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Käthe Kollwitz

Left: Self-Portrait. 1924. Woodcut. Private collection.

Right: Käthe Kollwitz. Photograph.

EXHIBITIONS (*INDICATES SOLO EXHIBITION)

All Good Art is Political

October 26, 2017 - February 10, 2018


All Good Art is Political

Käthe Kollwitz and Sue Coe

October 26, 2017 - February 10, 2018


IFPDA Print Fair 2017

October 26, 2017 - October 29, 2017


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 11, 2017 - October 13, 2017


Recent Acquisitions

July 11, 2017 - October 13, 2017


Art Basel 2017

June 15, 2017 - June 18, 2017


ADAA Art Show 2017

March 1, 2017 - March 5, 2017


IFPDA Print Fair 2016

November 3, 2016 - November 6, 2016


IFPDA Print Fair 2016

November 3, 2016 - November 6, 2016


Recent Acquisitions

July 12, 2016 - October 7, 2016


Recent Acquisitions

July 12, 2016 - October 7, 2016


Art Basel 2016

June 16, 2016 - June 19, 2016


ADAA Art Show 2016

March 1, 2016 - March 6, 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


ADAA Art Show 2015

March 3, 2015 - March 8, 2015


Alternate Histories

Celebrating the 75th Anniversary of the Galerie St. Etienne

January 15, 2015 - April 11, 2015


Alternate Histories

January 15, 2015 - April 11, 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


ADAA: The Art Show 2014

March 5, 2014 - March 9, 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


IFPDA Print Fair 2013

November 6, 2013 - November 12, 2013


* Käthe Kollwitz

The Complete Print Cycles

October 8, 2013 - December 28, 2013


* Käthe Kollwitz

The Complete Print Cycles

October 8, 2013 - December 28, 2013


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


Recent Acquisitions

(And Some Thoughts on the Current Art Market)

July 13, 2010 - October 1, 2010


* Käthe Kollwitz

A Portrait of the Artist

April 13, 2010 - June 25, 2010


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


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


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


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 24, 2003 - September 12, 2003


* Käthe Kollwitz:

Master Printmaker

October 1, 2002 - January 4, 2003


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


The "Black-and-White" Show

Expressionist Graphics in Austria & Germany

September 20, 2001 - November 10, 2001


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


Saved From Europe

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

November 6, 1999 - January 8, 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


* Becoming Käthe Kollwitz

An Artist and Her Influences

November 17, 1998 - December 31, 1998


Recent Acquisitions

(And Some Thoughts About Looted Art)

June 9, 1998 - September 11, 1998


Recent Acquisitions

A Question of Quality

June 10, 1997 - September 5, 1997


Käthe Kollwitz - Lea Grundig

Two German Women & The Art of Protest

March 25, 1997 - May 31, 1997


Breaking All The Rules

Art in Transition

June 11, 1996 - September 6, 1996


From Left to Right

Social Realism in Germany and Russia, Circa 1919-1933

September 19, 1995 - November 4, 1995


Recent Acquisitions

June 20, 1995 - September 8, 1995


On the Brink 1900-2000

The Turning of Two Centuries

March 28, 1995 - May 26, 1995


Three Berlin Artists of the Weimar Era: Hannah Höch, Käthe Kollwitz, Jeanne Mam

September 13, 1994 - November 5, 1994


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


* Käthe Kollwitz

In Celebration of the 125th Anniversary of the Artist's Birth

September 15, 1992 - November 7, 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

Themes and Variations

May 14, 1991 - August 16, 1991


Recent Acquisitions

June 12, 1990 - August 31, 1990


Max Klinger, Käthe Kollwitz, Alfred Kubin

A Study in Influences

March 27, 1990 - June 2, 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


Fifty Years Galerie St. Etienne: An Overview

February 14, 1989 - April 1, 1989


Recent Acquisitions and Works From the Collection

June 14, 1988 - September 16, 1988


Three Pre-Expressionists

Lovis Corinth Käthe Kollwitz Paula Modersohn-Becker

January 26, 1988 - March 12, 1988


* Käthe Kollwitz

The Power of the Print

November 17, 1987 - January 16, 1988


Recent Acquisitions and Works From the Collection

April 7, 1987 - October 31, 1987


Käthe Kollwitz/Paula Modersohn-Becker

January 28, 1986 - March 15, 1986


The Art of Giving

December 3, 1985 - January 18, 1986


Expressionists on Paper

October 8, 1985 - November 23, 1985


Expressionist Printmaking

Aspects of its Genesis and Development

April 1, 1985 - May 24, 1985


Early and Late

Drawings, Paintings & Prints from Academicism to Expressionism

June 1, 1983 - September 2, 1983


* Käthe Kollwitz

The Artist as Printmaker

September 28, 1982 - November 6, 1982


Aspects of Modernism

June 1, 1982 - September 3, 1982


The Human Perspective

Recent Acquisitions

March 16, 1982 - May 15, 1982


* Kollwitz: The Drawing and The Print

May 1, 1980 - June 10, 1980


* Käthe Kollwitz

December 1, 1976


* Käthe Kollwitz

February 3, 1971


* Käthe Kollwitz

In the Cause of Humanity

October 23, 1967


* Käthe Kollwitz

May 1, 1965


Group Show

October 15, 1962


* Käthe Kollwitz

November 11, 1961


* Käthe Kollwitz

December 14, 1959


European and American Expressionists

September 22, 1959


* Käthe Kollwitz

January 12, 1959


* Käthe Kollwitz

April 16, 1956


* Käthe Kollwitz

October 25, 1951


* Tenth Anniversary Exhibition

Part I

November 30, 1949


* Käthe Kollwitz

Masterworks

October 18, 1948


* Käthe Kollwitz

October 4, 1947


* Käthe Kollwitz

Memorial Exhibition

November 21, 1945


* Käthe Kollwitz

Part II

October 26, 1944


* Käthe Kollwitz

Part I

November 3, 1943


Saved from Europe

Masterpieces of European Art

July 1, 1940


THE EXPRESSIONIST FIGURE

September 10, 1991 - November 9, 1991

ARTISTS

Barlach, Ernst

Beckmann, Max

Corinth, Lovis

Dix, Otto

Grosz, George

Heckel, Erich

Kirchner, Ernst Ludwig

Kokoschka, Oskar

Kollwitz, Käthe

Nolde, Emil

Pechstein, Hermann Max

Rohlfs, Christian

Schiele, Egon

 

