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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.

Hodler // Parallélisme

Le Kunstmuseum Bern et les Musées d’art et d’histoire de Genève – situés dans les villes de naissance et de décès de l’artiste – ont décidé d’unir leurs collections et leurs forces pour proposer, avec l’appui d’autres institutions suisses et de nombreux prêteurs privés, une exposition d’environ 100 tableaux, qui permettra d’embrasser la carrière de Hodler, d’établir les liens qu’il nouait entre ses tableaux et de décrypter ses ambitions picturales. L’exposition s’appuie sur les postulats d’une conférence de l’artiste donnée à Fribourg en 1897 sous le nom de La mission de l’artiste, qui exposait les grands principes esthétiques de son travail. Il y définissait la notion de parallélisme, dégagée de ses études de la nature et des hommes. Dans cette appréhension de l’univers, Hodler a développé la théorie de son œuvre. L’exposition montre les correspondances qu’il établit à l’intérieur de son œuvre, mais aussi entre les tableaux eux-mêmes: parallélisme des compositions, mais également des sentiments qui se répondent d’une toile à une autre.

Mackintosh 150

A year-long programme of events has been launched (14 December 2017) to mark the 150th anniversary of the birth of Charles Rennie Mackintosh. Exhibitions, events, seminars and tours will take place across 2018 to celebrate the incredible legacy and creative genius of Glasgow’s great cultural icon. Mackintosh 150 is being co-ordinated by Mackintosh heritage partners from across Glasgow and beyond, who have come together to create a year-long celebration throughout 2018.

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.

The exhibition explores the history of building in the 20th century against a background of Finnish society, taking into account economic, political and technological developments. These factors have always influenced not only the volume of building but also the architectural shapes. Phenomena connected with construction are viewed from a broad perspective, and from larger to smaller; from urban planning to façade materials and interior decoration.
Les joyeux d'Art nouveau dans le quartier Bailli

Visite guidée gratuite

Life in Motion : Egon Schiele/ Francesca Woodman

10 years on from our acclaimed exhibition of Gustav Klimt, Tate Liverpool showcases the works of his radical protégé, Egon Schiele, alongside the sublime photography of Francesca Woodman. Both artists are known for their intimate and unapologetic portraits, which look beneath the surface to capture their subjects’ emotions. Schiele’s (1890–1918) drawings are strikingly raw and direct. He had a distinctive style using quick marks and sharp lines to portray the energy of his models. Woodman used long exposures to create blurred images that captured extended moments in time. Her photographs can be surreal, humorous and at times painfully honest. The close encounter between these two exceptional artists offers an intense viewing experience and a new perspective on their personal and powerful works. This project is co-financed by the European Regional Development Fund through the Interreg Atlantic Area Programme with additional support from Tate Liverpool Members

Life in motion: Egon Schiele / Francesca Woodman

Life in Motion combines the work of radical Austrian expressionist Egon Schiele (1890 – 1918) and American photographer Francesca Woodman (1958 – 1981), exploring the remarkable ability of these artists to capture and suggest movement in order to create dynamic, extraordinary compositions that highlight the expressive nature of the human body.

The exhibition offers a rare opportunity to see a large number of Schiele's drawings in the North of England, bringing attention to the artist's technical virtuosity, distinctive vision and unflinching depictions of the human figure.

Working at the other end of the 20th century, Woodman's photographs help to refocus perceptions of Schiele's work, highlighting how his practices and ideas continue to have a relevance to contemporary art. The exhibition will include images from Woodman's My House Series, Providence, Rhode Island, 1976 and her Eel Series, Roma, May 1977 - August 1978.

Klimt / Schiele Drawings from the Albertina Museum, Vienna

See rare and fragile drawings by Gustav Klimt and Egon Schiele, offering intimate insights into their artistic relationship and differing creative processes. This extraordinary collaboration with the Albertina Museum in Vienna marks the centenary of both artists’ deaths. 1918 was a seismic year in Vienna. As the Austro-Hungarian Empire crumbled, the deaths of its two foremost artists brought about the end of an intense period of creative vitality that had blazed briefly but brilliantly across the city’s bohemian swirl. One was the radical Symbolist painter Gustav Klimt; the other the young, scandalous and prodigiously talented Egon Schiele. As a number of key drawings in this exhibition will reveal, influence travelled in both directions between these two friendly rivals. Early sketches show how Schiele, in his own words, first “went by way of Klimt,” before the expressive power and searing directness of his mature work in turn left a mark on his older colleague. Both revelled in the immediacy of drawing, an ideal medium for exploring new ideas of modernity, subjectivity and the erotic. Klimt / Schiele: Drawings is a unique opportunity to see some of the 20th century’s most important works on paper – amongst them Klimt’s sketches for his seminal Beethoven Frieze, and unflinching self-portraits by Schiele – which due to their delicacy will not see the light of day again for many years. In around 100 portraits, landscapes, nudes and erotic drawings, prepare to encounter these two icons of Modernism at their most raw and revealing. Exhibition organised by the Royal Academy of Arts, London and the Albertina Museum, Vienna.

