Klimt.Schiele. Wagner.Moser
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A Pair of Art Deco Amboyna and Gilt Armchairs Attributed to Josef Hoffmann of Vienna
A Pair of Art Deco Amboyna and Gilt Armchairs Attributed to Josef Hoffmann of Vienna Circa 1910 – 12 23.5 x 20.5 x 44 in high (60 x 52 x 112 cm high) The tops of the curved attenuated backs are fitted with giltwood cappings. The backs and fronts of the high backs are quarter veneered and the arms are curved and shaped around the seat. With square legs and upholstered in a brown patterned velvet. Josef Hoffmann (1870-1956) was an ! Austrian architect, interior designer and applied artist. He studied architecture at the Academy of Fine Arts in Vienna, Austria, under Art Nouveau architect Otto Wagner, whose theories of functional, modern architecture profoundly influenced his works and, in 1896, he joined his office. ! In 1898, he established his own practice in Vienna. In 1897, inspired by Mackintosh and the Glasgow School, he was one of the founding members with Gustav Klimt, of an association of revolutionary artists and architects, the Vienna Secession.!!In 1903, he founded, with architects Koloman Moser and Joseph Maria Olbrich, the Wiener Werkstätte for decorative arts. ! They aspired to the renaissance of the arts and crafts and to bring more abstract and purer forms to the designs of buildings and furniture, glass and metalwork, following the concept of total work of art. Hoffman's works combined functionality and simplicity of craft production with refined and innovative ornamental details and geometric elements. He is an important precursor of the Modern Movement and Art Deco. !!In 1905, Hoffmann, Klimt and the Wiener Werkstätte artists, designed the Palais Stoclet, in Brussels, the Capital of Art Nouveau and city of Victor Horta. -
KOLOMAN MOSER Ø KOLOMAN DESIGNING MODERN VIENNA Ø MOSER 1897–1907 Edited by Christian Witt-Dörring
5294-NG_MOSER_jacket_offset 19.03.13 13:47 Seite 1 MOSER KOLOMAN KOLOMAN MOSER ø KOLOMAN DESIGNING MODERN VIENNA ø MOSER 1897–1907 Edited by Christian Witt-Dörring With preface by Ronald S. Lauder, foreword by Renée Price, and contributions by Rainald Franz, Ernst Ploil, Elisabeth Schmuttermeier, Janis Staggs, Angela Völker, and Christian Witt-Dörring FRONT COVER: This catalogue accompanies an (TOP ROW) Armchair, ca. 1903, Neue Galerie DESIGNING New York; Easter egg, 1905, A.P. Collection, MODERN VIENNA exhibition at the Neue Galerie London; (MIDDLE ROW) Vase, 1905, New York and the Museum of A.P. Collection, London; Jewelry box, 1907, 1897–1907 Fine Arts, Houston, devoted to Private Collection; (BOTTOM ROW) Vase, 1903, Ernst Ploil, Vienna; Bread basket, 1910, Austrian artist and designer Asenbaum, London Koloman Moser (1868–1918). It BACK COVER: is the first museum retrospec- (TOP ROW) Centerpiece with handle, 1904, tive in the United States focused Private Collection; Coffer given by Gustav on Moser’s decorative arts. The Mahler to Alma Mahler, 1902, Private Collection; (MIDDLE ROW) Two napkin rings, exhibition is organized by Dr. 1904, Private Collection; Table, 1904, Private Christian Witt-Dörring, the Neue Collection; (BOTTOM ROW) Mustard pot, 1905, Private Collection; Display case for the Galerie Curator of Decorative Arts. Schwestern Flöge (Flöge Sisters) fashion salon, 1904, Private Collection The exhibition and catalogue survey the entirety of Moser’s decorative arts career. They ex- amine his early work as a graphic designer and his involvement with the Vienna Secession, with spe- cial focus given to his role as an PRESTEL PRESTEL artist for the journal Ver Sacrum (Sacred Spring). -
Global Austria Austria’S Place in Europe and the World
