Académie Royale des Beaux-Arts

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Entrance of the Académie royale des beaux-arts de Bruxelles, Rue du Midi/Zuidstraat, Brussels

The Académie Royale des Beaux-Arts - École supérieure des Arts de la Ville de Bruxelles (ARBA-ESA), in Dutch Koninklijke Academie voor Schone Kunsten van Brussel, is an art school, established in Brussels, Belgium. It was founded in 1711. Starting from modtest beginnings in a single room in the Brussels Town Hall, it has since 1876 been operating from a former convent and orphanage in the Rue du Midi / Zuidstraat, which was converted by the architect Pierre-Victor Jamaer. The school has played an important role in training important local artists.[1]

History[edit]

Traditionally, the artistic training in Brussels was organised in traditional workshops where masters would teach their skills to pupils. The masters needed to be registered weith their local guild to be able to practice their craft. On 30 September 1711, the magistrate of the City of Brussels gave the guilds of painters, sculptors, weavers and other amateurs the use of a room in the Brussels Town Hall to teach drawing classes to their pupils. On October 16 of the same year, some sort of school was established at these premises to organise the classes. he Tchool would concentrate mainly on teaching drawing.[2]

In 1737 the academy adopted its first rules. The city assumed some costs, including those for the models. A few decades later, disagreement broke out. The classes moved to the inn 't Gulden Hoofd and were even suspended for a while. The Bruges painter Bernard Verschoot took over the leadership of the academy and tried to put it back on the rails with a heavy hand. The governor-general of the Habsburg Netherlands, Duke Charles Alexander of Lorraine, put the school under his high protection in 1762. His attention went mainly to the architecture department. The school was re-established in 1768 as Académie de Peinture, Sculpture et Architecture with funds raised through a public subscription. Inspiration was found in the French model.

A year later, the school returned to the town hall. In 1795, the Academy was closed after the conquest of Brussels by the French revolutionary troops.

Resurgence under François-Joseph Navez[edit]

In 1829 the school moved into the Granvelle Palace (since demolished). One year later François-Joseph Navez became director. He organized the school and expanded it. In 1832 it moved to the basement of the left wing of the Industrial Palace. From 1835 til 1836 the plans of Navez were implemented. In 1836 it was awarded the privilege to wear "royale" as part of their name. The panel painting was declared to another important department. This was based on the old painting of the first golden age of Dutch painting. However, there was some time tensions at the Academy to the yet propagated Style of Neo-Classicism. In addition to painting and sculpture architectural education became more important. Only they never achieved the status of a pioneering teaching and training facility.[3][4]

In 1876 the Academy moved to the school buildings in the Rue du Midi / Zuidstraat. It is the building of the former monastery Boogaard what had meanwhile served as an orphanage. The architect Pierre-Victor Jamaer was able to link the whole school in the limited space of the existing ensemble. The facade was redesigned by the architectural style of classicism. Till today this academy is here. From 5 January 1889 women were also allowed to participate in a class for advanced students.[5] At the end of the 19th century was the founding of the modern LUCA Campus Sint-Lukas Brussels a strong competition. Meanwhile, ARBA is one of the 16 art schools of the French Community of Belgium. Under the director Charles van der Stappen the doctrine came to this university to an even greater prestige. Even literature and photography were part of the training offer.

In the European art scene around the turn of the century Brussels drew forth in addition to his training center in the shadow of Paris.[6] Since 1889 Brussels was the uncrowned capital of Art Nouveau, especially in the architecture, which had its triumphal procession through Prof. Horta.[7] The Academy managed the step to another center of the avant-garde in the panel painting. From the Academy and its students went influence on the development of Realism, Symbolism, the Impressionism, Neo-Impressionism, Post Impressionism and the newly incipient Expressionism. Everything was precursor of Modern Art.

In the year 1912 Victor Horta had made changes to the organisation of this school. A system of studios was created, as it was recommended by Paul Bonduelle and Lambot.[8][9][10]

In 1936 the Royal Order was made to the formation of the separate Department of Architecture.

Changes in organization and teaching after 1945[edit]

In 1949 the rank of a small department for planning and urban development was established, too. The architectural studies got the rank of university education. In 1972, the Department of artistic humanities was established. At last in 1977 the Department of Architecture had finally acquired its autonomy. In 1977 the Institute Supérieur d'Architecture Victor Horta, named after the Art Nouveau architect and former director, was founded.[11]

In 1980, the higher education of the second degree and new courses at the Academy of Fine Arts are presented.

Today programs are offered for Bachelor of Arts and Master of Arts in the fields of design, art and media and offered doctoral studies, too. The Academy has been an ESA (Ecole Supérieure des Arts - Art College) with a university orientation. In addition, it is part of Royal Academies for Science and the Arts of Belgium RASAB which was founded in 2001. It is responsible for the task of promoting activities of the affiliated members and organizations here and coordinate. - Her tasks include projects at home and abroad.

Department store L’Innovation, Brussels, by Victor Horta (1901)

The school is sometimes confused with the Royal Academies for Science and the Arts of Belgium and the Royal Academy of Science, Letters and Fine Arts of Belgium both separate institutions, and the French Académie des Beaux-Arts in Paris, part of the Institut de France.

The faculty and alumni of ARBA[edit]

Includes some of the most famous names in Belgian painting, sculpture, and architecture:

Notable directors and professors[edit]

Gallery of works by notable teachers and directors[edit]

  • Tilman-François Suys, St. Antonius-church of Amsterdam.

  • François Joseph Navez (1828), Traveelling Musicians, National Galleries of Scotland.

  • Eugène Simonis (1848), Equestian statue of Gottfried von Bouillon, Place Royale of Brussels.

  • Louis Gallait (1848): The family of the fisherman, Hermitage Museum, St. Petersburg, Russia.

