Interviews with Maria Lassnig

Hans Ulrich Obrist

New book release

Maria Lassnig and Hans Ulrich Obrist were friends since the 1990s. Whenever the curator travelled to Vienna, where the artist lived, he would visit her in her studio and be served apple strudel. While they conversed about current projects, art and stages in her life and development, he was allowed to have a tape recorder and a camera running.

Made between 1999 and 2012, these recordings are now being published for the first time in the form of a book.

They are accompanied by an audience discussion together with Robert Fleck that was held at the Musée des Beaux-Arts in Nantes at the beginning of the exhibition “Maria Lassnig” in 1999 and by the transcript of an interview filmed by Jacqueline Kaess-Farquet at Maria Lassnig’s solo show at the Serpentine Gallery in 2008.

“You have to jump into painting with both feet”.
Hans Ulrich Obrist: Interviews with Maria Lassnig

Edited by Hans Ulrich Obrist, Peter Pakesch and Hans Werner Poschauko for the Maria Lassnig Foundation
Contributions by Maria Lassnig, Hans Ulrich Obrist, Kirstin Breitenfellner and Robert Fleck
Verlag der Buchhandlung Walther und Franz König, Cologne 2022

204 pages, 161 illustrations (147 in colour)
German and English
20 x 27 cm, softcover
ISBN 978-3-7533-0166-2


“Maria Lassnig – Staying Alert”

Kunstmuseum Bonn

Like an emotional and artistic ordeal, the exhibition Maria Lassnig – Staying Alert at the Kunstmuseum Bonn, Germany, comprises a selection of works by the artist ranging from her early creations to one of the last large-format paintings of her oeuvre, a realistic self-portrait. The title’s ambivalent connotations of “not getting tired, not resting” but also of “staying mentally alert and curious” characterize not only Lassnig’s work, but also her quite distinctive personality.

With almost 40 works, the Kunstmuseum Bonn presents a significant selection of works by the artist, whose leitmotifs are the examination of herself, her perception in general and that of her body in particular, as well as the presence of the “other.” The exhibition displays the creative conflict of her thinking in individual exhibition spaces arranged according to subjects such as language vs. speechlessness or photography vs. painting.

The exhibition is accompanied by a catalogue (German/English, Wienand Verlag) with essays by Stephan Berg, Michael Hagner, Siri Hustvedt, and Stefanie Kreuzer.

Opening: February 9, 2022, 7pm
February 10 – May 8, 2022

“omelette papier”

Capitain Petzel, Berlin

From January 15 through March 5, 2022, Capitain Petzel, Berlin, is presenting the group exhibition omelette papier. The show brings together works by almost 20 artists who deal with the medium of paper in a variety of ways and explore the different possibilities and boundaries of the material. Maria Lassnig is represented with several (coloured) drawings from the 1980s to the 2000s.
Viewing Room

“Maria Lassnig & Cindy Sherman”

Hauser & Wirth St. Moritz

For the first time, a joint exhibition brings together the work of Maria Lassnig and the US artist Cindy Sherman (b. 1954) at Hauser & Wirth St. Moritz. Curated by Peter Pakesch, Chairman of the Maria Lassnig Foundation, the presentation explores the vital role that both artists, although more than a generation apart, played in the development of discussions around identity, gender, and the body in 20th and 21st century art.

“Maria Lassnig & Cindy Sherman” comprises paintings and an animated film created by Lassnig between 1971 – 2008 and photographic works by Sherman spanning series from her Untitled Film Stills to her History and Clown portraits. The works on view investigate both Lassnig and Sherman’s unique explorations of female identity, highlighting themes such as the mother, the body, the clown, and the couple.

Hauser & Wirth St. Moritz
9 December 2021 – 5 February 2022

“Paths to the Future. Female Artists of the Art Club”

State Gallery of Lower Austria

Sorry, this entry is only available in German.

“Maria Lassnig. The Klewan Collection”

Käthe Kollwitz Museum Köln

From October 1, 2021 to January 30, 2022, the Käthe Kollwitz Museum Cologne will be presenting around 80 oil paintings and works on paper from the Klewan Collection, which illuminate almost all of Maria Lassnig’s creative phases.

In 1981 Helmut Klewan showed his first Lassnig exhibition in his Munich gallery, Bilder der sechziger Jahre (Paintings from the Sixties), followed by several solo and group presentations until 1999. Selected works from Klewan’s collection were on view in 2019 in the Staatsgalerie Stuttgart and in 2020 in the Paula Modersohn-Becker Museum, Museen Böttcherstraße, Bremen.

Maria Lassnig Prize 2021

Atta Kwami (1956-2021)

It is with great sadness that we inform you of the passing of artist and Maria Lassnig prize-winner Atta Kwami. Our deepest condolences and best wishes go out to his family, friends and colleagues.

A painter, printmaker, independent art historian and curator, Atta Kwami was hugely influential in Ghana and abroad and has work in many major collections worldwide. We will continue to honor and remember his oeuvre in all ways possible.

Maria Lassnig Foundation, Oct 9, 2021

Oct 29, 2020

The Maria Lassnig Foundation and the Serpentine Galleries are delighted to announce that the 2021 Maria Lassnig Prize is awarded to UK-based Ghanaian artist Atta Kwami.

The Maria Lassnig Prize is awarded biennially to a mid-career artist in association with an international institutional partner. Atta Kwami is the third artist to be granted the Maria Lassnig Prize, following Cathy Wilkes, in partnership with MoMA PS1 (2017), and Sheela Gowda, in partnership with Lenbachhaus (2019).

The artist will receive a major grant of 50,000 euros and a project with Serpentine Galleries, the institutional partner for the 2021 Maria Lassnig Prize.  The Serpentine Galleries presented a solo exhibition of Lassnig’s work in 2008. Kwami was selected by a jury comprising the Serpentine Galleries, the Maria Lassnig Foundation, the former partnering institution Lenbachhaus and the artist Albert Oehlen. Atta Kwami’s project with Serpentine – a comprehensive monograph publication and a public art commission – will be launched in 2022.

Atta Kwami (b. Accra, 1956) is a painter, printmaker, art historian and independent curator based in Loughborough, UK. Kwami is known for paintings, murals and kiosk-sculptures that are conceived as expanded three-dimensional paintings, incorporating his signature use of colour and abstract painting style. His works play with the colour and form improvisations that are distinctive of Ghanaian architecture and African strip-woven textiles, especially kente, made famous by his culture the Ewe and Asante of Ghana. Kwami is part of the forthcoming Folkestone Triennial 2020 (postponed to 2021) and is designing a triptych of large stained-glass windows for the new Ghana National Cathedral in Accra designed by Sir David Adjaye OBE.

The Maria Lassnig Prize was originally envisioned by pioneering Austrian artist Maria Lassnig before her death in 2014 at the age of 94, at height of her artistic career. Having achieved recognition only later in life, she hoped to encourage the efforts of artists not yet familiar to the public. Each prize granted in her name carries an award of 50,000 euros and a project organised by a designated institution that has collaborated with the Foundation and a selection committee to choose a winner. In 2017, the inaugural year Cathy Wilkes was awarded the Prize accompanied by an exhibition at the institutional partner MoMA PS1, New York, in 2019 Sheela Gowda was awarded the Prize and exhibition at Städtische Galerie im Lenbachhaus und Kunstbau München.

Atta Kwami, Loughborough, Autumn 2020: ‘I am proud to be associated with Maria Lassnig’s legacy. Her late recognition requires us to look again at so many artists whose life work has been overlooked or undervalued. Her formidable and wide-ranging body of work shows that she was an individual who pushed herself to her limits, without the critical recognition to guide her on. The Maria Lassnig Prize 2021 is completely unexpected. I am very happy it has come at this stage of my life. I shall always be humbly grateful for all the people who have supported me; my mother, my wife, my galleries and my friends both inside and outside Ghana. I am glad for myself and for Ghana.’

Hans Ulrich Obrist, Artistic Director, Serpentine Galleries: ‘We are so pleased to collaborate with the Lassnig Foundation who have chosen the Serpentine as the partner institution for the Maria Lassnig Prize 2021. The ethos of the Prize resonates strongly with the Serpentine’s core programming in working with late career artists who deserve wider recognition. This is also a welcome opportunity to celebrate the close friendship we had with Maria Lassnig, and to remember her landmark exhibition at the Serpentine Galleries in 2008, her first in the UK. We warmly congratulate Atta Kwami as the recipient of the next Maria Lassnig Prize who, like Lassnig, is an artist with decades of pioneering work. Kwami’s painting traverses many different forms from canvases to sculptures and structures, and he is an influential art historian and advocate of Ghanaian art. It will be a privilege to work closely with him over the next 18 months on his first major monograph and to develop a public art project. The role of art in public spaces has become increasingly important for the Serpentine as a way to connect differently with audiences during socially distanced times and further our belief in art accessible for all.’

Peter Pakesch, Chairman of the Board of the Maria Lassnig Foundation: ‘The aim of the Maria Lassnig Prize is to honour an important artistic position that should be seen in a broader context. It is always exciting to meet the jury and take an amazing tour d’horizon through oeuvres that have not yet been celebrated in major museums and the mainstream artworld. After many presentations and discussions the big question for the jury arises: which artist should have the opportunity to share their work with new audiences and would benefit from the challenge of a new commission at this stage of their career? On this occasion, painting, a medium close to Maria Lassnig, took centre stage. Atta Kwami is a highly prolific artist, whose core practice lies in expanded notions of painting. In a unique way his work is both based in the visual world of his native Ghana and in reflections on modernism and its universality.’

