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Belgian Avant-Gardism, 1887-1889: Les Vingt, L'art
BELGIAN AVANT-GARDISM, 1887-1889: LES VINGT, L'ART MODERNE AND THE UTOPIAN VISION by CAROL ANN DeFINA B.A., Carlow College, 1969 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES FINE ARTS DEPARTMENT We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA March 1985 0 Carol Ann DeFina, 1985 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 DE-6 (3/81) ii ABSTRACT In 1883 a group of Belgian artists wishing to challenge the hegemony of the Brussels Academy founded the organiz• ation, Les Vingt, on the principles of egalitarianism and artistic freedom and elected Octave Maus, editor of the self-proclaimed avant-garde journal, L'Art Moderne, as its secretary. Henceforth, Les Vingt assumed the identity of Belgium's leading visual exponent of modernite and L'Art Moderne became its foremost champion. In actuality, the alliance the Vingtistes formed with L'Art Moderne allowed Octave Maus and his co-editor Edmund Picard to gain control of the group's operations. -
Henry Van De Velde En Zijn Tijdgenoten / Et Ses Contemporains Henry Van De Velde En Zijn Tijdgenoten / Et Ses Contemporains
HENRY VAN DE VELDE EN ZIJN TIJDGENOTEN / ET SES CONTEMPORAINS HENRY VAN DE VELDE EN ZIJN TIJDGENOTEN / ET SES CONTEMPORAINS RONNY VAN DE VELDE HENRY VAN DE VELDE platform en een internationaal kruispunt, en tegelijk deel van een nationale aansluit bij de symbiose tussen mens en natuur zoals de kunstenaar die EN ZIJN TIJDGENOTEN renaissance die ook de muziek en de literatuur omvat. De nieuwe kunst ervaart. Het sterke, empathische ritme roept een eenvoudige, authentieke zal pas echt doorbreken wanneer ze haar beslag krijgt in de architectuur eenheid op die fel contrasteert met de rooftocht van een economie die en de toegepaste kunsten. In die context ervaren sommige kunstenaars de alle levende processen fragmenteert en mechaniseert. Nu wordt de lijn zuivere kunsten als te beperkend. Lemmen, Finch, en vooral Henry van de dominant, eerst als vloeiende lijn die de omtrekken van de vormen De laatste decennia van de negentiende eeuw zijn een gouden tijd voor moet de gemoderniseerde hypocrisie het ontgelden. En ook Laermans Velde stappen uit de cirkel en gaan zich toeleggen op vormgeving, gaan benadrukt, daarna als vitale lijn die het hele oppervlak gaat bepalen. België. De economische bloei maakt meer geld en belangstelling vrij en Meunier staan apart, ze introduceren sociale kritiek in hun beelden een weg op die voert van typografie naar architectuur. Ook die evolutie In 1891 begint Van de Velde aan een reeks tekeningen van de duinen voor cultuur. Nieuwe ondernemers onderscheiden zich door succesrijke van het volksleven De virtuositeit van een Léon Frédéric is daarentegen wordt begeleid door Les XX en haar opvolger La Libre Esthétique, met en de Noordzeekust, in Blankenberge en Knokke. -
2012 Sculpture
NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE MAY 3rd – JULY 6th, 2012 SHEPHERD & DEROM GALLERIES © Copyright: Robert J. F. Kashey and David Wojciechowski for Shepherd Gallery, Associates, 2012 TECHNICAL NOTE: All measurements are approximate and in inches and centimeters. Prices on request. All works subject to prior sale. CATALOG ENTRIES by Jennifer S. Brown, Elisabeth Kashey, and Leanne M. Zalewski. NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE May 3rd through July 6th, 2012 Exhibition organized by Robert Kashey and David Wojciechowski Catalog compiled and edited by Jennifer Spears Brown SHEPHERD & DEROM GALLERIES 58 East 79th Street New York, N.Y. 10075 Tel: 212 861 4050 Fax: 212 772 1314 [email protected] www.shepherdgallery.com NINETEENTH & EARLY TWENTIETH CENTURY EUROPEAN SCULPTURE May 3rd through July 6th, 2012 Shepherd Gallery presents an exhibition of Nineteenth and Early Twentieth Century European Sculpture, which has been organized in conjunction with our new publication, Nineteenth and Early Twentieth Century European Sculpture: A Handbook. The exhibition corresponds to the handbook’s