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The Glass that Gallé Adored — Glass from the Qing Imperial Collection

The origins of glass production in China lie deep in the past, in the late Spring and Autumn period and the Warring States period (500 BCE to 300 BCE). The glass created then was usually crafted into bi (a disc with a hole in the center) or sword ornaments, both for ritual use, or glass beads and rings worn as ornaments. That early glass served as a substitute for gemstones, including jade. It was not, however, until the Qing dynasty, many centuries later, that glass production made dramatic advances in China. In 1696, the fourth Qing emperor, Kangxi (reigned 1661–1722), established a glass workshop, the Imperial Palace Glassworks, within the Forbidden City to make glass for the emperor. His successor, Yongzheng (reigned 1722–35), continued to support the workshop, which achieved its peak period, with a rich variety of works, during the reign of the sixth emperor, Qianlong (reigned 1735–96). Transparency and fragility are usually thought of as giving glass its magnetism, but Qing tastes in glass, especially in its golden age, were quite different. Qing glass, occupying a range between transparent and opaque, was massive, magnificently carved and polished, and quite superb. Its exceptional beauty captivated Emile Gallé (1846–1904), the leading artist of France’s Art Nouveau period. Gallé did more than admire: he incorporated the beauty of Qing glass in his own creative work. This exhibition attempts to introduce, through distinguished collections of glass, the beauty of Qing imperial glass and to compare it with Gallé’s work. The exhibits include a group of works brought to Japan from the Victoria and Albert Museum in Britain.

Mordernisme and Flowers. From nature to architecture

Between the late nineteenth and early twentieth centuries, nature was the main inspiration book of Modernism. They inspired architects, painters, decorators, workshops and artistic industries. With this exhibition, it shows how the flora, in particular, became one of the repertoires par excellence of modernist architecture, which came to establish a true dialogue with the world of plants through the decorative arts. We invite you to know the process of capturing nature and its transformation into applied art for construction. The exhibition also wants to highlight the wealth of modernism most unknown with examples of the city of Barcelona and nearby municipalities. The exhibition is organized into four areas: -The nature, the source of inspiration -The broker, the creation of the construction arts -The architecture, the urban garden -The city, the lost nature

