The Neue Galerie New York has extended the exhibition, Vienna 1900: Style and Identity, for another six weeks .  The exhibit includes more than 150 paintings, sculpture, works on paper, fashion, and decorative art objects. Among the highlights are the paintings Hope II (Vision), 1907-08 by Gustav Klimt, Lotte Franzos, 1909, by Oskar Kokoschka, and Laughing Self-Portrait, 1908, by Richard Gerstl, and key decorative artworks by Otto Wagner, Josef Hoffmann, Koloman Moser, and Adolf Loos.

Organized by Jill Lloyd, an independent scholar and curator, and Christian Witt-Dörring, adjunct curator of decorative arts at the Neue Galerie, the exhibition fills all the exhibition spaces of this exquisit museum. The Neue Galerie is its sole venue, where it will be on view through August 8th.

"With this exhibition, and really our entire program at the Neue Galerie, we are bringing to life a time and a place of incredible richness," said Ronald S. Lauder, President of the Neue Galerie. "Vienna 1900 — its intellectual strength, its sensuality, and its emotional directness — is at the core of who we are and what we do."

"As a native Viennese myself, I confess to being forever fascinated by the city and its extraordinary range of cultural expressions," said Renée Price, director of the Neue Galerie. "It is my privilege to return to Vienna, and to enrich the public’s understanding with this exhibition."

At the end of the nineteenth century, traditional means of defining personal identity — namely, on the basis of gender, culture, religion, and nationality — were fundamentally challenged. As the conventions of the past hundred years were undermined by developments in the social, political, and philosophical realms, the very idea of the self was radically redefined. The aim of this exhibition is to show a common thread running through the fine and decorative arts in turn-of-the-century Vienna: the evolution of the concept of modern individual identity. In painting, the decorative arts, and music, this was borne out in a dialogue between surface ornamentation and inner structure and a search for a specifically modern, Viennese sense of self.

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