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Exposicions, visites i altres esdeveniments en curs o pròxims

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Winter Park, Florida
Secrets of Tiffany Glassmaking
Dates:04/09/2012-04/09/2020

Louis Comfort Tiffany (1848–1933) began his work in glass with the same tools and ingredients that had been used by artisans for thousands of years before him. Tiffany took the science of glassmaking, however, and elevated it to an art form of new brilliance and beauty. Under his watch, teams of talented designers and craftspeople translated Tiffany’s all-encompassing vision into some of the most memorable glass creations of our time. Tiffany’s studio system was not a simple enterprise; he needed specialized employees—a hierarchy of artists and artisans—to accomplish his goals. This exhibition, updated and reinstalled on September 4, 2012, addresses the processes that Tiffany’s many companies used to produce everything from glass mosaics and molded buttons to leaded-glass lamps and windows.

Wingen-sur-Moder
Retour aux sources, quand Lalique s'inspire du monde
Dates:24/06/2017-05/11/2017

René Lalique a beaucoup observé le monde qui l'entourait. 3 "F" sont souvent utilisés pour décrire ses sources d'inspiration : la Femme, la Faune et la Flore.

Le musée Lalique propose une nouvelle approche avec cette exposition : un regard croisé entre les créations Lalique et les œuvres qui ont pu l'inspirer. René Lalique avait su s'emparer de l'esprit de son temps mais aussi de celui des siècles précédents pour ses créations.

Comment ne pas voir l'influence du japonisme dans des représentations de paons ou de branches de prunus ? Ou encore de l'Egypte antique dans certains scarabées ou fleurs de lotus ?

Venez profiter de ce voyage aux sources de l'inspiration Lalique... 

 

Wingen-sur-Moder
Visites guidées des collections permanentes
Dates:01/07/2017-31/08/2017

Ne manquez pas tous les jours en juillet et en août les visites guidées des collections permanentes du musée Lalique ! Admirez de magnifiques bijoux Art nouveau puis continuez à suivre votre guide à la découverte du génie du verre et de la magie du cristal.

Départ : 10h30 et 15h

Tarif : 3€/par pers + prix d'entrée du musée
Nombre de places limité. Les places sont attribuées dans l'ordre d'arrivée le jour même.

Le dimanche, suivez également les visites guidées de l'exposition temporaire : collections permanentes + expo : 4,5€/pers en + du prix d'entrée

Wingen-sur-Moder
Visites-ateliers thématiques pour les 7-12 ans
Dates:08/07/2017-30/08/2017

A L’OMBRE DES BIJOUX EN FLEUR les lundis à 15h du 10 juillet au 31 août
Les artistes en herbe partent à la découverte de la flore et du japonisme, au coeur de l’exposition temporaire Retour aux sources - Quand Lalique s’inspire du monde. C’est en s’inspirant notamment des prunus en fleur que les enfants créent un bijou qui attrape la lumière.

CES ANIMAUX ONT DU CACHET les mercredis à 15h du 12 juillet au 31 août
La faune a inspiré René Lalique. Oiseaux, insectes, mammifères... Mais avaient-ils une symbolique particulière ? Petit voyage au travers des civilisations au sein de l’exposition temporaire Retour aux sources - Quand Lalique s’inspire du monde au cours duquel les enfants explorent différentes périodes artistiques. Ils réalisent ensuite leur propre cachet avec un motif animal en choisissant la symbolique qui leur parle le plus.

SARABESQUE les samedis à 15h du 8 juillet au 31 août
L’Art nouveau a marqué l’oeuvre de René Lalique, notamment à ses débuts lorsqu’il créait des bijoux. L’une de ses clientes n’était autre que la célèbre comédienne Sarah Bernhardt. Les enfants découvrent ce courant artistique et réalisent un portrait stylisé.

Informations pratiques
Visites-ateliers : réservation conseillée au 03 88 89 08 14
Nombre de places limité - 5€/enfant + entrée du musée ou de l’exposition temporaire
Le musée Lalique propose également des animations pour les 3-5 ans : demandez le programme !

