Talk:Josef Hoffmann

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Untitled

All contributions by 83.65.92.98 seem to be C&P from here.Davidrowe 10:35, 13 November 2005 (UTC)

Language revision

Ok, tried to remove some of the POV material... maybe it will be seem something different

Just out of curisoity, is there any article in this explaining WHY Hoffman demonstratively left Künstlerhaus? And why is the Siebener Club reffered to as "so-called"?

Hoffmann was no Czech

There had been a lot of changes during the 20th century in Central Europe. Wide parts of nowadays Czech Republic for instance were populated by the so called German Bohemians, people who were Germans by culture and language and who distincted themselves from the Czechs or Slovaks. Being citizens of the Austro-Hungarian Empire they can be called Austrians or German Austrians. After 1945 they were driven out from Czechoslovakia, and most of them fled to Germany.

The changes done by 58.173.19.245 are wrong. Hoffmann was a German Bohemian. His home town Pirnitz (today Brtnice) near Iglau (today Jihlava) was then a German town situated in one of the German enclaves of Moravia (also Brünn, nowadays Brno, was situated in such a German enclave). Hoffmann couldn't even speak Czech. He was welcoming the Anschluss of Austria by Germany in 1938. - In other words: If Hoffmann would be Czech, then Immanuel Kant would be Russian or rather Kaliningradian, and my mother as East Prussian would be Polish. -- Achsenzeit (talk) 22:49, 20 January 2009 (UTC)

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Jewish?

Was Hoffmann Jewish? The name sounds Jewish, he had a lot of Jewish patrons and friends, but he welcomed the Anschluss though he did not subscribe to the Nazi aesthetics [source: German language version of this article]. Does anyone know? Hansung02 (talk) 09:24, 30 October 2023 (UTC)

Unreferenced material removed

I removed the following section since it is not supported by references to reliable sources --Srleffler (talk) 17:24, 6 December 2025 (UTC)

Critical reception and posthumous reputation

His international exhibition work helped to make his name widely known, and many distinguished contributors to the Festschrift on his 60th birthday acclaimed him as a master. Honours bestowed on him included the cross of a commander of the Légion d'honneur and the Honorary Fellowship of the American Institute of Architects. The critic Henry-Russell Hitchcock in 1929 wrote, "In Germany as well as in Austria, Hoffmann's manner has profoundly influenced the New Tradition". Only three years later, however, when he published The International Style together with Philip Johnson, Hitchcock no longer mentioned Hoffmann's name. Siegfried Giedion in his influential Space, Time and Architecture did not do justice to Hoffmann's oeuvre because it would not fit easily into his polemically simplified version of architectural history.

Despite honours and praise on the occasions of Hoffmann's 80th and 85th birthdays, he was virtually forgotten by the time of his death. Although his true stature and contribution were acknowledged by such masters as Alvar Aalto, Le Corbusier, Gio Ponti and Carlo Scarpa, the younger generation of architects and historians ignored him.

The process of rediscovery and reappraisal began in 1956 with a small book by Giulia Veronesi, and gained momentum during the 1970s with a number of exhibitions and smaller publications. In the 1980s several monographs were published and major exhibitions held. Imitations of his style also began to appear, and replicas of his furniture, fabrics, and of some objects he had designed became commercial successes, while original pieces and drawings from his hand fetched record prices in the auction-rooms. Srleffler (talk) 17:24, 6 December 2025 (UTC)