Monday, April 19, 2010
Above design by Maria Likarz-Strauss
Maria Likarz-Strauss was one of the most prolific pattern designers in the Vienna Workshops, but her name is rarely mentioned in books on the subject. She seems to have been influential in her time however. According to Daniel Walker, director of The Textile Museum in Washington DC, “she was the most active textile designer in the workshop [Wiener Werkstätte], with almost 200 designs attributed to her.” Likarz-Strauss had a broad stylistic range that incorporated the stylized floral elements associated with Peche with the formal geometric patterns that originated with Hoffman. Yet, she is most well known for her abstract patterns with infinite repeats, which reflect the international trends that led to the Art Deco Style.
Mathilde Flogl learned design, applied graphic and creative enamelling and was trained under Joseph Hoffmann. She was admitted in 1916 at the Wiener Werkstatte. From 1918 she designed more than 120 textile patterns for the Wiener Werkstatte. She was influenced by Dagobert Peche and Maria Likarz Strauss.
Caliopsis 1930Above Designs by Mathilde Flogl
Wednesday, April 14, 2010
Glazed painted ceramic
9 1/2" (24.2 cm) high
Executed by the Wiener Werkstätte
This text by Angela Volker (Thames & Hudson 2004) is an incredibly comprehensive resource on the subject of the W
Dagobert Peche studied in Vienna between 1908 and 1911. Starting with mechanical engineering at the Technical Institute, he switched to the Akademie der Bildenden Künste, where he studied architecture. His formal language at first revealed Baroque and Rococo influences, but he was also interested in standardizing forms and the new possibilities afforded by industrial mass production of crafts objects. Dagobert Peche joined the Wiener Werkstätte in 1915. The Wiener Werkstätte had been founded in 1903 by Josef Hoffmann, Koloman Moser, and the banker Fritz Wärndorfer. As one of its most creative exponents, Peche designed some three thousand objects, including china, furniture, book bindings, jewelry, fashions, textiles, and even Christmas tree decorations.
Dagobert Peche's textiles stood in stark contrast to many of the bold, geometric prints from the Werstatte, his work being more rounded and eclectic. Many of his prints repeat in an offset, slanting motion and feature natural elements interpreted with decorative, curvy line work. His textiles work had an effect on the way Peche saw mass-produced ornament, as shown in his black and gold piece Cabinet in which he laid perfectly offset gold medallions on the face of the furniture piece, cutting of the repeat at the edges of the cabinet to create the illusion that the pattern might extend and repeat infinitely outwards. While Peche's work was greatly ornamental, he was intrigued by the phenomenon of repeated pattern.
Peche's patterns are recognized for their distinctive style that typically features the delicate representation of naturalistic forms, sometimes in large-scale repeats, with an emphasis on fine-line drawing.
- Studied at the Akademie der bildenden Künste in Vienna
- Worked in Otto Wagner’s architectural practice
- Founding member of the Vienna Secession
- Artistic director of the Wiener Werkstatte and professor
- Primarily an architect, but created work in all branches of the workshop
Sunday, April 11, 2010
Design of a woven velour carpet for Palais Stoclet
Pencil and watercolor
- Trained at the Akademie der bildenden Künste 1894-99 in Vienna
- As well as being an affluent artist of the period, Czecshka also taught at the Kunstgewerbeschule in Vienna from 1902-1907
- Member of the Secession in 1900
- Member of the Wiener Werstatte from fall 1905 onwards
- He was a multidisciplinary artist, with skills ranging from illustration, textile design and metal crafts
- Handicraft and commercial art
- His most important work were a series of illustrations for the book Nibelungen
From Moderne Bauformen, c. 1914
Printed cotton, paper
12" x 8.5"
Eduard J. Wimmer-Wisgrill for Wiener Werkstätte, 1910
7" x 13"