Le Cercle Guimard will once again be opening the doors of Hôtel Mezzara on 15 and 16 September as part of European Heritage Days. On this occasion, it is making use of some of its recent discoveries to stage the exhibition "Guimard and Avatars", whose main focus will be on Hector Guimard's creations in the field of ceramics and in particular his Chalmont planter and Cerny and Binelles vases, produced by the Sèvres Manufactory. The exhibition will also include popular versions of these models (with or without the agreement of the architect), such as those made by Fives-Lille.

The Fabergé Museum presents the International Academic Conference "Jewellery Art of the 19th and Early 20th Centuries" to be held from 20 to 22 September 2018.

This exhibition explores Otto Wagner's impact as the "father of modernism." The show demonstrates the context and the interactions between Wagner and other protagonists of early modernism as well as Wagner's influence on his contemporaries, students, and subsequent generations of architects and designers.

Otto Wagner (1841-1918) is one of the most significant architects of the turn of the twentieth century. His building projects-among them the City Railway (Wiener Stadtbahn), the Postal Savings Bank (Postsparkasse), and the Church at Steinhof-are regarded as milestones on the path from historicism to modernism.

Every summer, Fondation CIVA organises an exhibition with the theme "Unbuilt Brussels" presenting documents from its archives relating to architectural and urban projects that were never brought to fruition. This year, the exhibition is partly dedicated to Victor Horta, focusing mainly on his grand project to rebuild the block between the Palace of Fine Arts and the Central Station, and the Congo Pavilion designed for the Paris Exposition Universelle of 1900.

This year's exhibition in Brtnice is dedicated to the relationship between Josef
Hoffmann and Koloman Moser, who died 100 years ago this year, and juxtaposes designs by these two protagonists of the Wiener Werkstätte.

This exhibition marking the 100th anniversary of the death of Gustav Klimt, who also passed away in 1918, honors THE protagonist of Viennese Modernism par excellence, who saw the Secession as a venue for the fight for spiritual and artistic modern art. His highly contested, allegorical Faculty Paintings, which were destroyed during the last days of war in 1945, were seen as a paradigm shift and a credo of a new thematic and formal notion of the fin-de-siècle: spirit and matter, nature and art, as well as Eros and Thanatos constituted the program of his artistic oeuvre. The pictorial works of the avant-gardist Klimt further express a longing for beauty and sensuality. Along with works from the holdings of the Leopold Museum and the Leopold family's private collection, the presentation will feature exhibits from the Klimt Foundation, works given to the museum as a permanent loan by a Klimt descendant as well as select international loans from private and institutional collections. Thus, the exhibition retraces Klimt's artistic evolution from an exponent of late Historicism towards one of the most eminent representatives of Viennese Jugendstil.

The presentation will include a selection of drawings, photographs, and sketches for objects ranging from windows to baptismal fonts, that reveal something of the creative processa t Tiffany?s firm.

This exhibition provides an intimate view of the innovator who built the artistic empire of Tiffany Studios, a man who found inspiration, for example, in farm scenes, children playing in the surf, and boats on the Hudson River.

105 years after the official inauguration of the Wolfers Frères jewellery store in 1912, visitors will once again be able to admire the shop in its original form. To do this, the Cinquantenaire museum has cleared a room of approximately the same shape and area as that originally foreseen by Victor Horta in the building in rue d?Arenberg in Brussels

The original rooms of the last studio of Gustav Klimt in the Feldmühlgasse, 11 in Hietzing, Vienna, were identified after scrupulous investigations and were restored to their historical condition - right down to the wall colours and surfaces.  The atelier revives the atmosphere and décor that must have prevailed in the studios from 1911 to 1918.  Furniture reconstruction in the waiting room and studios was carried out with reliance on photos by Moriz Nähr and available samples of furnishings (for example, carpets).  In other rooms of the atelier, various media - old newspapers, etc. - provide information about significant models and "clients" from this period of Klimt's creativity.

From 1911 until his death in 1918, Gustav Klimt painted some of his most important works in his studios in the Feldmühlgasse.  Though at that time it was a single-level cottage, in 1923 the owner renovated the house and turned it into a neo-Baroque villa.  That means, of course, that Klimt never saw the building as we see it today.  In spite of that, the house became known - by people in the neighborhood as well as by aficionados - as the "Klimt Villa."

It is the story of a shop unlike anything built nowadays. Over 100 years old, it is the last semi-industrial building designed by Victor Horta that is still in existence! During the first 70 years of its life, cloth and fabrics were sold there, as planned by Charles Waucquez.
Witness to the transformation of Brussels, in a district that is without doubt the one that had suffered most from 20th century progress, the shop closed in 1970, and thereafter experienced its most difficult years. Then new hopes, new projects appeared.
In 1984, the building was bought by the federal State, with the aim of establishing a museum devoted to comic strip.

Marlene Dumas is one of the most influential painters in contemporary art. She confronts and seduces us with her expressive figurative motifs. Taking on the role of curator for the first time, she presents us with Edvard Munch's art in dialogue with her own works.

The travelling exhibition "Modernisme and Flowers. From Nature to Architecture" focuses on how the decorative arts of Modernisme represented plants and flowers when used in construction. An exhibition is for the first time establishing a dialogue between the world of plants and Modernista architecture. The exhibition discourse has been divided into four areas. The first explains the creative process of artists when "capturing" the images of flowers. The second involves a journey through eight applied arts fields in architecture and their respective creation processes: ceramics, mosaics, ironwork, stonework, stucco, hydraulic mosaics, stained glass and plasterwork. The third offers an exhibition tour of flowers and plants that recreate a huge timeless garden. The exhibition concludes by looking at the difficulty of preserving the applied arts in construction.

The exhibition curators are Fatima López and Marta Saliné, both PhDs in Art History and members of the GRACMON research group at the University of Barcelona.

Art Nouveau was a very significant period for the creation of wallpaper and fabrics. Inside Art Nouveau buildings, both Victor Horta and his contemporaries gave meaning to the concept of total art and revolutionised the applied arts, abolishing the hierarchy between different forms of plastic art. Original motifs, complex craftwork... the exhibition restores this fragile heritage to the place it deserves in the history of forms.

The National Museum in Kraków is commemorating the 110th anniversary of Stanis?aw Wyspianski 's death with an exhibition entitled "Wyspianski" that includes more than 900 works by this outstanding, multifaceted artist from Poland at the turn of the 20th century. Wyspianski was a major poet, painter, playwright, designer, illustrator, theatre reformer, graphic designer and set designer.

The exhibition entitled "Kraków 1900" presents the story of the city at the turn of the 20th century, a period known as Kraków's Belle Époque.

The National Gallery presents the first UK exhibition of Spain's Impressionist, Sorolla, in over a century.
Known as the "master of light" for his iridescent canvases, this is a rare opportunity to see the most complete exhibition of Joaquín Sorolla y Bastida's (1863-1923) paintings outside Spain.