exploration of the materials, casting techniques, founders and editors involved in the making of sculpture in Europe from 1800 to 1920. On display are reductions and enlargements of individual models; plaster casts produced for special purposes; sculptures in a variety of media; and works that exemplify the aesthetic differences in chasing and modeling techniques from 1800 to 1920. Together, the handbook and the exhibition help the viewers to identify the complexities involved in the appreciation of sculpture from this period. CATALOG ALEXY, Károly 1823-1880 Hungarian School PRINCE EUGENE OF SAVOY, 1844 Bronze on square base. -
Street View: the Expressive Face of the Public in James Ensor's 1888 Christ's Entry Into Brussels
© COPYRIGHT by Patricia L. Bray 2011 ALL RIGHTS RESERVED STREET VIEW: THE EXPRESSIVE FACE OF THE PUBLIC IN JAMES ENSOR’S 1888 CHRIST’S ENTRY INTO BRUSSELS IN 1889 AND ERNST LUDWIG KIRCHNER’S 1913-15 STRASSENBILDER SERIES BY Patricia L. Bray ABSTRACT This thesis analyzes in tandem James Ensor’s 1888 Christ’s Entry into Brussels in 1889 and Ernst Ludwig Kirchner’s 1913-15 Strassenbilder series. Current interpretations of these paintings often emphasize a narrative reading of the artists’ personal expressions of the struggle of the individual against the angst and dysfunction of society. I explore the artists’ visualizations of the modern urban street and the individual in a crowd. In addition, I contextualize the environment of rapid modernization and fin-de-siècle anxiety, and the anti-institutionalism of Les XX and the Brücke. This thesis challenges the assumptions upon which current art-historical interpretations are constructed by examining the artists’ work within contemporary cultural discourse, crowd theory, and sociological scholarship, and through close visual readings of the artists’ formal strategies. I argue that Ensor and Kirchner deployed conscious aesthetic strategies in compositional distortion, antithesis and masquerade to explore the conflicting impulses, contumacy, and ambiguity of the modern moment. ii ACKNOWLEDGMENTS I would like to express sincere gratitude to my thesis advisor, Professor Emerita Norma Broude, for her support, guidance, insight and inspiration. I would also like to express sincere appreciation to Professor Juliet Bellow for participating on my thesis committee and for her support of my academic endeavors. In addition, special thanks are due to the faculty in the Art History Department: Professor Helen Langa for her generous guidance in the production of this thesis, and Professor Kim Butler for her advice and intellectual inspiration. -
Welcome to Belgium
Loyola Summer Session in Belgium July 11 – August 8, 2013 Please take this with you. Copies are not available in Belgium Contents: Getting There 3 Getting in Touch 4 Important Phone Numbers 5 Before you Leave 6 Tentative Schedule 8 While in Belgium 10 What’s Going on in Belgium 11 Beyond Belgium 13 Words to the Wise 14 Checking Out 15 Nachbarhuis Schapenstraat 80 2 Getting There… Please purchase your plane tickets as soon as possible. The following itinerary indicates the flight plan of Dr. David Moore. Use this itinerary as a model for your own. As of 1-28-2013 AIRLINE FLIGHT# DATE FROM TO DEPARTURE ARRIVAL UA 5556 7/ 11 New Orleans Washington DC 12:34 PM 4:09 PM Thurs (MSY) (IAD) UA 950 7/ 11 Washington DC Brussels 5:40 PM 7:15 AM Thurs (IAD) (BRU) 7/12 Friday UA 951 8/ 8 Brussels Washington DC 12:00 PM 2:20 PM Thurs (BRU) (IAD) UA 3747 8/8 Washington DC New Orleans 6:15 PM 7:50 PM Thurs (IAD) (MSY) IF YOU ARE NOT ARRIVING IN BRUSSELS WITH THE GROUP, take the train from the Brussels airport to Leuven (Fr: Louvain, not Louvain-la-Neuve which is another town). The airport train station is located below the terminal (basement level-1). The train to Leuven runs twice an hour from the airport. Take the train to Leuven. It is about a 15 minute train ride and costs $11 in euro. When you get to the train station in Leuven, take a taxi and tell the driver you want to go to “Nachbahr Huis at 80 Schapenstraat.” www.brusselsairport.be/en/passngr/to_from_brussels_airport/train/ 3 Getting in Touch … YOUR MAILING ADDRESS IN BELGIUM: Loyola International Nachbahr Huis Schapenstraat 80/1 3000 Leuven Belgium FLOOR PHONES: Ground Floor: 011.32.16.32.94.23 1st Floor: (American 2nd Floor) 011.32.16.32.94.24 2nd Floor: (American 3rd Floor) 011.32.16.32.94.25 Important Note: Please Remember That Leuven is 7 Hours Ahead of New Orleans (CST). -
