Branching out the Studiowith Three Styles of Trees in Art ART HIST RY KIDS
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Heritage Days 15 & 16 Sept
HERITAGE DAYS 15 & 16 SEPT. 2018 HERITAGE IS US! The book market! Halles Saint-Géry will be the venue for a book market organised by the Department of Monuments and Sites of Brussels-Capital Region. On 15 and 16 September, from 10h00 to 19h00, you’ll be able to stock up your library and take advantage of some special “Heritage Days” promotions on many titles! Info Featured pictograms DISCOVER Organisation of Heritage Days in Brussels-Capital Region: Regional Public Service of Brussels/Brussels Urbanism and Heritage Opening hours and dates Department of Monuments and Sites a THE HERITAGE OF BRUSSELS CCN – Rue du Progrès/Vooruitgangsstraat 80 – 1035 Brussels c Place of activity Telephone helpline open on 15 and 16 September from 10h00 to 17h00: Launched in 2011, Bruxelles Patrimoines or starting point 02/204.17.69 – Fax: 02/204.15.22 – www.heritagedays.brussels [email protected] – #jdpomd – Bruxelles Patrimoines – Erfgoed Brussel magazine is aimed at all heritage fans, M Metro lines and stops The times given for buildings are opening and closing times. The organisers whether or not from Brussels, and reserve the right to close doors earlier in case of large crowds in order to finish at the planned time. Specific measures may be taken by those in charge of the sites. T Trams endeavours to showcase the various Smoking is prohibited during tours and the managers of certain sites may also prohibit the taking of photographs. To facilitate entry, you are asked to not B Busses aspects of the monuments and sites in bring rucksacks or large bags. -
Symmetry Josef Hoffmann Vases from 1922–1923 in Art Deco Style
CLASSIC SYMMETRY JOSEF HOFFMANN VASES FROM 1922–1923 IN ART DECO STYLE We present a design by Josef Hoffmann from the turn of the year 1923, exceptional in its architectural rendition, proportions, and manual cut. This timeless piece commemorates the 150th anniversary of the renowned designer and architect, whose creations mark the high points of glass design of the 20th century. This edition is limited to a symbolic 150 pieces. SYMMETRY OF CUT, DESIGN AND PURITY OF CRYSTAL The 40-centimetre tall hand-cut vase is the embodiment of Moser DNA, with perfection in the overall cut and precision in the individual cuts. It may not be obvious at first glance, but this piece features one of the most complex designs that our glassmakers have ever created. Josef Hoffmann AUTHOR Austrian architect and designer Josef Hoffmann (1870–1956) was one of the founders of Viennese Art Nouveau. One of his most famous architectural achievements is the Stoclet Palace in Brussels, widely regarded as a ground- breaking example of modern architecture. In 1903, he co-founded the Wiener Werkstätte – a Viennese avant-garde art association. He also employed his creativity in household glassware, creating mainstay collections for the Wiener Werkstätte and the Viennese company Lobmeyr. At the time, the supplier and implementer of Hoffmann's unique designs for both of these organisations was none other than Moser glassworks. Hoffmann’s original vases are displayed in the Glass Museum in Passau, Germany. TECHNOLOGY AHEAD OF ITS TIME Realization at the glassworks demands absolute precision and focus from the glassmakers, not only during the blowing of the basic shape, but also when the individual parts are joined together while hot (still on the blowpipe). -
Das Palais Stoclet in Brüssel Vom Garten Aus Betrachtet
Das Palais Stoclet in Brüssel vom Garten aus betrachtet Anette Freytag Als Josef Hoffmann (1870 – 1956) ein Jahr vor seinem Zaubergartens zu speisen.2 (s. Abb. 4) Das Zusammen- Tod den Stellenwert des zwischen 1905 und 1911 in spiel von Klimts Fries, Hoffmanns Architektur und Brüssel realisierten Palais Stoclet in seiner eigenen dem Mobiliar der Wiener Werkstätte haben diesen Karriere resümierte, erinnerte er daran, wie sehr die Speisesaal zu einem der berühmtesten Interieurs des europäischen Künstler um 1900 darauf drängten, eine 20. Jahrhunderts gemacht.3 Programmatisch verdeut- zeitgemäße künstlerische Gestaltung auf allen Gebie- licht er das Ziel der sich ab 1905 von der