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Alfred Kubin

The Great-Grandmother. 1926. Ink and watercolor. The Museum of Modern Art.

EXHIBITIONS (*INDICATES SOLO EXHIBITION)

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


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)

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


Fairy Tale, Myth and Fantasy

Approaches to Spirituality in Art

December 7, 2006 - February 3, 2007


More Than Coffee was Served

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

September 19, 2006 - November 25, 2006


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 25, 2002 - September 20, 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 Expressionist City

September 19, 2000 - November 4, 2000


Saved From Europe

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

November 6, 1999 - January 8, 2000


Recent Acquisitions

(And a Look at Sixty Years of Art Dealing)

June 15, 1999 - September 3, 1999


Sacred & Profane

Michel Nedjar and Expressionist Primitivism

January 13, 1998 - March 14, 1998


That Way Madness Lies

Expressionism and the Art of Gugging

January 14, 1997 - March 15, 1997


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


The Dance of Death

Images of Mortality in German Art

January 19, 1993 - March 13, 1993


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


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


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


Expressionist Painters

March 25, 1986 - May 10, 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


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


* Alfred Kubin

Visions From The Other Side

March 22, 1983 - May 7, 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


* Alfred Kubin

January 30, 1968


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


* Alfred Kubin

April 3, 1957


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

January 27, 1949


* Alfred Kubin

Master of Drawing

December 4, 1941


Modern Austrian Art

June 13, 1936


* Alfred Kubin

April 22, 1931


* Alfred Kubin

January 20, 1925


* Alfred Kubin

April 1, 1924


GALERIE ST. ETIENNE

A History in Documents and Pictures

June 20, 1989 - September 8, 1989

ARTISTS

Gerstl, Richard

Klimt, Gustav

Kokoschka, Oskar

Kollwitz, Käthe

Kubin, Alfred

Modersohn-Becker, Paula

Nolde, Emil

Schiele, Egon

Schoenberg, Arnold

 

ESSAY

As part of our ongoing series commemorating the fiftieth anniversary of the Galerie St. Etienne, we have chosen to devote the summer months to examining our history per se. It probably goes without saying that any institution which is fifty years old has experienced a substantial number of major historical events, and the gallery--founded after Otto Kallir was forced by the Nazi Anschluss to leave his native Vienna--has surely survived some extremely turbulent times. However, our gallery has been more than simply a pawn to history. Many art dealers literally "make history" in the sense that they recognize important talent before others and help bring that talent to prominence. Otto Kallir was unusual in that his interests--and his instinct for recognizing things of importance--extended not merely to art, but to politics, literature, music and science: in short, to the entire realm of human endeavors. Over these past fifty years, Kallir's interest in documents of historic significance and the history of the Galerie St. Etienne have become intertwined, and the present exhibition offers an opportunity to view the specifics of our gallery's past within the broader context of world affairs.

 

There is little question that the preceding half-century has manifested a spectacular capacity for evil, as epitomized by Hitler's maniacal rise to power and the holocaust that he wrought. Nevertheless, though Otto Kallir meticulously collected documents recording this phenomenon and its antecedents, the vast majority of material assembled by him reflects a remarkable capacity for hope and faith in humankind's ability not just to endure, but to produce things of extraordinary beauty. Studying Samuel Morse's attempts to establish an American telegraph network, or the items relating to Charles Lindbergh's historic transatlantic flight, one is reminded of a time when scientific progress seemed to promise a better future, instead of the uneasy compromises it offers today. No less revolutionary than modern telecommunications and aviation were the musical and literary innovations of Gustav Mahler, Alban Berg, Hugo von Hofmannsthal and Rainer Maria Rilke. Otto Kallir felt privileged to be a witness to such a plethora of extraordinary developments, and he made it his life's work to celebrate them.

