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London
Klimt / Schiele Drawings from the Albertina Museum, Vienna
Dates:4.11.2018-3.2.2019

See rare and fragile drawings by Gustav Klimt and Egon Schiele, offering intimate insights into their artistic relationship and differing creative processes. This extraordinary collaboration with the Albertina Museum in Vienna marks the centenary of both artists’ deaths. 1918 was a seismic year in Vienna. As the Austro-Hungarian Empire crumbled, the deaths of its two foremost artists brought about the end of an intense period of creative vitality that had blazed briefly but brilliantly across the city’s bohemian swirl. One was the radical Symbolist painter Gustav Klimt; the other the young, scandalous and prodigiously talented Egon Schiele. As a number of key drawings in this exhibition will reveal, influence travelled in both directions between these two friendly rivals. Early sketches show how Schiele, in his own words, first “went by way of Klimt,” before the expressive power and searing directness of his mature work in turn left a mark on his older colleague. Both revelled in the immediacy of drawing, an ideal medium for exploring new ideas of modernity, subjectivity and the erotic. Klimt / Schiele: Drawings is a unique opportunity to see some of the 20th century’s most important works on paper – amongst them Klimt’s sketches for his seminal Beethoven Frieze, and unflinching self-portraits by Schiele – which due to their delicacy will not see the light of day again for many years. In around 100 portraits, landscapes, nudes and erotic drawings, prepare to encounter these two icons of Modernism at their most raw and revealing. Exhibition organised by the Royal Academy of Arts, London and the Albertina Museum, Vienna.

Bruxelles
Affiches Belle Époque
Dates:9.5.2018-3.9.2018

Une collection inédite De 1885 à 1914, Bruxelles vit l’une des périodes les plus fastes de son histoire, que cela soit dans le domaine économique, social, politique, technologique, urbanistique mais surtout culturel. L’émergence de cercles artistiques et de l’Art nouveau confère à la capitale belge une place primordiale sur l’échiquier européen de la création. L’affiche illustrée, qui apparaît dans toute sa fantaisie à Paris dans les années 1870-1880, trouve à Bruxelles un engouement immédiat. Des artistes, célèbres ou méconnus, s’essaient avec bonheur à l’art de l’affiche, séduits par ce média éphémère, techniquement exigeant mais tellement exaltant car susceptible de colorer la ville et ses faubourgs. Porteuses de messages publicitaires, elles annoncent la société de consommation. Une multitude de produits y sont vantés, depuis le téléphone jusqu’au vélo, en passant par les voitures, les biscuits, le chocolat, le café, le tabac ou l’alcool, sans oublier les cirques et autres théâtres. Les artistes jettent leur dévolu sur l’image de la femme bourgeoise et libérée à la fois, qui apparaît comme le fer de lance de cette envie de luxe et de modernité. Rythmé par des expositions universelles, le temps est à l’émulation et à la surenchère, de la part des artistes mais aussi des imprimeurs bruxellois. Ceux-ci se familiarisent avec la technique de la lithographie en couleurs et n’ont rapidement, techniquement parlant, plus rien à envier à leurs homologues parisiens. Ernest De Try, un homme, une collection A la Belle Époque, l’engouement est immense pour les affiches, créant un phénomène d’ « affichomanie » et les amateurs, comme Ernest de Try, constituent de véritables collections. Ernest de Try naît à Bruxelles en 1881 et y décède en 1960. Dès 1906, il part pour l’Afrique, où il développe une multitude de projets comme investisseur, homme de confiance ou administrateur. Homme d’affaires, il est aussi un homme de presse, créant et dirigeant des journaux ou assurant les correspondances vers la presse européenne. Probablement ingénieur, il est parallèlement l’auteur de brevets d’invention et de perfectionnement dans le domaine de la construction en préfabriqué. 1929 sonne le glas de ses activités coloniales ; il se consacre surtout à la littérature et à la poésie, passion qui le tient depuis son jeune âge. Il cède en 1934 aux Archives de la Ville de Bruxelles plus de 300 affiches. Sans que l’on connaisse les motivations de l’homme à rassembler cette collection, celle-ci se caractérise par son exceptionnelle attention à la vie quotidienne et se focalise surtout sur Bruxelles. Son important fonds d’Archives est, par ailleurs, conservé aux Archives générales du Royaume. La collection de Try n’a jamais été montrée au public en tant que telle. Toutefois, pour des raisons de conservation, cette exposition présente surtout des fac-similés. Ceux-ci, non encadrés, évoquent l’extraordinaire foisonnement des affiches dans les rues d’alors. Une vingtaine d’originaux encadrés permettent cependant de jouir de la beauté et de la subtilité des encres lithographiques utilisées à l’époque. Une bande-son originale composée de morceaux de la Belle Époque accompagne le parcours de l’exposition. Celle-ci a été créée par Marc Danval. Pour les kids Couleurs, dessins, techniques, un parcours ludique est spécialement dédié aux enfants de 7 à 12 ans. Atelier Kitchen Litho 26 et 27 mai 2018 à 10h et 14h30 (durée 3h) Atelier grand public pour expérimenter la technique de la lithographie. Tarif : € 12 , réservation obligatoire : service.educatif@brucity.be Visites guidées de l’exposition € 75,00 (semaine) / € 90,00 (weekend) + € 6,00/ personne (entrée)

