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Bruxelles (Ixelles)
Old England et le musée des instruments de musique
Dates:01.01.2050-01.01.2999
Au cœur de la ville, l'ancien magasin Old England compte parmi les bâtiments les plus célèbres de l'Art Nouveau à Bruxelles. Conçu en 1898 par l'architecte Paul Saintenoy, c'est l'occasion d'une opération spectaculaire : réaliser dans un quartier en vogue de la capitale et sans doute pour la première fois en Belgique, un vaste édifice commercial entièrement métallique. En un jeu de mot peut-être délibéré, Old England se donne une image résolument moderne : originalité de la construction de fonte et d'acier, nouveauté du style, audace de la couleur qui contraste violemment avec son environnement, modernité des techniques mises en œuvre, du grès cérame de la façade, de l'ascenseur menant à une terrasse panoramique, de l'éclairage électrique... Il reste l'un des derniers exemples conservés des grands magasins à structure de métal qui ont connu un succès rapide et éphémère autour de 1900 avant d'être balayés par le succès du béton armé. Après une longue restauration, l'édifice abrite aujourd'hui le prestigieux Musée des Instruments de Musique, riche de plus de 7.000 pièces de toutes les époques et de toutes les cultures. Le livre, abondamment illustré, retrace l'histoire du site prestigieux de la place Royale et du Mont des Arts à Bruxelles puis la création des magasins Old England et la construction de l'édifice Art Nouveau. Il relate ensuite la restauration complexe des bâtiments et l'installation du Musée des instruments de Musique inauguré en 2000. 64 pages, 76 illustrations n/bl et couleurs format: 19x21cm, édition brochée, couverture souple ISBN: 2-87143-111-6 prix: 10
Bruxelles (Ixelles)
Old England en het Muziekinstrumentenmuseum
Dates:01.01.2050-01.01.2999
In het hartje van de stad, behoort de voormalige Old England winkel tot één van de beroemdste Art Nouveau gebouwen te Brussel. Ontworpen in 1898 door architect Paul Saintenoy, het is de gelegenheid om een spectaculair project tot stand te brengen: het oprichten in een trendy buurt van de hoofdstad en waarschijnlijk voor het eerst in België, van een grootschalig commercieel gebouw volledig uit metaal vervaardigd. Zodoende wenst Old England - de woordspeling is geen toeval – zichzelf een modern imago te geven: originaliteit van een gebouwen uit ijzer en staal, totaal nieuwe stijl, gebruik van gedurdfe polychromie die sterk contrasteert met de omgeving, moderniteit van de technieken, de zandsteen-ceramtegels van de voorgevel, de lift die naar het panoramische terras leidt, de electrische verlichting… Het blijft één van de laastst bewaarde voorbeelden van grootwarenhuizen met metalen structuur die een onmiddellijk en slechts tijdelijk succes gekend hebben rond 1900, om snel vervangen te worden door de opkomst van het gewapend beton. Na een lange restauratie, heeft vandaag het prestigieuze Muziekintrumentenmuseum er onderdak gevonden, met een verzameling van meer dan 7.000 stukken uit alle tijdperken en culturen. Het rijk geïllustreerd boek beschrijft de geschiedenis van het indrukwekkende site van het Koningsplein en de Kunstberg in Brussel, gevolgd door de oprichting van het Old England grootwarenhuis en het Art Nouveau gebouw. Verder wordt de ingewikkelde restauratie van de gebouwen omschreven en het installeren van het Muziekintrumentenmuseum geopend in 2000. 64 pagina’s, 76 zwart/wit en kleurenillustraties formaat: 19 x 21 cm ISBN: 2-87143-112-4 prijs: 10
Bruxelles (Ixelles)
Old England and the Musical instruments museum, Brussels
Dates:01.01.2050-01.01.2999
