“Far sacrum” and the graphic images of the Viennese discharge. The illustrations of the great masters, from Klimt to Mucha – Cremona – Arte.it

Cremona – Under the Aegis of the Viennese separation, the Ver -Sacrum Magazine, first monthly, then Biseptimanal, saw the light in January 1898 thanks to Gustav Klimt and Max Kurzweil.
The name of this Austrian art magazine that contributed to the reduction of the canons of editorial images, took his name from an Italian ritual, then partially included in the culties of the Oude Rome, based on the custom of removing all young people born in the village until the age of the majority, as an offer, as an offer, as an offer, as an offer, as an offer, as an offer, as an offer, as an offer, as an offer.
The chosen ones left the well -known to go to the unknown, or the new countries in which they would have been arranged. The event was loaded with a strong ethical connotation, because it could renew the population and mix with other people.
The magazine of the Viennese discharge placed itself as the manifesto of a departure and together with a lot of rebirth and emancipation (the motto of the Sezionsessil was, not surprising, alone “Are art on time. To art his freedom”).
Just Ver Sacrum represented the most important body of spreading the idea based on the principles of total art, Gesamtkunstwerk, but also of the promotion of the artists who found it and, always numerous, added.
Vienna was the support point of this revolution that reached all European countries involved in modernist and symbolist movements in a short time. He resigned himself for his ability to reread currents from the past and archaic traditions in a push in the direction of the reinterpretation of the so -driven great art, as well as the small art, placed on the same level.

Gustav Klimt, fish from fish, illustration for “far sacrum”, year 1, n. 3, 1898. Biancardi collection, Milan

Only the collection of the Ver -Sacrum Magazine, from the Milanese collection of Giovanni Biancardi, will be the support point of the exhibition “Far Sacrum and the graphic images of the Viennese discharge”, Compiled by Giovanni Biancardi, Edoardo Fontana and Silvia Scaravaggi, expected from October 18 to January 11 in the Civic Museum of Crema and Cremasco.
Promoted and produced by the Civic Museum of Crema and Del Cremasco, in collaboration with the Eastern Art Museum – Mazzocchi di Coccaglio Collection and the Mnemosyne Cultural Association of Dello, the exhibition will welcome the original graphic images that have been published, the most important and cover and covered and. In addition to the magazine, the public can browse between illustrated books and exhibitions of exhibitions organized by the Vereinigung Bidender Künstler Wiener Secession, official name of the Austrian movement of the Viennese separation.
This heterogeneous group works will be accompanied by loose sheets made by members of the Secession, by such -related “correspondent” artists, but also engravings and drawings of international personality presented in the exhibitions made in the chief headquarters, designed by Josph Maria Olbrich and on other places, or published
For the occasion, works by Gustav Klimt, Koloman Moser, Alfred Roller, Josef Maria Auchentaller, Carl Moll, Egon Schiele, Alphonse Mucha, Giovanni Segantini, Félix Vallotton, Alfredo Müler also arrives in Crema.

Alphonse Mucha, Au Quartier Latin, Color Lithography, cover for the magazine with the same name, year 6, special edition, 1898. Bardazzi collection, Florence

Under the innovations introduced by Ver Sacrum, the typographic setting is also inserted that integrates and overcomes the English aesthetic movement to create a compact structure that is consistently enhancing the architecture of the page, the texts and the illustrative device, which improves the style and poetica of the different artists.
The magazine page, sometimes full of Japaneistic decorations, forms that the tradition of popular art re -interpreting, Egyptian jewelry, hellenistic vessels and simple geometries of Roman painting, often uses empty and ascetic monsters, sometimes lifted on capilettersa and frames. The discovery of Japanese images and crafts was important, able to condensate syntheticism and aesthetic perfection, starting with the simplest forms of everyday objects, into polychrome xylography. To confirm this link, the exhibition in Crema lacks, furniture, volumes and individual engravings from private collections and above all, through the important heritage owned by the Museum of Eastern Art – Mazzocchi di Coccaglio Collection.

Saka-Zuki, Bowl for Sake, Meiji period (1868-1912), wood, lacquer, gold. Oriental Art Museum – Mazzocchi di Cocaglio Collection

By browsing the pages of the magazine, the visitor will better perceive the impact of the separation of the art of those years. The core of Viennese artists and of the Central European area gradually joined different personalities from different countries, cultures and currents, united by the desire to propose a new art that did not deny a tradition, but cherished it through the formulation of a moderate avant -garde. Although initially influenced by a late artificial nouveau, the magazine collected Belgian symbolism, Segantine divisionism, Japaneistic decorativism, impressionism, late English pre -refaelism and the disruptive Scottish modernism of the Glasgow School. A kind of “escape to the future” so that far Sacrum made one of the most influential magazines of his time.