Wednesday, March 21, 2018

Klimt and Schiele: Drawn

Museum of Fine Arts, Boston
February 25 through May 28, 2018

Marking the centenary of the deaths of Gustav Klimt (1862–1918) and Egon Schiele (1890–1918), the Museum of Fine Arts, Boston (MFA), presents a special exhibition of drawings on loan from the Albertina Museum in Vienna. Klimt and Schiele: Drawn, on view from February 25 through May 28, 2018 in the Lois B. and Michael K. Torf Gallery, examines the separate, yet parallel experiences of the acclaimed Austrian modernists, as well as the compelling ways in which their work relates—particularly in their provocative depictions of the human body.

Organized thematically, the selection of 60 works on paper extends from the artists’ early draftsmanship to explore how each shifted away from traditional training to more incisive and unconventional explorations of humanity over the course of their careers. The MFA is one of three museums—and the only U.S. venue—hosting exhibitions of the Albertina’s rarely loaned drawings by Klimt and Schiele in 2018, joining the Pushkin Museum of Fine Arts, Moscow, and Royal Academy of Arts, London, to mark the 100th anniversary of the artists’ deaths.

Klimt and Schiele: Drawn is accompanied by an illustrated volume, Klimt and Schiele: Drawings, produced by MFA Publications.

Klimt & Schiele Drawings

The 60 important drawings exquisitely reproduced in this large-format volume reach from each artist’s early academic studies to more incisive and unconventional explorations of nature, psychology, sexuality and spirituality. Striking and provocative even today, these works led both artists into controversy (and even a brief imprisonment for Schiele) during their creators’ lifetimes. 

Klimt advised, “Whoever wants to know something about me as an artist ought to look carefully at my pictures and try to recognize in them what I am and what I want.” This album of unforgettable drawings from the collection of the Albertina Museum, Vienna, provides a direct connection to the minds of two master draftsmen exploring the limits of representation, as well as the shock of recognition at seeing our own inner selves caught on paper.

About the Author

Katie Hanson is Assistant Curator, Paintings, Art of Europe, at the Museum of Fine Arts, Boston.

“Part of the satisfaction of being with Klimt’s and Schiele’s drawings is that they get under your skin—they’re hard to forget once you’ve seen them,” said Katie Hanson, Assistant Curator, Paintings, Art of Europe. “You feel the presence of these artists through the freshness and immediacy of their draftsmanship, the energy of which is still palpable even after a hundred years.”

Nearly 30 years apart in age, Klimt and Schiele shared a mutual respect and admiration for each other’s talent, although the work they produced is decidedly different in appearance and effect. Klimt’s drawings are often delicate, while Schiele’s are regularly bold. Klimt often used his as preparatory designs for paintings, while Schiele considered his own as finished, independent pictures and routinely sold them. Despite these departures, their works are also related. With frank naturalism and unsettling emotion, both Klimt and Schiele challenged conventions and expectations in portraits, nudes and allegories.


The exhibition opens with early works that exemplify the artistic training completed by both Klimt and Schiele. After a two-year introductory course at Vienna’s Kunstgewerbeschule (School of Applied Arts), which he began at age 14, Klimt received a scholarship to continue at the Fachschule für Zeichnen und Malerei (Technical School for Drawing and Painting), where he remained until 1883. This training led him to important commissions to decorate buildings around Vienna.

early pencil and white crayon sketch by Gustav Klimt

Three studies for the ceiling decoration Shakespeare’s Theater in the Burgtheater (1886–87) demonstrate Klimt’s deft handling of the differentiation of textures—the softness of hair, the firmness of flesh over bone and the stiffness or rumpled ease of fabric. Meanwhile, Schiele’s precocious talent made him the youngest member of his class at the Akademie der Bildenden Künste (Academy of Fine Arts) when he began his coursework in 1906, at age 16.

In Portrait of a Bearded Man (1907), the teenaged artist gave discrete attention to the flowing beard, slightly bristlier mustache and carefully combed hair. These examples of their early draftsmanship showcase the beautiful shading and modeling that are hallmarks of academic training.

Inner Life Made Visible

Soon enough, both artists shifted away from academically grounded works. Their drawings began to describe a sense of tension or energy in addition to visible features. Their treatments of the human body became less conventional and less conservative, permitting them to examine the inner workings and urges of humanity.

