Illustration: Otto Eckmann. Carpet design, c1898.
The German artist Otto Eckmann, initially trained as a fine artist and then turning full time to the applied and decorative arts, became one of the central characters of the Jugendstil movement in Germany. This 'youth style' became popular across much of Germany and although identifying strongly with the general Art Nouveau movement of Europe, it did have its unique style and philosophy and its own purveyors such as Eckmann.
Eckmann produced a whole series of interior products in a variety of disciplines including ceramics, furniture, metal, wallpaper and textiles including carpets, rugs and tapestries. His carpet and rug design work was mostly produced within the few short years before his untimely death in 1902. However, what he achieved within this short time frame was a uniqueness that questioned the fundamental formality of nineteenth century carpet and rug design.
Illustration: Otto Eckmann. Carpet design, c1900.
Despite great strides made by a number of sources including the reform movements of various European nations, as well as indigenous Arts & Crafts movements, carpet and rug design was still very much based on the traditional and formal layout of the Persian, via designers such as William Morris, and the classical layout of traditional French derived design work.
Eckmann, used the interest in the natural world and its use by the Art Nouveau movement as the core inspiration. However, he was able to use this information to produce design work that although as always naturally based, sometimes took a much more intimate account of nature, producing work that was almost haphazard in places and often seemed playful even.
Illustration: Otto Eckmann. Carpet design, c1898.
Although Eckmann's rug design work never strayed far from the symmetrical and the balanced, it never appeared to be overly so. In this regard these three examples from the turn of the century appear less formal and less part of a stylised framework. They appear even somewhat casual in appearance which is a feat in itself for a period where Victorian and Edwardian formalism still ruled much of the European decorative arts.
It should be noted that Eckmann also had a significant interest and success in the graphic arts including the creation of the Eckmann typeface. Although disciplines are often seen as separate and unique in their own right, a multi-disciplined artist or designer often uses cross-over points from various disciplines. It should always be born in mind that this is often the case and Eckmann was no exception.
Illustration: Eckmann typeface, c1900.
Had he lived it would have been interesting to see where this multi-talented artist and designer would have gone and what form of creative journey it would have taken. More interesting still is how that journey would have affected the decorative arts in both Germany and Europe as a whole.
Further reading links:
Modern Style: Jugendstil/Art Nouveau 1899-1905
Jugendstil aus Nurnberg: Nuremberg Jugendstil
Jugendstil, Graphik und Druckkunst
Stained Glass Art Nouveau (Jugendstil) Detail, Municipal House, Prague, Czech Republic Photographic Poster Print by Ethel Davies, 30x40
Jugendstil und Buchkunst (German Edition)
Schmuck-Kunst im Jugendstil At Nouveau Jewellery
Ornament und Illustration um 1900: Handbuch fur Bild- und Textdokumente bekannter und unbekannter Kunstler aus der Zeit des Jugendstil (Asthetik der Alltagswelt) (German Edition)
Vom Jugendstil zum Werkbund: Werke und Dokumente : eine Ausstellung der Architektursammlung der Technischen Universitat Munchen, des Munchner Stadtmuseums ... Nationalmuseums Nurnberg (German Edition)