Villard-Bonnot
Alfons Mucha et les Bergès : une amitié
Dates:27.4.2018-16.9.2018

Comme de nombreux industriels à la fin du XIXe siècle, Aristide Bergès et sa famille entretiennent un lien privilégié avec l'art de leur époque. L'Art nouveau est ainsi à l'honneur dans la maison à travers les décors, les papiers peints qui couvrent les murs et, de façon inattendue, avec plusieurs œuvres d'Alfons Mucha, chef de file de ce mouvement artistique et ami des Bergès. On ne connaît pas les circonstances précises qui amènent la famille à rencontrer Alfons Mucha. Maurice Bergès, fils cadet d'Aristide et peintre à ses heures, est sans doute à l'origine de ce rapprochement. A travers le prisme de l'amitié, l'exposition offre un nouvel éclairage sur cet artiste. Sa relation avec les Bergès témoigne d'une époque où monde de l'industrie et des arts sont intimement liés. Outre des œuvres inédites issues des collections du musée, près d'une vingtaine d'affiches ayant fait la renommée internationale de ce maître de l'Art nouveau sont présentées, notamment grâce au prêt de la bibliothèque Forney à Paris. L'exposition « Alfons Mucha et les Bergès : une amitié » présentée au musée du 27 avril au 16 septembre 2018 (inclus) puise sa singularité dans cette histoire intimiste et insolite.

Miami
Art and Design in the Modern Age: selections from the Wolfsonian Collection
Dates:1.1.2007-31.8.2020

Art and Design in the Modern Age provides an intriguing overview of The Wolfsonian's exceptional holdings and showcases the museum's collection, which spans the period 1885 to 1945. The nearly 300 works on display provide insight into the ways design has influenced and adapted to the modern world. The installation explores the many focal points of The Wolfsonian's collection, including design-reform movements, architecture, urbanism, industrial design, transportation, world's fairs, advertising, political propaganda, and labor iconography.
Inaugurated in November 1996, this ongoing exhibition is periodically updated.

Delft
Art Nouveau | New Objectivity | Delft : Art, knowledge & industry
Dates:30.3.2018-26.8.2018

We call it the miracle of Delft. Between 1880 and 1940, thanks to an extraordinary synergy among art, knowledge and industry, Delft grew to be one of the most important centres of applied arts. Art Nouveau / New Objectivity / Delft tells this inspiring story with the help of posters, pottery and stained glass made in this period. Delft as pioneer The exhibition shows how Delft transformed itself from a small provincial city to one of the most important centres of Art Nouveau in the Netherlands. Industry, the Polytechnic School and artists living in Delft provided the foundation for this golden age. Their collaboration was a powerful stimulus to creative activity. The industrialist Jacques van Marken played a key role. He commissioned Jan Toorop’s world famous design for the Netherlands Oil Factory’s salad oil poster. It is one of the icons of the Dutch Art Nouveau. Leading artists like Bart van der Leck and Piet Zwart were also inspired by the artistic vitality. During these years, the creativity of companies like the earthenware factory De Porceleyne Fles, Glass Atelier ’t Prinsenhof and the Braat company reached a high point. At world exhibitions, they presented original, prize-winning designs, establishing Delft’s international reputation as a city of innovation. Visitors can discover even more special locations from the period 1880-1940 in Delft by foot, with the help of the brochure Highlights ArtNouveau | New Objectivity | Delft.< Activities - 2 April Decorating Easter eggs - 29 April Workshop botanical painting - 5 May Painting a liberation tile - 6 May Workshop making a birthday calendar - 13 May Mother’s Day: collaboration art - 27 May, 29 July, 26 August Workshop poster design - 3 June Design your own peanut butter label - 17 June Father’s Day: collaboration art - 24 June Workshop glass painting - 1 July Make your own beach bag - Sundays at 14.00 guided tours with varying themes /p>

