#Mathilde Flögl

[alwaysalwaysalwaysthesea]

Carnival costume design by Mathilde Flögl for the Wiener Werkstätte, 1925.

(source: MAK)

[igustav7272]

Carrier bag for The Wiener Werkstätte. Mathilde Flögl. 1924.

Image: MAK

[desimonewayland]

Form: Josef Hoffmann, Decor: Mathilde Flögl, production Wiener Werkstätte

Gouache on paper, 1929 / Rennpreis "Email-Pokal" mit Deckel 

MAK, Archiv der Wiener Werkstätte

[craft2eu]

Die Frauen der Wiener Werkstätten: Wien bis 03.10.2021

Die Frauen der Wiener Werkstätten: Wien bis 03.10.2021

Wer prägte den Stil der 1903 gegründeten Wiener Werkstätte (WW)? Sofort drängen sich die großen Künstlernamen auf: Josef Hoffmann, Koloman Moser und Dagobert Peche. Von Anfang an aber waren auch Künstlerinnen an den Produktionen der WW beteiligt. Bis zur Auflösung 1932 erhöhte sich ihre Zahl laufend, und besonders in der Zwischenkriegszeit bestimmten Mathilde Flögl, Maria Likarz, Felice Rix oder…

[vanityunfair]

Mathilde Flögl, 1925

[gingerbreadvanilla]

Kimono vest by Mathilde Flögl (member of the Wiener Werkstätte), 1928.

The Kyoto Costume Institute.

“The stylized peacock motifs with tail feathers resembling a young pine leaf pattern make a splendid contrast to the black background.[…] Wiener Werkstätte was founded in 1903 by Josef Franz Maria Hoffmann and Koloman Moser, who had both been founder members of Wiener Secession, a forward-looking movement of artists and designers that was intially led by Gustav Klimt. Asserting the equivalence of art and craft, the Werkstätte was partly inspired by the British Arts and Crafts movement that advocated integration of life and art. Hoffmann and Moser designed a wide range of items associated with everyday life, including furniture, crafts, wallpaper, tableware, and fashion. They saw Japan’s artistic craftworks as practical examples of the integation of art and daily life, and took them as a key source of inspiration for their own designs. Textiles produced by the Werkstätte show a very clear influence of Japanese fabrics and stencils”.

[fotosvonsusanne]

Mathilde Flögl, 1930

[cooperhewitt]

Werkstätte Whimsy

In celebration of Women’s History Month, March Object of the Day posts highlight women designers in the collection.

This wallpaper delights with its lively motifs of birds and plants and playful stylization. The bright colors and presence of nature injects an otherwise strongly geometric and simplified rendition of an urban landscape with a cheerful energy. The influence of the Bauhaus, often seen in Flögl’s work, can be seen in the fragmented angular forms and limited color scheme. Flögl transforms the typical primary colors used in the Bauhaus into red-orange and baby blue. The warmth and vibrancy of the pattern is typical of the designer, who is represented in the collection with almost sixty objects.

Mathilde Flögl, who likely created this paper, was one of the more prolific contributors to the Wiener Werkstätte, the Viennese craft community that operated from 1903 to 1932. Her output included designs for wallpapers, textiles, posters, leatherwork, book design, glass, and ceramics. She was one of a large group of women craftsmen, including Felice Rix-Ueno, Vally Wieselthier, and Maria Likarz-Strauss, who joined the workshop beginning in the 1910s. Like many of her peers, she was previously a student at the Viennese Kunstgewerbeschule (Arts and Crafts School), where she was taught by the leading designers of the Werkstätte such as Josef Hoffmann and Koloman Moser. Flögl began working freelance for the Werkstätte in 1916 and left in 1931 to establish herself as an independent craftsman. She ran her own workshop from 1931 to 1935. In terms of wallpaper, her most significant work was a line of twenty patterns in a style similar to this sidewall that she produced in 1929 for the Swiss manufacturer Tekko and Salubra. Flögl’s success and importance at the Werkstätte is attested by the fact that she handled the book design for the workshop’s 25th-anniversary celebratory publication, Die Wiener Werkstätte, 1903-1928: Modernes Kunstgewerbe und sein Weg (The Wiener Werkstätte, 1903-1928: The Development of Modern Applied Arts.). This paper perfectly showcases the exuberant use of color and forms that defines her work.

Nicholas Lopes is a student in the History of Design & Curatorial Studies graduate program at the Cooper Hewitt, and is a Master’s Fellow in the Wallcoverings Department.

from Cooper Hewitt, Smithsonian Design Museum https://ift.tt/2Geo7ZO via IFTTT

[design-is-fine]

Silk fabrics of the Wiener Werkstätte, 1910-1921. Vienna. Via Rijksmuseum.

1/ Strohblume, Marie Rosalie Friedman-Otten, 1910-14. 2/3 Sevilla, Mathilde Flögl, 1910-16. 4/5 Blumenhorn, Dagobert Peche, 1911-12. 6/ Tanzpaar, Heddi Hirsch-Landesmann, 1915. 7/ Iselberg, Irene Schaschl-Schuster, 1912-1917. 8/9 Aussee, Leopold Blonder, 1911-1914. 10/ Chi-Ki, Irene Schaschl-Schuster. 1912-1917.

