DOI Heft:
Nr. 187 (October 1908)
DOI Artikel:Deubner, L.: Decorative art at the Munich exhibition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20965#0067
Decorative Art at the Munich Exhibition
PORTION OF THE PRIVATE OFFICE OF A FACTORY MANAGER DESIGNED BY ARCHITECT RICHARD RIEMERSCHMID
AND EXECUTED BY THE DEUTSCHE WERKSTÄTTEN FÜR HANDWERKSKUNST, G.M.B.H., MUNICH AND DRESDEN
group of interiors, in the other apartments of which
the quality of the peasant art of Tölz and Dachau
may be studied. Whether it was prudent to include
these rooms, conflicting as they do with the ideas
for the recognition of which the younger school of
German art has striven so hard, may be questioned
on a multitude of grounds, but, all the same, they
are essential in a comprehensive display of the
Munich art of to-day, in which the ascendancy of
the Lenbach-Seidl-Thiersch way of thinking con-
tinues unshaken in the most influential circles, in
spite of “ Jugend ” and “ Vereinigte Werkstätten.”
The rooms, or “spaces,” of the Vereinigte
Werkstätten für Kunst im Handwerk comprise a
costly marble saloon by Bruno Paul, the material
used being the beautiful, delicately veined marble
from the Kiefersfeld marble-works ; a living-room
by Th. Th. Heine, in light-coloured cherry-wood
with yellow upholstery ; a bedroom by Otto
Blümel with good, practical furniture ; a gentle-
man’s dressing-room, entirely in white and gold, by
Ernst Haiger ; a well - thought - out study and
billiard-room in mahogany and ash by F. A. O.
Krüger; and a marble chimney-piece therein de-
signed by the Dutch artist Jan Eisenlöffel, with
a richly-inlaid glass mosaic rather overdone with
ornament. To the same group, though situated
apart from the rest, belongs a room designed by
Carl Rehm, the painter, as a living-apartment and
reception-room. This is his first appearance as a
“ Raumkünstler,” and an exceedingly happy début it
is. This interior presents many excellent features :
all the details are happily co-ordinated, the furni-
ture comfortable and well constructed, and nowhere
is there any affectation. The endeavour of the
Vereinigte Werkstätten to fulfil the aesthetic needs
of the upper ten thousand, not by ostentatious
show but by elegance of a really genuine order,
45
PORTION OF THE PRIVATE OFFICE OF A FACTORY MANAGER DESIGNED BY ARCHITECT RICHARD RIEMERSCHMID
AND EXECUTED BY THE DEUTSCHE WERKSTÄTTEN FÜR HANDWERKSKUNST, G.M.B.H., MUNICH AND DRESDEN
group of interiors, in the other apartments of which
the quality of the peasant art of Tölz and Dachau
may be studied. Whether it was prudent to include
these rooms, conflicting as they do with the ideas
for the recognition of which the younger school of
German art has striven so hard, may be questioned
on a multitude of grounds, but, all the same, they
are essential in a comprehensive display of the
Munich art of to-day, in which the ascendancy of
the Lenbach-Seidl-Thiersch way of thinking con-
tinues unshaken in the most influential circles, in
spite of “ Jugend ” and “ Vereinigte Werkstätten.”
The rooms, or “spaces,” of the Vereinigte
Werkstätten für Kunst im Handwerk comprise a
costly marble saloon by Bruno Paul, the material
used being the beautiful, delicately veined marble
from the Kiefersfeld marble-works ; a living-room
by Th. Th. Heine, in light-coloured cherry-wood
with yellow upholstery ; a bedroom by Otto
Blümel with good, practical furniture ; a gentle-
man’s dressing-room, entirely in white and gold, by
Ernst Haiger ; a well - thought - out study and
billiard-room in mahogany and ash by F. A. O.
Krüger; and a marble chimney-piece therein de-
signed by the Dutch artist Jan Eisenlöffel, with
a richly-inlaid glass mosaic rather overdone with
ornament. To the same group, though situated
apart from the rest, belongs a room designed by
Carl Rehm, the painter, as a living-apartment and
reception-room. This is his first appearance as a
“ Raumkünstler,” and an exceedingly happy début it
is. This interior presents many excellent features :
all the details are happily co-ordinated, the furni-
ture comfortable and well constructed, and nowhere
is there any affectation. The endeavour of the
Vereinigte Werkstätten to fulfil the aesthetic needs
of the upper ten thousand, not by ostentatious
show but by elegance of a really genuine order,
45