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Guimard er ses contemporains : Jules Lavirotte

Ce parcours est l’occasion de comparer et tisser des liens entre les deux architectes lyonnais et figures de l’Art nouveau parisien, Jules Lavirotte et Hector Guimard. Confrères mais aussi compétiteurs, ils s’étaient accaparés des espaces de création bien distincts : Guimard principalement dans le XVIe arrondissement ; Lavirotte dans le VIIe. Nous commencerons par la Maison des Arums d’Octave Raquin, puis nous poursuivrons avec les édifices les plus remarquables de la carrière de Lavirotte, avec un arrêt devant l’hôtel particulier du bijoutier René Lalique.

Gustav Klimt

This exhibition marking the 100th anniversary of the death of Gustav Klimt, who also passed away in 1918, honors THE protagonist of Viennese Modernism par excellence, who saw the Secession as a venue for the fight for spiritual and artistic modern art. His highly contested, allegorical Faculty Paintings, which were destroyed during the last days of war in 1945, were seen as a paradigm shift and a credo of a new thematic and formal notion of the fin-de-siècle: spirit and matter, nature and art, as well as Eros and Thanatos constituted the program of his artistic oeuvre. The pictorial works of the avant-gardist Klimt further express a longing for beauty and sensuality. Along with works from the holdings of the Leopold Museum and the Leopold family’s private collection, the presentation will feature exhibits from the Klimt Foundation, works given to the museum as a permanent loan by a Klimt descendant as well as select international loans from private and institutional collections. Thus, the exhibition retraces Klimt’s artistic evolution from an exponent of late Historicism towards one of the most eminent representatives of Viennese Jugendstil. “From Sketch to Painting” – Klimt’s Last Masterpiece The Bride One of the highlights of this presentation is the room curated by Sandra Tretter (Klimt Foundation) devoted to Klimt’s Symbolist painting The Bride. The artist designed his last masterpiece on the basis of numerous drawings and studies, ranging stylistically between Jugendstil and Expressionism. The large-scale group of figures will be shown for the first time in the context of pertinent work drawings and the artist’s only extant sketchbook from 1917. This authentic document from the collection of the Klimt Foundation not only contains pencil sketches for lost Klimt paintings but illustrates in a unique manner the work process behind his unfinished painting The Bride, which was last documented for posterity by the artist’s favorite photographer Moriz Nähr within the intimate setting of Klimt’s Hietzing studio.

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

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.

Horta Inside Out

A score of Brussels’ cultural institutions have teamed up for you to (re)discover Victor Horta from every angle, bringing you a line-up of activities of unprecedented quality and quantity linked to this famous architect to look forward to throughout 2018: exhibitions, guided tours, educational activities, organised activities and more. Join us to commemorate the work of this extraordinary architect! The Réseau Art Nouveau Network and its Brussel members take part to this event!

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.

Horta, Solvay and the Others: When Belgium imposed its talents on Ixelles and Saint- Gilles

The birth of Art Nouveau, thanks to the genius of the architect Victor Horta, is a good example of how dynamic Belgium was in the 19th century. Some of his most beautiful work can be seen in Ixelles and Saint- Gilles: Hôtel Tassel, Maison Sander Pierron, Maison Vinck, Hôtel Max Hallet, Hôtel Solvay, the Horta Museum... an architectural wonder! No visit of interiors. On even Wednesdays: French, English On odd Wednesdays: French, Dutch Price: Free–tours, supported by the Heritage Unit of the Brussels-Capital Region

Horta, Solvay et Les Autres : Quand La Belgique Imposait Ses Talents A Ixelles Et Saint-Gilles

Au 19ème siècle, la réputation de la Belgique faisait de Bruxelles un point de rencontre fastueux. À la pointe de l'industrie métallurgique, premier producteur de voitures, sollicité de partout pour la construction ferroviaire, le pays attirait les grands de ce monde. À l'invitation d’Ernest Solvay -l'un de nos brillants capitaines d'industrie-, les prix Nobel (dont Einstein) se réunissaient, par exemple, à l'hôtel Métropole. Le meilleur exemple de ce dynamisme est la naissance de l'Art Nouveau grâce au génial architecte Victor Horta. C’est à Ixelles et Saint-Gilles que l’on peut voir certains des plus belles de ses réalisations : Hôtel Tassel, Maison Sander Pierron, Maison Vinck , Hôtel Max Hallet, Hôtel Solvay, musée Horta... Un émerveillement architectural ! Pas d’entrée prévue. Les mercredis pairs : FR/ENG Les mercredis impairs : FR/NL Gratuit Avec le soutien de la Direction des Monuments et Sites de Bruxelles

III coupDefouet International Congress

The Art Nouveau European Route brings together local governments and other institutions in the common quest for the protection, promotion and diffusion of Art Nouveau heritage. To fully explore and bring to light the value of Art Nouveau heritage, therefore, a Congress organised by the Art Nouveau European Route cannot limit its scope to the analyses and interpretation of the tangible heritage; it must go deeper into the reality of the communities that created it. In this third edition of the coupDefouet International Congress, the main thematic strand proposes to look into new perspectives on Art Nouveau heritage of cities by means of cinematographic language. Given the coincidence in the time of the birth of both, footage from this age is especially significant. Together with other later filmed material related to Art Nouveau, it may provide new insights into this artistic movement and a deeper knowledge of what has been preserved, as well as what was lost or forgotten. A second theme strand centres on the relationship of Art Nouveau works and artists with politics, and in particular with colonialism, while the third strand explores the importance of drug use and/or attitudes towards sex in Art Nouveau artists, and how this influenced their work. Finally, the section on research and doctoral theses in progress, in which presentations from both seasoned and young researchers are welcome, will complete the four thematic strands of the programme.