Den Haag
Art Nouveau in the Netherlands

A new art for a new, improved society. That is what many artists and designers were seeking around 1900. After a century of styles that literally quoted the past, a new form language emerged, based on asymmetry, curved lines and organic decorative motifs. The Netherlands played its own unique role in this artistic quest. In this country, Art Nouveau fizzed with a desire to innovate and with idealism, but it was also a search for the authentic. In this interdisciplinary exhibition, the Gemeentemuseum will showcase fin de siècle decorative arts in a broad context, making the dynamics of the age (1884-1914) visible, tangible and recognisable in this age where authenticity and craftsmanship are once more highly prized. The art world’s urge to innovate around 1900 coincided with major changes in society. For the first time the urban population was growing faster than the rural population. New means of communication fostered internationalisation. The first cautious steps towards wider suffrage prompted the rise of equal rights movements. And industrialisation and growing prosperity made luxury and entertainment accessible to broader swathes of the population. In the art world, particularly among designers and decorative artists, these changes led to counterreactions, including a rediscovery of the value of nature, the countryside and the traditional. As in neighbouring countries, the new industrial society was held responsible for the ‘decline in art’ in the Netherlands, too. ‘We are children of the age of the steam engine, the telegraph and electricity. We have turned our backs on the beautiful, and that is why we no longer understand it,’ decorative artist Johannes Ros lamented. However, there were differences between the Netherlands and neighbouring Belgium and Germany. A new expressive form language that developed there was designed to appeal above all to an emerging zest for life in a world that was gathering momentum, whereas Art Nouveau in the Netherlands was a quest for the ‘truth’, the ‘genuine’, the original. The re-evaluation of tradition and skill, the reform of art education, appreciation of the perfection and pristine quality of nature, and fascination with exotic, ‘unspoilt’ cultures; here, the urge for innovation and idealism went hand in hand with a search for authenticity. Beauty as a basic necessity Many designers, decorative artists and art critics rejected the flamboyant form language of our neighbours. The ‘new art’, they believed, should be consistent with the national character, and the wild, swirling lines were not felt to be suited to the sober disposition of the Dutch. Strongly worded pleas, employing phrases such as the ‘neither-one-thing-nor-another voluptuousness’ of the Belgians, or the ‘dress-up art’ of the Germans, dismissed the decorative art of neighbouring countries as something that Dutch artists should take pains to avoid. Yet many designers and artists were not immune to international trends in design. Look closely, and you will see that those decorative swirls left their mark in the Netherlands, too, around the turn of the century, particularly in The Hague. And not only in architecture, but in the decorative arts too. No matter how fiercely decorative artists and art critics might criticise each other in a theoretical sense, in practice many tastes co-existed and elements from different movements were combined. As a result, Dutch Art Nouveau took on many forms. What all artists shared was the conviction that good design was vital for a better society: to them, beauty was a basic necessity. Interdisciplinary After the success of Art Deco – Paris, which explored the work of French couturier Paul Poiret in a broad context, the spotlight is now on the period prior to Art Deco. Art Nouveau in the Netherlands will focus on the period between 1884 and 1914, zooming in on developments in this country. Featuring more than 350 items, including posters and book covers by Jan Toorop, screens by Jacob van den Bosch, calendars by Anna Sipkema, delicate nature studies by Theo Nieuwenhuis, metalwork by Jan Eisenloeffel, furniture by Johan Thorn Prikker and complete interiors by Karel de Bazel and H.P. Berlage, the exhibition will present a lavish picture of the period. The approach will be interdisciplinary, exploring the movement on the basis of general themes like ‘Back to Nature’ and ‘Dreams of the Orient’. Besides emphasising the melding of different art forms, the exhibition will also look at individual designers, including a number of hitherto unknown artists (some of them female). It will also focus on specific motifs and details, on the influence of design education and the connection with The Hague, an important centre of Art Nouveau in the Netherlands.

Josef Hoffmann - Koloman Moser : On the Use and Effect of Architecture

The exhibition studies the relationship of Josef Hoffmann and one of the protagonists of the 2018 celebrations – Koloman Moser. Koloman Moser, »a multi-faceted multi-creator«, as Ludwig Hevesi called him during an exhibition discussion in 1900, cannot be approached in the same way as Josef Hoffmann in terms of his art. Both share an unbridled creative drive and fantasy, manifested in thousands of sketches. But while Hoffmann always remains a tectonically strict designer, Koloman Moser represents an idyllically decorative element in all of his projects. He is the artistic antipode to the design practice of Josef Hoffmann, focusing on architecture and shaped by schooling under Otto Wagner. With Moser, figurative work continues to remain a theme; the illustrative element is obvious even in the most severe designs. As one of the artists of the art renovation in Vienna around 1900 he decidedly contributed to the diffusion of art in the Secession style and in applied graphics. The exhibition is a confrontation of the designs by both protagonists of the "Wiener Werkstätte". The exhibition has been organised with financial support from the European Fund for Regional Development and from the state funds of the Czech Republic within the Bilateral Networks of Design project.

