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Records  61- 75 of  75  
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Truth and Beauty: The Pre-Raphaelites and the Old Masters

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.

New York
Obsession : Nudes by Klimt, Schiele and Picasso

This exhibition at The Met Breuer will present a selection of some fifty works from The Met's Scofield Thayer Collection—a collection that is best known for paintings by artists of the school of Paris, and a brilliant group of erotic and evocative watercolors, drawings, and prints by Gustave Klimt, Egon Schiele, and Pablo Picasso, whose subjects, except for a handful, are nudes. The exhibition will be the first time these works have been shown together and will provide a focused look at this important collection; it also marks the centenary of the deaths of Klimt and Schiele. An aesthete and scion of a wealthy family, Scofield Thayer (1889–1982) was co-publisher and editor of the literary magazine the Dial from 1919 to 1926. In this avant-garde journal he introduced Americans to the writings of T. S. Eliot, Ezra Pound, D. H. Lawrence, Arthur Schnitzler, Thomas Mann, and Marcel Proust, among others. He frequently accompanied these writers' contributions with reproductions of modern art. Thayer assembled his large collection of some six hundred works—mostly works on paper—with staggering speed in London, Paris, Berlin, and Vienna between 1921 and 1923. While he was a patient of Sigmund Freud in Vienna, he acquired a large group of watercolors and drawings by Schiele and Klimt, artists who at that time were unknown in America. When a selection from his collection was shown at the Montross Gallery in New York in 1924—five years before the Museum of Modern Art opened—it won acclaim. It found no favor, however, in Thayer's native city, Worcester, Massachusetts, that same year when it was shown at the Worcester Art Museum. Incensed, Thayer drew up his will in 1925, leaving his collection to The Metropolitan Museum of Art. He withdrew from public life in the late 1920s and lived as a recluse on Martha's Vineyard and in Florida until his death in 1982. Accompanied by a catalogue.

Palau Güell : open doors

Special day of open doors on the occasion of the centenary of the death of Eusebi Güell

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

Become an architect of Güell

Visit and workshop "Become an architect of Güell" : Families will work on the design process of the facades that follow the architect. Then they will try to explore their creativity and elaborate one by themselves

Do like Gaudi

Visit and Workshop for family : that will consist of working with recycled materials, as did Gaudí. Families will decorate the photographs using the technique of cyanotype and with pieces of clothing.

Du Square Ambiorix au Cinquantenaire : Horta du début à la fin

C’est au square Ambiorix, véritable vivier d’architecture d’Art Nouveau, que l’on trouve des pépites signées Horta, moins connues du grand public et pourtant tout aussi raffinées. Comme l’incontournable et majestueux hôtel Van Eetvelde de l’avenue Pamertson. D’une simple envie de Mr Eetvelde d’agrandir sa propriété, le bâtiment fini par être pris à bras le corps par l’architecte. Avec une audacieuse façade à sa structure métallique apparente, une verrière interne créant un puit de lumière léché de courbes sensuelles, des espaces de vie modulables...Horta prend plaisir à innover. Non-loin de là, la maison du sculpteur Pierre Braecke. Tout en gardant la patte Horta si caractéristique, l’architecte y joue la carte de la sobriété. C’est également dans ce quartier, à deux pas du Cinquantenaire que l’on peut admirer l’une des premières réalisations de Victor Horta, un pavillon néo-classique ! De quoi surprendre et de s’interroger sur l’évolution artistique de cet architecte de génie. DATE : 30/09/18 Heure : 14h00 Prix : 8€ + 2.5€ entrée Pavillon des Passions Humaines Langue : FR Durée : 2h00 RDV : Hôtel van Eetvelde, Avenue Palmerston 4-6, 1000 Bruxelles

Eusebi Güell, patrician of the Renaixença - X Cicle of Conferences

The cycle will be deepened in the different aspects of Eusebi Güell i Bacigalupi as a significant personage of the Güell band, businessman and economist, politician, patron, as well as a consumer and client of Modernism. Coordinated by Raquel Lacuesta and Xavier González, curators of the exhibition, located in the space of the attic of the building since July 10. 1/10 "Origin of the Güell". Xavier González, journalist. 8/10 "Eusebi Güell, business economist". Martín Rodrigo Alharilla, professor of Contemporary History at Pompeu Fabra University. 15/10 "Eusebi Güell, politician". Rosa Toran and Cèlia Cañellas, doctors in History. 22/10 "Eusebi Güell, humanist and patron". Francesc Fontbona de Vallescar, doctor in Modern History. 29/10 "The Belle Époque of Eusebi Güell". Enrique Campuzano Ruiz, Doctor in History of Art. 5/11 "Eusebi Güell, client of Modernism". Raquel Lacuesta, Doctor in History of Art.