At the heart of Brussels, the former Old England department store is one of the city's most famous art nouveau buildings. Designed in 1898 by the architect Paul Saintenoy, it was the opportunity for a remarkable enterprise: that of creating in one of the capital's most fashionable quarters and no doubt for the first time in Belgium a large commercial edifice entirely in metal. In a perhaps deliberate word-play, Old England gave itself an uncompromisingly modern image with an original cast iron and steel structure, an innovative style, a boldness of colour which contrasted sharply with its environment, and modernity in the techniques and materials used, including vitrified clay for the facade, a lift to the panoramic views of the roof terrace and electric lighting. It remains one of the last remaining examples of the metal department stores which saw rapid and short-lived success around 1900 before being swept aside by the advance of reinforced concrete. Following long and complex restoration works, the building today houses the prestigious Musical Instruments Museum with more than 7,000 items from all ages and cultures. The richly illustrated book retraces the history of the prestigious site of the place Royale and Mont des Arts in Brussels, the founding of the Old England stores and the construction of the art nouveau building. It also tells the story of the complex restoration of the buildings and the installation of the Musical Instruments Museum in 2000. 64 pages, 76 black&white and colors illustrations size: 19 x 21 cm ISBN: 2-87143-119-1 prijs: 10
Bruxelles (Ixelles)
Old England and the Musical instruments museum, Brussels
Dates:01.01.2050-01.01.2999
At the heart of Brussels, the former Old England department store is one of the city's most famous art nouveau buildings. Designed in 1898 by the architect Paul Saintenoy, it was the opportunity for a remarkable enterprise: that of creating in one of the capital's most fashionable quarters and no doubt for the first time in Belgium a large commercial edifice entirely in metal. In a perhaps deliberate word-play, Old England gave itself an uncompromisingly modern image with an original cast iron and steel structure, an innovative style, a boldness of colour which contrasted sharply with its environment, and modernity in the techniques and materials used, including vitrified clay for the facade, a lift to the panoramic views of the roof terrace and electric lighting. It remains one of the last remaining examples of the metal department stores which saw rapid and short-lived success around 1900 before being swept aside by the advance of reinforced concrete. Following long and complex restoration works, the building today houses the prestigious Musical Instruments Museum with more than 7,000 items from all ages and cultures. The richly illustrated book retraces the history of the prestigious site of the place Royale and Mont des Arts in Brussels, the founding of the Old England stores and the construction of the art nouveau building. It also tells the story of the complex restoration of the buildings and the installation of the Musical Instruments Museum in 2000. 64 pages, 76 black&white and colors illustrations size: 19 x 21 cm ISBN: 2-87143-119-1 prijs: 10
Bruxelles (Ixelles)
Victor Horta. Hôtel Tassel. 1892-1895
Dates:01.01.2050-01.01.2999
"… Cette maison est une date, une grande date dans l’histoire de l’architecture : la première manifestation d’un mouvement aujourd’hui victorieux, la première œuvre moderniste dans l’œuvre chronologique. Tout l’art de Victor Horta est dans ce logis, dans son plan aussi bien que dans sa façade et dans le choix et le mariage des matériaux dont elle est composée. Il faudrait veiller sur cette construction comme sur une relique ; un jour, on ira vers elle, comme un pèlerinage : on ira la consulter pour comprendre tout ce qui est sorti d’elle, pour découvrir en elle, tout ce qu’elle annonçait de puissant, de magnifique, de pratique…". Sander Pierron, 1924 Le livre en retrace l’histoire depuis sa genèse jusqu’à la restauration exemplaire réalisée de 1981 à 1985 par un élève de Victor Horta, l’architecte Jean Delhaye. "… This house is a date, a great date, in the history of architecture: the first manifestation of a movement victorious to-day, the first modernist work, chronologically speaking. All the originality in Victor Horta’s talent is to be found in this dwelling : in the plan, in the façade, in the choice and blend of materials of which it is built. This building must be watched over like a relic : one day, it will become a place of pilgrimage, consulted as a means of comprehending all that has emanated from it, as a means of discovering everything powerful, magnificent and practical which it heralded…". Sander Pierron, 1924 160 pages, 145 illustrations n-bl et couleurs / 160 pages, 145 black&white and colors illustrations format / size: 30 x 21 cm bilingue: français, anglais / English and French text ISBN: 2-87143-088-8 prix / price: 22
