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Ongoing and upcoming Art Nouveau exhibitions, visits and more...

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Paris
Exposition numérique immersive : Gustav Klimt
Dates:11/04/2018-13/11/2018

Pour son ouverture, l'Atelier des Lumières présente un parcours immersif autour des représentants majeurs de la scène artistique viennoise, dont Gustav Klimt fait figure de proue. À l’occasion du centenaire de sa disparition, ainsi que celle d’Egon Schiele, leurs oeuvres s’animent en musique sur l’espace de projection XXL de l’ancienne fonderie. Dans la Vienne impériale de la fin du XIXe siècle, Gustav Klimt figure parmi les grands peintres décoratifs des somptueux monuments de la Ringstrasse. À l’aube du siècle nouveau, il s’impose à la tête de la Sécession viennoise, un courant qui aspire à régénérer l’art en profondeur. Célébré autant que contesté, Klimt ouvre la voie vers la peinture moderne. L’or et les motifs décoratifs, caractéristiques de ses oeuvres, resteront un symbole de cette révolution artistique. L’exposition immersive présente ainsi les oeuvres qui ont fait la singularité et le succès de Klimt : sa période dorée, ses portraits et ses paysages. L’exposition immersive présente également des oeuvres de grands artistes viennois comme Egon Schiele et Friedensreich Hundertwasser, influencés par le travail de Klimt. Poussé par l’effervescence artistique caractéristique de la fin du XIXe siècle, Schiele s’inscrit dans une nouvelle forme de représentation du paysage et du corps humain. Quant à Hundertwasser, dont nous célébrerions les 90 ans en 2018, il insuffle à ses constructions architecturales autant qu’à ses peintures une dimension toute symbolique. Produite par Culturespaces et réalisée par Gianfranco Iannuzzi, Renato Gatto et Massimiliano Siccardi, avec la collaboration musicale de Luca Longobardi, cette programmation artistique inaugurale invite les visiteurs à un voyage au coeur des oeuvres colorées et lumineuses de Gustav Klimt, de ses contemporains et de ceux qu’il a inspirés. Traversant 100 ans de peinture viennoise, l’exposition immersive propose un regard original sur Klimt et ses successeurs à travers la mise en scène des portraits, paysages, nus, couleurs et dorures qui ont révolutionné la peinture viennoise dès la fin du XIXe siècle et pendant le siècle suivant. Commissariat : Beatrice Avanzi. Nommée directrice de la programmation culturelle des expositions de Culturespaces en 2017, Beatrice Avanzi est notamment en charge du Musée Jacquemart-André, du Musée Maillol et de l’Hôtel de Caumont - Centre d’Art. En tant que conservatrice du département des peintures du musée d’Orsay depuis 2012, elle avait assuré le commissariat d’expositions majeures telles que Le Douanier Rousseau - L’innocence archaïque ou Au-delà des étoiles. Le paysage mystique de Monet à Kandinsky.

Barcelona
Mordernisme and Flowers. From nature to architecture
Dates:12/04/2018-22/09/2018

Between the late nineteenth and early twentieth centuries, nature was the main inspiration book of Modernism. They inspired architects, painters, decorators, workshops and artistic industries. With this exhibition, it shows how the flora, in particular, became one of the repertoires par excellence of modernist architecture, which came to establish a true dialogue with the world of plants through the decorative arts. We invite you to know the process of capturing nature and its transformation into applied art for construction. The exhibition also wants to highlight the wealth of modernism most unknown with examples of the city of Barcelona and nearby municipalities. The exhibition is organized into four areas: -The nature, the source of inspiration -The broker, the creation of the construction arts -The architecture, the urban garden -The city, the lost nature

Schaerbeek- Bruxelles
Horta motifs
Dates:18/04/2018-27/01/2019

Fabric and wallpaper in Brussels houses Art Nouveau was a very significant period for the creation of wallpaper and fabrics. Inside Art Nouveau buildings, both Victor Horta and his contemporaries gave meaning to the concept of total art and revolutionised the applied arts, abolishing the hierarchy between different forms of plastic art. Original motifs, complex craftwork... the exhibition restores this fragile heritage to its rightful place in the history of forms.

