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Odilon Redon. La littérarture et la musique
Dates:2.6.2018-9.9.2018

In Odilon Redon. La littérature et la musique, the Kröller-Müller Museum sheds new light on the oeuvre of French artist Odilon Redon (Bordeaux 1840-Paris 1916). With a large number of paintings, pastels, drawings and lithographs, the exhibition shows the important role that literature and music play in Redon’s life and work. Appealing to the senses Redon is a painter, pastelist, draughtsman and lithographer, but he also learns to play violin and piano and acquires a love of literature at an early age. He has close friendships with writers and composers, is himself active as a writer and gives music recitals. For him, music, literary themes and visual art are inextricably linked. In his own time, he was already highly praised for his entirely unique way of combining these different expressive powers in his work. More than anyone, Redon thus embodies the popular late nineteenth-century concept of synaesthesia: the idea that a more intense experience can be created by appealing to several senses simultaneously. Themes in the exhibition Redon finds his inspiration in literary and musical sources, from classical antiquity to Richard Wagner. The exhibition demonstrates this based on a series of specific themes, such as the winged horse (Pegasus) or his depiction of women, who appear as both a symbol of beauty (Béatrice) and in the shape of the femme fatale (Salomé). Redon uses these themes time and again, gives them changing forms and always provides them with new meanings and associations. His admiration for Wagner is apparent in his depictions of Brünnhilde and Parsifal, among other things. But the link with music is usually not so literal and he is more interested in evoking a mood. His contemporaries often describe his work in terms of a musical experience, while he refers to himself as a ‘peintre symphonique’. ‘My drawings inspire and do not provide definitions. They do not determine anything. Just like music they place us within an ambiguous world of the indeterminate.’ (A –soi-même, 1961) Word and image Redon’s role as a writer and illustrator is explored in the exhibition in a number of lithographic series that he made for texts by writers he admired, such as Gustave Flaubert, Edgar Allen Poe and Charles Baudelaire. He also combines lithographs with his own texts, creating visual and textual poetry, as in Hommage à Goya (Homage to Goya). Here, word and image form a whole. Special loan The exhibition consists of 167 works from an important private collection, the museum’s own extensive Redon holdings and a number of loans from other public and private collections. La littérature et la musique can therefore offer an unprecedented view of the breadth and variety of themes in Redon’s entire oeuvre, from his powerful black and white lithographs to his radiant, colourful pastels. Publication The exhibition is accompanied by a publication of the same name, with contributions from an international group of leading authors in the field of symbolism and Redon’s work. Guest curator Cornelia Homburg is responsible for the compilation of the book. The book is available in Dutch and English and is published by nai010 publishers. The book is for sale at our museumshop and webshop. The exhibition will also travel to Ny Carlsberg Glyptotek in Copenhagen, where it is showing from 11 October 2018 to 20 January 2019.

