The exhibition, described as the world's largest presentation of works by Archibald Knox, features over 200 works by the Manx artist from collections across the British Isles, including pieces of silverware, pewter and jewellery, alongside rarely seen paintings, sketches, manuscripts, ceramics, textiles and furniture.

Jointly curated by Manx National Heritage and the Archibald Knox Forum, the show offers visitors the unique experience of delving into the artistic creation of the leading exponent of the ?British Celtic Revival' design style of the late 19th and early 20th centuries, while exploring his home country of the Isle of Man, to which Knox's work was intimately attached.  

The opening of the exhibition will be marked by a seminar on 5 and 6 April at the Manx Museum. The event will feature keynote speeches by Stephen Martin and Anthony Bernbaum, two of the world's leading experts on Archibald Knox's life and work. The seminars will explore the artist's Cymric style and the mythical and symbolic influence of Manx culture and history on his work.

The exhibition focuses on The Bride, Klimt's large painting, unfinished due to his unexpected and premature death in February 1918. The exhibition is contextualised with numerous pencil drawings in which Klimt had carefully worked out many of the painting's figures, and further studies found in the artist's last sketchbook. A large number of these studies are now being shown to the public, allowing direct comparison with the painting. As part of preparations for the exhibition, in-depth technical analyses including X-rays were conducted on the painting, the results of which will also be presented.

The exhibition unveils the secrets hiding beneath the surface of Gustav Klimt's famous works: how did the artist apply gold and other precious metals to the canvas? Today's technologies make it possible to look into the inner layers of paint and gain an understanding of Klimt's working process.

Through twenty-four works by Ignacio Zuloaga (1870-1945) and twelve by Hermen Anglada-Camarasa (1871-1959), this exhibition lets us enjoy the coincidences and differences between these two painters. In their works, they both depicted the themes so in vogue in the Paris of the times, such as gypsies, Madrid's maja cultural costumes, and landscapes. Despite both artists having a strong and highly similar influences from Impressionism and Post-Impressionism, the divergences between their painterly languages and individual focuses were quite clear.

The Musée d'Orsay's exhibition on Norwegian artist Christian Krohg is the first retrospective of his work outside Scandinavia, following exhibitions in Oslo and Lillehammer in 2012 and Copenhagen in 2014. By highlighting Krohg's naturalistic and engaged works, the museum offers a new perspective on Norwegian art of the late 19th and early 20th centuries.

For the first time, the Petit Palais is unveiling the breadth and diversity of its collection of jewellery drawings, covering more than a century of design, from the second half of the 19th century to the mid-20th century.

The exhibition "Times of Change" weaves together biographical and artistic elements, focusing on the ruptures and transformations in Egon Schiele's "late works" from 1914 to 1918, a period that has received comparatively little attention until now. During this time, Schiele gradually abandoned the radical formal experiments of 1910 to 1914 and developed a more realistic style characterized by deeper empathy. His linework became calmer, more fluid, and organic, and the figures he depicted gained greater physical fullness. The exhibition also offers new insights into this pivotal period by incorporating contemporary archival materials, such as the previously unpublished diary of Edith Schiele.

The Musée d'Orsay's first exhibition devoted to the spectacular development of the illustrated poster in colour in the late nineteenth century.

Including a unique set of works by the masters of poster art, the display shows how this medium was elevated "to the rank of mural painting", as the Nancy art critic Roger Marx once put it. This dive into the golden age of the illustrated poster also focuses on the rise of mass consumption and mass culture, of which poster art was both a vector and a symptom. Drawings, works of art, photographs and paintings all evoke the effervescent world of the street as a stage during the Belle Époque, whose image was in part shaped by these posters.

On show from 18 March to 6 July 2025, the exhibition "Art Is in the Street" is organised in collaboration with the Bibliothèque nationale de France. It is co-curated by Élise Dubreuil, Chief Curator of Decorative Arts at Musée d'Orsay, and Sandrine Maillet, in charge of poster collections at the Bibliothèque nationale de France, as well as Anne-Marie Sauvage, general library curator, and Clémence Raynaud, Chief Curator of Architecture at Musée d'Orsay.

The exhibition brings together a hundred objects that are characteristic of Art Nouveau in all its variants: from Spain (Modernisme), from France and Belgium (Art Nouveau), from Germany (Jugendstil), and from Austria (Sezession). Two monographic rooms are also dedicated to the designers Josef Hoffman and Peter Behrens

An exhibition of masterpieces from the field of Art Nouveau, in which flowers play the leading role.

Palazzo Bonaparte presents "Munch: The Inner Cry", a major retrospective exhibition, with 100 works from the Munch Museum in Oslo dedicated to Edvard Munch.

This exhibition brings together notable examples of French ceramics that demonstrate tremendous innovation in the field of artistic pottery from the 1860s to 1910s. European artists during this period were deeply influenced by Japanese art, including woodblock prints, ceramics, textiles, and lacquerwares, which poured into Europe following the forced reopening of Japan's ports to foreign trade in the 1850s. Part of a broader cultural phenomenon that came to be known as "Japonisme," artists such as Félix Bracquemond, Ernest Chaplet, Théodore Deck, François Laurin, and Albert-Louis Dammouse incorporated subjects, decorations, and forms inspired by Japanese art into their ceramics while also experimenting with new techniques like barbotine (a method of decorating ceramics with colored clay slips) and glazes imitating highly prized examples of East Asian ceramics.

The works on view come from the collection of Larry A. Simms, a retired New Jersey public schoolteacher who amassed one of the most important private collections of "Japonisme" ceramics in the United States, many of which he has now donated to the Philadelphia Museum of Art.

