DOI Heft:
No.233 (August 1912)
DOI Artikel:Levetus, A. S.: Some Viennese flower-stands and vases
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21157#0210
Viennese Flower-Stands
artist is less severe than Prof. Hoffmann; his refinement
and delicacy of treatment are of another calibre, yet
everything he creates bears the stamp of the true artist.
Those who have had the opportunity of watching Prof.
Prutscher from the beginning of his career are glad to
see how well he has fulfilled his early promise. From
the first he has strenuously kept to the canons he laid
down for himself, and therefore it was not surprising that
when a place fell vacant he was appointed to a pro-
fessorship at the Central School of Applied Art. His
work is characterised by a singular charm and restful-
ness, though its repose is of a different character from
that of Prof. Hoffmann. Perhaps there is a greater
strain of intellectualism in Prof. Hoffmann’s work, but it
is idle to contrast these two men whose ideals rank so
high. If we turn to the glass flower-stands by these two
artists (pp. 187, 188) their aims will as easily be recog-
nised as in their silver work. No two could be less
similar in their designs; perhaps there is more archi-
tectural form in those of Prof. Hoffmann, yet this element
again is common to both. There is nothing savouring
of the conventional in them, yet they all have style;
there is nothing emphatic, too pronounced or accen-
tuated as it were. What could be more beautiful than
FLOWER-STAND OF PERFORATED AND
BURNISHED SILVER. DESIGNED BY PROF.
KOLO MOSER, EXECUTED BY THE WIENER
WERKSTAETTE
his own mind and hand. Such workman-
ship is an acknowledgment of the greatness
of the designer. The first of the two has
fields of silver, the lines passing through
them being beautifully chiselled and divided
off by delicate-hued corals. Between these
fields of silver are pillars of beautiful grey
malachite, finely polished, and lending a
refined touch of colouring to the scheme.
The other is equally beautiful both as regards
design and craftsmanship. It is of highly
polished silver, the beading being formed of
small corals, each being chosen with thought
and feeling for form and beauty of colouring.
Both are sincere examples of the work of a
mature artist who in all things is scholarly.
The glass flower-stand mounted in silver
(p. 186) designed by Prof. Otto Prutscher
has an attractiveness of its own. This
188
GLASS FLOWER-HOLDERS WITH GILT DECORATION. DESIGNED
BY PROF. OTTO PRUTSCHER, EXECUTED BY THE WIENER
WERKSTAETTE
artist is less severe than Prof. Hoffmann; his refinement
and delicacy of treatment are of another calibre, yet
everything he creates bears the stamp of the true artist.
Those who have had the opportunity of watching Prof.
Prutscher from the beginning of his career are glad to
see how well he has fulfilled his early promise. From
the first he has strenuously kept to the canons he laid
down for himself, and therefore it was not surprising that
when a place fell vacant he was appointed to a pro-
fessorship at the Central School of Applied Art. His
work is characterised by a singular charm and restful-
ness, though its repose is of a different character from
that of Prof. Hoffmann. Perhaps there is a greater
strain of intellectualism in Prof. Hoffmann’s work, but it
is idle to contrast these two men whose ideals rank so
high. If we turn to the glass flower-stands by these two
artists (pp. 187, 188) their aims will as easily be recog-
nised as in their silver work. No two could be less
similar in their designs; perhaps there is more archi-
tectural form in those of Prof. Hoffmann, yet this element
again is common to both. There is nothing savouring
of the conventional in them, yet they all have style;
there is nothing emphatic, too pronounced or accen-
tuated as it were. What could be more beautiful than
FLOWER-STAND OF PERFORATED AND
BURNISHED SILVER. DESIGNED BY PROF.
KOLO MOSER, EXECUTED BY THE WIENER
WERKSTAETTE
his own mind and hand. Such workman-
ship is an acknowledgment of the greatness
of the designer. The first of the two has
fields of silver, the lines passing through
them being beautifully chiselled and divided
off by delicate-hued corals. Between these
fields of silver are pillars of beautiful grey
malachite, finely polished, and lending a
refined touch of colouring to the scheme.
The other is equally beautiful both as regards
design and craftsmanship. It is of highly
polished silver, the beading being formed of
small corals, each being chosen with thought
and feeling for form and beauty of colouring.
Both are sincere examples of the work of a
mature artist who in all things is scholarly.
The glass flower-stand mounted in silver
(p. 186) designed by Prof. Otto Prutscher
has an attractiveness of its own. This
188
GLASS FLOWER-HOLDERS WITH GILT DECORATION. DESIGNED
BY PROF. OTTO PRUTSCHER, EXECUTED BY THE WIENER
WERKSTAETTE