Global Austria Austria’s Place in Europe and the World Günter Bischof, Fritz Plasser (Eds.) Anton Pelinka, Alexander Smith, Guest Editors CONTEMPORARY AUSTRIAN STUDIES | Volume 20 innsbruck university press Copyright ©2011 by University of New Orleans Press, New Orleans, Louisiana, USA. All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without prior permission in writing from the publisher. All inquiries should be addressed to UNO Press, University of New Orleans, ED 210, 2000 Lakeshore Drive, New Orleans, LA, 70119, USA. www.unopress.org. Book design: Lindsay Maples Cover cartoon by Ironimus (1992) provided by the archives of Die Presse in Vienna and permission to publish granted by Gustav Peichl. Published in North America by Published in Europe by University of New Orleans Press Innsbruck University Press ISBN 978-1-60801-062-2 ISBN 978-3-9028112-0-2 Contemporary Austrian Studies Sponsored by the University of New Orleans and Universität Innsbruck Editors Günter Bischof, CenterAustria, University of New Orleans Fritz Plasser, Universität Innsbruck Production Editor Copy Editor Bill Lavender Lindsay Maples University of New Orleans University of New Orleans Executive Editors Klaus Frantz, Universität Innsbruck Susan Krantz, University of New Orleans Advisory Board Siegfried Beer Helmut Konrad Universität Graz Universität -
Kunsthaus Zürich Presents 'Hodler, Klimt and the Wiener Werkstätte'
Media release Zurich, 20 May 2021 Kunsthaus Zürich presents ‘Hodler, Klimt and the Wiener Werkstätte’ From 21 May to 29 August, the Kunsthaus Zürich presents paintings, drawings, furniture, jewellery and design objects from the heyday of the Vienna Secession. The presentation focuses on works by Josef Hoffmann, Ferdinand Hodler and Gustav Klimt as well as the creations of Dagobert Peche. Peche was the artistic director of the Wiener Werkstätte branch that opened on Zurich’s Bahnhofstrasse in 1917, and whose history is being examined by scholars for the first time as part of the exhibition. The presentation includes some 160 exhibits. It is curated by Tobias G. Natter, former Director of the Leopold Museum in Vienna and author of the catalogues raisonnés of the paintings of Gustav Klimt (2012) and Egon Schiele (2017). The exhibition sheds new light, from a Viennese perspective, on Ferdinand Hodler (1853–1918), who during his lifetime was already being seen as Switzerland’s ‘national artist’. It reminds us that Hodler owed his international breakthrough to the triumph of his participation in the 19th Exhibition of the Vienna Secession in 1904, which brought him the social and financial success he had long craved. Hodler also spent several weeks in Vienna during the exhibition, experiencing at first hand the aesthetic of Viennese ‘Jugendstil’. ‘HIGH AND LOW’ Of the artists Hodler met in Vienna, he reserved the greatest admiration for Gustav Klimt (1862–1918), and in particular ‘the decorative element’ of his art. Yet while known as a peerless exponent of ‘Vienna 1900’, eroticism and ornament, Klimt was more than just the leading figure in Viennese modernism. -
Art Nouveau 50 Works of Art You Should Know
02 ARTHUR HEYGATE MACKMURDO, WREN’S CITY CHURCHES 04 HENRI DE TOULOUSE- LAUTREC, DIVAN JAPONAIS 14 ALPHONSE MUCHA, ZODIAC 12 AUBREY BEARDSLEY, 15 THÉOPHILE-ALEXANDRE ISOLDE STEINLEN, LE CHAT NOIR CABARET 05 MAURICE DENIS, APRIL 34 MARGARET MACDONALD MACKINTOSH, OPERA OF 16 JULES CHÉRET, LOÏE FULLER 06 PAUL GAUGUIN, WHAT! ARE THE SEAS AT THE FOLIES BERGÈRE YOU JEALOUS? AHA OE FEII? 42 GUSTAV KLIMT, FULFIL- 20 ALPHONSE MUCHA, 13 HERMANN OBRIST, MENT (THE EMBRACE) THE ARTS: DANCE THE WHIPLASH 10 EDWARD COLEY BURNE- JONES, LOVE AMONG THE 48 EDMUND DULAC, THESE 21 HENRY VAN DE VELDE, 19 RENÉ LALIQUE, RUINS NO SOONER SAW BEAUTY TROPON DRAGONFLY WOMAN THAN THEY BEGAN TO 11 EDVARD MUNCH, SCREAM AND CHATTER 22 KOLOMAN MOSER, 27 GEORGES FOUQUET, MADONNA DANCING GIRLS PEACOCK 49 KAY NIELSEN, THE PRIN- 31 GUSTAV KLIMT, JUDITH CESS ON THE WAY TO THE 35 EMMANUEL ORAZI, 39 ARCHIBALD KNOX, WITH THE HEAD OF DANCE LA MAISON MODERNE BELT BUCKLE HOLOFERNES 50 SIDNEY SIME, 46 WALTER CRANE, 44 MARIANO FORTUNY, 45 GUSTAV KLIMT, THE KISS THE OMINOUS COUGH NEPTUNE’S HORSES DELPHOS GOWN PAINTING DRAWING GRAPHIC WORK FASHION & JEWELLERY OVERVIEW 03 ANTONI GAUDÍ, SAGRADA FAMÍLIA 08 VICTOR HORTA, HÔTEL TASSEL 18 JOSEPH MARIA OLBRICH, SECESSION BUILDING 07 LOUIS COMFORT TIFFANY, 23 HECTOR GUIMARD, PARAKEETS AND GOLDFISH ENTRANCE TO THE BOWL 28 ALPHONSE MUCHA, LA NATURE MÉTRO PORTE DAUPHINE 09 LOUIS COMFORT TIFFANY, 29 FRANÇOIS-RAOUL LARCHE, FAVRILE VASE LOÏE FULLER TABLE LAMP 24 OTTO WAGNER, KARLSPLATZ UNDER- 25 ÉMILE GALLÉ, GLASS VASE 33 PETER BEHRENS, JUGENDSTIL -
