The program consisted of a palatial residence for the wealthy Belgian banking and railroad magnate Adolphe Stoclet, who in 1904 had just inherited a vast fortune from his late father, and gave the Werkstätte carte blanche. The Palais Stoclet represents the ultimate environment envisioned by the Wiener Werkstätte, as the cooperative received the commission during the brief period when Hoffmann had formally merged his architectural practice with the Werkstätte's activites. ![]() This, exacerbated by periods of broader economic troubles, was primarily responsible for its demise. ![]() The artistry of the Wiener Werkstätte always took primacy over the commercial bottom line of the enterprise, and its reliance on wealthy underwriters to sustain its activities contributed to its gross financial insolvency.Though its artists made ample use of new industrial materials, they resisted temptations to completely turn to mass production. Translated as the "Viennese Workshops," the name Wiener Werkstätte represents well the nature of its organization: it incorporated the craft-based production of decorative arts in a mostly rural country, which was historically concentrated in its primary metropolis.Unlike other contemporaneous movements in the decorative arts and design, the Wiener Werkstätte did not seek to create an art that would be accessible to all and enlighten the masses instead, the group focused on the highest quality craftsmanship and materials for a socioeconomic elite that, perhaps ironically, would treat its work more as art objects than utilitarian items.The Wiener Werkstätte innovatively envisioned that many of its activities would complement and promote each other - for example, its postcards often featured the Workshops' output in architecture, textiles, fashion, and glass and ceramics - a move that helped Werkstätte attain two of its goals: first, narrowing the gap in prestige between artistic genres and second, bolstering the commercial visibility of its designs.The Wiener Werkstätte initially emphasized the creation of the Gesamtkunstwerk, or "total work of art," that sought to create a unified aesthetic across an entire designed environment, though this effort eventually fragmented into a highly diverse set of fields, with less and less emphasis on architecture and large-scale interiors, largely due to the financial constraints of the group's clients.Together with the Vienna Secession, out of which it was formed, it broke away from the stylistic revivals that had dominated Austrian architecture and design during the 19 th century, though eventually it returned to historical tropes when new designers joined the group in the 1910s. The Wiener Werkstätte was the first organization in Austria dedicated to the production of modern decorative arts.Its demise in the midst of repeated financial crises demonstrates the ultimate inability of artistic enterprises to completely free themselves from the economic concerns of the age. ![]() Led by the unassuming architect Josef Hoffmann and his associates such as Dagobert Peche and Koloman Moser, the Wiener Werkstätte drew from movements such as the Arts & Crafts and Art Nouveau as well as from traditional folk art, and forecasted the flowering of Art Deco and the International Style in the interwar period. The Wiener Werkstätte's emphasis on complete artistic freedom resulted in a prodigious output of designs, and this, along with an army of skilled craftsmen and a complex network of production and distribution made it the standard for Austrian design between the dawn of the century and the depths of the Great Depression. Centered in the Austrian capital, it stood at the doorway between traditional methods of manufacture and a distinctly avant-garde aesthetic. The Wiener Werkstätte (Viennese Workshops) was one of the longest-lived design movements of the twentieth century and a key organization for the development of modernism.
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