Den Haag
Art Nouveau in the Netherlands
Dates:21.4.2018-28.10.2018

A new art for a new, improved society. That is what many artists and designers were seeking around 1900. After a century of styles that literally quoted the past, a new form language emerged, based on asymmetry, curved lines and organic decorative motifs. The Netherlands played its own unique role in this artistic quest. In this country, Art Nouveau fizzed with a desire to innovate and with idealism, but it was also a search for the authentic. In this interdisciplinary exhibition, the Gemeentemuseum will showcase fin de siècle decorative arts in a broad context, making the dynamics of the age (1884-1914) visible, tangible and recognisable in this age where authenticity and craftsmanship are once more highly prized. The art world’s urge to innovate around 1900 coincided with major changes in society. For the first time the urban population was growing faster than the rural population. New means of communication fostered internationalisation. The first cautious steps towards wider suffrage prompted the rise of equal rights movements. And industrialisation and growing prosperity made luxury and entertainment accessible to broader swathes of the population. In the art world, particularly among designers and decorative artists, these changes led to counterreactions, including a rediscovery of the value of nature, the countryside and the traditional. As in neighbouring countries, the new industrial society was held responsible for the ‘decline in art’ in the Netherlands, too. ‘We are children of the age of the steam engine, the telegraph and electricity. We have turned our backs on the beautiful, and that is why we no longer understand it,’ decorative artist Johannes Ros lamented. However, there were differences between the Netherlands and neighbouring Belgium and Germany. A new expressive form language that developed there was designed to appeal above all to an emerging zest for life in a world that was gathering momentum, whereas Art Nouveau in the Netherlands was a quest for the ‘truth’, the ‘genuine’, the original. The re-evaluation of tradition and skill, the reform of art education, appreciation of the perfection and pristine quality of nature, and fascination with exotic, ‘unspoilt’ cultures; here, the urge for innovation and idealism went hand in hand with a search for authenticity. Beauty as a basic necessity Many designers, decorative artists and art critics rejected the flamboyant form language of our neighbours. The ‘new art’, they believed, should be consistent with the national character, and the wild, swirling lines were not felt to be suited to the sober disposition of the Dutch. Strongly worded pleas, employing phrases such as the ‘neither-one-thing-nor-another voluptuousness’ of the Belgians, or the ‘dress-up art’ of the Germans, dismissed the decorative art of neighbouring countries as something that Dutch artists should take pains to avoid. Yet many designers and artists were not immune to international trends in design. Look closely, and you will see that those decorative swirls left their mark in the Netherlands, too, around the turn of the century, particularly in The Hague. And not only in architecture, but in the decorative arts too. No matter how fiercely decorative artists and art critics might criticise each other in a theoretical sense, in practice many tastes co-existed and elements from different movements were combined. As a result, Dutch Art Nouveau took on many forms. What all artists shared was the conviction that good design was vital for a better society: to them, beauty was a basic necessity. Interdisciplinary After the success of Art Deco – Paris, which explored the work of French couturier Paul Poiret in a broad context, the spotlight is now on the period prior to Art Deco. Art Nouveau in the Netherlands will focus on the period between 1884 and 1914, zooming in on developments in this country. Featuring more than 350 items, including posters and book covers by Jan Toorop, screens by Jacob van den Bosch, calendars by Anna Sipkema, delicate nature studies by Theo Nieuwenhuis, metalwork by Jan Eisenloeffel, furniture by Johan Thorn Prikker and complete interiors by Karel de Bazel and H.P. Berlage, the exhibition will present a lavish picture of the period. The approach will be interdisciplinary, exploring the movement on the basis of general themes like ‘Back to Nature’ and ‘Dreams of the Orient’. Besides emphasising the melding of different art forms, the exhibition will also look at individual designers, including a number of hitherto unknown artists (some of them female). It will also focus on specific motifs and details, on the influence of design education and the connection with The Hague, an important centre of Art Nouveau in the Netherlands.

