Snap of the just completed wall stenciling for “Koloman Moser: Designing Modern Vienna 1897-1907”, opening May 23! (at Neue Galerie)
A reproduction of a stencil pattern Koloman Moser designed in 1905 for the walls of the Berlin apartment belonging to Jerome Stonborough and Margaret Wittgenstein-Stonborough, a prominent couple and important patrons of Moser in Vienna. This wallcovering will be part of the Moser exhibition design, and a product also available for sale in our design shop! (at Neue Galerie)
On the list of things we never tire of looking at: the grand staircase. #art #architecture #design #nyc (at Neue Galerie)
Work of the Day: Ernst Barlach’s “Blind Beggar,” designed in 1906, produced ca. 1912. Execution: Schwarzburger Werkstätten für Porzellankunst, hard-paste porcelain, Neue Galerie New York. Gift of Harry C. Sigman. (at Neue Galerie)
Oskar Kokoschka’s “Girl with Turban” (early 1920s) holding court over a display case with precious jewelry by Moser, Hoffmann and Amalie Szeps. #art #jewelry #design #nyc (at Neue Galerie)
Exactly two weeks remain until the April 22nd close of “German Expressionism 1900-1930: Masterpieces from the Neue Galerie Collection.” Don’t miss out! #art #nyc #museummile (at Neue Galerie)
Keeping it light: Josef Hoffmann’s ceiling fixture from the home of Max Biach (Vienna 1902) against the museum’s central skylight, an original element of 1048 Fifth Avenue’s architecture. @rrpriceless (at Neue Galerie)
The Neue Galerie is delighted to announce the museum’s new summer exhibition, “Koloman Moser: Designing Modern Vienna 1897-1907,” opening May 23.
Pictured here: An armchair designed by Moser, ca. 1903. Execution: Prag-Rudniker Korbwaren Fabrication. Beechwood, painted white, woven cane seat, painted black and white. Neue Galerie New York. (at Neue Galerie)
Our finance director Max displaying the results of a marshmallow and spaghetti teambuilding challenge this morning - with @rrpriceless. (at Neue Galerie)
Read: Alice Rawsthorn’s March 22 article in The New York Times, “Female Pioneers of the Bauhaus.”
See: Objects designed by Bauhaüsler Marianne Brandt, on view in the 3rd floor galleries until April 22. Pictured here, note paper holder and table clock designed by Brandt between 1930-33.
Shop: Reproductions of Brandt’s original ashtrays, bowls, and lighting at shop.neuegalerie.org. (at Neue Galerie)
We are very excited on this first day of Spring, to announce new life– on loan from The Lewis Collection, we welcome Frauenbildnis (Portrait of a Woman) by Gustav Klimt and Danaë by Egon Schiele, both on view in Gallery 158.
Frauenbildnis (Portrait of a Woman) was begun in 1917 and left unfinished in Klimt’s studio at his death in February 1918. It is thought to be his third work to portray Maria (“Ria”) Munk, the daughter of Alexander and Aranka Pulitzer Munk, who had shot herself in 1911 at the age of 24, in despair over a lover.
Despite the generation and a half between them, Egon Schiele is the direct artistic progeny of his fellow Austrian Gustave Klimt, whose work is also shown in this room. This is perhaps nowhere more apparent than in Danaë, based on the highly charged Greek myth.
If you are in NYC, another portrait of Ria Munk by Gustav Klimt, titled “The Dancer” (1916-17), currently hangs on view in our second floor gallery.
Gustav Klimt, The Black Feather Hat, 1910