DOI Heft:
No. 155 (February, 1906)
DOI Artikel:Levetus, A. S.: Otto Prutscher: a young Viennese designer of interiors
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20714#0057
Otto Prutscher
good designer must also
be a good workman. He
has grasped the true rela-
tion between the brain-
worker and the hand-
worker, realising that un-
less the designer and
maker are in perfect har-
mony with one another,
and work together hand in
hand, the result, no matter
how good the design, will
be a failure. The real
work of the designer only
begins when he gives his
design into the hands of
the workman, for he must
watch how it is carried
out, see that his intentions
are followed, and himself
draw the details. Hence
it is highly necessary that
a perfect understanding
exist between the two
workers, otherwise really
right and good work is
impossible. A want of
due attention to some
small detail may be at the
cost of sacrificing the
artistic. Each object made
should bear the stamp of
its own individuality and
characteristics : the per-
ENAMEL WITH GILT LINES FURNITURE BY MALEK & WATZINGER SOnaKty of the builder,
the architect, should be
That no less than eight furniture-makers should evident and easily recognisable; but this personality
have commissioned Prutscher to design their must show itself naturally, and there should be
exhibits is in itself striking testimony to his skill no attempt to force it into evidence,
as a designer, but his talent is also recognised and Here, however, arises a great difficulty in the cry
being put to worthy use by makers of all sorts of for cheap things, and unfortunately artists need
objects. Everywhere he shows a genial spirit and to live as well as other people. The manufacturers
ample power both of conception and execution, too often think they have done their duty when
coupled with a feeling for true beauty—and he they order a design, leaving the execution of it to
never mistakes mere prettiness for beauty. His their workmen, overlooked of course by the fore-
fancy is a lively one, he is Viennese to the core, man, who often does not even know who the artist
warm in temperament, never trespassing the lines is, and knows nothing of his intentions beyond what
of good taste. His constant endeavour is to give the design shows him. That the creator of the
that which is best in him, whether in designing design should understand anything beyond the con-
textiles, mosaics, copper bowls or silver services, veying of his idea's to paper, is beyond the corn-
lamps and chandeliers, or the simplest articles for prehension of only too many. But fortunately in
the home. These productions show that besides the Kunstgewerbeschule the students learn some-
being a capable designer he is also an efficient thing else beyond designing and modelling. They
workman, for no one more fully recognizes that a also learn to understand the various materials in
37
LADY S DRESSING ROOM SUITE IN WHITE DESIGNED BY OTTO PRUTSCHER
good designer must also
be a good workman. He
has grasped the true rela-
tion between the brain-
worker and the hand-
worker, realising that un-
less the designer and
maker are in perfect har-
mony with one another,
and work together hand in
hand, the result, no matter
how good the design, will
be a failure. The real
work of the designer only
begins when he gives his
design into the hands of
the workman, for he must
watch how it is carried
out, see that his intentions
are followed, and himself
draw the details. Hence
it is highly necessary that
a perfect understanding
exist between the two
workers, otherwise really
right and good work is
impossible. A want of
due attention to some
small detail may be at the
cost of sacrificing the
artistic. Each object made
should bear the stamp of
its own individuality and
characteristics : the per-
ENAMEL WITH GILT LINES FURNITURE BY MALEK & WATZINGER SOnaKty of the builder,
the architect, should be
That no less than eight furniture-makers should evident and easily recognisable; but this personality
have commissioned Prutscher to design their must show itself naturally, and there should be
exhibits is in itself striking testimony to his skill no attempt to force it into evidence,
as a designer, but his talent is also recognised and Here, however, arises a great difficulty in the cry
being put to worthy use by makers of all sorts of for cheap things, and unfortunately artists need
objects. Everywhere he shows a genial spirit and to live as well as other people. The manufacturers
ample power both of conception and execution, too often think they have done their duty when
coupled with a feeling for true beauty—and he they order a design, leaving the execution of it to
never mistakes mere prettiness for beauty. His their workmen, overlooked of course by the fore-
fancy is a lively one, he is Viennese to the core, man, who often does not even know who the artist
warm in temperament, never trespassing the lines is, and knows nothing of his intentions beyond what
of good taste. His constant endeavour is to give the design shows him. That the creator of the
that which is best in him, whether in designing design should understand anything beyond the con-
textiles, mosaics, copper bowls or silver services, veying of his idea's to paper, is beyond the corn-
lamps and chandeliers, or the simplest articles for prehension of only too many. But fortunately in
the home. These productions show that besides the Kunstgewerbeschule the students learn some-
being a capable designer he is also an efficient thing else beyond designing and modelling. They
workman, for no one more fully recognizes that a also learn to understand the various materials in
37
LADY S DRESSING ROOM SUITE IN WHITE DESIGNED BY OTTO PRUTSCHER