The exhibition features not only her major works but also paintings from her closest mentors and colleagues, illustrating the mutual influences between them and her evolution from Impressionism to the New Objectivity of the 1920s. Koller-Pinell was one of the few women artists with a leading presence in Viennese Modernism.

The show will include approximately 200 pieces of jewelry and objects collected by Chicagoans, many never displayed before in public. Exhibition highlights include a 19th century jeweled monstrance, three magnificent tiaras, jewelry renderings by René Lalique and by Anne Howe Geyer for Mauboisson, a large collection of medals of the French kings, the Cliff Dweller's Club famous punch bowl by Robert Jarvie, and much more.

This is the most comprehensive exhibition of Mucha's work ever seen in Australia, and the first touring exhibition to show some of the finest treasures of the Mucha Family Collection one last time in museums around the world. Following this tour, these artworks will find their long-term home alongside the Slavic Epic in the new space in the centre of Prague, which will open in 2028.

Realised in close cooperation with the Mucha Foundation, Prague, "Alphonse Mucha: Spirit of Art Nouveau" brings together Mucha's illustrations, jewellery, interior decoration, photographs and more, the exhibition reveals an artist and designer whose powerful influence remains with us today. Within this sweeping show, visitors will encounter an immersive digital experience of Mucha's late great painting cycle, the Slav Epic, in a journey that helps uncover the artist behind the famous images

The installation is accompanied by a full-colour catalogue, richly illustrated with over 200 images.

The Musée d'Orsay is showing "Around the 1900 Olympic Games: Sport and Ideal".  This is a good opportunity to experience the Olympic spirit from its artistic side.

Orsay train station was built to welcome the 50 million visitors who flocked to the 1900 World's Fair and the Olympic Games that were being held alongside it. This multidisciplinary exhibition pays heritage to that legacy.

It was in 1900 that women were invited for the first time to take part in the Olympic Games, a fact that pays tribute to Maurice Denis' monumental work Jeu de volant (1900), a forerunner of modern badminton, which can be seen in this exhibition.

This exhibition is the last opportunity to see the seven large-format paintings of elf-like winged creatures that Friedrich Wilhelm Kleukens painted more than 100 years ago for the waiting room of Bathhouse 2 in the Sprudelhof in Bad Nauheim.
At the end of the exhibition, the elves will return to their original location and will only be on display during a visit to the sauna, as the waiting room of Bathhouse 2 will then be converted into a relaxation room.

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.

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 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).

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.

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 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.