Moriz Nähr. Photography and Viennese Modernism

Moriz Nähr (1859–1945) is one of the most important innovators of photography in “Vienna around 1900”. His photographic oeuvre is mentioned today in the same breath as that of the famous Parisian photographer Eugène Atget. Nähr enjoyed a life-long artist’s friendship with Gustav Klimt and was connected with the artist through a special network of eminent personalities from the arts, culture and philosophy. Numerous portrait photographs of Klimt emphatically document the two artists’ bond. Klimt was also inspired by Nähr’s photographic motifs, as illustrated by the conformities in the photographer’s pictures and Klimt’s painting Beech Forest I created in 1902. The legends surrounding Moriz Nähr are based on the one hand on his close ties with Gustav Klimt and the Vienna Secession and on the other hand on his connections with the family of Ludwig Wittgenstein and the imperial Habsburg family, especially with the heir to the throne Archduke Franz Ferdinand, who appointed him court photographer in 1908. Owing to his work as a freelance photographer as well as to his various commissions, he has left behind a multi-faceted oeuvre comprising not only landscape-, architecture-, and portrait photography but also street photography (Scenes from the Naschmarkt, 1918) as well as photographs documenting exhibitions (Vienna Secession).

Cleveland Ohio
William Morris: Designing an Earthly Paradise

William Morris devoted his life to creating beautiful and useful objects using the highest-quality materials under fair labor conditions. His richly varied patterns have been reproduced without interruption since his death in 1896, testifying to their timeless appeal. The Cleveland Museum of Art’s collection includes woven and block-printed textiles spanning each stage of Morris’s vibrant career; they are joined in this exhibition by a generous loan from the Cranbrook Art Museum of an embroidery by William Morris’s daughter, May. Also showcased are magnificent volumes from the Cleveland Museum of Art’s nearly complete collection of books printed by Kelmscott Press. Morris’s meticulously designed books were his final labor of love; indeed, they exhibit the same delight in organic forms and time-tested craftsmanship visible in his textiles. The voices of May Morris, Kate Faulkner, Walter Crane, and Edward Burne-Jones also feature among the projects that Morris so passionately brought to fruition. With Morris & Co. wallpaper and carpet reproductions, the exhibition Designing an Earthly Paradise brings to life Morris’s striking, revolutionary designs. Presenting Sponsors: Emma and Cathy Lincoln The Cleveland Museum of Art is supported in part by Cuyahoga County residents through a public grant from Cuyahoga Arts & Culture. The Ohio Arts Council helped fund this exhibition with state tax dollars to encourage economic growth, educational excellence, and cultural enrichment for all Ohioans.

Winter Park
Tiffany Studios Designs

Inspired by the aesthetic vision of Louis Comfort Tiffany (1848–1933) and with his careful guidance, talented designers and artisans produced some of the most stunning and innovative decorative objects of his and our own time. An artist’s preparatory sketches shed light on aspects of finished works that range from purely technical concerns such as composition to larger issues of artistic intention and meaning. But though preliminary artistic records are critical to scholarship, this exhibition is meant to present objects interesting in themselves. It is rewarding to focus on the spontaneous and vital qualities of the preliminaries, which often express an artistic idea in a dreamlike way. They reveal how an idea might look as it emerges partially formed from the artist’s imagination—that undefinable place in the mind without borders or limits. A baptismal font, for example, sits on a blank page like an apparition. While the ornament is conceptually present and in color, it is approximate, ethereal, transitory. It awaits realization. In the ecclesiastical designs, the biblical and angelic figures are perhaps even more heavenly in watercolor than they will be in glass. The soft landscapes invite the viewer into a utopian vision. In later stages of development, preliminaries grow in detail and precision. A photograph of a dragonfly becomes a copper jigsaw puzzle that guides glass cutters in the final embodiment of a richly colored dragonfly lamp screen or shade. Seeing one or more of the preliminary stages next to the final object is instructive on process, but preparatory works also convey the powerful human component of creativity. They may be the most expressive link to the individual personality behind the finished objects.

