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Agenda
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Ongoing and upcoming Art Nouveau exhibitions, visits and more...
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Den Haag
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René Lalique (1860-1945): Master of French Art Nouveau and Art déco
Dates:22.06.2013-10.11.2013
The exclusive objects produced by the renowned French jewellery designer and glass artist René Lalique are iconic symbols of luxury from the Art Nouveau and Art Deco periods. Lalique’s work still attracts worldwide interest and vertiginous sums are paid for pieces at auction. This summer, the Gemeentemuseum Den Haag hosts a dazzling display of work by this celebrated artist. René Lalique (1860 – 1945) – Master of French Art Nouveau and Art Deco is the Netherlands’ first ever major exhibition of his work. His rich and varied oeuvre will form the basis for a detailed discussion of the artist’s Dutch clientele, sources of commissions in the Netherlands, and the reception of his work in this country.
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Darmstadt
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Die Plakatkunst der Künstlerkolonie Darmstadt
Dates:01.01.2050-01.01.2999
Die Ausstellung
Bereits im frühen 20. Jahrhundert galten Plakate als „Kunst der Straße“, wurden von Museen und Privatpersonen gesammelt sowie in Ausstellungen und Publikationen gewürdigt. In ihrem Wunsch, alle Lebensbereiche künstlerisch zu gestalten, haben sich auch zahlreiche Mitglieder der Künstlerkolonie Darmstadt (1899-1914) der Vermittlung ihrer Ideen im öffentlichen Raum gewidmet. Sie schufen hierbei – als bedeutsamen Bestandteil des Gesamtkunstwerks Mathildenhöhe – herausragende Plakate, die heute zu den Ikonen der Werbekunst zählen.
Der Katalog
Zur Ausstellung erscheint die Publikation „Die Plakatkunst der Künstlerkolonie Darmstadt“, herausgegeben von Ralf Beil, mit einem Vorwort von Ralf Beil, historischen Quellentexten sowie einem Essay von Philipp Gutbrod, 48 Seiten, 33 Abbildungen, Broschur, Institut Mathildenhöhe Darmstadt, 2012, € 5,-
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Cumbria
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The Women of Arts & Crafts: May Morris
Dates:02.06.2013-02.06.2013
Sunday 2 / 9 / 16 / 23 June between 3 - 4.00pm
Blackwell Main Hall
Free with admission (Adult £7.20)
Booking essential
This summer series of afternoon talks focuses on the women behind the Arts & Crafts movement and the design work of this period.
Sunday 2 June
Jean Marsh discusses the work of May Morris, the younger daughter of Pre-Raphaelite artists William Morris who was an influential embroideress, much overshadowed by her fathers accomplishments.
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Cumbria
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The Women of Arts & Crafts: Frances Macdonald & The Glasgow Four
Dates:09.06.2013-09.06.2013
Sunday 2 / 9 / 16 / 23 June between 3 - 4.00pm
Blackwell Main Hall
Free with admission (Adult £7.20)
Booking essential
This summer series of afternoon talks focuses on the women behind the Arts & Crafts movement and the design work of this period.
Sunday 9 June
Sarah Beattie discusses the art of Frances Macdonald & The Glasgow Four. She was a Scottish artist and designer educated at the Glasgow School of Art in the 1890s and most commonly associated with the ‘Glasgow Style’.
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Cumbria
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The Women of Arts & Crafts: Georgina Gaskin
Dates:16.06.2013-16.06.2013
Sunday 2 / 9 / 16 / 23 June between 3 - 4.00pm
Blackwell Main Hall
Free with admission (Adult £7.20)
Booking essential
This summer series of afternoon talks focuses on the women behind the Arts & Crafts movement and the design work of this period.
Sunday 16 June
Mary Greenstead discusses the art of Georgina Gaskin, one of the Birmingham Group of Artists-Craftspersons. She was known for her jewellery and metalwork, often combining the two to stunning effect.
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Cumbria
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The Women of Arts & Crafts: Phoebe Traquair
Dates:23.06.2013-23.06.2013
Sunday 2 / 9 / 16 / 23 June between 3 - 4.00pm
Blackwell Main Hall
Free with admission (Adult £7.20)
Booking essential
This summer series of afternoon talks focuses on the women behind the Arts & Crafts movement and the design work of this period.
Sunday 23 June
Dr Elizabeth Cumming discusses the art of Irish-born Phoebe Traquair who was well known for her illustrations and paintings which still adorn walls in hospital chapels and churches.
