JOSEF
HOFFMANN
Josef Hoffmann
(December 15, 1870 - May 7, 1956) was an Austrian architect and designer of
consumer goods. He studied with Otto Wagner. He played a major part in the shaping
of the aesthetic perception and aesthetic understanding of the 20th century.
In today's Czech Republic (including Bohemia and Moravia), the results of the
Industrial Revolution were more obvious than in the other parts of the Austro-Hungarian
Empire. Josef Hoffmann (born in 1870 in Pirnitz, Moravia, now Brtnice, Czech
Republic) and Adolf Loos both came from that same area. Many creative minds
derived from this region and enriched Vienna's economic life in the empire at
the turn of the century.
From 1887, Hoffmann attended the technical college in Brünn, where he studied
the methods of classical architecture. After his practical year in Würzburg
as a student of architecture, Hoffmann studied from 1892 at the Academy of Fine
Arts in Vienna built by Theophil Freiherr von Hansen. His teacher, Karl Freiherr
von Hasenauer was then at the peak of his popularity due to his "Ringstraßenbuildings".
After Hasenauer's death, Otto Wagner, the most famous architect at the end of
the nineteenth century, took over his class. A scholarship from the "Prix de
Rome" enabled Hoffmann to stay in Italy. After his return, Hoffmann joined the
office of Otto Wagner. There he got acquainted with Josef Maria Olbrich.
VIENNA
SECESSION
Together with other artists, Josef Hoffmann established the so-called "Siebener
Club". After Hoffmann demonstratively left the Künstlerhaus with a number of
colleagues including Gustav Klimt and Koloman Moser, an organisation of graphic
artists, the Secession, was founded in 1897. The new organisation's home built
by Josef Maria Olbrich offered young Hoffmann, as an organiser of the exhibitions,
ideal opportunities to present himself to an art loving and progressive circle
of potential clients. The society of those days seemed to show an interest in
art to an extent which was unknown before. The conventional salons, academies
and the like very quickly lost their influence in the same way - as modernity
questions the authority of tradition.
Hoffmann's works from this time were clearly influenced by Otto Wagner's school,
which determined the structure of an object through the emphasis on the surface.
This was as important to Hoffmann as Belgian Art Nouveau influenced the Secessionists.
In 1899 Hoffmann was appointed as a professor at the Viennese School of Applied
Arts(Kunstgewerbeschule) and commissioned for the interior-design at the World
Fair in Paris in 1900. Starting from the beginning of the 20th century a basic
change in his style can be noticed. With the turning away from the curves of
the Secession and Art Nouveau a trend towards simpler forms appeared. At this
time patterns from Britain had their special influence on Hoffmann. His admiration
of the latest developments in architecture and applied arts in Britain is easy
to be explained. On the one hand numerous illustrated magazines allowed an exchange
of information. On the other hand there was a number of Secession exhibitions
where British artists took part amongst them C.R. Ashbee and Charles Rennie
Mackintosh.
Starting with the 14th exhibition of the Vienna Sezession (1902) there was a
strict move to independence from other countries with the benchmark of The "Suppraportenrelief",
a cubist engraving in plaster, designed by Josef Hoffmann for the foyer of the
Secession building. Hoffmann's explanation for his favour for circles and squares
was that these forms never have been used before in applied and fine arts.
HOHE
WARTE
During this very important phase of development Hoffmann was appointed to build
a colony of villas on the hills of the Hohe Warte in Vienna. Due to the Secession
activities, Hoffmann was a close friend of the customers, and this gave him
the chance to design houses that suited both his and the builders' ideal. This
was to reach an unity of both, the outside and inside, or as in Hoffmann's own
words, "to build a house who's exterior is one with the interior".
He moved away from the Secession and for the first time he reveals his own unmistakable
and independent style. Hoffmann's turn away from the sweeping curves of Art
Nouveau and his turn towards simpler forms has to be seen in the historic context
of moving away from the floral Jugendstil, which started to spread in Europe
around 1900 and went along with the renaissance of classical ideals. Following
the Hohe Warte houses Hoffmann was appointed to do the interior decoration of
a number of Viennese apartments. At that time he was Vienna's most fashionable
architect. His works were so revolutionary that one could say, a new era had
begun. In later years Hoffmann explained his interest in square shapes and the
often use of black and white of those days by arguing that these clear elements
never had been incorporated in the styles of previous epochs.