The jury for the Maria Lassnig Prize 2021:
Melissa Blanchflower, Curator Exhibitions and Public Art, Serpentine Galleries
Rebecca Lewin, Curator, Exhibitions and Design, Serpentine Galleries
Matthias Mühling, Director of Lenbachhaus, Munich and Member of the Board of the Maria Lassnig Foundation
Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries, London and Member of the Advisory Board of the Maria Lassnig Foundation
Albert Oehlen, Artist
Peter Pakesch, Chairman of the Board of the Maria Lassnig Foundation

Early years in Carinthia
Studies in Vienna
Beginnings in Klagenfurt
New York
Professorship in Vienna
Drastic Pictures
Be aware!
Maria Lassnig
Maria Lassnig (1919-2014) is regarded as one of the most important artists of the present day. Over the course of her remarkable career, she created a substantial body of work in the fields of painting and graphics alongside her excursions into (animated) film and sculpture. Lassnig conducted a focused dialogue with her art, which always constituted the pivotal strand of her life.

The key notion which came to characterise Lassnig’s work was above all the concept of Körpergefühl or body awareness:
by introspectively discovering the true nature of her own condition, she expressed physical sensations through the use of artistic media. Numerous self-portraits offer evidence of the form of self-analysis to which the highly sensitive artist constantly subjected herself. Since Lassnig has left her mark on a number of artistic developments, she is regarded as one of the founders of art informel in Austria and as a pioneer of female emancipation in a world of art dominated by men. Her visionary work has had a great influence on subsequent generations of artists.

Download Maria Lassnig’s biography (PDF):
Short biography
Awards and exhibitions

Solo exhibitions are called Maria Lassnig unless otherwise indicated. Subtitles of solo exhibitions are also provided. The group exhibitions as listed here are merely a selection.

Early years in Carinthia
Click below
to choose

Maria Lassnig was born
the daughter of Mathilde
Gregorz in the little village
of Garzern near Kappel am
Krappfeld in Carinthia,
Austria on 8 September 1919.
It wasn’t until she
had already become an adult
that she first met her
actual father. Until the age
of six she was raised by her
grandmother – her mother’s job
meant that she had no time
to look after her.

Maria with her mother, 1920
Maria Lassnig Foundation Archive
Maria with her mother, 1923
Maria Lassnig Foundation Archive

After her mother married the
baker Jakob Lassnig, the
family moved to Klagenfurt in
1925. It was here that
Lassnig attended the Ursuline
convent school where she
took her Austrian
school leaving examination.
Her artistic skills
emerged during this time.

Bildnis der Tochter des Herodes, 1929
after Carlo Dolci, Herodias’ Daughter, 17th century
© Maria Lassnig Foundation
Photo: Roland Krauss
Maria Lassnig, 1929
Maria Lassnig Foundation Archive
Untitled [woman with fur collar], early 1930s
© Maria Lassnig Foundation
Photo: Roland Krauss
Rembrandt, 1931
after Rembrandt Harmenszoon van Rijn, Small
Self-portrait, c. 1657
© Maria Lassnig Foundation
Photo: Roland Krauss
Untitled [self-portrait], 1932
© Maria Lassnig Foundation
Photo: Roland Krauss
Landschaft, 1932
© Maria Lassnig Foundation
Photo: Roland Krauss
Untitled [girl’s profile], 1933
© Maria Lassnig Foundation
Photo: Roland Krauss
Untitled [hand], 1933
© Maria Lassnig Foundation
Photo: Roland Krauss
Maria Lassnig, 1940
Maria Lassnig Foundation Archive
Maria Lassnig as primary school teacher
in the Metnitztal valley, Carinthia
Maria Lassnig Foundation Archive

Maria Lassnig completed
a one-year primary school
teacher training course and
taught at elementary schools
in the Carinthian Metnitztal,
where she drew portraits of
schoolchildren. Lassnig would
regularly revisit her native
Province during her long
stays in France and the
United States; she even
set up a summer studio
in Carinthia in the 1980s.

Studies in Vienna
Maria Lassnig during her studies
at the Academy, early 1940s
Maria Lassnig Foundation Archive
Maria Lassnig, early 1940s
Maria Lassnig Foundation Archive

Maria Lassnig was accepted
for a place at the Akademie
der bildenden Künste
(Academy of Fine Arts) in
Vienna during the winter
semester of 1940-41. She
initially studied painting
under Prof Wilhelm Dachauer
in his master class.

1. Selbstportrait, 1942
© Maria Lassnig Foundation
Selbstporträt, 1942
© Maria Lassnig Foundation
Photo: Roland Krauss
Großvater Winter, 1942/43
© Maria Lassnig Foundation
Photo: Roland Krauss
Untitled [portrait of the artist’s mother], 1943
© Maria Lassnig Foundation
Photo: Roland Krauss
Louis und Mutti, 1943
© Maria Lassnig Foundation
Photo: Roland Krauss
Bauernmädchen, 1943
© Maria Lassnig Foundation
Burggartentor, 1943
© Maria Lassnig Foundation
Mädchen mit blauer Mütze, 1943/44
© Maria Lassnig Foundation

Due to artistic differences
with Prof Dachauer over
Lassnig’s idea of “vertical,
absolute colour vision”,
she was expelled from
his class in 1943.

paint, to
perform the
sheer act
Die Eltern im Bett / Mutti und Vati, 1955
© Maria Lassnig Foundation
Photo: Roland Krauss
Selbstporträt, 1944
© Maria Lassnig Foundation
Photo: Roland Krauss
Maria Lassnig, ca. 1944
Maria Lassnig Foundation Archive

Lassnig continued her studies
under Prof Ferdinand Andri
and under Prof Herbert Boeckl
in his evening nude
painting classes, which gave
her artistic inspiration.
Lassnig graduated from the
Academy in January 1945.

Beginnings in Klagenfurt
Untitled [self-portrait with Frank Philips], c. 1945
© Maria Lassnig Foundation
Photo: Roland Krauss
Untitled [portrait of the artist’s mother], 1945
© Maria Lassnig Foundation
Photo: Roland Krauss
Familie - Ich, Mutti, Vater, 1945
© Maria Lassnig Foundation
Photo: Roland Krauss
Selbstporträt expressiv, 1945
© Maria Lassnig Foundation
Porträt des Sergeanten (Frank Philips), 1945
© Maria Lassnig Foundation

In 1945 Maria Lassnig returned to
Klagenfurt where her studio became
a meeting place of artists and
writers such as Michael Guttenbrunner,
Arnold Clementschitsch, Max Hölzer
and Arnold Wande.

Guttenbrunner als Akt / Aktstudie M. G., 1946
© Maria Lassnig Foundation
Launsdorf, Kärnten, 1947
© Maria Lassnig Foundation

She first met Arnulf Rainer
(ten years her junior) in
Carinthia in 1947. At this time,
influences of Kärntner Kolorismus
(or Carinthian colourism, as
represented by Arnold
Clementschitsch, Herbert Boeckl,
Anton Kolig and Franz Wiegele)
became noticeable in Lassnig’s
work. She was chiefly painting
expressive portraits, nude studies
and interiors as well as depictions
of still life and animals.

Porträt Cousine Lioba / Meine Cousine, 1948
© Maria Lassnig Foundation
Porträt A. W. (Arnold Wande), 1948
© Maria Lassnig Foundation
Die Malerin, 1948
© Maria Lassnig Foundation
Photo: Roland Krauss
Der goldene Mittelweg, 1948
© Maria Lassnig Foundation
Photo: Roland Krauss
Selbstporträt, als Zitrone, 1949
© Maria Lassnig Foundation
Photo: Roland Krauss
Akt (Liegender) / Liegender Akt (Rainer), 1948/49
© Maria Lassnig Foundation
Maria Lassnig in her studio, Heiligengeistplatz, Klagenfurt, 1948/49
Photo: Willi E. Prugger
Maria Lassnig Foundation Archive
Maria Lassnig in her studio with Arnulf Rainer, 1948/49
Maria Lassnig Foundation Archive
Sexselbstporträt, 1949
© Maria Lassnig Foundation
Photo: Roland Krauss
Der objektive Zufall / Portrait A. Rainer, 1949
© Maria Lassnig Foundation
Surreale Figuren, 1949
© Maria Lassnig Foundation
Surreale Figur, 1949
© Maria Lassnig Foundation

As Lassnig herself put it, her early years were
marked by experiences with various “isms”,
including artistic currents in surrealism and
of automatism from the late 1940s. Her first
“body awareness” drawings, which emerged in
1949, were referred to as introspective

Solo exhibition

Galerie Kleinmayr, Malerei und Graphik,

Exkremente des Kolibri, 1950
© Maria Lassnig Foundation
Photo: Roland Krauss
Instrument für ein Martyrium, 1950
© Maria Lassnig Foundation
Photo: Roland Krauss
Balken, 1950
© Maria Lassnig Foundation

Solo exhibition

Kosmos bookshop gallery, Vienna

rhythm of
should be like
gasps of breath
when life
chokes us.
Maria Lassnig, Klagenfurt, 1951
Photo: Willi E. Prugger
Maria Lassnig Foundation Archive
Untitled [monotype], 1951
© Maria Lassnig Foundation
Photo: Roland Krauss
Amorph, 1951
© Maria Lassnig Foundation
Photo: Roland Krauss
Körpergehäuse, 1951
© Maria Lassnig Foundation
Statische Meditation I, 1951
© Maria Lassnig Foundation

After moving to Vienna in 1951, Lassnig became
a member of the so-called Hundsgruppe
(Dog Pack), a short-lived spin-off of the
Art Club which included Arik Brauer, Ernst Fuchs,
Wolfgang Kudrnofsky, Arnulf Rainer, and others. Having
received a scholarship, she travelled to
Paris in the same year (with Arnulf
Rainer). Paul Celan arranged for her to
meet representatives of Surrealism such as
André Breton, Benjamin Péret and Toyen. On her
second trip to Paris, the Véhemences Confrontées
exhibition at the Nina Dausset gallery with its
works of art informel and abstract expressionism
made a lasting impression on her. Back in Austria,
Lassnig and Rainer organised the Junge unfigurative
(Young Non-figurative Painting) exhibition
at the Künstlerhaus Klagenfurt.

