Viewing Room Main Site
Skip to content

Maria Lassnig

The Paris Years, 1960–68

456 W 18th Street

November 4 – December 17, 2021

Maria Lassnig, Ohne Titel

Maria Lassnig

Ohne Titel

1958-1959

Oil on canvas

27.56 x 39.37 inches

70 x 100 cm

Maria Lassnig, Untitled

Maria Lassnig

Untitled

1960

Oil on canvas

38.98 x 46.46 inches

99 x 118 cm

Maria Lassnig, Untitled

Maria Lassnig

Untitled

1960

Oil on canvas

34.65 x 46.85 inches

88 x 119 cm

Maria Lassnig, Dicke Gruene

Maria Lassnig

Dicke Gruene

1961

Oil on canvas

76.42 x 51.3 inches

194.1 x 130.3 cm

Maria Lassnig, Gruene Figuration

Maria Lassnig

Gruene Figuration

1961

Oil on canvas

76.54 x 50.55 inches

194.4 x 128.4 cm

Maria Lassnig, Die blaue Blume der Romantik

Maria Lassnig

Die blaue Blume der Romantik

1961

Oil on canvas

45.2 x 34.65 inches

114.8 x 88 cm

Maria Lassnig, Napoleon und Brigitte Bardot

Maria Lassnig

Napoleon und Brigitte Bardot

1961

Oil on canvas

75.2 x 79.37 inches

191 x 201.6 cm

Maria Lassnig, Rot-blaue Figuration

Maria Lassnig

Rot-blaue Figuration

1961

Oil on canvas

38.19 x 47.24 inches

97 x 120 cm

Maria Lassnig, Grosse Knoedelfiguration (Big Dumpling Figuration)

Maria Lassnig

Grosse Knoedelfiguration (Big Dumpling Figuration)

1961-1962

Oil on canvas

78.35 x 74.02 inches

199 x 188 cm

Maria Lassnig, Bote von der Secession (Tod und Teufel)

Maria Lassnig

Bote von der Secession (Tod und Teufel)

1962

Oil on canvas

51.18 x 76.89 inches

130 x 195.3 cm

Maria Lassnig, Hasenbild

Maria Lassnig

Hasenbild

1962

Oil on canvas

50.39 x 57.09 inches

128 x 145 cm

Maria Lassnig, Der muerrische Held

Maria Lassnig

Der muerrische Held

1962-1963

Oil on canvas

38.19 x 57.56 inches

97 x 146.2 cm

Maria Lassnig, Selbstportraet als Tier

Maria Lassnig

Selbstportraet als Tier

1963

Oil on canvas

39.37 x 28.74 inches

100 x 73 cm

Maria Lassnig, Der Irdische Wettlauf

Maria Lassnig

Der Irdische Wettlauf

1963

Oil on canvas

63.58 x 51.18 inches

161.5 x 130 cm

Maria Lassnig, Patriotische Familie

Maria Lassnig

Patriotische Familie

1963

Oil on canvas

51.2 x 63 inches

Maria Lassnig, Dornenreif/Frau im Dornenreifen

Maria Lassnig

Dornenreif/Frau im Dornenreifen

1963-1964

Oil on canvas

35.83 x 28.74 inches

91 x 73 cm

Maria Lassnig, Die Gegner/Loewe+Hahn, vive la France!

Maria Lassnig

Die Gegner/Loewe+Hahn, vive la France!

1964

Oil on canvas

35.16 x 45.79 inches

89.3 x 116.3 cm

Maria Lassnig, Ehepaar

Maria Lassnig

Ehepaar

1964-1965

Oil on canvas

31.89 x 39.37 inches

81 x 100 cm

Maria Lassnig, Balancing Myself/Tableau doux pour enfants, "le secret"

Maria Lassnig

Balancing Myself/Tableau doux pour enfants, "le secret"

1965

Oil on canvas

36.14 x 28.74 inches

91.8 x 73 cm

Maria Lassnig, Augenglaeser - Autoportraets

Maria Lassnig

Augenglaeser - Autoportraets

1965

Oil on board

36.22 x 51.18 inches

92 x 130 cm

Maria Lassnig, Dressur

Maria Lassnig

Dressur

1965

Oil on canvas

39.37 x 31.89 inches

100 x 81 cm

Maria Lassnig, Krankenhaus

Maria Lassnig

Krankenhaus

1965

Oil on canvas

51.18 x 76.77 inches

130 x 195 cm

Maria Lassnig, Fruehstueck mit Ohr

Maria Lassnig

Fruehstueck mit Ohr

1967

Oil on canvas

51.57 x 77.17 x 1.69 inches

131 x 196 x 4.3 cm

Petzel is pleased to present Maria Lassnig: The Paris Years, 1960–68, an exhibition of paintings by the Austrian artist that have rarely been seen in the United States. On view at the gallery’s Chelsea location from November 4 through December 17, the show, which includes over 20 important works developed in Lassnig’s studio on rue de Begnolet, covers Lassnig’s formative years in the City of Light.

