The German art world, where all of the aforementioned artists were featured before moving on to the Austrian capital, served an intermediary function in these Belgian-Austrian relations. The Association of Visual Artists Vienna Secession published its own art journal, Ver Sacrum, from 1898 through 1903. Belgian cultural elite interest in foreign art scenes remains selective and self-serving. The Belgian-Austrian relations in arts worked in one direction. While Belgian artists thrived in Vienna, the opposite cannot be said. His works of erotic content were collected but, given their subject matter, not largely distributed. Félicien Rops can be considered as an obscure, but omnipresent figure in the Austrian art world.
The Secession thus turns to the artist George Minne who represents the latest artistic postulates. It was no longer dependent on big names in order to legitimize its importance in critical discourse, but could now dictate tastes itself. After his mothers death, the family moved to Vienna. Jettel was the son of Sophie and Ladislaus Hugo Jettel, an ironworks-administrator. He was made a Knight of the Légion dhonneur in 1898. By the turn of the century, the cultural reputation of the Secessionist movement was well established. He studied at the Vienna Academy and moved to Paris in 1873, before moving back to Vienna in 1897 and serving as a co-founder of the Vienna Secession. The Secession also allowed their public to discover Belgian artists such as Charles van der Stappen and Théo van Rysselberghe. These two accomplished artists with international reputations represented the polarization of Belgian art. Two of these became frontrunners on the path to modernity: Constantin Meunier and Fernand Khnopff.
The Viennese Secessionists, along with other international artists, invited numerous Belgians to their first exhibition in 1898. The Austrian reception of Belgian artists around 1900 is a result of efforts to fight off isolation and enter into an internationally acknowledged modernity.
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