Group exhibitions

Das allgemeine Jugendkulturwerk,
Die Hundsgruppe, Vienna
Kunstverein für Kärnten, Junge unfigurative
, Künstlerhaus, Klagenfurt

Zwei Formen übereinander / Schwarze Flächenteilung, 1952
© Maria Lassnig Foundation
Photo: Roland Krauss
Blaue Form auf wenig rotem Grund, 1952/53
© Maria Lassnig Foundation
Maria Lassnig in her studio, Bräuhausgasse 49, Vienna, 1952
Photo: Mia Williams
Maria Lassnig Foundation Archive

Influenced by art informel,
she created the series Amorphe
Rhythmen, Statische Meditationen,
Der aktive Ekel, Flächenteilungen

(Amorphous Rhythms, Static Meditations,
Active Disgust, Field Divisions) and
monotypes between 1951 and 1953.
In 1952, Lassnig returned to Paris
and exhibited at Vienna’s Art Club
gallery which was located in the
Strohkoffer café underneath the Loos bar.

Solo exhibition

Artclubgalerie, Strohkoffer, Vienna

When you
in life,
art goes
Padhi Frieberger, 1954
© Maria Lassnig Foundation

She returned to the Vienna Academy in 1954 in
order to attend the master school of painting under
Albert Paris Gütersloh. Her explorations of
post-cubism were accompanied by her so-called
Kopfheiten (Headnesses) paintings in which she
assembled faces (as well as bodies) from colour

Lassnig maintained contacts with writers
from the circle of the Wiener Gruppe including H.
C. Artmann, Friedrich Achleitner, Gerhard Rühm,
Oswald Wiener, Friederike Mayröcker and Ernst
Jandl, and was involved in the Exil art club which
would meet at the Adebar jazz bar around 1954/55.

Solo exhibition

Zimmergalerie Franck, Ölbilder,
Frankfurt am Main

Group exhibition

Istituto d’Arte Paolo Toschi, Mostra dei giovani
artisti del Art-Club di Vienna
, Parma

Die Eltern im Bett / Mutti und Vati, 1955
© Maria Lassnig Foundation
Photo: Roland Krauss
Schwarzer Kopf des Vaters, 1956/57
© Maria Lassnig Foundation
Ossi W. schlafend, 1955
© Maria Lassnig Foundation
Photo: Roland Krauss
Selbstportrait, 1955
© Maria Lassnig Foundation
Blaues Selbstportrait, 1955/56
© Maria Lassnig Foundation
Maria Lassnig in her studio, 1955
Maria Lassnig Foundation Archive
Schwarzer Kopf, 1955
© Maria Lassnig Foundation
Photo: Roland Krauss

From 1956 she began to
develop closer contacts to
the art scene around
Monsignore Otto Mauer and
the Galerie nächst St. Stephan
(including Wolfgang Hollegha,
Josef Mikl, Markus Prachensky
and Arnulf Rainer).

Solo exhibition

Galerie Würthle, Vienna

Sitzende, Stehende, 1957
© Maria Lassnig Foundation
Selbstporträt, 1957
© Maria Lassnig Foundation
Abstrakte Figur, 1957
© Maria Lassnig Foundation
Maria Lassnig in her studio, Bräuhausgasse 49, Vienna, 1957
Photo: Heimo Kuchling
Maria Lassnig Foundation Archive
1. Phallusselbstportrait, 1958
© Maria Lassnig Foundation
Photo: Roland Krauss
Kopf von mir, 1958
© Maria Lassnig Foundation
Photo: Roland Krauss
Körpergefühl / Selbstporträt, 1958
© Maria Lassnig Foundation
Photo: © Museen für Neue Kunst - Städtische
Museen Freiburg, H.-P. Vieser
Maria Lassnig on study tour, Roman Forum, 1958
Photo: Maria Lassnig
Maria Lassnig Foundation Archive

A study tour led Lassnig to Italy and Greece
(Rome, Naples and Athens, etc.) in 1958. Towards
the end of the 1950s, she revisited art informel
and used watercolours or gouache to analyse body
sensations. This resulted in a sequence of
tachiste paintings which Lassnig went on to
develop still further after she moved to Paris
in 1961.

Selbstportrait, 1959
© Maria Lassnig Foundation
Photo: Roland Krauss

Group exhibition

Vienna Secession, aspekte
59. Festwochenausstellung
, Vienna

The picture
is secondary
(don’t look at
it while painting!)
Untitled, c. 1960
© Maria Lassnig Foundation
Untitled, c. 1960
© Maria Lassnig Foundation
Flyer accompanying the exhibition at Galerie St. Stephan, Vienna, 1960
Maria Lassnig Foundation Archive

Lassnig held four exhibitions at
the Galerie nächst St. Stephan
from 1960 to 1973.

Solo exhibition

Galerie nächst St. Stephan, Vienna

Group exhibitions

Arts Council Gallery, Austrian Painting
and Sculpture. 1900 to 1960
, London
galerie 59, Neue österreichische Kunst,

Grüne Figuration, 1961
© Maria Lassnig Foundation
Napoleon und Brigitte Bardot, 1961
© Maria Lassnig Foundation
Figur mit blauem Hals, 1961
© Maria Lassnig Foundation
Dicke Grüne, 1961
© Maria Lassnig Foundation
Maria Lassnig in her studio, Rue de Bagnolet 149, Paris, 1961
Maria Lassnig Foundation Archive
Maria Lassnig in her studio, Rue de Bagnolet 149, Paris, 1961
Photo: Maria Lassnig
Maria Lassnig Foundation Archive

With her move to Paris in 1961, Lassnig
released herself from stylistic constraints and
began painting large-scale “body awareness”
figurations (so-called Strichbilder, or Fine Line
Pictures) which pointed to the approach she would
adopt in her later work.

Solo exhibition

Landesmuseum Kärnten, Aquarelle, Klagenfurt
Galerie La Case d‘Art, Paris

Group exhibition

Internationale Malerei 1960-61, Deutsch-
Ordens-Schloss, Wolframs-Eschenbach/galerie 59,

No, glory
could never
provide adequate
for all
the suffering I
have endured
in life.
Krampus, 1962
© Maria Lassnig Foundation
Der mürrische Held, 1962/63
© Maria Lassnig Foundation
Maria Lassnig in her studio, Rue de Bagnolet 149, Paris, c. 1962
Maria Lassnig Foundation Archive

In the next few years, she developed narrative
paintings with one or more figures which borrowed
from technoid forms of science fiction. Body parts
blend with objects and become geometric figures,
sometimes set in absurdly caricatured scenes.
Monstrous, plastic self-portraits emerged alongside
this group of works.

Group exhibitions

Galerie Le Soleil dans la tête,
Jeune peinture autrichienne, Paris
Musée d’Art Moderne de la Ville de Paris,
Comparaisons. Peinture, sculpture, Paris
Galerie Creuze, Salle Balzac, Donner à voir 1
(selected by Jean-Jacques Lévêque), Paris

Selbstporträt als Tier, 1963
© Maria Lassnig Foundation
Photo: Roland Krauss
Maria Lassnig with her 1963 painting Sciencefiction
Maria Lassnig Foundation Archive

Group exhibition

Musée d’Art Moderne de la Ville
de Paris, Les Surindépendants, Paris


The death of her mother in
1964 plunged Lassnig into an
existential crisis. She began
painting so-called Beweinungsbilder
(Weeping Pictures) that express
her grief and her intense – though
ambivalent – relationship with
her mother.

Solo exhibitions

Galerie Wulfengasse 14, Ölbilder,
, Klagenfurt
Galerie nächst St. Stephan,
Ölbilder, Guachen, Paris, Vienna

Group exhibition

Galerij Magdalena Sothmann,
10 schilders en beeldhouwers
uit Oostenrijk
, Amsterdam
(in collaboration with Galerie
nächst St. Stephan, Vienna)

Vati und ich, 1965
© Maria Lassnig Foundation
Kind mit toter Mutter / Les tueurs (meurtriers) pleurent beaucoup /
Trauerndes Kind, 1965
© Maria Lassnig Foundation
Photo: Roland Krauss
Dressur, 1965
© Maria Lassnig Foundation

In Paris, Lassnig became friends with
the poet Paul Celan and his wife, the
graphic artist Gisèle Celan-Lestrange,
in addition to the artist Hans
Bischoffshausen. Further companions
during the Paris years were the
Hildebrands, a married couple who
ran an avant-garde gallery in
Klagenfurt and lent their support
to Lassnig.

