In association with renowned exhibition venues, the Maria Lassnig Foundation shall be awarding the biennial Maria Lassnig Prize. The latter focuses on mid-career artists and combines the prize money with an exhibition held at a cooperating institution.

The Maria Lassnig Prize was originally envisioned by Maria Lassnig before her death in 2014 at the age of 94, at height of her artistic powers. Having achieved recognition only later in life, she hoped to encourage the efforts of fellow career artists not yet familiar to the public.

“Maria Lassnig is today viewed as a fiercely unique and significant figure in the history of modern art,” says Peter Pakesch. “But her risk-taking work did not receive international attention until quite late in her life and after decades of struggle. She was always engaged in the efforts of other artists as a teacher and peer, and in her last years spoke of hoping to find some way to acknowledge those at mid-career – longstanding artists whose work deserves broader attention and appreciation. With this in mind, the Maria Lassnig Foundation established the Maria Lassnig Prize in her spirit of encouragement. The unique structure of the prize is a key element in realizing Maria Lassnig’s wishes: by collaborating with a leading international institution, we are able to ensure the broadest possible platform for the prize winner.”

Prize winners:
2021 Atta Kwami
2019 Sheela Gowda
2017 Cathy Wilkes

Early years in Carinthia
Studies in Vienna
Beginnings in Klagenfurt
Vienna
Paris
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):
Biography
Short biography
Awards and exhibitions



Note:
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
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1919

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.

1920
Maria with her mother, 1920
Maria Lassnig Foundation Archive
1923
Maria with her mother, 1923
Maria Lassnig Foundation Archive
1925

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
1929
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
1931
Untitled [self-portrait], 1932
© Maria Lassnig Foundation
Photo: Roland Krauss
Landschaft, 1932
© Maria Lassnig Foundation
Photo: Roland Krauss
1932
Untitled [girl’s profile], 1933
© Maria Lassnig Foundation
Photo: Roland Krauss
Untitled [hand], 1933
© Maria Lassnig Foundation
Photo: Roland Krauss
1933
1940
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
1942
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
1943

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

To
paint, to
perform the
sheer act
itself,
requires
superhuman
courage.
Die Eltern im Bett / Mutti und Vati, 1955
© Maria Lassnig Foundation
Photo: Roland Krauss
Selbstporträt, 1944
© Maria Lassnig Foundation
Photo: Roland Krauss
1944
Maria Lassnig, ca. 1944
Maria Lassnig Foundation Archive
1945

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
1946
Launsdorf, Kärnten, 1947
© Maria Lassnig Foundation
1947

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
1948
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
1949

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
experiences
.



Solo exhibition

Galerie Kleinmayr, Malerei und Graphik,
Klagenfurt

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
1950

Solo exhibition

Kosmos bookshop gallery, Vienna

The
rhythm of
painting
should be like
gasps of breath
when life
chokes us.
1951
Maria Lassnig, Klagenfurt, 1951
Photo: Willi E. Prugger
Maria Lassnig Foundation Archive
Vienna
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
Malerei
(Young Non-figurative Painting) exhibition
at the Künstlerhaus Klagenfurt.




Group exhibitions

Das allgemeine Jugendkulturwerk,
Die Hundsgruppe, Vienna
Kunstverein für Kärnten, Junge unfigurative
Malerei
, 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
1952
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
make
compromises
in life,
art goes
downhill.
Padhi Frieberger, 1954
© Maria Lassnig Foundation
1954

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
fields.

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
1955
Maria Lassnig in her studio, 1955
Maria Lassnig Foundation Archive
Schwarzer Kopf, 1955
© Maria Lassnig Foundation
Photo: Roland Krauss
1956

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
1957
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
1958
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
1959

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
1960
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,
Aschaffenburg

Paris
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
1961
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,
Aschaffenburg

No, glory
could never
provide adequate
recompense
for all
the suffering I
have endured
in life.
Krampus, 1962
© Maria Lassnig Foundation
Der mürrische Held, 1962/63
© Maria Lassnig Foundation
1962
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
1963
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

1964

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,
Paris
, 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
1965

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
1966

Solo exhibition

Galerie Würthle, Sentimentale Bilder aus Paris,
Vienna

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
1967
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,
Klagenfurt

1968

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
1969
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
Tisserand
, Klagenfurt

Discard
style,
alter it
every week.
Selbstporträt als Amazone, 1970
© Maria Lassnig Foundation
1970
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
1971

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,
Klagenfurt

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
1972

Award

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

Imperfection
and pain
can be
overcome
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
1973

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
1974
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
1975
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
1976
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
1977
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
1946-77
, Innsbruck


Award

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
1978

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,
Vienna


Award

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,
Klosterneuburg/Vienna;
Graphisches Atelier Neumann, Vienna
Untitled (New York), c. 1979
© Maria Lassnig Foundation
Photo: Roland Krauss
1979

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
art.
Sprechzwang, 1980
© Maria Lassnig Foundation
1980

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
life”.




