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Art Nouveau: mostre in corso o di prossima apertura, visite e molto altro ancora…..

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The furniture design of Viennese Modernism

Wagner, Hoffmann, Loos and the furniture design of Viennese Modernism Viennese Modernism Around 1900 was a true laboratory for design in furniture design, whose creative impulses radiate to this day. The artist architects of Vienna were among the pioneers of modern design. The Hofmobiliendepot - Möbel Museum Wien introduces the leading architects of Viennese Modernism - Otto Wagner (1841-1918), Josef Hoffmann (1870-1956) and Adolf Loos (1870-1933) - as interior designers and furniture designers and sheds light on their different positions on living and set up.

Beyond Klimt : New Horizons in Central Europe

Gustav Klimt is probably the artist most associated with Austrian art. His death in 1918 – the same year as the deaths of Egon Schiele, Koloman Moser, and Otto Wagner – is seen as the end of an era. However, their influence on the art world had waned even before this. Only peripherally affected by the political turmoil, a vibrant art scene developed in the countries of the Austro-Hungarian Empire with artists striving for change. The exhibition at the Lower Belvedere will guide you through this post-Klimt era. The interwar years are characterized by the wish for international connections that transcended new political and ideological boundaries. There was a vibrant exchange of ideas between artists resulting in constructivist, expressionist, and fantastical trends. Cosmopolitan networks emerged among the artists of the former Austro-Hungarian Empire while art magazines made an increasingly important contribution to disseminating these new ideas. The outbreak of the Second World War brought this internationalism to an abrupt end and the sense of a shared culture faded, once again, into the background. The exhibition seeks to reveal the parallels during this period and demonstrate continuity and change in the art of the Austro-Hungarian Empire and its successor nation states. Featuring works by around eighty artists including Josef Capek, Friedl Dicker-Brandeis, Albin Egger-Lienz, Gustav Klimt, Oskar Kokoschka, Koloman Moser, Antonin Prochaska, Egon Schiele, Lajos Tihanyi, and many more. Curator: Alexander Klee

Van Gogh & Japan

Van Gogh created his own image of Japan by studying and reading about Japanese art, collecting and copying prints, and discussing their aesthetic qualities with other artists. His encounter with Japanese prints helped him to give his work a new direction. The exhibition will demonstrate, step by step, how Van Gogh bent the Japanese example to his will. In this way he defined himself as a modern artist and positioned himself opposite such artists as Emile Bernard and Paul Gauguin. The size, nature and importance of Van Gogh’s own collection of Japanese prints will be explored in detail, as will the role played by his prints in the renewal of his own idiom.

In search of style. 1851-1900

A journey through time exploring Europe and Switzerland in the second half of the 19th century illustrates the search for innovation and style for new interiors, everyday products, paintings and buildings. This was an age of rapid technological change and social upheaval – not unlike today. Through selected objects from the worlds of architecture, art and craft, we can gain an insight into the various juxtapositions in style that marked a controversial era: specimen collections were built up, schools of arts and crafts were established and major cities began to take on the visual aspect we are familiar with today. A passionate debate on suitable style was born.

Saint-Gilles - Bruxelles
Horta and the light

From the Hotel Tassel to the Central station The evocation of nature and rational construction inspired by nature are the basic building blocks of Victor Horta’s architecture and of the living environment of its inhabitants and users. By placing a light metallic frame at the heart of his architecture, he opens up spaces and creates an extraordinary method for capturing daylight and at the same time creating a stunning Chiaroscuro effect that plays with light and darkness. The exhibition revisits the work of Victor Horta through the theme of light, from the Tassel Hotel to the Central Station.

Adolf Loos : private spaces

The first exhibition in Spain dedicated to Adolf Loos, a key figure of Viennese modern architecture, reviews his unique conception of architecture and interior design. A wide repertoire of objects and domestic furniture, explores the aesthetic thinking of the architect and thinker, pioneer in the debate between spaces of public life and private life.

Frank Lloyd Wright between USA and Italy

This exhibition is presented by the Avery Architectural & Fine Arts Library, Columbia University; in collaboration with Miriam & Ira D. Wallach Art Gallery, Columbia University.

The Pinacoteca Giovanni e Marella Agnelli presents FRANK LLOYD WRIGHT BETWEEN USA AND ITALY, curated by Jennifer Gray. Through photographs, objects, catalogues, lithographs and original designs, this exhibition explores Wright’s ideas about organic architecture from his first journey to Italy in 1910 to his last visit in 1951, emphasising his engagement with the Italian architectural discourse, urban planning, and landscapes. The exhibition is articulated into sections exploring the different building typologies – houses, museums, offices and skyscrapers – where such iconic works like Fallingwater and the Guggenheim Museum in New York are showcased alongside lesser-known projects.

The exhibition design is by Marco Palmieri, catalogue published by Corraini.

