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Fin-de-siecle Vienna was a hive of creative activity, and at its centre was one of the most versatile artists of the age, Koloman Moser (1868-1918). As a teacher, artist and craftsman, Moser had an immense influence on the tastes of his time, with talents that ranged from illustration and graphics to stained glass and the design of stage sets and postage stamps. In 1897 he was a founder member of the Vienna Secession, and in 1903, together with his friend and colleague Josef Hoffmann, he founded the Wiener Werkstatte, whose workshops were to set trends that spread far beyond the boundaries of Austria. He devoted the last years of his life to painting, and in recent times his reputation in this field too has steadily grown.Despite the wealth of information that has survived down the years, Moser's personality remains largely hidden behind his work. Here, Maria Rennhofer connects the many fragments of Moser's personal life, his artistic influences and his multifaceted creativity to form a coherent portrait of this fascinating man. This is not only the first comprehensive account of Moser's life and work to by published in English, but also an in-depth look at the flourishing artistic environment which he did so much to create and shape.

Admired by contemporaries as an artistic jack-of-all-trades, Koloman Moser (1868–1918) is regarded today as one of the most important representatives of the Viennese Secession art movement, alongside Gustav Klimt. As a graphic artist and designer, Moser was unparalleled in his artistic diversity, applying his virtuosity to everything from furniture, textiles, and objects to paintings, posters, and exhibitions.              This beautifully illustrated volume presents an overview of the artist’s life and work, from the posters he designed for the Secession, to his collaborations with Josef Hoffmann and Fritz Waerndorfer in the Viennese Workshop of the early twentieth century, to his return to painting in the last decade of his life. Situating the artist’s work in its biographical and art historical context, Koloman Moser presents the expansive range and incredible fantasy of one of the icons of modernist art.

Fin-de-siecle Vienna was a hive of creative activity, and at its centre was one of the most versatile artists of the age, Koloman Moser (1868-1918). As a teacher, artist and craftsman, Moser had an immense influence on the tastes of his time, with talents that ranged from illustration and graphics to stained glass and the design of stage sets and postage stamps. In 1897 he was a founder member of the Vienna Secession, and in 1903, together with his friend and colleague Josef Hoffmann, he founded the Wiener Werkstatte, whose workshops were to set trends that spread far beyond the boundaries of Austria. He devoted the last years of his life to painting, and in recent times his reputation in this field too has steadily grown.Despite the wealth of information that has survived down the years, Moser's personality remains largely hidden behind his work. Here, Maria Rennhofer connects the many fragments of Moser's personal life, his artistic influences and his multifaceted creativity to form a coherent portrait of this fascinating man. This is not only the first comprehensive account of Moser's life and work to by published in English, but also an in-depth look at the flourishing artistic environment which he did so much to create and shape.

Tracing the career of Koloman Moser, one of the most influential figures in 20th-century design, this stunning book focuses on Moser’s accomplishments in the decorative arts. During his short career, Koloman Moser became a towering figure in Viennese culture. His varied work in interior and graphic design, furniture, textiles, jewelry, metalwork, glass, and earthenware helped usher in the modern era. This book surveys the entirety of Moser’s oeuvre. It examines his work as a graphic designer and his involvement with the Vienna Secession, with special focus given to his role as an illustrator for the journal Ver Sacrum (Sacred Spring). Moser’s forays into textile design and ceramic work are also introduced. The book features his designs for the Vienna Secession, Thonet Brothers, and the Mautner family, among others that characterize his early modern style. The book also explores Moser’s seminal role as a founding member of the Vienna Workshops, along with architect Josef Hoffmann and patron Fritz Waerndorfer. Included are many reproductions of Moser’s masterpieces, including the window of the Steinhof Chapel, his exhibition posters, postage stamps and currency, and elegant examples from his design portfolio, “The Source.”