Glowing Glazes

Until the end of October we will be presenting an exhibition about the work of artist Chris Lanooy. Lanooy was born in Sint-Annaland in 1881. The exhibition shows an overview of the artist's work, such as ceramics, glass art and paintings. The exhibition also tells about the important role that the internationally renowned ceramist and glass artist has played in the field of ceramic techniques with experimental glazes originating in East Asian countries. The born Stallander was one of the most important ceramists of his time with international fame. He developed experimental glazes, which are still used up to the present day. The exhibition shows: Ceramics from the Rozenburg, Purmerend and South Holland pottery factories Experiments with Asian glazes in Lanooy's workshop. International breakthrough with exhibitions in New York, Brussels and Amsterdam Full development in Epe with mushroom plates and abstract decorative pottery. Export to America His glaze laboratory, showroom and oven with the original interior Work in the tradition of Lanooy by Frans Slot, Paul Hobbel, Hein Andrée and Lea Halpern. With the modern ceramists Hans van Riessen and Laurens Goldewijk. Pieces from the Six collection, Amsterdam (from Geert Mak book) Lanooy Glaswerk from Leerdam, paintings, drawings and designs As a thank you for our efforts, a granddaughter of Lanooy donated important pieces from the estate to the local museum De Meestoof. In addition, various pieces from the National Glass Museum in Leerdam can be seen. The exhibition was compiled by Willem Heijbroek from Tholen. Immediately after the exhibition, Heijbroek compiled an accompanying booklet. The booklet is for sale in our museum shop.

Visite guidée - L'art nouveau à Saint-Etienne

Visite à 2 voix entre un guide conférencier et un collectionneur passionné d'art nouveau. Téléphone : 04 77 48 76 27 Téléphone : 04 77 49 39 00 Maill : artethistoire@saint-etienne.fr Tarif : Plein tarif : de 5 à 6 €. Tarif réduit : Personnes handicapées et leurs accompagnateurs, 16/25 ans, plus de 65 ans, familles nombreuses, adhérents des associations des amis des Musées, employés municipaux de la ville de Saint-Etienne. Gratuité : bénéficiaires du RSA, presse, titulaires de cartes professionnelless de guides, Pass Loisirs Seniors, Sainté Pass 16-25 ans. A noter : • Départ de la visite à partir de 2 personnes • Afin de veiller au confort de tous durant la visite, le guide se réserve le droit de limiter à 30 maximum le nombre de visiteurs. Merci de prévoir l'appoint pour l'achat de tickets en début de visite. Organisateur(s) : Ville d'art et d'histoire Date(s) : Jeudi 5 juillet 2018 à 14h30.

Le nouveau Paris de 1900

Cette visite sera l’occasion de découvrir des constructions d’Hector Guimard au cœur de la capitale et d’apprécier le bouillonnement artistique qui s’empare des façades à l’aube du XXe siècle. Nous nous intéresserons à plusieurs architectes qui ont participé à l’embellissement de la rue Réaumur après de son percement, ainsi qu’à différents types d’édifices : immeuble d’habitation et de bureaux, brasserie, grand magasin, édifice cultuel, etc. L’Art nouveau sous toutes ses formes sera le sujet de ce parcours qui prévoit un court trajet en métro, et, comme d’habitude, de la marche.

New artworks from the collection

The exhibition features the latest additions to the museums Art Nouveau collection. The selection presented consists of both new purchases and donations, and includes furniture, glass, ceramics, book art, metal works and textile art.

Une demi-journée en compagnie d'Alfons Mucha

Dans le cadre de l’exposition, et en partenariat avec les Presses universitaires de Grenoble, le musée propose une rencontre autour de Mucha avec trois temps forts :

14h-15h : Visite commentée de l’exposition par Sylvie Vincent, commissaire de l’exposition Nombre de places limité

15h30-17h30 : Rencontre-discussion en présence de Lucie Goujard (maître de conférence d’histoire de l’art contemporain à l’université Grenoble-Alpes) et Thierry Devynck (conservateur à la bibliothèque Forney à Paris, spécialiste de l’affiche et de l’art publicitaire)

17h30 : Dédicace de l’ouvrage « Alfons Mucha, affichiste entre Art nouveau et industrie » en présence des auteurs

Gratuit, inscription conseillée


With the support of the Culture Programme of the European Union