However, he soon left the Secession in 1905 along with other stylist artists due to conflicts with realist naturalists over differences in artistic vision and disagreement over the premise of Gesamtkunstwerk. 1898 in the studio of Koloman Moser (1868-1918). The walls and counters were covered with white plaster and or multicolor tiles, while the floors had a checkerboard pattern of black and white. Large Antique Josef Hoffmann for Moser Art Deco Faceted Smokey Topaz Glass Vase 12 inch EronJohnsonAntiques. [2], Upon his return from Italy in 1897, he joined Wagner's architectural firm, and in the same year he joined the new movement launched by Wagner, Gustav Klimt, and others; the Society of Austrian Fine Artists, better known as the Vienna Secession. He studied at the Higher State Crafts School in Brno (Brünn) beginning in 1887 and then worked with the local military planning authority in Würzburg. Architect-designer Josef Hoffmann was born in 1870 in Prinitz, Moravia (now Brtnice, the Czech Republic). Thereafter he studied at the Academy of Fine Arts Vienna with Karl Freiherr von Hasenauer and Otto Wagner, graduating with a Prix de Rome in 1895. She had married the industrialist Anton Knips, who was a major patron of the Werkstätte. Josef Hoffmann 1903. This was a veritable palace, 1000 square meters not counting the adjoining buildings, placed in a park of and was built in the neoclassical modern style, all in white, that Hoffmann favored during this period. New York: Harry N. Abrams, Inc. Vienna Secession history by Senses-ArtNouveau.com, MoMA.org | The Collection | Josef Hoffmann. It had a clarity, simplicity, and logic that foretold of a Neue Sachlichkeit. Through contacts with Adolphe Stoclet, who sat on the supervisory board of the Austro-Belgischen Eisenbahn-Gesellschaft, he was commissioned to build the Palais Stoclet in Brussels from 1905 to 1911 for this wealthy banker and railway financier. He tried to bring out the best in each member of his class by means of challenging assignments, which were occasionally work on real commissions. Josef Hoffmann: Interiors, 1902–1913 ... problematizing further the lineage of an international modernism which this book perhaps still endorses. The building was unused after 1938, when Nazi Germany took over Austria, but was restored in 1984 to its original appearance. Following its use by the British Government from 1945 to 1955 it was demolished.Â. Where he detected talent among young artists he was willing or eager to promote it; Oskar Kokoschka, Egon Schiele and Le Corbusier were the most prominent beneficiaries of his benevolence towards a promising next generation; others strongly influenced by his aesthetic included the American designer Edward H. and Gladys Aschermann and Louise Brigham. Siegfried Giedion in his influential Space, Time and Architecture did not do justice to Hoffmann's oeuvre because it would not fit easily into his polemically simplified version of architectural history. The central tower, nearly twenty meters high, is made of assembled cubic forms and crowned with four copper statues with statuary. Originally produced in silver, the range is now produced in high quality stainless steel. In 1906, Hoffmann built his first great work on the outskirts of Vienna, the Sanatorium Purkersdorf . It had a loggia with windows on one side, looking out at the garden, which connected with a gallery giving access to the garden, decorated with winding water basins made of concrete. Decoration for the Cabaret Fledermaus (1907), Chair for the Caberet Fledermaus (1906–14). 2,754 were here. [10], Armchair of wood and cane (1903), Josef Hoffmann and Koloman Moser (Metropolitan Museum of Art), Chair for the Pürkesdorf Sanatarium (1904–05), In 1905,[11] Hoffmann finished his first great work in the town of Purkersdorf near Vienna, the Sanatorium Purkersdorf. He studied architecture at the Senior State Commercial and Technical School in Brünn (now Brno, Czech Republic). His international exhibition work helped to make his name widely known, and many distinguished contributors to the Festschrift on his 60th birthday acclaimed him as a master. The same was true for the furniture of designers of the Wiener Werkstätte in Vienna, led by Otto Wagner, Josef Hoffmann, Josef Maria Olbrich and Koloman Moser. The floors are made of parquet from exotic woods, with different designs in each room. He designed many products for the Wiener Werkstätte of which