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Armleder, John M. ; Bagnoli, Marco ; Baquié, Richard ; Beuys, Joseph ; Bianchi, Domenico ; Clemente, Francesco ; Cragg, Tony (Anthony) ; Cucchi, Enzo ; Dokoupil, Jiri Georg ; Hien, Albert ; Kapoor, Anish ; Kirkeby, Per ; Kopf, Willi ; Kounellis, Jannis ; Lafontaine, Marie-Jo ; Lavier, Bertrand ; Merz, Mario ; Messina, Vittorio ; Opie, Julian ; Paladino, Mimmo ; Paolini, Giulio ; Pistoletto, Michelangelo ; Plessi, Fabrizio ; Poirier, Anne & Patrick ; Richter, Gerhard ; Rousse, Georges ; Scheibl, Hubert ; Scholte, Rob ; Schütte, Thomas ; Solano, Susana ; Staccioli, Mauro ; Virnich, Thomas ; Zorio, Gilberto
West-Europa --- Art, European --- Art, European - 20th century - Exhibitions.
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Art, European --- Art --- Private collections --- Exhibitions. --- Berlin --- Exposition --- Peinture --- Art, European - 20th century - Exhibitions. --- Art - Private collections - Germany - Berlin - Exhibitions.
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Art --- Art, Modern --- Exhibitions --- Expositions --- Cobra (Association) --- Exhibitions. --- Art, European --- hedendaagse kunst --- Contemporary [style of art] --- Cobra --- Art, European - 20th century - Exhibitions. --- cobra
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Créé à Paris en novembre 1948 par des artistes, peintre ou écrivains, venus de Copenhague (Jorn), Bruxelles (Dotremont, Noiret) et Amsterdam (Appel, Corneille, Constant), le mouvement CoBrA reste méconnu hors d’Europe. Assimilé tantôt à une queue de comète surréaliste, tantôt à une manifestation nordique de l’art tachiste ou informel, Cobra est aussi perçu comme une formule européenne de l’expressionnisme abstrait tel qu’il fleurit alors aux États-Unis. Cobra : Copenhague – Bruxelles – Amsterdam. L’acronyme est symbolique d’une géographie qui s’est déployée au nord de Paris et d’une époque qui dépasse ses quelques années d’existence (1948–1951). Cobra est un esprit (une fête) qui traduit les attentes et les désillusions d’une jeunesse au sortir de la guerre Cobra s’ouvrit largement à l’espace européen. Internationaliste, le regroupement – en fait un « lien souple » nourri d’expositions et de publications au premier rang desquelles figure la revue Cobra – ébauche une Europe nouvelle faite de rencontres et de débats. Ceci explique que soixante ans plus tard, ce n’est pas moins de trente-six artistes représentant six nationalités qui se retrouvent aux cimaises des Musées royaux de Bruxelles, avec plus de deux cents œuvres venues de tous les horizon. Le présent projet vise d’abord à retracer l’histoire du mouvement Cobra en le plaçant dans son contexte historique et culturel. Après la Libération et pendant la Guerre froide, Cobra a voulu explorer d’autres pistes que l’on qualifierait aujourd’hui de libertaires ou d’alternatives. À ce titre, l’action de Cobra méritera d’être soulignée dans une perspective qui conduira certains membres au Situationnisme et à Fluxus.'
Painting, Belgian --- Painting, French --- Painting, Danish --- Painting, Dutch --- Peinture belge --- Peinture française --- Peinture danoise --- Peinture hollandaise --- Exhibitions --- Expositions --- Cobra (Association) --- Cobra --- Art, European --- 709.04 --- Arts 20th century (1900 - 1999) --- Peinture française --- Art, European - 20th century - Exhibitions
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In the early 20th century, Paris attracted artists from around the globe. The city offers them freedom and opportunities. Chagall, Picasso and Mondrian embarked on their careers in Paris. But their fame overshadows the fact that although all three were from different backgrounds, Chagall, Picasso and Mondrian were migrants. And, despite their success, often faced hardships because they were not French nationals. This publication also sheds light on artists who garnered less fame during their sojourn in the French capital. Like Joaquín Torres-García, who traveled form Uruguay to Europe, founded an artists? group and journal in Paris, and eventually returned to Uruguay. There, he promoted the development of Latin-American art. Or Nicolaas Warb, whose name was actually Fine Warburg, to be taken seriously by French critics, assumed a less German-sounding male pseudonym.
Art --- Art, European --- Paris (France) --- Intellectual life --- History --- Painting --- easel paintings [paintings by form] --- Picasso, Pablo --- Mondriaan, Piet --- Chagall, Marc --- Paris --- Art - France - Paris - Exhibitions --- Art, European - 20th century - Exhibitions --- Paris (France) - Intellectual life - History - 20th century - Exhibitions
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D’abord « géographie fantastique, sorte d’ « ailleurs rêvé » par poètes et artistes en quête d’évasion, l’Orient vers lequel vont se diriger les peintres et les homme de lettre à partir du début du XIXe siècle est un monde codifié par les réminiscences de la Bible et de l’Antiquité. Delacroix retrouve Homère au Maroc après avoir peint avec des couleurs frénétiques, inspirées de la littérature de Byron et de Hugo, le joug ottoman sur la Grèce. Gautier s’attend à revoir à Constantinople les mamouchis des turqueries de Molière. Le propos de cette exposition et de la publication de référence qui l’accompagne est d‘abord de lister ces différents « orient », de définir l’origine de ce mouvement esthétique, d’en apprécier les aspirations, les critères, la thématique et, bien entendu, les implications en terme de genre pictural et de recherches chromatiques : tous sujets abordés à l’échelle européenne. Un tel thème fédérateur n‘est pas sans rappeler par son ambition les grande programmations lancées jadis par l’Union européenne.