Travel Planner January 2020
Travel Planner January 2020 A PROGRAM OF THE STANFORD ALUMNI ASSOCIATION Experience the extraordinary. Whether you are returning to a favorite destination or visiting a place anew, when you travel with Stanford Travel/Study you embark on a journey of discovery. Our programs are designed for explorers looking not just to see but to experience the world, who are driven by a deep commitment to understanding how the world works. For more than 50 years, Travel/Study has worked in close partnership with Stanford scholars and with travel experts from around the world to create remarkable educational journeys. Join us and experience the extraordinary. 2 ALU.MS/GOTRAVEL What’s inside: Current journeys 4–19 Stanford Family Adventures 20–21 Up next: trips in development 22–27 Current journeys at-a-glance 28–29 Private Editions 30 Program information 31 ALU.MS/GOTRAVEL 3 Browse current journeys. How to choose an adventure: ACTIVE ADVENTURES How do you want to travel? Whether it’s heli-hiking, mountain trekking, Look for these icons to find a trip that lets you travel snorkeling or gorilla tracking, these trips are for travelers looking to add an active twist to in (your) style. their next vacation. Active Adventures offer both an exciting outdoor experience and What do you want to learn? the comfort and luxury that are Travel/Study hallmarks. SCheckSUBJECTUBJECT out these “snapshots” CCOUNTROUNTR to learn of the typeYY Sof experiencesUBJECT you can expectC OUNTR on each journey.Y CLASSIC JOURNEYS Longing to recapture the romantic, golden NONSUBJECTEveryNONSUBJECT trip includes a COUNTR StanfordCOUNTR scholarYY who provides Indonesia by Air NONSUBJECT COUNTRY SEPTEMBER 27 TO OCTOBER 10, 2020 age of travel? Journey to superb destina- valuableS UBJECT insight on the C region.OUNTR Look for Ytheir names in (14 DAYS) REGION/STATE tions in the lap of luxury aboard intimate REGION/Sred to get an idea TATof theirE backgrounds and unique Sacred ground. -
Style and Seduction Review
Elana Shapira. Style and Seduction: Jewish Patrons, Architecture, and Design in Fin de Siècle Vienna. Waltham: Brandeis University Press, 2016. xv + 314 pp. Illustrations. $40.00 (paper), ISBN 978-1-61168-921-1. Reviewed by Leslie Topp (Birkbeck, University of London) Published on HABSBURG (July, 2017) Commissioned by Jonathan Kwan Architecture, Design and Identity in Fin-de-Siecle Vienna Elana Shapira’s book investigates the ways in which as secessionist, modernist, and avant-garde. The seces- Jewish patrons, critics, salonniers, and collectors sup- sionist chapter presents rich new research on the critic ported advanced architecture and interior design in Vi- Ludwig Hevesi and the dynamic industrialist and art sup- enna between the mid-nineteenth century and the First porter Karl Wittgenstein; Shapira emphasizes their piv- World War. She convincingly argues that patronage and otal importance to the Vienna Secession and its sensa- other types of intellectual and social support for inno- tional new building on the Naschmarkt designed 1898 vation in architecture and design were deployed by a by Joseph Maria Olbrich, while also arguing that the Se- wide range of Viennese Jews in order to stake a claim cession was crucial to their own image formation as at- for cultural authority in an often hostile context. She tractive outsiders. The modernists include Isidor Singer usefully rejects pat interpretations of patronage as a and Heinrich Kanner, who worked with Otto Wagner to tool of assimilation–as a way of blending in. She ar- craft an sophisticated modern image for their newspa- gues instead, following Hannah Arendt and the literary per, Die Zeit. -
Josef Hoffmann, Charles Rennie Mackintosh, and Their Contribution to the Decorative Arts in Fin- De-Siecle Glasgow and Vienna
