Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
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Press packet / July 2014
Brussels,
An Impressionist Capital
From July 11 to November 2, 2014
www.mdig.fr
www.mdig.fr
Press packet / July 2014 Brussels, An Impressionist Capital
Press packet / July 2014 Brussels, An Impressionist Capital
summary
4 presenta on of the exhibi on
6 overview of the exhibi on
8 list of lenders
10 press images
Émile Claus
The Skaters (detail), 1891
‐
Oil on canvas, 148 x 205 cm
Museum voor Schone Kunsten, Ghent, 1892‐A
© Lukas ‐ Art in Flanders VZW / photo: Hugo Maertens
Press packet / July 2014 Brussels, An Impressionist Capital
presenta on
of
the exhibi on
Émile Claus
The Picnic (detail), c. 1887
‐
Oil on canvas, 129 x 198 cm
Royal Collec on, Brussels, 0885TA
© IRPA‐KIK, Brussels
Press packet / July 2014 Brussels, An Impressionist Capital
Brussels,
An Impressionist Capital
Exhibi on organized in collabora on
with the Musée d’Ixelles, Brussels.
At the end of the nineteenth century, Belgium, which had Tradi onally inclined to depict reality, and deeply aware of
won independence from the Netherlands in 1830, was one the language of colour and light, Belgian painters, like the
of the most powerful industrial na ons. Its liberal outlook French Impressionists, adopted a set of contemporary
fostered a buoyant cultural life and, in 1863, its young themes and interpreted them more freely. Although their
capital was the first outside of Paris to welcome the most senior representa ve, Alfred Stevens, chose to base his
pain ngs of Édouard Manet. career in Paris in order to reach an interna onal public, it
was at this me that such differing characters as James
Realism very quickly found a recep ve audience in Belgium,
Ensor, Émile Claus and Théo Van Rysselberghe established
where it conformed with a sensibility that had been firmly
themselves on the European ar s c scene in complete
rooted since the fi eenth century. A penchant for
independence.
observa on opened the way to original aesthe c
experiences and plein‐air pain ng flourished at the School
of Tervueren with Hippolyte Boulenger. This independent
art was ini ally supported by the Société Libre des Beaux‐
Arts, founded in 1868; then, at the ins ga on of lawyer
Octave Maus, the Cercle des XX organized an annual Salon
between the years 1884 and 1893 dedicated to avant‐garde
art, regardless of current or technique, where the works of
the Impressionists were regularly exhibited. Confirming the
cultural influence held by Brussels, which had become one
of the crossroads of innova ve art, this event was Exhibi on
con nued from 1894 to 1914 by the exhibi ons of the Libre under the Patronage of
Mr. Laurent Fabius,
Esthé que. Minister of Foreign Affairs
and Interna onal
Development and
under the Patronage
of His Excellency
Mr. Patrick Vercauteren
Drubbel, Ambassador of
Belgium in France.
Curators:
Marina Ferre , Director
of Research and
Exhibi ons at the musée
des impressionnismes
Giverny, and Claire
Leblanc, Curator
at the Musée d'Ixelles,
Brussels.
Press packet / July 2014 Brussels, An Impressionist Capital
overview
of
the exhibi on
Théo Van Rysselberghe
Émile Verhaeren (detail), 1915
‐
Oil on canvas, 77 x 92 cm
Musée d'Orsay, Paris, RF 1977‐357
© RMN‐Grand Palais (musée d’Orsay) / Photo : Hervé Lewandowski
Press packet / July 2014 Brussels, An Impressionist Capital
PAINTERS OF MODERN LIFE founded on the principle of the op cal mix of colours.
Georges Lemmen, George Morren and Van Rysselberghe
In Brussels, as in Paris, history pain ng gave way to the took up the divisionist technique and were among the
uptake of contemporary themes, the division between leading representa ves of the new school, but they soon
genres was sha ered and their hierarchy began to be turned away from the scien fic rigour of Seurat’s aesthe c
reversed. Tradi onally favoured by the painters of northern to espouse a new way to depict the real.
