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George Grosz

Berlin Street. Circa 1926. Watercolor and ink on paper. Private collection.

EXHIBITIONS (*INDICATES SOLO EXHIBITION)

IFPDA Print Fair 2016

November 3, 2016 - November 6, 2016


IFPDA Print Fair 2016

November 3, 2016 - November 6, 2016


You Say You Want a Revolution

American Artists and the Communist Party

October 18, 2016 - March 4, 2017


You Say You Want a Revolution

American Artists and the Communist Party

October 18, 2016 - March 4, 2017


Recent Acquisitions

July 12, 2016 - October 7, 2016


Recent Acquisitions

July 12, 2016 - October 7, 2016


IFPDA Print Fair 2015

November 4, 2015 - November 8, 2015


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 21, 2015 - October 16, 2015


Recent Acquisitions

July 21, 2015 - October 16, 2015


Art Basel 2015

June 17, 2015 - June 21, 2015


IFPDA Print Fair 2014

November 5, 2014 - November 9, 2014


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 15, 2014 - September 26, 2014


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 15, 2014 - September 26, 2014


Art Basel 2014

June 19, 2014 - June 22, 2014


Modern Furies

The Lessons and Legacy of World War I

January 21, 2014 - April 12, 2014


Modern Furies

The Lessons and Legacy of World War I

January 21, 2014 - April 12, 2014


Recent Acquisitions

July 9, 2013 - September 27, 2013


Recent Acquisitions

And Some Thoughts on the Current Art Market

July 9, 2013 - September 27, 2013


Art Basel 2013

Galerie St. Etienne, Hall 2.0, Booth D11

June 13, 2013 - June 16, 2013


Face Time

Self and Identity in Expressionist Portraiture

April 9, 2013 - June 28, 2013


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 17, 2012 - October 13, 2012


The Lady and the Tramp

Images of Women in Austrian and German Art

October 11, 2011 - December 30, 2011


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 5, 2011 - September 30, 2011


Decadence & Decay

Max Beckmann, Otto Dix, George Grosz

April 12, 2011 - June 24, 2011


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 13, 2010 - October 1, 2010


From Brücke To Bauhaus

The Meanings of Modernity in Germany, 1905-1933

March 31, 2009 - June 26, 2009


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 24, 2008 - September 26, 2008


Hope or Menace?

Communism in Germany Between the World Wars

March 25, 2008 - June 13, 2008


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 5, 2007 - September 28, 2007


More Than Coffee was Served

Café Culture in Fin-de-Siècle Vienna and Weimar Germany

September 19, 2006 - November 25, 2006


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 6, 2006 - September 8, 2006


Recent Acquisitions

And Some Thoughts on the Current Art Market

June 7, 2005 - September 9, 2005


Every Picture Tells a Story

The Narrative Impulse in Modern and Contemporary Art

April 5, 2005 - May 27, 2005


Sue Coe: Bully: Master of the Global Merry-Go-Round and Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 8, 2004 - October 16, 2004


Body and Soul

Expressionism and the Human Figure

October 7, 2003 - January 3, 2004


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 25, 2002 - September 20, 2002


Workers of the World

Modern Images of Labor

April 2, 2002 - June 15, 2002


Recent Acquisitions (And Some Thoughts on the Current Art Market)

June 26, 2001 - September 7, 2001


Art with an Agenda

Politics, Persuasion, Illustration and Decoration

April 10, 2001 - June 16, 2001


The Tragedy of War

November 16, 2000 - January 6, 2001


The Expressionist City

September 19, 2000 - November 4, 2000


Recent Acquisitions (And Some Thoughts on the Current Art Market)

June 20, 2000 - September 8, 2000


From Façade to Psyche

Turn-of-the-Century Portraiture in Austria & Germany

March 28, 2000 - June 10, 2000


The Modern Child

(Images of Children in Twentieth-Century Art)

September 14, 1999 - November 6, 1999


Recent Acquisitions

(And a Look at Sixty Years of Art Dealing)

June 15, 1999 - September 3, 1999


George Grosz - Elfriede Lohse-Wächtler

Art & Gender in Weimar Germany

September 23, 1998 - November 11, 1998


Recent Acquisitions

(And Some Thoughts About Looted Art)

