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Art Nouveau: mostre in corso o di prossima apertura, visite e molto altro ancora…..

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Miami
Art and Design in the Modern Age: selections from the Wolfsonian Collection
Dates:01/01/2007-31/08/2020

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.

New York
New Galleries for 19th- and Early 20th-Century European Paintings and Sculpture, including the Henry J. Heinz II Galleries
Dates:08/12/2007-31/12/2020

The New Galleries for 19th- and Early 20th-Century European Paintings and Sculpture are reopening with renovated rooms and 8,000 square feet of additional gallery space—the Henry J. Heinz II Galleries—to showcase works from 1800 through the early twentieth century. The renovated galleries feature all of the Museum's most loved nineteenth-century paintings, which have been on permanent display in the past, as well as works by Bonnard, Vuillard, Soutine, Matisse, Picasso, and other early modern artists. Among the many additions are a full-room assembly of "The Wisteria Dining Room," a French art nouveau interior designed by Lucien Levy Dhurmer shortly before World War I that is the only complete example of its kind in the United States; Henry Lerolle's enormous The Organ Rehearsal (a church interior of 1885); a group of newly accessioned nineteenth-century landscape oil sketches; and a selection of rarely exhibited paintings by an international group of artists.

Helsinki
DECADES OF FINNISH ARCHITECTURE 1900–1970
Dates:27/03/2010-31/12/2020
The exhibition explores the history of building in the 20th century against a background of Finnish society, taking into account economic, political and technological developments. These factors have always influenced not only the volume of building but also the architectural shapes. Phenomena connected with construction are viewed from a broad perspective, and from larger to smaller; from urban planning to façade materials and interior decoration.
Copenhagen
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.
Winter Park, Florida
Secrets of Tiffany Glassmaking
Dates:04/09/2012-04/09/2020

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.

Bruxelles
Bruxelles Patrimoines 006-007
Dates:01/01/2013-01/01/2999
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 ? ».
Bruxelles
Métamorphoses Trois siècles de développement urbain à Schaerbeek
Dates:28/08/2014-31/08/2020
Exposition permanente dès le 28 aout – Galerie de l’Hôtel communal Le long mur au dessus de la salle des guichets va accueillir une exposition, conçue par l’Association pour l’étude du bâti, qui évoque comment Schaerbeek, petit village rural, est devenu la commune de 130.000 habitants que nous connaissons. En 1777 c’est la verte campagne, Schaerbeek compte 1138 habitants essentiellement autour de l’ancienne église St-Servais. On y cultive les légumes et la fameuse griotte. Vers 1850, la ville se déploie, le tracé royal se prolonge sur le territoire de Schaerbeek, on construit l’église Ste-Marie, la gare du Nord. Schaerbeek a désormais 11500 habitants. Dans la seconde moitié du XIXème Victor Besme et Octave Houssa sont les deux visionnaires du développement du grand Bruxelles pour le premier et de Schaerbeek pour le second. Schaerbeek, entre 1890 à 1914, passe de 50000 à 100000 habitants ! Pour cette nouvelle population, la commune s’équipe : un hôtel communal somptueux, des parcs, des écoles, des bâtiments publics et des équipements sportifs…. L’entre deux-guerres voit naitre le quartier Terdelt et celui des Fleurs. Les années 60-70 l’arrivée de la RTBF/VRT et la construction de la tour Brusilia…. Aujourd’hui la zone de la gare Josaphat et le site de la RTBF sont les nouveaux enjeux de la ville de demain. A côté de ces vastes projets, des aménagements locaux, au cœur des quartiers complètent le panorama d’une commune en changement. Une initiative de l’échevinat de l’urbanisme, du patrimoine et de la rénovation urbaine Avec le soutien du Collège des Bourgmestre et Echevins de la Commune de Schaerbeek Conception : L’Association pour l’Étude du Bâti - APEB Scénographie et graphisme : Juliette de Patoul Horaires d’ouverture de l’Hôtel communal Galerie du 1er étage – Accès libre
Baud
La femme dans l'Art Nouveau
Dates:01/01/2017-31/12/2017

Ce courant artistique né à la fin du 19e siècle, s'exprime dans tous les domaines des arts décoratifs. La "petite estampe", qu'est la carte postale, devient un lieu d'expression incontournable pour les grands illustrateurs tels Alfons Mucha ou Raphaël Kirchner.

Thème centrale, "la Femme" s'y décline à l'infini sensuelle et mystérieuse mais aussi moderne et moqueuse sous les traits de la parisienne dont la figure se construit à cette époque.