Solo exhibition

Galerie La Case d‘Art, Paris

Mutter und Tochter, 1966
© Maria Lassnig Foundation
Vorschlag für eine Plastik, 1966/67
© Maria Lassnig Foundation
Photo: Neue Galerie Graz, Universalmuseum Joanneum

Solo exhibition

Galerie Würthle, Sentimentale Bilder aus Paris,

Group exhibitions

Institut Autrichien, Aquarelles et dessins
autrichiens des dernières années
, Paris
Wiener Festwochen, Engagierte Kunst.
Gesellschaftskritische Grafik seit Goya
Französischer Saal, Künstlerhaus, Vienna;
Kunsthaus der Stadt Graz, Graz; European
Forum, Alpbach; Neue Galerie der Stadt Linz, Linz

Frühstück mit Ohr, 1967
© Maria Lassnig Foundation
Die Krieger, 1967
© Maria Lassnig Foundation
Selbstporträt als Prophet, 1967
© Maria Lassnig Foundation
The sink, 1967-70
© Maria Lassnig Foundation
Photo: Roland Krauss
Graphik International exhibition poster, Galerie nächst St. Stephan, ca. 1967
Photo: H. G. Trenkwalder
Maria Lassnig, 1967-72
Maria Lassnig Foundation Archive

Solo exhibitions

Galerie Le Ranelagh, Paris
Galerie Heide Hildebrand, Klagenfurt

Group exhibitions

Musée d‘Art Moderne, Paris
Salon de Mai, Paris
Galerie nächst St. Stephan,
Graphik International, Vienna
Galerie Heide Hildebrand, Figures et histoires,


Group exhibitions

Salon de Mai, Paris/Havana
Galerie im Taxispalais, Innsbruck

New York
Be aware,
be aware,
be aware!
Herzselbstporträt im grünen Zimmer, 1968
© Maria Lassnig Foundation

In 1968, Lassnig moved to New York where she
lived and worked in various studios, first in
Queens, then on Avenue B in the East Village from
1969, and on Spring Street in SoHo from 1974 to 1978.

Her paintings once again switched direction.
On the one hand, Lassnig turned to external realism
and painted portraits (including commissioned
works) and still lifes, but combined these with
self-portraits based on Körpergefühl. The notion
of Körpergefühl (literally “body sensation”) was
reworked into body awareness to meet American
language expectations.

Pfingstselbstporträt, 1969
© Maria Lassnig Foundation
Maria Lassnig in her studio on Avenue B, ca. 1969
Maria Lassnig Foundation Archive
Maria Lassnig in the Lower East Village, ca. 1969
Maria Lassnig Foundation Archive

Group exhibitions

Künstler ohne Kunst. Surrealisten
ohne Surrealismus.
Surrealismus ohne Surrealisten
Galerie nächst St. Stephan,
Vienna; Galerie im
Taxispalais, Innsbruck
Intart, Ljubljana
Galerie Heide Hildebrand,
deux personnages. Maria
Lassnig und Gérard
, Klagenfurt

alter it
every week.
Selbstporträt als Amazone, 1970
© Maria Lassnig Foundation
Maria Lassnig at Galerie nächst St. Stephan, Vienna, 1970
Photo: Barbara Pflaum
Maria Lassnig Foundation Archive

In 1970, Lassnig attended an
animated film class at the School
of Visual Arts in New York. She
created several (animated) films
based on the template of body
awareness drawings, eight of which
were eventually released.

Solo exhibitions

Paintings, Graphics, Neue Galerie,
Landesmuseum Joanneum, Graz;
Galerie nächst St. Stephan, Vienna
Austrian Institute, Paintings, Graphics,
New York
Galerie Heide Hildebrand,
Siebdrucke, Klagenfurt

Group exhibition

Pratt Graphics Center, May 8, New York

Selbstporträt mit Stab, 1971
© Maria Lassnig Foundation
Frühling, 1971
© Maria Lassnig Foundation
Photo: Roland Krauss
Selbstportrait als Rasiermesser, 1971
© Maria Lassnig Foundation
Photo: Roland Krauss
Selbstporträt mit Regenschirm, 1971
© Maria Lassnig Foundation
Amerikanisches Stilleben mit Telefon, 1971/72
© Maria Lassnig Foundation

Group exhibitions

Museum des 20. Jahrhunderts,
Anfänge des Informel in Österreich 1949–1953.
Vorläufer und Zeitgenossen. M. Lassnig
O. Oberhuber A. Rainer TRRR
, Vienna
Galerie Heide Hildebrand, Salutationes,

Selbstportrait mit Silvia / Silvia Goldsmith und ich, 1972
© Maria Lassnig Foundation
Selbstporträt unter Plastik, 1972
© Maria Lassnig Foundation
Dreifaches Selbstporträt / New Self, 1972
© Maria Lassnig Foundation
Porträt des Flötisten, 1972
© Maria Lassnig Foundation


New York State Council Prize (for the animated film Selfportrait)

and pain
can be
with humour.
Selbstporträt als Indianergirl, 1973
© Maria Lassnig Foundation
Photo: Roland Krauss
Selbstporträt mit Schwimmgürtel, 1973
© Maria Lassnig Foundation
Weibliches und männliches Selbstportrait, 1973
© Maria Lassnig Foundation
Photo: Roland Krauss
The murder of ML IV. The dead body /
Tod, 1973
© Maria Lassnig Foundation
Photo: Roland Krauss

Solo exhibitions

Galerie nächst St. Stephan, Wie entsteht
ein Zeichentrickfilm
, Vienna
Galerie im Taxispalais, Animation, Innsbruck

Doppelselbstporträt mit Kamera, 1974
© Maria Lassnig Foundation
Photo: © Belvedere, Vienna
Isländisches Mädchen mit Affen, 1974
© Maria Lassnig Foundation
Photo: Roland Krauss
Selbstporträt als Filmmacher, 1974
© Maria Lassnig Foundation
Photo: Roland Krauss
Maria Lassnig in her loft, Avenue B, 1974
Photo: Maria Lassnig
Maria Lassnig Foundation Archive

In 1974, Maria Lassnig was a co-founder of
the Women/Artist/Filmmakers, Inc. in New York;
this association included feminist film-makers
and artists such as Martha Edelheit, Carolee
Schneemann, Silvianna Goldsmith as well as
Rosalind Schneider. In addition to her
explorations of cinema, Lassnig also experimented
with the silkscreen technique and worked on a
painting complex of (self-)portraits featuring
depictions of animals in the mid-1970s.

Solo exhibition

Green Mountain Gallery, Paintings, New York

Mit einem Tiger schlafen, 1975
© Maria Lassnig Foundation
Der Preisboxerhund, 1975
© Maria Lassnig Foundation
Maria Lassnig in her studio in Soho, 1975
Maria Lassnig Foundation Archive

Solo exhibition

Galerie Ariadne, Zeichnungen 1948-1950, Vienna

Group exhibitions

Galerie nächst St. Stephan, MAGNA.
Feminismus: Kunst und Kreativität

(curated by VALIE EXPORT), Vienna
Kulturhaus der Stadt Graz, Anfänge des
Informel in Österreich 1949–1953.
Lassnig Oberhuber Rainer
, Graz

Woman Laokoon, 1976
© Maria Lassnig Foundation
Photo: Neue Galerie Graz, Universalmuseum Joanneum
Women/Artist/Filmmakers, Inc., New York, 06 March 1976
Photo: Bob Parent (Courtesy Silvianna Goldsmith)
Women/Artist/Filmmakers, Inc. in Maria Lassnig’s studio, New York, 06 March 1976
F. l. t. r.: Martha Edelheit, Doris Chase, Carolee Schneemann, Maria Lassnig, Rosalind Schneider,
Silvianna Goldsmith, Nancy Kendall, Susan Brockman
Photo: Henry Edelheit M. D. (Courtesy Martha Edelheit)

Solo exhibitions

Gloria Cortella Gallery, New York
Galerie Wiener und Würthle, Berlin
Galerie Kalb, Vienna

Subway, 1977-87
© Maria Lassnig Foundation
Maria Lassnig in her studio in Soho, c. 1977
Maria Lassnig Foundation Archive

Solo exhibitions

Zeichnungen, Albertina, Vienna; Kunstverein
für Kärnten, Klagenfurt
Galerie Ursula Krinzinger, Zeichnungen
, Innsbruck


Award of the City of Vienna for Fine Art

Beim Sehen mit geschlossenen Augen..., 1978
© Maria Lassnig Foundation
Photo: Roland Krauss
10 Gesichtsgefühlsabdrücke, 1978
© Maria Lassnig Foundation
Photo: Roland Krauss

In 1978, Maria Lassnig received a scholarship
from the German Academic Exchange Service (DAAD)
and went for a year to Berlin where she moved
into a studio in the Grunewald. She began creating
more and more landscape drawings and watercolours
as well as graphic body awareness and perception
studies. Her approach drew heavily on cognitive
science and was based on an intensive dialogue
with the writer Oswald Wiener, who was living in
Berlin at the time. Wiener had been exploring this
issue since the start of the 1970s.

