Mark Swysen: Biography (Selection / Non-Commercial)
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Import Page 1
import Exposition A. Renoir. (Paris), Galeries Durand-Ruel, Mai 1892. In-8°. 48 gen.pp. Ex. op Japans papier, met drie etsen. Orig. half oranje mar. band met hoeken, afgeboord met dubbele vergulde filets, rug op vijf ribben. Schitterend exemplaar. Bijgevoegd: Paul Verlaine, Femmes. Imprimé sous le manteau et ne se vend nulle part. Een van de 480 ex. op Van Gelder, nr. 134. Ingenaaid onder orig. omslag. <br/><br/>PIERRE-AUGUSTE RENOIR (1841-1919) Ex. sur Japon, contenant trois eaux-fortes. Rel. orig. en demi-mar. orange à coins. On y joint: Paul Verlaine, Femmes. Imprimé sous le manteau et ne se vend nulle part. Tir. lim. et num. à la main, un des 480 ex. sur Van Gelder, nr. 134. Broché sous couv. originale. <br/><br/>PIERRE-AUGUSTE RENOIR (1841-1919) Exposition A. Renoir. (Paris), Galeries Durand- Ruel, Mai 1892. In-8°. 48 gen.pp. Ex. op Japans papier, met drie etsen. Orig. half oranje mar. band met hoeken, afgeboord met dubbele vergulde filets, rug op vijf ribben. Schitterend exemplaar. Bijgevoegd: Paul Verlaine, Femmes. Imprimé PIERRE-AUGUSTE sous le manteau et ne se vend nulle part. Een van de 480 ex. 1000 RENOIR (1841-1919) op Van Gelder, nr. 134. Ingenaaid onder orig. omslag. 200 250 (Emile Claus) C. Lemonnier, Emile Claus. Brussel, Van Oest, 1908. In-4°. 71 gen.pp. Een van de 50 luxe ex. op Japans, met originele litho "Hiver". Ingenaaid onder orig. kaft. <br/><br/>EMILE CLAUS (1849-1924) Lithographie originale "Hiver". Dans ex. de tête sur Japon, nr. 23. Broché sous couv. originale. -
Translated and Edited Publications
Translated and edited publications There are nearly 250 items in this list, including co-translations and revised editions. Editing and translations from German and French are indicated, otherwise the listed publications are translations from Dutch. Katrijn Van Bragt and Sven Van Dorst, Study of a Young Woman: An exceptional glimpse into Michaelina Wautier’s studio (1604–1689) (Phoebus Focus 19) (Antwerp: The Phoebus Foundation, 2020) Leen Kelchtermans, Portrait of Elisabeth Jordaens: Jacob Jordaens’ (1593–1678) tribute to his eldest daughter and country life (Phoebus Focus 18) (Antwerp: The Phoebus Foundation, 2020) Nils Büttner, A Sailor and a Woman Embracing: Peter Paul Rubens (1577–1640) and modern painting (Phoebus Focus 16) (Antwerp: The Phoebus Foundation, 2020) Dina Aristodemo, Descrittione di tutti i Paesi Bassi: Lodovico Guicciardini and the Low Countries (Phoebus Focus 15) (Antwerp: The Phoebus Foundation, 2020) Timothy De Paepe, Elegant Company in a Garden: A musical painting full of sixteenth-century wisdom (Phoebus Focus 9) (Antwerp: The Phoebus Foundation, 2020) Chris Stolwijk and Renske Cohen Tervaert, Masterpieces in the Kröller- Müller Museum (Otterlo: Kröller-Müller Museum, 2020) Maximiliaan Martens et al., Van Eyck: An Optical Revolution (Antwerp: Hannibal, 2020). All the translations from Dutch. Nienke Bakker and Lisa Smit (eds.), In the Picture: Portraying the Artist (Amsterdam: Van Gogh Museum, 2020) Hans Vlieghe, Apollo on His Sun Chariot (Phoebus Focus 8) (Antwerp: The Phoebus Foundation, 2019) Joris Van Grieken, Maarten Bassens, et al., Bruegel in Black & White: The World of Bruegel (Antwerp: Hannibal, 2019). Translation of all but one of the texts. Bert van Beneden (ed.) From Titian to Rubens: Masterpieces from Antwerp and other Flemish Cities (Ghent: Snoeck, 2019); exhibition catalogue Venice, Palazzo Ducale. -
Antwerp Art Weekend for the Third Time, Art Venues in and Around Antwerp Are Putting Their Hands Together to Celebrate Contem
