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Reflections | I Buy, Therefor I Am

Reflections | Private Matters

Reflections | Gender Differences In The Interior

MAK Permanet Collection Empire Biedermeier

 
JENNNY HOLZER
SOFA FOR VISITORS, 1993
Object after an original by Josef Danhauser
Manufacture: Herbert Fischer, Großstelzendorf
Aluminum cast
GK 99 / 1993
 

SOFA, MODEL NO. 57
Vienna, ca. 1825/30
Design and manufacture: Danhauser Furniture Factory
Cherry wood, solid and veneers on softwood, original upholstery restored
H 2726 / 1983

JENNY HOLZER: RUNNING TEXT

JOSEF KERN: KETTLE
Vienna, 1820
Silver
Go 1333 / 1907

MAK Permanet Collection Empire Biedermeier

 
JENNY HOLZER
media and object artist, USA

BUREAU CABINET
Vienna, ca. 1815
Mahogany, black-stained wood, carved limewood, partly painted black and with verde-antique finish, partly gilded and bronzed; gilt brass and bronze fittings, partly solid and pressed; inside maple and red-stained grained wood
H 2027 / 1955

ITEMS FROM A DÉJEUNER SET
Vienna, ca. 1818
Pot with handle, cup with saucer, sugar bowl
decorated with views of Imperial palaces and gardens, based in part on older engravings
Signed: "Schufrid 1818” (i.e. Jakob Schufrid)
Porcelain, gilded bottom, rich decorations in gold, colored painting
KHM 267 / 1940


BEDSIDE TABLE
Vienna, 1825–1830
Cherry wood, solid and veneered, Kehlheim limestone top, brass fittings
H 3042 / 1989

GOTTLIEB MOHN: BEAKER
Vienna, 1814
Gl 3118 / 1952

CUP
Vienna, ca. 1830
Design and Manufacture: workshop of Anton Kothgasser
Curved cup with fluted base, with enamel decoration and gilding; colored veduta painting in a rectangular, bordered field with inscription: “Place de la Bibliothèque Imp.le et Roy.le et la Statue Joseph II à Vienne”
Gl 2365 / 1917

Empire Style Biedermeier

MAK – Museum of Applied Arts

MAK Permanent Collection

Empire Style Biedermeier

MAK – Museum of Applied Arts

A heterogeneous mass of consumers arose during the first half of the nineteenth century, something never previously seen in Austrian cultural history. With the effects of the Industrial Revolution and the growing cultural, social, and economic strength of the middle class, it became both possible and necessary to produce differentiated products for these consumers. It now became both necessary and possible to put at the disposal of the more general public items that had previously only been available to a small circle of consumers. Besides the wide variety of tastes, the range of products on offer was therefore also marked by a subtle gradation from expensive luxury items to cheap substitutes. A generally understood language for materials and forms thus emerged, which was no longer specific to any particular social stratum, but instead determined by financial factors. The depictions were no longer symbolic in character, but were related to real people, things, and events.

The selection of objects displayed here therefore shows, alongside outstanding achievements of Austrian art and craft production, above all the variety of designs and materials used for everyday commodities during the Empire and Biedermeier period. The explosion of richly varying forms is demonstrated by a series of variations in chairs, porcelain cups with a limitless range of moods, glasses conveying all sorts of information, and silverware pieces with designs ranging in character from abstract to decorative. / Christian Witt-Dörring, curator

 

Artistic intervention
Jenny Holzer

I have never liked museum labels and brochures. I wanted to find another system to present information about the collection and about the times in which the objects were made. I tried to think of an appealing way to show a super-abundance of text on Biedermeier and Empire. I chose electronic signs with large memories to talk about why what was produced for whom. The signs display the predictable facts, and softer material such as personal letters of the period. Because some people hate to read in museums, I placed the signs near the ceiling so they can be ignored. To encourage people who might read, I varied the signs' programs and included special effects. For serious, exhausted readers, I provided an aluminum mock-Biedermeier sofa on which to sit. I also rearranged the furniture, silverware, glassware, and porcelain, as would any good housewife. / Jenny Holzer

Biography Jenny Holzer

Born in 1950 in Gallipolis, Ohio. Lives and works in New York State.

The media artist Jenny Holzer investigates the means and possibilities for disseminating her own ideas and artistic concerns in public space. Since the 1970s, she has been using such media that allow her work to blend with its environment. The texts in her work are comments that harmonize with their surroundings. They stimulate perception and confront the viewer with social circumstances that are communicated by the specific conditions of the site.