Solo exhibition

Gallery in the Vienna State Opera, Vienna


Group exhibitions

La Biennale di Venezia, Arti Visive '80,
Austrian pavilion (with VALIE EXPORT),
Venice
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
1981

Solo exhibitions

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


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
1982
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

1982-84
Zeichnungen, Aquarelle, Gouachen,
1949-1982
, 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,
Berlin

Die Weissagerin, 1983
© Maria Lassnig Foundation
Photo: Roland Krauss
Traditionskette, 1983
© Maria Lassnig Foundation
1983
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
Arbeiten
, Vienna
Galerie Klewan, Zwölf Österreicher, Munich

I am the
organizer
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
1984
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
1960-1984
, 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
1985
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
(retrospective)


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


Award

Carinthian Regional Prize

Das Rehlein / Rehlein Tschernobyl, 1986
© Maria Lassnig Foundation
1986
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-
Buchebner-Gesellschaft,
Zeichnungen, Aquarelle, Gouachen,
Mürzzuschlag


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
Österreich
, Vienna
Galerie Klewan, Maria Lassnig und
Arnulf Rainer. Selbstdarstellungen
,
Munich
Galerie Krinzinger, Aug um Aug,
Vienna

Drawings
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
1987
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
,
Salzburg
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,
Berlin
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,
Stuttgart

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

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,
Salzburg


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


Award

Grand Austrian State Prize (Fine Art)

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

Solo exhibitions

Bilder der sechziger Jahre, Galerie Klewan,
Munich
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
perceptions
are by no
means
exhausted…
Einen Kuss der ganzen Welt / Tathata, 1990
© Maria Lassnig Foundation
Der Verstopfte, 1990
© Maria Lassnig Foundation
1990

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
earlier.




Solo exhibitions

Liljevalchs Konsthall, Wien 1900 – Wien 1990,
Stockholm
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
1991
Be-Ziehungen I, 1992
© Maria Lassnig Foundation
Die wohltuenden Geräusche der Staubsaugers, 1992
© Maria Lassnig Foundation
Photo: Roland Krauss
1992

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
1945-55
, 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,
Bonn

Auge in Gefahr, 1993
© Maria Lassnig Foundation
1993
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
1993/94
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

1994

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
1995

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
1996

Group exhibitions

Malerei in Österreich 1945-1995.
Die Sammlung Essl
, Mücsarnok Kunsthalle,
Budapest; Künstlerhaus Wien, Vienna
Kunsthalle Bonn, Kunst aus Österreich
1896-1996
, Bonn

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

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
Papier
, 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
You
paint
the way
you
are.
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
1998

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, art.ist.innen. Künstlerinnen
in der Sammlung Essl
, Klosterneuburg



Award

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
1999

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

Not
individual.
But
dividual.
Zwei Arten zu sein (Doppelselbstporträt), 2000
© Maria Lassnig Foundation
Illusion von der Tierfamilie, 2000
© Maria Lassnig Foundation
2000

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,
Aarau
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
2001

Solo exhibition

Kestner Gesellschaft Hannover,
Bilder 1989-2001, Hanover



Group exhibitions

steirischer herbst, Abbild, Landesmuseum
Joanneum, Graz
Museum Ludwig, Museum of Our
Wishes
, 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/
Bild
, Klosterneuburg

Art
is
infectious.
Erniedrige und Beleidigte, 2002
© Maria Lassnig Foundation
Photo: © mumok, Vienna; Lisa Rastl, Lena Deinhardstein
2002
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,
Munich



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



Awards

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
2003
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
,
Berlin
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
moralist
of art.
Diskretion, 2004
© Maria Lassnig Foundation
Eiserne Jungfrau und fleischige Jungfrau, 2004
© Maria Lassnig Foundation
Zweifel, 2004/05
© Maria Lassnig Foundation
2004

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...,
Vienna
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-
1955
, Klagenfurt



Awards

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
2005

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,
Klosterneuburg
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



Awards

Austrian Decoration for
Science and Art

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

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
,
Klosterneuburg

Die uneheliche Braut, 2007
© Maria Lassnig Foundation
Nasenflucht in die Wasenschlucht, 2007
© Maria Lassnig Foundation
Photo: © mumok, Vienna; Lisa Rastl, Lena Deinhardstein
2007
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,
Vienna
2007-09
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
2008
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
International
, Pittsburgh
Museum moderner Kunst
Stiftung Ludwig Wien,
Mind Expanders. Performative
Bodies, Utopian Architectures around
'68
, 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
,
Lisbon
Museum Kunstpalast,
Diana und Actaeon.
The Forbidden Glimpse of
the Naked Body
, Düsseldorf

2009

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,
Munich.




Solo exhibitions

mumok, Museum Moderner Kunst
Stiftung Ludwig Wien, The Ninth
Decade
, 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,
Linz
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
2010

Solo exhibitions

Städtische Galerie im Lenbachhaus und Kunstbau
München, It's art that keeps one even
younger
, 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
,
Baden-Baden
8th Gwangju Biennale, 10,000 Lives,
Gwangju
SITE Santa Fe Biennial, The Dissolve, Santa Fe
Kupferstichkabinett, Staatliche Museen zu Berlin,
The Esprit of Gestures. Hans Hartung, Informel
and its Impact
, Berlin




Award

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
2011

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

2012
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,
Baden-Baden
Kunsthalle Vogelmann,
Städtische Museen Heilbronn, Merciless.
Female Artists and the Comical
, Heilbronn

Seeing is
not as
important
as sensing.
2013

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,
Venice
Paula Modersohn-Becker Museum, Sie. Selbst.
Nackt. Paula Modersohn-Becker und andere
Künstlerinnen im Selbstakt
, Bremen



Award

Golden Lion award for Lifetime Achievement,
La Biennale di Venezia

2014

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
Kelley
, Waltham, MA
Essl Museum, made in austria, Klosterneuburg

Be aware!
2015

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
Masquerade
, 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
Love
, 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
2015-16
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

2016

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

2017

Solo exhibitions

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

2018

Solo exhibition

Kunstmuseum Basel, Basel

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