Dans la collection de AH 
288 

Chalice

1918
40 cm (15,75 in.)

Description

Wiener Werkstätte glass chalices.

Inscriptions / Signatures

One of them: WW, other unsigned.

Commentaire

Decorated by Mathilde Flögl, shape by Josef Hoffmann for Wiener Werkstätte, glass blown by Johann Örtel & Co, Haida.

There is an analysis of the chalice at http://www.theartstory.org/movement-wiener-werkstatte-artworks.html:

Glassware formed an essential part of the Werkstätte's production from the outset, and remained as such until the Workshops' closure in 1932. Like textiles and clothing, Wiener Werkstätte glassware is so varied as to preclude easy choices to represent all its pieces. This cup, however, is significant on several levels. First, it illustrates the collaborative nature of much of the Werkstätte's designs, as Josef Hoffmann was responsible for the shape of the vessel and Mathilde Flogl, one of the Workshops' important women artists, completed the decorative painting.

Also importantly, one can also quite clearly see the enormous influence of Dagobert Peche on other designers some three years after he joined the Werkstätte: here Hoffmann has abandoned the strict geometries characteristic of his architecture and design for the applied arts between 1900 and 1915 in favor of a more decorative set of concave and convex profiles, particularly in the stem and base, but also in the flared lip. These recall the forms of Baroque and Rococo designs, and are highlighted by the way that Flogl has chosen to paint the lower half of the vessel in the alternating white and blue stripes.

Flogl's decoration of the actual cup, meanwhile, is highly fanciful, mixing forms of birds, humans, potted plants, and deer with abstracted curves and twisted lines in a non-narrative manner; it likewise recalls the work of Peche, such as the gilt jewel box of his from two years later. The simplified forms, floating almost randomly on the surface of the vessel, seem to ask the user to choose or fashion a connection between them purely from the imagination, and perhaps serving a potential utilitarian purpose as a conversation starter over a drink. In some ways, therefore, they anticipate the developments of both Surrealism and German Expressionism during the 1920s.

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