[superb-y-lab]

The Deep Roots of Modernism.

The Modernist Movement was sparked by a desire by artists, architects and craftsmen to break free of the perceived bonds of “looking backwards” for cultural influences. Art historians have pointed to the British Arts & Crafts Movement, which began around 1880, as the beginning of this forward-looking push for fresh and unexplored creative thinking. It lasted well into the mid-twentieth century.

... ...

Pulling back the curtain to reveal one piece in the growth of the Modernist period, the Wiener Werkstätte (Vienna Workshop) began in 1903 by two men, Josef Hoffman and Koloman Moser, as an offshoot of Vienna’s “Secessionist” movement. For nearly 30 years the artisans of the Werkstätte designed and produced textile designs, glasswork, ceramics, metalwork, jewelry and furniture with the unifying mantra to bring a heightened sense of design to everyday objects. The earliest years saw designs that were highly influenced by some of the more formal qualities of Scottish architect and designer Charles Rennie Mackintosh (1868-1928). While numerous Werkstätte designers chose ornamental restraint, others pushed decorative ornamentation to excess. Obsessed with quality and a high-level of craftsmanship, eventually the Wiener Werkstätte was unable to produce enough products to keep up with demand. Their work was expensive, and mass-production was never an option. This spelled their eventual demise, but left deep roots for the growth of modernism to come.

( Emanuel Josef Margold (1888-1962). Biscuit Box, c. 1925; painted tin with lithographed design. Collection of the Minneapolis Institute of Arts.)

( The Sitzmaschine Chair, (No. 670) by Josef Hoffmann, c. 1905, had a reclining back and pull-out footrest.)

( Commonly called the “Seven Ball Chair,” this sturdy chair (No. 371) by Josef Hoffman (1870–1956) was first exhibited at the Vienna Art Show in 1908.)

( A Wiener Werkstätte textile sample, c. 1910; Christies Auction, London; May 2000)

( Textile Sample, Designer Unknown, Wiener Werkstätte, ca. 1920)

( Textile sample; by Gustav Klimt  (Austrian, Baumgarten 1862–1918 Vienna) Wiener Werkstätte, ca. 1920)

( Die Jungfrau, (The Virgins), Oil on Canvas; by Gustav Klimt (Austrian, Baumgarten 1862–1918 Vienna)

One in a series of three mosaics created by Austrian painter Gustav Klimt for a 1905-1911 commission for the Palais Stoclet in Brussells. Stoclet Fries — Lebensbaum (rechter Teil). These panels are composed of a variety of luxury materials, including marble, ceramic, gilded tiles and enamel along with pearls and other semi-precious stones.

Textile sample; by Gustav Klimt  (Austrian, Baumgarten 1862–1918 Vienna) Wiener Werkstätte, c. 1920

Preliminary drawing for jewelry pendant; Irene (Reni) Schaschl-Schuster, c. 1932 Collection of the Austrian Museum of Applied Arts, Vienna

Pencil drawing by Josef Hoffman (1870–1956), c. 1908 Collection of the Austrian Museum of Applied Arts, Vienna

Josef Hoffman (1870–1956), Cigarette Case with elaborate ornamentation of gold, opals, lapis, turquoises, mother of pearl, agate and semi-precious stones, c. 1912

Ink Drawing by Mathilde Flögl, c. 1916

Textile Sample, Designer Unknown, Wiener Werkstätte, c. 1910–28

Designer Unknown, Shoes by the Wiener Werkstätte, c. 1910

Josef Hoffmann (1870–1956), Five pieces from the 'Flat Model' flatware service, consisting of crab fork, sardine server, pastry serving spoon, cheese knife, and butter knife, Vienna, ca. 1904–1908. Execution: Wiener Werkstätte. Silver

Postcard by Franz Zeymer, c. 1907

Postcard by Moriz Jung, c. 1907

Black and White Mocha Cup and Saucer by Josef Hoffman, c. 1910, Austria, Vienna, Designed c. 1910; made c.1920; Ellen Palevsky Cup Collection, LACMA

original from here.

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[alwaysalwaysalwaysthesea]

Ad for the Wiener Werkstätte, art by M. Flögl (Mathilde Flögl?), in the November 1927 issue of Moderne Welt.

(source: Österreichische Nationalbibliothek)

[alwaysalwaysalwaysthesea]

Model wearing a dress designed by Maria Likarz-Strauss and made of Wiener Werkstätte feather print “Papagena” fabric designed by Mathilde Flögl, ca. 1928.

(source: MAK)

[desimonewayland]

Mathilde Flögl

Spielzeug: Krampus, Wien, um 1925

Gouache on paper

MAK, Archiv der Wiener Werkstätte

[desimonewayland]

 Mathilde Flögl

Three designs for hand mirrors for the Wiener Werkstätte 1928.

Gouache on paper

MAK, Archiv der Wiener Werkstätte

[desimonewayland]

Mathilde Flögl

Wallpaper design for the Wiener Werkstätte, Vienna, ca. 1926

Gouache on paper

via: MAK, Archiv der Wiener Werkstätte