Je li Caftan zaštićen autorskim pravima?

Ne, ovo umjetničko djelo je u javnom vlasništvu.

Naručite print obrasa Caftan

‘Rainbow’, silk with printed pattern of stripes with tonal gradation. From the late nineteenth to early twentieth centuries there was a movement in Vienna to create a new form of art led by the Viennese successionists. Influenced by this, the Wiener Werkstätte (Vienna Workshop) was established in 1903 with the aim of permeating art into every aspect of daily life under the motto, ‘Art Belongs to Everybody’. With this aim of fusing art and daily life, the workshop worked on the total design of living space, furniture, fixtures and fashion. In 1911 Eduard Josef Wimmer-Wisgrill established the fashion section there and the textile section was begun soon afterwards.The main financial backer of the Werkstätte since 1915, Otto Primavesi, and his wife, Eugenie, asked the leader of the workshop, Josef Hoffmann, to produce a country home for them in Moravia, Czechoslovakia. The Primavesi’s were introduced to Gustav Klimt by Hoffman and Klimt was to become a regular visitor to their country home. The caftan shown here belonged to the Primavesis and it is easy to imagine the artists who came to stay with them wearing it. The textile design is the work of the designer from the Werkstätte, Dagobert Peche. It is a very simple garment, just two pieces of square material sewn together, but despite this it has a dignified character.

Pitanja i odgovori

Kako se kontrast i harmonija prepliću u djelu "Caftan"?

Koloristička kompozicija djela "Caftan" autora Dagobert Peche spaja Statement kontrast s Discordant Palette harmonijom.

Je li "Caftan" ostalo u domovini svog umjetnika?

Ne – umjetničko djelo se nalazi izvan zemlje umjetnika. Djelo "Caftan" nalazi se u državi Japan, dok je Dagobert Peche rođen/a u državi Austria.

Postoje li djela slična djelu "Caftan"?

Stranica Slična djela za djelo "Caftan" autora Dagobert Peche prikazuje srodna umjetnička djela.

Srodna umjetnička djela

Biografija umjetnika

The Ornamental Rebel

To look at the work of Dagobert Peche is to witness a deliberate disruption of the geometric order that defined early twentieth-century Vienna. While his contemporaries in the Wiener Werkstätte were busy refining the clean, rational lines of modernism, Peche was busy complicating them. He did not seek the quiet efficiency of a well-constructed square; he sought the exuberant, often unsettling, energy of the organic. His presence in the movement changed its very DNA, shifting the focus from structural austerity to a restless, decorative complexity that many at the time found difficult to digest.

His approach was rooted in what became known as his 'spiky baroque' style. This was not a mere imitation of the past, but a reconstruction of it through a lens of folk art and natural metamorphosis. He utilized motifs of flowers, animals, and human figures—often rendered with a sharp, sinuous edge—to create objects that felt alive and unpredictable. In his hands, a silver box or a textile pattern became a site of transformation, much like the myth of Daphne, a theme he frequently revisited to explore the concept of evolving forms.

A Career of Material Versatility

Peche was far more than a painter; he was a multi-disciplined designer whose reach extended into almost every corner of the decorative arts. His training in architecture provided him with a structural foundation, yet his true output lay in the tactile and the ornamental. He moved between mediums with a clinical precision, applying his botanical vocabulary to vastly different surfaces:

Metalwork: Intricate silver and gilt-brass pieces, including bird-shaped candy boxes and heavy, ornamented chandeliers.
Textiles and Paper: Sensational wallpaper designs like Daphne and printed fabrics featuring stylized floral patterns.
Ceramics and Glass: Objects that utilized the transparency and weight of glass alongside the earthy textures of clay.
Furniture: Sculptural pieces such as his black lacquer and gold side table or carved linden-wood mirror frames.

This versatility allowed him to dominate the visual landscape of the Wiener Werkstätte during his tenure. He did not just design objects; he designed atmospheres. Even when forced by the economic constraints of World War I to use humble materials like cardboard or tole, he maintained a level of decorative intensity that refused to succumb to the limitations of the medium.

The Weight of Influence

The impact of Peche is often measured by how much he challenged the status quo. He was the 'enfant terrible' who pushed against the logic of utility. His philosophy, articulated in his writing, suggested an overcoming of mere usefulness to achieve a higher artistic expression. This stance placed him at odds with the strict functionalists but made him a precursor to later movements like Postmodernism, which would similarly embrace wit, narrative, and ornament.

His life was brief, ending in 1923 at the age of 36, yet his influence remained embedded in the design language of the era. He took the geometric foundations laid by Josef Hoffmann and infused them with a sense of fantasy and movement. By introducing the 'spiky baroque' and drawing from the traditions of Rococo and folk art, he ensured that the Wiener Werkstätte would be remembered not just for its precision, but for its capacity for imagination and decorative excess.

Dagobert Peche

1887 - 1923 , Austria

Osnovne informacije

Artistic Movement Or Style: Spiky Baroque, Wiener Werkstätte
Date Of Birth: 1887
Date Of Death: 1923
Full Name: Dagobert Peche
Nationality: Austrian
Place Of Birth: St. Michael im Lavanttal, Austria

Caftan

Opis kolekcionarskog predmeta

Biografija umjetnika

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