In December 2018, gardeners happened upon the “Portrait of a Lady” painting in a trash bag, concealed in a wall of the Ricci Oddi Modern Art Gallery in Italy.
Now celebrating its 80th anniversary, Manhattan’s Galerie St. Etienne brings a scholarly approach to a uniquely diverse lineup.
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.
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.
The artists at Amphora, an Austrian pottery workshop founded in 1892, echoed the highly ornamental paintings of their contemporaries.
Winfrey bought “Portrait of Adele Bloch-Bauer II” (1912) at Christie’s in 2006 for $87.9 million, which remains the auction record for a Klimt.
At Master Drawings, art dealers spread their net a bit wider to exhibit rare drawings, watercolors, and oil sketches from the 14th to 20th centuries.
The first painting I saw in 2016 was “Cockman Always Rises Orange” (2015): we can’t say we weren’t warned.
The uncannily contemporary aspect of Gustav Klimt’s painting is that it was always in flux.
I realize that I’m coming late to the party with Unfinished: Thoughts Left Visible, one of the three debut exhibitions of the Met Breuer, and I have little to add to the conversation about the fundamental problem with the show.
At a press preview earlier this month, Sheena Wagstaff, the Metropolitan Museum of Art’s chairwoman for modern and contemporary art, said that “arguably only the Met” could put on a show like Unfinished: Thoughts Left Visible.