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Gustav Klimt

This exhibition marking the 100th anniversary of the death of Gustav Klimt, who also passed away in 1918, honors THE protagonist of Viennese Modernism par excellence, who saw the Secession as a venue for the fight for spiritual and artistic modern art. His highly contested, allegorical Faculty Paintings, which were destroyed during the last days of war in 1945, were seen as a paradigm shift and a credo of a new thematic and formal notion of the fin-de-siècle: spirit and matter, nature and art, as well as Eros and Thanatos constituted the program of his artistic oeuvre. The pictorial works of the avant-gardist Klimt further express a longing for beauty and sensuality. Along with works from the holdings of the Leopold Museum and the Leopold family’s private collection, the presentation will feature exhibits from the Klimt Foundation, works given to the museum as a permanent loan by a Klimt descendant as well as select international loans from private and institutional collections. Thus, the exhibition retraces Klimt’s artistic evolution from an exponent of late Historicism towards one of the most eminent representatives of Viennese Jugendstil. “From Sketch to Painting” – Klimt’s Last Masterpiece The Bride One of the highlights of this presentation is the room curated by Sandra Tretter (Klimt Foundation) devoted to Klimt’s Symbolist painting The Bride. The artist designed his last masterpiece on the basis of numerous drawings and studies, ranging stylistically between Jugendstil and Expressionism. The large-scale group of figures will be shown for the first time in the context of pertinent work drawings and the artist’s only extant sketchbook from 1917. This authentic document from the collection of the Klimt Foundation not only contains pencil sketches for lost Klimt paintings but illustrates in a unique manner the work process behind his unfinished painting The Bride, which was last documented for posterity by the artist’s favorite photographer Moriz Nähr within the intimate setting of Klimt’s Hietzing studio.

Beyond Klimt : New Horizons in Central Europe

Gustav Klimt is probably the artist most associated with Austrian art. His death in 1918 – the same year as the deaths of Egon Schiele, Koloman Moser, and Otto Wagner – is seen as the end of an era. However, their influence on the art world had waned even before this. Only peripherally affected by the political turmoil, a vibrant art scene developed in the countries of the Austro-Hungarian Empire with artists striving for change. The exhibition at the Lower Belvedere will guide you through this post-Klimt era. The interwar years are characterized by the wish for international connections that transcended new political and ideological boundaries. There was a vibrant exchange of ideas between artists resulting in constructivist, expressionist, and fantastical trends. Cosmopolitan networks emerged among the artists of the former Austro-Hungarian Empire while art magazines made an increasingly important contribution to disseminating these new ideas. The outbreak of the Second World War brought this internationalism to an abrupt end and the sense of a shared culture faded, once again, into the background. The exhibition seeks to reveal the parallels during this period and demonstrate continuity and change in the art of the Austro-Hungarian Empire and its successor nation states. Featuring works by around eighty artists including Josef Capek, Friedl Dicker-Brandeis, Albin Egger-Lienz, Gustav Klimt, Oskar Kokoschka, Koloman Moser, Antonin Prochaska, Egon Schiele, Lajos Tihanyi, and many more. Curator: Alexander Klee

Klimt's magic garden : A Virtual Reality Experience by Frederick Baker

On the centenary of the death of Gustav Klimt (1862–1918), the MAK is focusing on the artist’s designs for the mosaic frieze in the dining room of the Stoclet House in Brussels: KLIMT’S MAGIC GARDEN is a virtual reality experiment, inspired by Klimt’s masterpiece Expectation and Fulfillment. The virtual reality artist and filmmaker Frederick Baker has used high-resolution digital photographic material to create a fantastic virtual world in which visitors can embark on an interactive filmic journey. A project in collaboration with Frederick Baker and the Christian Leiss GmbH Project Coordination Janina Falkner, New Concepts for Learning, MAK

Koloman Moser: Universal Artist between Gustav Klimt and Josef Hoffmann

On the centenary of the death of Koloman Moser (1868–1918), the MAK is hosting a large exhibition to showcase his wide-ranging oeuvre, which covers the disciplines of painting and graphic design, applied art, interior design, fashion, and scenography. Guest Curator: Christian Witt-Dörring Curator: Elisabeth Schmuttermeier, Curator, MAK Metal Collection and Wiener Werkstätte Archive