Genève
Hodler // Parallélisme
Dates:20/04/2018-19/08/2018

Le Kunstmuseum Bern et les Musées d’art et d’histoire de Genève – situés dans les villes de naissance et de décès de l’artiste – ont décidé d’unir leurs collections et leurs forces pour proposer, avec l’appui d’autres institutions suisses et de nombreux prêteurs privés, une exposition d’environ 100 tableaux, qui permettra d’embrasser la carrière de Hodler, d’établir les liens qu’il nouait entre ses tableaux et de décrypter ses ambitions picturales. L’exposition s’appuie sur les postulats d’une conférence de l’artiste donnée à Fribourg en 1897 sous le nom de La mission de l’artiste, qui exposait les grands principes esthétiques de son travail. Il y définissait la notion de parallélisme, dégagée de ses études de la nature et des hommes. Dans cette appréhension de l’univers, Hodler a développé la théorie de son œuvre. L’exposition montre les correspondances qu’il établit à l’intérieur de son œuvre, mais aussi entre les tableaux eux-mêmes: parallélisme des compositions, mais également des sentiments qui se répondent d’une toile à une autre.

Den Haag
Art Nouveau in the Netherlands
Dates:21/04/2018-28/10/2018

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.

Prague
Gustav Klimt, Egon Schiele and the Viennese modernism in the collections of the National Gallery in Prague
Dates:24/04/2018-15/07/2018

he year 2018 will mark the 100th anniversary of death of two major artists of the turn of the 19th and 20th centuries – Gustav Klimt (July 14, 1862 – Feb. 6, 1918) and Egon Schiele (June 12, 1890 – Oct. 31, 1918). The collections of the National Gallery in Prague house the key works by the two artists – the paintings The Virgin and Water Castle by Klimt and the Pregnant Woman and Death, Still Life with Flowers, Dead City and drawings Seated Nude and Seated Woman with Bent Knees by Schiele. The new display in the permanent exhibition on the fourth floor of the Veletržní Palace will show Klimt’s influence on Schiele and a history of acquisitions of individual artworks, but it will also put them in a context of the work by their well-known and half-forgotten contemporaries and followers on the Viennese art scene, such as Josef Hoffmann (1870–1956), Emil Orlik (1870–1932), Alfred Kubin (1877–1959), Carl Otto Czeschka (1878–1960), Richard Teschner (1879–1948), Oskar Kokoschka (1886–1980) and Max Oppenheimer (1885– 1954). Curators: Otto M. Urban, Zuzana Novotná, Olga Uhrová and Petr Šámal

Tokyo
The Glass that Gallé Adored — Glass from the Qing Imperial Collection
Dates:25/04/2018-01/07/2018

The origins of glass production in China lie deep in the past, in the late Spring and Autumn period and the Warring States period (500 BCE to 300 BCE). The glass created then was usually crafted into bi (a disc with a hole in the center) or sword ornaments, both for ritual use, or glass beads and rings worn as ornaments. That early glass served as a substitute for gemstones, including jade. It was not, however, until the Qing dynasty, many centuries later, that glass production made dramatic advances in China. In 1696, the fourth Qing emperor, Kangxi (reigned 1661–1722), established a glass workshop, the Imperial Palace Glassworks, within the Forbidden City to make glass for the emperor. His successor, Yongzheng (reigned 1722–35), continued to support the workshop, which achieved its peak period, with a rich variety of works, during the reign of the sixth emperor, Qianlong (reigned 1735–96). Transparency and fragility are usually thought of as giving glass its magnetism, but Qing tastes in glass, especially in its golden age, were quite different. Qing glass, occupying a range between transparent and opaque, was massive, magnificently carved and polished, and quite superb. Its exceptional beauty captivated Emile Gallé (1846–1904), the leading artist of France’s Art Nouveau period. Gallé did more than admire: he incorporated the beauty of Qing glass in his own creative work. This exhibition attempts to introduce, through distinguished collections of glass, the beauty of Qing imperial glass and to compare it with Gallé’s work. The exhibits include a group of works brought to Japan from the Victoria and Albert Museum in Britain.

With the support of the Culture Programme of the European Union

Responsible publisher: Bety Waknine, General Director,
Bruxelles Urbanisme & Patrimoine,
CCN - Rue du Progrès 80, B. 1, 1035 Brussels - Belgium