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

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Bruxelles
Jugendstilsenteret - Ørnulf Opdahl ”Winter solstice” guided tours
Dates:07/05/2017-29/10/2017

Every Sunday from 7 May to 29 October 2017 at 2 p.m., we offer a guided tour in English in one of our exhibitions. The tour is included in the entrance ticket. June 18 June: Jugendstilsenteret 25 June: Ørnulf Opdahl ”Winter solstice” July 2 July: Jugendstilsenteret 9 July: Ørnulf Opdahl ”Winter solstice” 16 July: Jugendstilsenteret 23 July: Ørnulf Opdahl ”Winter solstice” 30 July: Jugendstilsenteret August 6 August: Ørnulf Opdahl ”Winter solstice” 13 August: Jugendstilsenteret 20 August: Ørnulf Opdahl ”Winter solstice” 27 August: Jugendstilsenteret September 3 September: Ørnulf Opdahl ”Winter solstice” 10 September: Jugendstilsenteret 17 September: Ørnulf Opdahl ”Winter solstice” 24 September: Jugendstilsenteret

Bilbao
PARIS Fin-de-Siècle, Signac, Redon, Toulouse-Lautrec and their contemporaries
Dates:12/05/2017-17/09/2017

Featuring approximately 100 paintings, drawings, prints, and works on paper, the exhibition Paris, fin de siècle: Signac, Redon, Toulouse-Lautrec, and Their Contemporaries analyzes the Parisian art scene, focusing on the most important French avant-gardes of the late 19th century, particularly the Neo-Impressionist, Nabi, and Symbolist movements and their champions. The Parisian fin de siècle was a time of political upheaval and intense cultural transformation.

Mirroring the many facets of an anxious, unsettled era, this period saw the emergence of a broad spectrum of new artistic movements. Despite the diversity of styles, their subject matter remained largely that of their still-active Impressionist predecessors: landscapes, the modern city, and leisure-time activities, although introspective scenes and fantastical visions were now added to the repertoire.

Analyzing the activities of these avant-gardes, the exhibition explores some of the most prominent artists of that period in depth, such as Paul Signac, Maximilien Luce, Maurice Denis, Pierre Bonnard, Félix Vallotton, Odilon Redon, or Henri de Toulouse-Lautrec.

Le Cannet
BONNARD/VUILLARD La collection Zeïneb & Jean-Pierre Marcie-Rivière
Dates:13/05/2017-17/09/2017

« Si je vous écrivais chaque fois que je pense à vous, à notre passé, à la peinture, etc., vous auriez une bibliothèque à compulser. » Dernière lettre de Vuillard à Bonnard, 4 mai 1940 Pour célébrer les 150 ans de la naissance de Pierre Bonnard, le musée Bonnard rend hommage au peintre, en exposant un ensemble exceptionnel composé de chefs-d’oeuvre issus de la collection Zeïneb & Jean-Pierre Marcie-Rivière, philanthropes et grands collectionneurs d’art des XIXe et XXe siècles À partir du 13 mai, le musée Bonnard est fier d’accueillir la collection du musée d’Orsay à travers l’exposition Bonnard/Vuillard. La collection Zeïneb & Jean-Pierre Marcie-Rivière. Construite avec une admirable cohérence esthétique et scientifique pendant près de 40 ans par le couple Marcie-Rivière, cette élégante collection se compose de 25 tableaux et 94 dessins de Bonnard et de 24 tableaux, 3 pastels et 2 dessins de Vuillard. Elle témoigne de l’étroite complicité artistique des deux peintres durant leurs années nabies. Le parti-pris de Véronique Serrano, Conservateur en chef, est d’exposer l’intégralité des tableaux accrochés au musée d’Orsay, tout en présentant un fil narratif spécifique aux espaces du musée Bonnard. Bonnard, le « Nabi très japonard », est représenté au travers de 25 tableaux majeurs, fleurons de sa jeunesse parmi lesquels, le rare Joueur de Banjo (1895), le poétique Chevaux et filles au Bois, dit aussi La Place Clichy (vers 1894-1895) ou le radieux Nu accroupi au tub (1918) qui en est le chef-d’œuvre absolu. Quant à Vuillard, le « Nabi zouave », la magie opère avec notamment la série de tableaux intimistes comme La Soirée musicale (vers 1896-1899), Misia assise dans une bergère, dit Nonchaloir (1901), auxquels s’ajoutent la mystérieuse Jeune fille la main sur la poignée de la porte (1891), Le Bureau (1896) et le projet grandiose de décor d’un restaurant parisien, Intérieur de salon de thé, Le Grand Teddy (1917), longtemps resté inconnu du grand public. Les visiteurs du musée Bonnard découvrent ainsi un parcours construit sur-mesure qui révèle une cinquantaine de peintures et de pastels nabis à laquelle vient s’ajouter une vingtaine de dessins de Bonnard et plusieurs tableaux de la maturité des deux peintres. Ces œuvres, très peu connues du public, mettent en lumière les liens étroits rattachant les deux artistes. L’exposition est présentée sur les 3 niveaux du musée et s’articule autour des thèmes suivants : Bonnard/Vuillard, une complicité artistique (niveau 5) ; Présences féminines (niveau 4) ; Décors & paysages (niveau 3). LA RELATION BONNARD / VUILLARDBONNARD VUILLARD photo Bonnard et Vuillard partagent le goût et la curiosité du métier, les découvertes ou les tâtonnements, la liberté et l’indépendance, mais aussi les amis, les expositions ou la littérature. Leurs échanges épistolaires entre 1891 et 1940, témoignent de cette « amitié fraternelle ». Leur rencontre a lieu à l’École nationale supérieure des Beaux-arts de Paris. Puis, à l’instar de Denis, Ranson, Roussel, Ibels ou Piot, ils suivent les cours libres de l’Académie Julian. Tous sont passionnés de nouveautés, de littérature symboliste, de théâtre ou de musique wagnérienne. Ce temps d’émulation passé, demeurent l’amitié et la richesse des individus. Bonnard et Vuillard ne cesseront de se voir et d’échanger jusqu’à la mort de ce dernier en 1940 dont Bonnard restera inconsolable.

