A conversation about the exhibition “The Self-Portrait, from Schiele to Beckmann,” on view at the Neue Galerie New York through June 24, 2019. And a visit to LongHouse Reserve, the art center and sculpture garden in East Hampton.

View Transcript

> COMING ON NYC ARTS, THE CONVERSATION ABOUT THE SELF-PORTRAIT MR. SCHIELE TO BECKMANN, CURRENTLY ON VIEW AT THE GALLERY IN NEW YORK.

ARTISTS ARE LIKE SEISMOGRAPHS, NER REACTING TO SURROUNDINGS.

THIS WAS A VERY TUMULTUOUS TIME IN GERMANY AND AUSTRIA.

AND THEY ARE LOOKING TO BREAK FROM THE ACADEMIC TRADITION AND TO CREATE A NEW VISUAL VOCABULARY.

AND A VISIT TO LONGHOUSE RESERVE, THE ART CENTER AND SCULPTURE GARDEN IN EAST HAMPTON.

SCULPTURE OUTDOORS IS AT ITS BEST, BECAUSE OF THE INTENSE SHADE AND SHADOW THAT DEFINES SCULPTURE.

AGAINST THE SOFTNESS AND QUALITY OF THE FOLIAGE AND THE SHIFTING OF CLOUDS, AND THE CHANGING OF LIGHT, THE CHANGING OF SEASONS.

> FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY ROSALIND P.

THE THEA PETSCHEK IERVOLINO FOUNDATION.

WALTER, JODI AND JOHN ARNHOLD.

KATE W. CASSIDY FOUNDATION.

THE LEWIS SONNY TURNER FUND FOR DANCE.

ELISE JAFFE AND JEFFREY BROWN.

ESTATE OF CECILE FOX.

GENE DUBINSKY APPLETON ESTATE.

AND THE MILTON AND SALLY AVERY ARTS FOUNDATION.

ELROY AND TERRY KRUMHOLTZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

'NYC ARTS' IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK.

FIRST REPUBLIC BANK PRESENTS FIRST THINGS FIRST.

AT FIRST REPUBLIC BANK FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENTS WHO WALK-THROUGH OUR DOORS.

THE FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE, BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS IS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

AND BY SWAN AUCTION GALLERIES.

SWAN AUCTION GALLERIES, WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST TIME BUYER OR LOOKING TO SELL, INFORMATION AT SWANGALLERIES.COM.

♪♪ ♪♪ ♪♪

> GOOD EVENING AND WELCOME TO NYC ARTS.

I'M PHILIPPE DEMONTEBELLO AT LINCOLN CENTER.

TONIGHT WE'LL VISIT GALLERY NEW YORK, THE MUSEUM OF EARLY 20th CENTURY GERMAN AND AUSTRIAN ART AND DESIGN, LOCATED IN RENOVATED MANSION AT 5th AVENUE AND 86th STREET, THE MUSEUM WAS FOUNDED BY TWO CLOSE FRIENDS.

CURRENTLY ON VIEW IS THE EXHIBITION, THE SELF-PORTRAIT FROM SCHIELE TO BECKMANN.

IT FOCUS ZS ON WORKS CREATED IN THE FIRST FOUR DECADES OF THE 20th CENTURY.

A GENRE THAT HAS TRANSCENDED THE AGES FROM THE OLD MASTERS TO TODAY, THE SELF-PORTRAIT REACHED NEW HEIGHTS IN GERMANY AND AUSTRIA DURING THIS TIME.

ABOUT 70 SELF-POR TRAITS BY MORE THAN 30 ARTISTS ON VIEW HERE.

SOME BY WELL-KNOWN FIGURES BYINGEN SCHIELE AND MAX BECKMANN AND OTHERS ARTISTS THAT DESERVE GREATER RECOGNITION.

SOME OF THE OUTSTANDING WORKS BY WOMEN, PAULA MODDER SON BECKER AND KOLLWITZ.