The sculpture "Supraportenrelief" was created by Hoffmann for the fourteenth
exhibition of the Secession in 1902 . It is known for its final turning point
towards a new feeling for design. Workshops started all over the world to find
new and contemporary forms, which no longer wanted to follow the example of
historical tradition. Hoffmann's
explanation for his favour for circles and squares was that these forms never
have been used before in applied and fine arts.
THE
WIENER WERKSTATTE
With
the fortune of the young and art loving industrialist Fritz Wärndorfer and with
the enthusiasm and creative power of Kolo Moser and Josef Hoffmann the Wiener
Werkstätte was founded in May 1903 - the productive community of artists and
craftsmen who was meant to impress the life of Hoffmann deeply as well as that
of the whole Viennese art scene.
The clear goal of the Wiener Werkstätte was to include all prospects of human
life into one unified work of art. It was also decided to approve only objects
of outstanding individuality and beauty and high attention was put on exclusive
and exquisite craftsmanship. This followed the organisation's motto: better
to work ten days at one piece than to manufacture ten pieces in one day. The
Wiener Werkstätte created pieces of arts, in a very distinctive style: the Wiener
Werkstätte Style.
SANATORIUM
PURKERSDORF
Between
1902 and 1904 Hoffmann's purist phase reached its peak and he concentrated solely
on the reform of the element. Such an amount of purism often went against the
wishes and intentions of his patrons, as they often longed for the richness
of historical furniture which was meant to match with their lifestyle. Hoffmann's
artistic fantasy would later be able to react on such a demand. Once he had
moved away from his phase of riding himself of historic weights he was again
ready to let Art deco developments flow into his work.
The first big order for Josef Hoffmann and the Wiener Werkstätte, the building
of the Sanatorium Purkersdorf (1904) including its interior design, came about
by the acquaintance of the building contractor with the art critic Berta Zuckerkandl.
As a supporter of the Secession and admirer of Josef Hoffmann, she recommended
him to the builder.
The Sanatorium was designed for a circle of well-off patients. Dedicated to
the highest levels of comfort and luxury, in its construction Hoffmann made
use of the most modern available techniques - reinforced concrete. His original
plan showed that he was inclined to take even more radical advantage of new
construction techniques than in practice were actually possible. Decoration
on the building was used sparingly. The intended purpose of the Sanatorium pulled
for a level of hygienic sobriety which helped Hoffmann in his design. After
1904 a number of projects were carried out where Hoffmann's search for simple
forms are clearly perceivable but the choice of material and the working methods
made the objects even more splendid and opulent.
PALAIS
STOCLET
The internationally recognised peak of Hoffmann's career is the Palais Stoclet
in Brussels. Its dimension, quality and architectural significance was an accomplishment
that was not to be surpassed throughout his long career. Not only had materials
and techniques of manufacturing become more complicated but also a change into
a new direction of Hoffmann's creative work is distinguishable as of 1905, when
a return to shapes of classicism occurred.
All these tendencies were channelled into the building and coupled with the
financial strength of Baron Stoclet. This order resulted in Europe's probably
most spectacular masterpiece of complete art of its epoch. When building the
Palais Stoclet, the relationship between the patron and his architect was the
happiest imaginable. A fact which is clearly expressed in the consequent atmosphere
and quality of the building where no compromises were made, neither with the
outside finish nor with the interior. The same artists, who worked on Stoclet
were also involved in the design of the Cabaret Fledermaus in Vienna. Apart
from Hoffmann many other artists like Czeschka Wimmer-Wisgrill.
LATER
LIFE
Before
Word War I the works of Josef Hoffmann shortly reveal an individual approach
to classicism and ideally reflect the need of representation of a social class,
whose days were already counted due to political circumstances. The Villa Skywa-Primavesi
was Hoffmann's last great performance before the war, whose outbreak put an
end to private enterprises for a number of years.
After 1919, Josef Hoffmann was very ill for many years. He even had to pass
on the management of his studio to Oswald Haertl for some time. But Hoffmann
applied himself to the creation of new forms till his death. After World War
II, Hoffmann assumed a number of official duties but received less commissions
for design. His official engagements comprised the membership of the art-senate
and the Austrian general commissioner for the Biennalein Venice.
In May 1956, Hoffmann died at the age of 85. His life's work includes all areas
of fine arts. As the initiator of the Vienna Sezession he had a decisive influence
on the drawings and the painting of his time. As a founder of the Wiener Werkstätte
he revolutionised the arts and crafts.