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Ongoing and upcoming Art Nouveau exhibitions, visits and more...

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London
Courses: From Rococo to Art Nouveau: 1720-1900
Dates:25/09/2014-09/07/2015

YEAR COURSE: Gain a unique perspective on one of the most dynamic periods in the history of European art. Consider the relationship between the visual arts and the wider political and cultural context of the period and explore themes such as taste, patronage and the art market. This course encompasses Rococo, Romanticism, Impressionism and Art Nouveau. It not only covers the fine arts, such as painting and sculpture, but also design, architecture and popular visual culture.

The programme of lectures, together with close examination of important objects in the V&A’s collections, demonstrate the complex changes taking place in various branches of the visual arts over a 200-year period.

Course Director: Dr Kathy McLauchlan

Seminar Room Three

£1,750 per year, £1,400 concessions £730 per term, £550 concessions £60 per day, £45 concessions

Full year and term tickets are available via the bookings office +44 (0)20 7942 2211, 9.00-17.30, Monday - Friday (closed Bank Holidays)

One day tickets are available online and via the bookings office.

Paris Cedex 13
L'art nouveau en Europe
Dates:01/01/2050-01/01/2999

Roger-Henri Guerrand, historien du quotidien et de la culture, a écrit le livre de référence sur l'art nouveau, réédité, complété et actualisé par Thierry Paquot. A elle seule, la préface de Louis Aragon justifie l'achat et la lecture de l'ouvrage.

Qu'on l'appelle Art Nouveau, Modern Style, Jugendstil, Joventut ou Style Sécession, une aventure artistique est née au tournant du XXe siècle. Elle utilise le verre, le fer, le ciment armé ; elle privilégie les formes linéaires, végétales dans un souci de styliser l'image. Mais l'Art Nouveau se veut aussi une machine de guerre contre la doctrine de l'art pour l'art, contre l'élitisme artistique ou l'art académique. Nouveau, absolument ; mais moderne tout autant, telle est sa ligne. Roger-Henri Guerrand livre ici la "géohistoire" de l'Art Nouveau, remontant à l'Exposition universelle de 1851, combinant études par pays et points de vue esthétiques pour aboutir à la seule synthèse historique disponible sur ce que Louis Aragon, dans sa somptueuse préface, qualifie de "décor de la vie où triomphaient la libellule, le marronnier, l'iris, les lys et l'orchidée".

Roger-Henri Guerrand était spécialiste de l'histoire de la vie quotidienne en milieu urbain. Il avait notamment publié : Les lieux : histoire des commodités et Le confident des dames : le bidet du XVIIIe au XXe siècle.

 

304 pages.

Berlin
Jugendstil
Dates:16/09/2014-16/09/2015

As of now, the Brohan Museum in a changing exhibition architecture, a new presentation of the rich holdings of the Art Nouveau period to see. Be shown, for example, works of the Paris World Fair in 1900, the Arts and Crafts movement, the Wiener Werkstätte, artists and companies such as Alfons Mucha, Alfred Grenander, Henry van de Velde, Johann Loetz., Peter Behrens and Bruno Paul. The exhibition features furniture, artwork, porcelain, glass, textiles and metal.

The Art Nouveau is represented in the new presentation as a social phenomenon. Whatever one may call the movement - whether Jugendstil, Art Nouveau, Secession style or Stile Liberty - it was more than just a style. Behind this was rather an attempt to develop a new, comprehensive all areas of life aesthetics. There creative answers were sought on contradictions, which were connected directly or indirectly with industrialization. Nature was not only a source of inspiration for a new ornamentation, but also a model for a better life model. Symbolism, dreamy and fairytale worlds shaped the motives and were often rather unpleasant reality of everyday life.

Venice
The Divine Marchesa - Art and life of Luisa Casati from the Belle Époque to the roaring twenties
Dates:03/10/2014-08/03/2015

Venice evokes the figure of the woman and the myth that fascinated d'Annunzio and his follies became the muse of the greatest artists of the time as Boldini, Bakst, by Marinetti in Balla, from Man Ray to Alberto Martini, Van Dongen Romain and Brooks.