Belgium July 07 – August 04, 2016
Loyola Summer Session in Belgium July 07 – August 04, 2016 Please take this with you. Copies are not available in Belgium Contents: Getting There 3 Getting in Touch 4 Important Phone Numbers 5 Before you Leave 6 Tentative Schedule 8 While in Belgium 10 What’s Going on in Belgium 11 Beyond Belgium 13 Words to the Wise 14 Checking Out 15 American College (Residence) 2 Getting There… Please purchase your plane tickets as soon as possible. The following itinerary indicates the flight plan of Dr. David Moore. Use this itinerary as a model for your own. AIRLINE FLIGHT# DATE FROM TO DEPARTURE ARRIVAL United / 7/7 New Orleans Washington DC Canadair UA6159 Thurs (MSY) (IAD) 12:30 PM 3:59 PM 7/7 Washington DC Brussels 5:40 PM 7:15 AM United UA950 Thurs (IAD) (BRU) 7/8 Friday 8/4 Brussels Washington DC United UA951 Thurs (BRU) (IAD) 12:00 PM 2:20 PM 8/4 Washington DC New Orleans United UA495 Thurs (IAD) (MSY) 5:06 PM 6:41 PM IF YOU ARE NOT ARRIVING IN BRUSSELS WITH THE GROUP, take the train from the Brussels airport to Leuven (Fr: Louvain, not Louvain-la-Neuve which is another town). The airport train station is located below the terminal (basement level-1). The train to Leuven runs twice an hour from the airport. Take the train to Leuven. It is about a 15 minute train ride and costs $11 in euro. When you arrive at the train station in Leuven, take a taxi and tell the driver you want to go to “The American College at 100 Naamsestraat.” www.brusselsairport.be/en/passngr/to_from_brussels_airport/train/ 3 Getting in Touch … YOUR MAILING ADDRESS IN BELGIUM: American College Local Contact Naamsestraat 100 Mrs. -
Living Marble Belgian Sculptors - 1800-1930 Living Marble Belgian Sculptors 1800-1930
LIVING MARBLE BELGIAN SCULPTORS - 1800-1930 LIVING MARBLE BELGIAN SCULPTORS 1800-1930 PAUL VERBR AEKEN ARTIMO BRUSSELS In appreciation of my parents Simona and Marcel Van Cauwenbergh, who showed me the way ARTIMO The letterhead of my art business ARTIMO depicts a gracious bust on the left, the right hand side is adorned with a precious time piece. In the past my activities were mainly concentrated on the knowledge of everything that had to do with the measurement of time, including jetlag. Now with the opening of my new gallery at the heart of Europe the sculptural element steps into the spotlight. The manner in which it does so, I believe I may call unique, both in terms of the location and the sculptures themselves. Two long-standing passions are at its origin: for decades I have bought sculptures that I traded, or kept, if they truly fascinated me. In this way a selection came about that then grew into a collection and a second passion, alongside the precious ticking clocks.With the restoration of the Art Nouveau building in Lebeau Street in Brussels, under the guidance of Monumentenzorg, the Belgian organization for the protection of monuments, the ideal platform for the presentation of the collection had arrived. This inauguration and exhibition LIVING MARBLE presents exclusive work by Belgian sculptors from the nineteenth and early twentieth centuries. Never before has it been possible in this country to see such a museum-standard collection, accompanied by a publication that contains both annotations and unique illustrations. I hope this ARTIMO initiative will contribute to a revaluation of sculptural art in general, and of Belgian sculpture from the period in particular. -
Jan Van Beers 1852-1927