THE CMO COMPRISED OF PUBLIC OF PRIVATE AND COLLECTIONS WORLDWIDE.

I RECENTLY SPOKE WITH THE DIRECTOR ABOUT THE REMARKABLE EXHIBITION.

I'M WITH BONNIE PRICE, THE DIRECTOR OF THE GALLERY IN THE MIDST OF THE NEW EXHIBITION THAT IS DEVOTED TO THE SELF-PORTRAIT.

AND IT COVERS BASICALLY THE PERIOD OF TIME BETWEEN THE TWO GREAT WARS.

MY FIRST QUESTION TO YOU IS, WHY IS IN PERIOD OF TIME FOR ARTISTS FROM GERMANY AND AUSTRIA SO CRITICAL?

I THINK ARTISTS ARE LIKE SEISMOGRAPHS.

THEY'RE REACTING TO THEIR SURROUNDINGS.

THIS WAS A VERY TUMULTUOUS TIME IN GERMANY AND AUSTRIA.

AND I THINK YOU'RE ALSO SEEING THAT THE ARTISTS ARE MORE CONFIDENT TO EXPRESS THEMSELVES.

AND THEY'RE LOOKING FOR A MODERN WAY TO DO THAT.

THEY ARE LOOKING TO BREAK FROM THE ACADEMIC TRADITION AND TO CREATE A NEW VISUAL VOCABULARY.

THE SELF-PORTRAIT SAYS A GREAT DEAL, OF COURSE, ABOUT INTROSPECTION, THE ARTIST LOOKING AT HIMSELF OR HERSELF.

BUT SURELY IT GOES BEYOND.

IT'S USING ONE'S SELF TO EXPRESS A BIGGER STORY THAT THAN ONE'S SELF.

YES IT'S BOTH.

THESE WERE TIMES OF ECONOMIC WOES APPEAR OBVIOUSLY WHEN YOU ARE YOUR OWN MODEL IT'S THE LEAST EXPENSIVE WAY OF SHOWING A FIGURE.

THE MODEL IS ALWAYS WITH.

YOU THE MODEL IS ALWAYS WITH YOU AND ALWAYS HAS A VERY FAVORABLE RATE.

MANY OF THESE ARTISTS FLOURISHED WITH THIS IDEA OF THE SELF-PORTRAIT.

THEY COULD HAVE A CERTAIN VERACITY.

AND THEY WERE LOOKING FOR A TRUTH.

THEY WERE OBVIOUSLY ZPIKTING THEMSELVES IN THEIR SURROUNDINGS IN TIME THEY LIVED IN.

SO THEY BECOME VERY IMPORTANT HISTORIC DOCUMENTS AS WELL.

IF YOU GO AROUND THIS EXHIBITION, IT GOES BEYOND THE TRUTH.

THEY ARE SING ALREADILY UNFLATTERING TO THEMSELVES.

WHAT ACCOUNTS FOR THAT?

I MEAN, HUMAN BEINGS ARE QUITE NATURALLY NARCISSISTIC.

BUT HERE THERE IS A CRUEL, CLINICAL LOOK AT ONE'S SELF THAT'S MOST INTERESTING.

THEY DID NOT WANT TO IDEALIZE THEMSELVES.

THEY WEREN'T LIVING IN IDEALIZED CIRCUMSTANCES MOST OF THEM.

MANY OF THESE ARTISTS VOLUNTEERED FOR WAR AND CAME BACK WITH THE TRAUMA OF THAT.

AND THEY HAD TO DEAL WITH IT.

AND PAINTING SELF-PORTRAITS IS ONE WAY OF DOING THAT.

YOUR BOOK ENDS IN TERMS OF THE TITLE IS SCHIELE AND BECKMANN.

AND BOTH OF THEM REALLY A LITTLE BIT LIKE RECOMMEND BRANDT BEFORE THEM.

AND IN THE SHOW YOU HAVE A NUMBER OF OF THE ETCHINGS OF RECOMMEND BRANDT.

