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Ensor, James --- Painters --- Artists --- Peintres --- Artistes --- Exhibitions --- Dictionaries --- Dutch --- Expositions --- Dictionnaires néerlandais --- Ensor, James, --- Exhibitions. --- Homes and haunts --- Friends and associates --- Demolder, Eugène --- 19de eeuw --- 20ste eeuw --- Oostende --- 75 <493> --- Schilderkunst--België --- 75 <493> Schilderkunst--België --- Dictionnaires néerlandais --- Catalogs --- Painting --- 20th century --- Belgium --- Drawing --- Art [Belgian ] --- Schilderkunst--België --- Ensor, James Sydney --- Ensor, James Sydney Edouard --- Ensor, James. --- Demolder, Eugène. --- 19de eeuw. --- 20ste eeuw. --- Oostende. --- Dutch.
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Pierre-Louis Flouquet, Lajos Kassák and Jos Léonard were three visual artists and graphic designers who shaped the interwar years by harnessing the endless possibilities of the line and the plane, and the circle, triangle and square.They shared the conviction that geometric abstraction could be a blueprint for a renewed society after the First World War. It was a message that was advanced through the international avant-garde network of magazines that included, amongst others, Kassák's MA, the Brussels-based 7 Arts with Flouquet as artistic director and Het Overzicht run by Jozef Peeters and Michel Seuphor in Antwerp, with Léonard as an occasional contributor. For Constructivist artists there was no clear distinction between West and East, or centre and periphery. 'Connection' was the keyword, for example between the Belgian and Hungarian avant-garde movements in Antwerp, Brussels, Budapest and Vienna. Exhibition: Kunstmuseum aan Zee MuZEE, Oostende, Belgium (17.06.-04.11.2018).
modern Belgian styles and movements --- interbellum --- Art --- Kassák, Lajos --- Leonard, Jos --- Flouquet, Pierre-Louis --- anno 1910-1919 --- anno 1930-1939 --- anno 1920-1929 --- 7.037 --- Kunstgeschiedenis ; 1900 - 1950 --- Exhibitions --- 766.037 --- 75.037 --- Beeldende kunst ; 1ste helft 20ste eeuw ; interbellum --- Avant-garde --- Modernisme --- Flouquet, Pierre-Louis 1900-1967 (°Parijs, Frankrijk ; sterft te Brussel, België) --- Kassák, Lajos 1887-1967 (°Nové Zamky, huidige Slovenië) --- Léonard, Jos 1872-1957 (°Antwerpen, België) --- Gebruiksgrafiek ; 1900 - 1950 --- Schilderkunst ; 1900 - 1950 --- Flouquet, Pierr-Louis; Kassak, Lajos ; Léonard, Jos --- Kunst --- moderne Belgische stijlen en stromingen --- grafische kunst --- kunstenaars 20ste eeuw --- Flouquet, Pierre Louis --- Léonard, Jos --- tentoonstellingscatalogus --- MAD-faculty 19 --- 7 Arts (1922 – 1928) --- Het Overzicht (1921-1925) --- Ma (1920-1925) --- avant-garde --- modernisme --- 1919 - 1939 --- 20ste eeuw --- 7 Arts (1922-1928) --- interbellum. --- modernisme. --- avant-garde. --- 7 Arts (1922-1928). --- Het Overzicht (1921-1925). --- Ma (1920-1925). --- Flouquet, Pierre-Louis. --- Kassák, Lajos. --- Léonard, Jos. --- 1919 - 1939. --- 20ste eeuw.