Otto Wagner

Otto Wagner (1841-1918) is one of the most significant architects of the turn of the twentieth century. His building projects—among them the City Railway (Wiener Stadtbahn), the Postal Savings Bank (Postsparkasse), and the Church at Steinhof—are regarded as milestones on the path from historicism to modernism. Wagner was a visionary. He recognized that a historicist architecture fixated on the past stood in contradiction to the political, economic, and social dynamics of his time. As a response, he designed a radiant and rational architecture of the future, one that rested on the relationship between function, structure, and novel building materials. Wagner’s radical designs represented a clear break from the past for advocates of modernism but were viewed by defenders of tradition as sheer provocation. For this reason, many of Wagner’s projects remained unrealized, including his plan for the City Museum on Karlsplatz. The current Wien Museum building was later erected on the same site. The Wien Museum’s comprehensive jubilee exhibition in 2018 coincides with the one-hundredth anniversary of Wagner’s death, and is the first major exhibition dedicated to this titan of urban architecture in over fifty years. The exhibition locates Wagner’s oeuvre in relation to his companions and opponents, illuminates his artistic, cultural and political environment, and conveys a sense of his international appeal. Exquisite drawings, models, furniture, paintings, and personal belongings vividly relate the story of Wagner’s prodigious career. Most of these objects are from Wagner’s estate, one of the treasures of the Wien Museum’s collection. Several objects will be on view to the public for the first time—an invitation to rediscover this great architect anew.

Stairway to Klimt - Eye to Eye with Klimt

To mark the centenary of the death of Gustav Klimt (1862-1918) we invite museum visitors to take a closer look at his unique paintings displayed twelve metres above ground where they form an integral part of the sumptuous décor of the Main Staircase. As in 2012, we will again erect a huge bridge weighing four tons across the Main Staircase to allow visitors to access this magnificent pictorial cycle. The paintings, commissioned by Emperor Franz Joseph and executed by Gustav Klimt, his brother Ernst and their friend, Franz Matsch, depict important periods of art history. Nuda Veritas on show in the Collection of Greek and Roman Antiquities Concurrently with the Klimt Bridge, the Kunsthistorisches Museum is showcasing one of Gustav Klimt’s masterpieces: his celebrated Nuda Veritas (1899). The painting comes from the estate of the critic Hermann Bahr, a dedicated friend and defender in print of the Vienna Secessionists. With its first-ever visit to the Collection of Greek and Roman Antiquities – where it is displayed in the gallery housing Polykleitos’ Doryphoros – the painting creates a novel and fascinating space of aesthetic experience.

Wagner, Hoffmann, Loos and Viennese Modernist Furniture Design. Artists, Patrons, Producers

Viennese Modernism around 1900 was a veritable experimental laboratory of design whose creative impulses continue to have substantial influence to this day. Vienna’s artist-architects were among those who paved the way for modern design. The Hofmobiliendepot – Vienna Imperial Furniture Collection presents the leading architects of the Viennese Modernist movement – Otto Wagner (1841–1918), Josef Hoffmann (1870–1956) and Adolf Loos (1870–1933) – as designers of interiors and furniture, exploring their differing approaches to the conception, use, decoration and furnishing of interior spaces. Around the turn of the century in Vienna a creative collaboration had developed between architects, their patrons and furniture producers. The exhibition will thus foreground important examples of these patrons, for example the salonière and journalist Berta Zuckerkandl, and will also focus on the firms that made this furniture. Among the leading companies around 1900 were traditional furnishing establishments such as Friedrich Otto Schmidt and Portois & Fix as well as producers of bentwood furniture like Gebrüder Thonet and J. & J. Kohn. Illustrative examples of iconic Modernist buildings in Vienna such as Otto Wagner’s Postal Savings Bank are integrated into the exhibition in the form of large-scale architectural photographs by Walter Zednicek.