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Copenhagen
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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.
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City of Helsinki
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Porras-Huoneet
Dates:01.01.2050-01.01.2999
Helsinkiläisten porrashunoneita 1800-luvulta 1940-luvelle
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Cervia
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Matteo Focaccia. An eclectic architect between Liberty and Rationalism
Dates:20.06.2013-08.07.2013
The seventeenth Salt Warehouse Torre di Cervia, near Ravenna, will host, from 20 June to 8 July 2013, an exhibition dedicated to "Matthew Focaccia. An eclectic architect between Liberty and Rationalism. " The exhibition will be on display in the Hall Rubicon, every day, from 20.30 to 23.30.
Admission is free.
The initiative is sponsored by Liberty Romagna, in collaboration with the Cultural Association Casa delle Aie Cervia and with the patronage of the Municipality of Cervia.
The realization of the exhibition is curated by Andrea Speziali, star of the revival of interest in Romagna and nationally for Liberty.
Apothecaries is assisted by Renato Lombardi, with regard to the historical aspect refers to the fact Cervia and Romagna. The exhibition follows on from the initiatives promoted in 2012 on the occasion of the centenary of Milano Marittima (location of the town of Cervia) was born with a master plan designed by the great artist and painter Giuseppe Palanti (1881-1946), inspired by the idea of "garden city".
The exhibition will feature a selection of images from the era, "cottages" of great hotels of graphic documents related to the expansion of tourism, first residential elite and then gradually more and more open to new social groups of users.
The architect Matteo Focaccia (1900-1972) played an important role in the architecture of the early decades of the twentieth century, bringing an impression of eclecticism and originality linked to beauty, during the upward phase of Milano Marittima and Cervia.
Are exposed original projects retained by the heirs and municipal archive. The initiative falls within a wider program of events dedicated to the "rationalism in architecture" of Romagna, promoted by public bodies, cultural institutions and banking foundations, with exhibitions, conferences, guided tours.
The exhibition is part of the cultural events of the Pink Night.
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Bucuresti, Sector 1
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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.
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Bruxelles (Ixelles)
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The Charlier museum and Victor Horta
Dates:01.01.2050-01.01.2999
In 1890, the patron of the arts Henri Van Cutsem (1839-1904) inherited a townhouse in the neoclassical style at 16 avenue des Arts in Sint-Josse-ten-Noode, a borough neighbouring the historical city centre of Brussels. To show off his art collections to best effect, Van Cutsem entrusted the works to extend his home and convert the stables and annexes to a young and as yet unknown architect: Victor Horta. Between 1890 and 1893 the latter designed two galleries topped with glass roofs with metal supports and a new facade giving onto rue de la Charité. This enlarged Hôtel Charlier provides an early example of the innovations that would later become distinctive of the work of the master of Art Nouveau: the fluidity and transparency of the interior spaces, the use and affirmation of visible metal in a private home, fruit at the base of walls to lend an organic illusion, etc. In 1928, the townhouse became known as the "Charlier Museum" in memory of the sculptor Guillaume Charlier (1854-1925), Van Cutsem's universal legatee, who donated the house and its art collections to the borough of Sint-Josse-ten-Noorde. In 1993 the museum was listed as a historical monument by the Brussels-Capital Region.
