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Zurich
In search of style. 1851-1900
Dates:23.03.2018-15.07.2018

A journey through time exploring Europe and Switzerland in the second half of the 19th century illustrates the search for innovation and style for new interiors, everyday products, paintings and buildings. This was an age of rapid technological change and social upheaval – not unlike today. Through selected objects from the worlds of architecture, art and craft, we can gain an insight into the various juxtapositions in style that marked a controversial era: specimen collections were built up, schools of arts and crafts were established and major cities began to take on the visual aspect we are familiar with today. A passionate debate on suitable style was born.

Winter Park, Florida
Secrets of Tiffany Glassmaking
Dates:04.09.2012-04.09.2020

Louis Comfort Tiffany (1848–1933) began his work in glass with the same tools and ingredients that had been used by artisans for thousands of years before him. Tiffany took the science of glassmaking, however, and elevated it to an art form of new brilliance and beauty. Under his watch, teams of talented designers and craftspeople translated Tiffany’s all-encompassing vision into some of the most memorable glass creations of our time. Tiffany’s studio system was not a simple enterprise; he needed specialized employees—a hierarchy of artists and artisans—to accomplish his goals. This exhibition, updated and reinstalled on September 4, 2012, addresses the processes that Tiffany’s many companies used to produce everything from glass mosaics and molded buttons to leaded-glass lamps and windows.

Wien
VIENNA 1900 : Klimt – Moser – Gerstl – Kokoschka
Dates:18.01.2018-10.06.2018

The Leopold Museum is home to the largest and most eminent collection of works by Egon Schiele as well as to an equally unparalleled compilation of masterpieces from Viennese art around 1900. Celebrating the anniversary year on the theme of Viennese Modernism, the museum will present select works by the main exponents of Viennese Jugendstil Gustav Klimt (1862–1918) and Koloman Moser (1868–1918) as well as by the ground-breaking Expressionists Richard Gerstl (1883–1908) and Oskar Kokoschka (1868–1980) from 18th January in a completely new juxtaposition. The exhibition will feature chief works by Gustav Klimt, including Death and Life (1911/15) and the 1900 lakescape On Lake Attersee, as well as Kolo Moser’s paintings, such as Venus in the Grotto (1914). The presentation will also showcase outstanding examples of design around 1900, including furniture, artisan craftwork and posters, created by the “artist of a thousand talents” and co-founder of the Wiener Werkstätte. Following successful exhibitions at the Schirn Kunsthalle in Frankfurt and the Neue Galerie in New York, the radical works by the proto-Expressionist Richard Gerstl will be shown once again at the Leopold Museum, which is home to the most comprehensive Gerstl collection. Among the works presented by Gerstl will be two icons of Viennese Modernism, his two large-scale self-portraits. Oskar Kokoschka, the enfant terrible of the Viennese art scene of the early 20th century, will also be in the spotlight of this presentation with extraordinary paintings, first and foremost his pioneering work Self-Portrait, One Hand Touching the Face from 1918/19, which is both an expression of the artist’s self-questioning and doubts as well as a symbol for Austrian art embarking on a new era.

Wien
Egon Schiele: The Jubilee Show
Dates:23.02.2018-04.11.2018

n 2018, 100 years after his death, a special exhibition is dedicated to the central artist of the Leopold Museum’s collection, Egon Schiele (1890–1918): unique in its combination of paintings, works on paper and archival material, the exhibition touches upon the most important themes in the artist’s oeuvre: first of all, his self-confident breaking with traditions and his evolution as an expressive artist, followed by motivic groups including the ambivalent figure of the mother and the taboo-breaking depictions of young girls and boys, themes such as spirituality and metamorphosis, his enigmatic houses and landscapes, as well as his tension-filled and complex analyses in his portrait depictions. The emphases of the exhibition are derived from those of the history-making Leopold collections: in terms of the oil paintings and works on paper, the emphasis is on the Expressionist years from 1910–1914, with a third of the works on paper each dedicated to his self-portraits, his portraits and nude renderings of girls and finally those of grown-up women. The paintings, meanwhile, touch upon all the themes mentioned above. Along with the comprehensive museum collection, whose works on paper will be shown in three separate stages for conservational reasons, individual eminent Schiele works from international collections will feature in the jubilee exhibition as “noble guests”.

