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Alphonse Mucha Retrospective

The show is conceived as a comprehensive survey consisting of over 200 pieces, organised and produced by Arthemisia in collaboration with the Mucha Foundation, and conceived by Tomoko Sato, curator of the foundation since 2007. The exhibition highlights six facets of Mucha’s personality: Bohemian; picture maker for people; cosmopolitan; mystic; patriot and philosopher. Through these aspects, the exhibition looks at the development of his artistic career and how he grew as a man, living through one of the most turbulent times in European history. The large number of works on show includes paintings like Self-portrait (1899,) posters like the one created for Gismonda (1894) and another featuring Sarah Bernhardt as La Princesse Lointaine (1896), as well as “France Embracing Bohemia“, in 2018, when this exhibition ends, is the 100th Anniversary of the founding of Czechoslovakia and the painting of this work. The painting shows the spirit of freedom embodied in the figure of France giving the kiss of Freedom to the figure of Bohemia, which has been suffering under the oppression of the Austro-Hungarian empire. The wide-ranging selection was enabled by the Mucha Foundation, an institution that has been working for years to advance a better understanding of the artist worldwide. This one-artist show in Madrid is able to reconstruct the full breadth and depth of Mucha’s artistic practice thanks to loans from the foundation. The show features key elements from the artist’s life and work—his Czech and Slavic cultural identity and the love he felt for his family and his land of birth. Images of beguiling women immortalised by his effortless brushwork are combined with innovative maquettes and typographic designs to showcase the extreme originality of Alphonse Mucha’s oeuvre. Overall, the exhibition affords an extraordinary portrait of this great Czech creator, celebrated in Art History as the originator of a style that would later spread throughout the world under the name of Art Nouveau, Stile Liberty, Secessionsstil, Modernisme or Jugendstil.

Ferdinand Hodler : Elective Affinities from Klimt to Schiele

This presentation at the Leopold Museum will be the most comprehensive retrospective exhibition of works by Ferdinand Hodler (1853–1918) in Austria since the artist’s resounding success at the 1904 Secession exhibition. An exponent of Symbolism and Jugendstil, a pioneer of Expressionism, and not least an innovator of monumental painting, Hodler was an important inspiration to numerous artists of Viennese Modernism, such as Gustav Klimt and Koloman Moser, as well as Oskar Kokoschka and Egon Schiele. The presentation focuses on the three main themes of Hodler’s art: landscapes from plein air painting to abstraction, portraits with an emphasis on female depictions, self-portraits, the haunting series of works accompanying the death of his lover Valentine Godé-Darel, as well as his eminent Symbolist figural compositions.

A Bird's Eye View of Art Nouveau

A photo exhibition set up in front of the Reök Palace shows Szeged's most beautiful art nouveau buildings from an unusual perspective. The emphasis is on details that are often hidden from view. An exhibition of recent drone photos taken of 14 lovely Szeged buildings are now on display for passers-by on Ede Magyar Square. The exhibition's title also refers to an anecdote told about Ödön Lechner, one of the greatest geniuses of Hungarian art nouveau architecture. The story goes that one of Lechner's students had lodged the criticism that it was a shame to design such a splendid roof for one of the master's palaces, because nothing could be seen of it from street level. To this, Lechner replied, “The birds will see them!” The collection being displayed in front of the Reök Palace uses this thinking as its starting point. The novelty of the images is the fact that they show these stunning buildings from an angle that we only rarely see them, if ever. These thrilling photos reveal hidden details. The Reök Palace, built in 1907, is the most beautiful art nouveau building in Szeged, and perhaps all of Hungary. Often compared to Gaudí's structures in Barcelona, it was designed by the brilliant architect Ede Magyar as a residence for the hydraulic engineer Iván Reök. Even by European standards, the palace is one of the finest examples of art nouveau architecture. It serves as the point of origin for the A Bird's Eye View of Art Nouveau exhibition. Also included in the overview along with from the palace are the Ungár-Mayer House, also designed by Magyar, and the Raichle Palace. The latter was built based on the plans of architect J. Ferenc Raichle, a leading light of the art nouveau style in the Vojvodina region, in the same year that the Reök Palace was completed. Raichle was also responsible for the Gróf Palace, a beautiful and iconic Szeged building that also appears among the photos. Other images include the Deutsch Palace, the New Synagogue and the Tömörkény High School building. The exhibition will remain open in front of the REÖK Regional Art Center until 20 December. Compiled from footage from EURO-TV, it was organised by students working on a curatorial specialisation in the University of Szeged's philosophy master's degree programme under the direction of art historian Dr Róbert Nátyi.

The Challenge of Modernism - Vienna and Zagreb around 1900

In the years around 1900, the multi-ethnic realm of the Habsburg Monarchy experienced a lively exchange of art and culture between Vienna, its center, and the main cities of the Crown lands such as Zagreb. For the development of Croatian art around the turn of the century, this exchange was very significant.

