MAK Permanent Collection

Baroque Rococo Classicism

MAK – Museum of Applied Arts

The MAK's collections contain some splendid examples of eighteenth-century cabinet-making. The emphasis in the collection is on pieces from the cultural realm encompassing Austria, France, and Germany. These bear witness to the tremendous typological, technical, and formal developments that took place during the course of the eighteenth century. The bureau cabinet, with its origins in the seventeenth century, is gradually replaced as a prestigious furniture item by the writing desk, the southern German form of which is known as a "tabernacle cabinet.” In France, the chest of drawers develops as a new kind of case furniture providing storage space in the living area, a reaction to the growth of the private sphere and the increasing desire for comfort. Forms of writing furniture that arise include the basic desk and the cylinder desk. The surface decoration of furniture becomes more varied, and is used to meet novel requirements and fashions (wooden and Boulle marquetry, lacquer, porcelain, etc.). Interior design itself becomes more uniform with the development of mobile and immobile furnishings. Furniture enters into decorative unity, and often structural unity, with the room. The porcelain room from the Dubsky Palace in Brno eloquently documents this, as well as marking the beginning of porcelain production in Vienna, from 1719 onward. / Christian Witt-Dörring - curator of the MAK Furniture and Woodwork Collection during the phase of the reinstallation of the MAK Permanent Collection in the early 1990s)

Artistic intervention
Donald Judd

I was doubtful about the idea of artists making installations of earlier objects; I am still doubtful. I think installation should be the responsibility of the curators of the objects, although I continue to be critical of the generally artificial way in which objects are installed. To have artists make such installations is likely to perpetuate devious installation. I accepted the problem as a favour to the museum, and I accepted as a premise for myself that I would not contradict the judgement of the curator responsible, Christian Witt-Dörring. I think we did our best. The museum's premise, the installation's set fact, was that the Dubsky room, originally a room in a palace, had to be reconstructed in a much larger room of the museum. I was told there was no alternative. The room could be remade either in one of the corners of the exhibition room, leaving an awkward right angle for the other furniture, or it could be remade in the center of the room, leaving a symmetrical space and possibly establishing a room within a room - a good idea. I asked that this be done. 
The Dubsky room is too large and is awkward, but placing it in the center was the right decision. The room and most of the other furniture were made in the eighteenth century for the aristocracy. The room's grandeur is uncertain, and therefore excessive. It is uneasy; Chardin is not uneasy. All architecture and most installations are now uneasy. Why is Chardin simple, strong and easy? The separate pieces of furniture are placed symmetrically, usually in pairs, usually opposite each other. A rectangular space usually determines this. The positioning of the furniture was also carefully decided with regard to the size, color, and type of each piece. I asked for part of the moulding under the ceiling of the large room to be repeated around the exterior of the Dubsky room, to further incorporate it into the eighteenth century space made in the nineteenth century, and to reduce the excessive generality of its exterior. This is a small, uneasy room uneasily placed in a large, doubly uneasy room. I think it should be in the basement. But Witt-Dörring and I did our best, uneasily./ Donald Judd


Biography Donald Judd

Born 1928 in Excelsior Springs, Missouri. Died 1994 in New York.
The painter, draftsman, sculptor, architect, art critic, and philosopher Donald Judd was one of the most important representatives of Minimal Art. Like no other, he redefined the relation between art and space. In 1971, Judd moved to Marfa, Texas where he established the Chinati Foundation which was opened to the public in 1986. Works of Judd and of his contemporaries are on permanent display here. The Chinati Foundation exemplifies one of Judd’s greatest concerns: the appropriate presentation of artworks. This has gradually led to a change of thought in museums in favor of a more unified and coherent display of artworks.

Program (20 Events)

Sat, 23.10.2021 11.00 am 12.00 pm

Tour of the MAK (in German)

Tour of the MAK (in German)
A tour of the museum offers an insight into all areas of the collection. After a brief introduction to the history of the house, the permanent MAK display collection is visited, the presentation concepts explained and individual objects discussed.
 
The tour is held in German 

REGISTRATION

Limited number of participants: registration is necessary - either in advance (possible until Friday before the tour 3 p.m.) or directly on site if the tour is not fully booked. 
 

PROTECTIVE MEASURES

A FFP2 mask must be worn during the entire visit to the museum.
 

HEADPHONES

The tour requires headphones. Please provide your own (3.5 mm standard connector) if possible. 
 

FEE FOR GUIDED TOUR 

Per person € 3,50 + admission to the museum 
 

MEETING PLACE

MAK Columned Main Hall
 
1459977553881
Sun, 24.10.2021 11.00 am 12.00 pm
Guided Tour

Tour of the MAK (in English)

Tour of the MAK (in English)
The tour through the museum leads to the highlights of the MAK Collection and offers insights into different exhibition areas. The presentation concepts are explained, and extraordinary objects are discussed. A journey through the centuries and insight into the history of the museum make the tour the perfect basis for subsequently exploring the museum on your own.

REGISTRATION

Limited number of participants: registration is necessary - either in advance (possible until Friday before the tour 3 p.m.) or directly on site if the tour is not fully booked. 
 

PROTECTIVE MEASURES

A FFP2 mask must be worn during the entire visit to the museum.
 

HEADPHONES

The tour requires headphones. Please provide your own (3.5 mm standard connector) if possible. 
 