Solo exhibition

Haus am Lützowplatz, Berlin

Group exhibition

Vienna Secession, Secessionistinnen 1978,


Scholarship for the Berlin Artists'
Programme, German Academic Exchange Service (DAAD)

Der Indianer in Berlin, 1979
© Maria Lassnig Foundation
Woman Power, 1979
© Maria Lassnig Foundation
Photo: © Essl Collection,
Graphisches Atelier Neumann, Vienna
Untitled (New York), c. 1979
© Maria Lassnig Foundation
Photo: Roland Krauss

In 1979, Lassnig returned to New York
where she inhabited an apartment on First
Avenue with views across the whole of New York.

Solo exhibition

Galerie Heike Curtze, Vienna/Düsseldorf

Group exhibition

3rd Biennale of Sydney, European Dialogue, Sydney

Professorship in Vienna
Painting is
a primeval
Sprechzwang, 1980
© Maria Lassnig Foundation

In 1980, at the instigation of Federal
Minister Hertha Firnberg and university
vice-chancellor Oswald Oberhuber, Lassnig
was awarded a professorship – with a focus on
painting – at the Hochschule für Angewandte
Kunst (University of Applied Arts) in Vienna.
From 1980 to 1989, Lassnig held the master
class for design and experimental theory. Apart
from painting, she also focused her teaching on
animated film and set up a teaching studio
headed by Hubert Sielecki in 1982.

Having only just returned to Austria,
Lassnig and VALIE EXPORT exhibited
at the Austrian pavilion on the occasion of the
Venice Biennale in 1980.

In the early 1980s, Lassnig’s self-portraits
repeatedly explored issues of overload and
enforced estrangement. On her holidays to the
Mediterranean and the Middle East she painted
watercolours of landscapes and with mythological
content – a reference which Lassnig increasingly
used throughout the 1980s. In the mid-1980s, the
Innerhalb und außerhalb der Leinwand (Inside and
Outside the Canvas) cycle reflected on the
“picture-in-picture” issue. Lassnig also began
dealing more extensively with nature, with “rural

Solo exhibition

Gallery in the Vienna State Opera, Vienna

Group exhibitions

La Biennale di Venezia, Arti Visive '80,
Austrian pavilion (with VALIE EXPORT),
Aspekte der Zeichnung in Österreich 1960
bis 1980
, Kunsthalle Bremen, Bremen;
Kunstmuseum Düsseldorf, Düsseldorf;
Kunsthalle Tübingen, Tübingen;
Heidelberger Kunstverein, Heidelberg;
Neue Galerie der Stadt Linz, Linz

Ich trage die Verantwortung, 1981
© Maria Lassnig Foundation
Photo: Roland Krauss
Armes Tauberl, 1981
© Maria Lassnig Foundation

Solo exhibitions

Untersuchung zum Entstehen eines
, Galerie Heike
Curtze, Vienna; Kulturhaus der Stadt
Graz, Graz
Galerie Klewan, Bilder und Zeichnungen,

Group exhibitions

Museum des 20. Jahrhunderts,
Der Art Club in Österreich. Zeugen
und Zeugnisse eines Aufbruchs
, Vienna
Typisch Frau, Bonner Kunstverein, Bonn;
Galerie Magers, Bonn; Städtische
Galerie Regensburg, Regensburg

Rote Karyatide, 1982
© Maria Lassnig Foundation
Maria Lassnig in her studio, Maxingstraße, Vienna, 1982
Photo: Heimo Kuchling
Maria Lassnig Foundation Archive

Apart from painting, Lassnig
also focused her teaching on animated
film and set up a teaching studio
headed by Hubert Sielecki in 1982.

The artist took part in documenta 7,
Kassel, in 1982.

Solo exhibitions

Zeichnungen, Aquarelle, Gouachen,
, Mannheimer Kunstverein,
Mannheim; Kunstverein Hannover,
Hanover; Kunstverein München,
Munich; Museum Kunstpalast,
Düsseldorf; Galerie Haus am Waldsee,
Berlin; Neue Galerie am
Landesmuseum Joanneum, Graz

Group exhibitions

documenta 7, Kassel
Kunstmuseum Winterthur, Körper-
zeichen: Österreich
, Winterthur
Austrian Museum of
Applied Arts, Einblicke.
Die Professoren der Hochschule für
Angewandte Kunst in Wien
, Vienna
Spiegelbilder, Kunstverein Hannover,
Hanover; Wilhelm-Lehmbruck-
Museum, Duisburg; Haus am Waldsee,

Die Weissagerin, 1983
© Maria Lassnig Foundation
Photo: Roland Krauss
Traditionskette, 1983
© Maria Lassnig Foundation
Maria Lassnig in her studio, Maxingstraße, Vienna, June 1983
Photo: © Kurt-Michael Westermann / Maria Lassnig Foundation

Group exhibitions

Galerie Thaddaeus Ropac, Österreichische
Zeichnungen des 20. Jahrhunderts
, Salzburg
Galerie Heike Curtze, Kleinformatige neue
, Vienna
Galerie Klewan, Zwölf Österreicher, Munich

I am the
of the uncertain.
Tal der Königinnen, 1984
© Maria Lassnig Foundation
Innerhalb und außerhalb der Leinwand IV, 1984/85
© Maria Lassnig Foundation
Elfenbeinturmfräulein, 1984
© Maria Lassnig Foundation
Photo: Roland Krauss
Maria Lassnig’s class, Hochschule für angewandte Kunst (University of Applied Arts), Vienna, 1984
Photo: Hubert Sielecki

Group exhibitions

Galerie Hummel, Auflösungen.
Vorinformel und Informel in Wien
, Vienna
Kasseler Kunstverein, Aquarelle, Kassel
Galerie Elisabeth Kaufmann, Aquarelle, Zurich
Galleria Comunale d’Arte Moderna, Arte austriaca
, Bologna
Galerie Krinzinger/Forum für aktuelle Kunst,
Symbol Tier, Innsbruck
Galerie Heike Curtze, 1960-1980, Vienna

Atlas, 1985
© Maria Lassnig Foundation
Photo: © Essl Collection, Klosterneuburg/Vienna; Mischa Nawrata, Vienna
Das optische Zeitalter, 1985/86
© Maria Lassnig Foundation
Photo: Roland Krauss
Maria Lassnig in her studio, Maxingstraße, Vienna, June 1983
Photo: © Kurt-Michael Westermann / Maria Lassnig Foundation

The first major retrospective
exhibition of Maria Lassnig’s
paintings opened at the Museum
moderner Kunst (Museum of Modern
Art) in Vienna in 1985.

Solo exhibitions

Museum moderner Kunst/Museum
des 20. Jahrhunderts, Vienna;
Kunstmuseum Düsseldorf, Düsseldorf;
Kunsthalle Nürnberg, Nuremberg;
Kärntner Landesgalerie, Klagenfurt

Group exhibitions

Musée cantonal des Beaux Arts,
Selbstporträts, Lausanne
Le Avanguardie in Austria. Pittura del
dopoguerra da Kokoschka a Schmalix
Milan, Ferrara, Rome, Bolzano, Genoa
Museum des 20. Jahrhunderts, Kunst
mit Eigen-Sinn
, Vienna


Carinthian Regional Prize

Das Rehlein / Rehlein Tschernobyl, 1986
© Maria Lassnig Foundation
Maria Lassnig at the Hochschule für angewandte Kunst (University of Applied Arts), Vienna, c. 1986
Maria Lassnig Foundation Archive

Solo exhibitions

Studio d’Arte Cannaviello, Milan
Galerie Freiberger, Walter-
Zeichnungen, Aquarelle, Gouachen,

Group exhibitions

Vom Zeichnen. Aspekte der
Zeichnung 1960-1985
, Frankfurter
Kunstverein, Frankfurt; Kasseler
Kunstverein, Kassel; Museum
Modernder Kunst, Vienna
Vienna Secession, Zeichen und
Gesten. Informelle Tendenzen in
, Vienna
Galerie Klewan, Maria Lassnig und
Arnulf Rainer. Selbstdarstellungen
Galerie Krinzinger, Aug um Aug,

emerge in the
urge for renewal,
in a state
of fermentation.
Dualistisch, 1987
© Maria Lassnig Foundation
Photo: Roland Krauss
Bucolica, 1987
© Maria Lassnig Foundation
Transparentes Selbstporträt, 1987
© Maria Lassnig Foundation
Maria Lassnig in her studio, Maxingstraße, Vienna, June 1983
Photo: © Kurt-Michael Westermann / Maria Lassnig Foundation

Solo exhibitions

Galerie Thaddaeus Ropac, Zeichnungen
und Aquarelle 1957-1962, Zeichnungen 1986/87
Edition Hundertmark, Cologne
Galerie Reinhard Onnasch, Innerhalb
und außerhalb der Leinwand
, Berlin

Group exhibitions

Vienna Secession, Im Rahmen der Zeichnung,
im Lauf der Zeichnung
, Vienna
Neue Gesellschaft für Bildende Kunst/Akademie
der Bildenden Künste, Das verborgene Museum,
Zeichnungen der österreichischen Avantgarde,
Galerie im Taxispalais, Innsbruck; Palais Thurn
und Taxis, Bregenz; Bündner Kunsthaus, Chur;
Galerie Stampa, Basel; Städtische Kunst-
sammlungen, Ludwigshafen; Museum Schloss
Morsbroich, Leverkusen; Neue Galerie am Lan-
desmuseum Joanneum, Graz; Austrian Cultural
Forum, New York; Sammlung Kermer,

Harte und weiche Maschine / Kleine Sciencefiction, 1988
© Maria Lassnig Foundation

In 1988 she was awarded the Großer
Österreichischer Staatspreis (Grand
Austrian State Prize) – marking the
first time this distinction had been
conferred on a woman in the field of
fine arts.

