The private villa of architect Otto Wagner is probably one of the strangest examples of the famous Viennese Art Nouveau. From the outside, the building resembles Italian palaces from the late 16th century, but the fanciful, fairytale-like decorations betray the villa’s Art Nouveau spirit. Interestingly, the city authorities were not far away from demolishing this architectural treasure, but the artist Ernst Fuchs saved and rebuilt the villa. Since its construction, Wagner Villa has been a meeting place for artists such as Gustav Klimt and Egon Schiele.
Bored with the classics
Like most of the later Art Nouveauists, Otto Wagner began his career designing historicist buildings and townhouses. By the 1880s, the architect already had several important projects under his belt in Austria-Hungary and beyond. Moreover, Wagner moved among other Viennese architects such as Emil von Förster and Max Fabiani, whose designs can still be admired today e.g. in Bielsko-Biała (Theatre and Barlickiego 1).
While historicist Viennese edifices delighted with their monumentalism, Wagner made history mainly through his Art Nouveau designs. Gold ornaments on wrought metal distinguished Wagner’s churches and pavilions, which gave Vienna its own Art Nouveau character. Projects such as the Kirche am Steinhof, once described on WhiteMAD, or the equally important Majolikahaus defined the appearance of the ornate churches and townhouses of the period.
The landmark house
However, in Wagner’s story, between historicism and Art Nouveau stands something in the middle. His own villa is an example of so-called Palladianism with Art Nouveau details. The Italian architect Antonio Palladio designed buildings based on great order, symmetry, structured decoration and classical forms. Despite the fact that Palladio was creating in the 16th century, his ideas survived for several more centuries. Wagner used the Italian style to create a monumental, historicising façade with a colonnade. You can immediately see how the heavy Ionic columns dominate the body of the building, with the two lower wings tucked away at the back. Interestingly, the building is now located within the Penzing district, which was formerly Wagner’s hometown.
What sets Wagner’s villa apart from other Palladian edifices is its pioneering Art Nouveau forms and ornamentation. It is worth remembering that we are talking about a building from 1888. Classical white is mixed with Art Nouveau turquoise and the whole is crowned with gold. Greco-Roman coffers, friezes and mascarons are noticeable, but the Rubensian figure of a woman attracts particular attention. Interestingly, the baroque shape of the woman is linked to the artistic preferences of the sculptor Ernst Fuchs, who created the bronze sculpture. The woman is meant to be a reference to the biblical Queen Esther, who saved the Israelites from destruction. The sunset canopy, on the other hand, represents oriental inspirations and metal ornamentation of the coming era. The shell-shaped wrought-iron balustrades are also worth noting. On the one hand, this may be a reference to Baroque art (Botticelli), on the other hand, such a curved shape looks like a prelude to Art Nouveau. To clarify, it should be noted that many of the details were added several decades later by the new owner.
Saved more than enough
From the outside, the building looks more or less as it did in Wagner’s time, but the interior design is partly due to another visionary artist, Ernst Fuchs. Wagner sold his house in 1912 and moved with his family to Villa II, located next door. The early modern building was much smaller, but better suited to family life. The first villa was bought by a Jewish theatre magnate, who, however, had to vacate the building as early as 1938, after Austria was incorporated into the Third Reich. During the war years, the villa fell into the hands of the Hitlerjugend, and after the war the building deteriorated. In the 1960s, the city authorities even wanted to demolish the building and build a petrol station in its place, but artists Ernst Fuchs and Friedensreich Hundertwasser bought the villa, saving it from a sad end.
Fuchs not only saved the house from demolition, but also fully renovated and rebuilt it. His paintings fitted in well with the Art Nouveau interior of the building, which is why today one can admire the symbiosis of Wagner’s style with Fuchs’ paintings. The artist was a representative of the Viennese school of fantastic realism abounding in eroticism, surrealist forms, psychedelic colours and religious motifs.
Unfortunately, years of neglect have ruined many rooms, including the representative grand salon. In the past, Wagner’s favourite paintings, mainly reproductions of Baroque works, could be admired on the walls of the room. However, Fuchs found a dark room in ruins, which he remodelled with light marble and gold ornaments. Venetian drapes hang on the walls, and an interesting feature is a chandelier styled after those made of Murano glass. It is also worth mentioning that the dark Baroque paintings have been replaced by the intense colours of Fuchs’ paintings. The artist also purchased Art Nouveau sculptures from the period to complete the whole.
Symbiosis
Upstairs, Fuchs created a Roman bath with mosaic motifs of birds of paradise and vegetation. In fact, the mosaic is the work of an Art Nouveau artist from Vienna, which adds to the authenticity of the interior. The room impresses with painted columns and a ceiling reminiscent of the night sky or dark blue marble with veining. In the middle of the baths, one can notice a series of sculptures depicting a sphinx. These are works by Fuchs from the 1970s, and their generous shapes correspond well with the eye-catching sculpture from the façade.
The right wing of the villa is primarily the former games room. Unfortunately, it is not known what the room originally looked like, but what is certain is that Wagner often played billiards, bowling or card games. Fuchs wanted to pay tribute to the architect and turned his ruined games room into a charming salon combining classical forms with Art Nouveau decorations. The walls are dominated by tiles reminiscent of Iberian azulejos. Note the gold and floral details of the walls and lamps. In turn, lapis lazuli glass with gold stars hangs above the room. All this is the work of Fuchs, who perfectly sensed the taste of the then deceased master architect. Of course, the room could not miss the artist’s fantastic painting, which again features the figure of Queen Esther.
Finally, in the left wing you can admire the preserved Adolf Böhm Room. It was the Art Nouveau painter and printmaker Böhm who arranged the amazing Tiffany glass mosaics. The multicoloured glass colours the white interior in the sunlight, while the golden Art Nouveau decorations shine on the walls. The characteristic curves and floral motifs are noticeable. To this extant work by Wagner, Fuchs added some of his artistry by placing a mysterious triptych. The painting depicts apocalyptic motifs with Christ in the foreground. Mysticism and symbolism transform the Böhm hall into an artistic chapel. Interestingly, this and other paintings refer to the young Fuchs’ wartime experiences.
Museum of two geniuses
It is also worth mentioning that between Wagner Villas I and II stands a small Byzantine-decorated building with a fountain called Nymphaum Omega. The building’s ornamentation is reminiscent of oriental palace pavilions, and the overall design is reminiscent of peacock feathers. Moreover, the fountain features a Tiffany glass mosaic and a statue of Moses. Inside hides an apocalyptic room with golden angels and the Virgin Mary.
Ernst Fuchs died in 2015, and a museum dedicated to his work was created in the villa. Today, visitors can admire not only the artistry of his paintings, but also Wagner’s architectural creativity. The Villa Otto Wagner I in Vienna is not only an aesthetically pleasing property, but above all a pioneering project by a prominent architect. The origins of Art Nouveau preceded many other architects, and in the 1970s Ernst Fuchs was able to masterfully redesign the interiors in the spirit of the original designer. It is difficult to say whether Wagner’s ingenuity or Fuchs’ artistic vision is more delightful.
Source: Ernst Fuchs Museum
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