FEE FOR GUIDED TOUR 

Per person € 3,50 + admission to the museum 
 

MEETING PLACE

MAK Columned Main Hall
 
1459977553881
Sat, 30.10.2021 11.00 am 12.00 pm

Tour of the MAK (in German)

Tour of the MAK (in German)
A tour of the museum offers an insight into all areas of the collection. After a brief introduction to the history of the house, the permanent MAK display collection is visited, the presentation concepts explained and individual objects discussed.
 
The tour is held in German 

REGISTRATION

Limited number of participants: registration is necessary - either in advance (possible until Friday before the tour 3 p.m.) or directly on site if the tour is not fully booked. 
 

PROTECTIVE MEASURES

A FFP2 mask must be worn during the entire visit to the museum.
 

HEADPHONES

The tour requires headphones. Please provide your own (3.5 mm standard connector) if possible. 
 

FEE FOR GUIDED TOUR 

Per person € 3,50 + admission to the museum 
 

MEETING PLACE

MAK Columned Main Hall
 
1459977553881
Sun, 31.10.2021 11.00 am 12.00 pm
Guided Tour

Tour of the MAK (in English)

Tour of the MAK (in English)
The tour through the museum leads to the highlights of the MAK Collection and offers insights into different exhibition areas. The presentation concepts are explained, and extraordinary objects are discussed. A journey through the centuries and insight into the history of the museum make the tour the perfect basis for subsequently exploring the museum on your own.

REGISTRATION

Limited number of participants: registration is necessary - either in advance (possible until Friday before the tour 3 p.m.) or directly on site if the tour is not fully booked. 
 

PROTECTIVE MEASURES

A FFP2 mask must be worn during the entire visit to the museum.
 

HEADPHONES

The tour requires headphones. Please provide your own (3.5 mm standard connector) if possible. 
 

FEE FOR GUIDED TOUR 

Per person € 3,50 + admission to the museum 
 

MEETING PLACE

MAK Columned Main Hall
 
1459977553881
Sat, 06.11.2021 11.00 am 12.00 pm

Tour of the MAK (in German)

Tour of the MAK (in German)
A tour of the museum offers an insight into all areas of the collection. After a brief introduction to the history of the house, the permanent MAK display collection is visited, the presentation concepts explained and individual objects discussed.
 
The tour is held in German 

REGISTRATION

Limited number of participants: registration is necessary - either in advance (possible until Friday before the tour 3 p.m.) or directly on site if the tour is not fully booked. 
 

PROTECTIVE MEASURES

A FFP2 mask must be worn during the entire visit to the museum.
 

HEADPHONES

The tour requires headphones. Please provide your own (3.5 mm standard connector) if possible. 
 

FEE FOR GUIDED TOUR 

Per person € 3,50 + admission to the museum 
 

MEETING PLACE

MAK Columned Main Hall
 
1459977553881
+


Media

TABLE CENTERPIECE FROM ZWETTL MONASTERY
Vienna, 1768 and earlier
Glazed, unpainted porcelain; the support consists of nine parts standing on low legs and inlaid with mirrors, 428 × 51 cm with 60 figurine groups, individual figurines and vases
Ke 6823 / 1926
Glass display case: Donald Judd
TABLE CENTERPIECE FROM ZWETTL MONASTERY
Vienna, 1768 and earlier
Glazed, unpainted porcelain; the support consists of nine parts standing on low legs and inlaid with mirrors, 428 × 51 cm with 60 figurine groups, individual figurines and vases
Ke 6823 / 1926
Glass display case: Donald Judd
PORCELAIN ROOM FROM DUBSKY PALACE IN BRNO
Vienna, ca. 1740
Ke 6201/1912
DAVID ROENTGEN
ART CABINET
Neuwied am Rhein, 1776
Clock: signed “Knitzing à Neuwied”
Flame maple wood, stained brown, rose and myrtlewood, gilded bronze fittings
H 269
Central group of the centerpiece from Zwettl Monastery
Mark: Bindenschild in underglaze blue
Ke 6823 / 1926
DONALD JUDD
Artist, USA
LIBRARY TABLE
Vienna, ca. 1730
Walnut and maple wood, veneered
H 1185 / 1909
CLAUDE LE FORT DU PLESSY (?)
CONSOLE TABLE FOR PRINCE EUGENE OF SAVOY
Vienna, 1728–1730
Walnut wood, partly varnished, marble (top)
H 1579 / 1923
FRANZ VON HAUSLAB
DESK FOR COUNTESS RÉGINE D’ASPREMONT
Vienna, 1790
Marquetry in different woods, gilded fittings
H 508 / 1883, donation Franz Ritter von Hauslab
WILHELM GOTTLIEB MARTITZ: SMALL TABLE
Vienna, 1769
signed: W. Martitz In Wienn Den 19 August Anno 1769
Glided bronze, silver leaf, marble
LHG 1412 / 1973, permanent loan from Creditanstalt-Bankverein
PORCELAIN ROOM FROM DUBSKY PALACE IN BRNO
Vienna, ca. 1740
Ke 6201/1912
PERMANENT COLLECTION BAROQUE ROCOCO CLASSICISM
PERMANENT COLLECTION BAROQUE ROCOCO CLASSICISM
PERMANENT COLLECTION BAROQUE ROCOCO CLASSICISM