Bruxelles
Affiches Belle Époque
Dates:9.5.2018-3.9.2018

Une collection inédite De 1885 à 1914, Bruxelles vit l’une des périodes les plus fastes de son histoire, que cela soit dans le domaine économique, social, politique, technologique, urbanistique mais surtout culturel. L’émergence de cercles artistiques et de l’Art nouveau confère à la capitale belge une place primordiale sur l’échiquier européen de la création. L’affiche illustrée, qui apparaît dans toute sa fantaisie à Paris dans les années 1870-1880, trouve à Bruxelles un engouement immédiat. Des artistes, célèbres ou méconnus, s’essaient avec bonheur à l’art de l’affiche, séduits par ce média éphémère, techniquement exigeant mais tellement exaltant car susceptible de colorer la ville et ses faubourgs. Porteuses de messages publicitaires, elles annoncent la société de consommation. Une multitude de produits y sont vantés, depuis le téléphone jusqu’au vélo, en passant par les voitures, les biscuits, le chocolat, le café, le tabac ou l’alcool, sans oublier les cirques et autres théâtres. Les artistes jettent leur dévolu sur l’image de la femme bourgeoise et libérée à la fois, qui apparaît comme le fer de lance de cette envie de luxe et de modernité. Rythmé par des expositions universelles, le temps est à l’émulation et à la surenchère, de la part des artistes mais aussi des imprimeurs bruxellois. Ceux-ci se familiarisent avec la technique de la lithographie en couleurs et n’ont rapidement, techniquement parlant, plus rien à envier à leurs homologues parisiens. Ernest De Try, un homme, une collection A la Belle Époque, l’engouement est immense pour les affiches, créant un phénomène d’ « affichomanie » et les amateurs, comme Ernest de Try, constituent de véritables collections. Ernest de Try naît à Bruxelles en 1881 et y décède en 1960. Dès 1906, il part pour l’Afrique, où il développe une multitude de projets comme investisseur, homme de confiance ou administrateur. Homme d’affaires, il est aussi un homme de presse, créant et dirigeant des journaux ou assurant les correspondances vers la presse européenne. Probablement ingénieur, il est parallèlement l’auteur de brevets d’invention et de perfectionnement dans le domaine de la construction en préfabriqué. 1929 sonne le glas de ses activités coloniales ; il se consacre surtout à la littérature et à la poésie, passion qui le tient depuis son jeune âge. Il cède en 1934 aux Archives de la Ville de Bruxelles plus de 300 affiches. Sans que l’on connaisse les motivations de l’homme à rassembler cette collection, celle-ci se caractérise par son exceptionnelle attention à la vie quotidienne et se focalise surtout sur Bruxelles. Son important fonds d’Archives est, par ailleurs, conservé aux Archives générales du Royaume. La collection de Try n’a jamais été montrée au public en tant que telle. Toutefois, pour des raisons de conservation, cette exposition présente surtout des fac-similés. Ceux-ci, non encadrés, évoquent l’extraordinaire foisonnement des affiches dans les rues d’alors. Une vingtaine d’originaux encadrés permettent cependant de jouir de la beauté et de la subtilité des encres lithographiques utilisées à l’époque. Une bande-son originale composée de morceaux de la Belle Époque accompagne le parcours de l’exposition. Celle-ci a été créée par Marc Danval. Pour les kids Couleurs, dessins, techniques, un parcours ludique est spécialement dédié aux enfants de 7 à 12 ans. Atelier Kitchen Litho 26 et 27 mai 2018 à 10h et 14h30 (durée 3h) Atelier grand public pour expérimenter la technique de la lithographie. Tarif : € 12 , réservation obligatoire : service.educatif@brucity.be Visites guidées de l’exposition € 75,00 (semaine) / € 90,00 (weekend) + € 6,00/ personne (entrée)

Prague
Gustav Klimt, Egon Schiele and the Viennese modernism in the collections of the National Gallery in Prague
Dates:24.4.2018-15.7.2018

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

Vienna
Post Otto Wagner : From the Postal Savings Bank to Post-Modernism
Dates:30.5.2018-30.9.2018

To mark the 100th anniversary of the death of Otto Wagner (1841–1918) the MAK exhibition POST-OTTO WAGNER: From the Postal Savings Bank to Post-Modernism investigates Wagner’s role as the “Father of Modernism” and points out not only the context and the interaction between Wagner and other protagonists of early Modernism, but also the influence his epochal work had on his contemporaries, students, and following generations of architects and designers. Starting with Wagner’s most important works—for example the building for the Vienna Metropolitan Railway (1894¬–1900), the regulation of the Danube Canal (from 1894), the Imperial Royal Austrian Postal Savings Bank (1903–1910) and the church St. Leopold am Steinhof (1902–1904), as well as residential and commercial buildings and his study Die Großstadt [The Metropolis] (1911)—subject areas are presented in a way which makes it possible to easily understand Wagner’s long-lasting effect on the architecture from Modernism to Post-Modernism and on to the present. In three chapters, the exhibition approaches Wagner’s legacy. In doing so it illustrates the architect’s rejection of the language of form found in Historicism as well as his influence on modern architecture and urban planning. The development of the metropolis in and around 1900 also made new building types necessary: In Vienna this included the modern residential and commercial buildings as well as department stores and hotels, which, as a result of Otto Wagner’s rejection of Historicism in favor of new possibilities for building, had to position themselves, and which represent a widely spread architectural type still today. Earlier than others Wagner recognized the increasing importance of technology and engineering which manifested itself in new constructions and working materials. Consequently, he postulated a so-called “Nutzstil” [Functional style] whose forms should result from the materials, constructions, and functions. Through this break with the aesthetics of Historicism and prevailing architectural styles Wagner became a leading figure of Viennese Modernism. After 1900, under the strong influence of architects like Josef Hoffmann, Joseph Maria Olbrich, Josef Plečnik, Max Fabiani, or also István Medgyaszay, Jan Kotěra, and Pavel Janák, the Wagner School became a type of laboratory for style pluralism and individualistic approaches to style, aspects which were once again topical in Post-Modernism. The exhibition is accompanied by the publication POST-OTTO WAGNER: From the Postal Savings Bank to Post-Modernism by Sebastian Hackenschmidt, Iris Meder, and Ákos Moravánszky, edited by Christoph Thun-Hohenstein and Sebastian Hackenschmidt. German/English, ca. 300 pages with numerous color illustrations. MAK/Birkhäuser Verlag, Vienna 2018. Available as of the end of June at the MAK Design Shop and at MAKdesignshop.at. Curator Sebastian Hackenschmidt, Curator, MAK Furniture and Woodwork Collection Expert Advisors Iris Meder, Architectural historian and freelance curator Ákos Moravánszky, Professor emer. of architectural theory, ETH Zurich

