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Gmelin, Leopold [Compiler]
(Band 1): Das deutsche Kunstgewerbe zur Zeit der Weltausstellung in Chicago 1893 — Paris, 1893

DOI Page / Citation link: 
https://doi.org/10.11588/diglit.1357#0014
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5itr Seit öer HMt-Jtusfrelluna in £l)icago.

unltpitMl

Grepman Artistieal Handieraft at the time of the, Wopld's-Exfaibition in Chicago.

; ierfninbertjaljre fiub feit 6er (Entbecfung&merifa's
nerfloffen. Das folgenfd|tt>ere (Ereignijj fiel tu eine
rgeit Ijödifter Blütbc germanifct|en ©eiftes. (Ein
halbes juln-tjunbert juuor Ijatte berfelbe ber HMt
bie Buctjbrucferfunft gefdienft, uub ein falbes 3ahr nadjfjer
fdn'ittelte er bas mittelalterlidje 3<>d; geiftiger Knecr;tfd}aft ab.

Das war aud; bie gebt 6er t/ödjften Slütfjebes öeutfdjen
Ifuuftgeroerbes, als nod; feine Crennungslhtie jroifdjeu
Kuuft un6 tjanbmerf ge$ogen mar. „(Es roar eine Suff 511
leben" — audi für ben f}anbrocrfer; als HTitglieb feiner
gunft genojj er ein getoiffes Ztnfeb,en, unb feine arbeiten
roaren r>on £)od) uii6 Hiebet- gefdiätjt.

Ztber Mc burd) bie Reformation r/eraufbefdjroorenen
Stürme roirften »erbeereub auf biefe Blütb/e ein; bie Der«
armuug bes taubes, roelcb/e ber 30jäb,rige Krieg Ijerbet»
führte, foroie bie Sebrängniffe bes \8. 3ab,rlnm5erts uer-
fyinberten ein nölliges lüieberauflebeu bes Kunfttjanbroerfs,
uub bie napoleouifdjcn Kriege gaben bemfelben nolleubs ben
Co&esftofj: roas in ber erften Ijälfte bes (9. 3al)rlnmberts nod?
an fuuftlerifdjen Regungen im ijanbroerf fid? jeigte, roar ein
fläglid)es Sauen im Dergleidj mit beu fröt/lidjen Sauten,
lceldje bie geh °er Dürer unb tjolbein, ber 3ammtjer unb
£}trsuogel fcnnjeidjnet.

Jtls um bie OTitte unferes 3al)rlnmberts in Deutfdjlanb
bas Derlangeu mädjtig erroadjte, bas tedmifdj rote fünftlerifd;
tief barnieber liegenbe »aterläubifdje lümftgeroerbe r>on bem
fd;roer auf irmt [afteubeti Drucf bes fremben iHarftes ,u be-
freien uub bemfelben feine frühere Selbftänbigfett 511 erringen,
ba faub biefes yatriotifdje Seftrebeu jtmädjft itt HTündjens
begeifterter liünftlerfcbaft roärmfte 2tufuabmc uub Unter»
ftüfjtmg. Don btefer reformatorifdjen Bewegung erfaßt, trat
bafelbft gegen (Eube bes 3ab,res 1850 eine Reibe heroor^
ragenber Künftler fataler, Silbrjauer unb Jlrdiitefteu) unter

jour hundred years have passed since America
was discovered. This event so important in
its consequences took place during a period of
the highest developement of germanic intelli-
gence. Half a Century before, the latter had presented the
world with the art of printing and half a year after, it
shook off the mediaeval yoke of spiritual bondage.

That was also the period of the highest acine of
German Art-industry, when no separating line was as yet
drawn berween art and handicraft. Life was a pleasure
— also for a crafts- or workman; as a member of his
Corporation he enjoycd a certain respeetability and his
work was appreciated by high and low.

But the storms raised by the Reformation had a dc-
struetive effect on this growth; the impoverishment of
the country, brought on by the 30 years' war, as well
as the tribulations of the i8,h Century prevented an entire
revival of artistic industry and the wars under Napoleon
completed its min: what little was to he observed of
artistic impulses in manufacture in the first half of the
i9,h Century was poor babbling compared tho the cheerful
sounds charaetarizing the period ol inen like Durer and
Holbein, Jamnitzer and Hirsvogel.

About the middlc of the present Century, when in
Germany the artistic industry of home was lying prostrate
in a technical as well as artistic point of view and a
powerful longing arose to relieve it from the oppression
ot foreign markets, by which it was so heavily burdened
and to regain its former independence, the hrst to aecord
it encouragement and the wärmest reeeption were the
artists of Munich.

It was towards the end of the year 1850 that this
reformatory impulse induced a number of distinguished

I>tis Peutftfre Kiinflgenjtrbe.

German Artistieal Handicraft. I
 
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