Gustav Klimt - Portrait of a Child (Study for “Love”), 1918, Portrait of a Bald Old Man (Study for Love), 1895; Egon Schiele did a self portrait of an Austrian girl for his 1918  works collection

Klimt’s Portrait of a Bald Old Man (Study for Love) (1895) (above right) is unsettling—the white illuminates the elderly man’s head and provides an eerie glow to his unfocused eyes, contributing to the haunting impression of the figure. This drawing and Portrait of a Child (Study for Love) (1895), (above left) depicting a little girl, served as studies for an allegorical painting on the theme of love—now in the collection of the Wien Museum in Vienna—in which Klimt explores the duration and range of experiences a lasting love might include.

Klimt provided something of an example to Schiele, who saw the older artist defying conventions. While Klimt was not interested in self-portraits, preferring above all to paint women, Schiele saw all bodies, including his own, as subject to appraisal.

His convulsive self-portraits, such as Nude Self-Portrait (1910), show a young man grappling with himself. The drawing bristles with energy, depicting his dark hair standing on end as if electrified. With one eye open and the other closed, full pouty lips and furrowed brow, the facial expression is dramatic but illegible. The skin is tinged purple and blue, covering an emaciated body—far thinner than Schiele’s actual physique—that juts at a dramatic angle into the sheet. It is surrounded by a thick white band that evokes the inner glow—the radiant energy of living beings that so fascinated Schiele.

Schiele also applied this approach to portrayals of local working-class children. Six of these drawings are displayed in the exhibition, including

Egon Schiele - The Pacer, 1914, Two Crouching Girls, 1911
Left: Egon Schiele – The Pacer, 1914 / Right: Egon Schiele – Two Crouching Girls, 1911

 Two Crouching Girls (1911), in which the subjects appear at first glance to perch like dolls propped into position. On closer inspection, however, the unnatural, unhealthy color of the flesh—particularly in the icy tone of the blonde girl’s skin—and the outsized hands contradict the initial charm and make them more unsettling.


Klimt and Schiele’s shared interests in human experience and inner urges are perhaps most evident in their depictions of nudes. Despite the twinge of voyeuristic unease that they may stir, the compositions are hard to look away from. The bodies are unidealized, making them seem all the more real, and often it is hard to tell what they are doing at first glance. Without the aid of a title, it takes persistent effort to identify what is depicted in

 Reclining Woman, Seen from Behind, 1916–17

Klimt’s Reclining Woman, Seen from Behind (1916–17)

and, even helped by the title, the looping lines by the figure’s face in

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Reclining Half Nude with Arms Entwined behind Her Head (1916–17) do not readily coalesce into something recognizable. Both women lounge seemingly in midair, unmoored from furnishings.

Schiele, too, experimented with such unexpected omissions—The Pacer (1914) (above), for example, looks down at her tensely curled hand as if it holds something, but there is nothing there.

The Stuff of Scandal

Despite their successes and supporters, Klimt and Schiele were no strangers to controversy. Klimt’s innovative approach to embodying ideas caused a scandal when he was asked to create large-scale works. In 1894, he and his early collaborator Franz Matsch were selected to design ceiling paintings for the University of Vienna. Klimt showed his works, depicting philosophy, medicine and jurisprudence, in process in 1900, 1901 and 1903 with the Vienna Secession, a group of artists who broke away from the state-sponsored academy to exhibit independently. Although the paintings were lost in a fire during World War II, related drawings such as

 Two Floating Studies (for Medicine) (1897–98)

Two Studies of a Skeleton (Studies for the Transfer Sketch for Medicine) (about 1900), Gustav Klimt. Courtesy of Albertina, Vienna and Museum of Fine Arts, Boston
Two Studies of a Skeleton (Studies for the Transfer Sketch for Medicine) (about 1900), Gustav Klimt. Courtesy of Albertina, Vienna and Museum of Fine Arts, Boston

and Two Studies of a Skeleton (Studies for the Transfer Sketch for Medicine) (about 1900) convey the immediacy and unexpected naturalism that some of Klimt’s contemporaries found so shocking.