In the exhibition, the connections and points of reference at the start of the twentieth century are presented by key works of Austrian and Croatian artists of that period. Artists and architects who were trained in Vienna brought the new trends in art to Zagreb and, within 20 years, the overall character of cultural life at the time was fundamentally changed.

On show are works by Gustav Klimt, Koloman Moser, Carl Moll, Vlaho Bukovac, Ivan Meštrović, Robert Auer, Tomislav Krizman as well as other protagonists of the Viennese and Modernism.

The exhibition is a cooperation with the Klovićevi dvori Gallery, Zagreb, Croatia.

Hokusai and Japonisme

In the latter half of the 19th century, Western artists were fascinated by the new expression they found in Japanese art, and this led to the phenomenon known as Japonisme. It was the genius ukiyo-e artist Katsushika Hokusai (1760-1849) to whom they turned the most. Hokusai’s influence spread across the entire West, including Monet, Degas and the other Impressionists, and can be found throughout myriad art forms, from paintings to prints, sculpture, posters and decorative arts. This exhibition, organized in Japan and the first of its type worldwide, examines the development of modern Western art through the lens of Hokusai and Japonisme. Bringing together artworks from museums and private collections in Japan and worldwide, the exhibition will compare around 200 Western artworks, including those by Monet, Degas, Cézanne and Gauguin, with about 90 works by Hokusai (around 30 color woodblock prints and 60 woodblock-printed books).* We hope that exhibition visitors will discover yet new intriguing aspects of how the West viewed and learned from Hokusai, all while enjoying Western art masterpieces born from the West’s encounter with this standard-bearer of a foreign culture.

Mystical Symbolism: The Salon de la Rose+Croix in Paris, 1892–1897

This is the first museum exhibition on this revelatory and significant yet frequently overlooked series of Salons which were held annually in Paris from 1892 to 1897. Images of femmes fragiles and fatales, androgynous creatures, chimeras, and nightmares were the norm, as were sinuous lines, attenuated figures, and anti-naturalistic forms. Featuring highlights from the Salons, this exhibition will include approximately forty works by a cross section of artists and invite a fresh look at and new scholarship on the legacies of late nineteenth-century Symbolist art.

Reopening of the Casa Vicens in Barcelona – Autumn 2017

Casa Vicens was built as a summer home between 1883 and 1885; it was designed by the 31-year-old Gaudí for Manel Vicens i Montaner (1836-1895), a broker-dealer. It is Gaudí’s first building in Barcelona where he was able to display his enormous talent. It is the eighth building in Barcelona listed as a UNESCO World Heritage Site and the last to be opened to the public.

The first phase of the project got underway in April 2015, and the full execution began on the 19th of September 2016. Respect for Antoni Gaudí’s work is the criterion determining the architectural rehabilitation and restoration process. The work on Casa Vicens is slated to finish in the autumn of 2017.

The project is sponsored by the Andorran bank MoraBanc, a prominent private family bank which purchased the property in March 2014 and which aims to preserve the world cultural heritage and invest in a world-class city like Barcelona.

Sud d’Auteuil. Hector Guimard, ses œuvres de jeunesse

Le circuit commencera avec la station du métropolitain Chardon-Lagache, où se trouve juste en face l’Hôtel Delfau et se poursuit avec l’Hôtel Roszé ; Hôtel Jassedé qui fait l’angle de la rue Chardon-Lagache et l’avenue de la Villa-de-la-Réunion ; les immeubles Jassedé ; l’Atelier Carpeaux ; enfin, au-delà du Boulevard Exelmans, l’Ecole du Sacré-Cœur et le monument funéraire de Charles Deron Levent au cimetière d’Auteuil. Toutes ces étapes seront commentées et pour la majorité d’entre elles des images anciennes et des plans seront montrés aux participants.

Totalement Horta

L’ARAU propose une visite en car exclusivement consacrée au chef de file de l’Art nouveau belge : Victor Horta. Une occasion unique de mieux comprendre l’oeuvre de cet architecte de talent à travers trois de ses réalisations : un hôtel de maître (hôtel Van Eetvelde), un jardin d'enfants (école Saint-Ghislain) et un ancien magasin de tissu (anciens magasins Waucquez, actuellement Centre Belge de la Bande Dessinée). Tarifs Réservation indispensable Tours en car Par personne 20 € -26 ans / +65 ans 15 € Sans emploi 15 € Brussels Card 15 € Thalys 15 € Article 27 1.25 €

Aegidium - ouverture exceptionnelle

La façade éclectique élevée en 1905 ne laisse pas deviner la richesse du décor intérieur dont l'Aegidium s'est paré au fil du temps. En attente de rénovation, le bâtiment conserve des espaces où les styles Art nouveau et Art Déco se mêlent à des éléments tout droit issus des vocabulaires décoratifs classiques. Dans les vestiaires, un bel ensemble de céramiques à décor champêtre accueille le visiteur. Au-delà d'un escalier monumental, se déploie, à l'étage, une exceptionnelle salle mauresque, unique en son genre à Bruxelles.