Tracing the career of Koloman Moser, one of the most influential figures in 20th-century design, this stunning book focuses on Moser’s accomplishments in the decorative arts. During his short career, Koloman Moser became a towering figure in Viennese culture. His varied work in interior and graphic design, furniture, textiles, jewelry, metalwork, glass, and earthenware helped usher in the modern era. This book surveys the entirety of Moser’s oeuvre. It examines his work as a graphic designer and his involvement with the Vienna Secession, with special focus given to his role as an illustrator for the journal Ver Sacrum (Sacred Spring). Moser’s forays into textile design and ceramic work are also introduced. The book features his designs for the Vienna Secession, Thonet Brothers, and the Mautner family, among others that characterize his early modern style. The book also explores Moser’s seminal role as a founding member of the Vienna Workshops, along with architect Josef Hoffmann and patron Fritz Waerndorfer. Included are many reproductions of Moser’s masterpieces, including the window of the Steinhof Chapel, his exhibition posters, postage stamps and currency, and elegant examples from his design portfolio, “The Source.”

The Wiener Werkstätte (“Vienna Workshop”) bears many hallmarks of a modern creative movement. Founded in 1903 by Josef Hoffmann, Koloman Moser, and Fritz Waerndorfer, this progressive alliance of artists and designers was particularly interested in challenging industrialised society with individual handcraftsmanship, and in bringing different facets of life into one unified, elegant artwork.The workshop began life in three small rooms, but soon expanded to fill a three storey building with special departments for metalwork, leatherwork, and woodwork, as well as a book binder and a paint shop. Artists experimented with various materials such as gold, precious stones, and papier mâché and applied their simple, often geometric, designs across ceramics, textiles, typography, interior design, furniture, and fashion. In architectural commissions such as the Purkersdorf Sanatorium and the Palais Stoclet in Brussels, the group was able to realize its ideal of the Gesamtkunstwerk (“total artwork”), in which every detail of an environment was designed as an integral part of a coordinated whole.Though the workshop lasted only 30 years, it enjoyed major commercial success, with outlets in Karlsbad, Marienbad, Zurich, New York, and Berlin. It also garnered designs from many of the leading artists of the epoch, including Gustav Klimt, Oskar Kokoschka,and Egon Schiele. Today, the Vienna Workshop is recognized for its comprehensive approach to artistic practice and its stylistic influence on Art Deco and Bauhaus.

Vinyl LP pressing. Part of the DG120 Shellac Project, The Shellac Era vinyl is a series of digitized material from old Galvano recordings from the early 20th Century. This LP contains a selection of these rare and historic recordings, including an early recording of baritone Titto Ruffo, tenor Koloman von Patakys interpretation of Mozarts Un'aura amorosa, Pietro Mascagni conducting his own Intermezzo sinfonico from Cavalleria Rusticana, and even a recording from Louis Armstrong.

Hardcover. A landmark of graphic modernism, the Vienna Secessions magazine is brought to life in a complete facsimile reprint with new essays and translationsThe brainchild of Koloman Moser, Alfred Roller, Josef Hoffmann, Bertold Loffler and othersthe leading graphic artists of the Vienna Secession and the Wiener WerkstaetteDie Flaeche (German for The Surface) laid out an extraordinary group vision for design through adventurous work by these designer-professors and more than 100 of their students. Packed with bold ideas for posters, advertisements, book covers, woodcut prints and much more, the result is an inexhaustibly rich sourcebook of graphic forms, modern ideas and technical experiments, all reflecting a reorientation in design practice and teaching that would resonate around the world.This full-size facsimile of all 14 issues of Die Flaeche lets readers experience this rare gem as it was meant to be seen, while new essays and translations explore its significance.Die Flaeche is the first volume in Letterform Archives facsimile series, which presents landmarks of print and design history with exacting reproductions and new essays that provide rich context and fresh insights. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Exploring the paintings of the key artists of the Secessionist Movement within the context of Vienna at the turn of the 20th century, this book, which comprises over 200 colour images, pays special attention for the first time to the contribution made by Koloman Moser to the painting revolution.