Pin Ups | Toulouse-Lautrec and the Art of Celebrity

Pin-ups: Toulouse-Lautrec and the Art of Celebrity will be the first exhibition held at the National Galleries of Scotland devoted to the art of Henri de Toulouse-Lautrec (1864-1901). Paris in the fin-de-siècle was known as the 'city of pleasure’; famed for its cabarets, dance halls and cafés. Most famous of all were the nightspots of the bohemian district of Montmartre, where Toulouse-Lautrec lived, worked and socialized, including the now legendary café-cabarets Le Moulin Rouge and Le Chat Noir. Pin-ups: Toulouse Lautrec and the Art of Celebrity will focus on Toulouse-Lautrec’s lithographic posters, portfolio prints and illustrations which made stars of Montmartre’s venues and their entertainers - personalities such as Yvette Guilbert, Jane Avril and Aristide Bruant. Toulouse-Lautrec’s career coincided with a revolutionary moment in the history of western printmaking - the development of the poster as a means of mass-marketing – and lithography and poster-making were central to his creative process from his first experiments in the medium in 1891 until his death in 1901.


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.

Saint-Gilles - Bruxelles
Lieux de vie à Saint-Gilles : Horta chez lui et chez les autres

Horta aimait travailler sur des maisons, des lieux de vies, en commençant par sa propre maison et atelier. L’ensemble est un tout cohérent même si les deux parties sont des unités indépendantes. La façade exprime clairement l’opposition privé et professionnel tout en gardant une ornementation harmonieuse. Chez lui, Horta repousse les limites de son art et investit de son imagination les moindres détails. DATE : 13/10/18 Heure : 10h00 Prix : 8€ + 10€ entrée maison Horta Langue : FR Durée : 2h00 RDV : Devant le Musée Horta, Rue Américaine 25, 1060 Ixelles

Egon Schiele - Pathways to a Collection

2018 is the centenary of Egon Schiele’s death. Marking this occasion, the Belvedere is showing its collection of Schiele paintings with highlights including Eduard Kosmack, Façade of a House, Death and Maiden, Embrace, and Four Trees. Visitors can look forward to an outstanding presentation shedding light on the full extent of the Schiele collection once housed at the Belvedere. The exhibition places a focus on the collection’s history. Curator Kerstin Jesse will answer questions about the works’ acquisition, their subject matter, and the people they portray. Preliminary studies and sketches will also be included. The Belvedere conservation department has been researching Egon Schiele’s works and his painting techniques since 2016 and their findings will be presented in the show. The exhibition presents an opportunity to gain an insight into the artist’s working methods while also offering a fascinating glimpse of his works’ pathways into the museum’s collection. Curator: Kerstin Jesse

Bruxelles / Brussel
Des courbes de l'Art nouveau aux lignes épurées de l'Art Déco

Le Centre-ville nous mène vers les somptueux magasins Waucquez et des frères Wolfers. Aujourd’hui devenu respectueusement, le Centre Belge de la Bande Dessinée et un magasin de jouet, ils sont les seuls espace-magasins à subsister. Horta aimait investir des bâtiments de différentes utilités, ainsi il a également élaboré le Jardin d'enfants n°15 de la ville de Bruxelles. Horta est un artiste fertile cherchant toujours l’innovation et le renouvellement. Après la première guerre mondiale et son voyage en Amérique, Horta se donne à un style plus dépouillé et géométrique l’Art Décoratif. L’exemple le plus représentatif de cette période de l’architecte est la façade du Bozar. Et oui, c’est bien une façade signée Horta. Plus étonnant encore, c’est lui qui élabore la bien connue Gare-Centrale de notre chère Bruxelles.  DATE : 25/11/18 Heure : 14h00 Prix : 8€ Langue : FR Durée : 2h00 RDV : Palais de Beaux-Arts, BOZAR Rue Ravenstein 23, 1000 Bruxelles

Palau Güell : open doors

Special day of open doors on the occasion of the date of the birth of Eusebi Güell i Bacigalupi.

Koloman Moser: Universal Artist between Gustav Klimt and Josef Hoffmann

On the centenary of the death of Koloman Moser (1868–1918), the MAK is hosting a large exhibition to showcase his wide-ranging oeuvre, which covers the disciplines of painting and graphic design, applied art, interior design, fashion, and scenography. Guest Curator: Christian Witt-Dörring Curator: Elisabeth Schmuttermeier, Curator, MAK Metal Collection and Wiener Werkstätte Archive

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