Like a number of other design initiatives in the late 19th century, the Vereinigte Werkstätten für Kunst im Handwerk (United Workshops for Art in Craft) was established in Munich in order to gain greater recognition for the applied arts. In this particular instance the formation of organization stemmed from a concerted campaign for the inclusion of the applied arts in the international Munich Glaspalast Exhibition of 1897. However, although the Munich Vereinigte Werkstätten was based on the Arts and Crafts Movement idea of a community of craftsmen producing aesthetically charged everyday objects, its aim was not that the artists themselves should carry out the work, but rather to make available a range of technical expertises to bring their ideas to fruition under their control. Under the leadership of the artist Franz August Otto Krueger the Werkstätten became a successful commercial enterprise with its own workshops and showrooms. Key designers associated with the group included Hermann Obrist, Richard Riemerschmid, Bruno Paul, and Peter Behrens. The Vereinigte Werkstätten exhibited four rooms at the 1899 German Art Exhibition in Dresden, including Riemerschmid's designs of a Room for a Music Lover, but found a more prominent stage in the German Pavilion at the Paris Exposition Universelle of 1900 including Riemerschmid's Room for an Art Lover, Bruno Paul's Hunting Room, and a Smoking Room by Bernhard Pankok. The Vereinigte Werkstätten soon became a commercial enterprise, employing more than 50 in the production of goods carrying its name.
Subjects: Industrial and Commercial Art.