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.

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.

This major exhibition offers a unique insight into Rodin's processes, highlighting the crucial role of plaster in his practice. The exhibition evokes the informal atmosphere of the studio, where you will discover lesser-known pieces and new aspects of his most iconic works.

This exhibition presents a wide and varied selection of paintings by Anglada-Camarasa in order to present his oeuvre from a personal, romantic perspective that recalls the layout of the Museum in Pollença. It provides a unique opportunity to learn more about the work of Anglada-Camarasa through a different exhibition approach from how the work has been shown in CaixaForum until now.

This the exhibition aims to raise awareness of women painters in the late nineteenth century who dedicated their career to painting the flowers abundant in Catalan Modernisme yet who are so little known. We refer to the women artists who participated in the women's exhibitions at Barcelona's Sala Parés in the years 1896, 1897, 1899 and 1900.

In 1896, Sala Parés organised the first exclusively female show, as had been held in Chicago shortly beforehand. A wide array of women artists took part with the foremost aim of becoming known to the public.

These women's shows at Sala Parés became the turning point from which each artist could choose and pursue her career, a starting point for "normalising" these painters' artistic professionalism.

The most recurrent theme in such shows was flowers, which even merited a specific treatment for the still life. This was due to the fact that the women who enrolled at the School of Fine Arts, La Llotja, were prohibited from attending classes with nudes, hindering them from being able to choose a professional career in figurative or portrait painting.

These artists took the opportunity that society offered them and "used" flowers as a manifesto for their art. Gifted in composition and skilled in colour, some of them achieved notable results. In contrast, others pursued more irregular careers, while a large number disappeared from the art scene after marriage.

Curated by Art Historian, Consol Oltra, the show presents these women's works, some of which were exhibited at Sala Parés over a century ago.

Louis Comfort Tiffany (1848-1933) employed many designers, but only a handful of these individuals were selected to work in the enamel department, which Tiffany Studios employees somewhat enviously referred to as "little Arcadia." The exhibition displays around a dozen watercolor designs by these Tiffany artisans.

Palau Güell is staging an exhibition dedicated to the painter Aleix Clapés until 30 May 2021. This Barcelona artist (1846-1920) was Eusebi Güell and Antoni Gaudí's inseparable travelling companion and favourite painter for many years. An artist of amazing expressive power, he was also the painter par excellence of the Palau Güell and the only painter involved in the original decoration for the building, both inside and out.

The exhibition presents one of the most outstanding works by Aleix Clapés that was thought to have disappeared more than a century ago. It is titled El peó (The Labourer, ca. 1886) and was discovered during the preparation of this exhibition. As explained by art historians Carlos Alejandro Lupercio and Josep Casamartina, there is a family legend according to which Leon Trotsky bought the work in Paris in 1920 and sent it to the Kremlin. Today it is known, however, that the painting never left Barcelona.

On the occasion of the 70th anniversary of Otto Prutscher's death, the exhibition highlights the importance of his work for the development of Viennese Modernism. The show is dedicated to Josef Hoffmann's (1870-1956) in association with Otto Prutscher (1880-1949). Like Hoffmann an architect and designer, Prutscher was master of all materials used in the applied arts. He was an exhibition designer, a teacher, and a member of the most important reform movements in art from the Secession to the Wiener Werkstätte and the Werkbund.