The dance of the future. From Isadora Duncan to Josephine Baker

An exhibition that brings us an in-depth look at the ground-breaking figures of modern dance through seven choreographers and dancers: Isadora Duncan, Loïe Fuller, Josephine Baker, Tórtola Valencia, Mary Wigman, Martha Graham, and Doris Humphrey. The exhibit thus vindicates the role of these historic pioneers who believed in the need to create new forms of expression and liberate the female body, challenging social conventions and the rigid canon of Romantic ballet. Seven 20th-century female dancers and choreographers who believed in the need to create new forms of expression and liberate the female body, challenging social conventions and the rigid canon of Romantic ballet. Isadora Duncan, Loïe Fuller, Joséphine Baker, Tórtola Valencia, Mary Wigman, Martha Graham, and Doris Humphrey laid the foundations of modern dance thanks to their creativity, revolutionary staging, and unconventional lifestyles. The Telefónica Foundation presents ‘The Dancer of the Future. From Isadora Duncan to Joséphine Baker‘ –from 23 March to 24 June, on the fourth floor– a new exhibition that continues in the direction laid out these past few years to present modernity through the figures that contributed to its invention. An exhibit that vindicates the role of these pioneering women and presents turn-of-the-century dance as a new art form. The exhibition, commissioned by María Santoyo and Miguel Ángel Delgado, includes the preparation of contents under the advisement of Ibis Albizu, Doctor in Philosophy from the UCM and expert in dance theory, and with the participation of professional dancer Agnès López Río, who recreates the most famous movements of these dancers through a captivating audiovisual experience throughout the exhibition. Using the traditional resources of a museum and the audiovisual installations more common to the stage, the exhibition presents seven experiential spaces for each of these seven figures, beginning with Isadora Duncan, the forerunner and pioneer of this revolution in the world of dance. Isadora Duncan Isadora Duncan (San Francisco, USA, 1877 – Nice, France, 1927). Pioneer and visionary; the first to question classical ballet. Her creativity, revolutionary staging, and lifestyle had a profound impact on her contemporaries. She was the inspiration for the rest of the exhibition’s protagonists, a legend who prompted the later formulation of dance as a specific language of the avant-garde. Duncan contrasted sinuous, fluid, organic and free movements with the geometric structure of ballet, thus rejecting verticality and limitations. Her sources of inspiration were the waves of the sea, which she recreated on stage, and the figures of Greek ceramics. She took some of their most revolutionary formulas: bare feet, tunics, neutral backgrounds, and the enraptured poses of Dionysian dances. Other references were the poetry of Walt Whitman or the paintings of Sandro Botticelli. Although there are few graphic or audiovisual records of her dance, her iconic way of dancing has been enshrined in writings, reviews, theatre critiques, representations by visual artists, and through her disciples, the Isadorables. The exhibition also includes a selection of a sequence of watercolours by American modernist painter Abraham Walkowitz that represent the movements of Duncan’s dancing. The popular scene: Loïe Fuller, Tórtola Valencia, and Josephine Baker This area is dedicated to three representatives of the free spirit of the popular stage: Loïe Fuller, Tórtola Valencia, and Josephine Baker. Enormously popular dancers of their time, they turned clichés on their head and broke sexual taboos with dances such as the Cabaret or the Charleston, and their influence would even spread to the most academic of settings. This section shows an extract from the film “The Dancer” by Loïe Fuller (Fullersburg, USA, 1862 – Paris, France, 1928), whose dancing was influenced by the laws of light refraction and all manner of luminescence. During a visit to the Cathedral of Notre Dame in Paris, she was stunned by the colours that the stained glass windows projected onto her dress. Thus began her interest in understanding the laws of science and her relationship with renowned scientists such as Camille Flammarion or the Curies. Her findings were applied in shows in which she used electric light in a hitherto unseen manner. Joséphine Baker (Saint Louis, USA, 1906 – Paris, France, 1975), the queen of the Charleston, and also known as the “Bronze Venus”, revolutionised the world of dance in the ‘20s with a wild dance based on daring and energetic leaps, mimicry, the naked torso, and violent contortions. In February 1930, she made her début in Madrid at the Grand Metropolitan Theatre, no longer standing. In the same period, Spanish-born Tórtola Valencia (Seville, 1882 – Barcelona, 1955) bewitched audiences with the exotic styles of Eastern dance, which were just beginning to sweep theatres high and low in Europe and the United States. The dancing of both is captured in the exhibition of original posters for their shows, plus press clippings, photographs, and clothing that they wore in their performances. Martha Graham The next space is dedicated to Martha Graham (Pittsburgh, USA, 1894 – New York, 1991), creator of an autonomous choreographic language capable of communicating all essential passion, which continues part of the core education of any contemporary dancer. Her method, situating the centre of the body in the solar plexus, is based on the contraction and expansion of the pelvic movement. Every gesture in her choreographies has a precise meaning that appeals to the emotions and is loaded with theatricality, introspection, and solemnity. This large audiovisual installation finds inspiration in the quote in which she calls dancers “the athletes of God”. Six screens, which simulate an Olympic frieze, recreate six sequentially repeated movements that correspond to six passions: Joy, Sadness, Anger, Fear, Love, and Desire. Graham believed that dance was the ideal method for the expression of archetypes, a term coined by psychoanalyst Gustav Jung to refer to images and subjects that are part of humanity’s subconscious and serve to feed the legends and myths of cultures. Graham was the most intellectual of the dancers and the one having had the greatest influence on the next generation. Doris Humphrey The last section features choreographer Doris Humphrey (Oak Park, USA, 1895 – New York, 1958), revolutionary due to the fact that she put an end to the vertical nature of dance and placed more emphasis on gravity and draw attention to the pull of the dancer’s body towards the earth. She was the first to break with the hierarchical and pyramidal structure of the prima ballarina, and to bring a horizontal nature to the movements of the group. A triple audiovisual installation recreates the controlled fall of the body, playing with the control over balance and unbalance, what is static and what is in movement, thus demonstrating the concept that Humphrey called Kinesthesia. Three representations of the fall over time can be seen in this installation: Humphrey’s own and two other screens with the professional dancer Agnès López Río, who improvises the same movement in the present and another in a more futuristic approach. Programme of workshops and parallel activities On the occasion of the exhibit, the education department has organised a programme of free complementary activities for the entire public. Here is all the information. Also linked to our exhibit, we are launching a new photography contest in the Instagrammer community, where the movement in the image is the protagonist. Publish your photograph on Instagram with #themovingcontest between 26 February and 11 March, both dates inclusive. The 50 best images received will be exhibited in the Instagrammers Gallery starting on 2 April 2018.

