Thomas Wenzel leads the artistic development department of the Königliche Porzellan-Manufaktur Berlin since 1993. In addition to his work as a designer, innovative decoration and manufacturing techniques that meet the challenges of modern table culture are an important focus of his work. In the 1990s, together with Enzo Mari, he was significantly involved in the creation of Form BERLIN, which won the iF Design Award.
The KURLAND BLANC NOUVEAU service, launched in 2013 to mark the 250th anniversary of the manufactory, can also be traced back to Wenzel's development work. Successful joint projects with partners such as Bugatti, Bottega Veneta and Rolls-Royce have demonstrated his ability for interdisciplinary collaboration. In addition to the LAB series, Wenzel's current designs include the multiple award-winning KPM coffee filter as well as the KURLAND novelties Muesli Set, Currywurst Bowl and Coffee Pot.
The internationally recognized and award-winning designer Wolf Karnagel designed his first porcelain pieces for the Königliche Porzellan-Manufaktur Berlin already during his studies. His most recent work for KPM Berlin was created in 2009. Karnagel's work is characterized by clarity and functionalist aesthetics, coupled with unconventional treatment of detail. Among his best-known designs is the on-board tableware for Lufthansa. The STAMBUL mocha service can also be traced back to Karnagel.
Enzo Mari was one of the most intellectual and influential international designers of the 2nd half of the 20th century. His work is characterized by theoretical examination of the issues of visual perception, his style is characterized by clarity and essentiality. Mari worked for KPM Berlin from 1993-1996.
The BERLIN jug captivates with its almost perfectly spherical shape. The powerful inverted handle gives the clear form an individual and innovative touch. The plates and bowls of the BERLIN service go back to the classic basic form of the goblet.
Trude Petri began training as a potter in 1925 at the Hamburg School for Liberal and Applied Arts. From 1928 she initially worked as a freelancer for the Staatliche Porzellan-Manufaktur Berlin and was employed as a designer a year later. In 1937, the sculptor, painter and designer won the Grand Prix at the World's Fair in Paris for her URBINO dinner service. After moving to Chicago in the USA, she continued to regularly produce designs for KPM Berlin.
In 1931 Petri designed the URBINO dinner service, based on circular and spherical shapes. The functionality of the service is most evident in the lidded bowl: the lid can also be used as a bowl. In 1948 Trude Petri designed the BECHERFORM vase. The simple vase shape captivates with the synthesis of form and functionality
After studying sculpture and wood design, Siegmund Schütz worked as an artistic assistant at the Staatliche Porzellan-Manufaktur from 1932 to 1970. During this time he had a significant influence on the design of modern porcelain. He was particularly interested in the surface design of porcelain and designed numerous decorations as deep and low cut relief. Schütz found the motifs for the plastic relief decoration in natural forms and models from classical antiquity. In 1966, Schütz took part in the state coin competitions for the first time and since then has also been involved with coin designs. Even after his retirement, he remained closely associated with the manufactory. In 1985, he was awarded the Federal Cross of Merit for his services to KPM Berlin.
For the ARKADIA tea service, the basic form of which was designed by Trude Petri, Siegmund Schütz created relief medallions in bisque porcelain in 1938. The medallions take up the ancient gem tradition and tell the story of pastoral life in Arcadia. The HARVEST CUP from 1934 is a cup-shaped vase which is unglazed on the outer surface. It depicts male and female figures harvesting in a cornfield in deep relief. The interplay of light and shadow gives the relief its sculptural effect.
Gollwitzer worked as an artistic assistant to the manufactory director from 1937, and from 1941 to 1946 he was artistic director and also head of training at KPM Berlin. Gollwitzer's originality lies primarily in relief decoration. It was predominantly delicate natural forms such as grasses or meadow flowers that occupied him time and again and led to a revival of relief. In 1940, Gollwitzer designed a delicate relief decoration for Trude Petri's smooth service form. Fine grasses, meadow flowers and insects cover the vessel walls and plate flags of the dinner service FELDBLUME AUF BORD.
In the years 1925-28 Parzinger worked continuously for the Staatliche Porzellan-Manufaktur Berlin, as a graphic artist and designer he created both forms and decorations. Together with Ernst Böhm, Parzinger designed vases and jars between 1927 and 1928.
The most figuratively capricious of Parzinger's work are the dog figures from 1926/27. Cheeky and playful in the spirit of Art Deco, the dogs created as a series.
After studying at the University of Applied Arts in Berlin, Marguerite Friedlaender joined the Bauhaus in Weimar in 1919. In 1929 she became head of the ceramics workshop at the Burg Giebichenstein School of Applied Arts in Halle (Saale). In 1933 she was dismissed because of her Jewish background. She emigrated first to the Netherlands and then to the USA in 1940.
As part of KPM's collaboration with the famous Burg Giebichenstein School of Applied Arts, she produced numerous designs for utility porcelain, which were later implemented in Berlin. In 1929 the ceramist designed the mocha service of the form HALLE. The service is characterized by its functional and clear design. The cylindrical shape of the pot follows the design ideal of the New Objectivity. In 1931 Marguerite Friedlaender developed the vase group HALLE, which continues the ceramic craftsmanship tradition of the Bauhaus.
