His lettering, however, is not geometric. "The text is used as a plinth for the figures", and is integrated into the figures "by passages of ornament that allow text and image to flow together". The Scottish design principles (Glascow style) also influenced his text. The vertical bands that make up their bodies echo the overall shape of the poster." "Dominated by flat red and blue" and "outlined in hard edged countour lines", "Moser's colour choices are subdued." "The reductive, geometric figures are highly structured the only curves in their bodies are formed by simple circular and teardrop shapes. Moser's poster layout features "three figures arranged symmetrically in a vertical format that is reminiscent of the Scottish graphics" ( Glascow School of Art) that made an impact at the 8th Secession exhibition in 1900. "His first works show the influence of impressionistic tendencies in his later years it was the painter Ferdinand Hodler, who had strong influence on the style of Kololman Moser."
KOLOMAN MOSER 13TH VIENNA SECESSION WINDOWS
"As a craftsman Moser designed a mosaic as well as the stained glass windows for the " Kirche am Steinhof" by Otto Wagner, the most famous consecrated building of the period before 1914" (jokingly referred to by the locals as the "Holy Lemon").
In 1908, after disagreements with Wärndorfer, Koloman Moser left the Vienna Workshops to concentrate on painting, where his focus shifted to expressionist painting. "Moser was a co-founder of the Viennese Secession in 1897" and "editor of the Secession journal, "Ver Sacrum", to which he contributed numerous works and designs of his own." In 1903 Moser left the Secession and Joined forces with Josef Hoffman and a prosperous banker Fritz Wärndorfer and founded the Wiener Werkstätte (Vienna Workshops). He studied at the Vienna Academy and then the Arts and Crafts School where he would later teach for eight years." He designed graphic art with characteristic, geometric patterns but was mainly known for his design of furniture, jewellery, postage stamps, glass and metal arts & crafts objects. Koloman Moser (MaOctober 18, 1918) "Moser was an Austrian painter, graphic artist and an arts and crafts designer. "Unlike other movements, there is no one style that unites the work of all artists who were part of the Vienna Secession." "In design terms, the Vienna Secession was the most significant of a number of Secession groups established in the 1890s in Germany and Austria that were set up in opposition to the traditional outlook of the official academies." This included those of Munich (launched in 1892) and Berlin (in 1899).
"The limitations of what constituted fine art were tested - was art limited to painting and sculpture or could it also include furniture, glass, textiles and functional items?" "The group earned considerable credit for its exhibition policy, which made the French Impressionists somewhat familiar to the Viennese public." They believed in the purity of art and in the great mission of the artist. They wanted to remove art from the "hands of commerce". In this way they were very much in keeping with the iconoclastic spirit of turn-of-the-century Vienna." Artists and patrons of the arts were revolting against the 19th century attitude that based art's value on its commercial value. They hoped to create a new style that owed nothing to historical influence.
"Secession artists were concerned, above all else, with exploring the possibilities of art outside the confines of academic tradition. "The Vienna Secession (also known as the Union of Austrian Artists, or Vereiningung Bildender Künstler Österreichs) was formed on Apby a group of" mostly younger "Austrian artists" (painters, sculptors and architects) "who had resigned from the Association of Austrian Artists" in opposition to the exclusion of foreign artists from exhibitions of the Viennese Academy. In 1902, Koloman Moser produced a poster to publicize the Vienna Secession's 13th exhibition.
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