THEY REALLY PAINT A GREAT POR TRAITS OF THEMSELVES AT DIFFERENT TIMES IN DIFFERENT GUYS.

THIS O ARE THEY THE TWO GREAT ARTISTS OF THE PERIOD.

WELL THEY ARE GREAT ARTISTS OF THE PERIOD ONE IS AUSTRIAN AND GERMAN WE ARE IN A MUSEUM FOR GERMAN AND AUSTRIAN.

SCHIELE BEING THE AUSTRIAN.

EGON SCHIELE, THE AUSTRIAN A MAX BECKMANN THE GERMAN BOTH OF THE SAME GENERATION.

AND THEY WERE BOTH CONVINCED THAT THEY WERE EXTRAORDINARY TALENTED ARTISTS.

THERE IS A VERY PROFOUND PSYCHOLOGICAL INVESTIGATION THAT ONE FINDS IN THESE PORTRAITS.

CAN YOU SAY SOMETHING LET'S SAY ABOUT SCHIELE'S LIFE AND HOW MAYBE THAT IS REFLECTED IN HIS PORTRAITS?

EGON SCHIELE WAS I THINK THE FIRST ARTIST WHO DID NOT MAKE METICULOUS ETCHINGS OF PAINTINGS BUT DID THESE COMPLETE OUTBURSTS OF SELF-PORTRAITS.

AND HE USED HIS ENTIRE BODY FOR THAT.

SO THAT WAS EXTREMELY MODERN.

HE ALSO DIDN'T BELIEVE THAT THERE WAS ONE OF HIM BUT THAT I CONSISTED OF MANY MYSTERIOUS ELEMENTS AND HE LUSED TO EXPERIENCE EVERYTHING.

AND EGON SCHIELE MADE AT LEAST 240 SELF-POR TRAITS WE KNOW OF.

IT WAS A TENTH OF HIS ENTIRE OUTPUT AND HE DIED WHEN HE WAS 28.

OF A ILLNESS.

HE DIED OF THE SPANISH FLU.

NOW BECKMANN IS A CONTEMPORARY OF SCHIELE.

HE IS THE GERMAN ARTIST.

AND THE SPAN OF TIME IS A MUCH WIDER ONE AND TAKES US ALL THE WAY FROM THE EARLY DAYS OF THE FIRST WORLD WAR THROUGH THE SECOND WORLD WAR EVEN TO BECKMANN IN NEW YORK.

CORRECT.

IN WHAT WAY CAN WE STUDY THE BIOOGRAPHY OF BECKMANN THROUGH THIS PORTRAIT AND IS THAT WHAT YOU TRIED.

HE WAS A MEDICAL ORDERLY IN WORLD WAR I HE IN TO RECUPERATE IN FRANKFORT AS A NERVOUS BREAKDOWN.

HE WAS SO CONVINCED THAT HIS TALENT WAS SO GREAT THAT HE CALLED HIMSELF AN ART MACHINE.

AND WE ARE SHOWING WORKS FROM THE VARIOUS STAGES OF HIS LIFE.

THE FIRST PAINTING WE SHOW ACTUALLY IS CALLED THE FAMILY WHERE YOU SEE HIM IN A VERY CRAMPED ROOM.

AND YOU SEE SYMBOLS.

HE NEVER LIKED TO EXPLAIN HIMSELF.

HE SAID IF I WANT TO EXPLAIN WHAT I'M DOING THEN I WOULD HAVE BECOME A WRITER.

HE LIKED THAT MYSTERY AND INTERPRETATION THAT WAS POSSIBLE.

AND SO IF YOU LOOK CLOSELY 'THE FAMILY' YOU SEE HE IS RECLINING AND HIS WIFE IS LOOK AT THE MIRROR AND THE CANDLE BETWEEN THEM HAS BEEN BLOWN OUT.

AND THERE ARE ALL KINDS OF WONDERFUL DETAILS IN THIS PICTURE.