The Beethoven Frieze: The Hostile Powers. Far Wall, 1902 - Gustav Klimt

Another firestorm of controversy broke out over Klimt’s Beethoven Frieze, part of the Secession’s 1902 exhibition, which celebrated the composer.

Standing Female Nude (Study for the Beethoven Frieze: “The Three Gorgons”) (1901), Gustav Klimt. Courtesy of Albertina, Vienna and Museum of Fine Arts, Boston

Standing Female Nude (Study for the Beethoven Frieze: “The Three Gorgons”) (1901), Gustav Klimt. Courtesy of Albertina, Vienna and Museum of Fine Arts, Boston

Gustav Klimt, Embracing Couple, 1901.
(Study for ‘This Kiss to the Entire World; Beethoven Frieze’).
Black chalk. 45 x 30.8 cm. The Albertina Museum, Vienna. 

The frankly depicted, unidealized nude bodies that embody unseemly feelings such as sexual desire earned the artist accusations of pornographic obscenity.

Schiele, too, made art and lived a life that flouted polite expectations. In 1912, a local adolescent who wished to run away from home sought help from the artist and his girlfriend. Although the child returned home unharmed, her parents accused Schiele of kidnapping, rape and immorality—charges that could have meant up to 20 years in prison. The artist was arrested on April 13 and a trial was held on April 30. The first two charges were ultimately dropped as unfounded, but the third held, as the police investigation turned up drawings in Schiele’s studio that were deemed indecent for minors to see. The artist spent just over three weeks in jail, before and after his court appearance, and three drawings made during this time in prison—dated April 19, 23 and 24—are on view in the exhibition. Combining poetic and dramatic titles with bold compositions, these drawings record Schiele’s mounting despair.

Great article about the above,with the images.

Plants and Places

Schiele found evocative, emotional resonances all around him—not only in the bodies and faces of people, but also in nature. Two drawings by the artist

 Red Chrysanthemum, Rote Chrysantheme - Egon Schiele

Red Chrysanthemum (1910)

and Yellow Chrysanthemum (1910)—show flowers of the same species in two stages. The robust red example, colored with broad strokes, opens to its maximum fullness, while the frail yellow flower comes undone, with drooping leaves and the spindly petals of a blossom past its prime. The same autumnal melancholy also pervades Schiele’s depiction of  

Old Houses in Český Krumlov (1914), Egon Schiele. Courtesy of Albertina, Vienna and Museum of Fine Arts, Boston

Old Houses in Český Krumlov (1914), Egon Schiele. Courtesy of Albertina, Vienna and Museum of Fine Arts, Boston

Old Houses in Český Krumlov (1914) in the Czech Republic—the birthplace of his mother and where the artist lived briefly in the summer of 1911, while seeking distance from city life in Vienna.


Portraiture provided both Klimt and Schiele with a way to make money and connections—as well as a meeting place for their artistic visions and the individual character of their sitters. Klimt maintained a lucrative portrait practice among avant-garde patrons and collectors in and around Vienna.

Two studies for

 Bildnis der Eugenia Primavesi 1913

a portrait of his supporter Eugenia Primavesi (1912 and 1913) show little detail in the figure’s face, yet convey a strong sense of her character. Her raised chin, seen in both drawings, confirms her commanding presence.

Also on view are two studies for a painting of Primavesi’s daughter Mäda (1912–13)—

Bildnis der Mäda Primavesi 1912

Klimt’s only commissioned portrait of a child, now in the collection of the Metropolitan Museum of Art. Additionally, three studies for a portrait of Amalie Zuckerkandl—one of his last paintings, left unfinished—provide a glimpse into the artist’s process. The sitter’s garment seems to writhe with energy in each drawing, while her pose and demeanor shift as Klimt searches for the definitive portrayal.

Klimt came to Schiele’s aid following his imprisonment in 1912, which left the younger artist devastated and financially ruined. An introduction to Klimt’s patrons August and Serena Lederer led to Schiele’s friendship with their son Erich, who would become one of the leading collectors of his work.