ESSAY

All exhibitions are, by definition, collections of works of art, and most, by implication, are also subliminally about collecting. The present exhibition (the highlights of which are drawn from a single source) is both an anatomy of a collection, and an examination of a central aspect of Expressionism. These two themes are, in fact, inextricably linked, for true collecting is not the mindless accumulation of trophies, but rather requires a commitment of time, passion and a profound understanding of the art in question.

 

Scholars may argue over the proper definition of Expressionism, but most would agree that the figure is central to the evaluation of the genre, and therefore to any meaningful collection of it. Landscape and still life, by comparison, are less directly evocative of the human condition and therefore generally must rely on analogy to convey their expressive content. It is in their figural works that the Expressionists achieved their most revolutionary and emotionally powerful statements, and that the movement as a whole is quintessentially encapsulated.

 

Forming a foundation for figurative Expressionism was a narrative tradition based in academic history and genre painting. This tradition acquired new immediacy and heightened contemporaneity in the hands of Expressionist precursors like Ernst Barlach, Lovis Corinth and Käthe Kollwitz. Whether the narrative was specifically historical (as in Kollwitz's moving studies of rebellious peasants), literary (as in Barlach's picture stories Der Armer Vetter, Der Findlin and Walpurgisnach) or allegorical (as in the Dance of Death, a medieval subject that fascinated Corinth and others of his era), the works were distinguished by an ever increasing tendency to focus on the figure (rather than the setting or scenario) as the primary bearer of content. This drive to concentrate meaning in an emblematic individual gave the portraits of such artists as Corinth special significance in paving the way for Expressionism proper. As the subject's personality began to assume more importance than his or her specific identity, the figure became a surrogate for a broad range of human emotions and experiences. Generic "Everyman" or "Everywoman"characters predominate in the narratives of the full-fledged Expressionists Max Beckmann, Erich Heckel, Lyonel Feininger and Ernst Ludwig Kirchner, all of whom found expanded meaning in simple scenes from daily life.

 

Nevertheless, it can be argued that in the purest Expressionist works the figure appears unencumbered by the trappings of narrative or mundane context. From this perspective, Egon Schiele--though living outside the central German orbit--might qualify as the ultimate Expressionist, for few artists have explored as intensely as he the expressive capabilities of the human body. In terms of subject matter and perfection of execution, Nude with Red Garters is the prototypical Schiele, a riveting personification of adolescent sexuality and insecurity. It was Schiele's willingness to confront the emotional core of his subjects, as well as his models' exquisitely distorted poses (which reach something of a high point in Woman With Raised Skirt), that enabled his work to transcend the conventions of the academic nude.

 

Self-portraits occupy a special place in the Expressionist canon, for here introspection merges with the more objective projection of an emblematic persona. In this regard, Schiele's Dark Suit, Hat with Wide Band (one of a handful of similar studies presumably done for the Wiener Werkstätte) merits particular attention, for it is both a probing self-portrait and an iconic fashion plate. This dualism--the ability to be both object and subject--is a key to Schiele's self-portraits, as is his chameleon-like role-playing and his dandified self-image (he designed much of his own clothing). While Expressionist self-portraits offer an unrivalled glimpse into the inner workings of the artist's mind, they are also inevitably tinged with an element of artifice.

 

The exploration of self is so central to Expressionism that occasionally the boundaries between self-portraiture and portraiture blur, and more than one Expressionist has been accused of confusing his sitter's physiognomy with his own. This is, of course, a particular temptation when the subject is of the same sex as the artist, and more easily avoided when the sitter is of the opposite sex. The female portrait, requiring greater effort and empathy, posed something of a challenge to male Expressionists, and Schiele, for one, created his most sensitive portraits of women only after marriage had permitted him to develop deeper insight into the feminine psyche. Oskar Kokoschka, early in his career, employed an abrasive style that many women found alienating, and his increasing turn to female portraiture after World War I was as much a result of changing attitudes toward women (who no longer had to be portrayed as decorative baubles, in the manner of Gustav Klimt) as of the artist's more fluid and sympathetic technique. Otto Dix, a scathing social critic whose career reached its height in the period between the two world wars, felt no obligation to spare women from the probing thrust of his brush. His stunning depiction of a procuress is at once a minutely accurate portrayal of a particular personality and a symbolic indictment of Weimar Republic sexual mores.

 

Ultimately, it is the Expressionists' ability to move effortlessly from the personal to the general, the specific to the universal, that gives their figural works such commanding presence. These are not and have never been easy pieces, and because Expressionism has thus been largely immune to momentary fads and the lure of quick financial gain, the field has remained relatively stable, even in the current environment. Now that the speculative energy which fueled the art market in the late 1980s appears finally to have evaporated, it is both appropriate and necessary to concentrate on the fundamentals of collecting. Ultimately, it is these fundamentals that have always sustained--and will continue to sustain--the art market.