The 2018 autumn exhibition in the Kunstforum is devoted to “Japomanie” – the West’s passion for the aesthetics and world of images of the Far East. The exhibition traces its development, starting with the fascination for the exotic and the new and the first stirrings in the 1860s to long after the turn of the century, to its amalgamation into the form vocabulary of Western painting and the influence of its aesthetics on the development of modernism around 1900. Ever since the 1860s, the elegant and exotic aesthetics of the everyday utensils, the exquisite textiles and most of all the fantastical and richly luminous narrative ukiyo-e – the colour woodcuts – had been invading the European market and fulfilling the public’s yearning for unknown culture and a new vision of aesthetics. Artists were in the forefront, collecting and integrating the extraordinary form vocabulary of the ukiyo-e and their astonishing themes and motifs into their visual imagery. Monet, Manet, Van Gogh and Degas were the first, followed by the younger artists – Toulouse-Lautrec, Bonnard, Vuillard and Vallotton, also Marc and Kandinsky, to name only the most important. Launching out from Paris, Japomanie conquered the whole of Europe – also in Austria, after the impact of the Vienna World Fair in 1873, it triggered a genuine hype surrounding the aesthetics of the Far East, which inspired such artists as Gustav Klimt and Egon Schiele. Subsequently the ideas from the Far East evolved into independent interpretations and realisations in a new language of forms that heralded the approaching modernism of the twentieth century – in which the trends towards abstraction, towards breaking loose from the conventional pictorial space, took their own autonomous development. The exhibition includes not only paintings and printed graphics, but also objects and furniture, juxtaposing Japanese woodcuts, screens and artefacts to European works influenced by the aesthetics of the Far East, including by Claude Monet, Edgar Degas, Gustav Klimt, Henri de Toulouse-Lautrec, the Nabis and the Blauer Reiter group. Around a hundred exhibits from international public and private collections present a wide-ranging overview of the phenomenon of “Japonisme” that spread throughout Europe from the late nineteenth century to the dawn of the avant-garde movements.

Invitation Belle Epoque (1880-1914)

Une immersion dans l’art et l’histoire

Cette exposition a pour ambition de plonger les visiteurs dans l’atmosphère bouillonnante, tant au niveau artistique que social, de cette période d’entre-deux guerres. Différentes thématiques seront abordées : l’Art Nouveau (l’art des années 1900), les Expositions universelles (construction de la Tour Eiffel en 1886 et du métropolitain en 1900), le Paris d’Haussmann (aménagement des grands boulevards), la mode et la bijouterie, les divertissements (popularisation du music-hall, du cirque, du théâtre), les grandes découvertes scientifiques, les innovations technologiques (avion, automobile, cinéma…). La manifestation sera conçue à partir d’une centaine d’œuvres (sculptures, bijoux, céramiques, dessins, photographies et peintures) conservée au Château-Musée ainsi que de nombreux prêts d’institutions publiques et de collectionneurs privés, dont certaines pièces signées par des artistes notoires (Carrier-Belleuse, Vuillard, Merson, Robert-Fleury, Blanche, Dabault…).

Prêteurs : musée du Petit Palais, musée d’Orsay, musée de la voiture et du tourisme à Compiègne, musée Curie, musée-mairie de Bourron-Marlotte, bibliothèque de Fontainebleau, musée d’Étampes, musée des beaux-arts d’Agen, musée Mallarmé à Vulaines sur Seine et musées de Sens.

Les XX et La Libre Esthétique

Une œuvre d’art vaut pour ce qu’elle est et dit, et non pour ce qu’elle annonce. Depuis des années Constantin Ekonomides s’est consacré à l’étude des œuvres des peintres luministes belges. Il est animé par la conviction qu’il faut les regarder pour leurs qualités propres, et non par rapport à ce passionnant moment de la peinture dite impressionniste qui apparaît en France à partir de 1874. Les novateurs, qui ont tourné le dos à l’académisme dont l’école française avait mis en place le système dès 1800 en Belgique, sont apparus au tournant des années 1850 et 1860. La réception par le public belge de ces peintres en rupture complète avec le système n’est pas allée sans peine. Plusieurs d’entre eux connurent une misère noire. Les groupements et expositions créés par ces artistes n’eurent qu’une vie éphémère, marquée par les difficultés financières. En se mêlant à La Chrysalide et fréquentant ces artistes novateurs à la fin des années 1870, Octave Maus fit ses classes auprès d’eux et entra pleinement dans la compréhension de la problématique de l’art de son temps.

