from Innsbruck, and the route’s northern terminus in the town of Scharnitz is within sight. Those mountains tower over the historic north-south path along the Isar river and through Scharnitz pass, and also mark the present-day border between Austria (AT) and Germany (DE).
I made the photo above on 12 May 2018 with a Fujifilm X70 and the following settings: 1/250-sec, f/16, ISO1000, and 18.5mm focal length (28mm full-frame equivalent). This post appears on Fotoeins Fotografie at fotoeins.com as https://wp.me/p1BIdT-cX7.
Overcast skies and intermittent showers have followed me this early morning from the city of and Austrian federal state of Salzburg and into Upper Austria. After disembarking the regional train at Hallstatt Bahnhof, I’m on a separate ferry across Hallstatt Lake into the town proper. It’s 740am, and even though I’m disappointed by the lack of springtime sun, that south-facing view is my first full visual welcome to the area and a sight I’ll savour and remember.
UNESCO inscribed the Hallstatt-Dachstein Salzkammergut region and its salt-making history as World Heritage Site in 1997.
I made the picture above on 25 May 2018 with a Fujifilm X70 fixed-lens prime and the settings: 1/250-sec, f/11, ISO2000, and 18.5mm focal length (28mm full-frame equivalent). This post appears on Fotoeins Fotografie at fotoeins.com as https://wp.me/p1BIdT-cWW.
On a daytrip from Innsbruck, I spent a worthwhile chunk of time in the Wilder Kaiser region in Austria’s northeast Tirol. Skies on this warm spring day were decidedly mixed as sun, clouds, and showers made their presence known throughout the afternoon as we walked partway around the lake called Hintersteiner See in Scheffau. We didn’t go completely around the lake, as we all looked each other and wordlessly shared the same thought: beer, big mugs of the cold amber liquid. We turned around and picked up the pace, a fresh urge to a worthy goal.
I made the picture above on 13 May 2018 with a Fujifilm X70 fixed-lens prime and the settings: 1/500-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-ckj.
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).
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