June 9, 1998 - September 11, 1998


Taboo

Repression and Revolt in Modern Art

March 26, 1998 - May 30, 1998


The New Objectivity

Realism in Weimar-Era Germany

September 16, 1997 - November 8, 1997


Recent Acquisitions

A Question of Quality

June 10, 1997 - September 5, 1997


Breaking All The Rules

Art in Transition

June 11, 1996 - September 6, 1996


The Fractured Form

Expressionism and the Human Body

November 15, 1995 - January 6, 1996


From Left to Right

Social Realism in Germany and Russia, Circa 1919-1933

September 19, 1995 - November 4, 1995


On the Brink 1900-2000

The Turning of Two Centuries

March 28, 1995 - May 26, 1995


Art and Politics in Weimar Germany

September 14, 1993 - November 6, 1993


Recent Acquisitions

June 8, 1993 - September 3, 1993


The Dance of Death

Images of Mortality in German Art

January 19, 1993 - March 13, 1993


Naive Visions/Art Nouveau and Expressionism/Sue Coe: The Road to the White House

May 19, 1992 - September 4, 1992


Scandal, Outrage, Censorship

Controversy in Modern Art

January 21, 1992 - March 7, 1992


The Expressionist Figure

September 10, 1991 - November 9, 1991


Recent Acquisitions

June 12, 1990 - August 31, 1990


The Narrative in Art

January 23, 1990 - March 17, 1990


Expressionist Painters

March 25, 1986 - May 10, 1986


Expressionists on Paper

October 8, 1985 - November 23, 1985


Expressionist Printmaking

Aspects of its Genesis and Development

April 1, 1985 - May 24, 1985


NAIVE VISIONS/ART NOUVEAU AND EXPRESSIONISM/SUE COE: THE ROAD TO THE WHITE HOUSE

May 19, 1992 - September 4, 1992

ARTISTS

Bombois, Camille

Coe, Sue

Grosz, George

Kane, John

Klimt, Gustav

Kokoschka, Oskar

Modersohn-Becker, Paula

Moses, Anna Mary Robertson ("Grandma")

Schiele, Egon

Vivin, Louis

 

ESSAY

Summer, with its comparatively slow pace, provides a congenial opportunity to review the recent past and anticipate the future. With the art world in a state of flux for the last months, such a moment of calm reflection is particularly welcome this year. Few in the art business would contend that the season just ended was a "good" one, but most would agree that the ongoing price adjustments are both necessary and ultimately beneficial. Less frequently noted is the fact that the recent run-up in art prices was so short lived and essentially ill-founded that the current period of correction cannot even properly be termed a downturn. If in many areas prices have reverted to the levels of the mid 1980s, one would do well to remember that those were good, solid years, and that what occurred subsequently was largely fueled by misguided speculation and excessive leveraging. Pretend that the late 1980s never happened, and the present market seems remarkably sane and sound. Best of all, collecting is once again accessible to those with less than limitless means, and art can once again take precedence over money.

 

In this spirit of renewal and back-to-basics realism, the Galerie St. Etienne has decided this year to present a variation on its customary summer survey. Rather than focusing on a single theme, our presentation has been conceived as three concise exhibitions, incorporating three distinct strains of the gallery's interests. The Naive Vision (including works by Camille Bombois, John Kane, Grandma Moses, Louis Vivin and others) is a return to a genre that, though traditionally part of the gallery's domain, has lately been noticeably absent from our walls. More familiar to our regular visitors will be Art Nouveau & Expressionism, which traces the interrelationship between turn-of-the-century graphic design and the Expressionism of Oskar Kokoschka, Egon Schiele and their German colleagues. Echoing the social concerns of such artists as Käthe Kollwitz, John Heartfield and George Grosz is Sue Coe's Road to the White House, a new series of works documenting the 1992 presidential campaign.

 

The contributions of nonacademic art to modernism periodically demand reassessment, and it appears that a new wave of revisionism is currently rising. Much attention has lately been accorded so-called "Outsider Art": art created by the mentally ill and other marginal members of society, whose work is usually shaped by an idiosyncratic psychotic or religious vision, rather than by more self-conscious aesthetic considerations. The Galerie St. Etienne, by contrast, has always been more interested in the work of painters who, though denied access to formal training, nonetheless deliberately pursue their craft and attempt purposefully (albeit piecemeal) to absorb whatever pictorial matter is available to them. Both strands of naive art are equally valid and important to the broader development of modernism, but the work of artists such as John Kane and Grandma Moses evinces more varied content and a more complex development than does that of the "Outsiders," who are necessarily limited by the mandate of their initial propelling mission.

 

Just as folk and naive art provided early modernists with an alternative to staid academicism, so too did the nascent avant-garde find inspiration in the lowly graphic arts. At first glance, it may be difficult to see a connection between the sumptuous, decorative posters of turn-of-the century Austria and Germany and the jarring abrasiveness of Expressionism. However, the highly charged lines and bright, emotive colors of Art Nouveau exerted a formative influence on many young Expressionists. The most direct evolutionary passage is that linking Egon Schiele to his mentor Gustav Klimt, but similar strains may be detected in such diverse artists as Oskar Kokoschka and Paula Modersohn-Becker. Art Nouveau facilitated a freedom from conventional realism that opened up a broad array of aesthetic possibilities. Yet as Expressionism absorbed other influences, most notably Fauvism and Cubism, its Art Nouveau roots gradually became obscured. Nor did the realist impulse ever die out entirely. Especially in the years following World War I, it provided an essential foundation for the social critiques of such artists as Käthe Kollwitz, George Grosz and Otto Dix.

 

Realism is also central to the socio-political commentary of Sue Coe, who in certain respects has more in common with her Expressionist predecessors than with her present-day contemporaries. Her latest series of works examines in detail the American economic and political climate--of particular relevance in this election year. This is the largest group of conceptually unified drawings that Coe has created since her widely acclaimed Porkopolis series, and it expands greatly upon the stylistic developments presaged in that earlier body of work. The Road to the White House is an evocative mix of overtly political pieces editorializing on the major issues of the moment, and meticulously crafted depictions of society's numerous victims. The latter are as quiet as the former are strident, mirroring the stark contrast separating the realities of American poverty from the glib sound-bites and headlines that those in power use to remain in power.

 

The United States is clearly in a transitional phase, with far-reaching ramifications for every segment of society. Such upheaval naturally effects the art world, but art is also capable of responding to (and perhaps even influencing) contemporaneous historical events. Certainly the art shown by the Galerie St. Etienne has always--because of its Expressionistic roots--tended to be socially engaged. The present exhibition deals with issues both timely and timeless, and in this respect hopes to offer a basis for reassessment and progress.