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.

Couples modernes

Le Centre Pompidou-Metz présente, en collaboration avec le Barbican Centre de Londres, une grande exposition interdisciplinaire consacrée aux couples de créateurs, tels que Pablo Picasso et Dora Maar, Robert et Sonia Delaunay, Georgia O'Keeffe et Alfred Stieglitz, Charles et Ray Eames… L’exposition explore le processus créatif généré par les relations amoureuses, passionnées, complexes parfois subversives, qui unissent les artistes avant-gardistes de la première moitié du XXème siècle. Qu’ils soient officiels, clandestins, exclusifs ou libres, ces couples mythiques formés par des artistes tels que Jean Arp et Sophie Taeuber-Arp, Man Ray et Lee Miller, Eileen Gray et Jean Badovici, unissent non seulement les peintres, sculpteurs, photographes, architectes, designers, poètes, écrivains, mais aussi des musiciens, danseurs, performeurs et mécènes. Ils constituent à eux seuls des zones fertiles d’échanges, de confrontations et d’influences où fructifient les œuvres, les concepts et les mouvements. La vie intime et amoureuse des artistes, consubstantielle de la création, transparaît à travers les œuvres destinées à être vues et exposées. Au-delà de cette valeur sentimentale, l’exposition apporte un éclairage essentiel sur l'évolution des moeurs et de la pensée des protagonistes de la modernité et révèle des collaborations méconnues. Des personnalités demeurées dans l’ombre de leur partenaire sont également présentées, dont la dessinatrice Suzanne Malherber, dite Marcel Moore, compagne de la photographe et auteure Lucy Schwob, dite Claude Cahun, ou encore la pianiste Nelly von Moorsel, épouse du peintre, architecte et théoricien Théo van Doesburg. L’exposition réunit des chefs-d’œuvre, dont plus de cent cinquante proviennent du Centre Pompidou, Musée national d’art moderne, mais aussi de collections internationales prestigieuses. Elle explore la trajectoire artistique de ces binômes intimes pour offrir une relecture transversale de l’histoire de l’art. C’est la notion même de modernité qui est questionnée à travers le prisme de cette cellule organique, protéiforme, créatrice et parfois éphémère qu'a été le couple d'artistes. Organisée sous le commissariat d’Emma Lavigne, Jane Alison, Elia Biezunski et Cloé Pitiot. Chargée de recherche : Pauline Créteur

Art and Design in the Modern Age: selections from the Wolfsonian Collection

Art and Design in the Modern Age provides an intriguing overview of The Wolfsonian's exceptional holdings and showcases the museum's collection, which spans the period 1885 to 1945. The nearly 300 works on display provide insight into the ways design has influenced and adapted to the modern world. The installation explores the many focal points of The Wolfsonian's collection, including design-reform movements, architecture, urbanism, industrial design, transportation, world's fairs, advertising, political propaganda, and labor iconography.
Inaugurated in November 1996, this ongoing exhibition is periodically updated.

Russian Style. From Historicism to Modernity

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.

L'Ecole de Nancy. Art nouveau et industrie d'art

Découvrez comment l’École de Nancy a révolutionné la déco! La nouvelle exposition du musée de l’École de Nancy, présentée au Musée des Beaux-Arts, s'intéresse aux procédés techniques les plus modernes mis en œuvre par les industriels de l'Art nouveau pour produire des meubles et objets à la fois fonctionnels et dotés d’une esthétique inédite.

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