A Lakeside Castle Hotel in the Austrian Alps


A Lakeside Castle Hotel in the Austrian Alps

The castles of the German and Austrian Alps are known for their fairy-tale quality. The iconic turreted silhouette in the background of the Disney logo was, in fact, modeled after Neuschwanstein, King Ludwig II’s Bavarian palace near the border of the two countries. Schloss Fuschl, located on an evergreen-ringed, emerald-hued glacial lake 20 minutes outside of Salzburg, is no exception. Constructed in 1461, the sprawling stone manse served for four centuries as a luxurious hunting lodge for the Prince-Archbishops of Salzburg, who ruled the area under the Holy Roman Empire, as well as their royal guests. After World War II, the schloss (“castle” in German) was converted into a hotel that operated mostly seasonally, from April through October, until 2022, when Rosewood Hotels & Resorts bought the property and embarked on a restoration. On July 1, Schloss Fuschl will reopen with 98 guest rooms including six stand-alone chalets. There are six restaurants and bars on-site; indoor and outdoor infinity pools; a spa with three saunas and eight treatment rooms; and access to Lake Fuschl: Fishing expeditions, boat trips and herbalist-led nature walks can be arranged. While the schloss was never home to the likes of Cinderella or Rapunzel, it did host a movie princess: Fans of midcentury cinema might recognize the place from the German-French actress Romy Schneider’s “Sisi” films — a historical trilogy about the young Elisabeth of Austria — which were shot there in the 1950s. Today, the Sisi Teesalon bears the character’s name and will offer afternoon tea service with a wide range of homemade pastries including the Schloss Fuschl Torte, a chocolate-hazelnut truffle cake first created in the house kitchen more than 30 years ago. Rates from about $695 per night, rosewoodhotels.com.

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When it opens in Beverly Hills on June 22, Michael Werner Gallery’s Los Angeles outpost will feature works by the 19th-century French artist Pierre Puvis de Chavannes and the German postwar painter Markus Lüpertz. The gallery’s co-owner Gordon VeneKlasen chose these artists in part to surprise viewers: “Nobody expects to see those two artists in a show in L.A.,” he says. The show reveals Lüpertz’s longtime admiration of his predecessor: The works on view, dating from 2013 to a decade later, incorporate and recontextualize images from Puvis’s work, such as “Étude pour Le Pauvre Pêcheur” (“Study for The Poor Fisherman”) an 1881 charcoal sketch of a fisherman and two figures, which in Lüpertz’s painting “Besuch von Pierre” (“Visit From Pierre”) (2018) becomes a vista devoid of people. VeneKlasen wants this interplay between two eras to characterize the gallery’s future exhibits. “I really wanted to establish that we’re attached to history and attached to the modern and the contemporary at the same time,” he says. Other exhibitions planned in the minimalist space, which wraps around a courtyard, include those featuring work by the 20th-century American conceptual artist James Lee Byars, the British painter and musician Issy Wood and the German artist Florian Krewer. The gallery will also host a series of events, beginning with a Sept. 7 spoken-word performance featuring California poets. “Markus Lüpertz, Pierre Puvis de Chavannes” will be on view at Michael Werner Gallery, Beverly Hills, from June 22 to Sept. 7, michaelwerner.com.

For the Rotterdam-based designer Bertjan Pot, the most satisfying experiments often spring from unexpected odds and ends. Wire strainers, plastic jugs and golf balls turn up in an ongoing series of lamps called Crafty Lights, while a suite of high-backed sofas created for the TextielMuseum in the nearby city of Tilburg features bright polypropylene string crisscrossed around a spare metal frame. “I don’t even keep a sketchbook,” Pot says, reflecting on his improvisational approach to design. “Most of it is just done hands-on by playing around with materials.” His latest collaboration with the New York-based textile house Maharam nods to a longtime fascination with marine line (high-performance sailing rope), which Pot is known to fashion into whimsical masks. Two new rugs — Pop, coiled in an oval or circle, and Groove, a riff on the checkerboard — are made of multicolor rope that lends a mesmerizing, dimensional effect. Suitable for both indoor and outdoor use, the rugs have a stylistic kinship with Americana. “What I like about folk art, and maybe tramp art and outsider art, is that there’s always a clear link to the hands that’ve made it,” the designer says — a quality also found in Groove’s macramé knot. (Weavers in India learned the technique by studying one of Pot’s handmade samples.) Objects encoded with human touch are the ones “you put on a pedestal,” Pot says. “Or it might not even be a pedestal. Maybe just a nice place: That could be the floor.” From $258, maraham.com.

