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William Morris and the Arts & Crafts movement in Great Britain

The Arts and Crafts movement, linked to design and decorative arts, was born in Great Britain around 1880 and it was developed until the First World War. It spread rapidly throughout America and Europe until reaching Japan. Its maximum ideologist was the artist and writer William Morris (1834-1896) and took its name from the Arts and Crafts Exhibition Society, founded in London in 1887. It was a movement born from ideals, the concern for the effects of industrialisation in design, in know-how and in everyday life. It advocated a reactivation of traditional arts and crafts, a return to a simpler way of life and an improvement in the design of ordinary domestic objects. The exhibition would be the first by Morris and the Arts & Crafts to be held in Spain and will present the masterpieces from this artistic movement. It will come to Barcelona after its exhibition in Madrid, from October 6 2017 to January 21 2018, at the Fundación Juan March.

Wagner, Hoffmann, Loos and Viennese Modernist Furniture Design. Artists, Patrons, Producers

Viennese Modernism around 1900 was a veritable experimental laboratory of design whose creative impulses continue to have substantial influence to this day. Vienna’s artist-architects were among those who paved the way for modern design. The Hofmobiliendepot – Vienna Imperial Furniture Collection presents the leading architects of the Viennese Modernist movement – Otto Wagner (1841–1918), Josef Hoffmann (1870–1956) and Adolf Loos (1870–1933) – as designers of interiors and furniture, exploring their differing approaches to the conception, use, decoration and furnishing of interior spaces. Around the turn of the century in Vienna a creative collaboration had developed between architects, their patrons and furniture producers. The exhibition will thus foreground important examples of these patrons, for example the salonière and journalist Berta Zuckerkandl, and will also focus on the firms that made this furniture. Among the leading companies around 1900 were traditional furnishing establishments such as Friedrich Otto Schmidt and Portois & Fix as well as producers of bentwood furniture like Gebrüder Thonet and J. & J. Kohn. Illustrative examples of iconic Modernist buildings in Vienna such as Otto Wagner’s Postal Savings Bank are integrated into the exhibition in the form of large-scale architectural photographs by Walter Zednicek.

VIENNA 1900 : Klimt – Moser – Gerstl – Kokoschka

The Leopold Museum is home to the largest and most eminent collection of works by Egon Schiele as well as to an equally unparalleled compilation of masterpieces from Viennese art around 1900. Celebrating the anniversary year on the theme of Viennese Modernism, the museum will present select works by the main exponents of Viennese Jugendstil Gustav Klimt (1862–1918) and Koloman Moser (1868–1918) as well as by the ground-breaking Expressionists Richard Gerstl (1883–1908) and Oskar Kokoschka (1868–1980) from 18th January in a completely new juxtaposition. The exhibition will feature chief works by Gustav Klimt, including Death and Life (1911/15) and the 1900 lakescape On Lake Attersee, as well as Kolo Moser’s paintings, such as Venus in the Grotto (1914). The presentation will also showcase outstanding examples of design around 1900, including furniture, artisan craftwork and posters, created by the “artist of a thousand talents” and co-founder of the Wiener Werkstätte. Following successful exhibitions at the Schirn Kunsthalle in Frankfurt and the Neue Galerie in New York, the radical works by the proto-Expressionist Richard Gerstl will be shown once again at the Leopold Museum, which is home to the most comprehensive Gerstl collection. Among the works presented by Gerstl will be two icons of Viennese Modernism, his two large-scale self-portraits. Oskar Kokoschka, the enfant terrible of the Viennese art scene of the early 20th century, will also be in the spotlight of this presentation with extraordinary paintings, first and foremost his pioneering work Self-Portrait, One Hand Touching the Face from 1918/19, which is both an expression of the artist’s self-questioning and doubts as well as a symbol for Austrian art embarking on a new era.

Victor Horta and Brussels

This exhibition, organised by the Directorate of Monuments and Sites in the Brussels Capital Region, provides an overall introduction to the work of architect Victor Horta with a presentation of his major works built in Brussels. It invites visitors to discover the secrets behind the creative work of one of Art Nouveau's greatest artists, a movement which revolutionised European spatial and architectural concepts at the dawn of the 20th century. A series of photographs, documents and plans highlight the value of this extraordinary legacy.