HIS SON IS READING A COMIC BOOK AND THEY ARE CRAMMED IN THIS SPACE AND EVERYBODY IS IN THEIR OWN ISOLATION.

THAT'S REALLY AN INTERESTING MESSAGE THERE.

THIS MAX BECKMANN PORTRAIT OF 1938 IS ONE OF THE KEY WORKS IN THE COLLECTION OF THE GALLERY.

AND IT WAS STARTED IN 1933 WHEN HE HAD A DIFFERENT HAPPIER EXPRESSION IN HIS FACE.

BUT THEN BETWEEN '3 AND '38 MUCH HATCHED.

HE WAS A DID HE GENERATE ARTIST THAT THE NAZI VILLIFIED SO HE KNEW HE HAD NO PLACE IN GERMANY.

AND BECKMANN PORTRAYS HIMSELF HERE AS SOMEBODY WHO IS ABOUT TO MAYBE BLOW ON THAT HORN AND TO WARN US OF THE DISASTERS THAT WERE IMMINENT.

AND THAT MAKES THIS A VERY HISTORICALLY IMPORTANT PAINTING AND OF COURSE THE ROLE OF THE ARTIST IN IN CONTEXT IS AMPLIFIED.

WE HAVE SAID HE MANY TIMES.

BUT WE COULD ALSO SAY SHE, BECAUSE REVEAL TO US IN IN EXHIBITION ARE A NUMBER OF VERY STRIKING WORKS BY WOMEN ARTISTS.

TELL US A LITTLE BIT SOMETHING ABOUT THEM AND THEIR PLACE IN THE ART OF THE TIME.

IT WAS VERY DIFFICULT FOR WOMEN TO RECEIVE AN ART EDUCATION IN THAT TIME.

WOMEN WERE NOT PERMITTED TO ATTEND ACADEMIES BECAUSE THEY WERE NOT ALLOWED TO BE EXPOSED TO NUDE MALE MODELS.

IF A WOMAN WANTED TO BECOME AN ARTIST IN THIS TIME SHE HAD TO GO TO PARIS TO STUDY MODERN MASTERS AND STUDY THE NUDE.

ONE GREAT EXAMPLE IS PAULA MODDER SON BECK ERA WE HAVE AN IMPORTANT WORK THAT SHOWS HER IN HER STUDIO IN PARIS.

IT'S THE FIRST TIME A WOMAN PAINTED HERSELF WITHOUT CLOTHES OR VERY LITTLE CLOTHES BUT ALSO PREGNANT.

WE KNOW THIS IS A SYMBOLIC PREGNANCY.

BUT NEVERTHELESS THIS AS FAR AS WE KNOW HAS NOT HAPPENED BEFORE 1906.

? IN A SENSE A MESSAGE TO HER HUSBAND, LOOK, LET'S HAVE SOME KIDS, BECAUSE SHE IS NOT PREGNANT.

SHE WAS VERY CONFLICTED ABOUT THAT.

AT THE TIME SHE PAINTED THAT SHE HAD SEPARATED FROM HER HUSBAND AND IN PARIS ON HER OWN.

SHE WAS CERTAINLY THINKING ABOUT HAVING A CHILD.

AND IT MIGHT BE A PROJECTION FOR THE FUTURE.

THERE IS ANOTHER MODDER SON-BECKER CAN YOU SAY SOMETHING ABOUT THAT.

THIS IS FROM THE FOLLOWING YEAR, 1907 WHEN PAULA MODDER SON BECKER IS IN A HAPPIER PLACE.

SHE IS RECONCILED WITH HER HUSBAND SHE IS PREGNANT AND SHE IS HOLDING OUT FLOWERS AS A KIND OF WELCOME.

WITH SHE ALSO AS WE KNOW LOOKED VERY CLOSELY NOT JUST AT MODERN ART IN PARIS BUT AT THE LOUVRE AND SHE SAW THE MUMMY PORTRAIT AND THE BIG EYES MATTERED VERY MUCH TO HER.

