Rene Binet Art Nouveau Architecture and Versailles Watercolors
Dates:01.01.2050-01.01.2999
This second volume includes some architectural projects such as the Porte Monumentale for the Exposition Universelle of 1900 and the Printemps department store. Also included are his watercolor paintings from "Versailles and the Trianons". See the first volume for a portfolio of his industrial and architectural designs. René Binet was born in Chaumont, Yonne [Burgundy region] on the 14th of October, 1866 to Savinien Joseph Binet, a railway tracklayer and Marie Grosset, a housekeeper. He attended the École Nationale Supérieure des Beaux-Arts (ENSBA), from 1886 until about 1892, and was a student of Victor Laloux. Binet was an architect, decorator, and painter. Perhaps his most culturally significant contribution was his design of the main entry for the Paris Exhibition of 1900, a commission that he won. He is considered an artist of La Belle Epoque, executing his designs in the style of Art Nouveau. Two Paris addresses are associated with the artist: 6 rue de l’Abbaye and 33 rue Bonaparte. According to the Musée d’Orsay, René Binet “discovered Italy after winning, in 1893, the Chaudesaigues prize, which enabled young architects to spend two years there”. Along with Italy, Binet also traveled to Sicily, Algeria and Spain. The museum also attributes these trips to his interest in watercolor painting. According to the museum, he traveled frequently which provided him some relief from his rheumatism. In 1903, an exhibition, at the Galerie Paul Durand-Ruel in Paris, featured his watercolor paintings. His work was also greatly influenced by the research and illustrations of Ernst Haeckel. Gustave Geffroy, in his forward to Esquisses décoratives, notes that Binet viewed the Clathrocanium reginae as the most beautiful and a perfect representation of the richness and logic of the Radiolaria family. Geffroy also points out that it is the Clathrocanium reginae that inspired the design of the Porte Monumentale [main entrance] of the Exposition Universelle of 1900. You can see illustrations of these geometric and microscopic sea creature skeletons in the upcoming pages and also in the separate editions of Haeckel’s works from delsc. Binet died in 1911 in Ouchy, Switzerland.

Amsterdam

Recent advances in glass, stained glass and ceramics conservation
Dates:07.10.2013-10.10.2013
ICOM-CC Glass and Ceramics Working Group Interim Meeting Forum of the International Scientific Committee for the Conservation of Stained Glass (Corpus Vitrearum-ICOMOS). Collaboration, inspiration, and exchange are essential for all conservators, because as much as we need to be specialists, we also need to be open to new ideas outside our fields. Conservation is becoming increasingly more international and interdisciplinary, a statement which, though obvious, nevertheless bears repeating. Limited resources force us to search for synergies that may provide unexpected opportunities to join forces across (imaginary) borders. For the first time, the interim meeting of the ICOM-CC Glass and Ceramics Working Group and the Forum of the International Scientific Committee for the Conservation of Stained Glass (Corpus Vitrearum-ICOMOS) will be organised as a joint conference. These organisations have much in common, including several shared members. Whereas the interim meetings of the ICOM-CC WG Glass and Ceramics have been organized every three years, the Forum has a two-year interval. The plans for both organisations to meet in 2013 offered a rare opportunity to join forces to present the latest developments in the conservation of glass, stained glass, and ceramics, whether in collections or in situ. In this joint conference delegates will have the opportunity to gain from the shared experience of both groups and learn from the interactions and exchanges that are a central part of the conference experience. Aims of the conference to present relevant case studies in the conservation of glass, stained glass, and ceramics to disseminate research results in the field of cultural heritage to promote the application of new materials and technologies for conservation practice as well as tools for analysis and documentation to identify further research and to provide networking for future activities Target audience conservators working in museums and in private practice scientists specializing in conservation students interested in glass, stained glass, and ceramics architects, engineers, master glaziers, and glass painters dealing with stained glass in situ curators and administrators in charge of museum collections or cultural heritage sites Dutch tile picture of a vase containing flowers, dated approximately 1850 Dutch Tile Museum, Otterlo Stained glass window from 1647-1650 by J.G. van Bronckhorst, depicting the granting of city arms to Amsterdam in 1342 by Count William IV Nieuwe Kerk, Amsterdam Structure and scope The four-day conference will include thematic sessions on research in progress and case studies related to glass, stained glass, and ceramics. About 25 posters will be displayed. A visit to the Ateliergebouw housing the Conservation workshops of the University of Amsterdam and the Rijksmuseum and the Laboratories of the Cultural Heritage Agency, on Tuesday afternoon and several post-conference tours will be offered to allow participants to explore stained glass in situ as well as museum collections in The Netherlands. Publication Arrangements have been made for the publication of colour preprints, retaining an important feature of previous Interim Meeting and Forum Proceedings. All contributions will be peer-reviewed by members of the conference editorial board. The preprints will be published by SPA publishers.