Corning
Tiffany's Glass mosaics
Dates:20/05/2017-07/01/2018

Louis C. Tiffany’s innovative artistry forged a bold new aesthetic for glass mosaics and contributed a uniquely American character to the centuries-old art form. Discover and explore these breathtaking artworks as never before.

Through exquisite new photography, high-definition gallery projections, and interactive activities, Tiffany’s glass mosaics — and the creative process behind them — can be fully appreciated for the first time.

From design to installation, we invite you to lose yourself in the immersive world of Tiffany’s Glass Mosaics.

Wien
Josef Hoffmann - Otto Wagner: On the use and effect of architecture
Dates:24/05/2017-29/10/2017

This year’s special exhibition JOSEF HOFFMANN—OTTO WAGNER. On the Use and Effect of Architecture in the Josef Hoffmann Museum in Brtnice is dedicated to the relationship of Josef Hoffmann (1870–1956) with his teacher Otto Wagner (1841–1918), the centenary of whose death is approaching in 2018. His training under Otto Wagner at the Specialschule für Architektur at the Academy of Fine Arts Vienna, their joint work in his studio and in the Secession, as well as Wagner’s facilitation of his appointment as professor at the Imperial Royal School of Arts and Crafts were decisive for Hoffmann’s career.

In his “Selbstbiographie,” Josef Hoffmann still writes enthusiastically about Wagner even in old age: “Now we finally had a strong personality amongst us, who, full of ideas, followed his own path and was able to inspire us with regard to everything new and necessary. His charming residence and studio in the Rennweg, with the two flanking residential buildings, especially impressed us, and we were enthusiastic students of our present teacher and master.” In 1909 he described his work: “Wagner forsakes the purely formalistic, meaning that he doesn’t view his structures as compositions of conventional forms, but instead primarily as attempts to explain or to crystallize the design and the purpose of the structure with the usual means of expression.” Josef Hoffmann’s design for the monument to Otto Wagner in Vienna can be considered as his last “homage” to his teacher.

It is a nine-meter high, simple stone pylon, a reduction of a victory column with a block of type at eye level. It was erected in 1930 on the occasion of the Werkbund congress near the palace gate in Vienna, but was removed during World War II. In 1959, Roland Rainer, then Rector of the Academy of Fine Arts, had the Otto Wagner monument erected once again near the Academy. The exhibition juxtaposes the work of Josef Hoffmann with that of his teacher Otto Wagner on the basis of designs and objects.

Curators: Rainald Franz, Curator, MAK Glass and Ceramics Collection Rostislav Koryčánek, Curator, Curator for Architecture and Design, Moravian Gallery, Brno

The exhibition is held under the patronage of the Embassy of the Czech Republic in Austria.

London
Hokusai beyond the Great Wave
Dates:25/05/2017-13/08/2017

Experience the beautiful and sublime work of one of Japan’s greatest artists. Katsushika Hokusai (1760–1849) is widely regarded as one of Japan’s most famous and influential artists. He produced works of astonishing quality right up until his death at the age of 90. This new exhibition will lead you on an artistic journey through the last 30 years of Hokusai’s life – a time when he produced some of his most memorable masterpieces.

Los Angeles
Polished to Perfection: Japanese Cloisonné from the Collection of Donald K. Gerber and Sueann E. Sherry
Dates:28/05/2017-04/02/2018

The 1830s marked the beginning of a renaissance in Japanese cloisonné production. Though small objects incorporating enamels were produced in Japan prior to the 19th century, a new generation of artisans developed techniques that enabled the creation of three-dimensional vessels, greater flexibility in surface design, and a number of different enameling styles. During the “golden age” of Japanese cloisonné production (approximately 1880–1910), intricate decorations, sophisticated use of color, expanding varieties of form, and flawless surface finishes became the hallmarks of Japanese cloisonné wares. Polished to Perfection presents approximately 150 works from the collection of Donald K. Gerber and Sueann E. Sherry. Built over the course of more than four decades, the collection contains works crafted by the most accomplished Japanese cloisonné masters of the time including Namikawa Yasuyuki (1845–1927), Namikawa Sōsuke (1847–1919), Hayashi Kodenji (1831–1915), and Kawade Shibatarō (1856–1921). The artists represented in this exhibition raised the art of cloisonné enamel to a level of unparalleled technical and artistic perfection.

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