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The artist’s portrayal of the teenaged Eric Lederer with Red Collar (1913), seated in a jaunty pose, suggests the awkwardness of his youth. Additional portrait drawings by Schiele on view depict others close to the artist, including

The Artist’s Mother, Sleeping (1911), Egon Schiele. Courtesy of Albertina, Vienna and Museum of Fine Arts, Boston

his mother Edith

The Artist’s Mother, Sleeping (1911), Egon Schiele. Courtesy of Albertina, Vienna and Museum of Fine Arts, Boston

Portrait of the Artist's Sister-in-law Adele Harms (1917), Egon Schiele. Courtesy of Albertina, Vienna and Museum of Fine Arts, Boston

Portrait of the Artist’s Sister-in-law Adele Harms (1917), Egon Schiele. Courtesy of Albertina, Vienna and Museum of Fine Arts, Boston
and sister-in-law Adele Harms.

 The skin of both women is rendered with blotchy discoloration—it appears flushed, bruised and even seemingly decaying. Often seen in his self-portraits, the effect makes the drawings more complicated to look at and the reactions they induce more visceral.

Egon Schiele, Seated Female Nude, Elbows Resting on Right Knee (detail), 1914.

Pencil, gouache on Japan paper. 48 x 32 cm. The Albertina Museum, Vienna. 


Gustav KLIMT Initial D, illustration for the magazine Ver Sacrum. 1897/98Pen and brush and ink
Albertina Museum, Vienna

Excellent review 

Another excellent review

Friday, March 16, 2018

Mary Cassatt, an American Impressionist in Paris

Musée Jacquemart-André

9 March to 23 July 2018

In the spring of 2018, Culturespaces and the Musée Jacquemart-André will be holding a major retrospective devoted to Mary Cassatt (1844–1926). Considered during her lifetime as the greatest American artist, Cassatt lived in France for more than sixty years. She was the only American painter to have exhibited her work with the Impressionists in Paris.

The female representative of Impressionism

The exhibition focuses on the only American female artist in the Impressionist movement; she was spotted by Degas in the 1874 Salon, and subsequently exhibited her works alongside those of the group. This monographic exhibition will enable visitors to rediscover Mary Cassatt through fifty major works, comprising oils, pastels, drawings, and engravings, which, complemented by various documentary sources, will convey her modernist approach — that of an American woman in Paris.

A franco-american approach to painting

Born into a wealthy family of American bankers with French origins, Mary Cassatt spent a few years in France during her childhood, continuing her studies at the Pennsylvania Fine Arts Academy, and eventually settled in Paris. Therefore, she lived on both continents. This cultural duality is evident in the distinctive style of the artist, who succeeded in making her mark in the male world of French art and reconciling these two worlds.

The originality of her vision

Just like Berthe Morisot, Mary Cassatt excelled in the art of portraiture, to which she adopted an experimental approach. Influenced by the Impressionist movement and its painters who liked to depict daily life, Mary Cassatt’s favourite theme was portraying the members of her family, whom she represented in their intimate environment. Her unique vision and modernist interpretation of a traditional theme such as the mother and child earned her international recognition. Through this subject, the general public will discover many familiar aspects of French Impressionism and Postimpressionism, along with new elements that underscore Mary Cassatt’s decidedly American identity.

A prestigious selection

The exhibition will bring together a selection of exceptional works loaned from major American museums, such as Washington’s National Gallery of Art, the Metropolitan Museum of Art in New York, the Museum of Fine Arts in Boston, the Philadelphia Museum of Art, and the Terra Foundation in Chicago; works will also be loaned by prestigious institutions in France — the Musée d’Orsay, the Petit Palais, INHA, and the BnF (French National Library) — and in Europe, such as the Bilbao Museum of Fine Arts, the Calouste Gulbenkian Foundation in Lisbon, and the Bührle Foundation in Zurich. There will also be many works from private collections. Rarely exhibited, these masterpieces will be brought together in the exhibition for the first time.