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Frans Masereel' reveals Masereel's vision of the world, his social criticism and pacifism. Frans Masereel (1889-1972) can be considered the most important graphic artist and woodcutter of the twentieth century. Mu.ZEE looks back on his work, and brings Masereel's ideas into dialogue with today's society through the work of contemporary artists from Europe, the Middle East, Africa and America: Mary Evans, Anton Kannemeyer, Glenn Ligon, Dan Perjovschi, Billie Zangewa, William Kentridge, Philip Aguirre y Otegui, Slavs and Tatars, Kerry James Marshall, Papa Mfumu'eto 1er. From a constructive standpoint, the artists question injustice and inequality. With a critical eye, and sometimes with satire, they tackle the subjects that personally interest them and offer them up for discussion via images. As an illustrator for newspapers and magazines, and working with woodcuts, Masereel had the opportunity to pose critical questions to a wide audience in an accessible manner. Visual immediacy and storytelling are just two of the strategies that are explored in the wide range of exhibited works. The common denominator is a positive outlook on the future and, in this, Masereel's portrayal of mankind was unfailingly optimistic
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Jules Schmalzigaug en het kookboek van het futurisme wil een eerbetoon brengen aan het korte maar intense leven van deze Belgische futurist. In 2017 zal het honderd jaar geleden zijn dat Schmalzigaug het leven liet in Den Haag. Hij was de allereerste Belgische schilder die zich kon manifesteren in de kern van een internationale avant-gardestroming: het Italiaanse futurisme: zijn artistieke hoogtepunt bereikte hij in 1914! 0Deze retrospectieve blikt terug op de korte, maar zeer krachtige futuristische periode die Schmalzigaug in Italië en later als vluchteling in Den Haag heeft doorgemaakt. 0Geënt op de artistieke inspiratie van de Italiaanse futuristen Filippo Tommaso Marinetti, Giacomo Balla, Umberto Boccioni, Carlo Carrà en Gino Severini, genoot zijn authentieke stijl veel respect: zij beschouwden hem als talentvolle zielsverwant en vriend. 0Deze tentoonstelling brengt het futurisme van Schmalzigaug in dialoog met dat van zijn Italiaanse deelgenoten én met werk van andere Belgische avant-gardekunstenaars, zoals Paul Joostens, Pierre-Louis Flouquet, Prosper De Troyer, Edmond Van Dooren en enkele anderen? die na 1917 kortstondig de invloed van het futurisme ondergingen. 0Exhibition: MuZEE, Oostende, Belgium (29.10.2016-05.03.2017).
Futurist --- Schmalzigaug, Jules --- C3 --- schilderkunst --- Kunst en cultuur --- Exhibitions --- België --- 75.071 SCHMALZIGAUG --- kleurenleer --- kleur --- futurisme --- Schmalzigaug Jules --- twintigste eeuw --- kunst --- Futurism (Art) --- Artists --- Artists. --- Schmalzigaug, Jules, --- Belgium. --- Futurisme (Art) --- Artistes --- Exhibitions. --- Biography. --- Expositions --- Biographies --- kleurentheorie --- futuristisch manifest --- Balla, Giacomo --- 1909 - 1940 --- 20ste eeuw --- futurisme. --- kleurentheorie. --- futuristisch manifest. --- Schmalzigaug, Jules. --- Balla, Giacomo. --- 1909 - 1940. --- 20ste eeuw. --- België.
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What do Belgium and Argentina have in common? More than you might suspect! This astonishing story is told through these extraordinary exhibitions that explore the artistic ties between Belgium and Argentina from 1910 through 1958. It focuses on an artist network comprising three individuals who were either directly or indirectly in contact with one another. The exhibition concerns the Belgian-Argentinian artist, Julio Payro, who developed a lifelong friendship with Paul Delvaux, the Belgian artist, Victor Delhez, who emigrated to Argentina after the death of his parents, and the Argentinian lawyer, Ignacio Pirovano, friend of Vantongerloo and collector of his works.This is an unprecedented, unique narrative that includes masterful pieces by Belgium and Argentina's modernist elite, among others including Victor Delhez, Frans Masereel, Marthe Donas, Paul Delvaux, Georges Vantongerloo, Anne Bonnet, Jo Delahaut and Alejandro Xul Solar, Emilio Pettoruti, Raquel Forner, Tomas Maldonado, Victor Magariños, and Juan Del Prete. Exhibition: MuZEE, Ostende, Belgium (19.02.-13.06.2021).