SAN FRANSISCO
Truth and Beauty: The Pre-Raphaelites and the Old Masters
Dates:30.6.2018-30.9.2018

In 1848—a year of political revolution across Europe—seven young Englishmen formed an artistic alliance aspiring to rebel against the contemporary Victorian art world. The Pre-Raphaelite Brotherhood, including William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, defied idealized figures popularized by Raphael and other High Renaissance artists to reflect the simplicity, spirituality, and beauty they found in late medieval and early Renaissance art. Truth and Beauty: The Pre-Raphaelites and the Old Masters is the first major exhibition to juxtapose examples by the Pre-Raphaelite Brotherhood with works that inspired its members, including Italian old masters Fra Angelico and Pietro Perugino and their Northern contemporaries Jan van Eyck and Hans Memling. It reveals how the Brotherhood’s aesthetic evolved over time to embrace artistic influences from the High and late Renaissance, such as Botticelli, Raphael, Titian, and Veronese. It also offers a rich multimedia opportunity to examine the artists’ attraction to stained glass, domestic decorations, and sixteenth-century textiles. Truth and Beauty: The Pre-Raphaelites and the Old Masters is the first major international loan exhibition to assemble works of art by members of England’s nineteenth-century Pre-Raphaelite Brotherhood with the early Italian, Netherlandish, and German art that inspired them. Organized by the Fine Arts Museums of San Francisco, this presentation will demonstrate the Pre-Raphaelites’ fascination with the Italian old masters, including Fra Angelico (ca. 1400–1455) and Pietro Perugino (ca. 1450­–1523), and their northern contemporaries such as Jan van Eyck (ca. 1390–1441) and Hans Memling (1430/1440–1494). Truth and Beauty will trace the Brotherhood through the nineteenth-century “rediscovery” of Sandro Botticelli (1444 or 1445–1510) by the English art critics John Ruskin (1819–1900) and Walter Pater (1839–1894), which paralleled the tempera-paint revival executed by the second-generation Pre-Raphaelites. The visual affinities between these works will create evocative juxtapositions that will also demonstrate the influence of High Renaissance painter Raphael (1483–1520) and artists of the late Renaissance, such as Titian (ca. 1488–1576) and Paolo Veronese (1528–1588), on the Pre-Raphaelites and select contemporaries. Their attraction to the art of the past was not limited to paintings, however, and the presentation will also feature stained glass and tapestries in emulation of Flemish and French textiles. The varied sources that informed the Pre-Raphaelite’s aesthetic vocabulary in dialogue with their own nineteenth-century creations will demonstrate the importance of the work that inspired the PRB and redefine more broadly the PRB’s style. These arrangements will highlight the nuanced paradoxes of the Pre-Raphaelite mission, namely, their efforts to be fundamentally modern by emulating the past, as well as their dichotomous criticism and veneration of Raphael and his artistic impact. Pre-Raphael: The Inspiration of Early Italian and Early Netherlandish Art The jewel-toned color palette of the Pre-Raphaelites emulated that of early Netherlandish artists, including Jan van Eyck (ca. 1390–1441) and Hans Memling (1430/1440–1494), whose panels Rossetti and Holman Hunt admired in Bruges on an 1849 “Pre-Raphaelite pilgrimage.” As students training at the Royal Academy, they also could study works from the national collection, which was housed in the same building. There they would have known a rare example from the early Flemish school on public view in London at that time, Van Eyck’s Arnolfini Portrait (1434, National Gallery, London). The Rediscovery of Botticelli and the Tempera Revival Pre-Raphaelite artists, including Holman Hunt, Millais, and second-generation Pre-Raphaelite Edward Burne-Jones (1833–1898), all traveled to Italy. Burne-Jones, known