Solo exhibitions

Galerie Ulysses, Vienna
Barbara Gross Galerie, Munich
Aquarelle, Kärntner Landesgalerie, Klagenfurt;
Graphische Sammlung Albertina, Vienna;
Salzburger Landessammlungen Rupertinum,

Group exhibitions

Neue Galerie am Landesmuseum Joanneum,
Alpen-Adria. Jenseits des Realismus. Figuration –
Abstraktion – Informel 1945-60
, Graz
Expressiv. Mitteleuropäische Kunst seit 1960,
Hirshhorn Museum and Sculpture Garden,
Washington, D.C.; Museum Moderner Kunst/
Museum des 20. Jahrhunderts, Vienna
7th Biennale of Sydney, From the Southern
Cross. A View of World Art c1940–1988
, Sydney


Grand Austrian State Prize (Fine Art)

Selbstporträt als Engel / Selbstporträt als Bischof, 1989
© Maria Lassnig Foundation

Solo exhibitions

Bilder der sechziger Jahre, Galerie Klewan,
Galerie Ulysses, New York
Mit dem Kopf durch die Wand. Neue Bilder,
Kunstmuseum Luzern, Lucerne; Neue Galerie am
Landesmuseum Joanneum, Graz; Kunstverein
in Hamburg, Hamburg; Vienna Secession, Vienna

Group exhibitions

Balkon mit Fächer. 25 Jahre Berliner Künstlerprogramm
des DAAD
Akademie der Künste, Berlin; DuMont Kunsthalle,
Cologne; Gemeentemuseum, Den Haag
Mücsarnok, Land in Sicht. Österreichische Kunst
im 20. Jahrhundert
, Budapest

Human sense
are by no
Einen Kuss der ganzen Welt / Tathata, 1990
© Maria Lassnig Foundation
Der Verstopfte, 1990
© Maria Lassnig Foundation

With her colour figurations Be-Ziehungen
(a play on words referring both to
relationships and drawings) and Malflüsse
(another pun, here literally rendered as
Paint Flows) in the early 1990s, Lassnig
referenced her Strichbilder of thirty years

Solo exhibitions

Liljevalchs Konsthall, Wien 1900 – Wien 1990,
Haus am Waldsee, Animalia: Stellvertreter.
Tierbilder in der zeitgenössischen Kunst
, Berlin
Museum Wiesbaden, Künstlerinnen des
20. Jahrhunderts
, Wiesbaden

Frettchen im Spiegel, 1991
© Maria Lassnig Foundation
Photo: Roland Krauss
Be-Ziehungen I, 1992
© Maria Lassnig Foundation
Die wohltuenden Geräusche der Staubsaugers, 1992
© Maria Lassnig Foundation
Photo: Roland Krauss

In collaboration with Hubert Sielecki, the film
Maria Lassnig Kantate (The Ballad of Maria Lassnig)
was released in 1992.

Solo exhibitions

Galerie Klewan, Bilder, Zeichnungen, Aquarelle,
Grafik 1946-1986
, Munich
Galerie Ulysses, Zeichnungen und Aquarelle, Vienna

Group exhibitions

Malerei der Widerstände. Wiener Positionen
, Künstlerhaus Klagenfurt, Klagenfurt;
Kunstverein Horn, Horn; Museum Moderner
Kunst, Passau; Jesuitenkirche, Aschaffenburg
Menschenbilder. Die Sammlung Murken, Galerie
der Stadt Sindelfingen im Alten Rathaus
Maichingen, Sindelfingen; Städtische Galerie
Meerbusch, Meerbusch; Kunstmuseum Bonn,

Auge in Gefahr, 1993
© Maria Lassnig Foundation
Maria Lassnig in her studio, Maxingstraße, Vienna, c. 1993
Photo: © Kurt-Michael Westermann / Maria Lassnig Foundation

Group exhibitions

The Broken Mirror.
Positions of Painting Today
Kunsthalle Wien, Vienna;
Deichtorhallen Hamburg, Hamburg
Romantik in der Kunst der
Gegenwart. Die Sammlung Murken
Zeppelin Museum, Friedrichshafen;
Landesmuseum Mainz, Mainz;
Kunstmuseum Thun, Thun; Jesuiten-
kirche, Aschaffenburg; Kunsthalle
Dominikanerkirche, Osnabrück;
Erholungshaus/Kulturhaus der
Bayer AG, Leverkusen; Ludwig
Forum für Internationale Kunst,
Aachen; Kunstamt Kreuzberg, Berlin;
Zeppelin Museum, Friedrichshafen


Solo exhibitions

Das Innere nach Außen, Stedelijk Museum,
Amsterdam; St. Petri, Lübeck; Frankfurter
Kunstverein, Frankfurt am Main; Galerie
Ulysses, Vienna

Group exhibitions

Galerie Krinzinger, Körpernah, Vienna
Helmhaus Zürich, Hauttief, Zurich
Museum moderner Kunst Stiftung
Ludwig Wien, Exhibition, Vienna
Kunsthallen Brandts Klaedefabrik,
Dialogue with the Other, Odense
Historical Museum of the City of Vienna,
Bilder vom Tod, Vienna

Selbstporträt mit Kochtopf, 1995
© Maria Lassnig Foundation
Kleines Sciencefiction-Selbstporträt, 1995
© Maria Lassnig Foundation
3. Sciencefictionselbstportrait. Vernetzung, 1995
© Maria Lassnig Foundation
Photo: Roland Krauss

In 1995, the artist once again participated in
the Venice Biennale and in Kassel’s documenta X
two years later.

Solo exhibitions

Kärntner Landesgalerie, Klagenfurt
Zeichnungen und Aquarelle 1946-1995 /
Dessins et aquarelles 1946-1995
Kunstmuseum Bern, Berne; Musée national d’art
moderne, Centre Georges Pompidou, Paris;
Städtisches Museum Leverkusen, Leverkusen;
Kunstmuseum Ulm, Ulm; Kulturhaus Graz, Graz

Group exhibitions

La Biennale di Venezia, Identità e alternità. Figure
del corpo 1895-1995
, Venice
4th Istanbul Biennale, Orient-ation. The Vision of Art
in a Paradoxical World
, Istanbul
Centre Georges Pompidou, Féminin-Masculin.
Le sexe de l‘art
, Paris

I’d rather
have pictures
be brash
than elegant.
Selbstporträt mit Nervenlinien, 1996
© Maria Lassnig Foundation
Photo: Roland Krauss
Malfluss = Lebensfluss, 1996
© Maria Lassnig Foundation
Rosa Kopf / Gesichtsgefühle, 1996
© Maria Lassnig Foundation
Die Sinne, 1996
© Maria Lassnig Foundation
Roter Kopf vor grünem Hintergrund / Grün gegen Rot, 1996
© Maria Lassnig Foundation

Group exhibitions

Malerei in Österreich 1945-1995.
Die Sammlung Essl
, Mücsarnok Kunsthalle,
Budapest; Künstlerhaus Wien, Vienna
Kunsthalle Bonn, Kunst aus Österreich
, Bonn

Arme Malerei und eingebildete Fotografie /
Die Fotografie gegen die Malerei, 1997
© Maria Lassnig Foundation

In 1997, Lassnig formally retired
from her teaching duties at the
Hochschule für angewandte Kunst in
Vienna; de facto, she had stopped
exercising this profession in 1989.
In 1998, she was awarded the Oskar
Kokoschka Prize.

Solo exhibitions

Neue Bilder und Zeichnungen,
Neuer Berliner Kunstverein, Berlin;
DAAD-Galerie Berlin, Berlin;
Kunsthalle Bern, Berne; Kunsthalle
Mücsarnok, Budapest

Group exhibitions

documenta X, Kassel
Sammlung Essl, Utopie und
Weltschmerz. Arbeiten auf
, Klosterneuburg
Anfänge des Informel in
Österreich 1949-1954
Maria Lassnig, Oswald
Oberhuber, Arnulf Rainer,

Salzburger Landessammlungen
Rupertinum, Salzburg;
Kulturhaus der Stadt Graz, Graz

Drastic Pictures
the way
Tierliebe, 1998
© Maria Lassnig Foundation
Photo: Roland Krauss
Sciencia, 1998
© Maria Lassnig Foundation
Illusion von den versäumten Heiraten II, 1998
© Maria Lassnig Foundation
Photo: Roland Krauss
Illusion von den versäumten Mutterschaften, 1998
© Maria Lassnig Foundation
Photo: Roland Krauss

As of the late 1990s, Lassnig increasingly
focused her attention on creating so-called
Drastische Bilder (Drastic Pictures) in which
she explored major existential themes such as the
difficult relationship between men and women,
unchosen lifestyles – Illusionen (Illusions), as
well as impermanence, death and destruction. Her
numerous self-portraits with animals also refer
to the combination of the human and the animalistic.
Moreover, Lassnig worked on the extensive graphic
cycle of Landleute (Country People) as of 1996. With
her so-called Fußballbilder (Football Pictures),
Lassnig took an ironic swipe at a domain of sport
dominated by men.