Wiener Seces- ten des geisti gen Lebens zu entfalten: „In allen Ländern sion absondernden Klimt-Gruppe, alle Bereiche des Europas wurde damals nach neuen Formen und Lösun- menschlichen Lebens mit Kunst zu durchdringen.4 Im gen eifrigst Umschau gehalten. […] Auf diesem müh- Palais Stoclet ist dieses Programm allgegenwärtig. Das samen Weg war der Bau des Palais Stoclet eine dan- Ensemble aus Haus, Interieur und Garten gilt als das kenswerte, besondere Möglichkeit der Entwicklung. Es Hauptwerk von Josef Hoffmann und der Wiener Werk- war die Absicht, dieses Haus nicht mehr nach den alten stätte, und es ist ihr einziges Werk, das bis heute in fast Methoden und Stilversuchen zu verwirklichen, son- allen Teilen so erhalten ist, wie es 1911 den Bauherren dern dem Leben und vor allem einem gesunden Leben übergeben wurde.5 mit all seinen neuen Bedürfnissen und geistigen und Der Financier Adolphe Stoclet (1871 – 1949) und materiellen Wünschen zu dienen.“1 Der Garten des Pa- seine kunstsinnige Frau Suzanne (1874 – 1949) hatten lais spielte bei der Verwirklichung dieses Gedankens Josef Hoffmann 1903 in Wien kennengelernt. -
Abstract Styles in the Vienna Workshop: a Formalist Analysis of Josef Hoffman's
Abstract Styles in the : Vienna Workshop A Formalist Analysis of Josef Hoffman’s Two Designs Asli Arpak Massachusetts Institute of Technology, Cambridge, MA, USA [email protected] Abstract A shape grammar formalism is elaborated for the Vienna Workshop (Wiener Werkstaette) designer Josef Hoffmann’s two designs. Early instances of abstract expressionism are traced in Hoffman’s works by investigating stylistic d parallels through shape rules an computations. The analysis of Hoffmann’s two works are carried out in parallel to Terry Knight’s analysis of De Stijl artists Georges Vantongerloo and Fritz Glarner paintings with the normal form grammars. Keywords: Josef Hoffmann; Wiener Werkstaette; shape grammars; style. abstraction; . Introduction In the end of the nineteenth century, many significant Kabaret Fledermaus and ectural the Archit philosophical and artistic movements flourished in Europe that Detailing of Ceramics were fuelled by newly developing universal ideals, changing Kabaret Fledermaus (the Fledermaus Cabaret) was a theatre that political scenes, and ant const scientific and industrial opened in 1907 in the lively Vienna city and it was envisioned to advancements. Subsequent to the French Art Nouveau, be a meeting point for the Vienna avant-‐garde and the impressionism, and the English Arts and Crafts Movement, a large 197 intelligentsia. The cabaret could ee house thr hundred guests and group of Austrian artists and designers started the Vienna its aim was to restore the cabaret culture with an artistic twist. In Workshop (Wiener Werkstaette) in 1903 nerian with the Wag ideal addition to restaging classical plays with new décor and costumes, Gesamtkunstwerk (total artwork). the Vienna Workshop artists were also producing novel Various great Austrian architects, artists, and designers were performances. -
Brussels 1 Brussels
Brussels 1 Brussels Brussels • Bruxelles • Brussel — Region of Belgium — • Brussels-Capital Region • Région de Bruxelles-Capitale • Brussels Hoofdstedelijk Gewest A collage with several views of Brussels, Top: View of the Northern Quarter business district, 2nd left: Floral carpet event in the Grand Place, 2nd right: Brussels City Hall and Mont des Arts area, 3rd: Cinquantenaire Park, 4th left: Manneken Pis, 4th middle: St. Michael and St. Gudula Cathedral, 4th right: Congress Column, Bottom: Royal Palace of Brussels Flag Emblem [1] [2][3] Nickname(s): Capital of Europe Comic city Brussels 2 Location of Brussels(red) – in the European Union(brown & light brown) – in Belgium(brown) Coordinates: 50°51′0″N 4°21′0″E Country Belgium Settled c. 580 Founded 979 Region 18 June 1989 Municipalities Government • Minister-President Charles Picqué (2004–) • Governor Jean Clément (acting) (2010–) • Parl. President Eric Tomas Area • Region 161.38 km2 (62.2 sq mi) Elevation 13 m (43 ft) [4] Population (1 January 2011) • Region 1,119,088 • Density 7,025/km2 (16,857/sq mi) • Metro 1,830,000 Time zone CET (UTC+1) • Summer (DST) CEST (UTC+2) ISO 3166 BE-BRU [5] Website www.brussels.irisnet.be Brussels (French: Bruxelles, [bʁysɛl] ( listen); Dutch: Brussel, Dutch pronunciation: [ˈbrʏsəɫ] ( listen)), officially the Brussels Region or Brussels-Capital Region[6][7] (French: Région de Bruxelles-Capitale, [ʁe'ʒjɔ̃ də bʁy'sɛlkapi'tal] ( listen), Dutch: Brussels Hoofdstedelijk Gewest, Dutch pronunciation: [ˈbrʏsəɫs ɦoːft'steːdələk xəʋɛst] ( listen)), is the capital -