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.

Inauguration of the exhibition "Eusebi Güell i Bacigalupi, patrician of the Renaixença. In the centenary of his death, 1918-2018 "

The exhibition draws a tour of the life and legacy of Eusebi Güell: the landowner; the industrial one; the politician; the lover of architecture, the arts, the sciences, the music and the literature; the humanist and the patron; the committed Catalan nationalist; the traveler and the entrepreneur; the dreamer and the realist; the observer and the altruistic ... the impatient researcher. It is a unique opportunity to discover Güell beyond the public figure. Curated by Raquel Lacuesta and Xavier González

Jan Toorop & Het Animisme

The exhibition has an innovative point of departure because the focus is entirely on Toorop’s origins; influenced by the jungle, Toorop remained ‘Eastern’. The exhibition shows that Toorop had great faith in the mystical world around us. During the exhibition, an extensive correspondence between Toorop and some of his female worshipers will be shown. In addition, work from Annie Hall, Toorops’ wife and work by students such as Mies Elout-Drabbe and Riet van Houten will be on show. Around this exhibition, lectures take place regularly, focusing on the influences of life in the former Dutch-Indies on Toorop, animism, his style of work and color use.


The 2018 autumn exhibition in the Kunstforum is devoted to “Japomanie” – the West’s passion for the aesthetics and world of images of the Far East. The exhibition traces its development, starting with the fascination for the exotic and the new and the first stirrings in the 1860s to long after the turn of the century, to its amalgamation into the form vocabulary of Western painting and the influence of its aesthetics on the development of modernism around 1900. Ever since the 1860s, the elegant and exotic aesthetics of the everyday utensils, the exquisite textiles and most of all the fantastical and richly luminous narrative ukiyo-e – the colour woodcuts – had been invading the European market and fulfilling the public’s yearning for unknown culture and a new vision of aesthetics. Artists were in the forefront, collecting and integrating the extraordinary form vocabulary of the ukiyo-e and their astonishing themes and motifs into their visual imagery. Monet, Manet, Van Gogh and Degas were the first, followed by the younger artists – Toulouse-Lautrec, Bonnard, Vuillard and Vallotton, also Marc and Kandinsky, to name only the most important. Launching out from Paris, Japomanie conquered the whole of Europe – also in Austria, after the impact of the Vienna World Fair in 1873, it triggered a genuine hype surrounding the aesthetics of the Far East, which inspired such artists as Gustav Klimt and Egon Schiele. Subsequently the ideas from the Far East evolved into independent interpretations and realisations in a new language of forms that heralded the approaching modernism of the twentieth century – in which the trends towards abstraction, towards breaking loose from the conventional pictorial space, took their own autonomous development. The exhibition includes not only paintings and printed graphics, but also objects and furniture, juxtaposing Japanese woodcuts, screens and artefacts to European works influenced by the aesthetics of the Far East, including by Claude Monet, Edgar Degas, Gustav Klimt, Henri de Toulouse-Lautrec, the Nabis and the Blauer Reiter group. Around a hundred exhibits from international public and private collections present a wide-ranging overview of the phenomenon of “Japonisme” that spread throughout Europe from the late nineteenth century to the dawn of the avant-garde movements.

Japon-Japonismes, 1867-2018. Résonances artistiques entre la France et le Japon

Dans le cadre de la saison « Japonismes 2018 » le Musée des Arts Décoratifs révèle au public la richesse de ses collections d’art japonais anciennes et contemporaines et met en lumière l’influence unique et continue du Japon sur la création artistique occidentale de la seconde moitié du XIXe siècle jusqu’à nos jours. L’exposition apporte un témoignage éclairé sur les influences réciproques entre ces deux grandes nations artistiques que sont le Japon et la France. Elle est aussi une opportunité exceptionnelle de présenter de manière inédite un choix des plus belles pièces parmi les 10.000 que compte la collection, en l’enrichissant de contrepoints occidentaux créés dans son sillage. Déployée sur 2 200 m², l’exposition couvre une grande variété de médiums artistiques parmi lesquels : objets d’art et de design, créations de mode, arts graphiques, photographies. Elle s’articule autour de 5 thématiques : les acteurs de la découverte, la nature, le temps, le mouvement et l’innovation

Klimt and Schiele: Drawn

To mark the centenary of the deaths of Gustav Klimt (1862–1918) and Egon Schiele (1890–1918), the MFA presents an exhibition of rarely seen drawings by the Austrian artists on loan from the Albertina Museum in Vienna. “Klimt and Schiele: Drawn” examines both the divergences and compelling parallels between the two artists—particularly in their provocative depictions of the human body. Nearly 30 years apart in age, Klimt and Schiele shared a mutual respect and admiration for each other’s talent.

Yet, their work is decidedly different in appearance and effect: Klimt’s drawings are often delicate, while Schiele’s are frequently bold. Klimt often used these sheets as preparatory designs for paintings, while Schiele considered his drawings to be independent pictures and routinely sold them. Both deployed frank naturalism, unsettling emotional resonances, and disorienting omissions to challenge conventions and expectations in portraits, nudes, and allegories. Organized thematically, this selection of 60 drawings begins with the artists’ academic origins and then investigates how each shifted away from traditional training to more incisive and unconventional explorations of humanity. The exhibition is accompanied by an illustrated publication.

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