The Human Passions
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2017-12-12 Dossier De Presse Horta EN
Horta inside out: A year dedicated to this architectural genius One of the greatest architects of his generation, Victor Horta, certainly left his mark on Brussels. From the Horta House to the Hôtel Tassel and the Horta-Lambeaux Pavilion, it was about time we paid tribute to this master of Art Nouveau by dedicating a whole year to his work and creative genius. Victor Horta moved to Brussels in 1881 and went to the Royal Academy of Fine Arts. His teacher, Alphonse Balat (the architect behind the Royal Greenhouses of Laeken), saw his potential and took him on as an assistant. Very quickly, he became fascinated by curves, light and steel. He soon joined the inner circle of the Masonic lodge that would launch his career. The Autrique House was built in 1893, followed closely by the wonderful Hôtel Tassel. This period was the start of a long series of showpieces which dotted Brussels with buildings with innovative spaces and bright skylights. Horta, one of the earliest instigators, heralded the modern movement of Art Nouveau architecture. The stylistic revolution represented by these works is characterised by their open plan, diffusion and transformation of light throughout the construction, the creation of a decor that brilliantly illustrates the curved lines of decoration embracing the structure of the building, the use of new materials (steel and glass), and the introduction of modern technical utilities. Through the rational use of the metallic structures, often visible or subtly dissimulated, Victor Horta conceived flexible, light and airy living areas, directly adapted to the personality of their inhabitants. -
Brussels Aterloose Charleroisestwg
E40 B R20 . Leuvensesteenweg Ninoofsestwg acqmainlaan J D E40 E. oningsstr K Wetstraat E19 an C ark v Belliardstraat Anspachlaan P Brussel Jubelpark Troonstraat Waterloolaan Veeartsenstraat Louizalaan W R20 aversestwg. T Kroonlaan T. V erhaegenstr Livornostraat . W Louizalaan Brussels aterloose Charleroisestwg. steenweg Gen. Louizalaan 99 Avenue Louise Jacqueslaan 1050 Brussels Alsembergsesteenweg Parking: Brugmannlaan Livornostraat 14 Rue de Livourne A 1050 Brussels E19 +32 2 543 31 00 A From Mons/Bergen, Halle or Charleroi D From Leuven or Liège (Brussels South Airport) • Driving from Leuven on the E40 motorway, go straight ahead • Driving from Mons on the E19 motorway, take exit 18 of the towards Brussels, follow the signs for Centre / Institutions Brussels Ring, in the direction of Drogenbos / Uccle. européennes, take the tunnel, and go straight ahead until you • Continue straight ahead for about 4.5 km, following the tramway reach the Schuman roundabout. (the name of the road changes : Rue Prolongée de Stalle, Rue de • Take the 2nd road on the right to Rue de la Loi. Stalle, Avenue Brugmann, Chaussée de Charleroi). • Continue straight on until you cross the Small Ring / Boulevard du • About 250 metres before Place Stéphanie there are traffic lights: at Régent. Turn left and take the small Ring (tunnels). this crossing, turn right into Rue Berckmans. At the next crossing, • See E turn right into Rue de Livourne. • The entrance to the car park is at number 14, 25 m on the left. E Continue • Follow the tunnels and drive towards La Cambre / Ter Kameren B From Ghent (to the right) in the tunnel just after the Louise exit. -
The Arts of Early Twentieth Century Dining Rooms: Arts and Crafts
THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY (Under the Direction of John C. Waters) ABSTRACT Within the preservation community, little is done to preserve the interiors of historic buildings. While many individuals are concerned with preserving our historic resources, they fail to look beyond the obvious—the exteriors of buildings. If efforts are not made to preserve interiors as well as exteriors, then many important resources will be lost. This thesis serves as a catalog of how to recreate and preserve an historic dining room of the early twentieth century in the Arts and Crafts, Art Nouveau, and Art Deco styles. INDEX WORDS: Arts and Crafts, Art Nouveau, Art Deco, Dining Room, Dining Table, Dining Chair, Sideboard, China Cabinet, Cocktail Cabinet, Glass, Ceramics, Pottery, Silver, Metalworking, Textiles, Lighting, Historic Preservation, Interior Design, Interior Decoration, House Museum THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY B.S.F.C.S, The University of Georgia, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF HISTORIC PRESERVATION ATHENS, GEORGIA 2005 © 2005 Sue-anna Eliza Dowdy All Rights Reserved THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY Major Professor: John C. Waters Committee: Wayde Brown Karen Leonas Melanie Couch Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May, 2005 DEDICATION To My Mother. -
Un “Central Park” Au Cœur De L'europe La Restauration Du Parc Du
Un “Central Park” au cœur de l’Europe La restauration du Parc du Cinquantenaire Colophon Sabine Cartuyvels, historienne de l’Art des Jardins Centre Agronomique de Recherches Appliquées de la Province de Hainaut (C.A.R.A.H.), Jean-Philippe Bauvin Un "Central Park" au cœur de l’Europe. Centre de Recherche Urbaine - Institut de Sociologie de l'ULB (Université Libre de Bruxelles), Marisa La restauration du Parc du Cinquantenaire. Liebaut et Françoise Noël Espaces Mobilités, Alix Van Cauwenberghe Cette publication est également disponible en néerlandais sous le titre ‘Een “Central Park” in het hart Fondu Landscape Architects, Els Claes et Benoît Fondu van Europa. De restauratie van het Jubelpark.’ Institut Bruxellois pour la Gestion de l’Environnement, Machteld Gryseels, Serge Juwet, Serge Kempeneers, Erik Vandevelde Une publication de la Fondation Roi Baudouin, rue Brederode 21 à 1000 Bruxelles. Q-Park Belgium Holding, Kristof Voeten Roland Berger Strategy Consultants, Didier Tshidimba et Edward Verté Rédaction finale S Design, François-Joseph de Lantsheere Xavier Flament, journaliste Tensen et Huon, Christian Fuchs et Stéphane Tensen Paul Geerts, journaliste Graphisme Contributions rédactionnelles Casier/Fieuws Isabelle Corten Marie-Françoise Degembe Impression Benoît Fondu Weissenbruch Eric Hennaut Serge Kempeneers Coordination technique Isabelle Corten, urbaniste et architecte Traduction Paul Geerts, journaliste Illustrations En couverture et p.30 : photo aérienne du parc, 2004, IR Eurosens Correcteurs p. 4, 6, 9, 10, 11, 16, 25 et 26 : photos de Christine Bastin et Jacques Evrard Ivo Adriaenssens p. 8 à gauche : plan général de l'Exposition Universelle de Bruxelles, 1888, Editeur C.H. Bertels, Anne Bruwier Bruxelles, AAM p. -
National Identity and Nineteenth-Century Franco-Belgian Sculpture
National Identity and Nineteenth-Century Franco-Belgian Sculpture This book elaborates on the social and cultural phenomenon of national schools dur- ing the nineteenth century, via the less studied field of sculpture and using Belgium as a case study. The role, importance of, and emphasis on certain aspects of national identity evolved throughout the century, while a diverse array of criteria were indicated by com- missioners, art critics, or artists that supposedly constituted a “national sculpture.” By confronting the role and impact of the four most crucial actors within the artistic field (politics, education, exhibitions, public commissions) with a linear timeframe, this book offers a chronological as well as a thematic approach. Artists covered include Guillaume Geefs, Eugène Simonis, Charles Van der Stappen, Julien Dillens, Paul Devigne, Constan- tin Meunier, and George Minne. Jana Wijnsouw holds a PhD from the Department of Art History, Music, and Theatre Studies at Ghent University. Routledge Research in Art History Routledge