Gustav Klimt

Left: Gustav Klimt in his studio garden. Circa 1912-14. Photograph.

Right: Poster for the First Secession Exhibition. 1898. Private collection.


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 11, 2017 - October 13, 2017

The Woman Question

Gustav Klimt, Egon Schiele and Oskar Kokoschka

March 14, 2017 - June 30, 2017

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 12, 2016 - October 7, 2016

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 21, 2015 - October 16, 2015

Alternate Histories

Celebrating the 75th Anniversary of the Galerie St. Etienne

January 15, 2015 - April 11, 2015

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 9, 2013 - September 27, 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

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 13, 2010 - October 1, 2010

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 24, 2008 - September 26, 2008

Transforming Reality

Pattern and Design in Modern and Self-Taught Art

January 15, 2008 - March 8, 2008

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 5, 2007 - September 28, 2007

Who Paid the Piper?

The Art of Patronage in Fin-de-Siècle Vienna

March 8, 2007 - May 26, 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

* Coming of Age

Egon Schiele and the Modernist Culture of Youth

November 15, 2005 - January 7, 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

65th Anniversary Exhibition, Part I

Austrian and German Expressionism

October 28, 2004 - January 8, 2005

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 24, 2003 - September 12, 2003

In Search of the "Total Artwork"

Viennese Art and Design 1897–1932

April 8, 2003 - June 14, 2003

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

June 25, 2002 - September 20, 2002

Gustav Klimt/Egon Schiele/Oskar Kokoscha

From Art Nouveau to Expressionism

November 23, 2001 - January 5, 2002

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

June 26, 2001 - September 7, 2001

From Façade to Psyche

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

March 28, 2000 - June 10, 2000

Saved From Europe

In Commemoration of the 60th Anniversary of the Galerie St. Etienne

November 6, 1999 - January 8, 2000

Recent Acquisitions

(And Some Thoughts About Looted Art)

June 9, 1998 - September 11, 1998


Repression and Revolt in Modern Art

March 26, 1998 - May 30, 1998

Recent Acquisitions

A Question of Quality

June 10, 1997 - September 5, 1997

The Viennese Line

Art and Design Circa 1900

November 18, 1996 - January 4, 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

Recent Acquisitions

June 20, 1995 - September 8, 1995

On the Brink 1900-2000

The Turning of Two Centuries

March 28, 1995 - May 26, 1995

55th Anniversary Exhibition in Memory of Otto Kallir

June 7, 1994 - September 2, 1994

Symbolism and the Austrian Avant Garde

Klimt, Schiele and their Contemporaries

November 16, 1993 - January 8, 1994

Recent Acquisitions

June 8, 1993 - September 3, 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

