Exhibit Information

Galerie St. Etienne

Address 24 West 57th Street
New York, NY 10019

Click here for quick directions
Phone Number 212-245-6734

Website http://www.gseart.com


Opening: 10/12/2010 - Closing: 12/30/2010

The compelling new show at Galerie St. Etienne could also be titled: JEWISH ARTISTOCRACY IN EXILE: The Lost World of Marie-Louise Motesiczky.

This is the first American exhibition of paintings by the artist, who was a student of Max Beckmann & a Lover of the Nobel-Laureate Elias Canetti.

Motesiczky was a member of a prominent Aristocratic-Jewish-Clan that once formed the Financial & Cultural Backbone of the Austro-Hungarian-Empire. She was driven into exile by the Nazi-Anschluss in 1938.

Always reluctant to sell her work, Motesiczky bequeathed her entire Artistic-Legacy to the Marielouise von Motesiczky Charitable-Trust, which owns the 66 paintings & drawings in the Galerie St. Etienne exhibition. This astounding show also includes 10 works by Beckmann.

MARIE-LOUISE MOTESICZKY: Paradise Lost & Found is a document of loss & renewal. Early works reflect Motesiczky’s aristocratic life in Prewar-Austria. Kröpfelsteig, Hinterbrühl [1927] shows a street near the family’s immense Country-Estate.

In Henriette Motesiczky I [1929], the artist’s Mother, a talented Poet & Society-Hostess, reclines in bed, where she was wont to spend days at a time. Portrait of Karl Motesiczky [1928] depicts the artist’s Brother—who would die in Auschwitz—reading Karl Marx’s Das Kapital.

Motesiczky—a statuesque-beauty who had many lovers before Elias Canetti—displays a characteristic combination of elegance & vulnerability in Self-Portrait with Straw Hat [1937], Self-Portrait in Black [1959] & her Last Self-Portrait [1993].

Much of the artist’s later work, such as Conversation in the Library—a portrait of Canetti with his colleague, Franz Steiner—alludes to the Intellectual-Life that she, her mother, & other Central-European-Emigrés attempted to recreate in England after 1938.

Distant Memories haunt the painting The Old Song [1959], in which a Refugee-Neighbor serenades Henriette Motesiczky, whose Bed is both a link to a Past-Life of Decadent-Repose & an Emblem of Frailty.

It is generally agreed that the artist’s Crowning-Achievement is the Series of Portraits she did of her Mother, which span the five decades from 1929 until Henriette’s death in 1978.

A Dreamlike-Quality characterizes many of these works, such as Morning in the Garden [1943], which shows mother & daughter playing with a Huge Golden Ball, or The Greenhouse [1979], a posthumous-tribute in which Henriette makes one last visit to her garden, accompanied by the Ghosts of her Dogs.

The Garden & its Flowers—depicted in numerous Still-Lifes—were potent-symbols for Motesiczky, representing both the Beauty & Transience of Daily-Existence & the ability of Art to Transcend-Death.

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