Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes

 
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Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
Press packet / July 2014

Brussels,
An Impressionist Capital
From July 11 to November 2, 2014

                                               www.mdig.fr

                                                www.mdig.fr
Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
Press packet / July 2014   Brussels, An Impressionist Capital
Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
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
Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
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
Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
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.
Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
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
Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
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.
Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
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
Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
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
Brussels, An Impressionist Capital - From July 11 to November 2, 2014 Press packet / July 2014 - Musée des impressionnismes
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 Lewandowski
Press 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, Brussels
Press 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                                                  Lewandowski
Useful 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
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                                                        Child 7 to 11: 8 €
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                                                        Available to individuals only, no queuing
                                                        required.

                                                        Online purchasing available:
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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 Media
Press 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

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Opening every day                                            Géraldine Brilhault
                                                             T: 02 32 51 92 48
contact@mdig.fr                                              g.brilhault@mdig.fr
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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
Provost
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