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Winter Park, Florida
The Bride Elect—Gifts from the 1905 Wedding of Elizabeth Owens Morse
Dates:10/02/2015-10/02/2016

In 1905 Elizabeth Owens Morse, the daughter of Charles Hosmer Morse and Martha Owens Morse, married Richard Genius. The gift registry of this socially prominent Chicago bride—entitled “The Bride Elect”—survives in the Morse Museum’s archive, showing more than 250 gifts. Together these items provide a snapshot of the era, a glimpse into 1905 gift-giving traditions, and some insight into popular retail decisions made by wealthy consumers in the Chicago area. In this new exhibition, the Morse presents a representative group of the lovely gifts that survive from the Morse-Genius wedding, including Tiffany art glass, Rookwood pottery, and Gorham silver.

Winter Park, Florida
Selections from the Harry C. Sigman Collection of European and American Decorative Art
Dates:10/02/2015-10/02/2016

In this exhibit, the Museum debuts a selection from Harry C. Sigman’s 2014 gift of 86 objects to the Morse. Sigman, a Los Angeles attorney, began collecting European and American decorative art in 1969, and his gift dovetails with the late 19th- and early 20th-century styles represented in the Morse collection. The donation includes art glass, pottery, metalwork, and furniture. Though comprised mainly of Jeannette and Hugh McKean’s massive gift, the Morse collection has always been supported by generous individuals such as Harry Sigman whose contributions have helped it to grow in important ways. The finely crafted objects on view can be appreciated both individually and in the context of the Museum’s entire collection.

Venice
The Divine Marchesa - Art and life of Luisa Casati from the Belle Époque to the roaring twenties
Dates:3/10/2014-8/03/2015

Venice evokes the figure of the woman and the myth that fascinated d'Annunzio and his follies became the muse of the greatest artists of the time as Boldini, Bakst, by Marinetti in Balla, from Man Ray to Alberto Martini, Van Dongen Romain and Brooks.

Palazzo Fortuny in Venice, one of the "places" most loved by the Divine Marchesa, will be the site of the first extraordinary exhibition dedicated to Luisa Casati Stampa, the woman who in the early twentieth century, with the exaggerated makeup, the transgressive and eccentric performance and life over the top, he was able to transform itself into a work of art, a living legend, disturbing and surprising representation of modernity and avant-garde.

The exhibition, conceived by Daniela Ferretti, edited by Fabio Benzi and Gioia Mori, is co-produced by the Civic Museums Foundation of Venice and 24 ORE Cultura - Gruppo 24 Ore, has over one hundred works, including paintings, drawings, jewelry, sculptures, photographs and clothes from private collections and international museums.

The extraordinary collection of art works and portraits that were devoted to her or commissioned pieces will be on display in the exhibition come from private collections, such as the head of polychrome ceramic work of Renato Bertelli, The Marchesa Casati Romain and Brooks and sculpture by Paolo Troubetzkoy portrait of the Marchesa Casati with a greyhound. He subsequently joined by masterpieces from museums around the world such as Portrait of the Marchesa Casati by Giovanni Boldini GNAM of Rome, Marchesa Casati by Augustus Edwin John the Art Gallery of Ontario, the many portraits which he dedicated Alberto Martini, Lines of force landscape maiolicato of Giacomo Balla and jewelry by Cartier inspired her.

To note is the many photographs of Luisa Casati Stampa: from the shots of Gayne Adolphe de Meyer, Man Ray and Mariano Fortuny, to those stolen, when he lived in poverty in London, Cecil Beaton.

The exhibition, through constant references, reconstructs the social and artistic life of the crossed Luisa Casati Stampa: the gilded cage of high society encounter with Gabriele d'Annunzio - that forever changed and became a bond of love and friendship that lasted a lifetime - from the extravagant costumes, the practice of the occult period to arrive at the "futurist" Filippo Tommaso Marinetti in which he meets and marries the cause of the artistic movement, promoting artists and collecting their works , ending with economic ruin and exile in the British capital where he died in July 1957.

