Simple and monochrome should be objects and buildings of the Werkbund and the Bauhaus. The classical modernity stands for ornamentlessness and objectivity in the design.
Werkbundarchiv – Museum der Dinge
Another aspect of modernism is the abstract spray patterns on the everyday ceramics of the 1920s-30s: constructivist patterns, powerful colors, abstract line compositions on thousands of cake plates, cups and plates, applied with the help of streamlined spray and stencil technology, reflect the avant-garde painting of the early 20th century Century. More than 60 companies surpass themselves in the variety of shapes and decors, despite the global economic crisis, the cheap mass produced a boom phase.
On an economic, social, technical and artistic level, the Spritzdekor-Keramik represents the discourses of the time: the relationship between artistic-creative work, craft and industry, individually influenced individual pieces and anonymous mass-produced goods. Why is the popular spray decoration disappearing from everyday life in the mid-1930s? In which relationship does it stand as a fad to the canon of the classical modern? In what context are the decors of the pictorial motifs of the artistic avant-garde and their omission as "degenerate"?
These are the questions the exhibition »Decor als Übergriff?« With hundreds of examples from private collections.