Research in Art History is our home for the latest scholarship in the field of art history. The series publishes research monographs and edited collections, covering areas including art history, theory, and visual culture. These high-level books focus on art and artists from around the world and from a multitude of time periods. By making these studies available to the worldwide academic community, the series aims to promote quality art history research. For a full list of titles in this series, please visit www.routledge.com/Routledge-Research- in-Art-History/book-series/RRAH. The Gamin de Paris in Nineteenth-Century Visual Culture Delacroix, Hugo, and the French Social Imaginary Marilyn R. -
La Représentation Picturale Et Sculpturale Des Hiercheuses Dans L’Œuvre De Constantin Meunier (1831-1905)
Axe 1: Droit et féminisme - La représentation picturale et sculpturale des hiercheuses dans l’œuvre de Constantin Meunier (1831-1905). Rendre la dignité et la justice à une héroïne du travail Par Filip Dorssemont e-legal, Volume n°3 Pour citer l’article : Filip Dorssemont, « Axe 1: Droit et féminisme - La représentation picturale et sculpturale des hiercheuses dans l’œuvre de Constantin Meunier (1831-1905). Rendre la dignité et la justice à une héroïne du travail », in e-legal, Revue de droit et de criminologie de l’ULB, Volume n°3, avril 2019. Adresse de l'article : http://e-legal.ulb.be/volume-n03/hommage-a-eliane-vogel-polsky/axe-1-droit-et-feminisme-la-representati on-picturale-et-sculpturale-des-hiercheuses-dans-l-oeuvre-de-constantin-meunier-1831-1905-rendre-la- dignite-et-la-justice-a-une-heroine-du-travail La reproduction, la communication au public en ce compris la mise à la disposition du public, la distribution, la location et le prêt de cet article, de manière directe ou indirecte, provisoire ou permanente, par quelque moyen et sous quelque forme que ce soit, en tout ou en partie, ainsi que toute autre utilisation qui pourrait être réservée à l’auteur ou à ses ayants droits par une législation future, sont interdits, sauf accord préalable et écrit de l’Université libre de Bruxelles, en dehors des cas prévus par la législation sur le droit d’auteur et les droits voisins applicable en Belgique. © Université libre de Bruxelles – avril 2019 - Tous droits réservés pour tous pays - ISSN 2593-8010 Page 1/68 Page 2/68 Rendre la dignité et la justice à une héroïne du travail « Je trouve le travail assez noble pour être glorifié » Constantin Meunier1 « Meunier a animé le travailleur, admirable dans son effort, comme un héros antique » Jules Destrée2 Page 3/68 Introduction §1 3Dans une publication de l’Association belge des relations de travail de 1977, publiée en vue de commémorer la première décennie de cette association, Eliane Vogel-Polsky a analysé rétrospectivement ce que l’on pourrait appeler les Trente glorieuses d’après-guerre. -
To Theo Van Gogh. London, Sunday, 20 July 1873
To Theo van Gogh. London, Sunday, 20 July 1873. Sunday, 20 July 1873 Metadata Source status: Original manuscript Location: Amsterdam, Van Gogh Museum, inv. nos. b10 V/1962 (sheet 1) and b1457 V/1962 (sheet 2) Date: Letter headed: Londen 20 Juli 1873. Additional: Original [1r:1] Londen 20 Juli 1873 Waarde Theo, Dank voor je brief, die mij veel genoegen deed. Ik ben blij dat het je goed gaat, & t je bij Mr. Schmidt aan huis bevallen blijft. Mr. Obach had met pleizier kennis met je gemaakt.1 Ik hoop dat wij in t vervolg veel zaken met jelui zullen doen. Dat schij van Linder3 is zeer mooi. Wat de photogravure betreft, ik weet wel zoowat hoe zij gemaakt worden, maar heb het niet gezien, en t is mij niet helder genoeg om het uit te leggen.5 1 Obach2 had made a journey to the Netherlands and had evidently visited Brussels as well. Cf. FR b2644, 19 July 1873. 3 It is possible that Van Gogh is referring to the French painter Philippe Jacques Linder4; it is not known which work Theo wrote about. 5 The essence of the process of photo-engraving is the application of a light-sensitive layer to the matrix (the copper plate), upon which a transparency is projected. The exposed material hardens and the unexposed material 1 2 To Theo van Gogh. London, Sunday, 20 July 1873. De Engelsche kunst trok mij in t begin niet erg aan, men moet er aan wen- nen. Er zijn echter knappe schilders hier, o.a. Millais die The Huguenot, Ophelia &c. -