In 1928 Josef Hoffmann described the Wiener Werkstdtte, a group of studios and workshops which he had founded 25 years previously with Koloman Moser and Fritz Waerndorfer, as follows: ""The Wiener Werkstdtte, established in 1903, is an enterprise for the active promotion and cultivation of all endeavours in the pursuit of art and quality in modern crafts."" For thirty years, a group of highly qualified architects and craftsmen succeeded in realizing their dream of fusing architecture and interior design into a Gesamtkunstwerk - a ""total work of art."" The Wiener Werkstdtte combined fine and applied arts to convey a whole new outlook on life, liberated from the strictures of historicism and superfluous ornamentation. The buildings and objects that resulted combine classical elegance with streamlined functionality. No everyday object was too banal, no architectural task too complex for the artists of the Wiener Werkstdtte. They experimented with an endless variety of materials, from gold and precious stones to papier mbchi and glass beads, and their work still bears lasting witness to a unique and vital artistic movement. Even today, architects and designers continue to cite in their work the innovations and ideas of Josef Hoffmann and the Wiener Werkstdtte.

Exploring the paintings of the key artists of the Secessionist Movement within the context of Vienna at the turn of the 20th century, this book, which comprises over 200 colour images, pays special attention for the first time to the contribution made by Koloman Moser to the painting revolution.

The Wiener Werkstätte, founded by Josef Hoffmann, Koloman Moser, and Fritz Waerndorfer, was an artists’ and craftsmen’s collective that existed in Vienna from 1903 until 1932. The artists’ goal was to bring high-quality design and craft into all areas of life and to elevate everyday objects into pieces of art. During that time, the collective produced items in a variety of media including ceramics, furniture, glass, jewelry, metalwork, and textiles. The Wiener Werkstätte style influenced generations of architects from Bauhaus to Art Deco. This book features the work of well-known Wiener Werkstätte members such as Josef Hoffmann, Koloman Moser, and Dagobert Peche along with lesser known designers such as Gudrun Baudisch, Carl Otto Czeschka, and Ugo Zovetti. It also includes in-depth essays that explore the Wiener Werkstätte’s long history and legacy.

The jewelry of the Wiener Werkstätte blurs the lines between gorgeous ornament and miniature sculptureThe Wiener Werkstätte, or Vienna Workshops, was founded in 1903. The firm’s artistic cofounders, Josef Hoffmann and Koloman Moser, subscribed to the English Arts and Crafts ideal of exceptionally well-made objects designed by artists and executed by specialized craftsmen. Following the example of near contemporaries René Lalique and Louis Comfort Tiffany, Hoffmann and Moser shared the belief that jewelry should be valued for its artistic merit and not simply for its monetary value.This opulent publication highlights masterpieces created by the Wiener Werkstätte between 1903 and the early 1920s. It features significant pieces by Josef Hoffmann, Koloman Moser, Carl Otto Czeschka and Dagobert Peche, among others. Supplemental materials include relevant periodicals, design drawings and photographs of prominent clients.

In 1928 Josef Hoffmann described the Wiener Werkstdtte, a group of studios and workshops which he had founded 25 years previously with Koloman Moser and Fritz Waerndorfer, as follows: ""The Wiener Werkstdtte, established in 1903, is an enterprise for the active promotion and cultivation of all endeavours in the pursuit of art and quality in modern crafts."" For thirty years, a group of highly qualified architects and craftsmen succeeded in realizing their dream of fusing architecture and interior design into a Gesamtkunstwerk - a ""total work of art."" The Wiener Werkstdtte combined fine and applied arts to convey a whole new outlook on life, liberated from the strictures of historicism and superfluous ornamentation. The buildings and objects that resulted combine classical elegance with streamlined functionality. No everyday object was too banal, no architectural task too complex for the artists of the Wiener Werkstdtte. They experimented with an endless variety of materials, from gold and precious stones to papier mbchi and glass beads, and their work still bears lasting witness to a unique and vital artistic movement. Even today, architects and designers continue to cite in their work the innovations and ideas of Josef Hoffmann and the Wiener Werkstdtte.