designer chairs, most notably “Sitzmaschine” Chair, a lamp, and sets of glasses have reached the collection of the Museum of Modern Art, and a tea service has reached the Metropolitan Museum of Art. Hoffmann’s style eventually became more sober and abstract and it was limited increasingly to functional structures and domestic products. Media in category "Josef Hoffmann" The following 45 files are in this category, out of 45 total. In 1895, Hoffman, together with Olbrich, Koloman Moser and Carl Otto Czeschka and several others, founded a group called the Siebener Club, a forerunner of the future Vienna Secession. Only three years later, however, when he published The International Style together with Philip Johnson, Hitchcock no longer mentioned Hoffmann's name. A statue of Beethoven by Max Klinger stood at the center, with Klimt's Beethoven frieze mounted around it. Hoffmann died in Vienna, aged 85. In 1940, he redesigned the interior of the Meissen factory and offices in Vienna. [1] His father was modestly wealthy, the co-owner of a textile factory, and mayor of the small town. Josef Hoffmann, 1917. Josef Hoffmann's 1913 dining room for Swiss painter Ferdinand Hodler, at the Neue Galerie. In 1907, Hoffmann was co-founder of the Deutscher Werkbund, and in 1912 of the Österreichischer Werkbund (or Austrian Werkbund). Josef Hoffmann (b. Austria, 1870) has an oeuvre that embodies the seismic aesthetic and philosophical shifts defining avant-garde art and design at the turn of the 20th century. If you have found any errors, please, notify us by selecting that text and pressing Ctrl+Enter. On the Use and Effect of Architecture in the Josef Hoffmann Museum in Brtnice is dedicated to the relationship of Josef Hoffmann (1870–1956) with his teacher Otto Wagner (1841–1918), the centenary of whose death is approaching in 2018. He designed the Vienna arts exhibition for the 1900 Paris Universal Exposition, which exposed the Secession style to an international audience. During this period, he built only a small number of buildings, including the transformation of a house for his friend Paul Wittgenstein. Maria Theresien Stil 1750 € 12.350. In 1903, along with Koloman Moser, and banker Fritz Wärndor, who provided most of the capital, he launched a much more ambitious venture, the Wiener Werkstätte, an enterprise of artists and craftsmen working together to create all the elements of a complete work of art, or Gesamtkunstwerk. He was elected President of the Secession from 1948 to 1950. He later described his school years as "a shame and a torture which poisoned my youth and left me with a feeling of inferiority which has lasted until this day." Fledermaus Chair by Josef Hoffmann 1905 Hoffmann's chair was designed for the theatre cabaret 'Fledermaus' in Vienna in 1907. Hoffmann designed a wide variety of objects for the Wiener Werkstätte. [20], Austria Pavilion for the Venice Biennale (1934), In 1936 became Professor Emeritus at the Fine Arts, essentially retired, though he continued to work with his earlier students. 5 out of 5 stars (121) $ 85.00. It is a matter of creating a harmonious ensemble, of great simplicity, adapted to the individual... and which presents natural colors and a form made by the hand of an artist..." [2] In his writing, Hoffmann did not entirely reject historicism; he praised the model of the British Arts and Crafts Movement, and urged artists to renew local forms and traditions. In the years during and after he designed the Palais Stoclet, Hoffmann continued to build interesting structures, but none gained the attention of the earlier work. The interiors were in the same modernized neoclassical style, decorated with parquet floors of rare woods, marble plaques on the walls, and sculptural decoration. [17]. Horowitz was an excellent virtuoso and played certain pieces inimitably; but even he never came close to Hofmann’s level. Because some of the companies that Moser and Hoffmann designed for still exist to this day. This simple, functional structure became a model for similar buildings built in Vienna and other cities after the War. Imitations of his style also began to appear, and replicas of his furniture, fabrics, and of some objects he had designed became commercial successes, while original pieces and drawings from his hand fetched record prices in the auction-rooms. Le Corbusier was offered a job in his office, Schiele was helped financially and Kokoschka was given work in the Wiener Werkstätte. 