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. -
The Letters of Vincent Van Gogh
THE LETTERS OF VINCENT VAN GOGH ‘Van Gogh’s letters… are one of the greatest joys of modern literature, not only for the inherent beauty of the prose and the sharpness of the observations but also for their portrait of the artist as a man wholly and selessly devoted to the work he had to set himself to’ - Washington Post ‘Fascinating… letter after letter sizzles with colorful, exacting descriptions … This absorbing collection elaborates yet another side of this beuiling and brilliant artist’ - The New York Times Book Review ‘Ronald de Leeuw’s magnicent achievement here is to make the letters accessible in English to general readers rather than art historians, in a new translation so excellent I found myself reading even the well-known letters as if for the rst time… It will be surprising if a more impressive volume of letters appears this year’ — Observer ‘Any selection of Van Gogh’s letters is bound to be full of marvellous things, and this is no exception’ — Sunday Telegraph ‘With this new translation of Van Gogh’s letters, his literary brilliance and his statement of what amounts to prophetic art theories will remain as a force in literary and art history’ — Philadelphia Inquirer ‘De Leeuw’s collection is likely to remain the denitive volume for many years, both for the excellent selection and for the accurate translation’ - The Times Literary Supplement ‘Vincent’s letters are a journal, a meditative autobiography… You are able to take in Vincent’s extraordinary literary qualities … Unputdownable’ - Daily Telegraph ABOUT THE AUTHOR, EDITOR AND TRANSLATOR VINCENT WILLEM VAN GOGH was born in Holland in 1853. -
Understanding the Structural Concept of the Design of the Winter Garden
Structural Studies, Repairs and Maintenance of Heritage Architecture XI 131 Understanding the structural concept of the design of the Winter Garden at the Royal Glasshouses of Laeken (Brussels, Belgium) by three-dimensional structural analysis L. Lauriks, M. de Bouw & I. Wouters Department of Architectural Engineering, Vrije Universiteit Brussel, Belgium Abstract The Winter Garden (1874-1876) is part of the major complex of the Royal Glasshouses of Laeken, situated at the north of Brussels, Belgium. As part of the ongoing renovation study, we want to have an insight into the structural concept of the iron frame. There are two different viewpoints on the structural design of this impressive glasshouse by Alphonse Balat. This paper examines the structural concept by calculations of three-dimensional models of the iron frame in a finite elements software package. Keywords: Winter Garden, Balat, Brussels, glasshouse, Vierendeel, dome, structural concept, iron, glass. 1 Building the Winter Garden 1.1 The Royal Glasshouses of Laeken The Royal Domain of Laeken, situated at the north of Brussels, is one of the residences of the Belgian royal family. The Royal Palace was built in 1781 stimulated by the Governors-General of the Austrian Netherlands. It was expanded with an orangery in 1818 and a complex of glasshouses from 1874 until 1905. The complete set of glasshouses takes up an area of 1.5 ha, covered with 2.5 ha of glass (Goedleven [1]). All entities were built between 1818 and 1905 in order of king Leopold II. Alphonse Balat (°1818 †1895) was the architect of the majority of these Royal Glasshouses. -
Jubelpark Residence - European Quarter Brussels