“Though Maria Lassnig only lived in Paris for eight years, it was in her studio on Rue de Bagnolet that she began to fully release herself from aesthetic constraints and developed a sense of freedom that became synonymous with her name. There, Lassnig took up the various isms she explored in her previous paintings—realism, expressionism, surrealism, tachism—and transformed them into something truly autonomous by simultaneously turning more fully to herself, to her sensations, lived experiences, and physical embodiment,” writes Lauren O’Neill-Butler in her essay for the accompanying exhibition catalogue, published by Petzel.

Around 1947, as O’Neil-Butler writes, Lassnig “commenced this with drawings called Introspektive Erlebnisse (Introspective Experiences), later developed into Körpergefühlsmalerei (body awareness painting), her term for depicting the parts of her being that she felt as she worked. In Paris, she more fully galvanized a phenomenological approach, developing an awareness that the body and mind are not separate, that whatever manifests on the skin is directly related to one’s thoughts. Lassnig’s turning inward to propel outward became something of a signature style, though her art could never be so neatly pinned down. A line from her 1951/1960 text Painting Formulas sums it up: “Discard the style! You exploit yourself soon enough.” The varied and vital canvases that she made in Paris evince that she was coming into her own, finding her voice, and shedding expectations—you exploit yourself soon enough, so why not put everything on the line, right now? In doing just that Lassnig established her own tradition.

Lassnig left Vienna for Paris at a time when she felt there was not space for her in the city’s male-dominated art circles, she proceeded to hold court with contemporaries in France until leaving for her next significant stay, her 12-year residence in New York.

There has yet to be much scholarship on this period of Lassnig’s life and work in Paris, and Petzel is pleased to publish the exhibition catalogue, also titled Maria Lassnig: the Paris Years, 1960–1968, which illustrates a portion of this crucial mid-career moment alongside writings from Lassnig’s diaries and letters throughout those years. Additionally, in the Spring of 2022, Petzel will release the English translation of art historian Natalie Lettner’s biography on Lassnig, co-published with Hauser & Wirth.


About Maria Lassnig

Maria Lassnig was born in 1919 in Carinthia, Austria and lived and worked in Vienna. After studying at the Vienna Fine Arts Academy, she spent some time living in Paris and New York. From 1970 to 1972 she studied film animation at the New York School of Visual Arts. On returning to Vienna in 1980, she became the first woman professor of painting in the German-speaking countries, holding the chair in this discipline at Vienna University of Applied Arts.

Maria Lassnig embraces painting, sculpture, animated film, and major graphic output. She had long kept her drawings under lock and key, and only published them in 1997 in ‘Die Feder ist die Schwester des Pinsels’ [The pen is the sister of the paintbrush], published by Hans Ulrich Obrist. Her life’s work won her many accolades, including the Grand Austrian State Prize in 1988, the City of Zurich Roswitha Haftmann Prize, the Rubens Prize of the Town of Siegen, Germany, in 2002, the City of Frankfurt Max Beckmann Prize in 2004 and the Austrian Decoration for Science and Art in 2005, the 55th Venice Biennale Golden Lions for Lifetime Achievement in 2013.

In 1982 and 1997, Lassnig’s work was displayed at the Documenta in Kassel. Since the early 1950s, her works have appeared in solo exhibitions including the Stedelijk Museum, Amsterdam (2019); the National Gallery, Prague (2018); MoMA PS1 (2018); the Municipal Gallery of Athens (2017); the Museum Folkwang, Essen, Germany (2017); the Kunsten Museum of Modern Art, Aalborg, Denmark (2016); and the Tate Liverpool (2016), among many others.

Lassnig’s work is included in public collections such as The Centre Pompidou, Paris; Kunstmuseum Basel, Switzerland; The Museum of Modern Art, New York; Stedelijk Museum, Amsterdam; and The Museum of Contemporary Art Siegen, Germany, among others.


Petzel Gallery is located at 456 West 18th Street New York, NY 10011. Gallery hours are Tuesday through Saturday from 10:00 AM–6:00 PM. For press inquires, please contact Ricky Lee at ricky@petzel.com, or call (212) 680-9467.

Back To Top