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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.
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.
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.
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