AND UNFORTUNATELY THREE WEEKS AFTER SHE GAVE BIRTH TO THAT BABY GIRL SHE DIED OF AN EMBOLLISM.

HER CAREER WAS CUT SHORT AND SHE DIED AT THE AGE OF 31.

HOW ABOUT KATIE KOLLWITZ.

KATIE KOLLWITZ IS ANOTHER GIANT ARTIST AT THIS TIME.

SHE DID CLOSE TO 100 SELF-PORTRAITS.

ACTUALLY DESPITE THE MALE DOMINATED ART WORLD IN BERLIN HER ACHIEVEMENTS WERE ACKNOWLEDGED AND SHE WAS THE FIRST FEMALE PROFESSOR AT THE PRUSSIAN ART ACADEMY IN 1919 THE YEAR WOMEN WERE ALLOWED TO VOTE IN GERMANY.

THE KATIE CHARCOAL SELF-PORTRAIT IS REALLY VERY GRIPPING.

SHE IS LOOKING STRAIGHT INTO THE MIRROR AND STRAIGHT AT THE VIEWER WITH A STARK CONTRAST OF THE DARNING AND THE LIGHT.

AND SHE IS NOT FLATTERING HERSELF.

THIS IS SOMETHING THAT KATIE KOLLWITZ WAS CONSISTENT ABOUT.

SHE WAS A REALIST.

AND SHE SHOWED HERSELF WITH ALL HER WRINKLES AND ACTUALLY THAT HAS A BEAUTY ALL OF ITS OWN.

I THINK ONE OF THE MOST MOVING -- BECAUSE OF ITS HISTORICAL AND REAL CONINNOVATION IS THE PORTRAIT BY FELIX NUSSBAUM.

THIS IS ONE OF THE MOST POIGNANT IN EXHIBITION.

SHE WAS JEWISH STUDENT IN ROME HE RAELTZED HE COULDN'T DO GO BACK TO GERMANY WHEN HIT LETTER TOOK POWER.

HE SPENT THE NEXT TEN YEARS IN HIDING.

HE WENT TO BELGIUM WHERE HE WAS APPREHENDED AND SENT TO AN INTERNMENT CAMP.

THE FIRST PAINTING WE ARE SHOWING HE PAINTED AFTER HE WAS ABLE TO BE RELEASED FROM THIS CAMP.

AND YOU SEE THE FEAR IN THE ARTIST AS HE IS RETELLING THE TALE.

IT'S A REPORTAGE.

THE LAST SELF-PORTRAIT IS FROM 1943.

YOU REALLY FEEL THAT HE IS TRAPPED.

THE COLLAR IS TURNED UP.

HE IS SHOWING THE STAR OF DAVID THAT HE HAD TO WEAR, SHOWING HIS JEWISH IDENTITY CARD.

AND HE HAS MARKED OUT WHERE HE IS FROM, BECAUSE HE DOESN'T KNOW ANYMORE WHERE HE BELONGS.

BUT THERE IS A LITTLE BIT OF HOPE, BECAUSE YOU SEE A TREE WITH CUT BRANCHES BEYOND THAT WALL AND ONE BRANCH HAS BLOSSOMS AND THERE ARE SOME BIRDS THAT GIVES YOU A SENSE OF HOPE.

BECAUSE HE WAS APPREHENDED BY THE NAZIS AND THEN MURDERED IN AUSSCWITZ.

THROUGH THE SELF-PORTRAIT THROUGH THAT EXAMINATION OF ONE OWES OWN FEATURES WITHIN ONE'S OWN SURROUNDING, THIS IS AN EXHIBITION THAT TELLS A GREAT DEAL AS YOU SAID EARLIER OF THE IT'S A FASCINATING EXHIBITION.

AND SO MUCH TO BE LEARNED FROM IT.

AND SO DIRECTLY MOVING, BECAUSE IT IS A PORTRAIT REALLY OF AN EPIC.