Vienna Secession
Vienna Secession Shauna Coy IDT 3020 – Johnson WSU Spring 2013 Vienna Secession The Vienna Secession was founded on 3 April 1897 by artists Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich, and Max Kurzweil. Architecture - rectangular and cubic forms that dominate the composition, monumental mass, sparing use or ornament, and an emphasis on function, light, and air. Architects often strive to transform Vienna’s existing classical architecture with Hoffmann and Gustav Klimt, simplicity, functionality, and modern materials Palais Stoclet Dining Room, 1905-11 These creations are highly individual and innovative. Two of the secessionist's most famous projects are its own exhibition space, the Secessionist Building and the Palais Stoclet, a sophisticated private house for millionaire banker and art collector Adolphe Stoclet in Brussels, Belgium. Projects include offices, railway stations, museums, shop galleries, churches, large apartment complexes and tenant houses. Private houses for affluent patrons are important examples of the style. Motifs - Squares and checker patterns in black and white or in solid and void rendition like dots, repetitive geometric designs, medallions, circles, carved floral ornament, sunflowers, Exterior of the philodendrons, roses, and laurel trees or leaves Palais Stoclet Otto Koloman Wagner (13 July 1841 – 11 April 1918) was an Austrian architect and urban planner, known for his lasting impact on the appearance of his home town Vienna, to which he contributed many landmarks. In 1894, when he became Professor of Architecture at the Academy of Fine Arts Vienna, he was well advanced on his path toward a more radical opposition to the prevailing currents of historicist architecture. In 1896 he published a textbook entitled Modern Architecture in which he expressed his ideas about the role of the architect; it was based on the text of his 1894 inaugural lecture to the Academy. -
Diplomarbeit
Diplomarbeit Titel der Diplomarbeit Die künstlerischen Beziehungen zwischen der Wiener Secession und Brüssel um 1900: Fernand Khnopff in Wien und sein Einfluss auf Gustav Klimt Verfasserin Johanna Seidelmann angestrebter akademischer Grad Magistra der Philosophie (Mag. Phil.) Wien, April 2011 Studienkennzahl lt. Studienblatt: A 315 Studienrichtung lt. Studienblatt: Kunstgeschichte Betreuer: Dr. Werner Kitlitschka INHALTSVERZEICHNIS 1. Einleitung .............................................................................................................. 3 2. Der Symbolismus und seine Rezeption in Brüssel und Wien .......................... 6 3. Fernand Khnopff ................................................................................................... 9 3. 1. Biografischer Überblick ............................................................................................... 9 3. 2. Künstlerische Entwicklung und Stilmittel .................................................................. 13 4. Fernand Khnopff in Wien ....................................................................................17 4. 1. Teilnahme an Ausstellungen der Secession ............................................................... 17 4. 1. 1. Erste und zweite Secessions-Ausstellung: 1898 .................................................. 17 4. 1. 2. Fünfte, siebente und achte Secessions-Ausstellung 1899/1900 ........................... 20 4. 1. 3. 39. Ausstellung: 1911/1912 ................................................................................ -
KLIMT's MAGIC GARDEN a Virtual Reality Experience by Frederick