Mary Cassatt - Portrait of Alexander J. Cassat and His Son Robert Kelso Cassatt

Mary Cassatt,
Portrait of Alexander J. Cassatt and His Son, Robert Kelso Cassatt,
1884, oil on canvas, W1959-1-1, Courtesy of the Philadelphia
Museum of Art © Philadelphia Museum of Art: Purchased with the W. P. Wilstach Fund and with funds contributed by Mrs. William Coxe Wright,

The Cup of Tea

1880-81, oil on canvas, lent by The Metropolitan Museum of Art, From the Collection of James Stillman,
Gift of Dr. Ernest G. Stillman, 1922 (22.16.17), photo © The Metropolitan Museum of Art, Dist. RMN-Grand Palais / image of the MMA

Mary Cassatt,
In the loge,
1878, oil on canvas, Museum of Fine Arts, Boston, 10.35, photo © 2018 Museum of Fine Arts, Boston

Feeding the Ducks, Mary Cassatt (American, Pittsburgh, Pennsylvania 1844–1926 Le Mesnil-Théribus, Oise), Drypoint, softground etching, and aquatint, printed in color from three plates; fourth state of four (Mathews & Shapiro)

Mary Cassatt,
Feeding the ducks,
1895, drypoint, softground etching, and aquatint © Bibliothèque de l’Institut national d’histoire de l’art

Mary Cassatt,
Seated Woman with a Child in Her Arms, circa 1890, oil on canvas, Museo de Bellas Artes de Bilbao, 82/25, photo © Bilboko Arte
Ederren / Museoa-Museo de Bellas Artes de Bilbao!HalfHD.jpg

Mary Cassatt,
Music, 1874, oil on canvas, Paris, Petit Palais, musée des Beaux-Arts de la Ville de Paris, PPP3737, photo © RMN-Grand Palais /Agence Bulloz

Mary Cassatt,
Baby in Dark Blue Suit, Looking Over His Mother’s Shoulder, circa 1889, 
oil on canvas, Cincinnati Art Museum, John J. Emery Fund,
1928.222 © Cincinnati Art Museum

Mary Cassatt,
Summertime, 1894-95, oil on canvas, Terra Foundation for American Art, Daniel J. Terra Collection, 1988.25, photo © Terra
Foundation for American Art, Chicago!HalfHD.jpg

Mary Cassatt,
Young women picking fruits,
1891, oil on canvas, Carnegie Museum of Art, Pittsburgh; Patrons Art Fund, 22.8 © Carnegie
Museum of Art, Pittsburgh; Patrons Art Fund

Mary Cassatt - Little Girl in a Blue Armchair - NGA 1983.1.18.jpg

Mary Cassatt,
Little Girl in a Blue Armchair,
1878, oil on canvas, National Gallery of Art, Washington, Collection of Mr. And Mrs. Paul Mellon,
1983.1.18 © Courtesy National Gallery of Art, Washington

Mary Cassatt's "Mother and Child" (1890) is currently in the Roland P. Murdock collection at the Wichita Art Museum.

Mary Cassatt,
Woman and child in front of a tablet where a pitcher and a bowl are placed,
circa 1889, pastel on beige papier, Paris, musée
d’Orsay, donation of M. Jean-Pierre Hugot et de Mlle Louise Hugot, RF 31843 © RMN-Grand Palais (musée d’Orsay) / Hervé Lewandowski

Mother and Child (The Oval Mirror)

donation of Mrs. H.O Havemeyer, 29.100.47, 1929, photo © The Metropolitan Museum of Art, Dist. RMN-Grand Palais / image of the MMA

Double-Sided Print by Mary Cassatt Peasant by WhileTheySlept

Mary Cassatt,
[Mother and chlid] : [Green dress],
circa 1894, strong water, dry-point and aquatint in colors, M CASSATT 12 © Bibliothèque de
l’Institut national d’histoire de l’art!HalfHD.jpg

Mary Cassatt,
By omnibus (or interior of a tram passing over a bridge),
circa 1890-1891, dry-point and soft vanish, Paris, Bibliothèque nationale
de France (BnF), Breeeskin, 145-IV IFF19, Cassatt (Mary), n°13, photo © BnF, Dist. RMN-Grand Palais / image BnF

Magritte, Dietrich, Rousseau. Visionary Objectivity

Kunsthaus  Zürich 
9 March to 8 July 2018  

 The Kunsthaus Zürich showcases 56 works of representational painting spanning the years 1890 to 1965. Common to all of them is an objectivity that is also visionary: emerging on the cusp of modernity, it runs through Böcklin and Vallotton, the ‘ naïve artists ’ and painters of New Objectivity, to the Surrealism of Dalí and Magritte.