Antwerp Art Weekend For the third time, art venues in and around Antwerp are putting their hands together to celebrate contem- porary art. Experience the city and its flourishing art scene with over 60 galleries, art spaces, temporary exhibitions and museums during this intense, three day, citywide manifestation. General opening hours: Note: some museums and spaces keep 19 May, Fri 12h − 22h and 20− 21 May, Sa/Su 12h− 18h to their regular opening hours and entrance fees. 1 DE Studio functions as a central location for the Antwerp Art Weekend, hosting exhibitions, talks and the Nacht van de Beeldende Kunst or the Night of the Visual Arts. WAYS OF TELLING Vandaele, Liese Vanhove, Sine Van Menxel and Ken Verhoeven. Inspired by Lis Rhodes ground-breaking 1978 film Light Reading, The party itself is hosted by TRAP, which is a tiny event space in this exhibition brings together moving image works from the LUX central Antwerp with an infinite capacity for all manners of art and collection that engage with storytelling and narrative in complex, music. It is operated, programmed and scrubbed clean by Roman often mysterious ways. Words are seen and heard, uncoded, un- Hiele, Allon Kaye, and Milan Warmoeskerken. done and questioned. Rebelling against the entrapment of lan- TRAP invites musicians Rashad Becker (DE) and Das Ding (NL) to guage, these films invite a constant re-evaluation of what and how perform and TRAP’s DJ’s will be playing all night long. The Night of we see and hear. With works by Beatrice Gibson, Laida Lertxundi, the Visual Arts takes place on Saturday, May 21 and starts at 9pm. -
Translated and Edited Publications
Translated and edited publications There are over 200 items in this list, including co-translations and revised editions. Editing and translations from German and French are indicated, otherwise the listed publications are translations from Dutch. Eva Wittocx, Dirk Braeckman (Catalogue for the Belgian Pavilion, Venice Biennale 2017) (London: Koenig Books 217); co-copy editor/translator Eva Wittocx et al., Playground ’16 ’07 (Leuven, M Museum 2017); copy editor and co-translator Paul Vandenbroeck (ed.) Antwerp Royal Museum Annual 2013-2014 (Royal Museum of Fine Arts Antwerp 2017); translation of Vandenbroeck, ‘The Solomonic Column and the Double Spiral’ Fleur Roos Rosa de Carvalho, Prints in Paris 1900: From Elite to the Street (Amsterdam: Van Gogh Museum 2017) Paul Vandenbroeck, Utopia’s Doom: The Graal as Paradise of Lust, the Sect of the Free Spirit and Jheronimus Bosch’s so-called Garden of Earthly Delights (Leuven: Peeters 2017) Jacqueline Marette, Wooden Supports in 12th-16th-Century European Paintings (Copenhagen: CATS 2016); translated from French with Paul Van Calster, published online by the Getty Foundation (http://www.wooden-supports-marette.com/publications/-9702/wooden- supports-in-12th-ndash-16th-century-european-paintings) Elizabeth McGrath et al., Mythological Subjects: Achilles to the Graces (Corpus Rubenianum Ludwig Burchard XI (Turnhout: Brepols 2016) co-translator Paul Vandenbroeck, A Glimpse of the Concealed: Body Intuition Art (Antwerp: Royal Museum of Fine Arts Antwerp 2017) Luc Tuymans, James Ensor (London: Royal Academy 2016); contributions by Herwig Todts and Gerrit Vermeiren Lieke van Deinsen, The Panpoëticon Batavûm, Rijksmuseum Studies in History, Vol. 1 (Amsterdam: Rijksmuseum 2016) Claire Baisier (ed.), Divine Interiors: Experience Churches in the Age of Rubens (Antwerp: Museum Mayer van den Bergh 2016); co-translator Irene Smets, The Royal Palace in Brussels (Ludion Guide) (Fourth revised edition, Kontich: BAI 2016). -
Die Kaiserliche Gemäldegalerie in Wien Und Die Anfänge Des Öffentlichen Kunstmuseums
GUDRUN SWOBODA (HG.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums BAND II EUROPÄISChe MUSEUMSKULTUREN UM 1800 Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums 2013 BÖHLAU VERLAG WIEN KÖLN WEIMAR GUDRUN SWOBODA (HG.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums BAND 2 EUROPÄISCHE MUSEUMSKULTUREN UM 1800 2013 BÖHLAU VERLAG WIEN KÖLN WEIMAR IMPRESSUM Gudrun Swoboda (Hg.) Die kaiserliche Gemäldegalerie in Wien und die Anfänge des öffentlichen Kunstmuseums Band 1 Die kaiserliche Galerie im Wiener Belvedere (1776–1837) Band 2 Europäische Museumskulturen um 1800 Kunsthistorisches Museum Wien, Wien 2013 Redaktion Gudrun Swoboda, Kristine Patz, Nora Fischer Lektorat Karin Zeleny Art-Direktion Stefan Zeisler Graphische Gestaltung Johanna Kopp, Maria Theurl Covergestaltung Brigitte Simma Bildbearbeitung Tom Ritter, Michael Eder, Sanela Antic Hervorgegangen aus einem Projekt des Förderprogramms forMuse, gefördert vom Bundesministerium für Wissenschaft und Forschung Veröffentlicht mit Unterstützung des Austrian Science Fund (FWF): PUB 121-V21/PUB 122-V21 Bibliografische Information der Deutschen Nationalbibliothek: Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://portal.dnb.de abrufbar. Abbildungen auf der Eingangsseite Bernardo Bellotto, Wien, vom Belvedere aus gesehen. Öl auf Leinwand, um 1758/61. Wien, Kunsthistorisches Museum, Gemäldegalerie Inv.