Riga
Art Nouveau Walking Tour
Dates:28.6.2018-28.6.2018

It is known that Art Nouveau is visible on Alberta Street, but is it all that can be found in Riga? How to recognize the Art Nouveau buildings and what words to talk about what they saw? Answers to these and other questions are taken during a walk, during which the Art Museum RIGA BIRŽA curriculum curators will offer to become Art Nouveau experts in the urban environment! During the tour it is planned to take a look at the most significant Art Nouveau monuments of the Old Town, as well as to master the most characteristic features of this art direction and architectural elements. Initially, development, personality, national romance, myths, facts and discussions. All interested persons are invited from the age of 12. MEMBERSHIP FEES: for adults - 10,00 EUR for pupils, students, senior citizens - 5,00 EUR. APPLICATIONS AND ADDITIONAL INFORMATION: The number of seats is limited (20 participants). Requires advanced login. T: (+371) 67 226467 E: Baiba.Alle@lnmm.lv

Riga
Art Nouveau. Its Beginnings, Influences and Original Nature
Dates:4.5.2018-20.8.2018

Within the landscape of global art, Latvia has written an enduring story with its brilliant examples of Art Nouveau. By highlighting the Art Nouveau heritage, the Latvian National Museum of Art wants to show Riga’s special place in the European cultural palette at the end of the 19th century and at the beginning of the 20th century, at a time when Latvian national consciousness was forming. The rapid rise of the Baltics’ biggest metropolis, Riga at the turn of the century inspired the fantasies of architects, who developed the idea of Art Nouveau through the design of richly decorated façades, colourful interiors and overall aesthetic harmony. In addition to architecture, which is the most well-known part of the artistic heritage of this period, vivid examples of Art Nouveau are also found in applied arts, graphic art of books and magazines, and painting. It should be noted that the Art Nouveau epoch in Latvia was not just a moment before the birth of the state, but also the time when the formation of national professional art took place and the new style became one of the catalysts for the modernization of artistic expression. The exhibition is a meeting of various national schools, with the objective of allowing the viewer to identify their similarities, influences and differences. Although the Art Nouveau style of Riga is undeniably peculiar, its features are closely related to the processes in other countries. The exposition is also a story of the most notable manifestations of Art Nouveau in Europe, visualising these through painting, graphic art, sculpture and decorative applied arts. It traces the roots, beginnings and flourishing of this style, and offers a clearer understanding of the original nature of Art Nouveau in Latvia, which are exemplified in comparison with the oeuvre of the greatest Art Nouveau metropolises – Paris, London, Brussels and other most vibrant cities of Europe. In terms of time, all that separates us from the age of Art Nouveau is just over a century, and the volume of material available is enormous, as a result of which this exhibition is merely a tiny angle within a much greater whole. Highlighted therein, alongside Latvia’s contribution, are those countries and sources of inspiration that helped the style to evolve and develop in our region. It is the story of France and Japonism, Louis Majorelle’s, Hector Guimard’s and Émile Gallé’s refined forms of dishes and vessels, furniture and architectural details, Belgium and Congo style, floral motifs in the patterns of William Morris and Walter Crane in Great Britain, Faberge’s sophistication in Russia, as well as Art Nouveau period art in Germany, Austria, Czech Republic, Denmark, Sweden, Netherlands, and Switzerland. The works on show have retained their aesthetic merits in the modern world, delighting the demanding contemporary spectator with their elegant forms. Moreover, the exhibition is an attempt to clear the playing field of sentimentality, neo-romantic exaggerations and sensuality, returning instead to the primordial tale of the harmony, plasticity and synthesis combined with functionality. From harsh, simplistic games of geometric shapes and volumes, to supple plant motifs that break down any symmetry – all of this is Art Nouveau. For their great help in organising the exhibition and compiling the catalogue, as well as for their special assistance in selecting the works, the Latvian National Museum of Art and the Art Museum RIGA BOURSE would like to thank the Musée d’Orsay in Paris, the Victoria and Albert Museum in London, the Sainsbury Centre for Visual Arts in Norwich, the Royal Museums of Art and History in Brussels, Centre Pompidou – Musée national d’art moderne in Paris and the M. K. Čiurlionis National Art Museum in Kaunas, the National History Museum of Latvia, the Museum of the History of Riga and Navigation, the Museum of Literature and Music in Riga, Rainis and Aspazija’s Memorial Museum, the Riga Art Nouveau Centre, Viktor Astanin, the Belēvičs family, the Academic Library of the University of Latvia in Riga. Project implemented with the support of the Ministry of Culture of the Republic of Latvia and the French Institute in Latvia. The exhibition Art Nouveau. Its Beginnings, Influences and Original Nature is the Art Museum RIGA BOURSE dedication to Latvia’s Centenary.