Europe, scenes of modern life (or genre scenes) were
valued by the enterprising middle class, which was
introducing new lifestyle trends. Jan Toorop, Félicien Rops
and Franz Smeers painted fashionable holiday resorts,
ÉMILE CLAUS AND LUMINISM
Georges Lemmen celebrated the in macy of family life, and In this context of rapid change, some ar sts preferred to
Henri Evenepoel and Van Rysselberghe concentrated on honour the permanence of the unspoiled countryside and
and excelled in portraiture, modernizing the conven ons of pre‐industrial rural life. Stamped with naturalism, the art
this na onal tradi on. of Émile Claus reveals a fondness for the light and colour
More so than in France, Impressionism in Belgium was of nature. Between 1889 and 1891 he spent his winters in
interpreted in a variety of ways and ar s c trajectories took Paris, returning to his home village of Astene, on the River
some unexpected detours. The career of James Ensor is Lys in Flanders, during the rest of the year where he drew
representa ve of this independence of spirit: early on he most of his inspira on. The very personal luminism in his
embraced Impressionism and adopted a light pale e and works remains one of the most original expressions of
fragmented touch, but, a er abandoning this prac ce, his Impressionism in Belgium. In 1904 he founded the
switch to Symbolism heralded the advent of Expressionism. Associa on Vie et Lumière with George Morren. Many
painters adhered to this aesthe c, notably James Ensor
and Anna Boch.
THE SECOND HOME OF NEO‐
IMPRESSIONISM AT THE DAWN OF THE
In February 1887, Georges Seurat exhibited A Sunday on La
Grande Ja e (1884–86, The Art Ins tute of Chicago) at the
TWENTIETH CENTURY
Salon des XX. Noted some months earlier by Émile In 1904, the Libre Esthé que devoted a large exhibi on to
Verhaeren and Théo Van Rysselberghe at its first showing at French Impressionism, the first of a series of retrospec ves
the Salon des Ar stes Indépendants in Paris, the manifesto dedicated to the trends that had developed over the
pain ng of Neo‐Impressionism created as much a sensa on previous two decades. At the end of this backwards look,
in Brussels as it had in the French capital. It was in an ar cle way was made for new ar s c experiences. Rik Wouters,
wri en by the cri c Félix Fénéon for the Belgian review Jos Albert and Auguste Oleffe radicalized their use of the
L’Art Moderne that the term “Neo‐Impressionist” appeared brush and colour, opening the path for the Fauvism of
for the first me in September 1886. Numerous Belgian Brabant. And James Ensor employed the same means to
painters showed immediate interest in the new technique take his art to the edge of Expressionism.
list of lenders George Morren The Orchard (detail), 1890 ‐ Oil on canvas, 100 x 175 cm Private collec on via Lancz Gallery, Brussels © Lancz Gallery, Brussels
Press packet / July 2014 Brussels, An Impressionist Capital
Belgium Spain
Antwerp, Koninklijk Museum voor Schone Kunsten Madrid, Juan San Nicolás Collec on
Brussels, Archives & Musée de la Li érature
Brussels, Archives de l’Art Contemporain en Belgique, France
Musées royaux des Beaux‐Arts de Belgique
Douai, Musée de la Chartreuse
Brussels, Bibliothèque des Musées royaux des Beaux‐Arts
Lille, Palais des Beaux‐Arts
de Belgique
Paris, Berès Gallery
Brussels, Royal Collec on
Paris, Musée d'Orsay
Brussels, French Community, on loan at the Musée d’Ixelles Paris, Musée d'Orsay, on deposit at the Musée na onal du
palais de Compiègne
Brussels, Musée Charlier
Brussels, Musée d'Ixelles
Brussels, Musée Camille Lemonnier
Netherlands
Amsterdam, Van Gogh Museum
Brussels, Musée et jardin Van Buuren
Brussels, Musées royaux des Beaux‐Arts de Belgique
Charleroi, Musée des Beaux‐Arts
Switzerland
Genève, Associa on des Amis du musée du Pe t Palais
Ghent, Museum voor Schone Kunsten
Lausanne, Fonda on de l’Hermitage
Liège, Musée des Beaux‐Arts (BAL)
Namur, Musée provincial Félicien Rops
Without forge ng the many private lenders who wish to
Oostende, Mu.ZEE remain anonymous.