Bruxelles

Provenance, catalogue of the exhibition
Dates:01.02.2050-31.12.2099
Christian Witt-Dörring, Jean-Louis Gaillemin, 2006. Exhibition catalogue for "Provenance" at the Galerie Yves Macaux.

Bruxelles

Privat Livemont : entre tradition et modernité au coeur de l'Art Nouveau
Dates:01.09.2050-01.01.2999
Après des études à l'académie de dessin de Saint-Josse, aux côtés d'Adolphe Crespin, Paul Saintenoy et Léon Govaerts, Privat Livemont remporte une bourse qui lui permet d'approfondir sa formation de peintre-décorateur à Paris. Entre 1883 et 1889, il est associé à d'importants travaux, comme la décoration de l'hôtel de ville de Paris, l'inventaire dessiné du mobilier de la Comédie-Française ou encore les décors d'Hamlet pour l'opéra Garnier. Revenu à Schaerbeek, il fonde son studio de décoration et remporte par hasard, en 1890, le premier concours pour l'affiche annonçant l'exposition d'art du cercle artistique local. Gravant lui-même sur la pierre lithographique, il produit une quarantaine d'affiches qui rivalisent avec celles d'Alphonse Mucha, principalement entre 1896 et 1904, pour des firmes belges, hollandaises et parisiennes, qui sont exposées à Bruxelles, Paris, Londres, Saint-Pétersbourg, Haarlem, ... Parallèlement à ses activités d'affichiste, il réalise de grandes peintures décoratives, des panneaux de céramique ou des vitraux. Professeur de composition décorative et de peinture de fleurs à l'école industrielle de Schaerbeek, il réalise également de nombreux sgraffites sur des bâtiments bruxellois.

City of Helsinki

Porras-Huoneet
Dates:01.01.2050-01.01.2999
Helsinkiläisten porrashunoneita 1800-luvulta 1940-luvelle

 

Photo Contest “Italian Liberty”
Dates:21.02.2013-31.10.2013
On February 21, he left the photo contest ''Italian Liberty’’, organized and promoted by the cultural ANDEL (National Association of Defense Buildings Liberty). The competition is part of the project ‘‘Italia Liberty’’ conceived and directed by Andrea Speziali, expert scholar of the artistic "Art Nouveau" and author of several books on architecture Liberty. The Photo Contest ‘‘Italian Liberty’’ is sponsored by the portal of the Cultura Italia (Ministry of Heritage and Culture), by the European project PartagePlus and ENIT National Tourism Agency. The artistic director of the competition, Andrea Speziali uses several collaborations: scholars, academics, art historians and critics, researchers, state archives, schools, universities, academies and public and private art collections. Paramount importance to achieve the purpose of the project is the website www.italialiberty.it through which the creator Andrea Speziali, it is proposed to reevaluate an artistic movement like that of floral style in Italy. The photo competition aims to excite and bring young and old in this cultural project in the future that sees the publication of a series of publications on the Liberty for each divided region of Italy.

Bruxelles

Paul Jaspar architecte 1849-1945
Dates:01.01.2050-01.01.2999
2009 marque le 150e anniversaire de la naissance de l’architecte liégeois Paul Jaspar. La Commission royale des Monuments, Sites et Fouilles (CRMSF), a souhaité rendre hommage au chef de file de l’architecture moderne liégeoise à la fin du XIXe et au début du XXe siècle, par le biais d’un livre accompagnant l’exposition Paul Jaspar architecte (1859-1945) : patrimoine et modernité, présentée au Grand Curtius à Liège, du 5 septembre au 25 octobre 2009. Ce livre a l’ambition d’évoquer non seulement l’architecte, mais également l’homme, l’artiste et l’archéologue. Ses réalisations les plus marquantes y sont présentées au travers de nombreux dessins, croquis et plans d’architecture, conservés au Centre d’Archives et de Documentation de la CRMSF ; ils illustrent quelque quarante-cinq projets ou constructions exécutées entre 1884 et 1932. De nombreuses photographies anciennes et les écrits de Paul Jaspar permettent de cerner ses passions et son érudition. Nombre de courriers et rapports conservés dans les archives de la CRMSF attestent de son engagement envers le patrimoine et de la sûreté de son jugement de membre correspondant. Cet ouvrage reprend parallèlement aux quelque trois cent cinquante notices des œuvres exposées, une étude biographique de l’artiste, ainsi qu’un dvd présentant un film de vingt-six minutes sur le précieux héritage laissé par cet architecte éminent et technicien érudit.