as the “English Quattrocentist,” made four visits and filled his sketchbooks with depictions of the works that impressed him, especially in Florence’s Uffizi Gallery. During his second trip, in 1862, he traveled with Ruskin, who, along with Pater, is credited with the “rediscovery” of Botticelli in the nineteenth century. On his third visit, in 1873, Burne-Jones spent time with the English artist John Roddam Spencer Stanhope (1829–1908), who owned a villa in the hills outside of Florence. Stanhope’s own works—including his masterpiece, Love and the Maiden (1877, Fine Arts Museums of San Francisco)—reflect access to Botticelli’s paintings in the Uffizi Gallery. Such unmediated observations revealed subtleties that reproductions of the paintings of the time could not supply, and encouraged attempts by the Pre-Raphaelites to recover old master painting techniques. The Influence of Raphael and the “Post-Raphaelites” Although the Pre-Raphaelites’ initial style ostensibly rejected the idealized aesthetics of Raphael, his followers, and the Baroque artists, these parameters fluctuated over the course of each artist’s career. Paradoxically, the Pre-Raphaelites’ “Immortals” list also included Raphael himself along with select “Post-Raphaelites” such as Veronese and Tintoretto (1560–1635). Examples from Rossetti’s mature period are perhaps the most evocative examples of this development, and in paintings such as Monna Vanna (1866, Tate, London) and Veronica Veronese (1872, Delaware Art Museum, Wilmington), the artist overtly emulated Raphael and Veronese, respectively. Given Rossetti’s early proclamations of disdain for the “Post-Raphaelite” aesthetic, these sumptuous paintings reveal a surprising shift in his appreciation for the Italian Renaissance, particularly sixteenth-century Venetian paintings. Decorative Arts: Tapestries, Stained Glass, and Ecclesiastic Decorations First- and second-generation Pre-Raphaelites collected works by the old masters and filled their homes with harmonious decorative arts. They lived among these objects and also designed “medievalized” merchandise, including lush tapestries with figures and flora that quote from Flemish and French precedents. This final section of the exhibition will suggest compelling connections between sixteenth-century and nineteenth-century textiles, punctuated by complementary stained glass and decorations, together creating a rich multimedia experience in Rosekrans Court.

Delft
Art Nouveau | New Objectivity | Delft : Art, knowledge & industry
Dates:30.3.2018-26.8.2018

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>

Moscow
Russian Style. From Historicism to Modernity
Dates:20.10.2017-31.12.2020

2017 was declared the year of the "Russian style" in the framework of the program "The Property of Russia. Traditions for the Future "of the All-Russian Museum of Decorative, Applied and Folk Art. This year the Museum opens a new permanent exhibition "Russian Style. From historicism to modernity "in the halls of the main house of the Osterman manor. The task of the new permanent exhibition is not only the display of priceless collections of the All-Russian Museum of Decorative and Applied Art, but the disclosure of the concept of "Russian style" in a pan-European context, the demonstration of the principles of the formation of its stylistics in comparison with the European artistic processes of the development of the national-romantic trend of modern style in different countries "Art Nouveau" in France and Belgium, "modern" in England, "Jugendstil" in Germany, "secession" in Austria), which will be discussed in the opening room of the exposition.

Villard-Bonnot
Alfons Mucha et les Bergès : une amitié
Dates:27.4.2018-16.9.2018

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.

Ixelles
Les joyeux d'Art nouveau dans le quartier Bailli
Dates:20.10.2018-20.10.2018

Visite guidée gratuite

 

With the support of the Culture Programme of the European Union