Press Release KLIMT’S MAGIC GARDEN A Virtual Reality Experience by Frederick Baker An exhibition experiment in the MAK FORUM Press Preview Thursday, 1 February 2018, 3 p.m., until 6 p.m. opportunity to test exhibit Opening Tuesday, 6 February 2018, 7 p.m. Exhibition Venue MAK FORUM MAK, Stubenring 5, 1010 Vienna Exhibition Dates 7 February – 22 April 2018 Opening Hours Tue 10 a.m.–10 p.m., Wed–Sun 10 a.m.–6 p.m. With KLIMT’S MAGIC GARDEN: A Virtual Reality Experience by Frederick Baker, the MAK is launching an innovative fantastic virtual exhibition experiment to mark the 100th anniversary of Gustav Klimt’s death (6 February 2018). Using high-resolution digital photography, renowned filmmaker Frederick Baker has created a new work by restaging Klimt’s nine-part cartoons for the mosaic frieze in the Stoclet House dining room in Brussels (1910/1911). Baker’s new work opens up new perspectives on one of the MAK collection’s outstanding exhibits. He takes the audience into Klimt’s work, and then out, through the other side, into a realm of especially designed symbolic spaces. In KLIMT’S MAGIC GARDEN— visitors wear an HTC virtual reality headset, to delve into a virtual garden landscape that they can explore at will. The experience celebrates Klimt’s designs by reconstituting them into a mountain landscape of moving clouds and light that is inspired by the Austrian Lake District (Salzkam- mergut), where Klimt spent his summers and drew much of his inspiration. In the MAK FORUM, which is especially equipped for experimental exhibition and mediation formats, visitors can either explore the interactive 3-D landscape them- selves or else opt to watch the “Director’s Cut,” in which Frederick Baker has record- ed his own individual journey through KLIMT’S MAGIC GARDEN. -
This Work Was Prepared As Part of the Activities Described in the Approved
This work was prepared as part of the activities described in the approved European program Erasmus+ School Key Action 2—Cooperation for innovation and the exchange of good practices- Strategic Partnerships for school education Name of the project: UNESCO Heritage, 2014-2016 Code: 2014-1-RO01- KA201-002437_6. The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. This project is funded by the European Union Summary I. LEARNING AND TEACHING FOR FUTURE BY PAST AND PRESENT I.1. A new curriculum, the birth of the area related to History and Local Heritage-Portuguese experience..1 I.2. European Identity and the emergence of Europe and the European civilization ……………………….5 I.3. The Need of World Heritage Education………………………………………………………………..10 I.4. Integration of Word Heritage Education into curricular aproch………………………………………..11 I.5. Reasons for a curriculum proposal………………………………………………………………….….16 I.6. General Competencies……………………………………………….…………………………………18 I.7. Values and attitudes…………………………………………………………………………………….18. I.8. Specific competences and content……………………………………………………………………...20 I.9.Standard performances………………………………………………….………………………………30. II. METHOLOGICAL SUGESTIONS ......................................................................................................32 ANNEXES: Annex 1: Bread in various cultures, an essential constituent of European everyday life…………….……38 Annex 2: Widely used given European common names………………………………………………..….49 Annex 3: The principles of democracy…………………………………………………………….……….58 Annex 4: The €20…………………………………………………………………………………….……..60 Annex 5: European countries-database…………………………………………….…………………….....62 ‘We are not bringing together states, we are uniting people’ Jean Monnet, 1952 EUROPEAN IDENTITY-A PART OF WORLD HERITAGE I. -
PDF Document
EN FR Art nouveau apartments in Istanbul Deniz Balik Lokce EN FR Propagé par des architectes étrangers, l’Art nouveau a influencé la période d’occidentalisation de l’Empire ottoman en relation avec l’évolution socioculturelle, technologique, politique et économique. La diversité croissante de la population des quartiers de Galata et de Pera entraîne la construction de nouveaux bâtiments dans les environs de l’avenue İstiklal, anciennement connue sous le nom de Grande Rue de Pera. Cette étude vise à faire connaître cette question sous-théorisée au sein du tissu multicouche d’Istanbul. Elle montre que l’inaccessibilité, la restauration inadéquate et la remise en fonction abusive nuisent à l’atmosphère spatiale des intérieurs Art nouveau. 