Wien
Otto Wagner Pavilion
Dates:01/04/2017-11/11/2017

Breathing fresh life into a jewel of art nouveau: a permanent exhibition documenting Otto Wagner is being presented in the Stadtbahn Pavilion on Karlsplatz. He was a trailblazer of modernism and one of Vienna's most influential architects: Otto Wagner. Yet there has never been a permanent exhibition documenting the life and work of this versatile architect. This gap is now filled by the Otto Wagner Pavilion, part of the Wien Museum and one of the most photographed tourist attractions in Vienna. This trade mark of Art Nouveau on Karlsplatz has been redesigned inside by the BWM architects' office and, from 26 August, will provide the authentic background for a close-packed Otto Wagner presentation. It documents the genesis of Wagner's most famous designs, including the Church in Steinhof, the K.K. Postsparkassenamt (Post Office Savings Bank), as well as the revolutionary Stadtbahn project (light urban railway) and the modern residential buildings. It will also reveal another perspective: Otto Wagner as a radical theorist and polemicist against traditionalism and the cliché of the "idyll".Besides numerous documents, the show includes two models and is not only a fascinating homage to the architect - it also invites the visitor to set off through the city of Vienna and explore his trail. The curators of the Otto Wagner Documentation are Renata Kassal-Mikula and Isabelle Exinger; Erwin Bauer is the graphic designer. Otto Wagner - Architect & Visionary Otto Wagner (1841-1918), architect, "artist of building", urban planning theorist and academy professor, was one of the great pioneers of the Viennese modern movement. He left the "Gründerzeit" (the period of industrial and cultural expansion in the late nineteenth century) and its mask-like historicism behind him to propagate a new form of architecture, more in keeping with the life and times of modern people. Wagner's designs combined technical and constructional functionality with high aesthetic criteria. Despite his many adversaries and disappointments, Otto Wagner was one of Vienna's most successful architects. His Post Office Savings Bank and the Church in Steinhof are key buildings of European architecture around 1900. As the general planner of the Vienna Stadtbahn (the light urban railway), he designed a Gesamtkunstwerk of constructional technology, a synthesis of the arts that added new accents to the cityscape. Wagner was also an incisive and polemic author. Although advanced in age, in his study "The Expanding City" he continued to develop radical ideas for a future mega-city, regulated and laid out according to practical requirements. The Otto Wagner Pavilion on Karlsplatz The Art Nouveau pavilion was erected in 1898 in the course of Stadtbahn construction. Otto Wagner planned two portal buildings of identical design. Today, the Wien Museum uses the west pavilion, where the trains once left for Hütteldorf. Wagner's design was revolutionary. The many decorative details make the station into a prime example of Viennese art nouveau. Metal and wood were painted apple-green, the signal colour of the Stadtbahn. Gold, and finest white marble were added on the exterior. The planning for the underground rail junction of Karlsplatz in the late sixties threatened the pavilion with demolition. Protests followed; the station building was dismantled and re-erected in 1977, but elevated 1.5 m above its old level on the square. Now at last the west pavilion is paying Otto Wagner the homage due to him - with the new Otto Wagner Documentation exhibition.

Wien
Josef Hoffmann - Otto Wagner: On the use and effect of architecture
Dates:24/05/2017-29/10/2017

This year’s special exhibition JOSEF HOFFMANN—OTTO WAGNER. On the Use and Effect of Architecture in the Josef Hoffmann Museum in Brtnice is dedicated to the relationship of Josef Hoffmann (1870–1956) with his teacher Otto Wagner (1841–1918), the centenary of whose death is approaching in 2018. His training under Otto Wagner at the Specialschule für Architektur at the Academy of Fine Arts Vienna, their joint work in his studio and in the Secession, as well as Wagner’s facilitation of his appointment as professor at the Imperial Royal School of Arts and Crafts were decisive for Hoffmann’s career.

In his “Selbstbiographie,” Josef Hoffmann still writes enthusiastically about Wagner even in old age: “Now we finally had a strong personality amongst us, who, full of ideas, followed his own path and was able to inspire us with regard to everything new and necessary. His charming residence and studio in the Rennweg, with the two flanking residential buildings, especially impressed us, and we were enthusiastic students of our present teacher and master.” In 1909 he described his work: “Wagner forsakes the purely formalistic, meaning that he doesn’t view his structures as compositions of conventional forms, but instead primarily as attempts to explain or to crystallize the design and the purpose of the structure with the usual means of expression.” Josef Hoffmann’s design for the monument to Otto Wagner in Vienna can be considered as his last “homage” to his teacher.

It is a nine-meter high, simple stone pylon, a reduction of a victory column with a block of type at eye level. It was erected in 1930 on the occasion of the Werkbund congress near the palace gate in Vienna, but was removed during World War II. In 1959, Roland Rainer, then Rector of the Academy of Fine Arts, had the Otto Wagner monument erected once again near the Academy. The exhibition juxtaposes the work of Josef Hoffmann with that of his teacher Otto Wagner on the basis of designs and objects.

Curators: Rainald Franz, Curator, MAK Glass and Ceramics Collection Rostislav Koryčánek, Curator, Curator for Architecture and Design, Moravian Gallery, Brno

The exhibition is held under the patronage of the Embassy of the Czech Republic in Austria.

