Galerie Gmurzynska

03/07/2026

To celebrate Natalia Goncharova’s birthday, we look back at the presentation at TEFAF New York Spring 2019, where the gallery exhibited a single masterpiece of enormous scale and seminal historic importance by the artist.

Natalia Goncharova was a Russian avant-garde artist, painter, costume designer, writer, illustrator, and set designer. This backdrop is the only surviving large scale painting from this Diaghilev production. With Goncharova’s radicalism starting in the 1910’s, at a time when female painters in Europe and the US would not have dared to use body-painting or to promote Cubism, Futurism, and Rayism as she did, not to mention her provocative personal behavior, Goncharova is as relevant today as ever.

Now on view at Guggenheim New York in New York, “Modern European Currents” is featuring works from the Guggenheim’s collection by Natalia Goncharova, and more, to explore a transformative turning point—when artists redefined the role of art in society and paved the way for the rise of abstraction.

—
Natalia Goncharova (1881-1962)
Le Coq d’Or The Back-drop from Act III, 1914
peinture a la detrempe on canvas
393 5/8 x 696 inches
999.8 x 1767.8 cm
—
Installation views: TEFAF New York Spring, Galerie Gmurzynska, 2019
—

# -garde

30/06/2026

‘Manigua’ (Jungle) from 1959 is a pastel drawing that closely relates to Wifredo Lam’s ‘La Brousse’ paintings from 1958 and 1959. During this period Lam painted seven canvases that were inspired by the Cuban landscape, as their collective title ‘La Brousse’ (The Bush).

—
Wifredo Lam and Pablo Picasso
On View: April 23 - June 30
595 Madison Avenue
New York, NY 10022
—
Wifredo Lam
Manigua, 1959
signed and dated recto
pastel on paper mounted on canvas
39 1/4 x 28 5/8 inches
99.7 x 72.7 cm
—
Installation views: Galerie Gmurzynska, 2026
—

27/06/2026

The present canvas is part of a well–known series of thirty-one paintings and drawings that Picasso made in April and May of 1954, depicting a twenty-year old blonde model named Sylvette David. At this point he plunged into one of his most extraordinary campaigns of possession, not through working and reworking an oil painting but with a dazzling series of forty paintings and drawings done inside a month.

—
Wifredo Lam and Pablo Picasso
On View: April 23 - June 30
595 Madison Avenue
New York, NY 10022
—
Pablo Picasso
Portrait de Sylvette, 18 April 1954
signed and dated upper right “Picasso 18.4.54”
oil on canvas
36 1/4 x 28 3/4 inches
92 x 73 cm
—
Photos:
Tobias Jellinek, Sylvette David with Picasso and his children Claude and Paloma in front of the villa La Galloise in Vallauris, 1954, black and white print, Sylvette David / Lydia Corbett.
Portrait of Sylvette David, Picasso’s model, circa 1950s
—

23/06/2026

A long-standing contributor to The New York Times and The New York Times Magazine as a columnist, National Geographic, and The New Yorker, for which he has created over 30 covers, Niemann’s work has also appeared in Wired, Newsweek, and Zeit Magazin, among others.

—
Christoph Niemann: Urban Horizons
On View: June 11 -
Paradeplatz 2, 8001 Zürich
—
Christoph Niemann
Zürich, Grossmünster, 2025
Ink on paper
47.2 x 35.9 cm
18.58 x 14.13 inches
—
Copyright Christoph Niemann 2026
—

20/06/2026

To celebrate Kurt Schwitters birthday, we look back at one of our favorite collages by the pioneering artist.

Kurt Schwitters was a German artist, painter, poet, installation artist and graphic designer, who was highly influential in the Dadaist movement and also in Constructivism and Surrealism. Most famous for his collages called Merz, many people credit him for inventing the modern collage, and also performance art, installation art, and sound art. He was one of the most radical and important artistic pioneers of the 20th century.