En prenant en main le Groupe des XX à partir de 1883, il servit d’abord ses amis, puis s’arc-bouta sur eux pour séduire et approcher les créateurs français les plus novateurs du moment. Ceux-ci commençaient à percer en France et étaient à la recherche de débouchés dans les pays voisins. Les artistes belges y gagnèrent, au début, un public enfin prêt à regarder leurs œuvres, aux côtés d’autres venues de France, d’Angleterre ou d’Allemagne, auréolées au moins du prestige lié à ces grandes nations. Maus développa alors sa vision d’un mouvement général novateur. Ce louable internationalisme, qui était aussi celui de Stephan Zweig au même moment, s’explique également comme une réaction idéologique à la montée des nationalismes dont on sait à quel désastre ils allaient finalement conduire l’Europe. Mais les Vogels et Ensor se retrouvèrerent alors aux côtés d’écoliers appliqués de l’impressionnisme, et en particulier de l’impressionnisme français. Leur originalité et leurs propres orientations plastiques se trouvèrent noyées dans un mouvement général confus dont le ton semblait de nouveau venir d’un pays voisin. Et, à l’académisme qu’ils avaient si vivement combattu, succédait un autre conformisme et d’autres barbons disposés à leur dicter la voie de leur création. Maus, en revanche, trouva dans ce développement de son rôle sur le plan international une façon d’amplifier son action, son pouvoir, et son volume d’affaire comme agent. Le sentiment de trahison que ressentirent ses amis, proches compagnons du début, se comprend. Il a laissé des traces chez les artistes et surtout, l’histoire de l’art depuis lors s’est malheureusement écrite et en partie passée à la remorque de l’art français.

Il est vrai que si Maus s’était limité à mettre en valeur les artistes belges, il n’aurait pu faire de son action un métier à temps plein, ni abandonner le barreau. Mais, peut-être, la spécificité de la création artistique en Belgique y aurait-elle davantage gagné.

Ses écrits le prouvent, Octave Maus avait parfaitement saisi la problématique théorique et formelle qui sous-tendait depuis l’impressionnisme, l’aventure de l’art moderne. Mais, chez Vogels, chez Ensor, chez Evenepoel ou chez Rik Wouters et Spilliaert, le sujet ne recule jamais devant la forme et celle-ci au contraire le sert. Sous son pouvoir, le sujet se transforme, il s’approfondit, se densifie, creuse le sens et débouche sur la contemplation, il explore la sensation, devient recherche du bonheur, suspension du temps, rêverie, nostalgie, fantasme ou cauchemar, cri ou même revendication. La problématique de la forme en soi, le jeu théorique qui a débuté avec l’impressionnisme, qui s’amplifie avec le post-impressionnisme et les Nabis, qui engendre le fauvisme, et qui débouchera sur le sujet prétexte et sur le cubisme, tout ce mouvement qui ira vers l’art abstrait ou l’art non figuratif, a-t-il jamais intéressé les grands créateurs belges ?

Leur génie était ailleurs.
Pierre Loze

Œuvres de collections privées de Louis Artan, Jos Albert, Anna Boch, Frantz Charlet, Émile Claus, Henri de Braekeleer, Anna de Weert, Roger-Maximilien Dubois, Henri Evenepoel, James Ensor, Adrien-Joseph Heymans, Marcel Jefferys, Lucien Frank, Georges Lemmen, Albert Marquet, Xavier Mellery, Jenny Montigny, George Morren, Périclès Pantazis, Émile Sacré, Alfred Sisley, Théo Van Rysselberghe, Guillaume Van Strydonck, Eugène Verdyen, Guillaume Vogels, Rik Wouters.