Schaerbeek- Bruxelles
Horta in America, 1916 - 1918
Dates:28/01/2017-01/10/2017

World War I spelled a fundamental break in Horta's life. He went to London in 1915 to attend a congress on the future reconstruction of Belgium. A journalist had revealed his presence, however, and it was impossible for him to return to Belgium. He decided to go to the United States. Upon arriving in New York, he was astonished by the skyscrapers. Symptomatically, he shaved off his beard the very next day, and would never sport one again, as if he had turned a page. For four years, he led the life of an itinerant lecturer in the United States: while Julia, his second wife, pleaded the cause of wounded Belgium, Horta spoke of the treasures of old art. This long stay would bewilder his conceptions. The discovery of American architecture completed his detachment from his first period. As he explained in his Memoirs: "My mind was loosened up. What I would have once opposed as being incompatible with the architect's profession, I have understood since and, from a certain angle, see it even as a desirable example." Horta accepted the principle of cooperation between architects and that of standardisation, convinced of the need to move towards an 'intelligent uniformity'. He felt that the cost of labour would become increasingly heavier, and that architectural forms had to take due account of that development.from Wednesday to Sunday from 12 noon to 6 pm (last admission at 5.30 pm).

Bruxelles
Réouverture du Pavillon des "Passions humaines"
Dates:25/03/2017-29/10/2017

Le pavillon Horta-Lambeaux situé dans le parc du Cinquantenaire à Bruxelles rouvrira ses portes au public le 25 mars prochain. Le monument abrite le célèbre relief en marbre blanc des "Passions humaines" que l'on doit au sculpteur Jef Lambeaux. L'édifice de style néo-classique date de 1889 et a été dessiné par le jeune Victor Horta. A l'intérieur se trouve le fameux relief des "Passions humaines" du sculpteur Jef Lambeaux, qui a bénéficié d'une restauration complète en 2015. Le pavillon sera accessible du 25 mars au 29 octobre 2017, chaque mercredi de 14h00 à 16h00 ainsi que les samedis et dimanches de 14h00 à 16h45. Le Brussels Art Nouveau & Art Deco Festival (BANAD) organisera des visites guidées en français, néerlandais et anglais le week-end de la réouverture.

Baud
La femme dans l'Art Nouveau
Dates:28/03/2017-30/12/2017

Ce courant artistique né à la fin du 19e siècle, s'exprime dans tous les domaines des arts décoratifs. La "petite estampe", qu'est la carte postale, devient un lieu d'expression incontournable pour les grands illustrateurs tels Alfons Mucha ou Raphaël Kirchner. Thème centrale, "la Femme" s'y décline à l'infini sensuelle et mystérieuse mais aussi moderne et moqueuse sous les traits de la parisienne dont la figure se construit à cette époque.

Wien
Otto Wagner Pavilion
Dates:01/04/2017-11/11/2017

Breathing fresh life into a jewel of art nouveau: a permanent exhibition documenting Otto Wagner is being presented in the Stadtbahn Pavilion on Karlsplatz. He was a trailblazer of modernism and one of Vienna's most influential architects: Otto Wagner. Yet there has never been a permanent exhibition documenting the life and work of this versatile architect. This gap is now filled by the Otto Wagner Pavilion, part of the Wien Museum and one of the most photographed tourist attractions in Vienna. This trade mark of Art Nouveau on Karlsplatz has been redesigned inside by the BWM architects' office and, from 26 August, will provide the authentic background for a close-packed Otto Wagner presentation. It documents the genesis of Wagner's most famous designs, including the Church in Steinhof, the K.K. Postsparkassenamt (Post Office Savings Bank), as well as the revolutionary Stadtbahn project (light urban railway) and the modern residential buildings. It will also reveal another perspective: Otto Wagner as a radical theorist and polemicist against traditionalism and the cliché of the "idyll".Besides numerous documents, the show includes two models and is not only a fascinating homage to the architect - it also invites the visitor to set off through the city of Vienna and explore his trail. The curators of the Otto Wagner Documentation are Renata Kassal-Mikula and Isabelle Exinger; Erwin Bauer is the graphic designer. Otto Wagner - Architect & Visionary Otto Wagner (1841-1918), architect, "artist of building", urban planning theorist and academy professor, was one of the great pioneers of the Viennese modern movement. He left the "Gründerzeit" (the period of industrial and cultural expansion in the late nineteenth century) and its mask-like historicism behind him to propagate a new form of architecture, more in keeping with the life and times of modern people. Wagner's designs combined technical and constructional functionality with high aesthetic criteria. Despite his many adversaries and disappointments, Otto Wagner was one of Vienna's most successful architects. His Post Office Savings Bank and the Church in Steinhof are key buildings of European architecture around 1900. As the general planner of the Vienna Stadtbahn (the light urban railway), he designed a Gesamtkunstwerk of constructional technology, a synthesis of the arts that added new accents to the cityscape. Wagner was also an incisive and polemic author. Although advanced in age, in his study "The Expanding City" he continued to develop radical ideas for a future mega-city, regulated and laid out according to practical requirements. The Otto Wagner Pavilion on Karlsplatz The Art Nouveau pavilion was erected in 1898 in the course of Stadtbahn construction. Otto Wagner planned two portal buildings of identical design. Today, the Wien Museum uses the west pavilion, where the trains once left for Hütteldorf. Wagner's design was revolutionary. The many decorative details make the station into a prime example of Viennese art nouveau. Metal and wood were painted apple-green, the signal colour of the Stadtbahn. Gold, and finest white marble were added on the exterior. The planning for the underground rail junction of Karlsplatz in the late sixties threatened the pavilion with demolition. Protests followed; the station building was dismantled and re-erected in 1977, but elevated 1.5 m above its old level on the square. Now at last the west pavilion is paying Otto Wagner the homage due to him - with the new Otto Wagner Documentation exhibition.

