RIGHT ON THE UPPER EAST SIDE OF NEW YORK CITY ALONG THE FAMOUS MUSEUM MILE, LIES A GOLDEN JEWEL OF THE ART WORLD, A SMALL YET EXQUISITE MUSEUM AND A GIANT SYMBOL FOR THE JEWISH WORLD.
By Dina Szeinblum | Pictures courtesy of Neue Galerie New York.
In the same spirit of innovation of the Expressionist movement of fin-de-siècle Vienna, Neue Galerie New York, namesake of the iconic art gallery in Vienna founded in 1923, opened its doors for the first time in 2001. Once inside, visitors are magically transported as if back in time. Housed in a landmark building on Fifth Avenue and 86th Street, the museum is devoted to German and Austrian art, and in particular to that of the early twentieth century. The collection and exhibitions showcase paintings, sculptures, decorative arts, works on paper and all from leading Austrian figures of that era such as Gustav Klimt, Egon Schiele, Oskar Kokoschka, and artists of the Wiener Werkstätte and explores German movements such as the Brücke, the Blaue Reiter, Neue Sachlichkeit, and the Bauhaus. The museum is the result of a long friendship—since 1967—between Serge Sabarsky, art dealer and museum exhibition organizer from Vienna, and Ronald S. Lauder, renowned businessman, philanthropist, and art collector, who today is president of the museum and of the Jewish World Congress Organization, among others.
Josef Hoffmann (1870-1956)
Brooch acquired by Fritz Waerndorfer
for Lili Waerndorfer, 1904 Execution:
Wiener Werkstätte Silver,
partial gilt; diamond, moonstone, opal,
lapis lazuli, coral, leopardite
Neue Galerie New York
While Mr. Lauder served as US ambassador in Vienna, they would meet and dream of combining their collections to create a Museum that would celebrate Austrian and German art. The result of their collaboration led to the opening of the Neue Galerie New York museum after they purchased the building where it stands today in 1994 and began to make the museum plans. However, the actual opening of the museum was carried out alone by Ronald Lauder, in honor of his late friend, who passed a few years before its opening. Sabarsky, who was the driving force behind the creation of the museum, fled his native city of Vienna in 1938 after the Anschluss (Austrian annexation to nazi Germany), emigrating to New York where he later opened his own gallery specialized in Austrian and German Expressionist art.
The museum has enjoyed tremendous success, drawing worldwide interest and realizing Sabarsky’s dream: a permanent home in the United States for German and Austrian art and design of the early twentieth century. Ronald S. Lauder, made his first purchase as an art collector in 1957, when, as a thirteen-year-old boy, he used money that had been given to him for his bar mitzvah to purchase an Egon Schiele drawing. Lauder’s interest in Austrian and German art stemmed, in part, from his family’s Austro-Hungarian background.
Gustav Klimt (1862-1918) Adele Bloch-Bauer I, 1907 Oil, silver, and gold on canvas Neue Galerie New York.
Acquired through the generosity of Ronald S. Lauder,
the heirs of the Estates of Ferdinand and
Adele Bloch-Bauer, and the Estée Lauder Fund.
To mark the fifteenth anniversary of the Neue Galerie New York founding, the museum opened in 2016 the exhibition “Austrian Masterworks from the Neue Galerie New York” in view until September 2017, which highlights the museum’s extensive collection of Austrian art from 1890 to 1940, including major paintings and drawings by Gustav Klimt, Oskar Kokoschka, Alfred Kubin, and Egon Schiele, and also features icons of modern design such as Otto Wagner, Adolf Loos and objects made by the Wiener Werkstätte and designs by Josef Hoffmann, Koloman Moser, and Dagobert Peche.
The center gallery features an extraordinary selection of Klimt’s sensuous depictions of women, offering a unique and rare opportunity to see some of Klimt’s most important and beloved canvases. Paintings of Gertha Loew, Elisabeth Lederer, and Ria Munk are showcased, including the famous two portraits of Adele Bloch-Bauer (1907 and 1912).
