Seven Egon Schiele works that belonged to Austrian-Jewish cabaret performer Fritz Grünbaum were handed back to his heirs.
Gustav Klimt: Gold in Motion transforms a historic bank in Manhattan into the unlikely setting of an immersive art experience one visitor called “mesmerizing.”
Germany’s advisory commission on Nazi-looted art also recommended the return of a painting by Erich Heckel to the heirs of Jewish journalist Max Fischer.
The shopper, a part-time art handler, found a 1918 Schiele pencil drawing in a Habitat for Humanity thrift store in Queens. The finding is valued at more than $100,000.
Plus, heirs of an Austrian cabaret singer win a lawsuit over Nazi-looted Egon Schiele drawings, and the Pennsylvania Academy of the Fine Arts adds 111 works to its permanent collection.
Now celebrating its 80th anniversary, Manhattan’s Galerie St. Etienne brings a scholarly approach to a uniquely diverse lineup.
Tracing Egon Schiele’s lineage, forward and backward in time.
An exhibition full of drawings shines light on the history of the line in this artist’s work.
The drawings of Klimt and Schiele, in contrast to those of Picasso, are graphic evidence of an artist grappling with what is directly in front of him.
On display at the Met Breuer are the nude drawings, watercolors, and prints by Klimt, Schiele, and Picasso. This will be the first time these pieces have been on display together.
Schiele’s hometown is commemorating the centennial of his untimely death.
In the 1960s, a museum secretary noticed a discrepancy in the institution’s record-keeping of loaned artworks; her boss gave her a Klimt drawing to keep her mouth shut.