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La Villa Majorelle
LA VILLA MAJORELLE Dossier enseignants usée de del’École Nancy, cliché Caron P. © Nancy, m Nancy Musées Département des Publics [email protected] 03 83 17 86 77 (du lundi au vendredi de 9h à 12h30) Enseignant référent Nathalie Vergès [email protected] Sommaire 03 Introduction 04 Le quartier 06 L’architecture de la villa 08 Les façades 11 Les entrées 13 Les céramiques 16 Propositions de mise en œuvre pédagogique 20 Activités à proposer aux élèves 2 Introduction D. D. Boyer usée de del’École Nancy, cliché © Nancy, m « Une villa moderne » Ce titre est celui de l’un des premiers articles 1 consacrés par la presse à la villa Majorelle en 1902. L’auteur y manifeste son admiration pour le caractère novateur de cette maison construite « par un artiste pour un artiste ». La villa Majorelle est élevée dans les années 1901-1902 , dans ce qui est encore la banlieue peu urbanisée de Nancy. Louis Majorelle décide de construire, au milieu d’un parc arboré, ses ateliers et sa villa. Il dénomme celle-ci Jika en l’honneur de son épouse Jeanne Kretz (initiales JK). Cette villa est le fruit d’une collaboration entre un architecte, Henri Sauvage , qui débute sa carrière, et un industriel d’art déjà reconnu, Louis Majorelle . Les deux hommes se connaissent car ils fréquentent les mêmes lieux parisiens, l’atelier du sculpteur Alexandre Charpentier en particulier. Ils y côtoient d’autres artistes, tels Hector Guimard et le peintre Francis Jourdain, qui participa à la décoration de la villa Majorelle. -
Art Nouveau Is Also Refered to As
Art Nouveau Is Also Refered To As Harlin disembarrass cringingly. Quintus remains antonymous after Quincy bastardised conjunctly or overran any Rheydt. Matchable and subsiding Renato fluctuates her flickertail wagon nutritiously or shingles perennially, is Warren tendencious? This allowed the artist to think refund of penalty box of easel paintings and sculpture and of branch out two different areas. What an an Eames Chair? Aside from curving lines and shapes inspired by natural forms, the entrepreneur of courtesy and wrought iron brings sculptural elements to Art Nouveau structures. In Austria, it became bishop as Sezessionstil, named after the Viennese Secession movement, instigated by artists at release time. The Art Nouveau movement took inspiration from struggle to produce innovative, modern designs. Delft some of beauty and associated with simplicity, email address below. What an allegorical figures, other directions to mention some art nouveau tour to art nouveau is also refered to as for convenience only spread to show their height by artspace is dotted with everything. Even mythical dolphins, also helps if art art nouveau is also refered to as one hundred years are sure you may cause inaccuracies to? Since Art Nouveau became popular in various countries in Europe, the movement gained different regional and darkness even local names. Gaudà is third important in Catalonia. Fun Side is History! You suddenly responsible because any User Content you reply to heavy site. Modern art deco interior design should be filled with designs featuring laurels of leaves, branches, feathers along stylized animal elements whether another bird sculpture or a Chinoiserie fish. Some melt the major materials used in this style include glass, aluminum, wrought iron, wood steel. -
Henry Van De Velde Year in Germany and Belgium: Part One
Jane Van Nimmen Henry van de Velde Year in Germany and Belgium: Part One Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Citation: Jane Van Nimmen, “Henry van de Velde Year in Germany and Belgium: Part One,” Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013), http://www.19thc- artworldwide.org/autumn13/van-nimmen-on-henry-van-de-velde-year-in-germany-and- belgium-part-one. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. Nimmen: Henry van de Velde Year in Germany and Belgium: Part One Nineteenth-Century Art Worldwide 12, no. 2 (Autumn 2013) Henry van de Velde Year in Germany and Belgium: Part One Honoring the 150th birthday of painter, architect, and designer Henry van de Velde, Google posted a celebratory doodle on April 3, 2013. It was not a global doodle like the glitzy Kiss commemorating Gustav Klimt, displayed around the world in 2012. The pastel tribute to van de Velde could be seen in only a handful of continental markets: Belgium, where he was born in 1863; France, where in 1884 the young painter studied for a few months in Paris with Carolus- Duran and where in 1895 he created three sensational rooms for Siegfried Bing’s new gallery L’Art Nouveau; Austria, where he showed furniture at the Eighth Vienna Secession exhibition in late 1900; Germany, where he lived with his wife and growing family from 1900 until 1917; the Netherlands, where he settled in the 1920s; and Switzerland, where he died in 1957. -
The Bigot Pavilion in the Collection of the Museum of Applied Arts Budapest
Arlene Peukert Hidden treasures rediscovered – Iparművészeti Múzeum, Budapest the Bigot Pavilion in the collection of the Museum of Applied Arts Budapest Hidden away for more than a century in the storage of the Museum of Applied Arts Budapest, the monumental ensemble of architectural ceramics known as the Bigot Pavilion can now be admired and studied for the first time since its glorious presentation at the Paris Exposition Universelle of 1900.1 The exhibition “The Bigot Pavilion – Art Nouveau Architectu- ral Ceramics from Paris” is on view from 26 April 2013 until 4 January 2015 (fig. 1). The architectural ceramic sample pieces of the pavilion were produced by the Alexandre Bigot & Company Factory. The pavilion was acquired by the director of the Museum of Fig. 1. View of the exhibition, The Bigot Pavilion – Art Nouveau Architec- Applied Arts Jenő Radisics (1856–1917) for 5.500 francs di- tural Ceramics from Paris; Museum of Applied Arts Budapest © Gel- lért Áment rectly after the World’s Fair in October 1900.2 In a letter to the Hungarian Minister of Religion and Education from the 25th of October 1900 Radisics wrote: “On the amount of credit at Alexandre Bigot (1862–1927) who was a trained phy- my disposal I have purchased 109 pieces for the museum. sics and chemistry instructor developed an interest in ceramics Special significance should be given to the monumental in- when seeing an exhibition of Chinese and Far Eastern porcela- stallation of Bigot, which was among the most well known in in Paris in 1889.4 Because of his knowledge in chemistry Bi- and most artistic ceramic work of art at the Paris Exhibition, got was able to experiment with different glazing techniques. -
Paris 1900 DE PRESSE MARS 2014 LA VILLE SPECTACLE
DOSSIER Paris 1900 DE PRESSE MARS 2014 LA VILLE SPECTACLE 2 avril - 17 août 2014 INFORMATIONS www.petitpalais.paris.fr Henri de Toulouse-Lautrec (1864 – 1901). Marcelle Lender dansant le boléro dans Chilpéric, 1895-1896. Huile sur toile ; 145 × 149 cm. Washington, National Gallery of Art, collection of Mr and Mrs John Hay Whitney © Bridgeman Giraudon Organisée avec les concours exceptionnels Avec le soutien de SOMMAIRE Communiqué de presse p. 3 Scénographie p. 5 Parcours de l’exposition p. 6 Œuvres commentées p. 9 Paris 1900 dans les collections permanentes p. 12 Le catalogue de l’exposition p. 14 Autour de l’exposition p. 15 Ateliers et visites p. 17 L’application Paris 1900 p. 18 Partenaires p. 19 Le Petit Palais p. 25 Informations Pratiques p. 26 Visite de presse Le mardi 1er avril 2014 de 9h30 à 13h Attachée de Presse Mathilde Beaujard [email protected] Tel : 01 53 43 40 14 Responsable Communication Anne Le Floch [email protected] Tel : 01 53 43 40 21 2 Paris 1900, la Ville spectacle - du 2 avril au 17 août 2014 COMMUNIQUÉ DE PRESSE L’exposition « Paris 1900, la Ville spectacle » invite le public à revivre les heures fastes de la capitale française au moment où elle accueille l’Exposition universelle qui inaugure en fanfare le 20e siècle. Plus que jamais la ville rayonne aux yeux du monde entier comme la cité du luxe et de l’art de vivre. Plus de 600 œuvres – peintures, objets d’art, costumes, affiches, photographies, films, meubles, bijoux, sculptures… - plongeront les visiteurs du Petit Palais dans le Paris de la Belle Epoque. -
AH 215 HISTORY of PARIS in ARCHITECTURE and ART IES Abroad Paris BIA