Caroline and Maurice Verbaet Collec on
Triton Founda on
Press packet / July 2014 Brussels, An Impressionist Capital
images
Théo Van Rysselberghe
Entrance to the Roscoff Harbour (detail), 1889
Oil on canvas, 50 x 61 cm
Musée d'Orsay, Paris, RF 1982‐16
© RMN‐Grand Palais (musée d’Orsay) / Photo : Hervé LewandowskiPress packet / July 2014 Brussels, An Impressionist Capital These images are only available to illustrate ar cles about the exhibi on and for its dura on. All other rights reserved.
Press packet / July 2014 Brussels, An Impressionist Capital
Émile Claus Anna Boch
Émile Claus
The Picnic, c. 1887 Dunes in the Sun, c. 1903
The Li ing of the Traps, 1893
‐ ‐
‐
Oil on canvas, 129 x 198 cm Oil on canvas, 62 x 95 cm
Oil on canvas, 130 x 200 cm
Royal Collec on, Brussels, 0885TA Musée d'Ixelles, Brussels, gi from Octave Maus, 1906,
Musée d'Ixelles, Brussels, purchase from the ar st in
© IRPA‐KIK, Brussels O.M. 20
1894, C.C. 102
© Musée d'Ixelles, Brussels / Photo: Mixed Media
© Musée d'Ixelles, Brussels / Photo: Mixed Media
Théo Van Rysselberghe
James Ensor Poster for the Salon de la Libre Esthé que, 1896
City Hall, Brussels, 1885 ‐
‐ Lithograph, 90,5 x 68 cm
Oil on canvas, 100 cm x 81 cm Musée d'Ixelles, Brussels, gi from Joseph Bo e, 1906, B. 508
Musée des Beaux‐Arts (BAL), Liège, AM 64/268 © Musée d'Ixelles, Brussels / Photo: Mixed Media
© Musée des Beaux‐Arts (BAL), Liège
© ADAGP, Paris 2014
Constan n Meunier
Coal Drawer Going Down to the Pit, c. 1890
‐
Oil on canvas, 84 x 50 cm
Musée des Beaux‐Arts, Charleroi, city purchase in 1954,
219
© Musée des Beaux‐Arts, Charleroi / Photo: Luc Schrobiltgen
Émile Claus
The Skaters, 1891
Alfred Stevens ‐
Consola on or The Condolence Visit, 1857 Oil on canvas, 148 x 205 cm
‐ Museum voor Schone Kunsten, Ghent, 1892‐A
Oil on canvas, 75 x 98 cm George Morren © Lukas ‐ Art in Flanders VZW / photo: Hugo Maertens
Private Collec on via Patrick Derom Gallery, Brussels The Orchard, 1890
© Patrick Derom Gallery , Brussels / Photo: Vincent ‐
Everarts Oil on canvas, 100 x 175 cm
Private collec on via Lancz Gallery, Brussels
© Lancz Gallery, BrusselsPress packet / July 2014 Brussels, An Impressionist Capital
Frantz Charlet
The Beach in Oostende, c. 1900
‐
Oil on canvas, 65 x 87 cm
Musée d'Ixelles, Brussels, gi from Madeleine Maus, 1922,
O.M. 26
© Musée d'Ixelles, Brussels / Photo: Mixed Media
Jos Albert
The Large Interior or The Lunch, 1914
‐
Oil on canvas, 201 x 149,5 cm
Property of the French Community, on loan at the
Musée d’Ixelles, Brussels
© Musée d'Ixelles, Brussels / Photo: Vincent Everarts
© ADAGP, Paris 2014
Théo Van Rysselberghe
Émile Verhaeren, 1915
Victor Hageman
‐
Country Girl, c. 1900
Oil on canvas, 77 x 92 cm
‐
Musée d'Orsay, Paris, RF 1977‐357
Oil on canvas, 40 x 90 cm