Wien
Otto Wagner
Dates:15.03.2018-07.10.2018

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.

Wien
Wagner, Hoffmann, Loos and Viennese Modernist Furniture Design. Artists, Patrons, Producers
Dates:21.03.2018-07.10.2018

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.

Wien
The furniture design of Viennese Modernism
Dates:21.03.2018-07.10.2018

Wagner, Hoffmann, Loos and the furniture design of Viennese Modernism Viennese Modernism Around 1900 was a true laboratory for design in furniture design, whose creative impulses radiate to this day. The artist architects of Vienna were among the pioneers of modern design. The Hofmobiliendepot - Möbel Museum Wien introduces the leading architects of Viennese Modernism - Otto Wagner (1841-1918), Josef Hoffmann (1870-1956) and Adolf Loos (1870-1933) - as interior designers and furniture designers and sheds light on their different positions on living and set up.

Wien
Beyond Klimt : New Horizons in Central Europe
Dates:23.03.2018-26.08.2018

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

Wien
Gustav Klimt
Dates:22.06.2018-04.11.2018

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.

Wien
Egon Schiele - Pathways to a Collection
Dates:19.10.2018-17.02.2019

2018 is the centenary of Egon Schiele’s death. Marking this occasion, the Belvedere is showing its collection of Schiele paintings with highlights including Eduard Kosmack, Façade of a House, Death and Maiden, Embrace, and Four Trees. Visitors can look forward to an outstanding presentation shedding light on the full extent of the Schiele collection once housed at the Belvedere. The exhibition places a focus on the collection’s history. Curator Kerstin Jesse will answer questions about the works’ acquisition, their subject matter, and the people they portray. Preliminary studies and sketches will also be included. The Belvedere conservation department has been researching Egon Schiele’s works and his painting techniques since 2016 and their findings will be presented in the show. The exhibition presents an opportunity to gain an insight into the artist’s working methods while also offering a fascinating glimpse of his works’ pathways into the museum’s collection. Curator: Kerstin Jesse

Villard-Bonnot
Alfons Mucha et les Bergès : une amitié
Dates:27.04.2018-16.09.2018

Comme de nombreux industriels à la fin du XIXe siècle, Aristide Bergès et sa famille entretiennent un lien privilégié avec l'art de leur époque. L'Art nouveau est ainsi à l'honneur dans la maison à travers les décors, les papiers peints qui couvrent les murs et, de façon inattendue, avec plusieurs œuvres d'Alfons Mucha, chef de file de ce mouvement artistique et ami des Bergès. On ne connaît pas les circonstances précises qui amènent la famille à rencontrer Alfons Mucha. Maurice Bergès, fils cadet d'Aristide et peintre à ses heures, est sans doute à l'origine de ce rapprochement. A travers le prisme de l'amitié, l'exposition offre un nouvel éclairage sur cet artiste. Sa relation avec les Bergès témoigne d'une époque où monde de l'industrie et des arts sont intimement liés. Outre des œuvres inédites issues des collections du musée, près d'une vingtaine d'affiches ayant fait la renommée internationale de ce maître de l'Art nouveau sont présentées, notamment grâce au prêt de la bibliothèque Forney à Paris. L'exposition « Alfons Mucha et les Bergès : une amitié » présentée au musée du 27 avril au 16 septembre 2018 (inclus) puise sa singularité dans cette histoire intimiste et insolite.
Villard-Bonnot
Alfons Mucha et les Bergès : une amitié
Dates:27.04.2018-16.09.2018