The portrait of Adele Bloch-Bauer II is on extended loan at the Neue Galerie NY through January 18, 2018. This is the first time that the first and second portrait of Klimt’s patron have been shown side by side since 2006 when Adele Bloch Bauer I (1907), most known as The Woman In Gold, was acquired by the Neue Galerie. “This is a once-in-a-lifetime acquisition and a defining moment for the Neue Galerie,” said Ronald S. Lauder, adding “With this dazzling painting, Klimt created one of his greatest works of art. We are overjoyed to be able to give Adele Bloch-Bauer a permanent home at the Neue Galerie. Her presence will enrich the museum immeasurably.”
Portrait of Adele Bloch-Bauer II,
1912 Oil on canvas. Private Collection
A HOME FOR THE WOMAN IN GOLD
The painting makes its debut at the Museum in 2006 as part of “Gustav Klimt: Five Paintings from the Collection of Ferdinand and Adele Bloch-Bauer,” a display of masterworks by Klimt which were restituted to Maria Altmann and the heirs of the Bloch-Bauer family by the Austrian government who, after WWII, kept the 5 paintings stolen from the Bloch-Bauer family by the Nazis in 1938.
Gustav Klimt (1862-1918)
The Black Feathered Hat, 1910
Oil on canvas Private Collection
Maria Altmann and US attorney E. Randol Schoenberg took the case to the United States Supreme Court and ultimately succeeded, after seven years, in having the works declared stolen property and returned to their rightful owners. During an emotive ceremony at the Galerie after bringing the wonderful painting to the museum, Mr Lauder, in front of the famous portrait of Adele Bloch Bauer I, presented the World Jewish Congress (WJC) Recognition Award, which honors outstanding individuals working on behalf of the Jewish people, to the Academy Award winning actress Helen Mirren for her stunning performance in the film Woman in Gold, inspired by Maria Altmann’s story. The WJC, which represents Jewish communities in 100 countries worldwide, has played a pivotal role advocating for Holocaust era restitution, leading efforts for the return of Nazi looted art. On this occasion, Ronald S. Lauder, president of the WJC, said “Of how Adele Bloch-Bauer I and the four others works in the exhibition came to be returned to Maria Altmann and the Bloch-Bauer heirs is a tale of persistence.”
Academy Award® winner Helen Mirren and World
Jewish Congress President Ronald S. Lauder
in front of the famous ‘Portrait of
Adele Bloch-Bauer I,’ nicknamed ‘Woman in Gold.’
In 1994, Sabarsky and Lauder found the ideal building in which to house the museum: a Louis XIII-style, Beaux-Arts structure located on the corner of Fifth Avenue and 86th Street in an area known as Museum Mile. The building was completed in 1914 by Carrere & Hastings, also architects of the New York Public Library, and has been designated a landmark by the New York Landmarks Commission and is generally considered to be one of the most distinguished buildings ever erected on Fifth Avenue.
The house, which was originally Commissioned by industrialist William Starr Miller, was later occupied by grande dame Mrs. Cornelius Vanderbilt III and subsequently by the YIVO Institute for Jewish Research.
A four-years renovation, carried out by the renowned Selldorf Architects, involved the restoring of the house to its original state while adapting it to the most stringent museum standards for the display and preservation of works of art. Occupying all six stories of 1048 Fifth Avenue, the ground oor houses the museum entrance, a book store, a design shop, and a cafe.
The cafe, owned by Michelin-star Austrian cuisine restaurateur Kurt Gutenbrunner, is inspired by the great Viennese cafes that served as important centers for intellectual and artistic life, furnished with original bent wood furniture from Vienna.