Van Gogh & Japan

Van Gogh created his own image of Japan by studying and reading about Japanese art, collecting and copying prints, and discussing their aesthetic qualities with other artists. His encounter with Japanese prints helped him to give his work a new direction. The exhibition will demonstrate, step by step, how Van Gogh bent the Japanese example to his will. In this way he defined himself as a modern artist and positioned himself opposite such artists as Emile Bernard and Paul Gauguin. The size, nature and importance of Van Gogh’s own collection of Japanese prints will be explored in detail, as will the role played by his prints in the renewal of his own idiom.

Unbuilt Mackintosh

Unbuilt Mackintosh showcases stunning architectural models based on the unbuilt designs of Scottish architect, designer and artist Charles Rennie Mackintosh (1868-1928). Demonstrating Mackintosh’s architectural vision, the models have been crafted by current Scottish model makers, with their precise dimensions meticulously drawn from Mackintosh’s drawings and documentation.

Truth and Beauty: The Pre-Raphaelites and the Old Masters

In 1848—a year of political revolution across Europe—seven young Englishmen formed an artistic alliance aspiring to rebel against the contemporary Victorian art world. The Pre-Raphaelite Brotherhood, including William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, defied idealized figures popularized by Raphael and other High Renaissance artists to reflect the simplicity, spirituality, and beauty they found in late medieval and early Renaissance art. Truth and Beauty: The Pre-Raphaelites and the Old Masters is the first major exhibition to juxtapose examples by the Pre-Raphaelite Brotherhood with works that inspired its members, including Italian old masters Fra Angelico and Pietro Perugino and their northern contemporaries Jan van Eyck and Hans Memling. It reveals how the Brotherhood’s aesthetic evolved over time to embrace artistic influences from the High and late Renaissance, such as Botticelli, Raphael, Titian and Veronese. It also offers a rich multimedia opportunity to examine the artists’ attraction to stained glass, domestic decorations, and sixteenth-century textiles.

Martigny- Suisse
Toulouse-Lautrec A la Belle Epoque – French Cancans – Une collection privée

