DOI Heft:
No. 57 (November, 1901)
DOI Artikel:Fred, Alfred W.: The artists' colony at Darmstadt
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.22772#0044
Artists Co tony at Darmstadt
went, and still go, their own way. As a matter
of course, radically different types of modern
furniture were evolved, changed with each year,
moved further apart, approached each other
again, caused displeasure or admiration, and
were the origin of enmities between artists and
associations. The race, the habits of life of
every town, the special demands made upon
each individual artist, naturally gave rise in each
case to different solutions; but, primarily, the
personality of the artist decided the matter.
And as we are still in the first stages of the
movement, as we are all seeking spasmodically
and far too self-consciously after a modern style,
the natural result is that we are not yet in the
possession of one. A style can only be slowly
crystallised out of facts ; it can never be evolved
by theory, or by mere intention.
In Vienna the interiors and objets d’art have,
of course, their special local colouring as much
as those in Munich, Berlin, and Dresden ; but
nowhere are the typical characteristics as yet
vigorous enough, and especially t/ositive and
active enough, to cause one to speak of a modern
German style worth fighting for.
Let us now turn to the little group of seven
STREET DOOR DESIGNED BY PETER BEHRENS
EXECUTED BY C. H. E. EGGERS
DOOR DESIGNED BY PETER BEHRENS
artists at Darmstadt. External circumstances
brought them together. The Grand Duke of
Hesse was desirous of making his capital a
centre of art. He wished to give young
artists the opportunity of producing work of their
own creation. The Grand Duke commissioned
the architect, M. H. Baillie-Scott, to decorate and
furnish his new palace, and also summoned a
number of artists, whose work he liked, to assist in
the scheme. Thus the seven became associated.
They have worked together to some purpose.
For the first time we are able to take a survey of
the extent of the creative sphere of art-handicraft.
For everything, from the architecture of the
exterior to the laid-out table and the coverlet
of the bed in every house, has been entirely
designed by the artist and executed under his
26
went, and still go, their own way. As a matter
of course, radically different types of modern
furniture were evolved, changed with each year,
moved further apart, approached each other
again, caused displeasure or admiration, and
were the origin of enmities between artists and
associations. The race, the habits of life of
every town, the special demands made upon
each individual artist, naturally gave rise in each
case to different solutions; but, primarily, the
personality of the artist decided the matter.
And as we are still in the first stages of the
movement, as we are all seeking spasmodically
and far too self-consciously after a modern style,
the natural result is that we are not yet in the
possession of one. A style can only be slowly
crystallised out of facts ; it can never be evolved
by theory, or by mere intention.
In Vienna the interiors and objets d’art have,
of course, their special local colouring as much
as those in Munich, Berlin, and Dresden ; but
nowhere are the typical characteristics as yet
vigorous enough, and especially t/ositive and
active enough, to cause one to speak of a modern
German style worth fighting for.
Let us now turn to the little group of seven
STREET DOOR DESIGNED BY PETER BEHRENS
EXECUTED BY C. H. E. EGGERS
DOOR DESIGNED BY PETER BEHRENS
artists at Darmstadt. External circumstances
brought them together. The Grand Duke of
Hesse was desirous of making his capital a
centre of art. He wished to give young
artists the opportunity of producing work of their
own creation. The Grand Duke commissioned
the architect, M. H. Baillie-Scott, to decorate and
furnish his new palace, and also summoned a
number of artists, whose work he liked, to assist in
the scheme. Thus the seven became associated.
They have worked together to some purpose.
For the first time we are able to take a survey of
the extent of the creative sphere of art-handicraft.
For everything, from the architecture of the
exterior to the laid-out table and the coverlet
of the bed in every house, has been entirely
designed by the artist and executed under his
26