This exhibition marking the 100th anniversary of the death of Gustav Klimt, who also passed away in 1918, honors THE protagonist of Viennese Modernism par excellence, who saw the Secession as a venue for the fight for spiritual and artistic modern art. His highly contested, allegorical Faculty Paintings, which were destroyed during the last days of war in 1945, were seen as a paradigm shift and a credo of a new thematic and formal notion of the fin-de-siècle: spirit and matter, nature and art, as well as Eros and Thanatos constituted the program of his artistic oeuvre. The pictorial works of the avant-gardist Klimt further express a longing for beauty and sensuality. Along with works from the holdings of the Leopold Museum and the Leopold family's private collection, the presentation will feature exhibits from the Klimt Foundation, works given to the museum as a permanent loan by a Klimt descendant as well as select international loans from private and institutional collections. Thus, the exhibition retraces Klimt's artistic evolution from an exponent of late Historicism towards one of the most eminent representatives of Viennese Jugendstil.

The presentation will include a selection of drawings, photographs, and sketches for objects ranging from windows to baptismal fonts, that reveal something of the creative processa t Tiffany?s firm.

This exhibition provides an intimate view of the innovator who built the artistic empire of Tiffany Studios, a man who found inspiration, for example, in farm scenes, children playing in the surf, and boats on the Hudson River.

105 years after the official inauguration of the Wolfers Frères jewellery store in 1912, visitors will once again be able to admire the shop in its original form. To do this, the Cinquantenaire museum has cleared a room of approximately the same shape and area as that originally foreseen by Victor Horta in the building in rue d?Arenberg in Brussels

The original rooms of the last studio of Gustav Klimt in the Feldmühlgasse, 11 in Hietzing, Vienna, were identified after scrupulous investigations and were restored to their historical condition - right down to the wall colours and surfaces.  The atelier revives the atmosphere and décor that must have prevailed in the studios from 1911 to 1918.  Furniture reconstruction in the waiting room and studios was carried out with reliance on photos by Moriz Nähr and available samples of furnishings (for example, carpets).  In other rooms of the atelier, various media - old newspapers, etc. - provide information about significant models and "clients" from this period of Klimt's creativity.

From 1911 until his death in 1918, Gustav Klimt painted some of his most important works in his studios in the Feldmühlgasse.  Though at that time it was a single-level cottage, in 1923 the owner renovated the house and turned it into a neo-Baroque villa.  That means, of course, that Klimt never saw the building as we see it today.  In spite of that, the house became known - by people in the neighborhood as well as by aficionados - as the "Klimt Villa."

It is the story of a shop unlike anything built nowadays. Over 100 years old, it is the last semi-industrial building designed by Victor Horta that is still in existence! During the first 70 years of its life, cloth and fabrics were sold there, as planned by Charles Waucquez.
Witness to the transformation of Brussels, in a district that is without doubt the one that had suffered most from 20th century progress, the shop closed in 1970, and thereafter experienced its most difficult years. Then new hopes, new projects appeared.
In 1984, the building was bought by the federal State, with the aim of establishing a museum devoted to comic strip.

Marlene Dumas is one of the most influential painters in contemporary art. She confronts and seduces us with her expressive figurative motifs. Taking on the role of curator for the first time, she presents us with Edvard Munch's art in dialogue with her own works.

The travelling exhibition "Modernisme and Flowers. From Nature to Architecture" focuses on how the decorative arts of Modernisme represented plants and flowers when used in construction. An exhibition is for the first time establishing a dialogue between the world of plants and Modernista architecture. The exhibition discourse has been divided into four areas. The first explains the creative process of artists when "capturing" the images of flowers. The second involves a journey through eight applied arts fields in architecture and their respective creation processes: ceramics, mosaics, ironwork, stonework, stucco, hydraulic mosaics, stained glass and plasterwork. The third offers an exhibition tour of flowers and plants that recreate a huge timeless garden. The exhibition concludes by looking at the difficulty of preserving the applied arts in construction.

The exhibition curators are Fatima López and Marta Saliné, both PhDs in Art History and members of the GRACMON research group at the University of Barcelona.

The exhibition "Toulouse-Lautrec and the Spirit of Montmartre" focuses on the artist's career during his time in Montmartre. A period in his life that he shared with Bohemian and Avant-Garde inspired artists and one that reflects a key moment in the development of modern art.