Bruxelles (Ixelles)
Les Mots de Victor Horta
Dates:01.01.2050-01.01.2999
Collection "Les Mots de l’Architecture" Au même titre que les peintures ou les sculptures, les dessins d’architecture parlent à l’imaginaire. Les faire découvrir afin d’éveiller la curiosité par l’architecture : voici l’objectif de cette nouvelle collection destinée aussi bien aux enfants qu’aux adultes. C’est également une invitation à poser un regard plus familier sur la ville encore souvent hostile, démesurée ou indifférente. Ces livres ont été réalisés à partir des dessins choisis dans es fonds des Archives d’Architecture Moderne à Bruxelles, une des plus belles collections de dessins d’architecture d’Europe. LE CONCEPT Chaque livre présente une cinquantaine de termes d’architecture illustrés par un dessin d’architecte. Chaque mot illustré est accompagné : - d’une brève définition destinée aux adultes et aux " grands enfants ", - d’une citation littéraire qui a pour but de développer l’imaginaire lié à l’architecture et de permettre un niveau de lecture plus ludique, - parfois d’un dessin au trait, en vignette, qui reproduit l’élément architectural de manière stylisée afin de mettre l’accent sur ses caractéristiques principales et d’éviter toute confusion. Il y a donc plusieurs niveaux de lecture possibles : - le mot, sa définition, l’image, le dessin explicatif en vignette et la citation littéraire. 124 ou 128 pages, 60 illustrations couleurs format: 19 x 21 cm prix: 14,60
Bruxelles (Ixelles)
Charleroi : de l'art nouveau à l'art déco
Dates:01.01.2050-01.01.2999
Petit ouvrage sur l'Art Nouveau à Charleroi, très influencé par le style géométrique de Paul Hankar et encore à l'honneur au début des années 20 ; il a laissé place à l'Art Déco répondant à l'attente esthétique d'une bourgeoisie industrielle, sensible aux arts appliqués. Description matérielle : 62 p. : ill., élév., photogr., plan ; 14 cm
Bruxelles (Ixelles)
Bruxelles Art nouveau
Dates:01.06.2050-01.12.2099
L’Art Nouveau apparaît à Bruxelles en 1893 quand Horta, Hankar puis van de Velde construisent les premières maisons dans ce style qui reflète parfaitement les ambitions d’une bourgeoisie éclairée, libérale, laïque et d’artistes en rupture avec l’académisme. Il devient très vite populaire et envahit les nouveaux quartiers d’une floraison de pierre et de fer pour faire de la ville en pleine expansion l’une des capitales du nouveau style. Ce livre est accompagné d’une carte guide avec la localisation précise d’immeubles Art Nouveau et de promenades.
Bruxelles (Ixelles)
Le Temps des Boutiques
Dates:01.09.2050-01.01.2999
Ce livre est consacré à l'évolution architecturale des boutiques depuis leur apparition au XIXème siècle jusqu'à nos jours. Formidable laboratoire d'idées, de formes, de matériaux, de mises en oeuvre, la boutique est le reflet instantané du mode de vie, des goûts, des mentalités, de l'urbanité d'une époque. De la boutique moderne, comme oeuvre d'art à part entière, à la boutique caractéristique de l'Art Nouveau, de l'Art Déco, du style épuré des années 50, de la mode hippie des années 70... ce livre commencera avec une évocation des premières boutiques modernes aménagées sous l'Empire et se terminera sur les créations les plus récentes de grands architectes et designers.
Bruxelles / Brussel
Bruxelles Art nouveau. Autour des maisons de Gabriel Charle (1868-1919)
Dates:01.08.2014-31.08.2014

Bruxelles est une région riche en patrimoine bâti. Malgré son histoire complexe, elle a su garder de véritables bijoux d’architecture et de décoration des années 1900.

L’exposition « Autour des maisons de Gabriel Charle (1868-1919) » est une invitation à découvrir l’intimité de quelques œuvres marquantes de l’architecte et décorateur Gabriel Charle à Bruxelles.

Au travers d’une sélection significative d’ornements, de photographies de détails et de commentaires inédits, le parcours dans les halles Saint-Géry vous fera apprécier une tendance moins connue de l’Art nouveau à Bruxelles.