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Growing up in Puerto Rico, the artist Jean-Pierre Villafañe fell in love with painting while working on a series of community murals in San Juan’s Río Pedras district. The project also sparked his interest in architecture and the way decoration can impact public spaces and how people use them. In 2019, he left his job as an architectural designer to pursue painting full-time. This week he’ll open “Playtime,” an exhibition of new work at the Charles Moffett gallery in Manhattan’s TriBeCa neighborhood. Villafañe is about halfway through a yearlong studio residency at 4 World Trade Center, next to New York’s financial district. His new work explores the spare, repetitive environments of corporations and the way people tend to obscure their private identities in office settings. A suite of oil paintings on linen show an exaggeratedly curvaceous cast of characters whose rotund musculature recalls the early 20th-century figures of the French artist Fernand Léger, but with highly contoured makeup. In Villafañe’s “Overtime” (all works cited, 2024), three such faces peek out over a maze of cubicles to watch a couple locked in an embrace, one exposing a breast and a fishnet-stockinged leg. “Pitch” depicts a group of executives seated at a boardroom table gazing at a contorted figure. Villafañe’s favorite of the new paintings, “Clocking-In,” portrays a corridor where workers emerge from various doorways in unison, identically dressed in white shirts, neckties and trousers — save for one brave deviant in a cocktail dress. “Playtime” is on view at Charles Moffett, New York, from June 21 through Aug. 2, charlesmoffett.com.

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It was a yearning for nature and some clean air and silence that motivated Anaïs Fillau and Bertrand Decoux to establish La Maison de Magescq, an elegant new four-room guesthouse in southwestern France. The couple — she a furniture designer and publicist, he an engineer — had spent a decade living in Singapore, Hong Kong, Hanoi and Bangkok. On a trip home to France in 2022, they came across an abandoned 18th-century stone mansion surrounded by a vast pine forest in Magescq, a tiny village in Les Landes, a little-known area on the Atlantic Ocean between Bordeaux and Biarritz.

The manor house they bought hadn’t been inhabited for 30 years, so it needed a total renovation. They decided to preserve many of its original elements — from the round stained-glass windows to the cement checkerboard floor in the entryway and plaster moldings. “The idea was to bring the house back to life as the backdrop for the contemporary furnishings we prefer,” Fillau says. She designed many of the earth-toned pieces as part of her made-to-order furniture line Manifeste (almost everything inside the house is for sale). There’s no restaurant, but the couple have curated a list of more than 70 mostly natural and organic wines that guests can enjoy in the lounge or on the terrace. A variety of activities are also offered, including surfing lessons, horseback riding, yoga, meditation, in-room massages and dinners prepared by a private chef. Rooms from about $235, maisondemagescq.com.

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Sarah Charlesworth was a conceptual artist who used photographs to examine society — first by collaging found images and later by creating her own. Her 1981 work “Tabula Rasa,” a white-on-white silk-screen print, reimagines one of the earliest still lifes ever taken. It is the namesake for Paula Cooper Gallery’s group exhibition “Tabula Rasa,” which centers on the relationship between Charlesworth and fellow conceptual artists Douglas Huebler and Joseph Kosuth. The show traces a lineage from Huebler, Charlesworth’s teacher, to her companion and collaborator Kosuth and the numerous artists they went on to influence, including Laurie Simmons, a close friend of Charlesworth’s, and the photographer Deana Lawson, her former student. Situating the three artists’ work alongside that of their mentors, friends, students and contemporaries, “Tabula Rasa” explores the overlapping creative trajectories that unite its 23 participants. “We have to recycle from the people that have created before us,” says the artist Lucy Charlesworth Freeman, whose work is displayed alongside her mother’s and opposite “Tabula Rasa II” (2024), a reinterpretation of the show’s namesake artwork by Charlesworth’s friend Sara VanDerBeek. “And that’s a beautiful, necessary, and unavoidable part of culture.” “Tabula Rasa” is on view at Paula Cooper Gallery, New York, through July 26, paulacoopergallery.com.

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