Wien
Masterpieces at the Leopold Museum
Dates:27/07/2017-27/07/2017

Art mediators / curators give an exciting overview and lead you to the highlights of the Leopold Collection.

Tacoma
Art Deco Glass from the Huchthausen Collection
Dates:03/05/2017-15/09/2017

From October 8, 2016, to September 2017, Museum of Glass visitors will have the opportunity to explore Art Deco works in glass from the collection of artist David Huchthausen. Art Deco Glass from the Huchthausen Collection will include early 20th century glass by iconic Art Deco studios such as René Lalique, Daum Frères, Pierre d’Avesn, Charles Schneider, Muller Frères, Marius-Ernest Sabino, Steuben Glass Works, and many others. “We are honored to exhibit a selection of David Huchthausen’s fascinating Art Deco collection,” shares Museum of Glass Artistic Director, Susan Warner. “This is a rare opportunity for the Museum to share with visitors the on- going historic narrative that connects the Art Deco period of glassmaking to the contemporary Studio Glass movement.” Huchthausen’s interest in collecting began in his youth with items such as stamps, coins, and baseball cards. His studies and subsequent career as an artist later shaped his fascination with the Art Deco period, resulting in his growing glass collection. “I was studying architecture in college and was particularly interested in the effects of light transmission on the interior spaces of structures,” notes Huchthausen. “It provided a natural expansion of my interests into the world of antique glass.” Characterized by smooth lines, geometric shapes, and bright colors, the Art Deco glass movement began, in part, as a reaction against the elaborate and ornate style of Art Nouveau in the late 19th century. Economic austerity generated by World War I launched Art Deco into popularity, with artists, designers, and architects throughout the world adopting the style. Although Art Deco fell out of fashion following World War II, the style regained its popularity in the 1970s. Huchthausen began actively collecting pieces from the Art Deco period in the early 1970s, starting with powder boxes. In 1973, Huchthausen acquired his first major work of art, a piece from the Le Verre Francais line designed by Charles Schneider, leading to the purchase of 20 more significant Art Deco works in glass over the next four years. Huchthausen’s collection continued to grow during the 1980’s and accelerated following his move to Seattle in 1989. “After collecting for so many decades, it gives me great pleasure to share a significant part of my collection with the public. I sincerely hope it provides a better understanding and perspective into one of the most spectacular eras of international design,” says Huchthausen. Art Deco Glass from the Huchthausen Collection will include over 200 pieces from his personal collection, which is now composed of over 300 works of Art Deco glass, much of it by European designers. The exhibition will be accompanied by a fully illustrated catalogue with essays by esteemed German scholar Helmut Ricke and independent curator William Warmus.

Schaerbeek- Bruxelles
Horta in America, 1916 - 1918
Dates:28/01/2017-01/10/2017

World War I spelled a fundamental break in Horta's life. He went to London in 1915 to attend a congress on the future reconstruction of Belgium. A journalist had revealed his presence, however, and it was impossible for him to return to Belgium. He decided to go to the United States. Upon arriving in New York, he was astonished by the skyscrapers. Symptomatically, he shaved off his beard the very next day, and would never sport one again, as if he had turned a page. For four years, he led the life of an itinerant lecturer in the United States: while Julia, his second wife, pleaded the cause of wounded Belgium, Horta spoke of the treasures of old art. This long stay would bewilder his conceptions. The discovery of American architecture completed his detachment from his first period. As he explained in his Memoirs: "My mind was loosened up. What I would have once opposed as being incompatible with the architect's profession, I have understood since and, from a certain angle, see it even as a desirable example." Horta accepted the principle of cooperation between architects and that of standardisation, convinced of the need to move towards an 'intelligent uniformity'. He felt that the cost of labour would become increasingly heavier, and that architectural forms had to take due account of that development.from Wednesday to Sunday from 12 noon to 6 pm (last admission at 5.30 pm).

Schaerbeek
Un atelier d’architecture dans l’atelier d’un maitre-verrier
Dates:27/07/2017-27/07/2017

 

Schaerbeek
Sublime avenue Louis Bertrand
Dates:30/07/2017-30/07/2017

Durant tout l’été, pour la 10ème fois, l’asbl Patrimoine de Schaerbeek (PatriS), avec le soutien de Frédéric Nimal Echevin de l’Urbanisme, du Patrimoine et du Tourisme, propose des visites guidées de quartiers de Schaerbeek les jeudis midi ou les dimanches en fin d’après-midi. 12 visites tantôt dans leur formule « concise » (45 minutes, les jeudis de 12h30 à 13h15) tantôt « longue » (1h30, les dimanches de 17h00 à 18h30). C’est gratuit** mais l’inscription est obligatoire et individuelle ! Max 15 ou 20 pers PatriS : asbl.patris@gmail.com ou 0476/77.65.36 (en semaine de 10 à 18h) merci de prévenir en cas de désistement. la promenade démarre à l’heure !