7 <09> --- 930.25 --- 930.25 Archiefwetenschap. Archivistiek --- Archiefwetenschap. Archivistiek --- 7 <09> Kunstgeschiedenis. Kunsthistorie --- Kunstgeschiedenis. Kunsthistorie --- modernisme --- abstracte kunst --- tentoonstellingen (Buenos Aires) --- Cercle et Carré (1929-1930) --- sociaal realisme --- Payró, Julio --- Delhez, Victor --- Pirovano, Ignacio --- Delvaux, Paul --- Vantongerloo, Georges --- Masereel, Frans --- 1910 - 1958 --- 20ste eeuw --- België --- Argentinië --- 7.037 --- Kunst ; 20ste eeuw ; modernisme --- Kunst; Argentinië --- Kunstgeschiedenis ; 1900 - 1950 --- Art --- art history --- influence --- Modern [style or period] --- anno 1900-1999 --- Belgium --- Argentina --- modernisme. --- abstracte kunst. --- tentoonstellingen (Buenos Aires). --- Cercle et Carré (1929-1930). --- sociaal realisme. --- Payró, Julio. --- Delhez, Victor. --- Pirovano, Ignacio. --- Delvaux, Paul. --- Vantongerloo, Georges. --- Masereel, Frans. --- 1910 - 1958. --- 20ste eeuw. --- België. --- Argentinië. --- Art, Belgian --- Art, Argentine --- Modernism (Art) --- Delhez, Victor, --- Masereel, Frans, --- Xul Solar, Alejandro, --- Pettoruti, Emilio, --- Forner, Raquel,
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Impressionism (Art) --- Impressionnisme (Art) --- Painting, Belgian. --- Peinture belge. --- Boch, Anna,
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Dujourie, Lili --- Art, Belgian --- 7.07 --- 778.5.07 --- 77.092.07 --- 75.07 --- Beeldende kunst ; installaties ; 1967-2011 ; Lili Dujourie --- Kunst ; van vrouwen --- Installaties ; environments --- Assemblages ; collages --- Dujourie, Lili °1941 (°Roeselare, België) --- Tentoonstellingscatalogi ; Gent ; S.M.A.K. Stedelijk Museum voor Actuele Kunst --- Tentoonstellingscatalogi ; Oostende ; Mu.ZEE --- Belgische kunstenaars --- Belgian art --- Sint-Martens-Latem (Group of artists) --- XX (Group of artists) --- Zwarte Panter (Group of artists) --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Videokunstenaars, laserkunstenaars, computerkunstenaars, klank en beeld kunstenaars --- Fotografen A - Z --- Schilderkunst ; schilders --- Exhibitions --- Dujourie, Lili. --- Dujourie, Lili °1941 (°Roeselare, België) --- Art --- installatiekunst
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Frans Masereel' reveals Masereel's vision of the world, his social criticism and pacifism. Frans Masereel (1889-1972) can be considered the most important graphic artist and woodcutter of the twentieth century. Mu.ZEE looks back on his work, and brings Masereel's ideas into dialogue with today's society through the work of contemporary artists from Europe, the Middle East, Africa and America: Mary Evans, Anton Kannemeyer, Glenn Ligon, Dan Perjovschi, Billie Zangewa, William Kentridge, Philip Aguirre y Otegui, Slavs and Tatars, Kerry James Marshall, Papa Mfumu'eto 1er. From a constructive standpoint, the artists question injustice and inequality. With a critical eye, and sometimes with satire, they tackle the subjects that personally interest them and offer them up for discussion via images. As an illustrator for newspapers and magazines, and working with woodcuts, Masereel had the opportunity to pose critical questions to a wide audience in an accessible manner. Visual immediacy and storytelling are just two of the strategies that are explored in the wide range of exhibited works. The common denominator is a positive outlook on the future and, in this, Masereel's portrayal of mankind was unfailingly optimistic
21.32 history of the graphic arts. --- Art and society --- Art --- Art, Modern --- Political aspects --- Themes, motives --- Masereel, Frans,
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