GENERAL DESCRIPTION
This self-portrait by Koloman Moser demonstrates a high level of craftsmanship, specifically the integration of black chalk and green colored pencil and the incorporation of collage. A central figure in the development of modernism in fin de siècle Vienna, Moser served as a member of the Siebener Club in 1895 and co-founder of both the Vienna Secession in 1897 and the Wiener Werkstätte in 1903. Moser was a prolific artist-designer who produced not only paintings, drawings, and graphic arts but also progressive works in furniture, silver, glass, and ceramics. Despite the breadth of media, contemporaries perceived Moser as the “painter” to the foil of Josef Hoffmann the “architect,” despite the intellectual affinity between the two designers and the broad spectrum of their careers.
Adapted from
- Samantha Robinson, DMA label copy, 2014
- Olivier Meslay, DMA unpublished material.
NOTES
This note was previously tagged #routed (and possibly !Routed_Feb15). I am removing those tags and replacing with #draft so that this note proceeds to GDocs for routing and is harvested to Brain. (EAS, 12/22/2016)
Update Jan 31, 2017- removing the routed tag so that this note will be resubmitted to Nicky for review. The draft is in the Euro folder in GDrive. I am also removing the #draft tag and replacing with #incomplete until I can finish the necessary reformatting and TMS data entry.
c. 1902
General Description:
- Samantha Robinson, "Modern Opulence in Vienna: The Wittgenstein Vitrine" label copy, 2014
- Olivier Meslay, "Acquisition Proposal"
Label copy
Koloman Moser was a central figure in the development of modernism in fin de siècle Vienna, serving as a member of the Siebener Club in 1895 and co-founder of both the Vienna Secession and the Wiener Werkstätte. Moser was a prolific artist-designer who produced not only paintings, drawings, and graphic arts but also progressive works in furniture, silver, glass, and ceramics. Despite the breadth of media, contemporaries perceived Moser as the “painter” to the foil of Josef Hoffmann the “architect,” despite the intellectual affinity between the two designers and the broad spectrum of their careers.
Author: Samantha Robinson
Date: 2014
Remarks: "Modern Opulence in Vienna: The Wittgenstein Vitrine" label copy
Bibliography:
Leopold, Rudolf and Gerd Pichler, eds. "Koloman Moser, 1868-1918." Vienna: Leopold Museum; New York: Prestel, 2007.
Rennhofer, Maria. "Koloman Moser: Master of Viennese Modernism." New York: Thames & Hudson, 2002.
Zuckerkandl, Bertha. "Kolo Moser: Painter and Designer, 1868-1918." New York: Galerie Metropol, 1982.
Zu Salm-Salm, Marie-Amélie. "Klimt, Schiele, Moser, Kokoschka: Vienna 1900." Pari : Editions de la Réunion des musées nationaux; Aldershot, UK; Burlington, VT: in association with Lund Humphries, 2005.
Published References:
Witt-Dörring, Christian, ed. "Koloman Moser: Designing Modern Vienna 1897-1907." New York: Neue Galerie New York; Munich; New York: Prestel, 2013.
Provenance:
Until 1970: Christian M. Nebehay Antiquariat (Christian M. Nebehay), Vienna, Austria [1]
1970-2014: Dr. Alessandra Comini (b. 1934), Dallas, Texas, purchased at Christian M. Nebehay Antiquariat, Vienna, Austria [1]
From 2014: Dallas Museum of Art, gift of the above
[1] See email from Alessandra Comini to Curatorial Administrative Assistant Martha MacLeod (dated January 27, 2014, copy in Collections Records Object File).
Catalogue essays
Artist/designers
Moser, Koloman (Austrian, 1868-1968)
Cultures
Geography
Place of origin: Vienna (Austria): TGN: 7003321
Process/materials
Black chalk and pencil on paper
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
- Neue Galerie~Read a biography of Koloman Moser.
