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ARIMODERNEXTILEESIGNS
BOLDWORKSON PAPERUSE HEFINEAND THEDECORATIVERTS
TEXTBY MICHAELPEPPIATT'OPPOSITE: extileesign, telier'Arthur Littcirca1925.Gouacheonpaper,I4lt'x 11X'.side romunctioning svisualaids or design-ersandblueprintsor craftspeople,extiledesignsn paper----oftendefinedy a high degreef finishandexoticism-are ecognizedasworksof art n themselves.rsusBooks ndPrints,New York.7\s mass productionbeganto threatenthe very,(lexistenceof original, handmadeitems inthe latenineteenthcentury/the decorative artsunderwentavital renaissance.hisrenewedcreativity was par-ticularlyapparent n fabrics,which playedsuchanimportantrole in the interiorsof the period.Whenthe influentialsocial heoristand designerWilliamMorris cameto decorate hisown house, or instance,he took great painstoensure that hiswife's dressesandthe household fabricsmatched perfectly.Thepassionfor inventiveand harmonioustextilescon-tinued to gain groundthroughoutthe earlier partofthetwentiethcentury, whensome of the greatestartists,as well as the greatestdesigners,created ab-ric patterns.The designsor manyof these textilescanstill be foundtoday in theiroriginal form asas-tonishing worksonpaper,providinga fascinatingglimpseintothe variety anddevelopmentof mod-ern decorativestyles.While Morrisand the Artsand Crafts Movementhehelped initiate radicallychanged attitudesandstyles nGreat Britain,other architectsand designerson the Continentbegan to makesimilar transforma-tions, whichsubsequentlycame to becalled ArtNouveau,Style 1900orjugendstil.Cross-fertiliza-tion was very muchthe orderof the day. TheScot-ABOVE:Textile esign,6naBergner,.937.ouache n paper;V/"" 22%".artof the Bauhaus'sredominantlyemaleeamoltextile designers,ergnerdrew on hertraining at theschool'sweaving, yeingand graphicsworkshopsn her inear,geomet-ricallystyleddesignsn paper.BarryFriedmantd.,New York.tisharchitect anddesignerCharles Rennie Mackin-tosh,for instance,always founda moresympatheticpublicfor hisbrillianttextile designs inGermanyand Austriathan in Britain.His eerilyobsessivepat-terns wovetogether rosesand teardrops,tulips and-lattices,waves and hourglasses,n variationsthatshow an inexhaustiblefluencyof form. Inthe styl-izeddaisies anddahlias thathe workedand re-worked, the vocabularyof Art Nouveau istakensufficientlyclose o its limitsthat itsuggestsotherstyleshat had not yetseen he lightof day.Mackintosh'sinfluenceabroadwas so strongthat,betweenVienna and Munich,moderndesign asawholewas referred toas Mackintoshismus.TheScotsman's ree-flowingformalinventivenesswasmost ablyabsorbed byJosefHoffmann,who hadfirstseenhis work inthepagesof the art magazineTheStudiobefore makinga pilgrimageto Glasgow in1902tomeet Mackintoshin person.Hoffmann him-selfwas to becomeone of the mostversatile creatorsof new formsthat rangedfromwhole buildings,such as hisPalaisStoclet nBrussels,oglasswareand patternsfor fabrics.He alsocofounded theWienerWerkstatte,a veritable powerhouseof inno-vative craftsmanshiphat producedsomeeighteenthousanddesignsbyover eighty artists(including
 
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ABOVE:TextileDesigrt,ent&Dawes,trca1928.Watercolorndpencilonpaper;351"31/'.Kent&Dawesncorporatedhistoric,hi-noiseriendloralmotifsntoheiazzmod-ern"style.Yu-CheehongFineArt,London'
NolessaPainterhanPaulKleeconceiveddesignsobewoven.
OPPOSITE:extilcDesign,en6Buthaud'circa7929.GouacheonPaPer;ZZl"x78%"'Buthaucl'sextiledesignsemployedhesamefiguralimageryasthatonhispainted-a-ieirce.EditionsCraphiquesGallery,London'
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