Viennese Graphic Design

From Secession to Expressionism

November 19, 1991 - January 11, 1992

Recent Acquisitions

Themes and Variations

May 14, 1991 - August 16, 1991

Gustav Klimt, Egon Schiele, Oskar Kokoschka

Watercolors, drawings and prints

January 22, 1991 - March 2, 1991

Recent Acquisitions

June 12, 1990 - August 31, 1990

The Narrative in Art

January 23, 1990 - March 17, 1990

The Galerie St. Etienne

A History in Documents and Pictures

June 20, 1989 - September 8, 1989

* Gustav Klimt

Paintings and Drawings

April 11, 1989 - June 10, 1989

Recent Acquisitions and Works From the Collection

June 14, 1988 - September 16, 1988

From Art Nouveau to Expressionism

April 12, 1988 - May 27, 1988

Recent Acquisitions and Works From the Collection

April 7, 1987 - October 31, 1987

Oskar Kokoschka and His Time

November 25, 1986 - January 31, 1987

Viennese Design and Wiener Werkstätte

September 23, 1986 - November 8, 1986

Gustav Klimt/Egon Schiele/Oskar Kokoschka

Watercolors, Drawings and Prints

May 27, 1986 - September 13, 1986

The Art of Giving

December 3, 1985 - January 18, 1986

Expressionists on Paper

October 8, 1985 - November 23, 1985

European and American Landscapes

June 4, 1985 - September 13, 1985

Arnold Schoenberg's Vienna

November 13, 1984 - January 5, 1985

* Gustav Klimt

Drawings and Selected Paintings

September 20, 1983 - November 5, 1983

Early and Late

Drawings, Paintings & Prints from Academicism to Expressionism

June 1, 1983 - September 2, 1983

Aspects of Modernism

June 1, 1982 - September 3, 1982

The Human Perspective

Recent Acquisitions

March 16, 1982 - May 15, 1982

Austria's Expressionism

April 21, 1981 - May 30, 1981

Gustav Klimt, Egon Schiele

November 12, 1980 - December 27, 1980

* Gustav Klimt

March 20, 1970

Austrian Art of the 20th Century

March 21, 1969

* Gustav Klimt

February 4, 1967

The Wiener Werkstätte

November 16, 1966

25th Anniversary Exhibition

Part I

October 17, 1964

Austrian Expressionists

January 6, 1964

Group Show

October 15, 1962

Gustav Klimt, Egon Schiele, Oskar Kokoschka and Alfred Kubin

March 14, 1961

Watercolors and Drawings by Austrian Artists from the Dial Collection

May 2, 1960

European and American Expressionists

September 22, 1959

* Gustav Klimt

April 1, 1959

Austrian Art of the 19th Century

From Wadlmüller to Klimt

April 1, 1950

Small, Good Art Works from the 19th and 20th Centuries

January 27, 1949

Franz Barwig the Elder, Franz Barwig the Younger and Gustav Klimt

March 12, 1948

Gustav Klimt, Oskar Kokoschka and Egon Schiele

September 15, 1945

Saved from Europe

Masterpieces of European Art

July 1, 1940

Group Exhibition

May 1, 1939

Austrian Art

February 1, 1939

Important Paintings

November 29, 1937

Anton Faistauer, Gustav Klimt, Oskar Kokoschka and Egon Schiele

June 1, 1933

Gustav Klimt and Bruno Lauterbach

March 29, 1928

* Gustav Klimt

May 20, 1926


Art in Transition

June 11, 1996 - September 6, 1996


Beckmann, Max

Coe, Sue

Corinth, Lovis

Grosz, George

Heckel, Erich

Hirshfield, Morris

Kane, John

Klimt, Gustav

Kokoschka, Oskar

Kollwitz, Käthe

Lebduska, Lawrence

Levin, Abraham

Litwak, Israel

Moses, Anna Mary Robertson ("Grandma")

Nolde, Emil

Pippin, Horace

Schiele, Egon



Recapping the season just past (as is our custom each summer), we appear to be in the midst of one of those periodic cycles during which all traditional values are momentarily jettisoned. Ever since the first modernists rejected the Academy, the repudiation of orthodox rules and regulations has been part and parcel of the avant-garde’s mandate. By the 1960s, modernism itself had acquired a veneer of academic orthodoxy, but the resulting illusion of permanence proved short-lived. The fixed, linear trajectory which once was posited for the development of modern art has now been discredited, and the future seems quite uncertain.


Throughout its 57-year history, the Galerie St. Etienne has consistently functioned around the margins of modernist orthodoxy. The two areas in which we specialize—Expressionism and self-taught art—have never been fully absorbed into the mainstream. This does not, however, mean that we eschewed normative standards of quality, but rather that we found quality in a host of artistic tributaries that were overlooked by those operating from a French-oriented perspective. In contrast to the formalist stance which dominated at mid-century, today the conceptual doors have been flung wide open: feminist art history, multi-culturalism and the reappraisal of so-called outsider art are three of the most salient examples of this ongoing trend. While it would be an exaggeration to say that the gallery’s vision has won total acceptance, we certainly feel at home in the present environment.


One of the more disconcerting side-effects of this generally positive shift in artistic parameters is a market that seems to delight in upending the old verities. The more arcane and time-consuming aspects of collecting, such as the ability to discern quality and the accumulation of specialized knowledge, have been temporarily eclipsed. Auction houses, which provide less intellectual guidance than an authoritative scholar-dealer, have popularized a do-it-yourself approach. As the highly publicized Onassis sale demonstrated, glamour and celebrity—always one part of the market—now seem to take precedence over artistic merit or intrinsic worth. In certain areas (including segments of the “outsider” field) a flea market mentality prevails, as collectors seek to discover value in objects that once we discarded. On the other hand, as the sums rise, some collectors lose faith in their own judgment and gravitate to the safest and most stereotypical subjects (only Schiele’s nudes or self-portraits, for example; only Pittsburgh landscapes by John Kane).