Barcelona
Become an architect of Güell
Dates:15.7.2018-15.7.2018

Visit and workshop "Become an architect of Güell" : Families will work on the design process of the facades that follow the architect. Then they will try to explore their creativity and elaborate one by themselves

Wien
Beyond Klimt : New Horizons in Central Europe
Dates:23.3.2018-26.8.2018

Gustav Klimt is probably the artist most associated with Austrian art. His death in 1918 – the same year as the deaths of Egon Schiele, Koloman Moser, and Otto Wagner – is seen as the end of an era. However, their influence on the art world had waned even before this. Only peripherally affected by the political turmoil, a vibrant art scene developed in the countries of the Austro-Hungarian Empire with artists striving for change. The exhibition at the Lower Belvedere will guide you through this post-Klimt era. The interwar years are characterized by the wish for international connections that transcended new political and ideological boundaries. There was a vibrant exchange of ideas between artists resulting in constructivist, expressionist, and fantastical trends. Cosmopolitan networks emerged among the artists of the former Austro-Hungarian Empire while art magazines made an increasingly important contribution to disseminating these new ideas. The outbreak of the Second World War brought this internationalism to an abrupt end and the sense of a shared culture faded, once again, into the background. The exhibition seeks to reveal the parallels during this period and demonstrate continuity and change in the art of the Austro-Hungarian Empire and its successor nation states. Featuring works by around eighty artists including Josef Capek, Friedl Dicker-Brandeis, Albin Egger-Lienz, Gustav Klimt, Oskar Kokoschka, Koloman Moser, Antonin Prochaska, Egon Schiele, Lajos Tihanyi, and many more. Curator: Alexander Klee

Bruxelles / Brussel
Beyond Klimt new horizons in central Europe, 1914-1938
Dates:23.9.2018-20.1.2019

The end of WWI and the Austro-Hungarian Empire also meant the revival of major developments in the art world. Political and economic shifts led to artistic migrations, new ideas and perspectives and new artistic networks sprang up all over the place. Artists met up in arts centres and international associations and used magazines to communicate across political borders. They believed their artistic identity was more important than their nationality. This exhibition is your chance to take a look at the Central European territories in full transition through the eyes of Gustav Klimt, Josef Capek, Egon Schiele, Oskar Kokoschka, László Moholy-Nagy and 75 other artists.

Bruxelles
Bruxelles Patrimoines 006-007
Dates:1.1.2013-1.1.2999
La Direction des Monuments et Sites du Ministère de la Région Bruxelles-Capitale vient de publier un numéro spécial de la revue Bruxelles Patrimoines dédié aux journées du patrimoine 2013, sur le thème « Bruxelles, m’as-tu vu ? ».
Glasgow
Charles Rennie Mackintosh: Making the Glasgow Style
Dates:30.3.2018-14.8.2018