The exhibition reappraises the work of Art Nouveau pioneer Alphonse Mucha (b. 1860, Ivančice, Moravia, Austrian Empire; d. 1939, Prague, Czechoslovakia) and explores his impact on graphic art since the 1960s. This exhibition provides an opportunity to survey the development of Mucha's style, and to explore how his art was rediscovered by later generations of artists. Mucha was a key influence on Psychedelic Art of the 1960s-1970s, as well as on a wide range of visual culture from the late 20th century to today, exemplified by American comics, Japanese manga, and street murals.

The Riga Art Nouveau Centre, an association of cultural institutions of the Riga City Council, invites Art Nouveau experts, researchers, architects and heritage specialists to participate in the international congress "Art Nouveau Diversity in Regional Context", to be held in Riga, Latvia, on 23-24 October 2025.

The congress will present studies analysing the manifestations of Art Nouveau in different European cities, highlighting the style's imagery, originality, and local specificities.

Riga is distinguished by its outstanding Art Nouveau architecture, art and culture and therefore is the perfect place to gather the most knowledgeable experts on the style and to discuss the diversity, preservation and understanding of this rich cultural heritage today.The conference will highlight Riga as an Art Nouveau metropolis in the European cultural space, focusing on the interpretations of the style in different regions.  Participants will have the opportunity to get acquainted with the latest findings of Latvian and foreign researchers.
Selected papers will be considered for publication in a book volume.

The Congress Programme Committee is calling for abstract submissions until 10 May by filling in the registration form available on this link: https://ej.uz/ArtNouveauDiversitiesinRegionalContext.

Notifications of the inclusion of abstracts in the conference programme will be sent by 24 May.

An approach to Art Nouveau through the decorative arts, where the search for beauty transformed everyday objects into authentic works of art. Lecture by Andrés Alfaro Hofmann, curator of the exhibition on the first floor of the Museum and owner of the Alfaro Hofmann collection of decorative arts.

The exhibition presents a journey that traces the painter's growing interest in floral elements. Through Anglada-Camarasa's oils, drawings, photographs, prints and clothing, we can see how flowers became an important element in his paintings and how they shaped his life.

The director of Museu del Modernisme de Barcelona and president of the Ramon Casas i Carbó Legacy Association presents an in-depth analysis of Modernista painting and its impact on the history of art, as well as the keys to this artistic movement, highlighting its aesthetics, themes and the great masters who brought it together.

The exhibition takes visitors on an artistic journey that links two emblematic cities, combining the bohemian light of Paris with the vibrant colours of Barcelona. The exhibition pays tribute to the talent of great artists such as Ramón Casas, Santiago Rusiñol, Juan Cardona, Javier Gosé, Alphonse Mucha, Georges de Feure, Joaquín Torres García, Isidro Nonell... and many others, who captured the spirit and beauty of these two modernist capitals with a unique sensitivity. Each work on display is a window to a world of details, textures and emotions that will not leave you indifferent.

The theme of the installation is the changing relationship between the poster as an artistic and creative medium and the role played in it by women. Male poster designers from the first heyday of German poster design, from 1905 to 1921 approximately, used woman as a theme and women as models in a variety of ways.
The show and the accompanying exhibition catalogue present a selection from the collections of F. W. Neess and Maximilian Karagöz, showing the diverse public portrayals of women on posters. Works skilfully communicated social ideas of the day on what women should be. They conveyed what behaviour was socially desirable, what freedoms were conceivable, but also which boundaries were non-negotiable.
However, in this time women also designed posters professionally, even when they had to do it in opposition to gender prejudices. Their designs showed the growing confidence of women to move away from one-off handicrafts and small formats to large-format, mass-produced advertisements. It could be said, therefore, that these women championed emancipation through poster design.

The Albertina Museum is honoring Egon Schiele, one of expressionism's most important visual artists, with a revolutionary exhibition. Based on a concept originated by Ciprian Adrian Barsan, it envisions a return of Schiele's lost works-known only from black-and-white photographs- courtesy of Adrian Ghenie's hauntingly emphatic artistic abilities.

Gabriele Münter (1877-1962) was one of the founders of The Blue Rider (Der Blaue Reiter), the legendary group of Expressionist artists based in Munich.
The exhibition, which includes more than one hundred paintings, drawings, prints and photographs, aims to reveal an artist who rebelled against the limits imposed on women of her day and who succeeded in becoming one of the most notable figures of German Expressionism in the early 20th century.

The exhibition will bring together the most beloved of Van Gogh's paintings from across the globe, some of which are rarely seen in public, and they will be paired with his extraordinary drawings. Among them will be Starry Night Over the Rhône and The Yellow House, as well as the National Gallery's own Sunflowers and Van Gogh's Chair.

Although little known outside her country, Harriet Backer (1845?1932) was the most renowned female artist in late nineteenth-century Norway. A painter, teacher and mentor to painters, she was highly acclaimed for her rich, luminous use of colour, in an eminently personal style that blended interior scenes with open-air painting. She drew inspiration from the realist movement as well as from the innovations of Impressionism, with free brushstrokes and meticulous attention to variations in light. She is also famous for her tender portraits of rural life and her interest in church interiors.

The installation, based on the museum's extensive collection of around 1,800 drawings by the artist, reveals the dominant theme of the life and work of the Austrian printmaker, illustrator and writer Alfred Kubin (1877-1959).

Is Art Nouveau a style? Or could it be better described as a state of mind and an insatiable faith in modernity? Maison Hannon presents "Belgian Art Nouveau: Van de Velde, Serrurier-Bovy, Hankar & Co", an exhibition devoted to the Belgian Art Nouveau movement in all its diversity. With a wide range of pieces from public and private collections, many of which have never been seen before.