In 2002, Lassnig was awarded the Roswitha
Haftmann Prize, a distinction followed by the
Rubens Prize of the City of Siegen, which marked
the first time that this award had been conferred
on a woman artist. In 2004, Lassnig was
recognised by the city of Frankfurt with the
Max Beckmann Prize for her “exceptional
contribution to contemporary painting”. In 2005,
Lassnig received the Austrian Decoration for
Science and Art, the highest award bestowed by
the Republic of Austria for scientific or
artistic achievements.

Group exhibitions

Kunsthalle Wien, Alpenblick, Vienna
Ottawa Art Gallery, Close Encounters, Ottawa
Sammlung Essl, Künstlerinnen
in der Sammlung Essl
, Klosterneuburg


Oskar Kokoschka Prize

Der Tod und das Mädchen / Der letzte Tango, 1999
© Maria Lassnig Foundation
Sprachgitter, 1999
© Maria Lassnig Foundation
Double autoportrait sans pitié, 1999
© Maria Lassnig Foundation
Photo: Roland Krauss

Solo exhibitions

Museum moderner Kunst Stiftung Ludwig Wien,
Vienna; Musée des Beaux-Arts de Nantes / Fonds
Régional d’Art Contemporain des Pays de la
Loire, Nantes

Group exhibitions

Bank Austria Kunstforum, Das Jahrhundert
der Frauen
, Vienna
Der anagrammatische Körper. Der Körper und
seine fotografische Konstruktion
, Kunsthaus Mürz,
Mürzzuschlag (in collaboration with Neue
Galerie Graz, steirischer herbst); ZKM – Zentrum
für Kunst und Medientechnologie, Karlsruhe
Aspekte/Positionen. 50 Jahre Kunst aus
Mitteleuropa 1949-1999
, Museum Moderner Kunst
Stiftung Ludwig Wien, Vienna; Ludwig Museum,
Budapest; Fundació Miró, Barcelona; Hansard
Gallery/City Gallery, Southampton;
National Gallery, Prague

Zwei Arten zu sein (Doppelselbstporträt), 2000
© Maria Lassnig Foundation
Illusion von der Tierfamilie, 2000
© Maria Lassnig Foundation

Group exhibitions

Die verletzte Diva. Hysterie, Körper, Technik in der
Kunst des 20. Jahrhunderts
, Lenbachhaus /
Kunstverein München / Rotunde Siemens Kultur-
programm, Munich; Staatliche Kunsthalle,
Baden-Baden; Galerie im Taxispalais, Innsbruck
Aargauer Kunsthaus, Das Gedächtnis der Malerei,
Rupertinum, Das Bild des Körpers, Salzburg
Kunstsammlung Nordrhein-Westfalen, Ich ist
etwas anderes
, Düsseldorf
Malmö Konsthall, Shoot. Moving Pictures
by Artists
, Malmö

Selbstporträt mit Affen, 2001
© Maria Lassnig Foundation
Der Weltzertrümmerer, 2001
© Maria Lassnig Foundation

Solo exhibition

Kestner Gesellschaft Hannover,
Bilder 1989-2001, Hanover

Group exhibitions

steirischer herbst, Abbild, Landesmuseum
Joanneum, Graz
Museum Ludwig, Museum of Our
, Cologne
Shanghai Art Museum, Austrian Contemporary
Art, Architecture and Design
, Shanghai
Kunsthalle Erfurt, Die österreichische
Moderne nach 1945 in der Sammlung
Essl – Malerei, Grafik, Zeichnung
, Erfurt
Essl Museum, Reisen ins Ich. Künstler/Selbst/
, Klosterneuburg

Erniedrige und Beleidigte, 2002
© Maria Lassnig Foundation
Photo: © mumok, Vienna; Lisa Rastl, Lena Deinhardstein
Maria Lassnig, March 2002
Photo: © Bettina Flitner

Solo exhibitions

Galerie Ulysses, Eine andere Dimension, Vienna
Museum für Gegenwartskunst Siegen,
Körperporträts, Siegen
Petzel Gallery, New York
Bayerische Akademie der Schönen Künste,

Group exhibitions

Reflexionen, Österreichische Avantgarde nach
1945 – Sammlung Otto Mauer
, Parliament, Vienna;
Museum Moderner Kunst – Stiftung Wörlen,
Passau; The Brno House of Arts, Brno;
New Town Hall, Prague; Tel Aviv


Roswitha Haftmann Prize
Rubens Prize of the City of Siegen
Ring of Honour awarded by the Universität
für angewandte Kunst (University of Applied
Arts), Vienna
NORD/LB award for art

Adam und Eva mit Apfel, 2003
© Maria Lassnig Foundation
Maria Lassnig, March 2002
Photo: © Bettina Flitner

Solo exhibition

Kunsthaus Zürich, Verschiedene
Arten zu sein
, Zurich

Group exhibitions

La Biennale di Venezia, Sogni e Conflitti.
La dittatura dello spettatore
, Venice
Haus der Kunst, Grotesk! 130 Years
of Witty Art
, Munich
Martin-Gropius-Bau, Warum! Bilder
diesseits und jenseits des Menschen
Fondation Beyeler, EXPRESSIV!, Basel
Neue Galerie Graz, Landesmuseum
Joanneum, Support. Die Neue Galerie
als Sammlung
, Graz
Museo Correr, Pittura 1964–2003.
Da Rauschenberg a Murakami
, Venice

I am
a great
of art.
Diskretion, 2004
© Maria Lassnig Foundation
Eiserne Jungfrau und fleischige Jungfrau, 2004
© Maria Lassnig Foundation
Zweifel, 2004/05
© Maria Lassnig Foundation

Solo exhibitions

Hauser & Wirth London, London
Städel Museum, Verschiedene Arten zu sein,
Frankfurt am Main
Landleute, Ritter Galerie, Klagenfurt; Schloss
Straßburg, Straßburg, Kärnten

Group exhibitions

Museum moderner Kunst Stiftung
Ludwig Wien, Porträts. Picasso, Bacon, Warhol...,
Des Moines Art Center, Contested Fields.
Identity in Sports and Spectacle
, Des Moines
SITE Santa Fe Biennial, Disparities and
Deformations. Our Grotesque
, Santa Fe
Museum Moderner Kunst Kärnten, Eremiten –
Kosmopoliten. Moderne Malerei in Kärnten 1900-
, Klagenfurt


Max Beckmann Prize

Krankenhaus, 2005
© Maria Lassnig Foundation
Du oder Ich, 2005
© Maria Lassnig Foundation
Photo: Stefan Altenburger Photography Zürich
Paar, 2005
© Maria Lassnig Foundation
Ohne Titel, 2005
© Maria Lassnig Foundation

From 2005 to 2007, the so-called Nachtbilder or Kellerbilder
(Night or Basement Pictures) marked the emergence of a new
complex of paintings which Lassnig presented at an exhibition
held in London’s Serpentine Gallery in 2008. In these later
years, Lassnig managed to achieve international renown – not
least through the support of international galleries – and
was increasingly represented in museums.

Solo exhibitions

Petzel Gallery, New York
Essl Museum, body. fiction. nature,
museum in progress/Vienna State Opera,
Iron Curtain, Vienna

Group exhibitions

Österreichische Galerie Belvedere,
Das neue Österreich, Vienna
Martin-Gropius-Bau, Rundlederwelten, Berlin
Villa Manin, The Theatre of Art, Codroipo
Museum am Ostwall, Munch revisited.
Edvard Munch und die heutige Kunst, Dortmund
Van Abbemuseum, Eindhovenistanbul, Eindhoven
Stedelijk Museum, Bock mit Inhalt.
Summer Exhibition 2005, Amsterdam
Zeitgenössische österreichische Kunst und Malerei
der Nachkriegszeit. Sammlung Essl
, Museo de Arte
Moderno, Mexico City; MARCO – Museo de Arte
Contemporáneo de Monterrey, Monterrey


Austrian Decoration for
Science and Art

Der junge Maler, 2006
© Maria Lassnig Foundation
Schlafende Männer, 2006
© Maria Lassnig Foundation

Solo exhibitions

Museum für Gegenwartskunst Siegen,
Painting Body and Soul, Siegen
White 8 Galerie, Woman Power, Villach
Museum Moderner Kunst Kärnten, Körperbilder.
Body awareness painting
, Klagenfurt

Group exhibitions

MoMA – Museum of Modern Art,
Eye on Europe, New York
Kunsthaus Graz, Landesmuseum Joanneum,
Two or Three or Something. Maria Lassnig,
Liz Larner
, Graz
INTO ME / OUT OF ME, P.S.1 Contemporary
Art Center, Long Island City; KW Institute for
Contemporary Art, Berlin; MACRO, Rome
Galerie Cora Hölzl, Quel Corps?, Düsseldorf
Essl Museum, Austria 1900-2000.
Confrontations and Continuities