Jan Van Beers 1852-1927 The letter Oil on panel signed lower center Dimensions : 80 x 69 cm Dimensions : 31.50 x 27.17 inch Exhibition : Lier, Stedelijk Museum 2016-2017 n°59 Exhitibion "Biennale de la peinture" Mudel Musem, Deinze, June to October 2020 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Jan Van Beers 1852-1927 Dimensions with frame : 99 x 87 cm Dimensions with frame : 38.98 x 34.25 inch 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Jan Van Beers 1852-1927 Biography A painter of portraits, history and genre scenes, Jan Van Beers was born in Lierre (Belgium), in 1852. His father was a famous poet. Van Beers befriended artists such as the composer Pierre Benoit, (1834-1901), whom he portrayed in 1883, and the painter Baron Henri Leys. Studying at the renowned Antwerp Fine Arts Academy, he soon became the leader of a group of young promising artists, known as the " Van Beers clique ". Among them, Piet Verhaert (1852-1908), Alexander Struys (1852-1941), et Jef Lambeaux (1852-1908). In his early days, the artist made many historical paintings, such as " The Funeral of Charles the Good, Count of Flanders " (1876, Petit Palais) or " The Witch " (1877). Critics were unanimous in recognizing the technical mastery of Van Beers, comparing him the great masters of Flemish painting. In 1878, Van Beers moved to Paris and started to work in the studio of A. -
Édicule Lambeaux Parc Du Cinquantenaire, Brussels (1889-97)
ÉDICULE LAMBEAUX PARC DU CINQUANTENAIRE, BRUSSELS (1889-97) The Édicule Lambeaux was the first building of While the Hôtel Tassel represents a shift from note to be completed by Horta,1 designed to Horta’s classicism, both styles can be identified house a large bas-relief, Les Passions Humaines, by as attempts to express a personal language. the sculptor Jef Lambeaux. Although it was due for The details of the Édicule Lambeaux, like the completion in 1897, in time for the Brussels World abstract motifs of Art Nouveau, are personal and Fair celebrations in the Parc du Cinquantenaire largely invented by Horta. The curved pediment that year, a difficult relationship with Lambeaux and the detail of the rusticated walls and cornice caused the project to be delayed considerably. It all emphasize a personalization of the classical finally opened in 1899 (although Horta states that language rather than a rigorous application of its it was never formally inaugurated) and remains proportions and details.3 testament to Horta’s classical training. It is an Horta referred to the building as the ‘end of intriguing building on several accounts, not least the prelude to my career’. Despite his attempts to because, chronologically, its design came so close find an original language and the chronological to that of the Hôtel Tassel: the initial plans for the proximity of the Édicule Lambeaux and the Hôtel pavilion were in fact not submitted until May 1892, Tassel, the two projects are worlds apart. less than a year before the conception of the Hôtel Tassel. The two projects undoubtedly overlapped in the studio, which is curious, since at first sight 1 Horta’s first commission was for three houses in Ghent in Rue des Douze Chambres (1885). -
The Human Passions
Brussels, City of Art The and History Human Passions Writing and iconographic research Werner Adriaenssens – Curator of the collections 20th Century at the Royal Museums of Art and History / Professor at the faculty Art Sciences and Archaeology at the Free University Brussels (VUB) André Demesmaeker – Architect-Conservator at the Belgian Buildings Agency Claudine Houbart – Lecturer at the faculty of Architecture at Université de Liège Support committee Julie Coppens, Paula Dumont, Murielle Lesecque – urban.brussels Barbara Van der Wee Coordination Okke Bogaerts, Julie Coppens, Paula Dumont, Valérie Orban – urban.brussels Translation Linguanet Proofreading Judith Flush Photographic credits (abbreviations) AAM Archives d’Architecture Moderne AHM Archives of the Horta Museum, Saint-Gilles ACB Archives of the City of Brussels CIVA Centre International pour la Ville, l’Architecture et le Paysage KBR Royal Library of Belgium KIK-IRPA Koninklijk Instituut voor het Kunstpatrimonium / Institut royal du Patrimoine artistique KMSKA Koninklijk Museum voor Schone Kunsten Antwerpen RMAH Royal Museums of Art and History RMFAB Royal Museums of Fine Arts of Belgium SAB State Archives of Belgium Graphics La Page Printing db Group Distribution Diffusion Nord-Sud Responsible publisher Bety Waknine, General Director, urban.brussels (Regional Public Service of Brussels, Urbanism and Heritage) – Mont des Arts/Kunstberg 10-13 – 1000 Brussels Printed in Belgium Legal deposit D/2021/6860/005 – ISBN 978-2-87584-194-0 digital version www.urban.brussels Cover picture: The Pavilion of Human Passions, arch. Victor Horta. Interior view after restauration, 2014. (© Belgian Buildings Agency). BRUSSELS, CITY OF ART AND HISTORY The Human Passions Werner Adriaenssens, André Demesmaeker, Claudine Houbart The Human Passions, marble, Jef Lambeaux, 1889-1899. -
AUCTION Sunday, May 5Th @ 7 Pm MT (Staggered Soft Close)
AUCTION Sunday, May 5th @ 7 pm MT (staggered soft close) Thursday, May 2nd Noon - 4 pm SHOWROOM PREVIEW: Friday, May 3rd Noon - 4 pm Saturday, May 4th Noon - 4 pm Sunday, May 5th Noon - 4 pm Hall’s Auction Services Ltd. 4115-7005 Fairmount Drive SE Calgary AB T2H 0J1 403-640-1244 [email protected] www.hallsauction.com TERMS AND CONDITIONS 1. All parties bidding at the sale shall be held to have informed themselves as to the regulating conditions, and shall, by signing the bidding card, accept all conditions pertaining to the sale as posted in the auction room, as printed on the bidding card, and as set out in the catalogue. 2. The Auctioneer reserves the right to accept or reject any bid and shall always control the bidding and in all cases of dispute the Auctioneer's decision will be final. 3. Terms are cash or equivalent on the sale day and nothing is to be removed until paid for. Items purchased through absentee bids, internet absentee bids, telephone bids or any other means of 'proxy' bidding will be invoiced immediately after the auction and charged to the credit card information on file at the time of registering the bid. 4. All items are sold on an as-is-where-is basis and no guarantee expressed or implied is given as to their condition or suitability for any purpose and lie at the purchaser's risk immediately. 5. All parties bidding at the sale shall be held to have informed themselves as to the condition, identity, and authenticity of lots, and shall not be entitled to make any objections after the sale on any grounds whatsoever. -
C1040 Cat 1.Pdf
Veilinghuis Bernaerts/ Hôtel de Ventes Bernaerts Verlatstraat 16-22 Museumstraat 25 2000 Antwerpen/ Anvers T +32 (0)3 248 19 21 F +32 (0)3 248 15 93 www.bernaerts.be [email protected] Biedingen/ Offres F +32 (0)3 248 15 93 E [email protected] Geen telefonische biedingen onder € 500. Pas d’enchères par téléphone pour des lots inférieurs à € 500. Live Webcast Registratie tot zondag 8 oktober, 18u Identification jusque dimanche 8 oktober, 18h Voor loten met een schatting hoger dan € 5000 wordt een extra bankgarantie gevraagd. Pour des lots estimés au-delà de € 5000 une garantie bancaire sera demandée. Silent Sale Lotnummers vanaf 5000 Enkel online vrijdag 27 oktober t.e.m. maandag 6 november 12u www.bernaerts.be > veilingen > enkel online ABK 111-2656241-87 IBAN BE67 1112 6562 4187 BIC ABERBE 22 BTW BE 0413 901 869 Veiling/ Vente: KUNST & ANTIEK / ARTS & ANTIQUITÉS MODERNE MEESTERS / MAÎTRES MODERNES maandag/ lundi 9 oktober/ octobre om/ à 19u/ h dinsdag/ mardi 10 oktober/ octobre om/ à 14u/ h & om/ à 19u/ h Expo: donderdag/ jeudi 5 oktober/ octobre vrijdag/ vendredi 6 oktober/ octobre zaterdag/ samedi 7 oktober/ octobre zondag/ dimanche 8 oktober/ octobre van/ de 10 tot/ à 18 u/ h Expertise: Christophe Bernaerts & Astrid Holsters Kantoor van Gerechtsdeurwaarders/ Etude de Maîtres Briers-Dujardin, huissiers de justice © SABAM/ © Digital photo, layout & prepress: Studio Bernaerts ILL cover detail lot 454 détail couverture VOLGORDE VAN DE ZITTINGEN ORDRE DE LA VENTE MAANDAGAVOND 1 - 185 LUNDI SOIR 9 OKTOBER 9 OCTOBRE OM 19U À 19H Porselein