gse_menu_B1

 

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


FIFTY YEARS GALERIE ST. ETIENNE: AN OVERVIEW

February 14, 1989 - April 1, 1989

ARTISTS

Hicks, Edward

Kokoschka, Oskar

Kollwitz, Käthe

Kubin, Alfred

Moses, Anna Mary Robertson ("Grandma")

Phillips, Ammi

Schiele, Egon

 

ESSAY

In 1939, Otto Kallir, who had been driven from his native Austria by the Nazi Anschluss, arrived in the United States. In his wake he left a Viennese gallery, the Neue Galerie, that had, for fifteen years, been the leading champion of modernism in that city. He also left behind a shorter-lived French gallery, named St. Etienne in honor of Vienna's venerable St. Stephan's cathedral. Although war had broken out in Europe while Kallir was crossing the Atlantic, he still dreamed that he would someday return, and so he named his New York gallery (which he founded almost immediately) St. Etienne: a would-be branch of the Paris concern. As it transpired, Paris was soon as unapproachable as Vienna, and the Galerie St. Etienne in New York, with its misleading French name, became the principal outpost for modern Austrian art in the United States.

 

The "firsts" achieved by the Galerie St. Etienne are historic: the first American Oskar Kokoschka exhibition in 1940, the first Egon Schiele and Alfred Kubin exhibitions in 1941, the first Gustav Klimt exhibition in 1959, and the first Wiener Werkstätte exhibition in 1966. Austrian art of the early twentieth century was, in the beginning, virtually unheard of in the United States, and at times it seemed the Galerie St. Etienne was fighting a lonely, losing battle. German Expressionism, on the other hand, was somewhat better received, in part because of Germany's more aggressive international presence, and in part because, whereas Klimt and Schiele had died in 1918, many major German artists not only continued to live but, as victims of Hitler's cultural policies, actually ended up emigrating to America. Among the Germans, the Galerie St. Etienne typically chose to represent those who were lesser known: the precursors of Expressionism (who not coincidentally had a gentler sensibility more akin to that of the Austrians), such as Paula Modersohn-Becker (first American one-woman show, 1958), Lovis Corinth and Käthe Kollwitz (the subject, to date, of some seventeen one-woman shows at the gallery).

 

Otto Kallir was not, however, content merely to transplant his European heritage to the United States. Almost from the moment of his arrival, he set out to find an indigenous American form of expression suited to what he perceived as the unique spirit of his newly adopted homeland. Disatisfied with the contemporary New York avant-garde--which he considered too derivative--Kallir instead turned to folk art. As early as 1941, on his second summer vacation, he drove all the way to New Mexico, where he picked up a treasure trove of Indian artifacts and Santos. He also developed a keen interest in the art of self-taught nineteenth-century painters, whose work he helped introduce to Europe by collaborating with the Smithsonian Institution on a series of traveling exhibitions. But his most notable accomplishment was the discovery of an 80-year-old farmwife from upstate New York: Anna Mary Robertson ("Grandma") Moses. Moses had her first one-woman show at the Galerie St. Etienne in the autumn of 1940--when Kallir had been in America scarcely one year. Her fame was not (as is so often said) "instantaneous," but the show was well received, and, over the course of the ensuing years, as the gallery became her exclusive representative, Grandma Moses gradually grew to be one of the most renowned American artists then living.

 

The current exhibition includes a sampling of works by many of the artists who established the Galerie St. Etienne's reputation--and whose reputations the gallery helped establish. Some of these will also be featured in one-person shows later in 1989, as part of a series of anniversary events extending throughout the year. A major Gustav Klimt loan exhibition is scheduled for the spring, as is a symposium on Austrian art co-sponsored by the Austrian Institute and featuring a number of leading scholars in the field. Concurrently, Harry N. Abrams, Inc., will publish Gustav Klimt: 25 Masterworks by gallery co-director Jane Kallir. A play on Grandma Moses, starring noted actress Cloris Leachman, will soon begin a nationwide tour. In the fall, a Grandma Moses retrospective is planned, along with a folk art symposium co-sponsored by the Museum of American Folk Art. Additional events will be announced in the course of time.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