Three floors of Palazzo Fortuny "immerse" the visitor into the atmosphere in which he lived the Divine Marchesa that, for half a century, he was a living legend, a dark lady, a major art collector and patron, muse of the Symbolists, the Fauves, Futurists and surrealists: a myth that still inspires artists today and the great house of haute couture.

Berlin
Jugendstil
Dates:16/09/2014-16/09/2015

As of now, the Brohan Museum in a changing exhibition architecture, a new presentation of the rich holdings of the Art Nouveau period to see. Be shown, for example, works of the Paris World Fair in 1900, the Arts and Crafts movement, the Wiener Werkstätte, artists and companies such as Alfons Mucha, Alfred Grenander, Henry van de Velde, Johann Loetz., Peter Behrens and Bruno Paul. The exhibition features furniture, artwork, porcelain, glass, textiles and metal.

The Art Nouveau is represented in the new presentation as a social phenomenon. Whatever one may call the movement - whether Jugendstil, Art Nouveau, Secession style or Stile Liberty - it was more than just a style. Behind this was rather an attempt to develop a new, comprehensive all areas of life aesthetics. There creative answers were sought on contradictions, which were connected directly or indirectly with industrialization. Nature was not only a source of inspiration for a new ornamentation, but also a model for a better life model. Symbolism, dreamy and fairytale worlds shaped the motives and were often rather unpleasant reality of everyday life.

London
Courses: From Rococo to Art Nouveau: 1720-1900
Dates:25/09/2014-9/07/2015

YEAR COURSE: Gain a unique perspective on one of the most dynamic periods in the history of European art. Consider the relationship between the visual arts and the wider political and cultural context of the period and explore themes such as taste, patronage and the art market. This course encompasses Rococo, Romanticism, Impressionism and Art Nouveau. It not only covers the fine arts, such as painting and sculpture, but also design, architecture and popular visual culture.

The programme of lectures, together with close examination of important objects in the V&A’s collections, demonstrate the complex changes taking place in various branches of the visual arts over a 200-year period.

Course Director: Dr Kathy McLauchlan

Seminar Room Three

£1,750 per year, £1,400 concessions £730 per term, £550 concessions £60 per day, £45 concessions

Full year and term tickets are available via the bookings office +44 (0)20 7942 2211, 9.00-17.30, Monday - Friday (closed Bank Holidays)

One day tickets are available online and via the bookings office.

Maisons-Alfort
L’Avènement de la modernité, parcours dans le XVIème arrondissement de Paris
Dates:11/04/2015-11/04/2015

Une déambulation dans le quartier d’Auteuil, à Paris, nous fera découvrir les principales œuvres de l’architecte Hector Guimard. Nous croiserons également des réalisations de Robert Mallet-Stevens, d'Henri Sauvage, et finirons par l'une de réalisations majeures de Le Corbusier: la villa Laroche. Dans un écart de temps de construction relativement restreint, nous serons ainsi confrontés à des architectures très diverses, mais toutes riches et inventives.

Alesund
The Norwegian Japonism
Dates:26/09/2014-7/04/2015

“The movement that is now spreading from Japan across Europe”

This quote from the Norwegian artist Gerhard Munthe (1849–1929) refers to one of the main trends in European art from the mid-19th century through the early decades of the 20th century.

In 1853, Japan opened its borders to the outside world after 200 years of isolation. This lead to a cult of all things Japanese among European artists – a movement labelled as Japonism from the 1860s–70s onward. This Japanese-inspired art did not constitute a style as such, but greatly influenced a number of styles in European art. In the 1880s and 1890s, Japonism became a major ingredient of the Art Nouveau style. In Norway, Art Nouveau peaked in popularity in the years between 1890 and 1910.

This exhibition looks at the connections between the Art Nouveau style, the nation-building project in Norway, and the Japonism movement as expressed in Norwegian Art Nouveau. Starting with Gerhard Munthe, considered the leading proponent of Japonism in Norway, the exhibition highlights connections between Japonism and the distinct national character of Norwegian Art Nouveau in terms of technique, range of motifs, format, and choice of materials.

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