Présentée durant tout le mois d’août dans les Halles Saint-Géry, la visite peut être complétée d’explications sur demande.

Halles Saint-Gery
1 Place St. Géry à 1000 Bruxelles
 

Bucuresti, Sector 1
Art Nouveau in Romania
Dates:01.01.2050-01.01.2999
Art Nouveau was a movement widespread in Europe, crisscrossing the continent from Scotland to Transylvania, from Finland to Spain, and was prominent from the 1880s up until the 1920s, producing artefacts in every artistic field. Although it was a pan-European phenomenon, the very plethora of its names is suggestive of its regionalist features: in Frances it was called "Art Nouveau" or "Le Modern Style", in Germany "Die Jugendstil", in Austria and Hungary "Sezession", in Spain "Arte joven", in Italy "Arte nuova", in the Netherlands "Nieuwe kunst", in Scotland the "Glasgow Style", and in Poland "Mloda Polska". Every country had its own version of Art Nouveau, and within the national versions there were local variants. Thus the movement was by no means a homogenous phenomenon, and is to be identified more with a period than with a style.
Budapest
Masters of Art Nouveau in the Collection of the Museum of Applied Arts
Dates:24.05.2013-31.08.2014
The exhibition of the Art Nouveau collection of the Museum of Applied Arts, which met with success in the Musei Capitolini in Rome this spring, is on display in Budapest from 24 May, 2013. The Museum of Applied Arts in Budapest, which came into being modelling the Victoria and Albert Museum, is one of the earliest and most significant institutions in Europe among such museums. Feeling enthusiastic about the success of the Paris Universal Exposition 1867 it was founded in 1872 as the second national museum of Hungary. Ödön Lechner’s architectural work the museum’s Art Nouveau palace, which dominates the townscape, was finished in 1896. The Museum’s Art Nouveau collection is of great importance. The planned acquisition already started on the occasion of the Paris Universal Exposition 1889 and reached its summit at the Paris Universal Exposition 1900. This work could be thanked to the director Jenő Radics who was even more provident than the model museum in London and recognised the aims of Secessionism. He primarily wanted to present the artistic results of England and France to the public, the countries seen as the cradle for modern art movements, as well as the modern artists of Germany and Scandinavia. Due to this effort, the museum obtained notable pieces, such as the glassware of the Tiffany company that is in a class of its own today, the most beautiful works of the German Jugendstil, the tapestries of the Scherrebek weaving school based on the designs of Otto Eckman as well as Danish and Swedish porcelains. The such acquired artefacts, which represented the contemporary tendencies, were presented to the Hungarian public through the museum’s own exhibitions inspiring the Hungarian designers and producers. This is how Louis Comfort Tiffany’s glassware made by lustre techniques, which were exhibited in Budapest, influenced the artistic work of the Hungarian Zsolnay ceramic-manufactory. Over and above universal masterpieces, the Museum of Applied Arts also purchased contemporary Hungarian artefacts year after year. The main emphasis of the programme 2013 of the Museum of Applied Arts is to display this internationally significant Art Nouveau collection both to the national and international public. Part of the Hungarian-Italian Cultural Year 2013 this spring the Museum of Applied Arts organised a large-scale exhibition displaying almost 100 objects in the Musei Capitolini in Rome, which exhibition can now be seen in the Üllői street building. It represents the technological and artistic innovations of the heyday of Secessionism with outstanding artefacts from the period between the Paris Universal Exposition 1889 and the Turin Universal Exposition of Decorative Art 1911 and shows the influences among the different artistic fields and among the artists from different nationalities. The glass and ceramic objects –masterworks of Louis Comfort Tiffany, Émile Gallé, the Daum brothers and the Zsolnay factory- which form the main part of the exhibition is enriched by jewels (René Lalique) and tapestries (József Rippl-Rónai, Otto Eckmann). Further relevance of the exhibition is given by the fact that Art Nouveau objects are continuously uploaded to the institution’s recently launched online collection database, in the course of the Partage Plus digitisation project which is sponsored by the European Union. The Museum of Applied Arts digitise more thousand pieces of its own European ranking Art Nouveau collection as well as outstanding Art Nouveau buildings of Hungary, which will be made available even through the Europeana cultural web database. Also in the framework of the Partage Plus project, a 360 degree virtual tour of the exhibition was also created, which can be accessed via this link.
