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International studio — 36.1908/​1909(1909)

DOI Heft:
No.141 (November, 1908)
DOI Artikel:
Deubner, L.: Decorative art at the Munich exhibition
DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.28256#0073

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FORTION OF THE PRtVATE OFFtCE OF A FACTORY MANAGER DEStGNED BY ARCHITECT RICHARD RIEMERSCHMID
AND EXECUTED BY THE DEUTSCHE WERKSTATTEN FUR HANDWERKSKUNST, G.M.B.H., MUNICH AND DRESDEN

group of interiors, in the other apartments of which
the quality of the peasant art of Toiz and Dachau
may be studied. Whether it was prudent to inciude
these rooms, conhicting as they do with the ideas
for the recognition of which the younger schooi of
German art has striven so hard, may be questioned
on a muititude of grounds, but, aii the same, they
are essentiai in a comprehensive dispiay of the
Munich art of to-day, in which the ascendancy of
the Lenbach-Seidi-Thiersch way of thinking con-
tinues unshaken in the most inHuential circies, in
spite of " Jugend " and " Vereinigte Werkstatten."
The rooms, or "spaces," of the Vereinigte
Werkstatten fiir Kunst im Handwerk comprise a
costiy marbie saloon by Bruno Paui, the materiai
used being the beautiful, delicateiy veined marble
from the Kiefersfeid marble-works ; a living-room
by Th. Th. Heine, in light-coloured cherry-wood
with yeliow uphoistery ; a bedroom by Otto

Biiimei with good, practical furniture; a gentie-
man's dressing-room, entirely in white and goid, by
Ernst Haiger; a weii-thought-out study and
biliiard-room in mahogany and ash by F. A. O.
Kriiger; and a marbie chimney-piece therein de-
signed by the Dutch artist Jan Eisenioffei, with
a richiy-iniaid giass mosaic rather overdone with
ornament. To the same group, though situated
apart from the rest, beiongs a room designed hy
Carl Rehm, the painter, as a living-apartment and
reception-room. This is his first appearance as a
" Raumkunstier," and an exceedingly happy it
is. This interior presents many exceiient features :
ali the detaiis are happiiy co-ordinated, the furni-
ture comfortabie and weii constructed, and nowhere
is there any aifectation. The endeavour of the
Vereinigte Werksta'tten to fulhi the eesthetic needs
of the upper ten thousand, not by ostentatious
show but by eiegance of a really genuine order,
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