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Jacques and Jacqueline Groag, Architect and Designer: Two Hidden Figures of the Viennese Modern Movement
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Review
The art historian Ursula Prokop empathically describes the life of the Groags [...] and characterizes their artistic achievements. The difficulty of finding sources – Groag's buildings have been extensively changed, many of his furniture have been lost or are widely scattered – made the research for the present double biography at first slow and tedious. Nevertheless, the author has managed to convey a multifaceted and vivid picture of [the Groags'] contemporary history, as well as highlighting the influence that the continental avant-garde had on British design of the post-war years and the acceptance of a modern language of form. Thus, the work that emerged in the context of a research project carried out at the University of Vienna is not only a late tribute to the two designers in their old homeland, but also a contribution to the subject of the individual design history that goes beyond individuality.– Dagmar Steffen, BauweltHer work […] in the clarity of its line and colour as much as subject-matter, eluded received notions and never lost an element of child-like wonder, of day dreaming.– Isabelle Anscombe, author of A Woman’s TouchThe Festival of Britain, the third and much the largest of the post-war design bonanzas is now regarded mainly as the start of the mass-public acceptance of the ‘modern’ design and architecture. … It opened up the possibilities inherent in designing and influenced the whole development of the modern multi-disciplinary design office. The Festival was British, extravagantly so, … but it is ironic that many of the main designers of the Festival in the post-war periods had in fact arrived from abroad: Stefan Buzas, Jacques and Jacqueline Groag. …Where would British design have been without this foreign input?– Fiona McCarthy/Patrick Nugents, Eye for Industry, Royal Designers 1936–1986Ursula Prokop offers an extensively researched book on the Viennese architect and designer couple Jacques and Jacqueline Groag that provides new inforÂmation and new insight into the lives of two talented artists whose modernist work crossed over political. geographical, and cultural frontiers. [...] The book is a well-documented overview of the couple's lives and works. It introduces biographical material collected and preserved from many different collections, especially those of the two nephews, Mr. Jan Groag in New York and Dr. Willi Groag in Maanit, Israel. [...] This is a pioneering work that rightfully places the artists Jacques and Jacqueline Groag within the field of Viennese Modernism.– Elana Shapira, CentropaAmong the buildings of the Werkbundsiedlung of 1932, the elegant house by architect Jacques Groag stood out in a positive way. Clever spatial economy succeeded in arranging the rooms so that they do not appear to be small and confined as is the case in one or the other home of the settlement, but spacious and airy. The sensation of the control of space and the strong impression of the room clearly marked the architect as a protege of Adolf Loos. Jacques Groag belongs to the younger Viennese architects whose style stands out because of its ingenious elegance and lightness.– Österreichische Kunst (Austrian Art)Jacques Groag´s living spaces exhibit an attitude that abstains from exaggerated “sober†motifs. Next to the purist cheerfulness that is at play, imagination rules, as well as delicate proportions, which are a mental rather than utilitarian matter. This architect has created living spaces that veritably dissolve in light. There is an impulse to open up walls and to take away their material bodies. The fact that Groag came from painting to architecture is apparent via the pictorial effects; it is obvious that he masters the technicalities. … Almost all of the rooms share a tendency towards delicate fabric covers that dissolve the boundaries of the rooms, a preference for natural-colored floor mats, and for light colors as such.– InnendekorationThe fact is, that [Jacques Groag] was, until the Nazis invaded Austria, one of the leading and most successful avant-garde architects in Vienna, where he was for many years engaged on work for important housing projects, public buildings and private houses. … In Britain in the absence of any architectural work, he was glad to supply himself to utility furniture. When, after the war, building activities were resumed, no one in Britain seemed to be aware any longer of his caliber as an architect, and Groag himself was much too modest a man to claim what, by rights, ought to have been his due.– Sir Gordon Russell, SIA JournalJacqueline Groag's long life of creativity received its strong foundations from the remarkable period of Viennese Arts and Crafts that – after three generations – we now recognize as the source of much of what European culture has given to the world. As one of the very few pupils of that great teacher, Josef Hoffmann, Jacqueline survived into our time of turbulence and uncertainty to make us understand that our lives are of real value only when we live with beauty.– Stefan Buzas, Eulogy for Jacqueline Groag, January 21, 1986[Jacqueline Groag lives] in a world of imagination. […] Starlight, with its interweaving of delicate chains, suggests to me marvellous and mysterious talks under the stars. I cannot remember designs for fabrics affecting me in this way before. – Charles Reilly, Art and IndustryFew designers can move easily from abstract design to the representational and produce equally good work in both disciplines. Jacqueline Groag not only possesses this special gift but also the ability to abstract from life so that reality still exists in many of her patterns, but transformed by the wit and charm of her own personality.– The Ambassador
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Review
The oeuvre of Jacques and Jaqueline Groag in architecture, interior architecture and textile design is of superb artistic quality. Ursula Prokop establishes and illuminates its roots in the 19th/early 20th century Viennese design tradition and its de facto connections with Viennese Modernism (Adolf Loos; Austrian Werkbund), as well as post-World War II British modernism. Thoroughly researched, objectively written, her book on the Groag couple is of serious interest to any student of 20th century modernist architecture and design and should, and will, be part of every academic or museum art historical library.The book also documents another case of the terrible disruption of European cultural continuity, especially concerning Jewish artists and intellectuals, by Nazism and the Third Reich. The English language edition improves on the number and quality of documentary illustrations available in the German, and above all, it makes this important book accessible to a worldwide public of architects, designers, scholars and others interested in 20th century modernist architecture and design within its cultural context. I strongly acclaim the publication of this DoppelHouse Press book.– Paul Wijdeveld, author of Ludwig Wittgenstein, Architect
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Product details
Hardcover: 272 pages
Publisher: DoppelHouse Press (June 18, 2019)
Language: English
ISBN-10: 0999754432
ISBN-13: 978-0999754436
Product Dimensions:
6 x 9 inches
Shipping Weight: 1.7 pounds (View shipping rates and policies)
Average Customer Review:
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Amazon Best Sellers Rank:
#21,735,128 in Books (See Top 100 in Books)
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