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Gustav Klimt

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

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

EXHIBITIONS (*INDICATES SOLO EXHIBITION)

Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 17, 2018 - October 19, 2018


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 17, 2018 - October 19, 2018


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


Taboo

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


GUSTAV KLIMT, EGON SCHIELE, OSKAR KOKOSCHKA

Watercolors, drawings and prints

January 22, 1991 - March 2, 1991

ARTISTS

Klimt, Gustav

Kokoschka, Oskar

Schiele, Egon

 

ESSAY

Gustav Klimt, Egon Schiele and Oskar Kokoschka were with little doubt the three most important artists in fin-de-siècle Vienna, if not in the entire history of Austrian art. Yet despite their physical and temporal proximity, and the undeniable existence of mutual influences, each artist’s style is decidedly idiosyncratic. It is possible to speak of a distinctly Viennese brand of modernism only in the most general sense, for even Klimt’s colleagues, the Secessionists, were united less by style than by practical necessity. Schiele and Kokoschka can be loosely categorized as Expressionists (Kokoschka the more so through his association with the German exponents of the genre), but their work has little in common.

 

The primary reason for this phenomenon is probably to be found in the generally weak support system that Austria provided for the fine arts. Attempts to rectify this situation—as, for example, with the founding of the Secession in 1897—did have a degree of success, but it was limited in both scope and duration. Contact with foreign art remained minimal, maintained either through sporadic imported exhibitions or erratic personal travel patterns. On the whole, painting aroused far less enthusiasm among Austrians than did the decorative arts—focus of both the Biedermeier movement in the nineteenth century and the Wiener Werkstätte in the twentieth. Ironically, the lack of a firmly entrenched fine arts tradition became an asset when, at the turn of the century, academicism crumbled throughout Europe. The Austrians, with their loose allegiances, were uniquely situated to take advantage of the individualistic freedoms that modernism offered.

 

To Gustav Klimt would go the role (played by such artists as Paul Cézanne in France and Lovis Corinth in German) of linking the nineteenth century with the twentieth. Klimt began his career in a highly conventional manner: trained as a decorative painter at Vienna’s School of Applied Arts, he made a name for himself by producing lavish allegorical murals for public buildings. His break with this tradition was precipitated by a series of paintings commissioned for the great hall at the University of Vienna. Klimt unwittingly violated prevailing standards when, in executing this commission, he decided to dispense with the historical or literary allegory customary for such projects and present his subjects literally naked of all conventional trappings. The protracted scandal that these paintings engendered eventually prompted the artist to renounce the commission. Hereafter, his principal source of income was portraiture, though for his own pleasure he painted landscapes and brooding allegories of the human condition. While Klimt is best known for his seemingly lighthearted “golden” style (actually dominant only for a brief period during the first decade of this century), the innate pessimism and grotesque appearance of many of the allegories constitute his most important legacy to the Expressionist generation. Equally important was Klimt’s superb draughtsmanship, a product of the academic training that he shared with Schiele and the central core of the younger artist’s oeuvre.

 

Schiele first encountered Klimt’s work when he was studying at the highly conservative Vienna Academy of Fine Art. Schiele’s sense of negative space (the void implicit in all Klimt’s ornamental fill) and the tensile animation of his line are evidence of the master’s lasting influence. However, the garishly colored and painfully twisted nudes with which Schiele established himself in 1910 are so radical that no adequate precedent for them can be found. The lurid palette and extreme gestures of this series eventually became more subdued, but Schiele’s probing exploration of the human psyche continued unabated throughout his brief career. When he died at the age of twenty-eight in 1918, he left behind a breathtaking complete documentation of the universal quest for personal, spiritual and sexual identity.

 

If Schiele owed at least some artistic allegiance to Klimt, as well as to his academic background, Kokoschka seemed to spring full-blown from nowhere. Like Klimt, he studied at the Vienna School of Applied Arts, but he was trained to be an art teacher, not a painter. His early work was very much in the graphic tradition of the Wiener Werkstätte, although there was an expressive tension in his line and a disturbing undertone to his content that hinted of a change to come. In 1909, Kokoschka exhibited one of his first oil paintings: a somber portrait whose scraped surfaces seemed to physically as well as psychically lay bare its subject’s soul. His influences, Kokoschka claimed, came not from any painter, but from primitive masks and sculptures observed at Vienna’s ethnographic museum.

 

Of the three artists, only Kokoschka survived the end of World War I, and thus his production extends well beyond the confines of what one observer has called the “hothouse” environment of fin-de-siècle Vienna. After 1910, Kokoschka lived intermittently in Germany, and his style underwent a series of progressive shifts that reveal the cumulative influence of his German colleagues—particularly of Die Brücle movement. Later, he lived in Czechoslovakia, England and finally Switzerland, assuming the status of a multinational cultural ambassador whose work transcends association with any particular locale. Nevertheless, even during the period when he was most influenced by the Germans, his style remained distinctly his own. Kokoschka’s greatness, like that of Klimt and Schiele, resides in his invention of a singularly personal form of modernism.

 

We are extremely grateful to the various collectors who so graciously extended their loans to our recent Egon Schiele retrospective, thereby making these works available for the present exhibition so that they may be seen by those who missed the earlier show.