Even the works of art themselves were infused with this idea. The Secessionists' goal of providing an experiential exhibition, however, did not begin and end with their building, publications, and interior design. Similar perhaps to an Assyrian temple rather than a bathhouse, the main hall was very much a place for veneration. With this goal in mind, the Secessionists designed the main hall, the home of Klinger's statue, as a Tempelkunst or a place specifically designed to complement the 'visual and philosophical essence' of a work of art ('Music and the Vienna Secession: 1897–1902,' 208). The aforementioned criticism that Klinger's statue resembles an Assyrian bathhouse-goer, however, is not unfounded rather, it reveals a particular goal of the Secessionists: to create Raumkunst or 'spatial art.' The men of the Secession wanted their exhibition (the building, the art, the furniture, and even the 'third space' of the printed press) to be an all-encompassing, spatial experience for the viewer-something one could abstractly liken to the captivating moment of entering a bathhouse. The statue is made of the finest marble, ivory, and bronze and weighs an epic 5,000 kilos. On the back of the throne appear Biblical scenes, one of which some scholars believe depicts Beethoven as John the Evangelist, a thesis supported by the eagle (John's biblical symbol) near Beethoven's feet.

Klinger had dedicated fifteen years (and a significant investment of 150,000 marks) to his vision. While most critics did not understand Klinger's representation (reviews from the Viennese music community are conspicuously absent), some recognized the sculpture's magnificence and acknowledged its detailed symbolism. unmistakably reveals that they could think of no greater honor for Beethoven than to stick him in the middle of an Assyrian bathhouse' (Celenza, 'Music and the Vienna Secession: 1897–1902,' 210). One wrote: 'The 'Homage' that the Secession extols on Max Klinger's Beethoven Statue. Most international and Viennese critics found Klinger's interpretation of Beethoven confusing, if not repellant. While most revered Beethoven as a modern father of music, Klinger chose to depict the icon naked and crouching. Klinger's statue of Beethoven was roundly criticized. Klimt's frieze was originally meant to supplement Klinger's piece, but it later became the more famous of the two, and one of Klimt's most recognizable works. Klinger's statue of Beethoven was the exhibition's centerpiece and, as such, was placed in the middle of the Secession House's main hall.

Two of the most recognizable were Max Klinger, an honorary member of the Secession from Leipzeig, and Gustav Klimt, the Secession's president. The Secessionists revealed their ideas about art, space, and experience through various artistic contributions paying tribute to the great composer.Ī total of twenty-one artists participated in the exhibition. The Vienna Secession's fourteenth exhibition, dedicated to Ludwig van Beethoven, was one of the movement's most widely attended and popular shows. Exhibition XIV, The Beethoven Exhibit, 1902

The vienna secession movement