The exhibition creates an opulent tableau that offers uniquely rich and complex insights into the fascination of Vienna circa 1900 and the atmosphere of this vibrant period. Comprising some 1,300 items displayed across three floors, this semi-permanent installation presents the splendour and wealth of the artistic and intellectual achievements of this era through masterpieces from the Leopold Museum and notable permanent loan works from Austrian and international collections.

The last female portrait by Vienna's iconic painter, Gustav Klimt's Lady with Fan gazes seductively and with remarkable self-confidence into the distance. This vibrant painting is on show in Vienna again after more than a century. It will be presented with other examples of Klimt's last works in a special exhibition at the Upper Belvedere.

2 artists, 2 museums, 1 exhibition.

The exhibition proposes a new comparative view of the works of Rodin (1840-1917) and Picasso (1881-1973), who each had a profound and lasting impact on the art of their time and that of the generations to come. The exhibition does not aim to show what Picasso borrowed from Rodin, but rather to explore how elements of Rodin's oeuvre merged with periods in Picasso's artistic career.

This major exhibition offers a unique insight into Rodin's processes, highlighting the crucial role of plaster in his practice. The exhibition evokes the informal atmosphere of the studio, where you will discover lesser-known pieces and new aspects of his most iconic works.

Highlights from the museum's extensive collection of Austrian art from the period 1890 to 1940 are on view, including major works by Gustav Klimt, Oskar Kokoschka, Alfred Kubin, and Egon Schiele.

This exhibition presents a wide and varied selection of paintings by Anglada-Camarasa in order to present his oeuvre from a personal, romantic perspective that recalls the layout of the Museum in Pollença. It provides a unique opportunity to learn more about the work of Anglada-Camarasa through a different exhibition approach from how the work has been shown in CaixaForum until now.

This the exhibition aims to raise awareness of women painters in the late nineteenth century who dedicated their career to painting the flowers abundant in Catalan Modernisme yet who are so little known. We refer to the women artists who participated in the women's exhibitions at Barcelona's Sala Parés in the years 1896, 1897, 1899 and 1900.

In 1896, Sala Parés organised the first exclusively female show, as had been held in Chicago shortly beforehand. A wide array of women artists took part with the foremost aim of becoming known to the public.

These women's shows at Sala Parés became the turning point from which each artist could choose and pursue her career, a starting point for "normalising" these painters' artistic professionalism.

The most recurrent theme in such shows was flowers, which even merited a specific treatment for the still life. This was due to the fact that the women who enrolled at the School of Fine Arts, La Llotja, were prohibited from attending classes with nudes, hindering them from being able to choose a professional career in figurative or portrait painting.

These artists took the opportunity that society offered them and "used" flowers as a manifesto for their art. Gifted in composition and skilled in colour, some of them achieved notable results. In contrast, others pursued more irregular careers, while a large number disappeared from the art scene after marriage.

Curated by Art Historian, Consol Oltra, the show presents these women's works, some of which were exhibited at Sala Parés over a century ago.

On Friday 11th June, the day "Designing the New: Charles Rennie Mackintosh and the Glasgow Style" opens in Nashville, Tennesse, Frist Art Museum present a lecture by Alison Brown, curator of European Decorative Art and Design at Glasgow Museums, and curator of the exhibition.

Over a 21-year period, between 1896 and 1917, the architect and designer Charles Rennie Mackintosh created some of his most imaginative interiors and decorative schemes for Catherine Cranston's four tearooms in central Glasgow. These commissions provided him with crucial opportunities to experiment with an increasingly sophisticated approach to interiors, furniture, and fittings, from mysterious murals inspired by Art Nouveau and Japan and iconic high-backed chairs to atmospheric dining spaces with palettes ranging from white-and-silver to warm stained wood, along with Chinese-influenced designs and boldly colourful geometry that anticipated the rhythm of Art Deco. His most three-dimensionally conceptual suite, for the Willow Tearooms (1903), achieved a new level of fashioning an interior as a total work of art. This illustrated talk presents Mackintosh's unique collaborations with Catherine Cranston through archive and object photographs, with behind-the-scenes insights from Glasgow Museums' conservation, reassembly, and restoration of some of his surviving tearoom interiors from Ingram Street.

Friday 11th June | 6pm BST | 12pm EDT |via Zoom Book Your Online Free Ticket

Due to the continued spread of the Coronavirus worldwide, the board and director of the Iconic Houses Foundation have been forced to reschedule this year's conference and house tours. After careful consideration, we believe that postponing the event to 1 - 7 June 2021 is the only viable option. Registration opens again on 1 June.

Louis Comfort Tiffany (1848-1933) employed many designers, but only a handful of these individuals were selected to work in the enamel department, which Tiffany Studios employees somewhat enviously referred to as "little Arcadia." The exhibition displays around a dozen watercolor designs by these Tiffany artisans.