La Fondation Pierre Gianadda a le privilège de pouvoir exposer pour la première fois en Europe, une collection privée européenne exceptionnelle qui compte en particulier plus d'une centaine d'affiches et d'estampes choisies parmi les feuilles les plus spectaculaires d'Henri de Toulouse-Lautrec (1864-1901). Faut-il le souligner, le jeune Lautrec livra en moins de quinze ans une production considérable où se distingue en particulier son art graphique : il mourut en 1901 deux mois avant son trente-septième anniversaire – ayant donc vécu moins longtemps qu'un autre météore de l'art de son temps, son aîné et camarade, Vincent Van Gogh. Prolixe et sans façons, ce fils de haut lignage, à l'ascendance aristocratique bordelaise ancienne, s'imposa en une dizaine d'années (1890-1900) comme un travailleur hors pair, un graveur, lithographe et affichiste parisien à l’œil et à la griffe bien acérés – sans aucun doute le plus franc-tireur de « La Belle Epoque » fin de siècle – libéré de son apprentissage dans les ateliers de Bonnat puis de Cormon. N'oublions pas pour autant son accomplissement magistral comme peintre indépendant, hors de tout mouvement esthétique grégaire, affranchi des impressionnistes comme des nabis. Ce personnage au handicap physique lourd – sa légendaire petite taille contrefaite d'origine consanguine et les souffrances physiques et mentales qu'il en subit le marquèrent cruellement – sut toutefois développer avec tact et alacrité, un appétit de vivre glouton et un sens de l'amitié canaille hors du commun. Une preuve éclatante parmi d'autres : l'affiche de lancement de La Revue Blanche fondée par les frères Natanson où l'élégante Misia en costume de patineuse, un long manteau bleu moucheté de rouge, derrière une mantille qui voile sa capeline, les mains dans un manchon de fourrure, semble s'élancer en pleine rue vers quelques beaux esprits sortis de son salon littéraire parisien. Mais le visiteur pourra surtout revivre à travers ces œuvres d’art cet âge d’or de la vie nocturne montmartroise, la bohème bruyante et gaillarde, enivrée par les chansons grivoises et les chahuts polissons des cabarets réservés, Le Mirliton, Le Jardin de Paris, Au Moulin de la Galette – les beuglants, Le Chat noir – les cafés-concerts Le Moulin rouge, Le Divan japonais ou Les Folies Bergère – mais aussi les théâtres parisiens (Les Ambassadeurs où se produit Aristide Bruant) ou du cirque (La clownesse Cha-U-Kao). Par la déclinaison savante de ses hauts placards en couleurs, les images en clair-obscur renvoyaient a giorno les têtes d'affiche les plus crânes de l'époque, La Goulue et son mentor Valentin le Désossé, Yvette Guilbert, Jane Avril avant les divas du théâtre Marcelle Lender, May Belfort ou Sarah Bernhardt… Mais Lautrec est aussi, grâce à Bonnard, l'admirateur des cycles Simpson et le lecteur des romans populaires signés Victor Joze (Reine de joie, mœurs du demi-monde). Cet accrochage pluriel centré autour de l'univers très inspiré des estampes que Lautrec a su porter à son acmé, eut été naturellement incomplet si l'on avait gardé sous le manteau les épreuves audacieuses du recueil Elles. Dans cette suite de onze lithographies en couleurs, Lautrec traduit avec tendresse et humanité, l'intimité sans phrases qu'il partageait avec les filles de joie complices de leurs marchandes d'amour dans les maisons closes si chères à son cœur et plus encore à son corps… « tes yeux sont comme un reflet d'étoile dans une ornière » leur chuchotait alors son ami et contemporain Jules Renard… Henri de Toulouse-Lautrec, l'homme qui aimait les femmes, rongé d'éthylisme et de syphilis, vint s'éteindre en 1901 dans le château familial de Malromé en Gironde. Ayant accompli une œuvre sans égale, il fut le plus rabelaisien comme le plus lucide des peintres de la modernité libérée de la Belle Epoque… En complément de ce florilège exceptionnel, un ensemble très choisi de peintures et de feuilles originales de ses contemporains et amis dont le collectionneur a patiemment retrouvé des exemples magistraux – dont un chef d’œuvre redécouvert de Louis Anquetin, L'Intérieur de chez Bruant – Le Mirliton, toile de 1886 – mais aussi des œuvres de Pierre Bonnard, Théophile Alexandre Steinlen, Félix Vallotton, Jacques Villon et… Picasso (suite complète des "Saltimbanques") resituent bien le propos dans un Paris de la 3e République, très marqué par le verbe de Zola et l'Affaire Dreyfus, entre modernisme fin de siècle et actualité de la vie quotidienne. Daniel Marchesseau, Commissaire général de l'exposition

The furniture design of Viennese Modernism

Wagner, Hoffmann, Loos and the furniture design of Viennese Modernism Viennese Modernism Around 1900 was a true laboratory for design in furniture design, whose creative impulses radiate to this day. The artist architects of Vienna were among the pioneers of modern design. The Hofmobiliendepot - Möbel Museum Wien introduces the leading architects of Viennese Modernism - Otto Wagner (1841-1918), Josef Hoffmann (1870-1956) and Adolf Loos (1870-1933) - as interior designers and furniture designers and sheds light on their different positions on living and set up.

The decorative plant of the Palau Güell

The Palau Güell is the palace of the details, especially floral, that was very characteristic during Modernism and that contains much Symbolism. This conference will help us to know and interpret the Palau's decoration in more depth.

Stairway to Klimt - Eye to Eye with Klimt

To mark the centenary of the death of Gustav Klimt (1862-1918) we invite museum visitors to take a closer look at his unique paintings displayed twelve metres above ground where they form an integral part of the sumptuous décor of the Main Staircase. As in 2012, we will again erect a huge bridge weighing four tons across the Main Staircase to allow visitors to access this magnificent pictorial cycle. The paintings, commissioned by Emperor Franz Joseph and executed by Gustav Klimt, his brother Ernst and their friend, Franz Matsch, depict important periods of art history. Nuda Veritas on show in the Collection of Greek and Roman Antiquities Concurrently with the Klimt Bridge, the Kunsthistorisches Museum is showcasing one of Gustav Klimt’s masterpieces: his celebrated Nuda Veritas (1899). The painting comes from the estate of the critic Hermann Bahr, a dedicated friend and defender in print of the Vienna Secessionists. With its first-ever visit to the Collection of Greek and Roman Antiquities – where it is displayed in the gallery housing Polykleitos’ Doryphoros – the painting creates a novel and fascinating space of aesthetic experience.