Ames
Challenging Taste: Art Nouveau in the Decorative Arts
Dates:03/05/2017-30/07/2017

The late 19th century was a period of uneasiness within the decorative arts as a lessening in quality and taste marked much of what was produced at this time. Many artists and designers began to look for a way to bring distinction and handcrafted quality back into the decorative arts. Art Nouveau was one of several artistic movements created in response to these issues, while also addressing a new sense of modernity that would bring diverse cultures into a new century. In this exhibition, both European and American versions of Art Nouveau are examined with a focus on the use of nature for inspiration and the artistic innovation of the style through the wonderful collection of glass, ceramics, and more held within the permanent collection of University Museums.

Tacoma
Art Deco Glass from the Huchthausen Collection
Dates:03/05/2017-15/09/2017

From October 8, 2016, to September 2017, Museum of Glass visitors will have the opportunity to explore Art Deco works in glass from the collection of artist David Huchthausen. Art Deco Glass from the Huchthausen Collection will include early 20th century glass by iconic Art Deco studios such as René Lalique, Daum Frères, Pierre d’Avesn, Charles Schneider, Muller Frères, Marius-Ernest Sabino, Steuben Glass Works, and many others. “We are honored to exhibit a selection of David Huchthausen’s fascinating Art Deco collection,” shares Museum of Glass Artistic Director, Susan Warner. “This is a rare opportunity for the Museum to share with visitors the on- going historic narrative that connects the Art Deco period of glassmaking to the contemporary Studio Glass movement.” Huchthausen’s interest in collecting began in his youth with items such as stamps, coins, and baseball cards. His studies and subsequent career as an artist later shaped his fascination with the Art Deco period, resulting in his growing glass collection. “I was studying architecture in college and was particularly interested in the effects of light transmission on the interior spaces of structures,” notes Huchthausen. “It provided a natural expansion of my interests into the world of antique glass.” Characterized by smooth lines, geometric shapes, and bright colors, the Art Deco glass movement began, in part, as a reaction against the elaborate and ornate style of Art Nouveau in the late 19th century. Economic austerity generated by World War I launched Art Deco into popularity, with artists, designers, and architects throughout the world adopting the style. Although Art Deco fell out of fashion following World War II, the style regained its popularity in the 1970s. Huchthausen began actively collecting pieces from the Art Deco period in the early 1970s, starting with powder boxes. In 1973, Huchthausen acquired his first major work of art, a piece from the Le Verre Francais line designed by Charles Schneider, leading to the purchase of 20 more significant Art Deco works in glass over the next four years. Huchthausen’s collection continued to grow during the 1980’s and accelerated following his move to Seattle in 1989. “After collecting for so many decades, it gives me great pleasure to share a significant part of my collection with the public. I sincerely hope it provides a better understanding and perspective into one of the most spectacular eras of international design,” says Huchthausen. Art Deco Glass from the Huchthausen Collection will include over 200 pieces from his personal collection, which is now composed of over 300 works of Art Deco glass, much of it by European designers. The exhibition will be accompanied by a fully illustrated catalogue with essays by esteemed German scholar Helmut Ricke and independent curator William Warmus.

Oslo
TOWARDS THE FOREST – KNAUSGÅRD ON MUNCH
Dates:06/05/2017-08/10/2017

Karl Ove Knausgård‘s aim with the exhibition is to emphasise key sides of Munch’s artistry without being bound by biography or chronology: “I want to exhibit unknown pictures on the premise that I believe it is possible for us to experience Munch as if viewing him for the first time as that he was: a painter who never found inner calm, and who never became stale.” The exhibition will include more than 100 paintings and 30 graphic works, many of which are being brought out of storage for the first time. Knausgård’s objective is to foster moods and tones that will be picked up by visitors as they move between the halls. The exhibition begins in the outer world in a room filled with light and sun with motifs of people in parks and gardens. In the next section, the people gradually disappear from the motifs. Knausgård explains: “The empty landscapes left behind are ambivalent spaces – the loneliness within the deserted landscapes meets the force and wildness of nature. For Munch, the forest was not only a place where something ended, but it was also a place where something began.”

With the support of the Culture Programme of the European Union

Responsible publisher: Arlette Verkruyssen, General Director,
Brussels Regional Public Service - Bruxelles Développement urbain (Brussels Urban Development),
CCN - Rue du Progrès 80, B. 1, 1035 Brussels - Belgium