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

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 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 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.

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.

The exhibition invites visitors to reflect on the relationship between man and the earth, exploring the historical link between the countryside and the market from the 19th century to the present day.

With works by artists such as Ramon Casas, Joaquim Mir, Alphonse Mucha, Hermen Anglada Camarasa, Modest Urgell and Joaquim Vayreda, among others, the presentation allows us to discover how artists have represented the fields and markets over the years.

The exhibition "Elves by Friedrich Wilhelm Kleukens" shows seven large-format paintings of elfish winged creatures painted over 100 years ago by Kleukens for the waiting room of Bathhouse Number Two in Bad Nauheim's Sprudelhof. These paintings can be seen close up in all their detail until October 2024, when they will be returned to their original place in the bathhouse, which will again serve as part of the spa facilities.