Illustration: Otto Schonthal. Textile design, c1905.
As many of you are no doubt aware, I like to be able to feature textile design work produced by individuals that are perhaps better known in other fields, and today is no exception.
Otto Schonthal was an Austrian architect trained by Otto Wagner. He is probably best known for his architectural work in and around Vienna, as well as other areas of central Europe. His commissions were produced from the very beginning of the twentieth century, up until the middle of the century, he died in 1961.
However, Schonthal, like so many other European architects of the period, was involved in other forms of design work, rather than just architecture. He produced interior design, furniture, as well as textiles. As in many cases, much of the textile work he produced has been forgotten, sacrificed to some extent, to foster the integrity of his architectural career. Often, male designers from this period, whether architects, product designers or otherwise, have had the work they produced in textiles downgraded or completely forgotten. Whether this has to do with the fact that textiles are still largely associated with the female world, and architecture and product design with the male world, despite valiant inroads by individuals in both camps, is perhaps debateable.
Illustration: Otto Schonthal. Textile design, c1905.
However, I personally think that it is always an interesting reflection on the ability and creative individuality of the designer, when they are compelled to produce work in other fields, and sometimes not within their comfort zone. For example, what does a trained architect bring to the world of printed textiles? On the other hand, what would a trained textile designer bring to the world of architecture? Although we are often sectioned now into various disciplines, knowing much about that discipline and little outside of it, for a long time a designer was just that, a designer first, their discipline second. Therefore, to some extent at least, designers could move across disciplines with relative ease as they supplied work to clients across the decorative arts.
Having said that, it must be noted that architects were considered by many, and certainly within the design industry of the period, as being at the apex of the design hierarchy. Therefore, it was felt that it was a forgone conclusion that they would be able to lend their hand to all of the 'lesser' disciplines, whilst others perhaps were discouraged from getting above themselves, so to speak. Still, it does beg the question whether our own contemporary world of design, is under-utilised, being segmented it so often is, with near impenetrable barriers between textiles, ceramics, jewellery, graphics, product and industrial design, architecture, etc. Although we like to imagine the contemporary design world as being fluid, if you have ever tried to cross over from your own discipline into another, the reception can sometimes be extremely frosty.
Illustration: Otto Schonthal. Textile design, c1905.
Schonthal produced the four textile designs shown in this article in about 1905. Although they are not particularly unique or dynamic, they do show their roots within the Viennese movement of the period and there is at least an element of the Wiener Werkstatte about one or two of them. Critics of textile work produced by architects tend to dismiss this 'secondary' work as either early or made purely for financial gain. However, I don't really know any designer that would not at least put some element of themselves into their work, even if it was just a case of keeping the wolf from the door.
A designer is not that different from an artist, despite the studiously huge chasm that has been constructed by the fine art world over the twentieth century. Both feel a sense of creative individuality and both have a sense of personal input in their work. Inspiration can be just as diverse and inscrutable, and the end result just as richly agonised over. Therefore, it is too glib to dismiss the textile work of Schonthal as that of juvenilia or grafted work. It was part of the expression of his individuality as a creative person and should therefore be included within any reflection of his career as architect, or multi-disciplined designer as I prefer to call him.
Illustration: Otto Schonthal. Textile design, c1905.
5 comments:
I think the four examples shown are quite delightful. In more vivid colourways they would hold their own against my favourite contemporary Japanese designers. I wonder if his buildings had the same sense of lightness and playfulness?
lovely! now, we must revive these. heck, wallpaper. i love these.
Schonthal produced these textile designs in a vibrant city (Vienna) at a vibrant time (turn of the century). So although I am not rapt in his four samples, I am delighted that Schonthal saw himself as part of the modernist movement. Was he a formal member of the Secession or the Wiener Werkstatte?
I am also delighted when architects got their hands dirty, doing some of the hard work in designing a complete house. Furniture designs stood out, but I suspect the myriad of other artists and craftsmen might have been a bit lost to history.
Thanks for your comments, much appreciated as always.
I don't believe that Schonthal, or Schoenthal as it is also spelt,was a formal member of the Wiener Werkstatte, or even the Secession. However, he was under the guidance of Otto Wagner, and also formed an architectural studio with Emil Hoppe and Marcel Kammerer, both of whom were also followers of Wagner. If you look up Schonthal or Schoenthal on google images you will get some ideas as to the decorative detailing that Schonthal included within his architectural work.
Hi John,
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