NEW YORK, NY.- Neue Galerie New York opened "Modern Worlds: Austrian and German Art, 1890-1940," an exhibition of major works of Austrian and German fine art and design from the permanent collection. The presentation, organized in celebration of the twentieth anniversary of the founding of Neue Galerie New York, fills the entirety of its landmark Museum Mile building. The opening of this exhibition will offer visitors access to all of the galleries for the first time since March 2020, when the Neue Galerie, along with museums in New York and around the world, shuttered in response to the pandemic.
On view through March 13, 2022, "Modern Worlds: Austrian and German Art, 1890-1940 underscores the Neue Galeries unique mission to bring a sense of perspective back to Germanic culture of this period, and to make the best of this work available to American and other audiences for both scholarly and aesthetic inquiry. Since the museum opened in November 2001, it has presented a range of exhibitions, each exploring a distinct aspect of the innovative, modern spirit discovered and pursued by artists and designers in Austria and Germany at the turn of the twentieth century. This exhibition acknowledges the continued growth and evolution of the museum. Major acquisitions have augmented the Neue Galeries holdings, and one of the highlights of the presentation is Carl Molls 1905 White Interior, displayed at the Neue Galerie for the first time.
AUSTRIAN ART
Highlights from the museums Austrian collection are being featured on the second floor, including Carl Molls 1905 White Interior, displayed for the first time at the Neue Galerie. White Interior is a remarkable painting that vividly evokes the world of Vienna 1900. It encapsulates various aspects of that era, including the fascination with the arts of Japan and a desire to unite art and life in a cohesive whole. The work even encompasses fashion as the woman portrayed, Berta Zuckerkandl (née Szeps), poses in an artistic reform dress. It is an early depiction of a Gesamtkunstwerk, or total-work-of-art, environment in the style of Josef Hoffmann.
The Neue Galerie is renowned for significant paintings by Gustav Klimt. Klimts 1907 masterpiece Portrait of Adele Bloch-Bauer I and related preparatory sketches are on view, as well as various landscapes the artist painted during the summer months spent on the Attersee, including the 1914 Foresters House in Weissenbach I.
Egon Schiele is also prominently represented with a rich selection of his tour-de-force works on paper. The late canvas from 1917, Town among the Greenery (The Old City III), is another important highlight and atypical for the inclusion of figures in the landscape. Alongside Schieles work, an array of Expressionist canvases by his peers, Richard Gerstl and Oskar Kokoschka, underscore the radical efforts by these artists to reconceive the approach to formal portraiture.
In the decorative arts, works made by the Wiener Werkstätte (Vienna Workshops, 1903-32) are another strength. Rare designs by Josef Hoffmann, Koloman Moser, and Dagobert Peche are being shown in an array of media. Especially noteworthy is a group of unique jeweled and almost painterly objects by Hoffmann, including a 1912 tobacco case once owned by collector Otto Primavesi.
GERMAN ART
Simultaneous with the Austrian Expressionist movement, avant-garde initiatives occurred in Germany in the Brücke (Bridge) and Blaue Reiter (Blue Rider) groups with groundbreaking results realized vis-à-vis the use of color and form. Works by German artists from the collection are being presented on the third floor.
Prominent examples of work by Brücke artists are on view, including Erich Heckels 1908 Bathers in a Pond, Ernst Ludwig Kirchners 1914-15 Berlin Street Scene, and Karl Schmidt-Rottluffs 1910 Landscape with Houses and Trees (Dangast before the Storm). For the Blaue Reiter, Vasily Kandinskys Murnau: Street with Women of 1908, and Gabriele Münters 1912 Woman in Garden are especially noteworthy. The Neue Sachlichkeit (New Objectivity) movement is also addressed with notable selections, such as works by Otto Dix, including the 1921 Portrait of the Lawyer Dr. Fritz Glaser, George Groszs 1926 John Förste, Man with Glass Eye, and Christian Schads 1928 Two Girls. The diversity of the artwork associated with the Bauhaus is vividly illustrated in the canvases of Lyonel Feininger, such as his 1925 The Blue Cloud, Paul Klees 1925 Mystical-Ceramic (in the Manner of a Still-Life), László Moholy-Nagys A XI of 1923, and Oskar Schlemmers 1929 Five Nudes. In the decorative arts, iconic designs by Bauhaus artists, such as Theodor Bogler, Marianne Brandt, Marcel Breuer, Ludwig Mies van der Rohe, and Wilhelm Wagenfeld confirm the prestigious legacy of the school, its faculty, and its students.