Charles Rennie Mackintosh: Making the Glasgow Style

2018 is the 150th anniversary of the birth of celebrated Glasgow architect, designer and artist Charles Rennie Mackintosh (1868–1928). Glasgow Museums is delighted to celebrate this significant anniversary with a major new temporary exhibition at Kelvingrove Art Gallery and Museum. This exhibition will be one of the key events in the city-wide Mackintosh 2018 programme. The exhibition will span the lifetime of Charles Rennie Mackintosh (1868–1928) and taking a chronological and thematic narrative, placing Mackintosh at the core of the story, it will present his work in the context of Glasgow, his key predecessors, influences and contemporaries, particularly those working in the Glasgow Style. ‘The Glasgow Style’ is the popular term given to the design and decorative arts centred around the work by teachers, students and graduates of The Glasgow School of Art produced between about 1890 and 1920. At the core of this style is the work of The Four: Charles Rennie Mackintosh, his future wife Margaret Macdonald, her younger sister Frances Macdonald and Frances’s future husband, James Herbert McNair. Glasgow was the birthplace of the only Art Nouveau ‘movement’ in the UK and its style made ripples internationally. This exhibition will present the very best of Glasgow’s internationally important civic collections, drawing from both those of Glasgow Museums and The Mitchell Library and Archives. A number of these civic works have never previously been on public display, and the majority has not been shown in Glasgow for 30 or more years. The exhibition will also include important loans from private and public collections. About 250 objects will be on display across the full spectrum of media, including stained glass, ceramics, mosaic, metalwork, furniture, stencilling, embroidery, graphics, books, interiors and architecture. The act of making will be communicated across this breadth of media – both through the exhibition and the accompanying event programme – to truly engage and inspire audiences of all ages to visit the other Mackintosh-related buildings and collections in and around Glasgow, and to make and create.

Art Nouveau | New Objectivity | Delft : Art, knowledge & industry

We call it the miracle of Delft. Between 1880 and 1940, thanks to an extraordinary synergy among art, knowledge and industry, Delft grew to be one of the most important centres of applied arts. Art Nouveau / New Objectivity / Delft tells this inspiring story with the help of posters, pottery and stained glass made in this period. Delft as pioneer The exhibition shows how Delft transformed itself from a small provincial city to one of the most important centres of Art Nouveau in the Netherlands. Industry, the Polytechnic School and artists living in Delft provided the foundation for this golden age. Their collaboration was a powerful stimulus to creative activity. The industrialist Jacques van Marken played a key role. He commissioned Jan Toorop’s world famous design for the Netherlands Oil Factory’s salad oil poster. It is one of the icons of the Dutch Art Nouveau. Leading artists like Bart van der Leck and Piet Zwart were also inspired by the artistic vitality. During these years, the creativity of companies like the earthenware factory De Porceleyne Fles, Glass Atelier ’t Prinsenhof and the Braat company reached a high point. At world exhibitions, they presented original, prize-winning designs, establishing Delft’s international reputation as a city of innovation. Visitors can discover even more special locations from the period 1880-1940 in Delft by foot, with the help of the brochure Highlights ArtNouveau | New Objectivity | Delft.< Activities - 2 April Decorating Easter eggs - 29 April Workshop botanical painting - 5 May Painting a liberation tile - 6 May Workshop making a birthday calendar - 13 May Mother’s Day: collaboration art - 27 May, 29 July, 26 August Workshop poster design - 3 June Design your own peanut butter label - 17 June Father’s Day: collaboration art - 24 June Workshop glass painting - 1 July Make your own beach bag - Sundays at 14.00 guided tours with varying themes /p>

Le bestiaire du mur

Qu’il soit domestique ou sauvage, apprivoisé ou nuisible, l’animal fascine l’homme depuis la préhistoire. Son statut a évolué en même temps que sa perception : mieux connu par la zoologie, récemment considéré comme un être doué de sensibilité, il reste néanmoins soumis pour sa survie au bon vouloir des humains. Le papier peint comme les autres arts décoratifs le représentent fréquemment, de façon naturaliste ou stylisée, en jouant sur l’émotion qu’il procure : le cheval et le chien instaurent un climat de confiance, les oiseaux et les insectes s’insèrent dans des ramages verdoyants et apaisants tandis que la faune sauvage stimule l’imagination en évoquant des contrées lointaines.