Gerhard Marcks is one of the most important German sculptors of the 20th century. In November 1929, the collaboration with the Staatliche Porzellan-Manufaktur Berlin began, until 1938 Marcks designed style-defining porcelains for the manufactory.
Inspired by KPM's laboratory porcelain, Marcks created a classic with the 1929 confectionary bowl set, which set new standards with its clear formal language and functionality. In this way, he manifested the convergence of art and pure functional form as it was realized at the Bauhaus.
Gies produced sculptures and plaques of the greatest expressiveness and independent relief style in the medium of porcelain. His works are characterized partly by a cubist, partly late expressionist style. He thus made a decisive contribution to the revival of porcelain sculpture in the 1920s.
One of Gies' most important pieces is the Moon Sheep from 1926. The animal's head protrudes diagonally from the block-like body. The fur is carved out in ornamental relief with soft curving waves. The animal sculpture is a free transposition of the poem of the same name from the "Galgenlieder" by Christian Morgenstern.
Paul Scheurich was a master of porcelain sculpture and had an outstanding sensitivity for the pictorial material. As early as 1917, Scheurich designed the first sculptures for the Königliche Porzellan-Manufaktur Berlin in pure white. The multi-part centerpiece "Birth of Beauty" created here was his last known work. Scheurich found his models in Mannerist and Rococo sculpture. The themes he drew predominantly from ancient mythology.
In 1904/05, Adolph Amberg designed the HOCHZEITSZUG, a multi-part figural centerpiece for the wedding of Crown Prince Friedrich Wilhelm to Cecilie of Mecklenburg-Schwerin. The design was not executed because of its permissiveness - in 1908 the models were purchased by KPM and executed in 1908-10. Amberg was awarded a gold medal for his design at the Brussels World's Fair in 1910.In Berlin, the HOCHZEITSZUG became a major work of Jugendstil.
The Königliche Porzellan-Manufaktur Berlin became aware of Schmuz-Baudiss in 1900 at the Paris World's Fair, when he received the silver medal for the large "Pensée" dinner service.In 1902, Schmuz-Baudiss was appointed designer of form and decor at KPM Berlin. From 1908 Schmuz-Baudiss served as artistic director of the manufactory. One of his most significant achievements at KPM was the establishment of a department for underglaze painting.
For the 150th anniversary of KPM Berlin, Schmuz-Baudiss developed the CERES service in 1912. The harmoniously balanced forms of the service are enlivened by the stylized attributes of the ancient Italian goddess Ceres, cornucopias with fruit and ears of grain.
Karl Friedrich Schinkel had a lasting influence on the architecture of classicist Prussia. However, the versatile artist was also active in the fields of interior architecture, design and painting, where he achieved outstanding results. Schinkel's clear language of form and his turning away from the sweeping curves of the Baroque was in harmony with the Prussian Enlightenment. Especially in the years 1818 to 1831, a treasure trove of models was created at KPM according to his designs, which has not lost its significance to the present day.
With the TROMPETENFORM vase, Schinkel designed a timeless classic. The slender straight vase body is harmoniously accentuated by a flared stand and a protruding lip.
Christian Daniel Rauch was one of the most important and successful sculptors of German classicism. He was a student of Johann Gottfried Schadow and belonged to the Berlin school of sculpture. In addition to numerous portrait busts, tombs and statues, he created several ambitious monuments. Among Rauch's main works are, above all, the funerary monument to Queen Luise in Charlottenburg Palace Park and the equestrian statue of King Frederick the Great on the street Unter den Linden.
The bust "Frederick the Great" was modeled after the famous equestrian statue of Frederick the Great by Rauch. Frederick the Great, wearing a tricorn hat and gazing into the distance, is characterized here as a visionary. Neckerchief, officer's tunic and an ermine overcoat give the sculpture a picturesque charm.
Johann Gottfried Schadow was already taking drawing lessons at the age of twelve. After an apprenticeship with the court sculptor Jean Pierre Antoine Tassaert, he received a position in his studio. A stay in Italy was followed by his appointment as teacher and designer at the Academy of Arts and the Königliche Porzellan-Manufaktur Berlin. As head of the court sculpture workshop and director of the Academy of Art, he left his mark on the Berlin art scene in the first half of the 19th century.
In 1795, Johann Gottfried Schadow was commissioned by the Prussian King Frederick William II to create the Princess Group, a double statue in marble of the Crown Princesses Luise of Prussia and her younger sister Friederike. A scaled-down version in bisque porcelain was produced for KPM Berlin.
In 1761, the merchant Gotzkowsky succeeded in Meissen in poaching Johann Joachim Kaendler's most talented modeller, the sculptor Friedrich Elias Meyer. As KPM's model master, Meyer created the porcelain building blocks of the "Friderizian Rococo" in the spirit of Frederick II, ranging from tableware and figurines for table decoration to chandeliers, writing sets and gallantry wares.
In 1763, Friedrich Elias Meyer designed the service Reliefzierat as one of more than twenty services made according to the ideas of King Frederick II. Originally developed for the New Palace in Potsdam, Reliefzierat is considered one of the most artistically sophisticated rococo services.