Elbeuf à la Belle-Epoque

Ville drapière prospère, Elbeuf connaît d’importants changements dans la seconde moitié du 19e siècle. La Belle Époque hérite de ce renouveau et connaît un foisonnement artistique important.

Le temps des collections VI: l'étonnes Thonet, l'aventure industrielle du bois courbé

a Fabrique des Savoirs mettra à l'honneur l’entreprise Thonet le temps d’une exposition mettant en avant ce style si particulier reconnaissable à ses courbes raffinées.

Pour sa sixième édition du Temps des Collections, la Réunion des Musées Métropolitains accueillera les pièces maîtresses de la collection d’art décoratif du Musée d’Orsay dans 8 des musées de la métropole Rouen Normandie.

La Fabrique des Savoirs s’intéresse tout particulièrement au mobilier conçu par l’ébéniste Michaël Thonet qui révolutionna les arts décoratifs avec un style innovant sur le travail des meubles en bois. Initialement conçu pour les classes populaires, le mobilier Thonet envahit rapidement tous les lieux publics : administrations, restaurants, cafés, hôtels, théâtres… A l’instar des manufacturiers alsaciens qui profiteront de leur installation à Elbeuf pour porter leur production textile à l’échelon industriel, l’ébéniste allemand permettra à son entreprise de passer de la production artisanale à la production en série grâce à son invention du procédé du bois courbé. L’exposition présentera les modèles les plus emblématiques de ce style de mobilier particulier.

La réussite de la marque Thonet réside dans le génie de son fondateur, Michaël Thonet qui a su allier la beauté des formes à la production industrielle de masse. Une success story alliant depuis ses origines l’innovation, la tradition et l’audace au service d’une production de meubles qui évolua au gré des styles. L’exposition propose de retracer l’histoire de cette entreprise familiale à travers une sélection de mobilier en bois courbé et en acier tubulaire.

The secret Palau Güell

Guided tour of non-visitable places of the building that have a special interest both from the constructive point of view and the use of the Palace. Among other spaces, you can visit the office and the library of Mr. Güell, the smoking room from the upper triforium, the rostrum of the interior of the chapel, the balcony on the side of the organ and the illuminated roof.

William Morris and the Arts & Crafts movement in Great Britain

The Arts and Crafts movement, linked to design and decorative arts, was born in Great Britain around 1880 and it was developed until the First World War. It spread rapidly throughout America and Europe until reaching Japan. Its maximum ideologist was the artist and writer William Morris (1834-1896) and took its name from the Arts and Crafts Exhibition Society, founded in London in 1887. It was a movement born from ideals, the concern for the effects of industrialisation in design, in know-how and in everyday life. It advocated a reactivation of traditional arts and crafts, a return to a simpler way of life and an improvement in the design of ordinary domestic objects. The exhibition would be the first by Morris and the Arts & Crafts to be held in Spain and will present the masterpieces from this artistic movement. It will come to Barcelona after its exhibition in Madrid, from October 6 2017 to January 21 2018, at the Fundación Juan March.

Klimt and Schiele: Drawn

To mark the centenary of the deaths of Gustav Klimt (1862–1918) and Egon Schiele (1890–1918), the MFA presents an exhibition of rarely seen drawings by the Austrian artists on loan from the Albertina Museum in Vienna. “Klimt and Schiele: Drawn” examines both the divergences and compelling parallels between the two artists—particularly in their provocative depictions of the human body. Nearly 30 years apart in age, Klimt and Schiele shared a mutual respect and admiration for each other’s talent.

Yet, their work is decidedly different in appearance and effect: Klimt’s drawings are often delicate, while Schiele’s are frequently bold. Klimt often used these sheets as preparatory designs for paintings, while Schiele considered his drawings to be independent pictures and routinely sold them. Both deployed frank naturalism, unsettling emotional resonances, and disorienting omissions to challenge conventions and expectations in portraits, nudes, and allegories. Organized thematically, this selection of 60 drawings begins with the artists’ academic origins and then investigates how each shifted away from traditional training to more incisive and unconventional explorations of humanity. The exhibition is accompanied by an illustrated publication.