AND I THANK YOU VERY MUCH FOR THIS WONDERFUL TOUR.

THANK YOU.

♪♪

> NEXT WE'LL TAKE A TRIP OUT OF TOWN TO ENJOY SOME FRESH AIR AND VISIT LONGHOUSE RESERVE IN EAST HAMPTON.

JACK LARSON, A RENOWNED TEXTILE DESIGNER AUTHOR AND COLLECTOR INTRODUCES US TO THE ART CENTER AND SCULPTURE GARDEN HE FOUNDED.

SCULPTURES BY BUCKMINSTER ARE SOME OF THE MANY WORKS ON VIEW.

WHEN I DECIDED TO BUILD HERE, THE IDEA TO MAKE IT A PUBLIC SPACE AND TO SHARE IT AND TO USE IT AS A DEMONSTRATION -- I'VE OFTEN BEEN A PROFESSOR.

AND TEACHING YOUNGER PEOPLE AND OLDER PEOPLE.

BUT IT SEEMED TO ME THE BEST WAY OF LEARNING IS IN A SPACE, EVEN BETTER THAN EXTRAORDINARY MEDIA WE HAVE TODAY IS WALKING INTO A SPACE, YOU UNDERSTAND BETTER ART IN RELATIONSHIP TO THE GARDEN WOULD BE SHOWING PEOPLE HOW TO -- AN ALTERNATIVE TO THE USUAL SUBURBAN BACKYARD.

SCULPTURE OUTDOORS IS AT ITS BEST, BECAUSE OF THE INTENSE SHADE AND SHADOW THAT DEFINES SCULPTURE.

AND -- AGAINST THE SOFTNESS AND QUALITY OF FOLIAGE AND THE SHIFTING OF CLOUDS, AND THE CHANGING OF LIGHT, THE CHANGING OF SEASONS.

SOME OF OUR PIECES ARE MOST WONDERFUL WITH FROST OR ICICLES OR SNOW.

AND IN A GALLERY YOU DON'T GET ANY OF THAT.

WE HAVE A VERY LARGE DECOUNI AND A VERY LARGE BUCKMINSTER FULLER WISE EYE DOME.

WHICH IS ICONIC HERE, IT'S BEEN HERE A LONG TIME.

IT'S BUILT AS ALTERNATE OF HOUSING THAT COULD BE DROPPED IN BY HELICOPTER ON WOODED HILLS.

WE FOLLOW IT AND WE HAVE PLAY IT BY TRUST BY YOKO ONO.

AND I COULD GO ON.

IT'S QUITE A BIT.

THAT'S GRACE ALTON.

AND THAT'S ROOFING COPPER THAT SHE WAS GIVEN.

AND THEY'RE VERY LIGHTWEIGHT.

ONE OF THE THINGS I LEARNED, THESE ARE SO LIGHTWEIGHT WE HAVE MOVED THEM FROM TIME TO TIME.

AND ONCE WE WERE MOVING THEM INTO A WOODLAND, I SAID GRACE NOW IT'S TIME FOR YOU TO PLACE THEM.

AND SHE SAID, BUT JACK, I USUALLY FIND WHERE THEY PUT THEM DOWN IS THE RIGHT PLACE.

AND THAT LAISSEZ FAIRE ATTITUDE HAS MADE LIFE SO MUCH EASIER TO LET IT BE.

DON'T FUSS TOO MUCH.

> HELLO MIEP RAFAEL PI RAM ROMAN AND WELCOME TO LINCOLN CENTER THE MUSICS SERIES OF CONSCIOUS EXPLORING THE WAYS IN WHICH COMPOSERS USED MUSIC TO RESPOND TO THE SOCIAL AND POLITICAL ISSUES OF THEIR TIME WILL QUEBEC WITH A WORLD PREMIER.

DAVID LANGE'S OPERA PRISONER OF THE STATE.