 

Not just an art dealer and collector, Kallir sought to share his enthusiasms with a wider audience by functioning as both writer (he believed the catalogue raisonné to be the cornerstone of art connoisseurship) and publisher (of literary works and limited edition graphics by such artists as Beckmann, Kubin and Schiele). He was forever urging acquaintances to record interesting experiences, and thus it was that when he encountered Reinhold Hanisch, an artist who had known Hitler in his Vienna days, he encouraged him to write a memoir (later smuggled out of Nazi Austria) that remains a principal source of information on this early period in the Führer's life. While it may seem ironic to draw a parallel between the Hanisch manuscript and the autobiography, My Life's History, that Kallir coaxed out of Grandma Moses, there is in fact a very real connection between the two. Kallir was driven by the conviction that things must be preserved or they would otherwise be lost. It was this compulsion that inspired him to salvage the estate of the avant-garde Austrian poet Peter Altenberg, and to rescue from oblivion the legacy of the radical painter Richard Gerstl--who at the time of his suicide in 1908 was one of the most advanced artists in Europe. Perhaps most important of all, it was this that ensured that all the artists associated with his gallery were not just marketed in the conventional sense, but amply documented for posterity.

 

As the artists represented by the Galerie St. Etienne have become more firmly established in history, scholarly endeavors have become an increasingly substantial part of our efforts, but the present anniversary provides a reminder that such was not always the case. Our gallery, which has become so historical in its orientation, was in its youth a center for the contemporary avant-garde. Otto Kallir's original Neue Galerie, which he ran in Vienna for fifteen years before founding St. Etienne, was a showplace chiefly for living artists, the exclusive Austrian representative of Oskar Kokoschka and Alfred Kubin (among others). When Kallir came to New York in 1939, he brought with him not just Austrian art, but a treasure trove of modern European paintings by such artists as Cezanne and van Gogh. Just as he was sensitive to the historical forces that surrounded him, Kallir was interested in the full range and impact of the international modernist revolution, which provided a context for developments in Austria. This is why the present exhibition includes works by Henri de Toulouse Lautrec, Edouard Manet, Edvard Munch, Maurice Utrillo and Vincent van Gogh, in addition to such old favorites as Gustav Klimt, Käthe Kollwitz and Egon Schiele. These various artworks are complemented by letters, books and documents that either relate to the specific history of the Galerie St. Etienne, or reflect Otto Kallir's eclectic collecting patterns. The goal is to describe the context--aesthetic and historical--in which the Galerie St. Etienne developed over these past fifty years.

 

50th Anniversary Committee

 

Dr. Hubert Adolph, DIRECTOR, ÖSTERREICHISCHE GALERIE

 

Leon A. Arkus, DIRECTOR EMERITUS, CARNEGIE MUSEUM OF ART

 

Dr. Robert Bishop, DIRECTOR, MUSEUM OF AMERICAN FOLK ART

 

Dr. Jutta Bohnke-Kollwitz

 

The Honorable Leopold Bill von Bredow, CONSUL GENERAL OF THE

 

FEDERAL REPUBLIC OF GERMANY

 

Prof. Alessandra Comini, SOUTHERN METHODIST UNIVERSITY

 

Dr. Günter Düriegl, DIRECTOR, HISTORISCHES MUSEUM DER STADT WIEN

 

Lillian Gish

 

Paul Gottlieb, PRESIDENT, HARRY N. ABRAMS, INC.

 

His Excellency Friedrich Hoess, AMBASSADOR OF AUSTRIA TO THE U.S.A.

 

Prof. Arne Kollwitz

 

Mr. and Mrs. Leonard A. Lauder

 

Ambassador Ronald S. Lauder

 

Gertrud Mellon

 

Thomas M. Messer, DIRECTOR EMERITUS, SOLOMON R. GUGGENHEIM MUSEUM

 

Dr. Konrad Oberhuber, DIRECTOR, GRAPHISCHE SAMMLUNG ALBERTINA

 

Mrs. John Alexander Pope

 

Prof. Carl E. Schorske, PRINCETON UNIVERSITY

 

Dr. Richard A. Simms

 

The Honorable Wolfgang Steininger, CONSUL GENERAL OF AUSTRIA

 

Dr. Alice Strobl, VICE DIRECTOR EMERITUS, GRAPHISCHE SAMMLUNG ALBERTINA

 

Dr. Wolfgang Waldner, DIRECTOR, AUSTRIAN INSTITUTE