Sortie culturelle à Nancy

Proposée par la MJC de Saint-Avold. Visite guidée de la Villa Majorelle par groupe maxi de 20 personnes. Déjeuner à la brasserie Excelsior à partir de 12h45. Visite de la ville sur le thème de l’art nouveau à partir de 14h30 suivie de la visite guidée du musée de l’École de Nancy. Retour vers 19h. En 1898, Louis Majorelle confie à l'architecte Henri Sauvage (1873-1932) l'élaboration des plans de sa maison personnelle à Nancy. La Villa Majorelle -ou Villa Jika, d'après les initiales de l'épouse de Louis Majorelle, Jeanne Kretz est construite en 1901-1902 et occupe une place toute particulière dans l'histoire de l'architecture nancéienne. Première maison entièrement Art nouveau de Nancy, elle est conçue pour l'un des principaux artistes de l'Ecole de Nancy, Louis Majorelle, et résulte d'une parfaite collaboration entre artistes parisiens et nancéiens de renom. Ouverte au public depuis 1997.

Winter Park, Florida
Secrets of Tiffany Glassmaking

Louis Comfort Tiffany (1848–1933) began his work in glass with the same tools and ingredients that had been used by artisans for thousands of years before him. Tiffany took the science of glassmaking, however, and elevated it to an art form of new brilliance and beauty. Under his watch, teams of talented designers and craftspeople translated Tiffany’s all-encompassing vision into some of the most memorable glass creations of our time. Tiffany’s studio system was not a simple enterprise; he needed specialized employees—a hierarchy of artists and artisans—to accomplish his goals. This exhibition, updated and reinstalled on September 4, 2012, addresses the processes that Tiffany’s many companies used to produce everything from glass mosaics and molded buttons to leaded-glass lamps and windows.

Pin Ups | Toulouse-Lautrec and the Art of Celebrity

Pin-ups: Toulouse-Lautrec and the Art of Celebrity will be the first exhibition held at the National Galleries of Scotland devoted to the art of Henri de Toulouse-Lautrec (1864-1901). Paris in the fin-de-siècle was known as the 'city of pleasure’; famed for its cabarets, dance halls and cafés. Most famous of all were the nightspots of the bohemian district of Montmartre, where Toulouse-Lautrec lived, worked and socialized, including the now legendary café-cabarets Le Moulin Rouge and Le Chat Noir. Pin-ups: Toulouse Lautrec and the Art of Celebrity will focus on Toulouse-Lautrec’s lithographic posters, portfolio prints and illustrations which made stars of Montmartre’s venues and their entertainers - personalities such as Yvette Guilbert, Jane Avril and Aristide Bruant. Toulouse-Lautrec’s career coincided with a revolutionary moment in the history of western printmaking - the development of the poster as a means of mass-marketing – and lithography and poster-making were central to his creative process from his first experiments in the medium in 1891 until his death in 1901.

Patrons : people of a country - IX Cycle of Conferences

The patronage is part of the genetics of Catalonia. The patrons of this country have been promoters of Catalan culture, as it has been Eusebi Güell. In this cycle, the humanist aspect of figures like Pere d'Urgell, Rafael Patxot, Francesc Cambó and Joan Baptista Cendrós will be deepened. coordinated by the journalist Francesc Canosa. 7/5 «Pere d'Urgell, promoter of the arts in Gothic Catalonia». Alberto Velasco, curator of the Museum of Lleida. 14/5 «Rafel Patxot, the great of patron of the XIXth century Catalonia. Quim Torra, lawyer and editor. 28/5 «Francesc Cambó, a patronage policy» .Joan Safont Plumed, writer and journalist. 4/6 «J.B. Cendrós, the unknown patron of Floïd »Genís Sinca, writer.


With the support of the Culture Programme of the European Union