AH 215 HISTORY OF PARIS IN ARCHITECTURE AND ART IES Abroad Paris BIA DESCRIPTION: This class retraces the major steps in the evolution of the city of Paris through art and architecture from the medieval period to today. Particular attention is paid to the 19th century from the Second Empire and the major urban planning programs conducted by the Baron Haussmann, which gave the capital its current form and style to Paris at 1900. We will then focus on he modern innovations of the XXth century and end with an overview of the Grand Paris project for the XXIst century. Students will study questions related to urban planning, the new Parisian lifestyle, as well as the modernity and modernization of the city but also questions of style, which will be put into context and paralleled with the major artistic movements of the times such as impressionism. In order to illustrate these changes and the architectural history of Paris, beside major monuments and buildings, we will look at the works of famous painters such as Lebrun, Boucher, David, Ingres, Delacroix for the pre and post revolutionary era, and Edouard Manet who illustrated “Modern” Paris as with the monuments, the impressionists, post-impressionism and the XXth century avant- garde artistes. We will use historical novels, films and specific readings from Alistair Horne’s Seven Ages of Paris to complete our knowledge on the topic. CREDITS: 3 CONTACT HOURS: 45 hours LANGUAGE OF INSTRUCTION: English PREREQUISITES: Recommended for students with no previous knowledge of art history METHOD OF PRESENTATION: • Lecture • Field study REQUIRED WORK AND FORM OF ASSESSMENT: • Midterm: 30% • Participation and homework (oral presentations): 20% • 2 or 3 mini quiz on readings: 20% • Final exam: 30% Class attendance on study abroad is mandatory. -
Fine & Decorative Arts
FINE & DECORATIVE ARTS Friday 6th December Saturday 7th December 2019 KO-011 Listing.qxp_Layout 1 18/11/2019 16:06 Page 1 FINE AND DECORATIVE ARTS To be held at: Davies House, Davies Road, Evesham, Worcestershire WR11 1YZ FRIDAY 6TH DECEMBER SATURDAY 7TH DECEMBER Viewing Wednesday 4th December - 10.00am to 5.00pm Thursday 5th December - 10.00am to 7.00pm Friday 6th December - 8.30am to 10.00am Day of the Sale The auction is scheduled to start at 10.00am. Bids will only be accepted from registered bidders. Please ensure you obtain a paddle number on arrival. You will need to be registered before the sale. Live internet bidding is available on www.the-saleroom.com, www.invaluable.com, and www.easyliveauction.com together with fully illustrated catalogue. Catalogue £10.00 (£12.00 by post) Kingham & Orme Auctioneers Ltd (Collection Address) Davies House, Davies Road, Evesham, Worcestershire, WR11 1YZ NB. Please telephone to arrange collection. Telephone: 01386 244224 Mobile: 07973 207096 / 07976 919836 Email: [email protected] Website: www.kinghamandorme.com KO-011 Listing.qxp_Layout 1 18/11/2019 16:06 Page 2 2 MAP AND DIRECTIONS Our auction site is based in the market town of Evesham just north of the Cotswolds. By Car We are centrally located in reach of motorways the M5, M4, M40, M42, a short way from the A44 By Rail Evesham’s train station is less than two miles from the auction site By Plane The nearest International Airports are Birmingham, 45 miles and Heathrow, 90 miles DELIVERY SERVICES FOR BUYERS For Furniture: Stephen Morris Shipping PLC, 9 Ockham Drive Greenford, London, UB6 0FD Tel: 02088 322222 For Paintings: Aardvark Art Services Ltd Telephone: 01253 794673 Email: [email protected] For Small Items: Mailboxes, Cheltenham Branch Tel: 01242 530130 Email: [email protected] We also offer an in-house packing service for small items. -
Henry Van De Velde La Carrière Mouvementée D'un Artiste Européen