COULD COMMISSIONED BY THE NEW YORK PHILHARMONIC, THE OPERA TELLS THE STORY OF A WOMAN DISGUISED AS A PRISON GUARD TO RESCUE HER HUSBAND FROM POLITICAL.

>. THE FULLY FACED PRODUCTION WILL FEATURE THE BARRETT OPINION AND JULIE MATHIVAY AS THE INSIST.

BARE TONE JARED OTT AS THE PRISONER.

IT'S DIRECTED BY ALKANA PULITZER.

IN HER DEBUT.

AND FOR EVEN MORE INFORMATION ABOUT MUSIC, DANCE, THEATER, OPERA AND FILM HERE AT LINCOLN CENTER YOU CAN VISIT THE WEBSITE AT LINCOLN CENTER.ORG.

I HOPE YOU'VE ENJOYED OUR PROGRAM.

I'M PHILIPPE MONTEBELLO.

AT THE TISCH STOINTS.

A LOOK AT LANDSCAPE PAINTINGS FROM IMPRESSIONIST WILLIAM MERIT CHASE IN THE COLLECTION OF THE MUSEUM IN WATER MILL.

CHASE HAD A LONG AND RICH RELATIONSHIP TO THE EAST END OF LONG ISLAND.

YOU MIGHT SAY HE STAKED HIS CLAIM TO THAT RDED IN LANDSCAPE EARLY ON AND SAW MORE POSSIBILITIES IN IT THAN THE UNTUTORED EYE.

AND A VISIT TO THE MUSEUM OF NEW YORK FOR A LACK AT THE EXHIBITION CYCLING IN THE CITY A 200 YEAR HISTORY.

THE FIRST BICYCLE CALLED A VELOCIPEDE CAME TO NEW YORK IN 1819, 200 YEARS AGO.

WHERE PEOPLE CAN BICYCLE, WHO BICYCLES WHEN YOU CAN DO IT HAS BEEN CONTENTIOUS.

♪♪ ♪♪ ♪♪ > FUNDING FOR 'NYC ARTS' IS MADE POSSIBLE BY ROSALIND P.

THE THEA PETSCHEK IERVOLINO FOUNDATION.

ELLIS JAFFREY AND JEFFREY BROWN.

ESTATE OF CECILLE FOX.

JEAN DOMESTIC ABUSE SKI APPLETON STATE.

THE AVERY ARTS FOUNDATION.

CHARLES AND VALERIE DICHE E.R.

AND ELROY AND TERRIE KRUMHOLZ FOUNDATION.

THIS PROGRAM IS SUPPORTED IN PART BY PUBLIC FUNDS FROM THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS IN PARTNERSHIP WITH THE CITY COUNCIL.

ADDITIONAL FUNDING PROVIDED BY MEMBERS OF 13.

NYC ARTS IS MADE POSSIBLE IN PART BY FIRST REPUBLIC BANK AT FIRST REPUBLIC BANK FIRST REFERS TO OUR FIRST PRIORITY, THE CLIENTS WHO WALK-THROUGH OUR DOORS.

THE FIRST STEP, RECOGNIZE THAT EVERY CLIENT IS AN INDIVIDUAL WITH UNIQUE NEEDS.

FIRST DECREE, BE A BANK WHOSE CURRENCY IS SERVICE IN THE FORM OF PERSONAL BANKING.

THIS IS FIRST REPUBLIC'S MISSION FROM OUR VERY FIRST DAY.

IT'S STILL THE FIRST THING ON OUR MINDS.

AND BY SWAN AUCTION GALLERIES.

SWAN AUCTION GALLERIES, WE HAVE A DIFFERENT WAY OF LOOKING AT AUCTIONS, OFFERING VINTAGE BOOKS AND FINE ARTS SINCE 1941, WORKING TO COMBINE KNOWLEDGE WITH ACCESSIBILITY.

WHETHER YOU'RE A LIFELONG COLLECTOR, FIRST TIME BUYER OR LOOKING TO SELL, INFORMATION AT SWANGALLERIES.COM.