Comme de nombreux industriels à la fin du XIXe siècle, Aristide Bergès et sa famille entretiennent un lien privilégié avec l'art de leur époque. L'Art nouveau est ainsi à l'honneur dans la maison à travers les décors, les papiers peints qui couvrent les murs et, de façon inattendue, avec plusieurs œuvres d'Alfons Mucha, chef de file de ce mouvement artistique et ami des Bergès. On ne connaît pas les circonstances précises qui amènent la famille à rencontrer Alfons Mucha. Maurice Bergès, fils cadet d'Aristide et peintre à ses heures, est sans doute à l'origine de ce rapprochement. A travers le prisme de l'amitié, l'exposition offre un nouvel éclairage sur cet artiste. Sa relation avec les Bergès témoigne d'une époque où monde de l'industrie et des arts sont intimement liés. Outre des œuvres inédites issues des collections du musée, près d'une vingtaine d'affiches ayant fait la renommée internationale de ce maître de l'Art nouveau sont présentées, notamment grâce au prêt de la bibliothèque Forney à Paris. L'exposition « Alfons Mucha et les Bergès : une amitié » présentée au musée du 27 avril au 16 septembre 2018 (inclus) puise sa singularité dans cette histoire intimiste et insolite.

Vienna
Stairway to Klimt - Eye to Eye with Klimt
Dates:03.02.2018-02.09.2018

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.

Vienna
Post Otto Wagner : From the Postal Savings Bank to Post-Modernism
Dates:30.05.2018-30.09.2018

To mark the 100th anniversary of the death of Otto Wagner (1841–1918) the MAK exhibition POST-OTTO WAGNER: From the Postal Savings Bank to Post-Modernism investigates Wagner’s role as the “Father of Modernism” and points out not only the context and the interaction between Wagner and other protagonists of early Modernism, but also the influence his epochal work had on his contemporaries, students, and following generations of architects and designers. Starting with Wagner’s most important works—for example the building for the Vienna Metropolitan Railway (1894¬–1900), the regulation of the Danube Canal (from 1894), the Imperial Royal Austrian Postal Savings Bank (1903–1910) and the church St. Leopold am Steinhof (1902–1904), as well as residential and commercial buildings and his study Die Großstadt [The Metropolis] (1911)—subject areas are presented in a way which makes it possible to easily understand Wagner’s long-lasting effect on the architecture from Modernism to Post-Modernism and on to the present. In three chapters, the exhibition approaches Wagner’s legacy. In doing so it illustrates the architect’s rejection of the language of form found in Historicism as well as his influence on modern architecture and urban planning. The development of the metropolis in and around 1900 also made new building types necessary: In Vienna this included the modern residential and commercial buildings as well as department stores and hotels, which, as a result of Otto Wagner’s rejection of Historicism in favor of new possibilities for building, had to position themselves, and which represent a widely spread architectural type still today. Earlier than others Wagner recognized the increasing importance of technology and engineering which manifested itself in new constructions and working materials. Consequently, he postulated a so-called “Nutzstil” [Functional style] whose forms should result from the materials, constructions, and functions. Through this break with the aesthetics of Historicism and prevailing architectural styles Wagner became a leading figure of Viennese Modernism. After 1900, under the strong influence of architects like Josef Hoffmann, Joseph Maria Olbrich, Josef Plečnik, Max Fabiani, or also István Medgyaszay, Jan Kotěra, and Pavel Janák, the Wagner School became a type of laboratory for style pluralism and individualistic approaches to style, aspects which were once again topical in Post-Modernism. The exhibition is accompanied by the publication POST-OTTO WAGNER: From the Postal Savings Bank to Post-Modernism by Sebastian Hackenschmidt, Iris Meder, and Ákos Moravánszky, edited by Christoph Thun-Hohenstein and Sebastian Hackenschmidt. German/English, ca. 300 pages with numerous color illustrations. MAK/Birkhäuser Verlag, Vienna 2018. Available as of the end of June at the MAK Design Shop and at MAKdesignshop.at. Curator Sebastian Hackenschmidt, Curator, MAK Furniture and Woodwork Collection Expert Advisors Iris Meder, Architectural historian and freelance curator Ákos Moravánszky, Professor emer. of architectural theory, ETH Zurich

Vienna
Japonismus
Dates:10.10.2018-20.01.2019

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.