DOI Heft:
Nr. 117 (December 1902)
DOI Artikel:The International Exhibition of Modern Decorative Art at Turin, The German section
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19877#0202
Turin Exhibition
for her artists were thoroughly imbued with the
spirit most closely in touch with modern require-
ments ; and although it is too soon to speak of
a modern German style—for German designers
are still much influenced by those of France,
England, and Austria—there are tokens that the
evolution of such a style is only a question of
time.
The influence of the ingenious, but somewhat
irritating, style of Van der Velde is here seen
in the Prussian-Room, in the work of Bruno
Mohring and R. Kimbler, and the furniture of
B. Pankok, whilst a reflection of that of Plumet
will be noted in the exhibits of Bruno Paul. To
set against this, the visitor will be reminded at
every turn of Viennese work or, rather, of that of
one Viennese designer—Olbrich. A notable in-
stance of this is a Room evidently inspired by
Olbrich's celebrated Reception Hall at Darmstadt
—in fact, little more than a copy of it — of
scarcely any interest except to those who have
not seen the original. The change of national
character is of course more noticeable in orna-
ment than in architecture. In the decoration
of furniture German artists are disposed to neglect
the naturalism employed by their ancestors, in
favour of the geometric patterns of Van der
Velde and other designers like him.
To this, however, Mr. Berlepsch-Valendas is an
exception. The three rooms in the Turin Exhibi-
tion do not perhaps give a just idea of his ability,
but some of the ornaments of the ceiling, the
painted friezes and the decorations of the mantel-
piece in the Bavarian Antechamber are full of
individual character.
German designers of decoration are just now
divided into two parties, those who follow Olbrich
and those who think there is no one like Behrens ;
but although these two artists of Darmstadt are
rivals, their work is really not unlike. In Germany
Behrens is considered the modern German master
par excellence, but this is a mistake. His style, it is
true, is thoroughly Viennese, with some of the
Viennese imagination left out: but it is Olbrich
who is the real leader, the real impersonation
of modern tendencies, and whatever individual
MPjin
HHr ^
■H - ■■
THE POTTERY ROOM OF THE GERMAN SECTION
DESIGNED BY W. KRIEG AND KARL GROSS
CARRIED OUT BY MESSRS. VILLEROY AND BOCK
for her artists were thoroughly imbued with the
spirit most closely in touch with modern require-
ments ; and although it is too soon to speak of
a modern German style—for German designers
are still much influenced by those of France,
England, and Austria—there are tokens that the
evolution of such a style is only a question of
time.
The influence of the ingenious, but somewhat
irritating, style of Van der Velde is here seen
in the Prussian-Room, in the work of Bruno
Mohring and R. Kimbler, and the furniture of
B. Pankok, whilst a reflection of that of Plumet
will be noted in the exhibits of Bruno Paul. To
set against this, the visitor will be reminded at
every turn of Viennese work or, rather, of that of
one Viennese designer—Olbrich. A notable in-
stance of this is a Room evidently inspired by
Olbrich's celebrated Reception Hall at Darmstadt
—in fact, little more than a copy of it — of
scarcely any interest except to those who have
not seen the original. The change of national
character is of course more noticeable in orna-
ment than in architecture. In the decoration
of furniture German artists are disposed to neglect
the naturalism employed by their ancestors, in
favour of the geometric patterns of Van der
Velde and other designers like him.
To this, however, Mr. Berlepsch-Valendas is an
exception. The three rooms in the Turin Exhibi-
tion do not perhaps give a just idea of his ability,
but some of the ornaments of the ceiling, the
painted friezes and the decorations of the mantel-
piece in the Bavarian Antechamber are full of
individual character.
German designers of decoration are just now
divided into two parties, those who follow Olbrich
and those who think there is no one like Behrens ;
but although these two artists of Darmstadt are
rivals, their work is really not unlike. In Germany
Behrens is considered the modern German master
par excellence, but this is a mistake. His style, it is
true, is thoroughly Viennese, with some of the
Viennese imagination left out: but it is Olbrich
who is the real leader, the real impersonation
of modern tendencies, and whatever individual
MPjin
HHr ^
■H - ■■
THE POTTERY ROOM OF THE GERMAN SECTION
DESIGNED BY W. KRIEG AND KARL GROSS
CARRIED OUT BY MESSRS. VILLEROY AND BOCK