The second oor is devoted to Austrian art, in particular the work of Gustav Klimt, Egon Schiele and Oskar Kokoschka and objects of the Wiener Werkstätte by Josef Ho mann, Koloman Moser and Dagobert Peche, as well as furniture designed by the Viennese architects Adolf Loos and Otto Wagner.
The third oor presents early twentieth-century German art, representing the Blaue Reiter, with artists such as Wassily Kandinsky, Paul Klee, August Macke, Franz Marc, Gabriele Münter, Emil Nolde; the Brücke, with artists Erich Heckel, Ernst Ludwig Kirchner, Hermann Max Pechstein, and Karl Schmidt-Rottlu ; the Bauhaus, with Lyonel Feininger, Paul Klee, László Moholy-Nagy, Oskar Schlemmer; the Neue Sachlichkeit with Otto Dix, George Grosz, Christian Schad; and decorative arts from the Werkbund, including Peter Behrens, and the Bauhaus, including Marianne Brandt, Marcel Breuer, Mies van der Rohe, Wilhelm Wagenfeld.
The third oor is also the site for temporary exhibitions. Together, the second and third oors comprise 4,300 square feet of exhibition space.
WIENER WERKSTÄTTE 1903-1932: THE LUXURY OF BEAUTY
In October 26, 2017, the museum will present a major retrospective devoted to the Wiener Werkstätte (Vienna Workshops), an artists’ and craftsmen’s collective that existed in Vienna from 1903 to 1932. Featuring more than 200 objects from public and private collections including pieces brought directly from Austria, special highlights iconic examples of furniture by Josef Ho mann and Koloman Moser, complemented by rare and unique works crafted in silver, gold, and semiprecious stones that convey the Wiener Werkstätte’s luxurious aesthetic.
Josef Hoffmann (1870-1956) Flower basket,
1905 Execution: Wiener Werkstätte Silver;
glass insert Neue Galerie New York.
Gift of Harry C Sigman
The exhibition Will cover all its members, such as Ho mann, Moser, and Peche, as well as Gudrun Baudisch, Carl Otto Czeschka, Berthold Lö er, Arnold Nechansky, Michael Powolny, Felix Rix-Ueno, Max Snischek, Vally Wieselthier, Eduard Josef Wimmer-Wisgrill, and Ugo Zovetti. The show is co-curated by Christian Witt-Dörring and Janis Staggs, director of curatorial and manager of publications at the Neue Galerie. The show was conceived to convey the idea of the Gesamtkunstwerk, or “total work of art.”
Josef Hoffmann (1870-1956) Centerpiece, 1924
Execution: Wiener Werkstätte Brass Minneapolis
Institute of Art. The Modernism Collection,
gift of Norwest Bank Minnesota
Until September 25, 2017, the museum will exhibit works from Richard Gerstl, in the rst retrospective in the U.S. devoted to the work of this Austrian expressionist. Gerstl (1883-1908), was an extremely original artist whose psychologically-intense gure-paintings and landscapes constitute a radically unorthodox oeuvre that de ed the reigning concepts of style and beauty during his time, an in uential Austrian painter member of Vienna’s artistic avant-garde at the turn of the twentieth century.
The show, features approximately 55 works by Gerstl’s artistic contemporaries. And a special gallery is devoted to Gerstl’s relationship with Austrian composer Arnold Schönberg. His lack of critical acclaim during his lifetime, and the secrecy surrounding his dramatic suicide -age of 25- magni es the legend around this key artist from the Expressionist movement of n-de-siècle Vienna.
THE NEUE GALERIE CATALOGUE
A fully-illustrated catalogue, published by Prestel Verlag, accompanies the exhibition, featuring a major overview of of the Neue Galerie’s holdings of ne art and design from Germany and Austria.
Richard Gerstl (1883-1908)
Mathilde Schönberg, summer
1907 Tempera on canvas
Richard Gerstl (1883-1908)
Grinzing, spring 1906
Oil on canvas
Private Collection, Courtesy Galerie
St. Etienne, New York