This new exhibition at the Kunsthaus revisits a form that, like abstraction, was crucial to Classical Modernism: representational art. 


By the mid -19th century, as modern painting begins to take shape, the focus of attention is already shifting from conte nt towards artistic means. Édouard Manet attaches great importance to ‘ peinture’ – the painterly – while Paul Cézanne‘ s ‘taches ’, or patches of colour, aim not to depict the real world but instead to confer reality upon the image itself. This central idea is carried through into the Cubism that Cézanne anticipates. Collection curator Philippe Büttner has assembled works by some twenty artists who adopted an entirely different approach: at once objective and visionary. For these painters the communicative force of ‘ peinture’ is not what matters; rather, they set out to create visual spaces that remain illusionistic . Even so, Arnold Böcklin – the earliest artist represented in the exhibition – is concerned not with realism but with the primacy of imagination. The landscape and scenery of his 1880 work ‘ The Awakening of Spring ’ are, on the face of it, easy to understand and yet dreamlike and visionary, evoking with painterly precision the alternative reality of the mythical. 


In his first major work ‘ La malade ’, painted in Paris in 1892, Félix Vallotton bypasses Impressionism and draws instead on the narrative Dutch interior painting of the 17th century to create a work of meticulously rendered, precise detail. Yet in the psychological dis tances perceptible between his figures, he proposes a suggestively new take on this seemingly traditional painting technique. Later, as a landscape painter, he will turn his cool gaze towards the phantasmagoric hyper -presence of natural phenomena. 

Vallotton was also partly responsible for discovering the ‘ naïve’ Henri Rousseau, praising his jungle painting enthusiastically in an 1891 article. Rousseau paints every leaf with precise contours, accumulating individual, neatly catalogued elements and collaging them into a world of hypnotic strangeness. What impresses here is not ‘peinture’ but the increasingly autonomous formal rhythms and scenic patterns marking the transition from the familiar to the unknown. For all its superficial descriptiveness, painting t hus becomes a novel alternative to the realistic depiction of the world.


The history of naïve art – represented in the exhibition by key works from Henri Rousseau, Camille Bombois, Henri Bauchant and others – was retold a t length in Kunsthaus exhibitions of 1937 and 1975. Their induction into the modernist canon came about largely thanks to the German collector and dealer Wilhelm Uhde (1874 – 1947), who owned one of the Rousseaus in the Kunsthaus collection. New Objectivity also features in the exhibition, exemplifying the return to representation and rejection of the avant -garde after the brutal caesura of the First World War. 

And yet – as Niklaus Stoecklin and Adolf Dietrich demonstrate – supposed objectivity often nurtures an estrangement fed by the almost hypnotic concentration of seeing. This is particularly striking in Dietrich, who magically confers an enhanced presence on his simple, rural motifs.


The Dadaists and Surrealists offered a very distinct response to the First World War. In their eyes, society and politics had been thoroughly compromised by the conflict; and the Surrealists therefore sought to express worlds of the unconscious. Eschewing convention and repression, they set out to find the uncategorized essence of humanity as it manifested itself in dreams and unfettered creativity. 

Some Surrealists, such as Joan Miró, relied heavily on the development of the painterly; others created dreamlike images founded on a carefully constructed legibility: with the precision of an Old Master, Salvador Dalí shone a light into hitherto unmapped recesses of the unconscious, while René Magritte deployed what was, ostensibly, an entirely representational technique but, through a bravura exercise in the avoidance of meaning, took the peaceful coexistence of form and content to absurd lengths in order to re- energize it.


From Böcklin to Dalí, from Vallotton to Dietrich, from the precise passion of a Rousseau creating worlds not seen before to Magritte ‘s marmoreal birds: all share a visionary objectivity revealed in a selection of works covering a broad spectrum of both motifs and forms. The exhibition includes 56 paintings of human beings, animal s, landscapes and plants from the Kunsthaus collection. Over half of them, especially works by Camille Bombois, André Bauchant , Adolf Dietrich and Niklaus Stoecklin, have not been exhibited for many years. All exert a remarkable allure, be it through wonderful self -portraits, hyper -realistic
depictions of nature, or dazzlingly colourful backgrounds that envelop the figures in surreal fashion. They allow us to explore the enormous potential of a modernism that is – or purports to be – representational: a movement that rehabilitates and fundamentally reinvents the essence of things after its temporary banishment by the avant-garde.

