Mascha recognized that posters were not only cultural documents, but works of art. In many cases, examples found in his collections were the sole survivors of an ephemeral medium whose delicate papers could not hold up over time to the damaging effects of animal glue, weathering, and other wear and tear from excessive handling. He was an active member in poster-collecting societies, and he gave generously to educational and other public institutions. Lowy Printer, in an edition of 230.Īustria’s foremost collector of poster prints, Ottokar Mascha amassed one of the largest international graphic art collections of the time. OTTOKAR MASCHA (1852-1929), OSTERREICHISCHE PLAKATKUNST, 1915, J. Through strong curvilinearity typical of the Jugendstil at that time, Moser lends a lyrical quality to the poster which he dramatically echoes with the harp-like shape of the Angel’s cascading tresses of hair. Although, Moser maintains an allegorical motif, his angel is a winged messenger of the present heralding the latest exhibition of a new, modern art. A professor of graphic design at the Kunstgewerbschule in Vienna, Moser was also the editor and an active contributor to the Secession’s publication, Ver Sacrum. Along with fellow Secessionist, Josef Hoffmann, he founded the Weiner Werkstatte. 11) A pivotal figure in early-20th century Austrian art and design, Koloman Moser was a strong advocate for making no distinction between the so-called “fine” and applied arts. After KOLOMAN MOSER (1868-1918) 5TH SECESSION EXHIBITION POSTER, 1899, (In Mascha, no.
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