Budapest
The Bigot Pavilion – Art Nouveau Architectural Ceramics from Paris
Dates:26.05.2013-31.08.2014
This year, the Budapest the ensemble of Alexander Bigot’s monumental architectural ceramics can be seen for the first time since the Paris World's Fair of 1900. The ensemble was acquired with government funds by the director Jenő Radisics at the Paris Universal Exposition 1900 and has never been on display so far. Alexander Bigot’s pavilion constructed of Art Nouveau architectural sample pieces –wall revetments, fireplace frames, columns with plastic decorations, brackets, friezes- was bought entirely by the museum and was transported to Budapest after the exposition. The objects were deposited in the huge basement of the Museum of Applied Arts. The designers of the architectural ceramics were such outstanding French architects and sculptors of the period like Jules Lavirotte (1864-1924) or Paul Jouve (1878-1973). Similar pieces of architectural ceramics displayed at the exhibition can be found on facades of several Art Nouveau apartment buildings and palaces in Paris even today. The present exhibition hints at the future of the museum, expressing the desire that many hidden artworks in the collection, such as these, should be displayed – something which will only be possible after the reconstruction of the building designed by Ödön Lechner. The Ceramics Factory Alexandre Bigot (Mer, 1862 – Paris, 1927) established his ceramics manufactory at Mer in 1894, after his extensive studies of the natural sciences, chemistry and physics, and with enthusiasm for far-eastern as well as modern ceramic arts. His factory was producing stoneware fired at high temperatures and known as grès flammés. This material was most suitable for the decoration and panelling of the facades of modern ferro-concrete buildings, but the company also made various dishes and vases. The surface of the ceramics was usually covered with special glazes, including crystalline glazes, which often flowed down on the surface of the plastic forms. He also created special matte glazes, using acids to corrode the surface. At its heyday, the Bigot factory had about hundred and fifty workers. Products of Bigot The rich selection of products by the Bigot factory was listed in their catalogue, issued in second edition in 1902. They offered frost-resisting glazed and unglazed tiles for façade revetments, roof tiles, including ridge-tiles of various shapes, as well as large variety of architectural sculpture, such as columns, pillars, lunettes, lintels, banisters, arches, friezes and parapets. Ceramics for interior use were also quite varied. Flat tiles for floors and walls were often designed with multi-tile ornaments of various shapes. Their ceramics, which were suitable for decorating large surfaces, their fireplaces as well as ornamental vessels were made for the elegant urban interiors of the bourgeoisie. The Magic of Bigot The elegant and well-shaped objects by Bigot, decorated with varied figural and floral motifs and covered with colourful glazes of warm tone provide a unique aesthetic experience. Similar pieces to the ones shown in the present exhibition can be found on the facades of several Parisian apartment buildings and palaces. The architectural ceramics of Alexandre Bigot were made in various historical styles as well as in the style of Art Nouveau, but he never really constrained himself to one style. For him, the challenge was the material and the glazes. The magic of his ceramic objects lies in the glazes which cover his daring and exotic shapes, often flowing down or intentionally blotty, other times appearing in deep tones, or gleaming in thick layers. Most architectural elements used in the pavilion assembled for the Paris World’s Fair were designed for two buildings by Jules Aimé Lavirotte from Lyon (1864-1924), both still standing in the seventh district of Paris.
City of Helsinki
Porras-Huoneet
Dates:01.01.2050-01.01.2999
Helsinkiläisten porrashunoneita 1800-luvulta 1940-luvelle
Copenhagen
Danish and Nordic Art 1750-1900
Dates:28.05.2011-01.01.2035
From the birth of Danish painting through the famous Golden Age of Danish art to the dawn of Modernism. The major features of Danish and Nordic art over 150 years are unfolded in a display that features both an historic overview and special themes of immediate relevance to contempoary life, while also focusing on artists of particular importance. At the same time, this display casts light on some of the more overlooked chapters in the history of Danish art.