-Nr. 1669, Detail Druck und Bindung: Holzhausen Druck Gmbh, Wien Gedruckt auf chlor- und säurefreiem Papier Printed in Austria ISBN 978-3-205-79534-6 Alle Rechte vorbehalten. Dieses Werk ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist unzulässig. © 2013 Kunsthistorisches Museum Wien – www.khm.at © 2013 by Böhlau Verlag Ges.m.b.H. -
When Art Takes the Metro
WHEN ART TAKES THE METRO... Get ready to take a unique journey into the heart of the largest underground art gallery in Brussels. This artistic route will take you on a journey of discovery of more than 90 works of art that have been adding the personal touch to the Brussels metro for more than 40 years. The fruit of the imagination and work of artists from various backgrounds, these works are unique thanks to their style, materials, volumes, the images they evoke and the atmosphere they create, like springboards for wandering spirits. In the early 1960s, when a metro project Its recommendations are submitted became a reality in Brussels, the designers to the Regional Minister for Mobility imagined this new underground and Public Works, who also proposes network as an open, lively and original artworks to be incorporated in the metro. environment where Art also needed a More than 90 works of art currently place. All the stations had to be different, decorate the platforms, mezzanines either by their design or by the nature of and corridors, and they breathe life into their finishing, while ensuring uniformity the 69 metro and pre-metro stations. in their decoration. As such, passengers All genres are represented: paintings, see a series of stations pass by, each with sculptures, photographs, stained glass, its own atmosphere and identity, in which etc., as well as all materials: from canvas they nonetheless find constant elements to bronze and from wood to glass, not that help them find their bearings. forgetting steel. Shortly before the first pre-metro stations Consciously or otherwise, tens of were commissioned at the end of 1969, thousands of passengers rub shoulders an Artistic Committee was set up. -
Ettore Spalletti 104 David Tremlett 114
1 Relief with Mary Magdalene Reading, 1634. Courtesy Daniel Katz Limited previous page 2 The Virgin of the Nativity, third quarter 14th century. Courtesy Sam Fogg Limited 3 Reclining Buddha or Parinirvana Buddha, 18th century. Courtesy Marcel Nies Oriental Art 4 Etruscan funerary figure, 3rd century bc. Courtesy Rupert Wace Ancient Art Limited 5 Reclining Bacchante, 18th century. Courtesy Daniel Katz Limited La Grande Horizontale La Grande horizontale: between heaven and earth by Penelope Curtis 16 Death and Dining. The Reclining Figure from a Literary Perspective by Daria Santini 21 Ernst Wilhelm Nay 36 Thomas Schütte 48 Sadie Murdoch 60 On the Reclining Form by David Ward 73 Charlotte Dumas 84 Suchan Kinoshita 94 Ettore Spalletti 104 David Tremlett 114 In answer to his prayer the River checked its current ... and other poems 125 Exhibiting Galleries 141 List of Illustrations 144 In 20th-century art, the Reclining Figure, as a phrase, and as a form, became indelibly associated with the sculpture of Henry Moore, whose first ‘Reclining Figure’ dates back to 1929. But the success of Moore’s reclining figures can be understood in terms of their deep roots in many cultures, Western and non-Western. In his own discussion of the stimuli for his work, Moore delineated some very simple and common visual La Grande horizontale: between heaven and earth by Penelope Curtis and tactile experiences. These included his mother’s body, tombs in a nearby church, the hills of Yorkshire, and the Mexican carvings he saw in the British Museum. This short list does a lot to account for the form’s compelling attraction: it is human, it is natural, it is historical. -