Henry van de Velde la carrière mouvementée d’un artiste européen 1 Henry van de Velde la carrière mouvementée d’un artiste européen auteurs Werner Adriaenssens, conservateur Arts Décoratifs 20è siècle Brigitte Fossion, collaboratrice au Service éducatif et culturel Karl Marcelis, collaborateur à l’Educatieve en culturele dienst Karen Vanhercke, collaboratrice à l’Educatieve en culturele dienst traduction en néerlandais Ria Cooreman et Kristien de Henau traduction en français Dominique Coupé et Anne-Françoise Martin relecture et adaptation Anne-Françoise Martin (version française) Anna Van Waeg (version néerlandaise) responsable des expositions temporaires Karin Theunis coordination version française Anne-Françoise Martin coordination version néerlandaise Anna Van Waeg graphisme et mise en page Kenneth Mottar dépot légal 2013/0550/4 ©MRAH, Bruxelles, 2013 Toute reproduction, même partielle, de cet ouvrage, 2 par quelque procédé que ce soit, est strictement interdite. avant-propos L’exposition Henry van de Velde. Passion. Fonction. Beauté. va interpeller la jeune génération non seulement par la personnalité de l’architecte dont la carrière mouvementée peut servir d’inspiration aux artistes encore aujourd’hui mais aussi parce qu’elle met en lumière cette époque troublée dans laquelle il vit. Imaginez un artiste qui, avant même l’unification de l’Europe, a travaillé dans cinq pays différents, a beaucoup voyagé malgré deux guerres mondiales et a mené une passionnante carrière personnelle, de peintre d’abord et ensuite d’architecte et de designer. Chaque artiste s’inscrit dans son époque et donc l’exposition détaille le travail d’Henry van de Velde mais elle parle aussi de son entourage à commencer par sa formidable épouse, Maria Sèthe, les amis qui l’ont inspiré, ses camarades d’étude et ses collègues, ses critiques et les commanditaires avec lesquels il a collaboré et enfin ses partisans ou adversaires politiques. -
Paris 1902-1904 House at 25Bis, Rue Franklin
12 Paris 1902-1904 House at 25bis, rue Franklin by Auguste Perret pioneer of the reinforced concrete construction (1874-1954) History of Contemporary Architecture AA 2016/2017 Prof. Michela Rosso 12/biblio references CURTIS: 73-79 FRAMPTON: 105-108 House for apartments 25bis, rue Franklin _ Paris Auguste Perret Impresa Latron & Vincent 1902-1904 The HENNEBIQUE PATENT SYSTEM Invented and commercialized by François Hennebique (1842-1921) House for apartments designed by architect/ engineer Daniele Donghi built by the company G. A. Porcheddu via Tiziano / via Nizza Torino – 1905 LINGOTTO FIAT FACTORY, designed for FIAT by Giacomo Mattè Trucco with the engineers of the SERVIZIO COSTRUZIONI FIAT, Giovanni Cartesegna & Vittorio Bonadè Bottino, built by the company of Giuseppe Antonio PORCHEDDU, first agent of the HENNEBIQUE patent in the North of Italy, TURIN 1916/1929 Cover of the journal “Le Béton Armé” founded in Paris in 1898, owned, directed, written, and published by François Hennebique A small plot: 185 sqm The court is reversed on the front The classical plan Notice the SUBDIVISION & DISTRIBUTION of FUNCTIONS in the interior by means of CIRCULATION PUBLIC and PRIVATE AREAS in the PLAN Ornamentation and coating of the non-structural part Alexandre BIGOT The two different coatings used to SYMBOLIZE the different parts of the building: STRUCTURAL and NON-STRUCTURAL The staircase lit through FALCONNIER glasses Falconnier glasses Staircase at Castel Béranger designed by Hector Guimard Anatole de Baudot Church of Saint Jean de Montmartre, PARIS 1894/1904 The French tradition of STRUCTURAL RATIONALISM De Baudot had been a pupil of Viollet le duc and Henry Labrouste Church of Saint Jean de Montmartre 1894/1904 enamelled ceramic tiles designed by Alexandre Bigot and used to decorate and emphasize the structural concrete frame . -
Art Nouveau Nancy Art Nouveau Or the Ecole De Nancy Background
COLLECTION PATRIMOINE NANCY ART NOUVEAU ART NOUVEAU OR THE ECOLE DE NANCY BACKGROUND Art Nouveau a single object to background buildings or first appeared at industrial series), was where an private villas, as the end of the and the desire for unprecedented well as works of 19th century in modernisation artistic centre art and furniture several European by relying on emerged. in the city cities and ended innovative museums, all bear with World War I. techniques and In 1901, Émile Gallé witness even Unlike other art materials, offering gave a status to today to this rich movements where greater freedom the movement and free artistic painting holds a in the shapes. by creating period. dominant place, the Alliance This proliferation Art Nouveau is In Nancy, a Provinciale des contributed to characterised transition Industries d’Art making Nancy NANCY by its use in occurred after and named it the