Sacred Spring: God and the Birth of Modernism in Fin de Siècle Vienna

by Robert Weldon Whalen

The culture of fin-de-siècle Vienna continues to fascinate and has been examined at length. There are indeed massive studies of Freud, Mahler, Loos, Klimt, and many other notables from that era. But these studies often ignore the religious dimension of Viennese modernist culture, implying -- if not arguing outright -- that "modernism" and "religion" are contrary, even hostile, categories. Taking a different tack, Robert Weldon Whalen in Sacred Spring documents the important thesis that Viennese modernism, far from being secular, was in fact a deeply religious movement. In vivid language Whalen examines this era of "being torn apart and rising again," describing those Viennese who were on the cutting edge of modern art and thought. Though the book focuses on avant-garde art, it also connects materials from journalism, popular culture, and contemporary politics in fascinating ways. Students of modernism, the arts, and European cultural history will find that Sacred Spring offers an intriguing, compelling perspective on their subjects. Featuring a beautifully written narrative, the book will also appeal to readers interested in the intersection of culture and faith, in the connection between the arts and the sacred.

Genres: History, Art

349 pages, Hardcover

First published March 19, 2007

Reviews

[Diane · Rating 4 out of 5]

Interesting take on late 19th century/early 20th century Vienna. The author argues that all of the "modern" movements in the arts at that time were profoundly religious rather than secular. However, the author talks both about ways that modern artists recast traditional Christian concepts, such as death and resurrection, and how these same artists used supernatural/occult/pagan themes in their works. He never really explains how these two seemingly contradictory phenomena might be related.

However, the book provides a lot of insight into the history and culture of the period, and is worth a close read for this alone. The research appears to have been done mostly in the original languages, and is very detailed and well-presented.

[Robert · Rating 2 out of 5]

My opinion climbed as I worked my way through. Much of the following criticism is aimed at the attempt to 'capture' Vienna in the early chapters.

Whalen has an annoying habit of partially translating the names of local landmarks -- Fransiskaner CHURCH, Neue MARKET, etc. -- which leaves one wondering if he hopes to lend academic flavor to his prose or dumb things down for readers who might have trouble figuring out that the Neue Markt is, indeed, a market. He also has a penchant for block quotations, many of which are entirely unnecessary. Again, one wonders if he is attempting to add gravitas to his text with a liberal sprinkling of much-better-written prose. Here's Whalen: "Vienna in 1889, on the brink of that cosmic unease called 'modernism,' was a very old city." (31) Whalen has borrowed the term 'cosmic unease' from an earlier quotation of Alfred Polgar, leaving us here with his essential idea : Vienna was an old city! Most of Whalen's text is actually just a remix of other monographs.

I get the sense that Whalen doesn't have much personal and sustained contact with Vienna. The fact that he takes some of his descriptions of Viennese character from modern tour books is problematic for someone claiming to have great insights into cultural history.

What is lacking is any sustained narrative or analysis, save for his assertion that religion played a role in all that was modern - flimsy argument at best.

I also take exception to characterizing the Hapsburg Imperial capital as "an America in the very heart of Europe" - seemingly simply because it had a large Jewish population.

[Robyn · Rating 4 out of 5]

This is a scholarly book. I am really enjoying it, it is much more easy to read then other scholarly studies and compares different disciplines: music, art, literature, politics, religion, etc. If you have an interest in Viennese society around the turn of the twentieth century you might enjoy it too, otherwise it may come across as just historical analysis.

[Symphopotamus · Rating 3 out of 5]

Very much an overview. Organized a bit randomly and lacked transitions or connections between sections. Artists/musicians/thinkers are often introduced without logical flow.