The Reception of Wiener Werkstätte Fabrics in the United States in the Early 1920s

Chapters in this book

1. Frontmatter 1
2. Contents 4
3. Preface 7
4. Acknowledgments 9
5. Introduction 11
6. I. WIENER WERKSTÄTTE TEXTILES AND THEIR ARCHIVES
7. Figure 20
8. The Wiener Werkstätte Collection within the Cotsen Textile Traces Study Collection: From Austria to the United States via Switzerland 21
9. Transgressive Patterns at the MAK: Transnational and Transmedial Dimensions in the Wiener Werkstätte’s Artistic Textiles and Fashion 37
10. Beautiful Specimens: Wiener Werkstätte Pattern Designs at Cooper Hewitt, Smithsonian Design Museum 53
11. II. INTEREST IN THE PATTERNS IN FOLK ART IN AUSTRIA-HUNGARY
12. Figure 72
13. Appropriating the Peasant: Wiener Werkstätte Fashions before World War I 73
14. Cultural Translation and Artistic Reform: Mileva Roller’s and Rosalia Rothansl’s Collections at the University of Applied Arts Vienna 89
15. An Embroidered Love Letter: Oskar Kokoschka, the Wiener Werkstätte, and a Skirt for Lilith Lang 105
16. III. INNOVATIVE FEMALE ARTISTS OF THE WIENER WERKSTÄTTE
17. Figure 124
18. Hilda Schmid-Jesser: Career, Interrupted, Reinvented 125
19. Bright Colors, Stylized Flowers: Notes on Asunta, a Fabric Pattern by Maria Likarz-Strauss 139
20. IV. THE WIENER WERKSTAETTE OF AMERICA
21. Figure 156
22. The Reception of Wiener Werkstätte Fabrics in the United States in the Early 1920s 157
23. V. MEMORIES OF HALF A CENTURY OF RESEARCH ACTIVITY
24. Figure 174
25. Research, Scholarship, and Exploration: Toward the Wiener Werkstätte at the Museum of Applied Arts in Vienna 175
26. APPENDIX
27. Image Credits 196
28. Index of Names 197
29. Selective Bibliography 200
30. Authors 202
31. Imprint 206