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Posted inArt

Painter, Interrupted: Losing Egon Schiele

Despite its inclusion of more than 130 works on paper and canvas, the ravishing retrospective Egon Schiele: Portraits, occupying the third floor of New York’s Neue Galerie, leaves you hungry. Not for more art, because there’s plenty of that, but for something else, something to make whole an ineffable absence — a deficit attributable not to the artist, nor to the exhibition or curator, but to time and fate.

Posted inArt

The Many Lives of Degenerate Art

It’s not often that a museum gets to directly respond to front-page, bolded-headline media coverage with an exhibition that both nourishes the public’s curiosity about the reported phenomenon and expands the perception of it as well. Deliberately or otherwise, Neue Galerie couldn’t have timed it better.

Posted inArt

Housetraining Weird Uncle Ferdinand

A cloud of criticism, apology and embarrassment hangs over the oeuvre of Ferdinand Hodler, the prodigiously talented Swiss painter who was born the same year as Vincent van Gogh (1853) and died, like Gustav Klimt, in 1918.

Hodler’s work bridges the academic neo-classicism of Jean-Auguste-Dominique Ingres (his teacher’s teacher) at one end and the Viennese Expressionism of Klimt and Egon Schiele on the other, a coupling that accounts as much for its manipulative magnetism as for its overdetermined artifice.

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