Illustration: Patriz Huber. Decorative carpet design, c1899.
The German artist and designer Patriz Huber is perhaps not as well known today as some of his designer colleagues. Although being part of the Darmstadt Artists Colony along with such well-known names in Central Europe as Peter Behrens, Josef Maria Olbrich, Paul Burck and Hans Cristiansen, he unfortunately and tragically committed suicide in Berlin in 1902 at the age of only twenty four. This no doubt limited both his memory and portfolio of work, meaning that he would always have to be seen as a lesser member of the period.
Illustration: Patriz Huber. Decorative carpet design, c1899.
However, Huber produced work in such a short space of time and of the most extraordinary, sophisticated and mature nature that he is well worth mentioning. He worked in a number of disciplines including printed textiles, embroidery, carpet, furniture and interior design. His carpet design work in particular shows a remarkable and seemingly singular creative ability.
The five examples of Huber's rug design work from the very end of the nineteenth century, gives a clear indication of both the development and sophistication of his pattern work. The last example shows an intensity of line that could well have been seen as too much for the space that needed filling. However, if anything it shows how sophisticated carpet design had become in both Germany and Austria during this period.
Illustration: Patriz Huber. Decorative carpet design, c1899.
Complex carpet decoration was particularly relevant during this period in Central Europe. Interiors were becoming relatively simplified and uncluttered; much of the eclectic styling of the nineteenth century was being slowly abandoned. This simplification, even rationalisation of interior design led to a creative expansion of interior accessories which were allowed to come forward as the main decorative aspect of a room, rather than as before when they had played a much lesser role. This was particularly the case with textiles.
Embroidery and carpet design came to dominate contemporary interiors. The decorative pattern work of both forms of interior accessory became an important element in what was often the highly planned contemporary interior. Natural floral pattern work seemed to play a much lesser role than that of geometrically abstract shapes and line. Germany in particular produced some of the most startlingly modern interiors. Although not to everyone's tastes and certainly firmly part of the contemporary world, these interiors gave an indication of some of the aspects of interior design that were to develop in the twentieth century, particularly that of pattern being used as an accessorising agent. This form took great effect in the mid-twentieth century when often textiles were the only form of noticeable colour and pattern variation.
Illustration: Patriz Huber. Interior with Huber's decorative carpet design, c1899.
Huber's work, although unfortunately not shown in colour, must have made a great impression to an interior. The photograph showing one of Huber's carpets in situ gives at least some indication as to how his decorative pattern work would have appeared. It would certainly have been a striking though not necessarily dominating aspect of an interior. It would have given colour, line and pattern to one area of the floor whilst leaving other areas separate.
Illustration: Patriz Huber. Decorative carpet design, c1899.
All five examples of Huber's carpet design work gives an interesting and direct creative interpretation of his personal style. While there are certain elements of floral decoration, the carpets are dominated by parallel lines that give the increasing impression of a kaleidoscopic nature. All are two-dimensional, meticulously worked out and show a rare and sophisticated palette for a designer that had just turned twenty-two when most of the design work had been produced. That he died so young was a true tragedy not only for German design and decoration, but also for the decorative world in general.
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