New Concept, New Canvas
| In the spirit of Gesamtkunstwerk, patterns like Poppy by Koloman Moser were meant to decorate a full range of objects and furnishings for the home. 1900 |
Unconventional textile patterns tell the story of a rebirth of design
For artists and designers, creating something innovative often means returning to the classic elements of form and function.
At the current Klimt’s Vienna exhibit in the Textile Museum in Washington, D.C., this artistic process, which created a peak of creativity in early 20th century Europe, is documented through a collection of 58 fabric samples, sample books, fabric-covered books and boxes. The textiles are the creative aftermath from a rebirth of design.
Artists such as painter Gustav Klimt, architect Josef Hoffmann and painter Koloman Moser aimed to return purity and dignity back to design after the Industrial Revolution brought the sort of mass production that resulted in poor design, quality and materials, especially found in objects for the home.
“The Secession does not represent a particular style but rather an attitude and philosophy. New values were promoted, including a strong wish to eliminate the distinctions between the fine and the applied arts,” says Daniel Walker, curator and director of the Textile Museum.
| Textile patterns like Bavaria by Carl Otto Czeschka for the Wiener Werkstätte sought to emphasize simplicity, geometry and purity of design. 1910-11. |
Artists formed the Wiener Werkstätte, also known as the Vienna Workshop. Walker explains that Klimt, who had an inclination toward ornamental and surface decoration and patterning, was trained in the School of Applied Arts and founded the Secession. He sought to place fine and applied arts on the same plane to eliminate any value judgments. Blurring the line between the two artforms resulted in full ranges of objects and furnishings that were designed for specific interiors to create a unified, harmonious ensemble.
By stepping away from the traditional aesthetic of design, members of the Vienna Workshop and Secession aimed to redefine design as an all-encompassing art form, rather than for industrial means only.
“The textiles tell us several important things. They tell us that there was not a single consistent style favored by these associations, but a broad range of styles,” Walker says.
“Participants strived,” he concludes, “to encourage among the public a heightened sensitivity to, and appreciation for, culture and the arts in everyday life.”
For more information, visit textilemuseum.org.