Palazzo Fortuny in Venice, one of the "places" most loved by the Divine Marchesa, will be the site of the first extraordinary exhibition dedicated to Luisa Casati Stampa, the woman who in the early twentieth century, with the exaggerated makeup, the transgressive and eccentric performance and life over the top, he was able to transform itself into a work of art, a living legend, disturbing and surprising representation of modernity and avant-garde.

The exhibition, conceived by Daniela Ferretti, edited by Fabio Benzi and Gioia Mori, is co-produced by the Civic Museums Foundation of Venice and 24 ORE Cultura - Gruppo 24 Ore, has over one hundred works, including paintings, drawings, jewelry, sculptures, photographs and clothes from private collections and international museums.

The extraordinary collection of art works and portraits that were devoted to her or commissioned pieces will be on display in the exhibition come from private collections, such as the head of polychrome ceramic work of Renato Bertelli, The Marchesa Casati Romain and Brooks and sculpture by Paolo Troubetzkoy portrait of the Marchesa Casati with a greyhound. He subsequently joined by masterpieces from museums around the world such as Portrait of the Marchesa Casati by Giovanni Boldini GNAM of Rome, Marchesa Casati by Augustus Edwin John the Art Gallery of Ontario, the many portraits which he dedicated Alberto Martini, Lines of force landscape maiolicato of Giacomo Balla and jewelry by Cartier inspired her.

To note is the many photographs of Luisa Casati Stampa: from the shots of Gayne Adolphe de Meyer, Man Ray and Mariano Fortuny, to those stolen, when he lived in poverty in London, Cecil Beaton.

The exhibition, through constant references, reconstructs the social and artistic life of the crossed Luisa Casati Stampa: the gilded cage of high society encounter with Gabriele d'Annunzio - that forever changed and became a bond of love and friendship that lasted a lifetime - from the extravagant costumes, the practice of the occult period to arrive at the "futurist" Filippo Tommaso Marinetti in which he meets and marries the cause of the artistic movement, promoting artists and collecting their works , ending with economic ruin and exile in the British capital where he died in July 1957.

Three floors of Palazzo Fortuny "immerse" the visitor into the atmosphere in which he lived the Divine Marchesa that, for half a century, he was a living legend, a dark lady, a major art collector and patron, muse of the Symbolists, the Fauves, Futurists and surrealists: a myth that still inspires artists today and the great house of haute couture.

Winter Park, Florida
Selections from the Harry C. Sigman Collection of European and American Decorative Art
Dates:10/02/2015-10/02/2016

In this exhibit, the Museum debuts a selection from Harry C. Sigman’s 2014 gift of 86 objects to the Morse. Sigman, a Los Angeles attorney, began collecting European and American decorative art in 1969, and his gift dovetails with the late 19th- and early 20th-century styles represented in the Morse collection. The donation includes art glass, pottery, metalwork, and furniture. Though comprised mainly of Jeannette and Hugh McKean’s massive gift, the Morse collection has always been supported by generous individuals such as Harry Sigman whose contributions have helped it to grow in important ways. The finely crafted objects on view can be appreciated both individually and in the context of the Museum’s entire collection.

Winter Park, Florida
The Bride Elect—Gifts from the 1905 Wedding of Elizabeth Owens Morse
Dates:10/02/2015-10/02/2016

In 1905 Elizabeth Owens Morse, the daughter of Charles Hosmer Morse and Martha Owens Morse, married Richard Genius. The gift registry of this socially prominent Chicago bride—entitled “The Bride Elect”—survives in the Morse Museum’s archive, showing more than 250 gifts. Together these items provide a snapshot of the era, a glimpse into 1905 gift-giving traditions, and some insight into popular retail decisions made by wealthy consumers in the Chicago area. In this new exhibition, the Morse presents a representative group of the lovely gifts that survive from the Morse-Genius wedding, including Tiffany art glass, Rookwood pottery, and Gorham silver.