Now on view at Zentrum Paul Klee in Bern Switzerland, “Schwitters: On the Fringes of the Avant-Garde” is showing the first comprehensive exhibition on Kurt Schwitters in Switzerland in over twenty years. Galerie Gmurzynska is proud to have loaned over 20 works to the exhibition, reflecting its over 50 decade interest in promoting Kurt Schwitters.

—
Kurt Schwitters (1887-1948)
Ohne Titel (KWATTA), 1928
signed and dated on the lower left
Collage
6 5/8 x 4 7/8 inches
16.8 x 12.4 cm
—

# Zurich

18/06/2026

The Femme-Cheval is a recurrent figure in the oeuvre of Wifredo Lam and this painting is the first ever of the 12 paintings. Lam developed the horse-headed female in 1941, the year of his return to his native country Cuba, after eighteen years in Europe and two forced exiles.

The impetus for Lam’s use of the human-horse face and the woman-horse figure comes from the influence of Picasso (in particular his 1935 graphic “Minotauromachie” suite), Surrealism and Afro-Cubanism. Through the horse-headed woman, Lam managed to transpose the power focus of Surrealism (and Picasso) from the male principle to the female.

The motif’s significance extends well beyond Lam’s own practice, finding renewed expression in contemporary fashion and design. Diotima founder and designer Rachel Scott collaborated with the Wifredo Lam estate and selected four paintings from Lam’s oeuvre, one of which is Lam’s Femme-Cheval (Horse-Woman).

—
Wifredo Lam and Pablo Picasso
On View: April 23 - June 30
595 Madison Avenue
New York, NY 10022
—
Wifredo Lam
Femme-Cheval, 1948
Signed and dated lower center “Wifredo Lam / 1948” and signed lower left “Wifredo Lam”
oil on canvas
38 1/2 x 31 1/2 x 1 inches
97.8 x 80 x 2.5 cm
—
Photos:
Wifredo Lam in his studio in Havana, 1947
Diotima, Autumn/Winter 2026 Line. New York Fashion Week, Designed by Rachel Scott, in collaboration with the Wifredo Lam Estate
—

17/06/2026

16/06/2026

Now on view | Christoph Niemann

—
Christoph Niemann: Urban Horizons
On View: June 12 - September 30
Paradeplatz 2, 8001 Zürich
—
Christoph Niemann
Take the A Train, 2026
Acrylic on canvas
70 x 50 cm
27.56 x 19.69 inches
—
Copyright Christoph Niemann 2026
—

13/06/2026

When he painted the present work, Lam split his time between Albissola Mare and Paris. He was at the pinnacle of his international career. Typical motifs of this period are very large hands, often rendered in bright yellow, which also can be seen here. More and more, Lam turned away from the real world and developed his own fantastical, personal world of signs and symbols.

—
Wifredo Lam and Pablo Picasso
On View: April 23 - June 30
595 Madison Avenue
New York, NY 10022
—
Wifredo Lam
Untitled, ca. 1966
oil on canvas
57 1/2 x 85 inches
146 x 216 cm
—

09/06/2026

On July 12, 1918 in Paris, Pablo Picasso married the Russian ballet dancer Olga Khokhlova after more than a year of passionate courtship and honeymooning in the beautiful villa Mimoseraie. Over the course of Picasso and Olga‘s two-month honeymoon in Biarritz, the artist painted Olga, still resting her injured foot. These images range from traditional figural studies to nearly abstract representations.

—
Wifredo Lam and Pablo Picasso
On View: April 23 - June 30
595 Madison Avenue
New York, NY 10022
—
Pablo Picasso
Danseuse avec la corne d’abondance, 1918
oil on stucco laid down on canvas mounted on board
51 1/8 x 33 7/8 inches
130 x 86 cm
—
Photos:
Olga Khokhlova and Pablo Picasso at the villa La Mimoseraie in Biarritz, summer 1918
Man Ray, Chambre bleue, villa La Mimoseraie. 1926, Photography, 12 x 16 cm
—