The artistry of the Wiener Werkstätte always took primacy over the commercial bottom line of the enterprise, and its reliance on wealthy underwriters to sustain its activities contributed to its gross financial insolvency.Though its artists made ample use of new industrial materials, they resisted temptations to completely turn to mass production. Translated as the "Viennese Workshops," the name Wiener Werkstätte represents well the nature of its organization: it incorporated the craft-based production of decorative arts in a mostly rural country, which was historically concentrated in its primary metropolis.Unlike other contemporaneous movements in the decorative arts and design, the Wiener Werkstätte did not seek to create an art that would be accessible to all and enlighten the masses instead, the group focused on the highest quality craftsmanship and materials for a socioeconomic elite that, perhaps ironically, would treat its work more as art objects than utilitarian items. The Wiener Werkstätte innovatively envisioned that many of its activities would complement and promote each other - for example, its postcards often featured the Workshops' output in architecture, textiles, fashion, and glass and ceramics - a move that helped Werkstätte attain two of its goals: first, narrowing the gap in prestige between artistic genres and second, bolstering the commercial visibility of its designs.
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