198 ● ● ● ● 4 — Reuse ● ● ● ● INTRODUCTION he early nineteenth century marks the beginning of Tanzimat (Reformation) for the late Ottoman period, and indicates Westernisation in various realms such as health, law, politics, education, transportation, urbanisation and architecture, besides conferring social, political, and economic rights to foreign residents by capitulations. 1 The turn-of-the-century ruler Sultan Abdulhamid II set out to diminish the cul- tural, social, and technological gaps between European countries and the Ottoman Empire. 2 With the objective of creating a Western-oriented city image, he invited foreign architects trained in Europe to disseminate emerging architectural knowledge and build projects using novel technologies. 3 Art Nouveau entered the empire as a part of this attempt FIG. 1 . 4 By 1930, the style was widespread in almost all parts of Istanbul; yet research on this period and historical records of architects, residents, and interiors are scarce. -
D5.5 Small Towns' Heritage Pilot Results
RE-designing Access to Cultural Heritage for a wider participation in preservation, (re-)use and management of European Culture This project has received funding from the European Union’s Horizon 2020 research and innovation programme under grant agreement no 769827. Deliverable number D5.5 Title Small towns’ heritage pilot results Due date Month 36 Actual date of 9 February 2021 delivery to EC Project Coordinator: Coventry University Professor Neil Forbes Priority Street, Coventry CV1 5FB, United Kingdom +44(0)797 498 4084 E-mail: [email protected] Project website address: http://www.reach-culture.eu Page 1 of 99 REACH Deliverable: D5.5 Title: Small towns’ heritage pilot results Context: Partner responsible for Univerzita Karlova/Charles University (CUNI) deliverable Deliverable author(s) Pilot Leader: Luďa Klusáková (Charles University) Authors: Jaroslav Ira, Jan Krajíček (Charles University), Friederike Berlekamp (Stiftung Preußischer Kulturbesitz/Prussian Cultural Heritage Foundation), Tim Hammerton (Coventry University) Contributions: Jiří Janáč, Zdeněk Uherek (Charles University) Deliverable version number 1.0 Dissemination Level Public History: Change log Version Date Author Reason for change Luďa Klusáková, Jaroslav Ira, Preliminary draft 13/01/2019 Jiří Janáč Jaroslav Ira, Jan Krajíček Restructured following feedback from 12/05/2020 COVUNI 06/09/2020 Jaroslav Ira Further content added and structure developed, feedback from COVUNI 27/10/2020 Jaroslav Ira Chapter 5 on results of the pilot enhanced 26/11/2020 Jaroslav Ira, Friederike Feedback following review by SPK, leading Berlekamp to improved structure of the deliverable, with new text added Jaroslav Ira, Friederike Further comments from SPK and COVUNI, 14/01/2021 Berlekamp, Zdeněk Uherek new content added, including conclusion. -
Sight Seeing Tour - Brussels Art Nouveau Architecture (4 Hours)
Sight seeing tour - Brussels Art Nouveau Architecture (4 hours) Brussels is the capital city of Belgium and is also the capital city of the Art Nouveau in the world. A lot of buildings have been built around 1900 in the Art Nouveau style. A style that also began in this town with the Tassel House by Horta in 1893. Horta and also Hankar are the major architects but a lot of other artists have done very good jobs that are worth seeing: Blérot, Van de Velde, Hamesse, Taelemans, Vizzavona, Cauchie... In 1900, the Brussels of nowadays was divided in a lot of little surburbs that surrounded the inner city. In the second part of the XIXth century, the city wall was destroyed to make a circling boulevard. The inner city was not much influenced by Art Nouveau because there were not a lot of destruction of older quarters but the surburbs like St Gilles/Sint-Gillis, Ixelles/Elsene, Forest/Vorst and Uccle/Ukkel feature hundreds of Art Nouveau buildings or villas that you still can see nowadays. Horta houses Victor Horta's museum. This is not a museum in the traditional sense: a building where the objects exposed draw all the attention. Here it is the reverse : the building itself is the museum. The Horta Museum was actually the house that Victor Horta built for himself in the late 1890's. It's a true example of the architectural style that made Horta into one of the most acclaimed architects in Belgium. The Art Nouveau style was popular in Europe, and especially in Brussels, between 1893 and 1918.