The legendary artist and designer, Koloman Moser (opens in new tab), is the centre of a newly unveiled exhibition, taking place at the Neue Galerie (opens in new tab) in New York City this week. As the first monographic survey of the Viennese designer's work on American soil, the Neue Galerie's retrospective promises to expose the full length and breadth of Moser's work, which touched on graphic design, furniture, jewellery, textiles and much more.
Moser was most notably a co-founder of the Wiener Werkstätte (opens in new tab), though because he was overshadowed by his partner Josef Hoffman, he has largely remained an unsung hero of the design world.
Curated by Dr. Christian Witt-Dörring of the Neue Galerie, the exhibition focuses on works from 1897-1907, arguably the most creative period of Moser's career. Moser's artistic foray first began with painting and graphic art, which initially referenced the Art Nouveau style before he developed a more austere aesthetic that became characteristic of Vienna during the time.
Moser was also influential as one of the founding members of the Viennese Secession; a group of artists who sought to present fine art and applied art as one and purveyed a modern Austrian style dominated by clean and simple geometric forms. They were also champions of the notion of 'a total work of art' (Gesamtkunstwerk), to which all aspects of daily life could be seen as an artistic form.
This notion of Gesamtkunstwerk is cleverly expressed in the Neue Galerie's show, thanks to an exhibition design by Chicago-based architect John Vinci (opens in new tab). Several galleries are adorned with period wallpaper to emulate the all-encompassing ideology pioneered by Moser. Against this vibrant backdrop, 200 of Moser's works are presented in their full glory, highlighting his wonderful dexterity as a graphic artist, furniture designer and interior architect.
In 1890, Moser, along with Hoffman, became a professor at the School of Applied Arts in Vienna (opens in new tab). It was in this capacity (and the later establishment of the Weiner Werkstätte) that Moser and Hoffman successfully set the course for design in Austria, and much of Central Europe, for years to come.
'Koloman Moser helped define the art of his time,' said Ronald S. Lauder, President of the Neue Galerie. 'Today, it is impossible to imagine Vienna without the influence of Moser.'
Curated by Dr. Christian Witt-Dörring of the Neue Galerie, the exhibition focuses on works from 1897-1907, arguably the most creative period of Moser's career
Armchair, ca. 1903, by Koloman Moser.
The Neue Galerie's exhibition has been designed by Chicago-based architect John Vinci
Several galleries are adorned with period wallpaper to emulate the all-encompassing ideology pioneered by Moser
Poster for 'Frommes Kalendar,' 1899. Courtesy: Serge Sabarsky Collection, New York
Photograph of Koloman Moser, ca. 1903, Photographer unknown.
Moser's artistic foray first began with painting and graphic art, which initially referenced the Art Nouveau style before he developed a more austere aesthetic that became characteristic of Vienna during the time
Poster for the Thirteenth Vienna Secession exhibition, 1902. Courtesy: The Museum of Modern Art, New York, Gift of Joseph H. Heil, by exchange, 2010; Digital image courtesy: The Museum of Modern Art / Licensed by SCALA / Art Resource, NY
'Centerpiece', 1904, from a private collection.
Against a vibrant backdrop, 200 of Moser's works are presented in their full glory, highlighting his wonderful dexterity as a graphic artist, furniture designer and interior architect
'Textile Schwämme' (Mushrooms), design no. 4003, 1899.
Vase, 1900.
Belt buckle, 1904.
Sugar box, 1903.
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