Publikationen

GLASSES FROM THE EMPIRE AND BIEDERMEIER PERIOD

Published on the occassion of the exhibition of the same title (1.2.–17.4.2017).
German
206 pages, numerous illustrations
24 x 28 cm, softcover
MAK Vienna / Verlag Bibliothek der Provinz, 2017


Media

MAK - Museum für angewandte Kunst · Reflections | I Buy, Therefor I Am
MAK - Museum für angewandte Kunst · Reflections | Private Matters
MAK - Museum für angewandte Kunst · Reflections | Gender Differences In The Interior
<BODY>MAK Permanet Collection Empire Biedermeier</BODY>
MAK Permanet Collection Empire Biedermeier
<BODY><div> </div><div>JENNNY HOLZER</div><div>SOFA FOR VISITORS, 1993</div><div>Object after an original by Josef Danhauser</div><div>Manufacture: Herbert Fischer, Großstelzendorf</div><div>Aluminum cast</div><div>GK 99 / 1993</div><div> </div></BODY>
 
JENNNY HOLZER
SOFA FOR VISITORS, 1993
Object after an original by Josef Danhauser
Manufacture: Herbert Fischer, Großstelzendorf
Aluminum cast
GK 99 / 1993
 
<BODY><div>SOFA, MODEL NO. 57</div><div>Vienna, ca. 1825/30</div><div>Design and manufacture: Danhauser Furniture Factory</div><div>Cherry wood, solid and veneers on softwood, original upholstery restored</div><div>H 2726 / 1983</div></BODY>
SOFA, MODEL NO. 57
Vienna, ca. 1825/30
Design and manufacture: Danhauser Furniture Factory
Cherry wood, solid and veneers on softwood, original upholstery restored
H 2726 / 1983
<BODY>JENNY HOLZER: RUNNING TEXT</BODY>
JENNY HOLZER: RUNNING TEXT
<BODY><div>JOSEF KERN: KETTLE</div><div>Vienna, 1820</div><div>Silver</div><div>Go 1333 / 1907</div></BODY>
JOSEF KERN: KETTLE
Vienna, 1820
Silver
Go 1333 / 1907
<BODY>MAK Permanet Collection Empire Biedermeier</BODY>
MAK Permanet Collection Empire Biedermeier
<BODY><div> </div><div>JENNY HOLZER</div><div>media and object artist, USA</div></BODY>
 
JENNY HOLZER
media and object artist, USA
<BODY><div>BUREAU CABINET</div><div>Vienna, ca. 1815</div><div>Mahogany, black-stained wood, carved limewood, partly painted black and with verde-antique finish, partly gilded and bronzed; gilt brass and bronze fittings, partly solid and pressed; inside maple and red-stained grained wood</div><div>H 2027 / 1955</div></BODY>
BUREAU CABINET
Vienna, ca. 1815
Mahogany, black-stained wood, carved limewood, partly painted black and with verde-antique finish, partly gilded and bronzed; gilt brass and bronze fittings, partly solid and pressed; inside maple and red-stained grained wood
H 2027 / 1955
<BODY><div>ITEMS FROM A DÉJEUNER SET</div><div>Vienna, ca. 1818</div><div>Pot with handle, cup with saucer, sugar bowl</div><div>decorated with views of Imperial palaces and gardens, based in part on older engravings</div><div>Signed:
Porcelain, gilded bottom, rich decorations in gold, colored painting
KHM 267 / 1940
" src="/jart/prj3/mak-resp/images/cache/95648032279bacea86e712b07c213099/0xB42DE3259FDBE0DD269AC5820A3F122B.jpeg">
ITEMS FROM A DÉJEUNER SET
Vienna, ca. 1818
Pot with handle, cup with saucer, sugar bowl
decorated with views of Imperial palaces and gardens, based in part on older engravings
Signed: "Schufrid 1818” (i.e. Jakob Schufrid)
Porcelain, gilded bottom, rich decorations in gold, colored painting
KHM 267 / 1940

<BODY><div>BEDSIDE TABLE</div><div>Vienna, 1825–1830</div><div>Cherry wood, solid and veneered, Kehlheim limestone top, brass fittings</div><div>H 3042 / 1989</div></BODY>
BEDSIDE TABLE
Vienna, 1825–1830
Cherry wood, solid and veneered, Kehlheim limestone top, brass fittings
H 3042 / 1989
<BODY><div>GOTTLIEB MOHN: BEAKER</div><div>Vienna, 1814</div><div>Gl 3118 / 1952</div></BODY>
GOTTLIEB MOHN: BEAKER
Vienna, 1814
Gl 3118 / 1952
<BODY><div>CUP</div><div>Vienna, ca. 1830</div><div>Design and Manufacture: workshop of Anton Kothgasser</div><div>Curved cup with fluted base, with enamel decoration and gilding; colored veduta painting in a rectangular, bordered field with inscription: “Place de la Bibliothèque Imp.le et Roy.le et la Statue Joseph II à Vienne”</div><div>Gl 2365 / 1917</div></BODY>
CUP
Vienna, ca. 1830
Design and Manufacture: workshop of Anton Kothgasser
Curved cup with fluted base, with enamel decoration and gilding; colored veduta painting in a rectangular, bordered field with inscription: “Place de la Bibliothèque Imp.le et Roy.le et la Statue Joseph II à Vienne”
Gl 2365 / 1917

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