Illustration: Franziska Hofmanninger. Lace design, c1899.
Although lace work is often thought to be traditionally bound up with distinctive regions of Europe, it has also had a relatively recent history as a design led craft. The craft of lace has in fact been involved in a number of eras where it has been closely associated with distinctive decorative art periods, one of the most creatively inspiring and original of these would have to be that of the Art Nouveau.
The Art Nouveau decorative era which was at its height during the last decade of the nineteenth and first decade of the twentieth century, was a particularly creative period with many designers and decorators incorporating, either wholesale or at least elements of its individual style into their work. There was little that was not incorporated into the style and Art Nouveau ranged from architecture, through to ceramics, glass, metal, wood, graphics, illustration, wallpaper and textiles.
Illustration: Franziska Hofmanninger. Lace design, c1899.
As far as textiles was concerned Art Nouveau could be seen in all of the mainstream textile manufacturing outlets as well as in hand craft. Therefore, there was Art Nouveau styled printed, woven, embroidered and lace textiles which could be seen in finished articles in both costume and interior fabrics. On the whole, much of the output was highly creative and although there was a certain element of formulaic work, this seems to have been a smaller percentage of the textile output than would be expected.
Europe being a continent made up of a complex patchwork of sometimes widely differing cultures, regions and ethnic groups, it is not surprising that one decorative style should be interpreted in a variety of ways and this is true of Art Nouveau. The style was interpreted in Russia for example, differently than it was in Spain, and likewise what appeared culturally suitable in Finland was interpreted differently in Italy. It is not therefore surprising that in Vienna Art Nouveau should be interpreted yet again as a relatively distinct and independent decorative style separate from not only other areas of Europe, but indeed other areas and regions within the Austro-Hungarian Empire.
Illustration: Franziska Hofmanninger. Lace design, c1899.
The five examples shown in this article are of Art Nouveau inspired lace design from Vienna. Four were produced in about 1899, while one is slightly later and was produced in about 1902; they are therefore perfect candidates for the style. One designer produced the design work for all five pieces, and that designer was Franziska Hofmanninger who was an important figure in the expansion of Austrian lace into the contemporary world of Art Nouveau.
It has to be remembered that Art Nouveau was a style that many in Europe were suspect of and in some cases openly hostile to. The contemporary can often discomfit individuals and groups; hostility is often shown because of confusion, intransigence or just simply an unwillingness to accept the challenge of change and the refreshment of ideas. Art Nouveau was seen very much from the start as a passing fad, an affectation of the French imagination. However, the decorative style did not whither or simply go away, and the number of interpretations across Europe shows perhaps the strength of its creative adaptability, one that was hidden from some by its more obvious affectations.
Illustration: Franziska Hofmanninger. Lace design, c1899.
Hofmanninger chose to interpret, through lace, a series of delicate patterns largely based on floral motifs. While there is a certain element of languorous naturalism in her pattern work, much of the more overtly stylised interpretations found in the French and Belgian versions seem to be largely missing. While to a certain extent this could be seen as within the practicalities of the craft itself, it is also perhaps part of the differing style interpretation across Europe of the Art Nouveau movement. While Vienna was by no means denied the more overt styling that is synonymous with France and Belgium, there was perhaps less reliance on the super imposed affectation and more on the use of nature, and particularly floral work.
Some of Hofmanninger's slightly later lace design work - Lace Work of Franziska Hofmanninger - is a little more naturalistic than the pieces shown here and is perhaps a little more reminiscent of the decorative work of Gustav Klimt for example. This does not necessarily imply that Hofmanninger either copied or was inspired by Klimt, although she might well have been. It does perhaps suggest that there was a core intrinsic approach to Art Nouveau that seemed more natural to Austrians than to others. This would be seen as part, of not the fragmentary aspect of Art Nouveau, but its ability to adapt and reflect the cultural dimensions of regional Europe, something every good decorative design era needs to address in order to be considered successful.
Illustration: Franziska Hofamnninger. Lace design, c1902.
Art Nouveau, although seemingly short-term in its longevity, did in part, give life to the following European Art Deco movement. Art Nouveau itself has to be seen as a particularly successful and wide-ranging decorative style that breathed new creative life into many of the manufacturing and hand craft disciplines and launched a large proportion of creative careers, some of which stretched well into the twentieth century.
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