Josef Hoffmann
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Josef Hoffmann (1870-1956)
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Josef Hoffmann with his creative power, and above all his feeling for design, played a major part in the shaping of the aestetic perception and aestetic understanding of the century.
In today's Czechoslovakia, Bohemia and Moravia the effects of the industrial revolution were stronger than in the other parts of the Austro-Hungarian empire. Josef Hoffmann and Adolf Loos (1870-1933) also came from this region; Hoffmann was born 1870 in Pirnitz/Moravia. Many creative minds came from this region to Vienna and enriched the economic life in the empire at the turn of the century.
Josef Hoffmann visited from 1887 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 Hansen. His teacher, Karl Freiherr von Hasenauer was then at the hight of his popularity due to his "Ringstraßenbuildings". A scholarhip connected with the "Prix de Rome" made a stay in Italy possible. After the death of Carl Hasenauer Otto Wagner (1841-1918), the most famous architect at the end of the nineteenth century, took over the class. After his stay in Italy Hoffmann joined the office of Otto Wagner, where he got aquainted with Josef Maria Olbrich.
If one tries to piece together the complex list of trends in the arts in the last century, one ends up with three guiding principles:
Firstly, the evermore declared wish to tear up with all links to tradition and from that on to present oneself as completely modern.
Then, as the second guiding principle: the ever-growing interest in international art currents. One made an effort to look at oneself as European. And thirdly: artist-groups were formed almost as political parties, organising themselves and declaring their intentions loudly. And they often disagreed with one another.
Together with other artists, Josef Hoffmann established the so-called "Siebener Club". After Hoffmann demonstatively left the Künstlerhaus with a number of colleagues including Gustav Klimt and Kolo Moser, the Secession, the organisation of graphic artists, was founded in 1897. The new organisation's home built by Josef Maria Olbrich offered the young Hoffmann, as organiser of the exhibitions ideal opportunities to present himself to an art loving and progressive circle of potential clients. The society of this time seemed to show as never before an interest in art. The conventional salons, academies and the like very quickly lost their influence - as the modern questions the authority of the traditional.
If one takes a look at Hoffmann's works from this time, one can cleary indentify the influence of the school of Otto Wagner, which determined the structure of an object through the emphasis on the surface. As well as the Belgian Art Nouveau influenced the Secessionists, it was also important for Hoffmann.
In 1899 Hoffmann's name was so well known, that he was appointed professor at the Viennese School of Applied Arts and commissioned for interior-design at the World Fair in Paris in 1900.
At the beginning of 1900 a basic change of style is noticeable. With the turning away from the curves from the Secession and Art Nouveau a turn towards simpler forms took place. At this time British examples had a special influence on Hoffmann. His admiration of the latest developments in architecture and applied arts in Britain is easy to explain. On the one hand numerous illustrated magazines allowed an exchange of information. On the other hand there were a number of Secession exhibitons where British artists such as C.R. Ashbee and Charles Rennie Macintosh took part.
During this very important phase of development Hoffmann was commissioned to build a colony of villas on the Hohe Warte hill in Vienna. Hoffmann was a close friend of the Secession building constructors and this gave him the chance to design houses that suited both his and the builders ideal. This was, to reach a unity both outside and inside the house for, in Hoffmann's own words, to build a house who's exterior is one with the interior.
With the interior design Hoffmann's transformation is even more noticeable. 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 - with the move away from the floral Jugendstil, which set in around 1900 in Europe and went hand in hand with the renaissance of classical ideals. Along with the houses on the Hohe Warte Hoffmann was commissioned with the interior decoration of a number of Viennese apartments. At that time he was Viennas most fashionable architect. His works were so revolutionary that one can argue, that a new era had begun. In later years Hoffmann explained his developing interest in the square and the use of black and white of this time by saying that these clear elements had never been incorporated in previous styles.
The sculpture "Supraportenrelief" was created by Hoffmann in 1902 for the fourteenth exhibition of the Secession. It's recognised as the final turning point towards a new feeling for design. Around the world workshops started up with the end to find new and contemporary forms, no longer wanting to follow the example of historical tradition.
Using 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 Werkstatte was founded in may 1903 - the productive community of artists and craftsmen who were to make a deep impression on the life of Hoffmann as well as on the Viennese art scene.
The undertaking Wiener Werkstatte had a clear aim. To make all prospects of human life into one unified work of art. It was also decided only to approve objects of outstanding individuality and beauty and great value was put on the exclusive and exquisite craftsmanship. This followed the organisation's motto: better to work ten days on one product than to manufacture ten products on one day.
Between 1902 and 1904 Hoffmann's purist phase reached its peak and he concentrated solely on element reform. So much purism often went against the wishes and intentions of his commissioners, they often wanted to find something of the richness of historicism, from the richness of furnishings which matched with their lifestyle. Hoffmann's artistic fantasy would later be able to react to this demand. Once he had moved on from his phase of riding himself of historic weights he was again prepared to let Art deco developments flow into his work.
The first large commission for Josef Hoffmann and the Wiener Werkstatte, the erection and interior design of the Sanatory Purkersdorf (1904) came about through the aquaintance of the building contractor with the art critic Berta Zuckerkandl. She, as a supporter of the Secession and admirer of Josef Hoffmann recommended him to the builder.
The Sanatorium was designed for a wealthy circle of patients. Dedicated to the highest levels of comfort and luxury, Hoffmann made use of the most modern available techniques - reinforced concrete - when building the Sanatorium. His original plan showed that he was inclined to take more radical advantage of new construction techniques than was actually possible in practice. Decoration was used sparingly on the building. As with the outside so the inside is convincing with its simplicity of concept and execution. Inside there are fascinating contrasts between the severity of the architecture and the more decorated interior. The intended purpose of the Sanatorium pulled for a level of hygenic sobriety which helped Hoffmann in his design. After 1904 a number of projects were carried out where Hoffmann's search for simple form is clearly recognisable but the choice of material and the working methods made the objects most splendid and opulent.
The international accepted 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 from 1905 a new changing direction in Hoffmann's creative work is recognisable which can be seen as a return to classicism.
All these tendencies were channelled into the building and coupled with the financial strength of Baron Stoclet, this commission resulted in probably Europe's most spectacular unified work of art of this époque. When building the Palais Stoclet, the relationship between the commissioner and the architect was the happiest imaginable. A fact which is cleary 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 others like Wimmer-Wisgrill, Czeschka and many more worked on this project.
1912 Hoffmann was one of the founders of the Austrian "Werkbund".
The works of Josef Hoffmann shortly before the First World War reveal an individual approach to classicism and ideally reflect the need of representation of a social class, whose days were already numbered due to political circumstances. The Villa Skywa-Primavesi was Hoffmann's last great work before the First World War, whose outbreak put an end to any private building for a number of years.
Josef Hoffmann was very ill for many years after 1919. And for some time he had to pass on the management of his studio to Oswald Haertl. But Hoffmann applied himself to the creation of new forms till his death.
After the Second World War Hoffmann assumed a number of official duties while receiving fewer commissions for design. His official engagements included membership of the art-senate and Austrian general commissioner for the Biennale in Venice.
In may 1956 Hoffmann died at the age of 86. His life's work included all areas of the fine arts. As initiator of the Viennese Secession he had a decisive influence on the drawings and the painting of his time. As a founder of the Wiener Werkstatte he revolutionised the arts and crafts.
© Copyright Wolfgang Karolinsky
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