Illinois Wesleyan University Digital Commons @ IWU Honors Projects History Department 4-15-2014 The Two Gentleman of Design: Josef Hoffmann, Charles Rennie Mackintosh, and their Contribution to the Decorative Arts in Fin- de-Siecle Glasgow and Vienna Elizabeth Muir Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/history_honproj Part of the History Commons Recommended Citation Muir, Elizabeth, "The Two Gentleman of Design: Josef Hoffmann, Charles Rennie Mackintosh, and their Contribution to the Decorative Arts in Fin-de-Siecle Glasgow and Vienna" (2014). Honors Projects. 51. https://digitalcommons.iwu.edu/history_honproj/51 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. Elizabeth Muir Major: History Research Honors The Two Gentleman of Design: Josef Hoffmann, Charles Rennie Mackintosh, and their Contribution to the Decorative Arts in Fin-de-Siecle Glasgow and Vienna Dr. Horwitz April 15, 2014 In the twentieth century, two designers stood out as radicals: Josef Hoffmann of Vienna and Charles Rennie Mackintosh of Glasgow. -
R.M. SCHINDLER: the PREQUEL Josef Hoffmann, Adolf Loos, Otto Wagner, and the Modernist Debates of Early 20Th Century Vienna
Press Contact: Adam Peña (323) 651-1510 [email protected] MAK Center for Art and Architecture at the Schindler House presents R.M. SCHINDLER: THE PREQUEL Josef Hoffmann, Adolf Loos, Otto Wagner, and the Modernist Debates of Early 20th Century Vienna Exhibition: September 11 - December 6, 2015 Opening Reception: September 10, 2015 (West Hollywood, July 8, 2015) Upcoming this fall, the MAK Center for Art and Architecture House presents an exhibition exploring the intellectual climate in Vienna at the time of R.M. Schindler's architectural training, and highlighting the trajectory connecting 19th century Europe with 20th century West Hollywood. Curated by Christian Witt-Dörring, MAK Vienna, R.M. Schindler: The Prequel will be on view at the Schindler House from September 11-December 6, 2015. There will be a public preview and reception on Thursday, September 10 (Schindler's birthday), from 7:00-9:00 p.m. and Witt-Dörring will lead a walk-through beginning at 6:30 p.m. R.M. Schindler: The Prequel contextualizes the landmark 1922 Kings Road House as a direct result of the debates playing out in Vienna Modernist circles from 1890-1914, when Schindler was a student and young practitioner. Through photographs, drawings, and furniture designs, the exhibition reviews the foundations laid by Otto Wagner, as well as the next generation responses to his work as personified by Adolf Loos and Josef Hoffmann. The Prequel is divided into four sections: the first focuses on R.M. Schindler's (1887- 1953) Vienna years from 1887-1914. As a student, Schindler took up civil engineering before attending Otto Wagner's special school of architecture at the Academy of Fine Arts. -
Koloman Moser, Reigen Der Kranzträgerinnen, 1898
Koloman Moser, Reigen der Kranzträgerinnen, 1898 Model panel, reconstruction 2017–18 Lead conservator: Johannes Duda In cooperation with the Federal Monuments Authority Austria On occasion of the centenary of Koloman Moser’s (1869–1918) death, a model panel from his fresco Reigen der Kranzträgerinnen (Dance of the Wreath-Bearing Maidens) will be on display on the Secession’s rear side façade. Created in 1898 for the Secession building, which was completed that year, the fresco originally adorned the rear façade. In conjunction with the 2017–18 renovations, a section of the frieze has been reconstructed in cooperation with the Federal Monuments Authority Austria. The temporary reconstruction of the frieze is based on photographic material and descriptions of the work from the time of its creation. The first step was the production of a perforated stencil after a rectified scale printout of a historic photograph. The three-layer plasterwork was executed in sections, so-called day’s works, that correspond to segments of the motif. It is crucial that the most recently applied layer of fine plaster is still wet when the relief is cut. Minor inaccuracies are inevitable due to the manual execution but also make for a much livelier overall impression. Additional steps included stippling the structured backdrop surfaces with twigs and modeling the wreaths and heads of hair. The reconstruction of the color scheme draws on historic written sources and the grayscale of the black-and- white photographs. These documents allow for a definitive replication of the original gilding, white dresses, and terracotta-colored outlines; other areas of the frieze such as the coloration of the waves in the background and the dark stippled plasterwork are approximations based on the best available historical evidence. -