8, Profession: Architect. After Nazi Germany forced Austria to unite with Germany, he redesigned the former German Embassy in Vienna to serve as new headquarters of the German Army in Austria. The process of rediscovery and reappraisal began in 1956 with a small book by Giulia Veronesi, and gained momentum during the 1970s with a number of exhibitions and smaller publications. Under Wagner's guidance, Hoffman's graduation project, an updated Renaissance building, won the Prix de Rome and allowed Hoffmann to travel and study for a year in Italy. During the War, he made more than eighty projects for houses and other buildings, but there is no record if any were constructed. A student of Otto Wagner, Josef Hoffmann was part of the Secessionist group at its dawning. It is a visible turning point from historical styles to modern architecture. They were made of brick covered by plaster. Like the Palais Stoclet, the interior was decorated with fine veined marble plaques of a different colors, and with a colorful painting by Klimt. There he also met another rising architect of the time, Joseph Maria Olbrich. "It is not a matter of overlaying a framework with ridiculous ornament in molded cement, made industrially, nor imposing as a model Swiss architecture or houses with gables. His first such project was in Klosehof, a wealthy neighborhood in Vienna. The building was of an extreme simplicity, in a U form, with one side slightly longer than the other. The interior, by Hoffmann and the artists of the Wiener Werkstätte, is like a series of stage sets, offering carefully planned views from one room to the other, and decorated with colorful mosaics made by Klimt, as well as walls of white marble and antique green marble. Josef Hoffmann (1870-1956), Stoclet House, Brussels, Belgium, 1905-1911. Honours bestowed on him included the cross of a commander of the Légion d’honneur and the Honorary Fellowship of the American Institute of Architects. 5 out of 5 stars (66) $ 1,250.00. In 1899, he also designed the Eighth Exposition of the Secession, one of the most important exhibitions it, due to its international participants. [15]. He wrote that the basic elements of the new style were authenticity in the use of materials, unity of decor, and the choice of a style adapted to the site. In 1930–32, the Austrian Werkbund created an experimental city, modeled after the German "White City" version created at Suttgart in 1928. He was among the founders of Vienna Secession and co-establisher of the Wiener Werkstätte. He favored the use of geometric forms, especially squares, and black and white surfaces, explaining later that "these forms, intelligible to everyone, had never appeared in previous styles". The fortunes of my Viennese family” (2011), the architect was admired by the Nazis who appointed him a Special Commissioner for Viennese Arts and Crafts and commissioned him to remodel the former German embassy building into the “Haus der Wehrmacht” for army officers. See more ideas about design, vienna secession, art deco. With the Secession, Hoffmann developed strong connections with other artists. With the banker Fritz Wärndorfer and the artist Koloman Moser he established the Wiener Werkstätte, which was to last until 1932. [16], Other important works include the Hochstetter House in Vienna (1906–1907); and the Villa Ast in Vienna (1909–1911) which was constructed for Eduouard Ast, a businessman and building contractor who pioneered the use of reinforced concrete in Austria, was a major funder of the Werkstätte. Hoffmann’s constant use of squares and cubes earned him the nickname Quadratl-Hoffmann (“Square Hoffmann”). This exhibit included a group of model houses in the Hohe-Wart neighborhood of Vienna which displayed features of Arts-and-Crafts movement, including windows divided in small squares, and the gable roof. Josef Hoffmann (15 December 1870 – 7 May 1956) was an Austrian architect and designer. The facade was simple, covered with white plaster. [6] He was in charge of designing the frequent exhibits held in the Secession gallerias, including the setting for Gustav Klimt's celebrated frieze devoted to Beethoven. [10]. [18], Hoffmann had been a founding member of the Austrian Werkbund, founded in 1914, modeled after the celebrated German Werkbund. In 1937 he presented a model interior, "The Boudoir of a great actress", at the Paris International Exposition of 1937, and designed