Winter Park, Florida
Revival and Reform—Eclecticism in the 19th-Century Environment
Dates:21/10/2014-21/10/2015

The Arts window by J. & R. Lamb Studios is the centerpiece of this major new exhibition that illustrates the rich diversity of styles that made up the aesthetic environment of the late 19th century in both Europe and America. Lamb Studios, a prominent American glasshouse of the era, exhibited the 1894 neoclassical window widely. In preparation for its debut at the Morse, the window, more than eight feet in diameter, underwent extensive conservation. The installation features 20 additional leaded-glass windows and selections of art glass, pottery, and furniture, a number of which also have never been exhibited. Other windows on view—some avant-garde, others reviving the past—include examples by Tiffany Studios, John LaFarge, Frank Lloyd Wright, Edward Burne-Jones, Donald MacDonald, and Heaton, Butler & Bayne.

 
II coupDefouet International Congress: Breaking the Art Nouveau Glass Ceiling
Dates:25/06/2015-28/06/2015

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 second edition of the coupDefouet International Congress, we propose to shed new light on an aspect that has been studied very little, if at all: the important contribution of women artists to the development of Art Nouveau. In a nutshell: women as artists, women as creators, women as promoters and protagonists of Art Nouveau. Coupled with this ambition, we also wish to revisit the widely studied and interpreted representation of the female aesthetic and ideal in Art Nouveau, with new contributions on the matter.

A further strand will focus on little-known Art Nouveau cities, in which we expect to discover creative centres of the nineteenth and twentieth centuries that have not until now been widely publicised. A similar section on research in progress to the first congress, one in which we welcome presentations from both seasoned and young researchers, will complete the thematic strands of the programme.

PARIS
Paul Durand-Ruel. Le pari de l'impressionnisme
Dates:09/10/2014-08/02/2015

Le Musée du Luxembourg présente la première exposition consacrée à Paul Durand-Ruel (1831 – 1922), le plus grand marchand d’art du XIXe siècle, découvreur des Impressionnistes et inventeur du marché de l’art moderne. Autour de Cézanne, Renoir ou Monet, le parcours réunit quatre-vingts chefs-d’oeuvre de l’impressionnisme et retrace le moment où une avant-garde artistique accède à la reconnaissance internationale sous l’impulsion d’un marchand passionné.

Cette exposition est organisée par la Réunion des musées nationaux - Grand Palais en collaboration avec le musée d’Orsay, la National Gallery Londres et le Philadelphia Museum of Art. 

 

Bruxelles
L'art nouveau en Europe
Dates:01/01/2050-01/01/2999

L'Europe de l'Ouest entière a succombé à l'Art Nouveau, mode architecturale éphémère, entre 1890 et 1910. Mais ce ne sont que quelques centaines d'immeubles qui ont été conçus par les meilleurs architectes de l'époque qui subsistent encore aujourd'hui.
Cet ouvrage est une promenade plaisante qui va de Barcelone à Ljubljana, de Turin à Helsinki et qui montre les plus belles et les plus marquantes réalisations de l'Art Nouveau en Europe.
Textes de Françoise Aubry, traduction de Chris Bourne. Photographies de Christine Bastin, Jacques Evrard, Elvire Evrard, Mark Fiennes, Janis Krastins, et Breda Mihelic.
€ 32

Bruxelles
Art Nouveau and Victor Horta
Dates:01/08/2014-31/08/2015

Promenade guidée sur l’Architecture Art Nouveau et le musée Victor Horta.

Suivez la naissance et le développement de ce style à travers ses témoins et découvrez les plus belles réalisations des maîtres de l’Art nouveau qui maniaient le fer, le verre, le bois et la pierre dans une infinie variété de formes et de courbes.

Tous les jours : Rendez-vous à 14h00 au pied de l’Hôtel de Ville, situé sur la Grand Place.

La visite guidée dure 3h
En français, anglais et espagnol

Prix par personne 25€ (étudiants 15€)

Organisé par Bravo Discovery sprl

Villers-Ecalles
L' Art nouveau et la ferronnerie
Dates:01/01/2050-01/01/2999

Le Magazine Fèvres (spécialisé dans le domaine de la transformation du minerai en métal et du métal en objet) dédie son 50ème numéro à l’Art nouveau et la ferronnerie et aborde notamment le travail du fer d’Antoni Gaudi (article écrit par Luis Gueilburt, l’un de nos membres de Melilla) et de Victor Horta mais aussi son importance pour l’Ecole de Nancy.