Painting in Flanders After 1980 (ENG)
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ntroduction The Longing for the Pictorial Painting in Flanders before and after TroubleSpot.Painting Raoul De Keyser, Untitled, 2001, oils on canvas, 50 x 55 Courtesy Zeno X Gallery, Antwerp Until well into the 1960s, ‘modern art’ seemed more video projection, happenings, performances and instal- or less to mean ‘modern painting’. Unlike sculpture, lations all presented themselves as more experimental painting had wrestled free from the grip of tradition and therefore more progressive artistic practices. This early in the 20th century, and in many cases had thereby meant that painting was gradually forced onto the assumed the nature of an avant-garde manifesto. Just as defensive. Whereas in 1965 an abstract painting was still in North America and the rest of Western Europe, it was a dynamic sign of radical modernity, ten years later the quite natural that group exhibitions in Belgium included same gesture had fossilised into a static mark of nothing but paintings. However, from the end of the tradition and craftsmanship. -
The Rubenianum Quarterly
The 2010 Rubenianum 1 Quarterly Rubenianum Fund launched with a bang! Dear Friends of the Rubenianum, The Rubenianum Fund was officially launched at a black tie dinner at the Rubens It is with great pleasure that I introduce House in Antwerp, on 10 February. At the invitation of three of Belgium’s leading the first issue of The Rubenianum private banks (Bank Degroof, Bank Delen and Petercam), some 80 guests attended Quarterly. The purpose of this new this memorable event, including HSH Prince Nikolaus of Liechtenstein. The dinner was held in a transparent tent erected in the illuminated courtyard of the house, publication is to update you regularly and the sudden snowfall only served to enhance the magic of the evening. on the progress of the publication of the The guests were first given a tour of the museum by curator Ben van Beneden, Corpus Rubenianum, tell you about the and then heard Professor Arnout Balis explaining the history and the goals of the various initiatives of the Rubenianum Corpus Rubenianum, and the evening was concluded by a strong plea by Antwerp’s Fund, and inform you about the activities Alderman for Culture, Philip Heylen. of our research and documentation centre. Since this first event, and also thanks to the press coverage of the initiative, this Since the launch of the Fund, created at innovative approach to raising the support for such a unique project has gained widespread attention both in Belgium and abroad. Subsequent fundraising events the beginning of this year to give a firmer have been organized in New York, at the residence of the Belgian Consul-General, financial footing to the Rubenianum, as well as in Belgium. -
Art & Illustratedbooks
VOORJAAR-ZOMER2019 - PRINTEMPS-ÉTÉ 2019 - SPRING-SUMMER 2019 BELGI Algemene voorwaarden – Conditions generals – General conditions Prijzen, technische specificities en voorwaarden kunnen wijzigen zonder voorafgaande waarschuwing. Exhibitions International is niet verantwoordelijk voor fouten of ontbrekende gegevens. Verzendingskosten zijn voor rekening van de klant. Alle beschadigingen of misdrukken moeten binnen 10 dagen na ontvangst doorgegeven worden. De vermelde prijzen zijn de Belgische prijzen incl. BTW. Prière de noter que les prix peuvent être modifié sans notification préalable (par décision de l’éditeur ou des variations des cours de change). Tous les dommages ou fautes d'impression doivent être signalés dans les 10 jours suivant la réception. Exhibitions International ne peut être tenu responsable pour des indications erronées ou manquants des prix ou autres. Les prix mentionnés sont les prix belge, TVA incl. Prices, specifications, and terms are subject to change without notice. Exhibitions International is not responsible for errors or omissions in prices and other data. Shipping costs are on account of the customer. All defects and printing errors must be notified within 10 days of reception. The prices mentioned are the Belgian prices, VAT included. Retouren boekhandels - Retours libraires – Returns policy booktrade Alle aankopen worden beschouwd als vaste aankoop tenzij anders overeengekomen en als dusdanig vermeld op de factuur. Retouren zijn enkel mogelijk na drie maanden en voor 9 maanden en kunnen enkel gebeuren na voorafgaandelijke, schriftelijke aanvraag. De retourtoelating blijft één maand geldig en dient bij de retour gevoegd te worden. De retour gebeurt op risico van de klant en worden enkel aanvaard als ze ons in perfecte staat bereiken. -
