DOI Artikel:
Wójcik, Agata: The Society for Polish Applied Art versus the Vienna Workshops - an attempt at comparison: stylistic analogies in furniture an interior design
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.51757#0136
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AGATA WÓJCIK
5. Karol Tichy, Bedroom set, 1909. Courtesy of Graphic Art Room,
The Academy of Fine Arts in Cracow
6. Koloman Moser, Servant’s room
in the flat of Eisler von Terramare,
1903, “Die Kunst”, 1904, p. 347
of the lines. The walls of the staircase were white, the edges were emphasized with stripes of ornaments
like in the hallway. Stringer of the stairs were decorated with rosettes. The floor repeats the motif of the
squares, this time made of black and white tiles, filled with beige ones. Rectangles and squares once
again appeared in the metal balustrade, in their middle fields, there were cups with two handles. The
motifs of the cups and belts of alternating gold and black squares also appeared in Tichy’s house in the
form of a mosaic on the faęade41.
The hall and staircase by Tichy can be compared with similar interiors by Viennese artists. The
project bearing the closest resemblance is the hall and staircase in the Purkersdorf sanatorium designed
by Hoffmann (Fig. 7, 8). Already on the faęade of the building, there are the stripes of white and black
squares emphasizing the edges of the walls, also used by Tichy. The black and white squares of the floor
are the main decorative motif of the sanatorium hall; the checkered tile layouts also fill the steps of the
stairs, squares are also found in the railing decoration of the stairs.42 Similar arrangements of two-color
squares designed by Hoffmann dominated the decoration of the hall at the Henneberg house in Vienna.43
The motifs of squares are found in the divisions of the doors and floors. In the decoration of the hall and
staircase, Tichy used blue juxtaposed with white and black, which is not alien to Viennese artists. The
walls in Carl Moll’s house designed by Hoffmann in the Hohe Warte district in Vienna were painted dark
blue, also the architectural detail of the villa was highlighted with this color. Hoffmann used this color
to decorate white furniture, as exemplified by Katharina Biach’s bedroom in Vienna.44 Such solutions
were also used by Koloman Moser. For the Mautner von Markof family, he designed armchairs made of
black painted wood combined with blue upholstery; in white and blue, he also designed furniture for the
kitchen in the flat of the Stonboroughs in Berlin.45
After the first stage of the Vienna Workshop activity, which was dominated by “Quadratstil” and when
Josef Hoffmann and Koloman Moser were the leading designers, a new period started which could be called
41 J. Korzeniewski, Karol Tichy (zarys monograficzny), “Zeszyty Naukowe Akademii Sztuk Pięknych w Warszawie”, 1988,
no. 3, pp. 29-34.
42 See Josef Hoffmanns Sanatorium Purkersdorf bei Wien, Wien 2003.
43 W. Zadnicek, Josef Hoffmann und die Wiener Werkstätte, Wien 2006, p. 75.
44 Witt-Dörring, Max Biach Residence..., p. 171.
45 Ch. Witt-Dörring, Interiors and Furniture, [in:] Koloman Moser. Designing modern Vienna..., pp. 139, 179.
AGATA WÓJCIK
5. Karol Tichy, Bedroom set, 1909. Courtesy of Graphic Art Room,
The Academy of Fine Arts in Cracow
6. Koloman Moser, Servant’s room
in the flat of Eisler von Terramare,
1903, “Die Kunst”, 1904, p. 347
of the lines. The walls of the staircase were white, the edges were emphasized with stripes of ornaments
like in the hallway. Stringer of the stairs were decorated with rosettes. The floor repeats the motif of the
squares, this time made of black and white tiles, filled with beige ones. Rectangles and squares once
again appeared in the metal balustrade, in their middle fields, there were cups with two handles. The
motifs of the cups and belts of alternating gold and black squares also appeared in Tichy’s house in the
form of a mosaic on the faęade41.
The hall and staircase by Tichy can be compared with similar interiors by Viennese artists. The
project bearing the closest resemblance is the hall and staircase in the Purkersdorf sanatorium designed
by Hoffmann (Fig. 7, 8). Already on the faęade of the building, there are the stripes of white and black
squares emphasizing the edges of the walls, also used by Tichy. The black and white squares of the floor
are the main decorative motif of the sanatorium hall; the checkered tile layouts also fill the steps of the
stairs, squares are also found in the railing decoration of the stairs.42 Similar arrangements of two-color
squares designed by Hoffmann dominated the decoration of the hall at the Henneberg house in Vienna.43
The motifs of squares are found in the divisions of the doors and floors. In the decoration of the hall and
staircase, Tichy used blue juxtaposed with white and black, which is not alien to Viennese artists. The
walls in Carl Moll’s house designed by Hoffmann in the Hohe Warte district in Vienna were painted dark
blue, also the architectural detail of the villa was highlighted with this color. Hoffmann used this color
to decorate white furniture, as exemplified by Katharina Biach’s bedroom in Vienna.44 Such solutions
were also used by Koloman Moser. For the Mautner von Markof family, he designed armchairs made of
black painted wood combined with blue upholstery; in white and blue, he also designed furniture for the
kitchen in the flat of the Stonboroughs in Berlin.45
After the first stage of the Vienna Workshop activity, which was dominated by “Quadratstil” and when
Josef Hoffmann and Koloman Moser were the leading designers, a new period started which could be called
41 J. Korzeniewski, Karol Tichy (zarys monograficzny), “Zeszyty Naukowe Akademii Sztuk Pięknych w Warszawie”, 1988,
no. 3, pp. 29-34.
42 See Josef Hoffmanns Sanatorium Purkersdorf bei Wien, Wien 2003.
43 W. Zadnicek, Josef Hoffmann und die Wiener Werkstätte, Wien 2006, p. 75.
44 Witt-Dörring, Max Biach Residence..., p. 171.
45 Ch. Witt-Dörring, Interiors and Furniture, [in:] Koloman Moser. Designing modern Vienna..., pp. 139, 179.