Anneli Xie
Prof. Annebäck
SASH56: Modern Design in Scandinavia
2019/10/04
Prof. Annebäck
SASH56: Modern Design in Scandinavia
2019/10/04
Social
Change and its Impact on Design:
Industrialism and Swedishness in Simon Gate’s Paris Cup and Wilhelm Kåge’s Praktika
Industrialism and Swedishness in Simon Gate’s Paris Cup and Wilhelm Kåge’s Praktika
In the late 19th century, Scandinavia found
itself in a time of change. Not only was it the time of industrialism, but for
the first time in decades – with the splitting of unions and declarations of
independence – all five Nordic nations stood on their own. The new-found autonomy for the Scandinavian nations became critical for
a rediscovery of the distinct identity of each nation. (Ashby 2017, 5-7) When examining Scandinavian art at this time, these two factors
– industrialism and the formation of new national identities – become
defining. In this paper, the focus will be on Sweden, aiming to form an
understanding of the founding pillars of Swedish design. Through an analysis of
national and international influences, as well as the Swedish adaptation to
industrialization, this paper will compare Simon Gate’s Paris Cup (1922) with Wilhelm Kåge’s Praktika (1933) in an attempt to explore and examine this critical
time in Swedish design history. Although created only 11 years apart, the Paris Cup and Praktikaare vastly different in their function, style, and audience. Yet, they remain
good examples of what Swedish design was and aimed to be in the context of
their time.
Exhibited at the Exposition Internationale des Arts Décoratifs et Industriels Modernes à Paris in 1925, the Paris Cup is a remarkable one-of-a-kind engraved glass piece. (Brunnström 2010, 101) Measuring 85cm in height, the cup was designed by Simon Gate in 1922 and realized at Orrefors glassworks, with the help of several craftsmen – such as glass blowers Knut and Gustav Bergqvist, and glass engraver Gustav Abels. (Ashby 2017, 125) The shape of the cup is comparable to that of a classical urn and its finial look suggests it a piece made solely for decorative purposes, radiating of luxury and skill. The detailed engravings make allusions to historicism – with dragons hinting at Norse revival and the cup’s origin, nude women making a nod towards classicism, influential in both Sweden and France, and the natural elements of their surroundings, birds and trees, inspired by the art nouveau – a showcase of Swedish values at the time. While the Paris Cup was originally intended as a gift given from the Aldermen of Sweden to the city of Paris in order to strengthen diplomatic relations, as marked by the respective city weapons on its top, it is also an excellent example of the Swedish transition from traditional Gustavian forms and classical art influences to the functionalism and industrial design that later came to dominate the Swedish arts. (Ashby 2017, 125)
Although functionalism had been admired for years prior the Paris Exhibition, it wasn't until the 1930s that it finally took root. Until then, Swedish luxury production excelled – as exemplified by the Paris Cup. However, in time for the Paris Exhibition in 1925, an agency facilitating artist and industry collaboration had been founded by the Swedish Society of Arts and Crafts (SSAC), which heavily influenced the Swedish contributions to the world fair. (Brunnström 2010) The Paris Cup would not have been possible to produce if Gate – rooted in painting – had not collaborated with Orrefors to receive help from professional craftsmen within the industry. (Ashby 2017, 78) This collaborative effort between artists and industry came to dominate 20th century design, only later finding different forms of expression. This was much thanks to the director of the SSAC, Gregor Paulsson, who in 1919 published a manifesto called “Vackrare Vardagsvara,” (translation: Beautiful things for everyday life). Inspired by the Deutscher Werkbund, Paulsson propagated for art-industry collaboration, meaning that everyday objects could be both beautiful and affordable if these were to come together – and that good design could thus become democratic. At the Stockholm Exhibition of 1930, Paulsson’s ideas blossomed in what later came to be called funkis.
Wilhelm Kåge’s Praktika is an excellent example of a beautified, yet functional, everyday object of funkis style. Similar to the artist-industry collaboration of the Paris Cup, the 1933 dinnerware set was designed by Kåge and realized by the Gustavsberg Porcelain Factory. (Brunnström 2010, 118) However, rather than being a piece of pompous decoration, Praktika was a simple set made in earthenware, with a white glaze and a colored brim as its only decoration. Inspired by the functionalism exhibited at the 1930 Stockholm Exhibition, Praktika – a 41-piece set – was designed to include every piece needed in a small kitchen. (Bratt 2016) Pieces were multifunctional and could be combined in different ways, and the set also introduced the space-saving concept of modularity as it was stackable; in opposition to the Paris Cup which with its grandiose size provided no functional use. With all pieces sold separately, Praktika provided several solutions that could be customized to fit each family’s individual need. In a modernizing Sweden, it represented ideas of democratic design, individual freedom, and the beauty of simplicity that characterized funkis.[20]Whereas the Paris Cup was created for the bourgeoise and emphasized historicism, Praktika was forward-looking, designed to satisfy the needs of the common people, being both affordable and functional.
At first glance, the Paris Cup and Praktika are completely different. Their function, style, and audience are almost opposite, and while the Paris Cup takes a more traditional approach, Praktika is an innovative and modern piece. However, despite their perceived differences, both designs are exemplary for their time, communicating defining cultural values while simultaneously balancing the establishment of industrialism – unveiling a story of Sweden and what it means to be Swedish.
Ashby, Charlotte. Modernism in Scandinavia. New York: Bloomsbury Academic, 2017.
Bratt, Anna. “Wilhelm Kåges tidlösa uttryck.” Hallandsposten, November 14, 2016. https://www.hallandsposten.se/%C3%B6vrigt/bostad/wilhelm-k%C3%A5ges-tidl%C3%B6sa-uttryck-1.3955432.
