1919 - 2014 · Austria
Galleries and Exhibitions
Several galleries around the world represent and exhibit Maria Lassnig's work, including galleries in countries like the United Kingdom, the United States, and Germany. Galleries exhibiting Maria Lassnig's work include Hauser & Wirth London | Savile Row in the United Kingdom, as well as Petzel | W 18th Street and Hauser & Wirth | East 69th Street in the United States. Maria Lassnig's work has most recently been exhibited at Drawing Room in London (22 November 2018 until 03 February 2019) with the exhibition Close: Drawn Portraits. Maria Lassnig's work has also been exhibited at other exhibitions listed on Artland include the exhibitions; Studio d'arte Cannaviello 1968/2018 Cinquant'anni di attività (27 September 2018 - 27 November 2018) at Studio d'Arte Cannaviello in Milan and MOI, NON-MOI (05 June 2018 - 27 July 2018) at Galerija VARTAI in Vilnius. Maria Lassnig's first listed exhibition in Artland's database was called MOI, NON-MOI and took place at Galerija VARTAI in Vilnius, Lithuania from the 05 June 2018 to 27 July 2018.
Historical Context of Austria
At the turn of the 20th century, Austria was among the most pioneering and culturally progressive countries. It fostered important developments in the Arts and Crafts Movement and Art Nouveau, called Jugendstil in German, from around 1895 to 1910, forming an important bridge between the nineteenth century and the onset of modernism. This kind of progressive, avant-garde thinking led directly into the Viennese Secession movement, one of the key art and design movements of the early twentieth century. It was formed in 1897 by a group of Austrian painters, graphic artists, sculptors and architects, including Josef Hoffman Koloman Moser, Otto Wagner, and Gustave Klimt, when artists resigned, en masse, from the Association of Austrian Artists in protest against its support for more traditional artistic styles. and an exchange of ideas with artists outside Austria, disputing artistic nationalism, renewing the decorative arts and, most crucially, creating a "total art (Gesamtkunstwerk)" that unified painting, architecture, and the decorative arts. The group was strongly opposed to the dominance of the official Vienna Academy of the Arts (the Vienna Künstlerhaus), and official art salons, with their traditional orientation toward Historicism. Ultimately the group broke apart, the decorative artists choosing instead to focus on a new guild called the Wiener Werkstatte. In the late 1930s, Austria was annexed by the growing force of Hitler's Nazi Germany, an act known as the Anschluss, and which organised Austria into a province of a greater German Reich. During this period, like in Germany, the Avant-garde was named 'Entartete Kunst', translating to 'degenerate art', and was oppressed with only 'official' social realist art being approved, or even allowed by the state. Consequently, there was a noticeable exodus of creative talent who decided that their interests would be best served by moving to London or New York. In the 20th century, central Austrian artists included Josef Hoffman, Gustav Klimt, Egon Schiele, Herbert Bayer (the typography and graphic design pioneer of the Bauhaus), architect and designer Josef Frank, Oskar Kokoschka, Alfred Kubin, Friedensreich Hundertwasser, Maria Lassnig, Hermann Nitsch, Arnulf Rainer, Franz West and Erwin Wurm.
Further Biographical Context for Maria Lassnig
Maria Lassnig was born in 1919 and was largely inspired creatively by the 1930s growing up. During the 1930s, many political ideologies such as Marxist Socialism, Capitalist Democracy, and the Totalitarianism of both Communism and Fascism were engaged in struggles for dominance, and epitomised the political atmosphere of the era. In the Soviet Union, Stalin’s government was in dire need of urgent funds to implement the industrialisation of the Five Year Plan. In a secret bid to acquire funds, the government proposed to sell off assets from the State Hermitage Museum in Leningrad (St. Petersburg), which included some two hundred and fifty paintings by the Old Masters, a number of which had been deemed irreplaceable. Many of the pieces came to be owned by Andrew Mellon, via the New York based art dealing company, Knoedler.