MAK (Museum of Applied Arts) in Vienna

Modeled on the Victoria and Albert Museum in London, the MAK was founded in 1863 by Emperor Franz Joseph I. It housed the Hapsburg treasures and during Nazi times, it included confiscated private collections, and unlike some of the other museums in Vienna a number of these collections have been returned to their owners or heirs. In the 1990s the museum expanded to include contemporary art. Included in this post are just a taste of what the beautiful museum contains. A second post will focus on the influence of Gustav Klimt in two dimensional art and Biedermeier in furniture. Both are well represented at the MAK.

The museum was opened to the public in 1871 in a Neo-Renaissance style.

The frescoes were added around 1893 and this was the first museum on the Ring Road that circles the city.

This faux fountain reflects the style of Historicism, that seeks to recreate historic styles of art from the past or to imitate historically important artists.

Extensive repairs were made to the museum after WWII and it reopened in 1949. These windows reflect the emphasis of early 20th century Art Nouveau and Secessionist style that Vienna is so well known for.

Edward Colonna, Knotted Carpet, Paris, 1887

John Stollie Henry, Armchair, wool textile, 1899

Koloman Moser, Secretary for Berta Waerndorfer, 1903, Macassar ebony, veneered, marquetry of Madagascar ebony, box wood, mahogany, and tortoiseshell brass. Moser was a teacher at the Academy of Fine Arts and a leading proponent of Sessionist art. The inlays are influenced by Klimt.

Henry van der Veide, Sessionist desk, 1900

Vases and textile, 1900, porcelain and silk/metallic fibers

Gustav Gurschner, Lamp, 1905, bronze and glass and Franz Hofstotter, plate, 1900, favrile glass

Examples of Sessionist glass starting 1897 that was an effort to create a distinctly Austrian style that continued until World War I.

Dagobert Peche, Salon Cabinet for a Reception Salon, 1913, pear wood and gilded lime wood

My apologies, the information I gathered about the artist of this work is unreadable but could not resist including such a spectacular example of marquetry. It's grouped together with other early 20th century works and the geometric and floral imagery seems influenced by Art Nouveau as well as Japanese prints which were very popular at that time.