Bruxelles
Métamorphoses Trois siècles de développement urbain à Schaerbeek
Dates:28/08/2014-31/08/2020
Exposition permanente dès le 28 aout – Galerie de l’Hôtel communal Le long mur au dessus de la salle des guichets va accueillir une exposition, conçue par l’Association pour l’étude du bâti, qui évoque comment Schaerbeek, petit village rural, est devenu la commune de 130.000 habitants que nous connaissons. En 1777 c’est la verte campagne, Schaerbeek compte 1138 habitants essentiellement autour de l’ancienne église St-Servais. On y cultive les légumes et la fameuse griotte. Vers 1850, la ville se déploie, le tracé royal se prolonge sur le territoire de Schaerbeek, on construit l’église Ste-Marie, la gare du Nord. Schaerbeek a désormais 11500 habitants. Dans la seconde moitié du XIXème Victor Besme et Octave Houssa sont les deux visionnaires du développement du grand Bruxelles pour le premier et de Schaerbeek pour le second. Schaerbeek, entre 1890 à 1914, passe de 50000 à 100000 habitants ! Pour cette nouvelle population, la commune s’équipe : un hôtel communal somptueux, des parcs, des écoles, des bâtiments publics et des équipements sportifs…. L’entre deux-guerres voit naitre le quartier Terdelt et celui des Fleurs. Les années 60-70 l’arrivée de la RTBF/VRT et la construction de la tour Brusilia…. Aujourd’hui la zone de la gare Josaphat et le site de la RTBF sont les nouveaux enjeux de la ville de demain. A côté de ces vastes projets, des aménagements locaux, au cœur des quartiers complètent le panorama d’une commune en changement. Une initiative de l’échevinat de l’urbanisme, du patrimoine et de la rénovation urbaine Avec le soutien du Collège des Bourgmestre et Echevins de la Commune de Schaerbeek Conception : L’Association pour l’Étude du Bâti - APEB Scénographie et graphisme : Juliette de Patoul Horaires d’ouverture de l’Hôtel communal Galerie du 1er étage – Accès libre
Toronto
Around 1914: Design in a New Age
Dates:24/07/2014-31/03/2015
European Galleries, Level 3 One hundred years ago, the ROM opened its doors to the public. Europe was plunged into the Great War. This cataclysmic world event marked the end of a social-political system that had existed for centuries and signalled the birth of the modern movement. It changed the way people looked at their lives and viewed their future. Around 1914: Design in a New Age, explores a pivotal period of innovation and experimentation as artists struggled to reconcile quality design with the emergence of mass production, and the new materials made available with technology. With works by key designers of this era including: Christopher Dresser, Charles Rennie Mackintosh, Archibald Knox, Charles Robert Ashbee, Louis Comfort Tiffany, Frank Lloyd Wright, Emile Gallé, Edward Colonna, Taxile Doat, Louis Majorelle, Carlo Bugatti, Galileo Chini, Chris van der Hoef, Georg Jensen, Otto Wagner, Josef Hoffmann, Gustave Siegel Josef Maria Olbrich, Peter Behrens, Max Laeuger, Richard Riemerschmid, and Walter Gropius.
 
Georges Hobé et sa vision architecturale de l'Art nouveau: Villégiature et style cottage
Dates:01/01/2050-01/01/2999
Cet ouvrage veut rendre à Georges Hobé (1854-1936) la place qui lui revient dans le paysage architectural des premières décennies du XXe siècle en Belgique. L'étude envisage la production de ce prolifique bâtisseur qui s'est imprégné du style Art nouveau pour proposer sa conception architecturale en vue de répondre à des commandes tant officielles que privées, cottages, villas, maisons urbaines ou suburbaines. Nombre de pages: 112

With the support of the Culture Programme of the European Union

Responsible publisher: Arlette Verkruyssen, General Director,
Brussels Regional Public Service - Bruxelles Développement urbain (Brussels Urban Development),
CCN - Rue du Progrès 80, B. 1, 1035 Brussels - Belgium