The exhibition creates an opulent tableau that offers uniquely rich and complex insights into the fascination of Vienna circa 1900 and the atmosphere of this vibrant period. Comprising some 1,300 items displayed across three floors, this semi-permanent installation presents the splendour and wealth of the artistic and intellectual achievements of this era through masterpieces from the Leopold Museum and notable permanent loan works from Austrian and international collections.

On the occasion of his 150th birthday, the exhibition JOSEF HOFFMANN: Progress Through Beauty comprehensively documents for the first time the entire oeuvre of the architect, designer, teacher, and exhibition organizer Josef Hoffmann (1870-1956), one of the luminaries of Viennese Modernism and the international life reform movement. With his indefatigable design work and teaching, Hoffmann cultivated an exemplary model of modern lifestyles based on a construction and product culture that was both shaped by craft and artistically ambitious. The show presents a cross section of Hoffmann's revolutionary design and his most important buildings, including the Stoclet House in Brussels (1905-1911) and the Purkersdorf Sanatorium (1904-1905).

The Jugendstilforum in Bad Nauheim opens its doors to the public with an exhibition devoted to ceramics.

Among the everyday objects produced by the Jugendstil, ceramics were of particular importance, as they could be produced cheaply and in series. Many people could afford them, and so the new Jugendstil ideas of form and decoration spread, especially with this material, which is the focus of this first exhibition.

"Gaudí" is an exhibition organized by the National Art Museum of Catalonia and the Musée d'Orsay. It is a large-format presentation  that brings together more than 650 architectural objects, design and furniture, works of art, documentation, plans and photographs. Twenty years after the celebration of the Gaudí Year, this exhibition moves away from the clichés and proposes a complete review of Gaudí's career.

The exhibition has been exextended until 20 february 2022!

The last female portrait by Vienna's iconic painter, Gustav Klimt's Lady with Fan gazes seductively and with remarkable self-confidence into the distance. This vibrant painting is on show in Vienna again after more than a century. It will be presented with other examples of Klimt's last works in a special exhibition at the Upper Belvedere.

The Museum of Modernisme in Barcelona (MMBCN) is reopening its doors for the exhibition "Paris-Barcelona", a large show focusing on nine outstanding women in the artistic scene of the late 19th and early 20th centuries.

With more than 300 works, most of them pictorial, as well as sculptures, furniture and decorative arts on display, the exhibition offers a new vision of the relationship between the two capitals: Paris and Barcelona. The tour begins with models such as Madeleine de Boisguillaume, Stéphanie Nantas, Clo-clo, Júlia Peraire and Germaine Gargallo and concludes with the female vision of artists such as Suzanne Valadon, Georgette Agutte, Lucie Cousturier and Olga Sacharoff. It nonetheless attempts to create a dialogue between the models and muses of the day and the artists who immortalised them, such as Ramon Casas, Santiago Rusiñol, Toulouse-Lautrec or Alphonse Mucha.

The exhibition features works from the National Museum of Art of Catalonia, Cau Ferrat in Sitges, Víctor Balaguer Library-Museum, AMYC Foundation and other private collections.

The insllation has been organised to commemorate the 50th anniversary of the gallery, the cultural enterprise of the Pinós-Guirao family.

The presention is accompanied by a publication that reviews the presence of women in the artistic and cultural environment at the turn of the century. The articles highlight the lives of these women, who in most cases have been silenced or little explained.

The Mathildenhoehe Institute will celebrate the 150th birthday of Albin Müller (1871-1941) with the exhibition "Albin Müller: Architect, Designer and Teacher ". The show will emphasize Müller's professions as architect- designer and teacher in the years 1900 to 1914.

Muller's 150th birthday coincides with this year's recognition of Mathildenhoehe Darmstadt as a UNESCO World Heritage Site.

As a central source of inspiration, the Mathildenhoehe Darmstadt offered Müller unique opportunities to create buildings and spatial art from 1906 onwards. With a further focus on Magdeburg, the exhibition will highlight another city where the artist achieved great success as a teacher at the School of Arts from 1900 to 1906, and as a designer for various companies.

Albin Müller established a productive exchange with colleagues such as Fritz von Heider, as well as former members of the Darmstadt Artists' Colony: Peter Behrens and Paul Bürck. The strong links between the cities of Darmstadt and Magdeburg as German centres of the reform movement are manifested.

"Young Poland: An Arts and Crafts Movement (1890 - 1918)" is the first major exhibition to explore the decorative arts and architecture of Young Poland (Mloda Polska), an extraordinary cultural movement that flourished in response to Poland's invasion and occupation by foreign powers.

The presentation is organised in partnership with the National Museum in Kraków and the Polish Cultural Institute, London. Co-financed by the Polish Minister of Culture, National Heritage and Sport.

Mucha Trust Collection celebrates the first major U.S. tour in 20 years. The exhibition is featuring a vast array of posters, illustrations, ornamental objects, and rarely seen sculpture, photographs, and self-portraits. Additional works from the NCMA's collection highlight the American interpretation of the European aesthetics that influenced Mucha as well as his close friendship with French sculptor Auguste Rodin.

2 artists, 2 museums, 1 exhibition.

The exhibition proposes a new comparative view of the works of Rodin (1840-1917) and Picasso (1881-1973), who each had a profound and lasting impact on the art of their time and that of the generations to come. The exhibition does not aim to show what Picasso borrowed from Rodin, but rather to explore how elements of Rodin's oeuvre merged with periods in Picasso's artistic career.