Vienna Philharmonic Elegant Vienna, Known As the “City of Waltzes,” Is Consid- Ered the World’S Capital for Classical Music
TRIP HIGHLIGHTS PAID PAID PRSRT STD PRSRT PERMIT #601 U.S. POSTAGE BURLINGTON, VT behind the scenes at the Musikverein, home of the Dear Vanderbilt Alumni and Friends, GO Vienna Philharmonic Elegant Vienna, known as the “City of Waltzes,” is consid- ered the world’s capital for classical music. On a music-themed MEET the head of collections for a special tour of journey, explore the places where great composers—Mozart, Esterházy Palace, where Joseph Haydn composed and Haydn, Beethoven, Schubert, Brahms, Mahler, and Schoenberg— premiered many works lived and performed, and visit magnificent concert venues. ATTEND a private piano performance at the home of Go backstage at the Musikverein, home to the Vienna a distinguished professor from the University of Music and Philharmonic Orchestra; see Schönbrunn Palace, where Mozart Performing Arts first performed for Empress Maria Theresa; and visit the home of an acclaimed pianist for a private concert and reception. ENJOY a backstage tour of the State Opera House Other trip highlights include dinner at Mayer am Pfarrplatz, home to Beethoven in 1817, and a special tour of beautiful, VISIT the Spanish Riding School to watch the Lipizzaner Esterházy Palace, where Joseph Haydn composed and premiered horses and receive a special welcome many works. The Steigenberger Hotel Herrenhof, close to the TRAVELING WITH YOU city’s many cultural sites, will be our home for six nights. Jeremy Wilson, Associate Professor But the biggest highlight of this program, without of Trombone at Vanderbilt a doubt, is our faculty study leader, Jeremy Wilson. Before joining the Blair School of Music in 2012, Jeremy University’s Blair School of Music, is spent five years living in Vienna as a member of both the Vienna something of a legend in trombone Philharmonic Orchestra and its sister organization, the orchestra of circles. -
MOSAIC CONNECTION 2018 Tirol - Tschechien Innsbruck - Prag
MOSAIC CONNECTION 2018 Tirol - Tschechien Innsbruck - Prag Tyrolsko - Česko Innsbruck - Praha Prag, Stadthaus / Praha, Obecní dům. Innsbruck, Dreiheiligenkirche. Tagung zu historischen Mosaiken und Glasfenstern in Tirol und deren Verbindung zu Tschechien Konference Historické mozaiky a vitráže Tyrolska a jejich vazby na Českou Republiku 1861 gründeten Albert Neuhauser, Josef Vonstadl und Georg Mader in Innsbruck die „Tiroler Glas- malerei Anstalt“. 1877 eröfnete Albert Neuhauser eine Mosaikwerkstätte, die erste Österreichs. Im Jahr 1900 fusionierten die beiden Betriebe zur „Tiroler Glasmalerei- und Mosaikanstalt“. 1861 založili Albert Neuhauser, Josef Vonstadl a Georg Mader ‚Tyrolský ústav pro vitráže‘. V roce 1877 otevřel Albert Neuhauser první rakouskou mozaikářskou dílnu. V roce 1900 se oba podniky spojily pod názvem ¨Tyrolský ústav pro vitráže a mozaiky‘. V roce 1877 založil Albert Neuhauser v Innsbrucku první rakouskou mozaikovou dílnu. V roce 1900 se tato dílna spojila s ‚Tiroler Glasma- lereianstalt‘ společně daly vzniknout ‚Tiroler Glasmalerei- und Mosaikanstalt‘. Vydalo/Published by Art a Craft Mozaika The release of this Book of Abstracts was supported by State Cultural Foundation of the Czech Republic (grant No. 150 2018). 2018 ÚVOD / VORWORT 1877 gründete Albert Neuhauser in Innsbruck eine Mosaikwerkstätte. 1900 fusionierte der Betrieb mit der „Tiroler Glasmalereianstalt“. Die Tiroler Werkstätte war für Wiederbelebung der Mosaikkunst nicht nur in Österreich, sondern auch in der Tschechoslowakei, bzw. in Tschechien, von entscheidender Bedeutung. Nicht nur dies habe ich 2014 erfahren, als ich die tschechische Mosaik-Expertin Magdalena Kracík Štorkánová im Rahmen der XIV. AIMC Konferenz im Architekturzentrum Wien getrofen habe. Damals war ich als Direktor des Kulturzentrums der Tschechischen Republik für Österreich und die Schweiz mit dem Sitz in Wien tätig.