The danger of rejecting any and all qualitative standards is that ill-conceived substitutes will rush in to fill the resulting vacuum. There is an implicit nihilism in the dismantling of tradition, even if the displaced tradition was arbitrary and fraught with injustice. While cycles such as the present one churn up a healthy amount of significant new material, they are too disruptive to be sustained indefinitely. Any trend that draws novice collectors into the arena must be considered productive, but inevitably the old verities, quality and knowledge, reassert themselves. Those who overpay learn their lessons upon resale, and even those who buy cautiously gradually refine their eyes, upgrading as they go along. Collecting is a cumulative, fluid process, and the great collector learns from his or her passion, rather than becoming mired in the trends of a given day.


Over the past nine month, Galerie St. Etienne has explored various aspects of the manner in which old traditions are dismantled and new ones created. The gallery’s view of modernism tends to be disjunctive rather than cohesive. Change is, after all, messy, and it has become increasingly evident that the massive changes which beset the visual arts during the twentieth century did not occur in a smooth progression. The art historian Linda Nochlin has advanced the theory that the fragmented forms which characterize much avant-garde art were in fact a visceral response to the social and political upheavals of the modern era. There is, indeed, a comparative wholeness to the early, more academic work of such artists as Lovis Corinth, Gustav Klimt and Egon Schiele. Later, the lines in their drawings seem to fly apart, evoking a feeling of psychic dissolution. By focusing with particular intensity on the human figure, these artists and their Expressionist colleagues made the body a surrogate for modernist alienation.


The Galerie St. Etienne, with its concentration on Germanic art, has always been partial to a view of modernism that allowed more room for humanistic content than was the norm in formalist studies. Our longstanding, in-depth specialization in the work of Käthe Kollwitz naturally prompted us to start looking at other German artist with a social agenda. We opened the fall season with the third in a series of shows exploring the Weimar era, and featuring such artists as Gerd Arntz, Walter Dexel, George Grosz, Lea Grundig, John Heartfield, Grethe Jürgens, Gerta Overbeck-Schenk, Max Radler, William Sharp, Christoph Voll and Erich Wegner. Though most of these artists have significant reputations in Germany, few are internationally well-known, and by bringing them to wider attention we hope not only to expand the compass of modernism, but to open up new and comparatively inexpensive areas for collectors.


Straying from the narrow path trod by adherents of abstraction has brought us into contact with a number of once derided artistic areas that are coming under increased scrutiny today. The Galerie St. Etienne was always gender-blind, giving more or less equal space to certain female artists not out of allegiance to any concrete policy, but simply because we felt their work was good. Perhaps because art with social content was disdained by most of the men who determined modernism’s priorities, or because of the historical association between women and nurturance, a number of female artists have been attracted to humanistic themes. Those who favor political topics also often explore “low” art forms such as printmaking and poster design as a way of reaching a mass audience. This tradition is carried on by the contemporary artist Sue Coe, who has stressed books, editorial illustration and inexpensive prints over more elitist exhibitions. Coe’s most recent exhibition celebrated the publication of her book Dead Meat, the result of a ten-year investigation of the American meat industry.


The gap between “high” and “low” art has in any case been progressively eroding, as ever more mainstream artists take their inspiration from popular culture rather than following elitist pictorial conventions. This has direct bearing on the role of “outsider” artists, since the self-taught artist has always drawn from the same array of wide-ranging visual sources that are so pervasive today. Indeed, given the penetration of contemporary life by the mass media, it is not inappropriate to ask what constitutes the distinction between “insider” and “outsider” art. Visually, the difference is slight, but the obsession with quaint biographical detail obscures this fact, substituting hokey sensationalism for sound aesthetic judgment. Throughout this century, the concept of the “other” has been central to the avant-garde’s definition of itself, as the Galerie St. Etienne regularly points out when it shows the work of such classical folk artists as Morris Hirshfield, John Kane, Lawrence Lebduska, Abraham Levin, Israel Litwak, Grandma Moses and Horace Pippin. It remains to be seen if folk art will merge with the mainstream in the post-modern world, or whether the two categories will merely be reformulated.


The human brain likes to classify and categorize—to distinguish good from bad, best from better, and to construct explanatory narratives that tie everything together. The neo-conservative critics who passionately defend the old guard forget that the French-oriented, formalist view of modernism was ousted not by some latter-day notion of political correctness, but because formalism just did not work. Too many important contributions—by women, by people of color and by others who for one reason or another simply did not “fit”—were left out. The job for the next century will be to create a new, more serviceable narrative that nonetheless allows for value judgments and qualitative distinctions.