Schaerbeek
Un atelier d’architecture dans l’atelier d’un maitre-verrier (max 15 personnes)
Dates:03/08/2017-03/08/2017

 

Schaerbeek
Sgraffites, vitraux, ferronneries….vive le petit patrimoine !
Dates:10/09/2017-10/09/2017

Durant tout l’été, pour la 10ème fois, l’asbl Patrimoine de Schaerbeek (PatriS), avec le soutien de Frédéric Nimal Echevin de l’Urbanisme, du Patrimoine et du Tourisme, propose des visites guidées de quartiers de Schaerbeek les jeudis midi ou les dimanches en fin d’après-midi. 12 visites tantôt dans leur formule « concise » (45 minutes, les jeudis de 12h30 à 13h15) tantôt « longue » (1h30, les dimanches de 17h00 à 18h30). C’est gratuit** mais l’inscription est obligatoire et individuelle ! Max 15 ou 20 pers PatriS : asbl.patris@gmail.com ou 0476/77.65.36 (en semaine de 10 à 18h) merci de prévenir en cas de désistement. la promenade démarre à l’heure !

Pontoise
HISTOIRE DE L’ART - L’ART NOUVEAU
Dates:08/03/2018-22/03/2018

L’Art Nouveau n’a duré qu’une vingtaine d’années, entre 1890 et 1914, et pourtant, il occupe une place importante dans l’Histoire de l’Art occidental.

A la Belle Époque, un vent de liberté souffle sur l’art en Europe et les artistes cherchent à créer des formes inédites. Et même si l’Art nouveau est supplanté par l’Art Déco au lendemain de la Première Guerre Mondiale, il fait néanmoins partie des différents courants esthétiques qui rejettent l’art officiel ou académique dès la fin du XIXème siècle.

Cette série de trois conférences permet à la fois d’aborder les problématiques qui émergent du style Art Nouveau et de découvrir l’ensemble des créations artistiques de ce mouvement, dans tous les domaines : architecture, peinture, sculpture, arts décoratifs. La dernière séance sera consacrée exclusivement à la Bijouterie-Joaillerie dont la production est très riche et très originale.

1/ - Origines de l’Art Nouveau - Architecture et Peinture
2) - Sculpture et Arts Décoratifs (mobilier, verre, luminaire, céramique etc.)
3) - Bijouterie-Joaillerie (Lalique, Vever, Gaillard, Fouquet, Grasset etc.)

Lieu : Maison des Associations, 7 Place du Petit Martroy, Pontoise
Date : les vendredis 8,15 et 22 mars 2018 de 9h30 à 11h00
Tarifs : Adhésion 2017/2018 : 10 euros
Abonnement pour le cycle de 3 conférences : 24 euros
A la séance : 10 euros ou 9 euros avec la carte de 10 séances.

Rappel : La salle ne contenant que 90 personnes, les abonnés sont prioritaires. Nous ne pourrons accepter les personnes à la séance qu'en fonction des places disponibles.

Paris
Le symbolisme dans l'art des pays baltes
Dates:10/04/2018-15/07/2018

Janis Rozentāls Arcadie © DR Les pays baltes, Estonie, Lettonie et Lituanie, se sont constitués en états autonomes peu après la fin de la première Guerre mondiale. Pour célébrer ce centenaire, cette exposition invite à découvrir le symbolisme balte, des années 1890 aux années 1920-1930. Le symbolisme européen et l'émancipation de la conscience qu'il véhicule sont indissociables dans les pays baltes de leur indépendance. L'exposition retrace les jeux d'influences et de résistances à travers lesquels les artistes ont forgé un langage propre à leur univers. En ayant recours aux éléments de la culture populaire, du folklore et des légendes locales, ainsi qu'à la singularité de leurs paysages, ils font émerger un art d'une réelle originalité. Si l'on excepte le Lituanien Mikalojus Konstantinas Čiurlionis, peintre et compositeur mondialement célèbre, la plupart des artistes sont remis en lumière pour la première fois hors de leur pays. Commissaire général Rodolphe Rapetti, conservateur général du Patrimoine Commissaire Beatrice Avanzi, conservateur au musée d'Orsay

With the support of the Culture Programme of the European Union

Responsible publisher: Arlette Verkruyssen, General Director,
Brussels Regional Public Service - Bruxelles Développement urbain (Brussels Urban Development),
CCN - Rue du Progrès 80, B. 1, 1035 Brussels - Belgium