Koloman Moser (1868–1918) was an immensely versatile Austrian artist whose work was central to the emergence of Viennese Modernism. As a painter, graphic designer, and designer of decorative arts, he was a founding member of both the Vienna Secession (1897) and, more importantly, the Wiener Werkstätte (Vienna Workshops, 1903).
Moser’s style is characterized by its geometric rigor, clarity, and a striking use of simplified forms and repeated patterns, often predating the Art Deco movement. For the Wiener Werkstätte, he was instrumental in setting the aesthetic tone, designing everything from furniture and textiles to jewelry and glassware, aiming to integrate art into every aspect of daily life, or the Gesamtkunstwerk (total work of art).
His highly influential designs, which emphasized the harmony between form and function, cemented his reputation as one of the most significant figures in the transition from Art Nouveau to modern design.
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| Ein Moderner Tantalus, 1897 |
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| Plakatentwurf, 1897 |
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| ‘Der Kunstschatz’, “Ver Sacrum”, 1898 |
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| De Kunst fur alle, 1898 |
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| Abimelech, 1899 |
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| Frommes Kalender, 1899 |
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| Secession Kunstausstellung, 1899 |
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| Ver Sacrum, Zeitschrift der Vereinigung Bildender Künstler Österreichs, 1899 |
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| Woman's Head with Roses, 1899 |
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| Lesen Sie, Österreichs Illustrierte Zeitung, 1900 |
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| Die Quelle. Herausgegeben v. Martin Gerlach. Flachen Schmuck von K. Moser, 1901 |
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| Donauwellen, für ein Badezimmer [Danube waves, for a bathroom], 1901 |
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| Ad for J. & J. Kohn Furniture, Moscow, St. Petersburg, Warsaw, Kyiv, Rostov, 1903 |
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| Ex Libris Fritz Waerndorfer, 1903 |
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| Aquileia, circa 1905 |
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| Wiener Werkstatte/Ständige Ausstellung, 1905 |
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| Kunstschau Wien, 1908 |
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| Der Musikant, 1909 |
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