Brunnström, Lasse. Svensk Designhistoria. Stockholm: Raster förlag, 2010.
Riksarkivet. “C O Simon Gate.” Accessed September 28, 2019. https://sok.riksarkivet.se/sbl/Presentation.aspx?id=14666
Exhibited at the Exposition Internationale des Arts Décoratifs et Industriels Modernes à Paris in 1925, the Paris Cup is a remarkable one-of-a-kind engraved glass piece. (Brunnström 2010, 101) Measuring 85cm in height, the cup was designed by Simon Gate in 1922 and realized at Orrefors glassworks, with the help of several craftsmen – such as glass blowers Knut and Gustav Bergqvist, and glass engraver Gustav Abels. (Ashby 2017, 125) The shape of the cup is comparable to that of a classical urn and its finial look suggests it a piece made solely for decorative purposes, radiating of luxury and skill. The detailed engravings make allusions to historicism – with dragons hinting at Norse revival and the cup’s origin, nude women making a nod towards classicism, influential in both Sweden and France, and the natural elements of their surroundings, birds and trees, inspired by the art nouveau – a showcase of Swedish values at the time. While the Paris Cup was originally intended as a gift given from the Aldermen of Sweden to the city of Paris in order to strengthen diplomatic relations, as marked by the respective city weapons on its top, it is also an excellent example of the Swedish transition from traditional Gustavian forms and classical art influences to the functionalism and industrial design that later came to dominate the Swedish arts. (Ashby 2017, 125)
Fig 1. Gate,
Simon. “Parispokalen,” 1922. Crystal Glass, 85 cm. (Musee d’art modern, Paris).
In Modernism in Scandinavia by Charlotte Ashby. New York: Bloomsbury Academic, 2017, p. 126.
In Modernism in Scandinavia by Charlotte Ashby. New York: Bloomsbury Academic, 2017, p. 126.
Although functionalism had been admired for years prior the Paris Exhibition, it wasn't until the 1930s that it finally took root. Until then, Swedish luxury production excelled – as exemplified by the Paris Cup. However, in time for the Paris Exhibition in 1925, an agency facilitating artist and industry collaboration had been founded by the Swedish Society of Arts and Crafts (SSAC), which heavily influenced the Swedish contributions to the world fair. (Brunnström 2010) The Paris Cup would not have been possible to produce if Gate – rooted in painting – had not collaborated with Orrefors to receive help from professional craftsmen within the industry. (Ashby 2017, 78) This collaborative effort between artists and industry came to dominate 20th century design, only later finding different forms of expression. This was much thanks to the director of the SSAC, Gregor Paulsson, who in 1919 published a manifesto called “Vackrare Vardagsvara,” (translation: Beautiful things for everyday life). Inspired by the Deutscher Werkbund, Paulsson propagated for art-industry collaboration, meaning that everyday objects could be both beautiful and affordable if these were to come together – and that good design could thus become democratic. At the Stockholm Exhibition of 1930, Paulsson’s ideas blossomed in what later came to be called funkis.
Wilhelm Kåge’s Praktika is an excellent example of a beautified, yet functional, everyday object of funkis style. Similar to the artist-industry collaboration of the Paris Cup, the 1933 dinnerware set was designed by Kåge and realized by the Gustavsberg Porcelain Factory. (Brunnström 2010, 118) However, rather than being a piece of pompous decoration, Praktika was a simple set made in earthenware, with a white glaze and a colored brim as its only decoration. Inspired by the functionalism exhibited at the 1930 Stockholm Exhibition, Praktika – a 41-piece set – was designed to include every piece needed in a small kitchen. (Bratt 2016) Pieces were multifunctional and could be combined in different ways, and the set also introduced the space-saving concept of modularity as it was stackable; in opposition to the Paris Cup which with its grandiose size provided no functional use. With all pieces sold separately, Praktika provided several solutions that could be customized to fit each family’s individual need. In a modernizing Sweden, it represented ideas of democratic design, individual freedom, and the beauty of simplicity that characterized funkis.[20]Whereas the Paris Cup was created for the bourgeoise and emphasized historicism, Praktika was forward-looking, designed to satisfy the needs of the common people, being both affordable and functional.
Fig. 2. Kåge, Wilhelm. “Praktika,” 1933. Earthenware
dinnerware set, 41 pieces. In
Svensk Designhistoria by Lasse Brunnström. Stockholm: Raster förlag, 2010, p.118.
Svensk Designhistoria by Lasse Brunnström. Stockholm: Raster förlag, 2010, p.118.
At first glance, the Paris Cup and Praktika are completely different. Their function, style, and audience are almost opposite, and while the Paris Cup takes a more traditional approach, Praktika is an innovative and modern piece. However, despite their perceived differences, both designs are exemplary for their time, communicating defining cultural values while simultaneously balancing the establishment of industrialism – unveiling a story of Sweden and what it means to be Swedish.
References
Ashby, Charlotte. Modernism in Scandinavia. New York: Bloomsbury Academic, 2017.
Bratt, Anna. “Wilhelm Kåges tidlösa uttryck.” Hallandsposten, November 14, 2016. https://www.hallandsposten.se/%C3%B6vrigt/bostad/wilhelm-k%C3%A5ges-tidl%C3%B6sa-uttryck-1.3955432.
Brunnström, Lasse. Svensk Designhistoria. Stockholm: Raster förlag, 2010.
Riksarkivet. “C O Simon Gate.” Accessed September 28, 2019. https://sok.riksarkivet.se/sbl/Presentation.aspx?id=14666