Orientalism in art --- Art, European --- Orientalisme dans l'art --- Art européen --- Exhibitions --- Exhibitions. --- Expositions --- Delacroix, Eugène, --- Kandinsky, Wassily, --- Histoire de l'art --- Orientalisme --- 19e siècle --- 20e siècle --- Art européen --- Delacroix, Eugène, --- Orientalism in art - Exhibitions --- Art, European - 19th century - Exhibitions --- Art, European - 20th century - Exhibitions --- Orientalism in art - Europe - 19th-20th century. --- ODALISQUES (ART) --- ORIENTALISME (ART) --- PEINTURE --- 19e SIECLE
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Art --- Graindorge, Fernand --- Musée d'art moderne et d'art contemporain [Liège] --- Belgium --- anno 1900-1999 --- verzamelaar (kunst) --- mecenaat --- Franse Gemeenschap --- Graindorge, Ferdinand C. --- Art, European --- Private collections --- Graindorge, Fernand, --- Art collections --- Communauté française de Belgique --- kunstverzamelaar --- Art, European - 20th century - Exhibitions --- Art - Belgium - Private collections - Exhibitions --- Graindorge, Fernand, - 1903-1985 - Art collections - Exhibitions --- kunstverzamelaar. --- mecenaat. --- Franse Gemeenschap. --- Peinture --- Peintres --- Belgique --- Exposition --- Liège --- Graindorge, Fernand, - 1903-1985
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A ground-breaking exhibition at Tate Britain, scheduled to mark the end of the 1918 centenary commemorative period, will be the first to examine the memorialisation and the social and aesthetic impact of the First World War. It will explore how memories of the war have been filtered through specific cultural forms and political agendas. These range from memorial painting and sculpture, to representations of the destruction of bodies and landscape, and new aesthetic developments in art which offered ways of critiquing and re-imagining post-war society. It will compare visual responses to the war in Britain, Germany and France and include painting, sculpture, works on paper, photography, film and medical collections. This accompanying publication will examine how processes of commemoration and mourning were represented through the visual arts in Britain, Germany and France. Illustrations will range from artworks specifically commissioned as memorials of war - such as commemorative painting cycles and memorial sculpture - to those associated with formal and intellectual developments such as Dada and Surrealism, which created new visual forms to process experiences and memories of the conflict. Authors will also examine how memories of war influenced the art of the inter-war years and look at the social impact of the First World War through the interaction between artists, politics and city spaces
Monuments --- War and society --- War memorials --- World War, 1914-1918 --- Influence (Literary, artistic, etc.) --- Memorials --- Wereldoorlog I --- avant-garde --- interbellum --- sociale geschiedenis --- 1916 - 1932 --- 20ste eeuw --- Art, European --- Art and design --- Art and war --- Art and the war --- Influence --- Art, European - 20th century - Exhibitions. --- World War, 1914-1918 - Art and the war - Exhibitions. --- World War, 1914-1918 - Influence - Exhibitions --- Wereldoorlog I. --- interbellum. --- sociale geschiedenis. --- avant-garde. --- 1916 - 1932. --- 20ste eeuw.
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Colonisation. Decolonisation --- Thematology --- Art --- anno 1930-1939 --- anno 1920-1929 --- Africa --- kolonisatie --- Mambour, Auguste --- Iacovleff, Alexandre --- Lacoste, Henry --- 1920 - 1940 --- 20ste eeuw --- Afrika --- Art, Belgian --- Art, European --- Africa, Sub-Saharan --- Exhibitions --- Tournai. Musée des Beaux-Arts --- Africa, Black --- Africa, Subsaharan --- Africa, Tropical --- Africa South of the Sahara --- Black Africa --- Sub-Sahara Africa --- Sub-Saharan Africa --- Subsahara Africa --- Subsaharan Africa --- Tropical Africa --- Iconography --- Art, Belgian - 20th century - Exhibitions --- Art, European - 20th century - Exhibitions --- Africa, Sub-Saharan - In art - Exhibitions --- kolonisatie. --- Mambour, Auguste. --- Iacovleff, Alexandre. --- Lacoste, Henry. --- 1920 - 1940. --- 20ste eeuw. --- Afrika.
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Des tableaux, photographies, dessins et sculptures réalisés de la fin du XIXe siècle au début de la Première Guerre mondiale, issus de collections internationales et traduisant l'incertitude des hommes face à l'avenir par des images prévisionnelles tour à tour apocalyptiques et pleines d'espérance. Exposition présentée au musée des Beaux-Arts de Mons. ©Electre 2015
Art --- anno 1910-1919 --- anno 1900-1909 --- anno 1800-1899 --- Apocalyptic art --- Art apocalyptique --- Forecasting --- History --- Prévision --- Histoire --- Wereldoorlog I --- visioenen --- angst --- waanzin --- psychiatrie --- oorlogen --- 19de eeuw --- 20ste eeuw --- Prévision --- Forecasting. --- Art, European --- World War, 1914-1918 --- Art and the war --- Expressionism (Art) --- Exhibitions --- Art [European ] --- 19th century --- 20th century --- Horror in art --- angst, vrees, ontzetting; 'Paura', 'Timidità o Timore', 'Timore' (Ripa) --- emotionele ziektes, waanzin, krankzinnigheid --- Art, European - 19th century - Exhibitions --- Art, European - 20th century - Exhibitions --- World War, 1914-1918 - Art and the war - Exhibitions --- Wereldoorlog I. --- visioenen. --- angst, vrees, ontzetting; 'Paura', 'Timidità o Timore', 'Timore' (Ripa). --- emotionele ziektes, waanzin, krankzinnigheid. --- psychiatrie. --- oorlogen. --- 19de eeuw. --- 20ste eeuw.
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