The permanent exhibition at the Leopold Museum provides insight into the explosion of creativity as the Austro-Hungarian empire neared its disintegration in the late-19th and early-20th century.
- A chronology of Vienna modernism illustrated by masterpieces of art and design
- Special galleries dedicated to Schiele, Klimt, Gerstl, Kokoschka, Schoenberg, Hoffmann, Loos, Moser, and many more
- Includes a reconstruction of Klimt’s studio
- Fully reorganised in 2018/2019
- See also: Leopold museum tickets and info | Schiele locations | Klimt locations
As the very first room in the Leopold Museum’s permanent collection reminds us, Vienna around 1900 was a city of contrasts, where conservative aristocrats rubbed shoulders with progressive intellectuals.
A city of palaces and slums. A melting pot of nationalities and philosophies. A metropolis of some two million people at the cusp of momentous social, political, economic, scientific, and intellectual change.
In short, Vienna provided fertile ground for the emergence of a group of exceptional artists, architects and designers, ushering in a period of almost unparalleled creativity in European artistic and intellectual endeavour: Vienna modernism.
Three floors of the museum draw you through this period, with a strong emphasis on the personalities who left their mark on (art) history.
Each gallery has a focus, whether one or more themes, such as art in the first world war, or one or more artists, such as Egon Schiele.
It’s Schiele who gets the largest section, reflecting the Leopold Museum’s world-beating collection of his works. But he is not alone. There are Klimt’s galore, portraits by Gerstl, manuscripts by Schoenberg, tableware and furniture by Wagner, Loos, Moser, and Hoffmann. And much more.
The Vienna 1900 highlights
Although paintings dominate, furniture and fittings, tableware and glassware, and other items add a further dimension to the exhibition, both literally and figuratively.
The eclectic mix reflects the way various artistic movements escaped the confines of one medium or genre.
I’m not sure if you would consider it a history museum with art or an art museum with history. Or an art history museum. Make your own choice.
While summary texts introduce each theme or artist, the depth is in the exhibits, not the text (whose language sometimes goes way over the head of the casual visitor).
With over 40 paintings and almost 200 works on paper, the museum’s Egon Schiele collection is rightly considered world-leading.
While the works on paper are too vulnerable for regular display, numerous paintings grace the walls of the Egon Schiele rooms.
If you’re not averse to darker themes or nudity, some of the works certainly hold the attention of even the untrained eye.
- The one painting that sticks most in my memory is Seated Male Nude (self-portrait) with its glowing red eyes and brazen angularity.
Schiele was seemingly quite into self-portrayals and once you’ve done a round of the galleries you start to recognize his face or mannerisms in pictures that were not strictly self-portraits.
- Other paintings to look for include Transfiguration, an allegory on death, and the 1912 portrait of his model, muse and long-time companion Wally Neuzil (a piece that was stolen by the Nazis before it ended up – legitimately – in the Leopold collection).
The Leopold Museum has a remarkable number of Klimts and a large room dedicated to his genius, filled with his landscapes and other paintings.
- Chief among the highlights is a reconstruction of Klimt’s 1912 studio, complete with its unique “Malkästchen” for storing his painting utensils.
- Klimt’s 1910 Death and Life is perhaps the stand-out work among many.
- Early Klimt oil paintings from the 1880s offer just a hint of his future style and fascinate with their relative conventionality compared to later works like The Kiss.
- A small room dedicated to the Flöges highlights Emilie Flöge’s role as Klimt’s muse and adds a fashion element to the collection, reinforcing the broader nature of the changes associated with Vienna 1900.
- The Secession group of artists played a big role in Vienna at the turn of the century, and the giant 1902 staged photo of some of its members is fascinating.
Thanks to the particular aura they seem to project, two characters stand out from the group: Klimt and Koloman Moser. Coincidence?
- The work of the Wiener Werskstätte forms a beautifully-lit collection of colours and forms from the likes of Koloman Moser and Josef Hoffmann: tableware, jewellery, glassware and similar.
- The furniture of Moser, Hoffman, but also Wagner, Loos and others gives that extra dimension I spoke of earlier. This includes a complete bedroom of the daughter of an industrial magnate from 1902, featuring mainly original furniture with the odd reconstruction.
- Among many portraits by Arnold Schoenberg is a piece of sheet music from his piano piece op 11/2 from 1909, influenced by the death of Richard Gerstl
Gerstl and Schoenberg were close. At least until the former ran off with Schoenberg’s wife, Mathilde, and then committed suicide when she returned to her husband. The various works by both men on display achieve an additional poignancy in the context of the relationship between the two.
The above highlights merely skim the surface of what’s on offer. And when you’re done, you can experience another dose or two of Vienna modernism at the MAK and Belvedere museums. After all, as Klimt once said:
Whoever wants to know something about me, they should look attentively at my pictures and there seek to recognise what I am and what I want.