Founded in 1903 by architect Josef Hoffmann and designer Koloman Moser, the Wiener Werkstätte, or Vienna Workshops, gathered architects, artists and designers committed to making design excellence available to all. As a form, the postcard presented a perfect medium for the transmission of these ideals, and so it was that in 1907 the Werkstätte began publishing a series of numbered postcards commemorating holidays, depicting new fashions and documenting the sights of Vienna. All of the major designers who worked for the Wiener Werkstätte--including Josef Hoffmann, Oskar Kokoschka, Egon Schiele, Dagobert Peche, Moriz Jung, Rudolf Kalvach, Mela Koehler and Maria Likarz--contributed to this project, and consequently these postcards constitute an important genre within Wiener Werkstätte production. This fully illustrated volume, published for the Neue Galerie's Fall 2010 exhibition of Wiener Werkstätte postcards (drawn from the Leonard A. Lauder Collection), is the first catalogue raisonné in English devoted to this fascinating, hitherto little-known genre.

The Wiener Werkstätte, founded by Josef Hoffmann, Koloman Moser, and Fritz Waerndorfer, was an artists’ and craftsmen’s collective that existed in Vienna from 1903 until 1932. The artists’ goal was to bring high-quality design and craft into all areas of life and to elevate everyday objects into pieces of art. During that time, the collective produced items in a variety of media including ceramics, furniture, glass, jewelry, metalwork, and textiles. The Wiener Werkstätte style influenced generations of architects from Bauhaus to Art Deco. This book features the work of well-known Wiener Werkstätte members such as Josef Hoffmann, Koloman Moser, and Dagobert Peche along with lesser known designers such as Gudrun Baudisch, Carl Otto Czeschka, and Ugo Zovetti. It also includes in-depth essays that explore the Wiener Werkstätte’s long history and legacy.

The Wiener Werkstätte (“Vienna Workshop”) bears many hallmarks of a modern creative movement. Founded in 1903 by Josef Hoffmann, Koloman Moser, and Fritz Waerndorfer, this progressive alliance of artists and designers was particularly interested in challenging industrialised society with individual handcraftsmanship, and in bringing different facets of life into one unified, elegant artwork.The workshop began life in three small rooms, but soon expanded to fill a three storey building with special departments for metalwork, leatherwork, and woodwork, as well as a book binder and a paint shop. Artists experimented with various materials such as gold, precious stones, and papier mâché and applied their simple, often geometric, designs across ceramics, textiles, typography, interior design, furniture, and fashion. In architectural commissions such as the Purkersdorf Sanatorium and the Palais Stoclet in Brussels, the group was able to realize its ideal of the Gesamtkunstwerk (“total artwork”), in which every detail of an environment was designed as an integral part of a coordinated whole.Though the workshop lasted only 30 years, it enjoyed major commercial success, with outlets in Karlsbad, Marienbad, Zurich, New York, and Berlin. It also garnered designs from many of the leading artists of the epoch, including Gustav Klimt, Oskar Kokoschka,and Egon Schiele. Today, the Vienna Workshop is recognized for its comprehensive approach to artistic practice and its stylistic influence on Art Deco and Bauhaus.

The jewelry of the Wiener Werkstätte blurs the lines between gorgeous ornament and miniature sculptureThe Wiener Werkstätte, or Vienna Workshops, was founded in 1903. The firm’s artistic cofounders, Josef Hoffmann and Koloman Moser, subscribed to the English Arts and Crafts ideal of exceptionally well-made objects designed by artists and executed by specialized craftsmen. Following the example of near contemporaries René Lalique and Louis Comfort Tiffany, Hoffmann and Moser shared the belief that jewelry should be valued for its artistic merit and not simply for its monetary value.This opulent publication highlights masterpieces created by the Wiener Werkstätte between 1903 and the early 1920s. It features significant pieces by Josef Hoffmann, Koloman Moser, Carl Otto Czeschka and Dagobert Peche, among others. Supplemental materials include relevant periodicals, design drawings and photographs of prominent clients.