64 pages, 13 X 13 cm, 180 gramme
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Bruxelles (Ixelles)
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La façade Art nouveau à Bruxelles: Artisans et métiers
Dates:01.01.2050-01.01.2999
Le XIXe et le début du XXe siècle ont voué un intérêt passionné à l'image de la ville. Pour les architectes de l'Art Nouveau, la façade doit être considérée comme une œuvre d'art totale, une vaste affiche en relief, à laquelle tous les artisans et artistes sont invités à participer. Dans la lignée du courant des Arts and Crafts anglais, le savoir-faire artisanal lié aux divers matériaux -taille de la pierre, ferronnerie, menuiserie, céramique, vitrail, sgraffite, serrurerie- connaît un développement exceptionnel. Un dialogue d'une grande richesse s'instaure entre le monde des techniques et de nombreux créateurs bruxellois qui vont renouveler de manière radicale l'esthétique de la façade : Victor Horta, Paul Hankar, Ernest Blérot, Gustave Strauven, Albert Ciamberlani, Adolphe Crespin, Paul Cauchie, Fernand Dubois, Isidore de Rudder, Gabriel Van Dievoet…
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Bruxelles (Ixelles)
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De Art Nouveau gevel te Brussel: Ambacht en sierkunst
Dates:01.01.2050-01.01.2999
In de 19de en het begin van de 20ste eeuw heerst er een sterke belangstelling voor de verschijningsvorm van de stad. De art nouveau architect beschouwt de gevel als een totaalkunstwerk, een grote affiche in reliëf, die tot stand moet komen uit de samenwerking van alle kunsten en ambachten. In het verlengde van de Engelse Arts and Crafts kennen de ambachten van het steenhouwen, smeedwerk, schrijnwerk, wandtegels, glas-in-lood, sgraffito, deurbeslag, etc. een uitzonderlijke bloei. Er ontstaat een vruchtbare dialoog tussen de traditionele vakkennis en de talrijke Brusselse ontwerpers die een radicale vernieuwing in de esthetiek van de gevels teweegbrengen: Victor Horta, Paul Hankar, Ernest Blérot, Gustave Strauven, Albert Ciamberlani, Adolphe Crespin, Paul Cauchie, Fernand Dubois, Isidore de Rudder, Gabriel Van
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Bruxelles (Ixelles)
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Paris-Bruxelles Deux siècles d’affinités architecturale
Dates:01.01.2050-01.01.2999
Second volume, après Vienne-Bruxelles, d’une série qui explore les allées et venues architecturales entre la capitale de la Belgique et ses voisines européennes.
Le point de départ se situe dans la période 1794-1814, quand la Belgique était française et que ses architectes avaient l’occasion de se former à Paris, dans la célèbre école des Beaux Arts. Il va en résulter une tradition informelle d’échanges qui reflètent l’actualité culturelle des deux capitales. On voit ainsi Viollet le Duc consulté pour la restauration des vestiges de l’enceinte de Bruxelles, Léopold II faire appel à l’architecte orientalise parisien Alexandre Marcel, le jeune Rob. Mallet Stevens trouver son inspiration dans la maison de sa tante, le palais Stoclet, chef d’oeuvre du style Sécession, Hector Guimard et Henry Sauvage inventer leur propre style, l’un après avoir visité les oeuvres de Victor Horta, l’autre après fait la place chez Paul Saintenoy, un des maîtres bruxellois de l’Art Nouveau. Ces échanges ont laissé de nombreux témoignages présentés dans le livre. Ainsi, à Paris, l’Art Nouveau belge peut toujours être apprécié dans le restaurant de l’Hôtel des Dames de la Poste, rue de Lille, aménagé par Gustave Serrurier- Bovy, un des champions belges de l’Art dans Tout, et à Bruxelles, les rues témoignent de l’influence de l’Exposition des Arts décoratifs de Paris 1925 dans nombre d’habitations bourgeoises, d’églises ou d hôtels de ville fastueux.
Si le Thalys a, depuis quelques années, considérablement réduit le temps de trajet entre les deux capitales, l’architecture les avait rapproché depuis longtemps, c’est ce lien artistique peu connu que retrace pour la première fois ce livre.
Paris-Bruxelles
Texte de Maurice Culot
Ouvrage relié sous jaquette
Texte : français
Format :13 x 13 cm
Nombre de pages : 64 environ
+/– 80 illustrations couleurs et N/Bl
ISBN : 978-287143-232-6
EAN : 9782871432326
PARUTION : décembre 2009
Prix : 12 €
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Bruxelles (Ixelles)
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De tijd van de Boetiek Van marktkraam tot eBay
Dates:01.01.2050-01.01.2999
Het boek is gewijd aan de architecturale evolutie van de boetiek sinds haar opkomst in de 19de eeuw tot vandaag. Als formidabel laboratorium voor ideeën, vormen, materialen en uitvoeringen is de boetiek een onmiddellijke afspiegeling van de levenswijze, de smaken, de mentaliteit en urbaniteit van een periode.
Er wordt een overzicht geschetst van de moderne boetiek die een kunstwerk op zich is, tot de typische boetiek van de art nouveau, de art deco, de uitgepuurde stijl van de fifties, en de hippie mode van de seventies… Het boek begint met een evocatie van de eerste moderne boetieks ingericht tijdens het Empire en eindigt met de meest recente creaties van belangrijke architecten en designers.
Onder boekomslag ingebonden
Nederlandse tekst
Formaat: 13 x 13 cm
64 pagina’s
+/– 80 zwart-wit en kleurenfoto’s
ISBN: 978-2-87143-225-8
EAN: 9782871432258
Prijs : 12 €
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