BBF - Jubelpark Residence - European Quarter Brussels The Avenue de la Renaissance Residence is located in the European Quarter of Brussels (Schuman-Leopold-Cinquentenaire), just on the other side of the Parc Cinquantenaire. This is the park between the Avenue de Tervueren and the Rue de le Loi, next to Schuman. Here you have the Cinquantenaire monument, an arch erected for the 50th anniversary of the independence of Belgium. The monument houses a museum and well worth a visit. The property is a genuine find for those who wish to enjoy the social life of the city. Nearby, you have plenty of shops, bakeries, delicatessens, etc. on the Rue de Tongres as well as an arcade with fashion boutiques. In this magnificent property, we offer comfortable studios, and one- and two-bedroom apartments with our flexible rental package. Smooth metro connections via the Merode metro station take you to all the hotspots and places of interest in Brussels, and the yellow trams (39 and 44) will take you to the lovely villages of Stockel and Tervuren. Avenue de la Renaissance 47, European Quarter Property Details Apartment Type Name Max Occupancy Min Stay Studio Apartment 2 91 nights 1 Bedroom Apartment 2 91 nights 2 Bedroom Apartment 3 91 nights (Local rates and taxes may apply) Amenities Colour Television Digital TV (Freeview) Elevators (Lifts) Entryphone Full kitchen High speed internet con... Indoor parking Internet services Iron Ironing board Kitchenette Maid service Microwave Modem Parking chargeable subj... Pots and pans Room service Safe Safe deposit box Satellite television Shower only Tables and chairs Toaster oven Washing machine Wheel chair access The Apartment Service, 5-6 Francis Grove, London, SW19 4DT Fax: +44 (0) 20 8944 6744 Tel: +44 (0) 20 8944 3612 [email protected] www.apartmentservice.com https://v2.apartmentservice.com/search/Belgium/Brussels/propertyid148463. -
April 2018 | Nr 026 027 Dossier KUNSTENAARSATELIERS
KUNSTENAARSATELIERS DOSSIER Nr026-027 April 2018 | Nr 026027 Dossier KUNSTENAARSATELIERS Varia INTERIEURINRICHTING VAN HET KIK GESPREKKEN OVER IMMATERIEEL ERFGOED DE KUNSTENAARS- ATELIERS VAN ANTOINE WIERTZ DOSSIER EN CONSTANTIN MEUNIER ‘SATELLIETMUSEA’ VAN DE KONINKLIJKE MUSEA VOOR SCHONE KUNSTEN VAN BELGIË DOMINIQUE MARECHAL CONSERVATOR VAN HET WIERTZMUSEUM FRANCISCA VANDEPITTE CONSERVATOR VAN HET CONSTANTIN MEUNIERMUSEUM Binnenzicht in het voormalige atelier van Antoine Wiertz, vandaag Wiertzmuseum (A. de Ville de Goyet, 2017 © BUP/BSE). HET ANTOINE WIERTZ- EN HET CONSTANTIN MEUNIERMUSEUM VORMEN TWEE BIJZONDERE VOORBEELDEN VAN BRUSSELSE KUNSTENAARSATELIERS: OORSPRONKELIJK WERK- EN WOONPLEK VAN DE RESPECTIEVELIJKE KUNSTENAARS, NU OPENBARE MUSEA WAARIN HET OEUVRE VAN HUN BOUWHEER-KUNSTENAAR IS TENTOONGESTELD. BEIDE GEBOUWEN WERDEN IN HUN TOTALITEIT BESCHERMD. Niet alleen hun architectuur en specifieke typologie lagen aan de basis van die maatregel, maar ook het historische en artistieke belang van hun opdrachtgevers en hun latere bestemming als museum. De museale collecties behoren toe aan de Koninklijke Musea voor Schone Kunsten van België, die ze als ‘satellietmusea’ beheren. Deze bijdrage gaat in op de erfgoedkundige kwaliteiten van beide musea, schetst de uitdagingen voor het huidige museale beheer ervan en gaat na op welke wijze beide voormalige kunstenaarsateliers opgewaardeerd kunnen worden als museum en als monument. FAIT PAR J. VERDULDIG. / APRES 15 LEÇONS / DE PEINTURE / Procédé du PATIENTIOTYPE, zo luidt het merk- waardige opschrift op een schil- derij van Antoine Wiertz uit 1840 (afb.1). Met het – enigszins ironisch – neologisme Patientiotype kon- digde de kunstenaar als het ware zelf de moeilijkheden aan waar- mee het Wiertzmuseum doorheen zijn geschiedenis geconfronteerd zou worden; het zinnespeelt ook en vooral op het immense geduld waar- mee met wisselend succes naar oplossingen werd en wordt gezocht.