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.

Gabriele Münter (1877-1962) was one of the founders of The Blue Rider (Der Blaue Reiter), the legendary group of Expressionist artists based in Munich.
The exhibition, which includes more than one hundred paintings, drawings, prints and photographs, aims to reveal an artist who rebelled against the limits imposed on women of her day and who succeeded in becoming one of the most notable figures of German Expressionism in the early 20th century.

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 exhibition takes visitors on an artistic journey that links two emblematic cities, combining the bohemian light of Paris with the vibrant colours of Barcelona. The exhibition pays tribute to the talent of great artists such as Ramón Casas, Santiago Rusiñol, Juan Cardona, Javier Gosé, Alphonse Mucha, Georges de Feure, Joaquín Torres García, Isidro Nonell... and many others, who captured the spirit and beauty of these two modernist capitals with a unique sensitivity. Each work on display is a window to a world of details, textures and emotions that will not leave you indifferent.

The central theme of the inaugural exhibition of this art centre is flowers in the style of the Dutch Art Nouveau. With masterpieces and surprising objects from the collection of the Drents Museum, this show takes the visitor on a journey into the floral imagination around 1900.

The show includes works by Chris Lebeau, Julie de Graag, Simon Moulijn, Johanna van Eijbergen, Carel Adolphe Lion Cachet, Ruud van Empel and Saskia Boelsums.

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 exhibition reappraises the work of Art Nouveau pioneer Alphonse Mucha (b. 1860, Ivančice, Moravia, Austrian Empire; d. 1939, Prague, Czechoslovakia) and explores his impact on graphic art since the 1960s. This exhibition provides an opportunity to survey the development of Mucha's style, and to explore how his art was rediscovered by later generations of artists. Mucha was a key influence on Psychedelic Art of the 1960s-1970s, as well as on a wide range of visual culture from the late 20th century to today, exemplified by American comics, Japanese manga, and street murals.

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.

Palazzo Bonaparte presents "Munch: The Inner Cry", a major retrospective exhibition, with 100 works from the Munch Museum in Oslo dedicated to Edvard Munch.

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

The exhibition brings together a hundred objects that are characteristic of Art Nouveau in all its variants: from Spain (Modernisme), from France and Belgium (Art Nouveau), from Germany (Jugendstil), and from Austria (Sezession). Two monographic rooms are also dedicated to the designers Josef Hoffman and Peter Behrens