Gianfranco Malafarina                            

It has passed a little more than a century from the first public appearance of the Viennese secession and in Italy a lot of water has passed under the bridges of the historical-critical judgement and the media 'consumption' of Klimt and his partners. An immediate and dazzling success. Oblivion and repression in the period between the two world wars and immediately after toward everything tasted        G. Klimt"Sculpture", 1896; black chalk, cm 418 X 310  "Tragedy", 1897, black chalk, cm 419 X 308 Vien, Historischien Museum der Stadt Austrian and then German. Partial recovery in the sixties in the wake of the renewed interest for the Liberty style and the Art Nouveau. A new recover some years later, renewed oblivion in last times. Maybe it has come the time to get back and to deepen, to resume contacts with the great Austrian culture in a more apt and specific scientific investigation terms, catching at root the premonitory signs  GUSTAV KLIMT  and the origins of the Viennese secession  Milano, Fondazione Antonio Mazzotta  14 feb.- 16 may 99  From 10.00 to 19.30 (on Tuersday and Thursay10.00 - 22.30), closed on Monday  Ticket L. 12.000 Mazzotta Catalogue    of the real cultural revolution that will make of Vienna, in the first years of the new century, an authentic experimental laboratory of modernity. That's the purpose of the elegant exposition, dedicated these days by the Fondazione Mazzotta to “Gustav Klimt and the origins of the Viennese Secession “.

The exposition limits to briefly outline Klimt's artistic path to investigate then the effective wideness and covering of the secessionist adventure throughout the results, maybe less flamboyant but surely not less meaningful, given by its main leading figures in graphics, drawing and works on paper. A very rich current, rigorously set in the catalogue of Marian Bisanz-Prakken, arriving at Milan from the rich mine of Albertina and that of the Historisches Museum of Vienna. Overcoming of naturalism and academicism, whole freedom in employing          G. Klimt "Studies for the portrait of Adele Bloch Bauer Black chalk, cm 444 X 311. Vien, Graphiske Sammlung Albertina    colours, surface flattening of the perspective structure in favour of a modulation, graphic and linear at all, of the pictorial behaviour, consciences' regeneration by the means of the formative and educational roles of art, radical renewal of applied arts, research of the total work of art able to involve into a creative unicum, poetry and music, painting and literature. Those were some of the theoretical and practical basis over which a new generation of artists, architects and critics broke in May 1897 their own sodality with the almost sclerotic Künstlerhaus of Vienna to rise a new movement (the Secession). For some years, at Vienna, with the works and the        G. Klimt: "nuda veritas" 1898; ink, cm 104 X 413. "Nuda verita, 1899; oil painting, cm 252 X 56 Osterreichisches NationalBibliothech Theatersammlung, Vien     expositions of the secessionists, modernity makes really its rehearsal, before the Klimt's leaving , in 1905, decrees the end of the experimentation and opens the doors to the first, unaware prophets of the imminent dissolution.

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