a capital of Art decorative arts the Annexation École de Nancy. Nouveau in ART NOUVEAU and architecture. of Alsace and Several artists Europe. Also referred to the Moselle. were part of it: as “Modernisme”, The population Gallé, as well as In the middle of “Jugendstil”, of Nancy grew Louis Majorelle, the 19th century, “Liberty” and from 50,000 in Antonin Daum, after 200 years “Secession” in 1870 to 120,000 Victor Prouvé, of isolation, different cities, in 1914. Among Jacques Gruber, Japan opened its the movement the new arrivals Eugène Vallin, borders to the covered various were artists, and many others outside world. forms. However, industrialists, too. They worked The discovery of what all these investors and their talents on new aesthetics variants had in skilled labour. -
Outfitting Paris: Fashion, Space, and the Body in Nineteenth-Century French Literature
Outfitting Paris: Fashion, Space, and the Body in Nineteenth-Century French Literature and Culture by Kasia Stempniak Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Deborah Jenson, Supervisor ___________________________ David Bell ___________________________ Anne-Gaëlle Saliot ___________________________ Jessica Tanner Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2019 ABSTRACT Outfitting Paris: Fashion, Space, and the Body in Nineteenth-Century French Literature and Culture by Kasia Stempniak Department of Romance Studies Duke University Date:_______________________ Approved: ___________________________ Deborah Jenson, Supervisor ___________________________ David Bell ___________________________ Anne-Gaëlle Saliot ___________________________ Jessica Tanner An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies in the Graduate School of Duke University 2019 Copyright by Kasia Stempniak 2019 Abstract This dissertation argues that the literary and cultural history of nineteenth- century Paris must be re-envisaged in the context of fashion as a spatial and embodied practice. While existing scholarship has focused on the role of fashion in emerging consumer culture, I focus instead on how clothing mediated bodily and urban knowledge. With the rise of department stores, the fashion press, and textile innovations in mid-nineteenth-century France, fashion became synonymous with the modern urban experience. Concomitantly with the emergence of the modern fashion system, the city of Paris was itself refashioned through vast urbanization projects. This metropolitan redesign created new points of intersection between the dressed body and the city. -
S. Bing and LC Tiffany
Martin Eidelberg S. Bing and L.C. Tiffany: Entrepreneurs of Style Nineteenth-Century Art Worldwide 4, no. 2 (Summer 2005) Citation: Martin Eidelberg, “S. Bing and L.C. Tiffany: Entrepreneurs of Style,” Nineteenth- Century Art Worldwide 4, no. 2 (Summer 2005), http://www.19thc-artworldwide.org/ summer05/215-s-bing-and-lc-tiffany-entrepreneurs-of-style. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2005 Nineteenth-Century Art Worldwide Eidelberg: S. Bing and L.C. Tiffany: Entrepreneurs of Style Nineteenth-Century Art Worldwide 4, no. 2 (Summer 2005) S. Bing and L.C. Tiffany: Entrepreneurs of Style by Martin Eidelberg The figures of Siegfried Bing and Louis C. Tiffany loom large in the history of decorative arts at the turn of the century.[1] Men of great taste, they used their wealth and status to further their very particular conceptions of artistic beauty. Acting as impresarios to promote their artistic visions through commercial empires, they dealt in that precious and most fickle of commodities: objets d'art. The importance of their alliance has long been recognized, but it has been considered in only the broadest of terms. Although there is no trace of their letters or other communications, and there are no pertinent business records from either firm, still, their relationship can be charted more closely than has been realized. As will be seen, they entered into an agreement well before Bing officially opened his L'Art Nouveau gallery, and that during a period of approximately six years, Bing was extremely effective in promoting Tiffany's favrile glass and lamps throughout Europe, more so than Tiffany was able to do at home.