new interiors for the Hotel Imperial in Vienna. In the 1920s, Hoffmann became particularly interested in building public housing and apartment buildings for working-class residents, to relieve the severe housing shortage after the War. For the Exposition, Hoffmann designed four different houses, of different sizes and designs, all simple and practical. Hoffmann was married in 1898 to Anna Hladik, and they had a son, Wolfgang, born in 1900. I still get a thrill from something that is intelligently designed and beautiful, too. Following the First World War, Hoffmann built his last two villas. The designs and products of this era have since become timeless classics that are still found wherever one goes in Vienna. [5], During this period, Hoffmann's work became more rigorous, more geometric, and less ornamental. 1901 € 3.400. His father encouraged him to become a lawyer or a civil servant, and sent him to a prestigious upper school, but he was very unhappy there. Aged 85. Hoffmann had voted for the union of Austria with Germany and, as noted in Tim Bonyhady's "Good Living Street. Josef Hoffmann's son, Wolfgang Hoffmann, together with his father's former student Pola Weinbach Hoffmann (later Pola Stout), emigrated to New York in 1925 and made significant contributions to American modernism. Josef Hoffmann was an Austrian architect and designer of consumer goods. Hoffmann was born in Brtnice, Moravia (now part of the Czech Republic). (1870–1956) An architect and interior designer, Hoffmann was one of the founders of the Secession, with which his name is still closely associated. The dining room features a set of two mosaic murals by Klimt, in a setting of marble columns and mosaics by Klimt, along with geometric marble columns and walls covered with stylized floral patterns designed by Hoffmann and Klimt. Ball can I. Oswald Haerdtl, 1925. He designed installation spaces for Secession exhibitions and a house for Moser which was built from 1901-1903. German designer Anni Schaad was another of his students. notable works made by Hoffmann included a hunting lodge designed for Karl Wittgenstein (1906), the father of the philosopher Ludwig Wittgenstein. [8] and a tea service in the collection of the Metropolitan Museum of Art. Click to share on Facebook (Opens in new window), Click to share on Twitter (Opens in new window), Click to share on WhatsApp (Opens in new window), Click to share on Pocket (Opens in new window), 1901-1902 House Carl Moll I Vienna – Steinfeldgasse No. Hofmann was of partial Jewish ancestry. Another example of Hoffmann’s strict geometrical lines and the quadratic theme is the iconic Kubus Armchair. Austro -Hungary / Österreich - Ungarn 1850 € 14.400. As a member of the international jury for the competition to design a palace for the League of Nations at Geneva in 1927, Hoffmann belonged to the minority who voted for Le Corbusier's project, and the latter always spoke with admiration of his Viennese colleague. Much of the furniture, mostly in richly carved, ebonised wood with boldly coloured upholstery, survives in the National Gallery of Victoria in Melbourne, Australia, as the Hoffmann Gallia apartment collection. After World War II, he took on official tasks, that of an Austrian general commissioner with the Venice Biennale and a membership in the art senate. Another example of Hoffmann's strict geometrical lines and the quadratic theme is the iconic Kubus Armchair. This masterpiece of Jugendstil, was an example of Gesamtkunstwerk, replete with murals in the dining room by Klimt and four copper figures on the tower by Franz Metzner. [21] Where he detected talent among young artists he was willing or eager to promote it; Oskar Kokoschka, Egon Schiele and Le Corbusier were the most prominent beneficiaries of his benevolence towards a promising next generation; others strongly influenced by his aesthetic included the American designers Edward H. and Gladys Aschermann and Louise Brigham. In the 1980s several monographs were published and major exhibitions held. Hoffmann designed the Fledermaus chairs, which became a symbol of the style. The house built of reinforced concrete, encrusted with decoration and sculpture. Verbindungen entdecken. He organized several exhibitions for the Werkbund, experimenting with modern architecture. The exterior is extraordinarily modern, in strict geometric forms, with touches of decoration.
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