After a pleasant walk cross-town through Central Park, I made it for the last day of the Oskar Kokoschka show at the Neue Galerie. This museum is elegant but quite small, & the 3rd floor was closed due to the hanging of a new exhibit, making it even smaller. Kokoschka is represented by half a dozen portraits, the sitters looking fretful at best, & a selection of drawings, water color studies & prints. I was amused by the colored drawing Die christliche Liebe (Alma Mahler und der Künstler). The 2 figures are walking in a garden. Alma is a large, pear-shaped figure in a blue dress, & the artist represents himself as an undersized, child-like figure in a red outfit walking beside her. His outstretched hand directs the viewer to a couple kissing in the bushes.
I can't say that I have much of an eye for Klimt, but the room of his decorative square canvases, featuring the portrait of Adele Bloch-Bauer I, is admittedly stunning & worth the price admission.
Also striking is the period furniture sitting in the corners of the gallery. I liked the large Koloman Moser collector's cabinet with its oak veneer stained black but with the grain pattern chalked white. The scroll-like "Knieschwimmer" club chair by Adolf Loos generated much discussion among the visitors, as we tried to figure out if it could be made comfortable. We decided that the chair must have had a separate foot rest which is now missing.
For the full experience, I had lunch in the pricey, Viennese-themed restaurant, Cafe Sabarsky. This seems to be an attraction of its own. There was a line to get in, though I could be seated immediately if I was willing to share a table. As a result, I had a delightful conversation with a woman from Mississippi who once did standing room at the San Francisco Opera to hear Beverly Sills in Traviata.