2018 is the 150th anniversary of the birth of celebrated Glasgow architect, designer and artist Charles Rennie Mackintosh (1868–1928). Glasgow Museums is delighted to celebrate this significant anniversary with a major new temporary exhibition at Kelvingrove Art Gallery and Museum. This exhibition will be one of the key events in the city-wide Mackintosh 2018 programme. The exhibition will span the lifetime of Charles Rennie Mackintosh (1868–1928) and taking a chronological and thematic narrative, placing Mackintosh at the core of the story, it will present his work in the context of Glasgow, his key predecessors, influences and contemporaries, particularly those working in the Glasgow Style. ‘The Glasgow Style’ is the popular term given to the design and decorative arts centred around the work by teachers, students and graduates of The Glasgow School of Art produced between about 1890 and 1920. At the core of this style is the work of The Four: Charles Rennie Mackintosh, his future wife Margaret Macdonald, her younger sister Frances Macdonald and Frances’s future husband, James Herbert McNair. Glasgow was the birthplace of the only Art Nouveau ‘movement’ in the UK and its style made ripples internationally. This exhibition will present the very best of Glasgow’s internationally important civic collections, drawing from both those of Glasgow Museums and The Mitchell Library and Archives. A number of these civic works have never previously been on public display, and the majority has not been shown in Glasgow for 30 or more years. The exhibition will also include important loans from private and public collections. About 250 objects will be on display across the full spectrum of media, including stained glass, ceramics, mosaic, metalwork, furniture, stencilling, embroidery, graphics, books, interiors and architecture. The act of making will be communicated across this breadth of media – both through the exhibition and the accompanying event programme – to truly engage and inspire audiences of all ages to visit the other Mackintosh-related buildings and collections in and around Glasgow, and to make and create.

Saint-Gildas-De-Rhuys
Conférence Les créateurs verriers dans l'Art Nouveau et leurs techniques
Dates:2.8.2018-2.8.2018

Gallé, Lalique, Daum, etc, ont réinventé le verre à la fin du XIXeme siècle en puisant leur inspiration dans la nature.Conférence,par Pascale Chauvel Conférencière des Musées Nationaux,peintre et Jean-Pierre Deguillemenot Plasticien verrier. Durée : 2h. Tarif : 5 €. Infos & réservations : 06 86 89 88 26 ou jp.deguillemenot@wanadoo.fr.

Metz
Couples modernes
Dates:28.4.2018-20.8.2018

Le Centre Pompidou-Metz présente, en collaboration avec le Barbican Centre de Londres, une grande exposition interdisciplinaire consacrée aux couples de créateurs, tels que Pablo Picasso et Dora Maar, Robert et Sonia Delaunay, Georgia O'Keeffe et Alfred Stieglitz, Charles et Ray Eames… L’exposition explore le processus créatif généré par les relations amoureuses, passionnées, complexes parfois subversives, qui unissent les artistes avant-gardistes de la première moitié du XXème siècle. Qu’ils soient officiels, clandestins, exclusifs ou libres, ces couples mythiques formés par des artistes tels que Jean Arp et Sophie Taeuber-Arp, Man Ray et Lee Miller, Eileen Gray et Jean Badovici, unissent non seulement les peintres, sculpteurs, photographes, architectes, designers, poètes, écrivains, mais aussi des musiciens, danseurs, performeurs et mécènes. Ils constituent à eux seuls des zones fertiles d’échanges, de confrontations et d’influences où fructifient les œuvres, les concepts et les mouvements. La vie intime et amoureuse des artistes, consubstantielle de la création, transparaît à travers les œuvres destinées à être vues et exposées. Au-delà de cette valeur sentimentale, l’exposition apporte un éclairage essentiel sur l'évolution des moeurs et de la pensée des protagonistes de la modernité et révèle des collaborations méconnues. Des personnalités demeurées dans l’ombre de leur partenaire sont également présentées, dont la dessinatrice Suzanne Malherber, dite Marcel Moore, compagne de la photographe et auteure Lucy Schwob, dite Claude Cahun, ou encore la pianiste Nelly von Moorsel, épouse du peintre, architecte et théoricien Théo van Doesburg. L’exposition réunit des chefs-d’œuvre, dont plus de cent cinquante proviennent du Centre Pompidou, Musée national d’art moderne, mais aussi de collections internationales prestigieuses. Elle explore la trajectoire artistique de ces binômes intimes pour offrir une relecture transversale de l’histoire de l’art. C’est la notion même de modernité qui est questionnée à travers le prisme de cette cellule organique, protéiforme, créatrice et parfois éphémère qu'a été le couple d'artistes. Organisée sous le commissariat d’Emma Lavigne, Jane Alison, Elia Biezunski et Cloé Pitiot. Chargée de recherche : Pauline Créteur

 

With the support of the Culture Programme of the European Union