Le symbolisme dans l'art des pays baltes

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

Exposition numérique immersive : Gustav Klimt

Pour son ouverture, l'Atelier des Lumières présente un parcours immersif autour des représentants majeurs de la scène artistique viennoise, dont Gustav Klimt fait figure de proue. À l’occasion du centenaire de sa disparition, ainsi que celle d’Egon Schiele, leurs oeuvres s’animent en musique sur l’espace de projection XXL de l’ancienne fonderie. Dans la Vienne impériale de la fin du XIXe siècle, Gustav Klimt figure parmi les grands peintres décoratifs des somptueux monuments de la Ringstrasse. À l’aube du siècle nouveau, il s’impose à la tête de la Sécession viennoise, un courant qui aspire à régénérer l’art en profondeur. Célébré autant que contesté, Klimt ouvre la voie vers la peinture moderne. L’or et les motifs décoratifs, caractéristiques de ses oeuvres, resteront un symbole de cette révolution artistique. L’exposition immersive présente ainsi les oeuvres qui ont fait la singularité et le succès de Klimt : sa période dorée, ses portraits et ses paysages. L’exposition immersive présente également des oeuvres de grands artistes viennois comme Egon Schiele et Friedensreich Hundertwasser, influencés par le travail de Klimt. Poussé par l’effervescence artistique caractéristique de la fin du XIXe siècle, Schiele s’inscrit dans une nouvelle forme de représentation du paysage et du corps humain. Quant à Hundertwasser, dont nous célébrerions les 90 ans en 2018, il insuffle à ses constructions architecturales autant qu’à ses peintures une dimension toute symbolique. Produite par Culturespaces et réalisée par Gianfranco Iannuzzi, Renato Gatto et Massimiliano Siccardi, avec la collaboration musicale de Luca Longobardi, cette programmation artistique inaugurale invite les visiteurs à un voyage au coeur des oeuvres colorées et lumineuses de Gustav Klimt, de ses contemporains et de ceux qu’il a inspirés. Traversant 100 ans de peinture viennoise, l’exposition immersive propose un regard original sur Klimt et ses successeurs à travers la mise en scène des portraits, paysages, nus, couleurs et dorures qui ont révolutionné la peinture viennoise dès la fin du XIXe siècle et pendant le siècle suivant. Commissariat : Beatrice Avanzi. Nommée directrice de la programmation culturelle des expositions de Culturespaces en 2017, Beatrice Avanzi est notamment en charge du Musée Jacquemart-André, du Musée Maillol et de l’Hôtel de Caumont - Centre d’Art. En tant que conservatrice du département des peintures du musée d’Orsay depuis 2012, elle avait assuré le commissariat d’expositions majeures telles que Le Douanier Rousseau - L’innocence archaïque ou Au-delà des étoiles. Le paysage mystique de Monet à Kandinsky.

Schaerbeek- Bruxelles
Horta motifs

Fabric and wallpaper in Brussels houses Art Nouveau was a very significant period for the creation of wallpaper and fabrics. Inside Art Nouveau buildings, both Victor Horta and his contemporaries gave meaning to the concept of total art and revolutionised the applied arts, abolishing the hierarchy between different forms of plastic art. Original motifs, complex craftwork... the exhibition restores this fragile heritage to its rightful place in the history of forms.

Gustav Klimt, Egon Schiele and the Viennese modernism in the collections of the National Gallery in Prague

he year 2018 will mark the 100th anniversary of death of two major artists of the turn of the 19th and 20th centuries – Gustav Klimt (July 14, 1862 – Feb. 6, 1918) and Egon Schiele (June 12, 1890 – Oct. 31, 1918). The collections of the National Gallery in Prague house the key works by the two artists – the paintings The Virgin and Water Castle by Klimt and the Pregnant Woman and Death, Still Life with Flowers, Dead City and drawings Seated Nude and Seated Woman with Bent Knees by Schiele. The new display in the permanent exhibition on the fourth floor of the Veletržní Palace will show Klimt’s influence on Schiele and a history of acquisitions of individual artworks, but it will also put them in a context of the work by their well-known and half-forgotten contemporaries and followers on the Viennese art scene, such as Josef Hoffmann (1870–1956), Emil Orlik (1870–1932), Alfred Kubin (1877–1959), Carl Otto Czeschka (1878–1960), Richard Teschner (1879–1948), Oskar Kokoschka (1886–1980) and Max Oppenheimer (1885– 1954). Curators: Otto M. Urban, Zuzana Novotná, Olga Uhrová and Petr Šámal

Alfons Mucha et les Bergès : une amitié

Comme de nombreux industriels à la fin du XIXe siècle, Aristide Bergès et sa famille entretiennent un lien privilégié avec l'art de leur époque. L'Art nouveau est ainsi à l'honneur dans la maison à travers les décors, les papiers peints qui couvrent les murs et, de façon inattendue, avec plusieurs œuvres d'Alfons Mucha, chef de file de ce mouvement artistique et ami des Bergès. On ne connaît pas les circonstances précises qui amènent la famille à rencontrer Alfons Mucha. Maurice Bergès, fils cadet d'Aristide et peintre à ses heures, est sans doute à l'origine de ce rapprochement. A travers le prisme de l'amitié, l'exposition offre un nouvel éclairage sur cet artiste. Sa relation avec les Bergès témoigne d'une époque où monde de l'industrie et des arts sont intimement liés. Outre des œuvres inédites issues des collections du musée, près d'une vingtaine d'affiches ayant fait la renommée internationale de ce maître de l'Art nouveau sont présentées, notamment grâce au prêt de la bibliothèque Forney à Paris. L'exposition « Alfons Mucha et les Bergès : une amitié » présentée au musée du 27 avril au 16 septembre 2018 (inclus) puise sa singularité dans cette histoire intimiste et insolite.

With the support of the Culture Programme of the European Union

Responsible publisher: Bety Waknine, General Director,
Bruxelles Urbanisme & Patrimoine,
CCN - Rue du Progrès 80, B. 1, 1035 Brussels - Belgium