Vibrant and manifold: VIENNA 1900 in a new light
The fascinatingly complex cultural epoch denoted by the term “Vienna 1900” has long been the stuff of legend. And the equally multifaceted and momentous output of this period’s artisans and designers is now the focus of a section of the MAK Permanent Collection. At this presentation’s thematic core is the multifarious struggle to arrive at an Austrian, modern, bourgeois, and democratic style. Today, this chapter of design and arts and crafts history—subsumed under the terms of Secessionism and Jugendstil—serves like no other to underpin Austrian identity. But around 1900, the search for a suitable style reflected an identity crisis of the bourgeois class. The entirely contradictory results of this search were tied together by a central characteristic of the modern era: a pioneering desire for expressive individuality.
The MAK invites visitors to engage in a multilayered examination of the “Vienna 1900” phenomenon that covers three rooms. This section of the Permanent Collection, which had gone unchanged since 1993, is the first to have been reconceived. The presentation’s content was developed by Christian Witt-Dörring together with the museums’ collection curators, and the Viennese designer Michael Embacher was responsible for the individual rooms’ design.
VIENNA 1900. Design / Arts and Crafts 1890–1938 adheres to a largely chronological structure: the first room is dedicated to the search for a modern style; the second room features a close look at the Viennese style; and the third room points the way to the International Style. Around 500 collection objects are shown in various thematic combinations that serve to shed light on art-historical and sociopolitical aspects relevant to Viennese modernism.
In several respects, the “Vienna 1900” section of the MAK Permanent Collection deals with Viennese modernism differently than did previous rooms devoted to the topic. Embedded chronologically between the late 19th century’s overcoming of Historicism and the National Socialists’ seizure of power in 1938, this new presentation facilitates a broader historical understanding of the era. It opens up a view on international relationships, illustrating both influences from abroad and developments elsewhere that emerged simultaneously. Furthermore, the presentation highlights formal and/or cultural fallbacks as well as continuities: some objects, for example, hark back to the Biedermeier era or make visible use of patterns from Moravian folk art.
“Traces” of Central European Modernism
In fact, a great number of innovative designers—in addition to the well-known Moravian-born opponents Josef Hoffmann and Adolf Loos—came from the territory of today’s Czech Republic. So the era of Viennese modernism thus saw the longstanding reciprocal relationship between Vienna, Bohemia, and Moravia remain a fruitful one: many architects and designers who had come to Vienna for their professional training went on to play a significant role in the dissemination of modern design in their home regions. The Permanent Collection rooms on the “Vienna 1900” theme document these mutual effects, making an important contribution towards underpinning a broader understanding of Central European modernism’s development.
The MAK will also be conveying this approach outside its own walls: with support from the EU, the museum will be spending the next few years developing a Central European cultural route between Vienna and Brno entitled “Traces.” This route will link the region’s most influential modern-era buildings and also include locations of significance to Viennese intellectual life around 1900. In order to accomplish this, the MAK will be using its cooperative relationship with the Moravian Gallery at the Josef Hoffmann Museum (run jointly since 2006) in order to have the cultural region of Moravia–Lower Austria–Vienna once again be known as an influential source of modernist impulses.
Curator: Christian Witt-Dörring
PublicationThe MAK/GUIDE published on the occasion of the reinstallation of the MAK Permanent Collection VIENNA 1900 is edited by Christoph Thun-Hohenstein, with contributions by Rainald Franz, Sebastian Hackenschmidt, Barbara Karl, Peter Klinger, Kathrin Pokorny-Nagel, Elisabeth Schmuttermeier, Christoph Thun-Hohenstein, Johannes Wieninger and Christian Witt-Dörring. German/English, 224 pages, 100 color illustrations, 24 x 12,5 cm, paperback, MAK Vienna / Prestel Verlag, 2013. Available at the MAK Design Shop
for the Mosaic Frieze in the Dining Hall of Stoclet House, Vienna, Kammerl am Attersee, 1910/11
Centerpiece for the Wittgenstein Family
Vienna, 1905 Manufacturer: Wiener Werkstätte (Josef Wagner)
Table for the Telegram Office of the Zeit in Vienna
Vienna, 1902 Manufacturer: J. & J. Kohn
Salon Cabinet for a Reception Salon
Presented at the 45th Secession Exhibition, 1913, Vienna, 1913 Manufacturer: Jakob Soulek
Jurriaan Kok Jr. und Samuel Schellink Jr.
The Hague, before 1900 Manufacturer: Plateelbakkerij Rozenburg, The Hague, before 1900
Decorative Fabric with Vine Scrolls and Floral Motifs
London, 1895 Manufacturer: Liberty Art Fabrics, Regent Street
Presented at the Exhibition Liberated Handicraft at the Austrian Museum of Art and Industry, Vienna, 1934 Manufacturer: Franz Konecny, Cabinetmakers
Fabric Length “Hat Feather”
Vienna, ca. 1922
Execution: Wiener Werkstätte
Silk; pongee, printed
T 10639 / 1968, purchased from a private collection
Adolf (Adolfov/Vimperk, CZ), 1899
Execution: Meyr’s Neffe
Merchant: E. Bakalowits & Söhne, Vienna
Colorless glass, optically blown; wood; metal
LHG 1984-22 / 2007, loan of Ernst Ploil, Vienna