An accompanying publication (96 pages, 54 colour illustrations, in German language) with a text by Philippe Büttner contextualizes the reception of representational art within the history of the Kunsthaus collection.

André Bauchant
Self-Portrait among the Dahlias, 1922
Oil on wood, 94 x 60.5 cm
Kunsthaus Zürich, donated by Mrs. Dr. Marguerite Meyer-Mahler and Franz Meyer, 1988
© 2018 ProLitteris, Zurich

André Bauchant
Self-Portrait among the Dahlias, 1922
Oil on wood, 94 x 60.5 cm
Kunsthaus Zürich, donated by Mrs. Dr. Marguerite Meyer-Mahler and Franz Meyer, 1988
© 2018 ProLitteris, Zurich

 Woman with a Head of Roses, 1935 - Salvador Dali

Salvador Dalí
Woman with Head of Roses, 1925
Oil on wood, 35 x 27 cm
Kunsthaus Zürich
© 2018 ProLitteris, Zurich

The natural graces, 1963 - Rene Magritte 

René Magritte
The Natural Graces, 1964
Oil on canvas, 55.5 x 46.5 cm
Kunsthaus Zürich, donated by Walter Haefner, 1993
© 2018 ProLitteris, Zurich

High Alps, Glacier and Snowy Peaks

Félix Vallotton
High Alps, Glaciers and Snowy Summits, 1919
Oil on canvas, 73 x 100 cm
Kunsthaus Zürich, The Gottfried Keller Foundation, Federal Office of Culture, Berne, 1978

Portrait of the artist's nephew (1929), Adolf Dietrich. Courtesy Kunsthaus Zürich, © 2017 ProLitteris, Zurich

Adolf Dietrich
Portrait of the artist’s nephew, 1929
Oil on cardboard, 82.5 x 54.5 cm
Kunsthaus Zürich, donated by Dr. Franz Meyer, 1942
© 2018 ProLitteris, Zurich

Henri Rousseau
Portrait of Mr. X (Pierre Loti), 1906
Oil on canvas, 61 x 50 cm
Kunsthaus Zürich, 1940

 To lay down sun with Villerville, 1917 - Felix Vallotton
Félix Vallotton
Sunset, Villerville, 1917
Oil on canvas, 55.5 x 97 cm
Kunsthaus Zürich, Vereinigung Zürcher Kunstfreunde, 1977

The Forest: Winter (c. 1925/1930), Camille Bombois. Courtesy Kunsthaus Zürich, © 2017 ProLitteris, Zurich

Camille Bombois
The forest: Winter, c. 1925/1930
Oil on canvas, 102 x 81.5 cm
Kunsthaus Zürich, Rolf and Margit Weinberg Foundation, 2003
© 2018 ProLitteris, Zurich

Adolf Dietrich
Head of a Girl, 1923
Oil on cardboard, 37 x 28 cm
Kunsthaus Zürich
© 2018 ProLitteris, Zurich
Adolf Dietrich
Head of a Girl, 1923
Oil on cardboard, 37 x 28 cm
Kunsthaus Zürich
© 2018 ProLitteris, Zurich

 Élie Lascaux, The Church in Front of the Sea, 1927
Oil on canvas, 61 x 50 cm
Kunsthaus Zürich, © 2018 ProLitteris, Zurich

Élie Lascaux
The Church in Front of the Sea, 1927
Oil on canvas, 61 x 50 cm
Kunsthaus Zürich, 2015
© 2018 ProLitteris, Zurich

 Niklaus Stoecklin
Portrait of my Wife, 1930
Oil on canvas, 100 x 81 cm
Kunsthaus Zürich, Dr. H. E. Mayenfisch Collection, 1930
© 2018 ProLitteris, Zurich

Niklaus Stoecklin
Portrait of my Wife, 1930
Oil on canvas, 100 x 81 cm
Kunsthaus Zürich, Dr. H. E. Mayenfisch Collection, 1930
© 2018 ProLitteris, Zurich