Die uneheliche Braut, 2007
© Maria Lassnig Foundation
Nasenflucht in die Wasenschlucht, 2007
© Maria Lassnig Foundation
Photo: © mumok, Vienna; Lisa Rastl, Lena Deinhardstein
Maria Lassnig, Zürich 2007
Photo: Sepp Dreissinger

Solo exhibition

Hauser & Wirth Zürich, Zurich

Group exhibitions

Kunsthal Rotterdam, Painting now!
Back to figuration
, Rotterdam
Kunsthalle Bern, Critical Mass – Kritische Masse.
20 Jahre Stiftung Kunsthalle Bern
, Berne
Albertina, Art after 1970. Aus der Albertina,
Wack! Art and the Feminist Revolution,
The Museum of Contemporary Art, Los Angeles;
National Museum of Women in the Arts,
Washington; P.S.1 Contemporary Art Center, Long
Island City; Vancouver Art Gallery, Vancouver

Emphatik, 2008
© Maria Lassnig Foundation
Photo: Roland Krauss
Maria Lassnig in her studio, Feistritz, 2008
Photo: Sepp Dreissinger

Solo exhibitions

Serpentine Gallery, London
Contemporary Arts Center,
Cincinnati, OH

Group exhibitions

Carnegie Museum of Art,
Life on Mars. 55th Carnegie
, Pittsburgh
Museum moderner Kunst
Stiftung Ludwig Wien,
Mind Expanders. Performative
Bodies, Utopian Architectures around
, Vienna
Museum Moderner Kunst Kärn-
ten, K08. Emanzipation und
Konfrontation, Kunst aus
Kärnten von 1945 bis heute
, Klagenfurt
Essl Museum, Baselitz to
Lassnig. Masterpieces
, Klosterneuburg
CAM – Centro de Arte
Moderna – Fundação
Calouste Gulbenkian,
Drawing A Tension. Obras da
Colecção Deutsche Bank
Museum Kunstpalast,
Diana und Actaeon.
The Forbidden Glimpse of
the Naked Body
, Düsseldorf


In 2009, the mumok in Vienna
dedicated a solo exhibition to her,
emphasising the paintings she had
created after 2000, while Cologne’s
Ludwig Museum honoured Lassnig with a
graphics show. In 2010, Lassnig’s
current work was exhibited at the
Städtische Galerie im Lenbachhaus,

Solo exhibitions

mumok, Museum Moderner Kunst
Stiftung Ludwig Wien, The Ninth
, Vienna
Museum Ludwig, In the Mirror of
Possibilities. Watercolours and Drawings
from 1947 to the Present
, Cologne

Group exhibitions

Lentos Kunstmuseum Linz,
Best of Austria. An Art Collection,
Kunsthalle Bielefeld, 1968.
The Great Innocence
, Bielefeld
Staatliche Graphische Sammlung,
Pinakothek der Moderne,
The Presence of the Line. A Selection of New Acquisitions from the 20th and 21st Centuries, Munich

Selbstporträt mit Pinsel, 2010-13
© Maria Lassnig Foundation
Photo: Roland Krauss
Untitled, 2010
© Maria Lassnig Foundation
Das Gesetz, 2010
© Maria Lassnig Foundation

Solo exhibitions

Städtische Galerie im Lenbachhaus und Kunstbau
München, It's art that keeps one even
, Munich
Petzel Gallery, New York

Group exhibitions

Kunsthaus Graz, Universalmuseum Joanneum,
Human Condition. Empathy and
Emancipation in Precarious Times
, Graz
Städel Museum, In Chronological Order.
Städel Works of the 14th to 21st Centuries
Frankfurt am Main
Staatliche Kunsthalle, Jeder Künstler ist
ein Mensch. Positionen des Selbstportraits
8th Gwangju Biennale, 10,000 Lives,
SITE Santa Fe Biennial, The Dissolve, Santa Fe
Kupferstichkabinett, Staatliche Museen zu Berlin,
The Esprit of Gestures. Hans Hartung, Informel
and its Impact
, Berlin


Honorary membership of the Akademie der Bildenden
Künste (Academy of Fine Arts), Vienna

Wörtherseenymphen, 2011
© Maria Lassnig Foundation
Vom Tode gezeichnet, 2011
© Maria Lassnig Foundation
Großvater, 2011
© Maria Lassnig Foundation
Drei Grazien, 2011
© Maria Lassnig Foundation

Solo exhibition

Petzel Gallery, Films, New York

Group exhibitions

White Columns, Looking Back/The 6th White
Columns Annual
, New York
Austrian Cultural Forum, Beauty Contest,
New York

Maria Lassnig, Neue Galerie Graz exhibition opening, 2012
Photo: UMJ, N. Lackner

In 2012, the Neue Galerie Graz /
Universalmuseum Joanneum devised a
retrospective solo exhibition which
incorporated some of the artist’s works
that had never been shown before. This
complex of works and other pieces was
put on display in the Deichtorhallen
Hamburg (in 2013), and the MoMA PS1 in
New York (in 2014).

Solo exhibitions

Neue Galerie Graz, Universalmuseum
Joanneum, The Location of Pictures, Graz
SBC Gallery of Contemporary Art,
Technical Temptations. The Films
of Maria Lassnig
, Montreal

Group exhibitions

Lentos Kunstmuseum Linz,
The Naked Man, Linz
Critique and Crisis.
Art in Europe since 1945
Deutsches Historisches Museum,
Berlin; Palazzo Reale, Milan
Louisiana Museum of Modern Art,
Self-Portrait, Humlebaek
Kunstmuseum St. Gallen/Lokremise,
Human Capsules. Eight Female Artists
from the Ursula Hauser Collection
, St. Gallen
Staatliche Kunsthalle Baden-Baden,
Bilderbedarf. The Civic and the Arts,
Kunsthalle Vogelmann,
Städtische Museen Heilbronn, Merciless.
Female Artists and the Comical
, Heilbronn

Seeing is
not as
as sensing.

In 2013, the enormous resonance of
Lassnig’s late work culminated in her
receiving the Golden Lion for Lifetime
Achievement at the Venice Biennale.

Solo exhibitions

Deichtorhallen/Halle für aktuelle Kunst,
The Location of Pictures, Hamburg
Capitain Petzel, Berlin
Museum Dhondt-Dhaenens, Deurle

Group exhibitions

La Biennale di Venezia, Il Palazzo Enciclopedico,
Paula Modersohn-Becker Museum, Sie. Selbst.
Nackt. Paula Modersohn-Becker und andere
Künstlerinnen im Selbstakt
, Bremen


Golden Lion award for Lifetime Achievement,
La Biennale di Venezia


Maria Lassnig died at the age of 94
in Vienna on 6 May 2014.

Solo exhibition

MoMA PS1, Long Island City

Group exhibitions

State Hermitage Museum, Manifesta 10, St. Petersburg
The Rose Art Museum, Brandeis University,
Rose Video 03. Maria Lassnig and Mary Reid
, Waltham, MA
Essl Museum, made in austria, Klosterneuburg

Be aware!

Solo exhibitions

Fundació Antoni Tàpies, Barcelona
LLS 387 Ruimte voor actuele Kunst,
Filmmaker, Antwerp
Hilfiker Kunstprojekte, Lucerne

Group exhibitions

Picasso in Contemporary Art,
Deichtorhallen, Hamburg; Wexner Center
for the Arts, Columbus
Neue Galerie Graz, Universalmuseum Joanneum,
The Marked Self. Between Annihilation and
, Graz
Kunsthalle Düsseldorf, Avatar und Atavismus.
Outside der Avantgarde
, Düsseldorf
Villa Merkel,
Galerien der Stadt Esslingen am Neckar,
Better than de Kooning, Esslingen am Neckar
Fondazione Nicola Trussardi, La Grande Madre,
Palazzo Reale, Milan
CAM – Contemporary Art Museum St. Louis,
Occupational Therapy, St. Louis
Barbara Gross Galerie, Louise Bourgeois /
Maria Lassnig / Nancy Spero. Another Normal
, Munich
The Rose Art Museum, Brandeis University,
Rose Projects 1C: Painting Blind, Waltham, MA
Kunstraum Lakeside, So wilde Freiheit
war noch nie. Für Christine Lavant
, Klagenfurt
Kunsthalle Bielefeld, Empathy and Abstraction.
Modernist Women in Germany
, Bielefeld
Painting 2.0. Expression in the Information Age,
Museum Brandhorst, Munich; Museum
moderner Kunst Stiftung Ludwig Wien, Vienna


Solo exhibitions

Tate Liverpool, Liverpool
Hauser Wirth & Schimmel, Los Angeles
Petzel Gallery, New York
Galerie Ulysses, Vienna
Kunsten Museum of Modern Art, Aalborg

Group exhibitions

Haus der Kunst, Postwar.
Art between the Pacific and
Atlantic, 1945–1965
, Munich


Solo exhibitions

Albertina, Vienna
Museum Folkwang, Essen
Zachęta – National Gallery, Warsaw
National Gallery, Prague


Solo exhibition

Kunstmuseum Basel, Basel