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 2014.29
Category
rules_operator
AND
General Description
This self-portrait by Koloman Moser demonstrates a high level of craftsmanship, specifically the integration of black chalk and green colored pencil and the incorporation of collage. A central figure in the development of modernism in fin de siècle Vienna, Moser served as a member of the Siebener Club in 1895 and co-founder of both the Vienna Secession in 1897 and the Wiener Werkstätte in 1903. Moser was a prolific artist-designer who produced not only paintings, drawings, and graphic arts but also progressive works in furniture, silver, glass, and ceramics. Despite the breadth of media, contemporaries perceived Moser as the “painter” to the foil of Josef Hoffmann the “architect,” despite the intellectual affinity between the two designers and the broad spectrum of their careers.
Adapted from
- Samantha Robinson, DMA label copy, 2014
- Olivier Meslay, DMA unpublished material.
Fun Facts
Archival Resources
Web Resources
Notes
This note was previously tagged #routed (and possibly !Routed_Feb15). I am removing those tags and replacing with #draft so that this note proceeds to GDocs for routing and is harvested to Brain. (EAS, 12/22/2016)
Update Jan 31, 2017- removing the routed tag so that this note will be resubmitted to Nicky for review. The draft is in the Euro folder in GDrive. I am also removing the #draft tag and replacing with #incomplete until I can finish the necessary reformatting and TMS data entry.
c. 1902
General Description:
- Samantha Robinson, "Modern Opulence in Vienna: The Wittgenstein Vitrine" label copy, 2014
- Olivier Meslay, "Acquisition Proposal"
Label copy
Koloman Moser was a central figure in the development of modernism in fin de siècle Vienna, serving as a member of the Siebener Club in 1895 and co-founder of both the Vienna Secession and the Wiener Werkstätte. Moser was a prolific artist-designer who produced not only paintings, drawings, and graphic arts but also progressive works in furniture, silver, glass, and ceramics. Despite the breadth of media, contemporaries perceived Moser as the “painter” to the foil of Josef Hoffmann the “architect,” despite the intellectual affinity between the two designers and the broad spectrum of their careers.
Author: Samantha Robinson
Date: 2014
Remarks: "Modern Opulence in Vienna: The Wittgenstein Vitrine" label copy
Bibliography:
Leopold, Rudolf and Gerd Pichler, eds. "Koloman Moser, 1868-1918." Vienna: Leopold Museum; New York: Prestel, 2007.
Rennhofer, Maria. "Koloman Moser: Master of Viennese Modernism." New York: Thames & Hudson, 2002.
Zuckerkandl, Bertha. "Kolo Moser: Painter and Designer, 1868-1918." New York: Galerie Metropol, 1982.
Zu Salm-Salm, Marie-Amélie. "Klimt, Schiele, Moser, Kokoschka: Vienna 1900." Pari : Editions de la Réunion des musées nationaux; Aldershot, UK; Burlington, VT: in association with Lund Humphries, 2005.
Published References:
Witt-Dörring, Christian, ed. "Koloman Moser: Designing Modern Vienna 1897-1907." New York: Neue Galerie New York; Munich; New York: Prestel, 2013.
Provenance:
Until 1970: Christian M. Nebehay Antiquariat (Christian M. Nebehay), Vienna, Austria [1]
1970-2014: Dr. Alessandra Comini (b. 1934), Dallas, Texas, purchased at Christian M. Nebehay Antiquariat, Vienna, Austria [1]
From 2014: Dallas Museum of Art, gift of the above
[1] See email from Alessandra Comini to Curatorial Administrative Assistant Martha MacLeod (dated January 27, 2014, copy in Collections Records Object File).
Catalogue essays
Artist/designers
Moser, Koloman (Austrian, 1868-1968)
Cultures
Geography
Place of origin: Vienna (Austria): TGN: 7003321
Process/materials
Black chalk and pencil on paper
Historical periods
Individuals
Subject terms
RELATED OBJECTS
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
2014.29
source file
object_notes_1_d-0087.xml.nores