Henri Evenepoel © RMN‐Grand Palais (musée d’Orsay) / Photo : Hervé
Musée d'Ixelles, Brussels, gi from Octave Maus, 1906,
Portrait of Albert Devis, 1897 Lewandowski
O.M. 99
© Musée d'Ixelles, Brussels / Photo: Mixed Media ‐
Oil on canvas, 120 x 50 cm
Musée d'Ixelles, Brussels, purchase in 1995, C.C. 3777
© Musée d'Ixelles, Brussels / Photo: Mixed Media
Théo Van Rysselberghe
Portrait of Marguerite Van Mons, 1886 Théo Van Rysselberghe
‐
Entrance to the Roscoff Harbour, 1889
Oil on canvas, 89,5 x 70,5 cm Oil on canvas, 50 x 61 cm
Museum voor Schone Kunsten, Ghent, 1979‐C
Musée d'Orsay, Paris, RF 1982‐16
© Lukas ‐ Art in Flanders VZW / Photo: Dominique
© RMN‐Grand Palais (musée d’Orsay) / Photo : Hervé
Provost LewandowskiUseful informa on Admission fee
Musée des impressionnismes Giverny Ticket for galleries
99 rue Claude Monet | 27 620 Giverny Adult: 7 €
T 02 32 51 94 65 | contact@mdig.fr Child 12 to 18 / Student: 4,50 €
www.mdig.fr Child 7 to 11: 3 €
Visitor with disabili es: 3 €
Brussels, An Impressionist Capital Child under 7: free
From July 11th to November 2nd, 2014
Every day from 10 am to 6 pm Free on 1st Sunday of the month
(last admission 5:30 pm )
Family cket:
On place: restaurant – tea‐room, Buy 3 ckets get one free child admission
gi shop‐bookstore
Annual Pass: 20 €| Duo Pass: 35 €
Audioguide: 3 €
Combined ckets *
Musée des impressionnismes
+ Maison et Jardins de Claude Monet
Adult: 16,50 €
Child 12 to 18 / Student: 9,50 €
Child 7 to 11: 8 €
Visitor with disabili es: 7 €
Child under 7: free
Musée des impressionnismes
+ Musée de Vernon
Adult: 9 €
Student over 26: 6,50 €
Child under 7: free
Available to individuals only, no queuing
required.
Online purchasing available:
www.mdig.fr
www.fnac.com
www. cketnet.fr
Anna Boch
(* addi onal charge for management costs )
Dunes in the Sun, c. 1903
‐
Oil on canvas, 62 x 95 cm
Musée d'Ixelles, Brussels, gi from Octave Maus, 1906,
O.M. 20
© Musée d'Ixelles, Brussels / Photo: Mixed MediaPress packet / July 2014 Brussels, An Impressionist Capital
Musée For further informa on
des impressionnismes Giverny Please contact:
99 rue Claude Monet Anne Samson Communica ons
BP 18 Léopoldine Turbat
27620 Giverny T: 01 40 36 84 35
France leopoldine@annesamson.com
T: 33 (0) 232 51 94 65 At museum
F: 33 (0) 232 51 94 67 Head of Communica on and Partnerships
Opening every day Géraldine Brilhault
T: 02 32 51 92 48
contact@mdig.fr g.brilhault@mdig.fr
www.facebook.com/mdig.fr
www.mdig.fr
Open from March 28th to November 2nd, 2014
Every day from 10 am to 6 pm
(last admission 5:30 pm)
Théo Van Rysselberghe
Portrait of Marguerite Van Mons (detail), 1886
‐
Oil on canvas, 89,5 x 70,5 cm
Museum voor Schone Kunsten, Ghent, 1979‐C
© Lukas ‐ Art in Flanders VZW / Photo: Dominique
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