Kaare Klint/ DEFYING THE Bauhaus.

Kaare Klint (1888-1954)

Klint, not Verbal or Eastwood (Clint), but Kaare. He was arguably one of the 20th century's most prolific designers, meticulously researching projects for years at a time. Whilst other designers at the time such as Alvar Alto were turning projects around at formidable rates, Klint sat back and painstakingly focused in on every small detail. What was the end product of this detailed eye are some spectacular pieces of crafted furniture that embraced traditional craft skills.

Propeller Stool for Rud (1927). Stained Oak and Leather.

Avant garde graduates and teachers who resided at the Bauhaus were embracing new industrial processes and creating visual pleasing pieces that could be distributed to the masses. Klint was the anti Bauhaus ethos, he believed that industrial processes should be embraced but not the neglect of more traditional ideals and methods that had stood the test of time. The Propeller chair (above) is a perfect example of this statement in practice. The stool legs have been warped and twisted to resemble that of airplane propeller blades using new industrial processes but the means of assembly and the style is very traditional. 

Made by Rud (1930) Cuban Mahogany Cabinet.

His more traditional styles as seen in the example above derived more from previous movements like the Shaker movement. 

An example of traditional Shaker Cabinets.

Klint's first work was a combination piece with his mentor Carl Peterson when they were commissioned to design pieces for the Faaborg Art Museum. What resulted from this is one of Klint's most recognisable pieces, the Faaborg Chair.

Faaborg Chair (1914). Nearing 100 years old but still used and adored today.

Klint is a very interesting subject as he was probably more of a revolutionary than that of his peers at the Bauhaus. he could have easily joined the band wagon for the extreme popularity that modernism was gaining from drawing on pop culture influences. He stood back, analysed this movement, took the good bits from it without totally disregarding it, but somehow merged it with more traditional styles and techniques. The sign of a true design revolutionary is somebody who has a vision regardless of what the masses are telling them and sticks to it.

For more information on Kaare Klint please visit: www.danish-furniture.com

Easy Chair for Rud (1930).