Durée: 45 minutes

Ouverture de la joaillerie Wolfers Frères

105 ans après l’inauguration solennelle de la joaillerie Wolfers Frères en 1912, l’intérieur de ce magasin mythique sera de nouveau visible dans sa configuration d’origine. Pour accueillir cet intérieur, le Musée du Cinquantenaire a choisi une salle de forme et de superficie quasiment identiques à l’espace aménagé jadis par Victor Horta dans le bâtiment situé rue d’Arenberg, à Bruxelles. Sur base d’une étude historique approfondie, les vitrines et les présentoirs seront de nouveau agencés de la façon imaginée par Horta. Le mobilier du magasin Wolfers, qui était présenté jusqu’ici de façon provisoire dans le musée, a été démonté, tandis que les autres éléments intérieurs ont été sortis de la réserve dans laquelle ils étaient stockés. Les portes d’entrée originales seront également intégrées à la nouvelle présentation, de sorte que les visiteurs pénétreront dans la salle de la même manière que la clientèle de la joaillerie le faisait à l’époque. L’intérieur du magasin a été restaurée selon les règles de l’art. Les meubles, réalisés en acajou de Cuba, ont été nettoyés et la couche de vernis originelle remise à neuf. Le revêtement de velours à l’intérieur des armoires a été recréé sur base du tissu original. La patine des ornements en bronze a été rafraîchie. Ainsi, l’harmonie des coloris telle que Horta l’avait voulu à l’origine sera de nouveau visible. Le rouge sombre de l’acajou poli, le vert foncé du velours et les accents dorés de la quincaillerie s’associent ainsi de façon harmonieuse avec le mauve des murs. Grâce à cette restauration et cette reconstruction poussées, les visiteurs auront réellement l’impression de franchir les portes de cet ancien temple bruxellois de l’objet de luxe.

Bruxelles 1900 - Art nouveau

Cette visite en car constitue, depuis plus de 30 ans, l’offre phare de l’ARAU. Elle permet de comprendre la place de l’Art nouveau à Bruxelles et l’originalité de ce mouvement qui bouleversa l’architecture et les arts décoratifs à la fin du XIXe siècle. À travers la ville, le visiteur découvre les plus belles façades de l’Art nouveau dont certaines sont désormais inscrites au patrimoine mondial de l’UNESCO. Cette visite est également l’occasion de pénétrer dans des intérieurs remarquables, parfois ouverts exceptionnellement : l’hôtel Van Eetvelde, l’hôtel Winssinger, la maison Autrique ou les anciens magasins Waucquez (actuellement Centre Belge de la Bande Dessinée) de Victor Horta, l’école n°1 ou l’école n°13 d’Henri Jacobs, l’ancien Institut de Sociologie de Constant Bosmans et Henri Vandeveld, la maison Taymans de Paul Hamesse ou encore l’ancien Palais du Vin de Fernand Symons. Chaque visite inclut au moins deux de ces intérieurs. Visite unilingue, français et anglais, le quatrième samedi du mois. Le dernier samedi des mois de septembre et de novembre, cette visite devient “Totalement Horta”. Tarifs Réservation indispensable Tours en car Par personne 20 € -26 ans / +65 ans 15 € Sans emploi 15 € Brussels Card 15 € Thalys 15 € Article 27 1.25 €

Montaner i Simón. A publishing house with a history

Guided tour about the work of the catalan modernist architect Lluís Domènech i Montaner. Guided itinerary to discover the history of three buildings by the Modernista architect Lluís Domènech i Montaner: the old publishing house Montaner i Simón, now the home of the Fundació Tàpies; the Palau Montaner, now the home of the Spanish Government Delegation in Catalonia; and the Casa Thomas, now the home of the designer furniture shop Cubiñá.

De l’Art nouveau et des arts décoratifs : le rôle prépondérant de Georges Hobé (1854-1936)

Georges Hobé (1854-1936) joue un rôle d’importance dans l’émergence de l’Art nouveau en Belgique. Bien plus que l’architecte, c’est le décorateur qui retiendra notre attention. En effet, si sa production architecturale est constituée d’un large éventail d’édifices (hôtels particuliers, maisons ouvrières ou d’artistes, maisons éclusières, abris de tram, club house et autres constructions golfiques, stade et yacht club, villas de villégiature, casinos…), celle-ci reflète l’autre facette de Hobé, qu’il défend à travers sa signature, en tant que décorateur et créateur de mobilier.

Guimard et ses contemporains : de l’éclectisme à l’architecture en béton

Cette visite sera l’occasion de découvrir des constructions emblématiques dans le XVIIe arrondissement. Georges Massa, Auguste Perret ou encore Théo Petit, vont tenter d’exprimer leur art à travers le choix de matériaux qui leur permettent de colorer leur édifice ou questionner la hiérarchie de valeur en mettant en avant, non pas la pierre onéreuse et traditionnelle, mais le béton. Chacun proposera sa vision de l’architecture moderne, au travers de l’habitat ou d’espaces commerciaux, afin de répondre aux demandes de leurs contemporains tout en proposant un paysage urbain résolument nouveau, et qui deviendra emblématique du XXe siècle.