Taste – What is it and who defines it?
Matters of taste are well-known for being arguable – but is this really the case? This question provides the basis for the exhibition "A Matter of Taste: Exemplary Design around 1900". It deals with the cultivation of taste in earlier times and how it was practiced and implemented.
While taste refers to a physical sensorial capacity, it also describes a faculty for aesthetic discernment. However, is having a good taste an inborn ability or is it rather something that can be learned? Ultimately, who determines the parameters of good and bad taste?
The former Landesgewerbemuseum in Stuttgart concerned itself with questions referring to good taste and aesthetic education. In your eyes, which objects drawn from around the year 1900 can still be described as tasteful and why?
The Cultivation of Taste around 1900
The Landesgewerbemuseum was a significant institution for the cultivation of taste in Württemberg. In 1896, the museum was moved to a prestigious new building. Today, this building is known as the Haus der Wirtschaft.
The Collections of the Landesgewerbemuseum
Exemplary objects were collected from across the world and presented in the museum. They were meant to inspire the public. Producers and consumers were afforded the opportunity to see what constituted good taste.
By studying these supposedly superlative objects and their technical and aesthetic qualities, it was hoped that the Württemberg economy would be spurred towards new levels of international competition.
Toy duck (1922) by Paul GrießerLandesmuseum Württemberg
Abstraction vs. Naturalism
Whether the form of a particular design would earn favour and be regarded as tasteful is dependent on the times and the prevalent circumstances. What do you prefer? Abstract and simple or naturalistic and ornamented?
This small toy duck with its clear contours and simplified shape was once regarded as exemplary. With this object, Paul Grießer won a wood-turning competition organized by the Staatliche Kunstgewerbeschule in Stuttgart in 1922.
Piggy bank with an image of the Old Castle (Altes Schloss) in Stuttgart (1900–1925)Landesmuseum Württemberg
Contrary to this positive example, the small money box in the shape of a pig was exhibited in the so-called Collection of Taste Aberrations which was founded in 1909. It was presented in the category of “Foreign Souvenir Kitsch”.
Toy chick (ca. 1927) by Waldorf-SpielzeugverlagLandesmuseum Württemberg
The Cultivation of Taste starts in the Nursery …
Image composition cutlery: gilded cutlery with handles from Meissen porcelain; silver Secession cutlery; cutlery "Iconic" (1730–2018) by Royal-Saxonian Porcelain Manufactory, Meissen; Richard Riemerschmid for Bruckmann & Sons; Michael Michalsky for WMFLandesmuseum Württemberg
Taste and social Belonging
The elements of good taste are defined within the context of a social group. The way in which we are raised, our social environment and the time in which we live, profoundly influence our assessment of objects and the ascribing of the term "tasteful" to some of them.
In doing so, various opportunities are provided where seemingly good taste can be demonstrated, thereby indicating the individual's group affiliation.
Material Value
It was not just the appearance of this luxurious cutlery that made it so popular among the aristocracy in the 18th century; its material value was also a contributing factor. It captivated through its gilding and its handles fashioned from Meissen porcelain.
Design Excellence
In the 19th century, the bourgeoisie became societal forerunners and placed great importance on the design of everyday products. Products such as this Art Nouveau cutlery designed by the architect Richard Riemerschmid enjoyed great popularity at the turn of the 20th century.
Well-Known Brands
In today's world, it is not just attractive design and expensive materials that play a role in the choice of products – renowned brands and names are also sought after.
The success of the cutlery set "Iconic" is not least based on its well-known producer WMF and its renowned German designer, Michael Michalsky.
Middle-Class Splendour around 1900
This large fortepiano is an excellent example of how the convergence of expensive materials, exceptional design and well-known brand names can contribute to a product's success. The rich inlay work of precious woods, nacre, metal, lapis lazuli and ivory was produced by the company Wölfel after a design by Robert Knorr. The Stuttgart enterprise Schiedmayer Pianofortefabrik were responsible for building and assembling the piano.
This showpiece was first exhibited as part of a “Württemberg Music Room” at the 1900 World’s Exposition in Paris where it won a price.
Vase with four handles (1900) by Haagse Plateelbakkerij RozenburgLandesmuseum Württemberg
Changes in Taste
The assessment regarding what is generally accepted as tasteful changes through the course of time. Around the year 1900, a change in taste occurred which affected all objects of everyday life.
Art Nouveau, which had reached its apex at the time, incorporated curved lines, floral elements and animal representations.
Silver vase with cutout decor (1910) by Eduard Wimmer-Wisgrill (Wiener Werkstätte)Landesmuseum Württemberg
The high silver vase was produced by the Wiener Werkstätte in 1910 and displays abstracted small-scale ornamentation and leaf patterns.
Vase made of enamel (1928) by Hans Warnecke (Design), Lotte Feickert (Production)Landesmuseum Württemberg
Later in the 1920s, form was expected to follow the object's function. Accordingly, the vase produced by the Frankfurter Kunstgewerbeschule, is free of any ornamental decoration.
Dragon-shaped inkstand (before 1896) by Karl Paul Marcus (Königliche Hofkunstschlosserei Berlin)Landesmuseum Württemberg
From the tasteful to the tasteless Product
This dragon-shaped inkstand provides an example of how quickly tastes can change. The Landesgewerbemuseum acquired it in 1896 from the Königliche Hofkunstschlosserei in Berlin.
It was designed in accordance with the historicist style that was prevalent at the time, and thus was regarded as an exemplary product. Starting in 1909 however, it was judged negatively and considered an aberration of taste. Its exuberant decor was thought to obscure the object's function as an inkwell.
As a consequence, it became incorporated into the Landesgewerbemuseum's newly established "Collection of Taste Aberrations".
Dragon-shaped inkstand (before 1896) by Karl Paul Marcus (Königliche Hofkunstschlosserei Berlin)Landesmuseum Württemberg
One Material, Many Design Possibilities
In designing a product, designers deliberate over the form and function of an object. A single raw material can be worked using many different techniques, continuously providing new possibilities in design. These two objects provide examples of that.
Whereas the bowl from 1906, created by the well-known designer Henry van de Velde, is distinguished by its smooth and bare surfaces, the metal bowl from the 1890s is embellished with detailed mouldings and a decor which imitates a napkin.
Textile sample books (from 1844) by Karl Wilhelm WeigleLandesmuseum Württemberg
Sources of Inspiration for Designers
How did designers back then decide on the form their products took? In the past, museums such as the Landesgewerbemuseum in Stuttgart were important starting points where the visitor could draw inspiration. Exemplary articles and pattern books served as stimulating resources. The textile sample book presented here shows model possibilities for textile design.
Textile sample book (from 1844) by Karl Wilhelm WeigleLandesmuseum Württemberg
Pinterest collection of textiles (2021) by Ruth EggerLandesmuseum Württemberg
Present-day Collections of tasteful Products
How do contemporary designers collect ideas for the sketching out of their latest products? Besides the possibilities of visiting museums or collecting patterns in a portfolio, ideas can be drawn online from websites such as Pinterest today.
Digital mood boards allow for designers and consumers to retain and manage their sources of inspiration, and present what they consider to be tasteful and modern.
Concept/text: Ruth Egger
Editorial work/realization; Anna Gnyp
English translation: Marcus Berendsen