Koninklijk Museum Voor Schone Kunsten Antwerpen Jaarverslag 2010
Koninklijk Museum voor Schone Kunsten Antwerpen Jaarverslag 2010 2 Koninklijk Museum voor Schone Kunsten Antwerpen - Jaarverslag 2010 Inhoudsopgave VOORWOORD 4 AANWINSTEN 7 RESTAURATIES 10 TENTOONSTELLINGEN 15 BRUIKLENEN EN CONSERVATIE 29 ONDERZOEK 31 PUBLICATIES 37 PUBLIEK, PERS, WEBSITE 40 EVENEMENTEN 45 EDUCATIE 48 BIBLIOTHEEK 50 ARCHIEF EN DOCUMENTATIECENTRUM 54 BEELDBEHEER 56 SAMENWERKINGEN 58 HET BEDRIJF 60 DE VRIENDEN VAN HET KMSKA 66 Bijlage 1: personeelsbestand en tewerkstellingsstatuten 67 Bijlage 2: lijst van gepubliceerde artikels 68 Bijlage 3: cijfers bibliotheek 69 Bijlage 4: educatieve projecten 73 Bijlage 5: jaarrekening 77 Bijlage 6: het KMSKA in de pers 79 3 Koninklijk Museum voor Schone Kunsten Antwerpen - Jaarverslag 2010 VOORWOORD 2010 was een boeiend, maar geen Tijdens de laatste twee weken kon de gemakkelijk jaar. In december, toen de bezoeker gratis het museum bezoeken tweede fase van de renovatie werd en afscheid nemen van de collectie. toegekend aan Claus & Kaan Closing Time was immers de laatste Architecten, werd duidelijk dat de expo die het KMSKA zelf in het verbouwingswerken die ons museum de museumgebouw organiseerde. Tijdens 21 ste eeuw binnen zullen loodsen, een Closing Weeks , de laatste twee weken stuk langer zullen duren dan van de tentoonstelling, werden in totaal oorspronkelijk gepland. De 34 activiteiten en evenementen voornaamste redenen zijn de omvang georganiseerd. Een enorm succes, want en complexiteit van de werken. het KMSKA ontving op veertien dagen zo’n 24.000 bezoekers. De voorbereiding van de verbouwing beheerst al enkele jaren ons leven. In het voorjaar waren er twee zeer Verschillende kunstwerken zijn de uiteenlopende kleinere voorbije jaren aan andere musea tentoonstellingen te zien in ons uitgeleend, om daar te blijven tot het museum: Rubens Doorgelicht. -
Focus on the DUTCH SPEAKING PART of BELGIUM Press Review Weekly, Does Not Appear in July • Number 2 • 11 January – 17 January 2003
flandersfocus on THE DUTCH SPEAKING PART OF BELGIUM press review weekly, does not appear in July • number 2 • 11 January – 17 January 2003 INTRODUCTION fla r la ndr Jobcard for Flemish su e • s f n 17 December the Fed- u o c c o u eral Parliament’s Trade f s O • o n n and Companies Committee school-leavers r f e l a d n unanimously approved the n d a l e f r f s u bill on the introduction of a a • it guarantees school-leavers below the age of 25 who have been unemployed f o s k for six months a month’s practical training with an employer u fixed book price. The bill, which was tabled by the Greens (Agalev, Ecolo), the Francophone Social- ists (PS) and the Christian Democrats, headed for etween 2000 and 2002 the number PETER RASKING • HET NIEUWSBLAD • an overwhelming majority in the Parliament, be- B of unemployed young people aged 17 JANUARY cause only the Flemish Liberals were strongly below 25 in Flanders rose by 32% to against it. Supporters argue that a fixed price will 58,000, while total unemployment What is striking is that the rise can also benefit smaller, independent bookshops and al- only rose by 17%. Today they represent be seen among the highly qualified. In low the decrease in the diversity of book titles to 23% of all unemployed. Flemish Em- October 2000, 2,322 university gradu- be stopped. They see the larger book chains (Standaard Boekhandel and Fnac) and depart- ployment Minister Landuyt concludes ates below the age of 25 were unem- ment stores, which give discounts and are main- that they are the first victims of the eco- ployed.