  • Alexandre Robert, Young page, Private collection.

  • Joseph Quinaux (date unknown), The rest, Private collection.

  • Jean-François Portaels (date unknown), Sweet flowers, Private collection.

  • Joseph Stallaert (date unknown), The prophet Jeremiah prophesies the fall of Jerusalem, Private collection.

  • Herman Richir (unknown date), The sleep of Jamilé, Private collection.

  • Constant Montald (1893), Ophelia, Private collection.

  • Charles Van der Stappen (1894/98): Time, Meise Botanic Garden.

  • Jef Lambeaux (date unknown): Fountain of Brabo, Antwerp.

  • Victor Horta (1903/05), New department store Grand Bazar with Art Nouveau façade .

  • Victor Horta, Hotel Solvay, Avenue Louise 81, Brussels.

  • Victor Horta, Hotel van Eetvelde.

  • Victor Horta, Hôtel Tassel of Brussels, entrance area.

  • Jacques de Lalaing (date unknown):, Brabantine horse.

  • Alfred Theodore Joseph Bastien (date unknown), Canadian Cavalry Ready in a Wood, Canadian War Museum, Ottawa.

  • Alfred Theodore Joseph Bastien (1918), Grenade throwing, Canadian War Museum, Ottawa.

  • Henry Lacoste, St. Theodardus Church, Beringen-Mijn.

Some well-known alumni of the school[edit]

Gallery of works by notable students of the Académie[edit]

References[edit]

  1. ^ "300 years of history of the Académie Royale des Beaux-Arts". City of Brussels. Archived from the original on March 9, 2015. Retrieved March 7, 2015.
  2. ^ The principle of master and apprentice was left. This new school-system ultimately led to a loss of the specialised knowledge accumulated in the past by the respective guilds.
  3. ^ In 1842, the Palladio Society was founded. It emerged from the class of the then professor Tilman-François Suys. The aim was to promote students in their learning path. Later, she advised the architects in all professional matters. The company was oriented very academy. It doesn't exists.
  4. ^ Since 1936 the aims and objectives of the Palladian society are represented by the SADBr. They should be considered the successor organization.
  5. ^ In Europe, moved away at this point from the social point of view, that the women were assigned to the amateurism. With this opening, they gained the right to be recognized as full-fledged artist. The term can be seen in the sense of Friedrich Schiller and Johann Wolfgang von Goethe.
  6. ^ The Salon at Paris had reached its zenith at the time and thus lost its leading role.
  7. ^ In the architecture the flow of eclecticism must not be ignored, which is a combination of Neo-classicism and Art Nouveau. In Brussels the facades of new buildings got this architectural design, too. Even abroad, this style has been taken by architects and builders as a model for their projects. The far eastern building is the surviving water tower of Breslau, Schlesien. In Belgium belonged such well-known names like Paul Picquet, Jean Baes, Fernand Conrad, Henri Beyaert and Paul Hankar to the most influential architects.
  8. ^ The architect Paul Bonduelle lived from 1877 to 1955.
  9. ^ Since 1954 the Paul Bonduelle PriXin architecture from the Académie Royale des Beaux-Arts de Bruxelles is awarded.
  10. ^ Émile Labot was one of the key architects of the architectural style of the Belgian Art Nouveau.
  11. ^ In 2009, the Faculty of Architecture of the Free University of Brussels was founded. This was done after the merger of the two schools of architecture:
    • School of Architecture Victor Horta (ISAVH) and
    • The chamber of the French Community of the Higher Institute of Architecture (ISACF).
  12. ^ "Archived copy". Archived from the original on 2006-08-18. Retrieved 2015-06-30.{{cite web}}: CS1 maint: archived copy as title (link) RDK Netherlands Institute for Art History
  13. ^ Académie royale des Beaux-Arts de Bruxelles
  14. ^ "Archived copy". Archived from the original on 2006-08-18. Retrieved 2015-06-30.{{cite web}}: CS1 maint: archived copy as title (link) RDK Netherlands Institute for Art History
  15. ^ Académie royale des Beaux-Arts de Bruxelles

Exhibitions[edit]

  • Academie Royale des Beaux-arts et Ecole des Arts decoratifs de Bruxelles. Exposition centennale 1800–1900.
  • 1987: Académie Royale des Beaux-Arts de Bruxelles, 275 ans d'enseignement, from 07.05 - 28.06.1987.
  • 2007: Art, anatomie trois siècles d'évolution des représentations du corps, Académie royale des Beaux-arts de Bruxelles, 20.04. - 16.05.2007.

Biography[edit]

  • Academie Royale des Beaux-Arts de Bruxelles. 275 ans d'enseignement = 275 jaar onderwijs aan de Koninklijke Academie voor Schone Kunsten van Brussel. par Crédit Communal Bruxelles, 1987, ISBN 2-87193-030-9.
  • Academie Royale des Beaux-arts et École des Arts décoratifs de Bruxelles. Exposition centennale 1800–1900. catalogue of the exhibition at Bruxelles.
  • A. W. Hammacher: Amsterdamsche Impressionisten en hun Kring. J.M. Meulenhoff, Amsterdam 1946.
  • Wiepke Loos, Carel van Tuyll van Serooskerken: Waarde Hoer Allebé – Leven en werk van August Allebé (1838–1927). Waanders, Zwolle 1988, ISBN 90-6630-124-4.
  • Sheila D. Muller: Dutch Art – An Encyclopedia. Routledge, 2013, ISBN 978-1-135-49574-9.
  • Jean Bouret: L’École de Barbizon et le paysage française au XIXe siècle. Neuchâtel 1972.
  • Georges Pillement: Les Pré-Impressionistes. Zug 1972, OCLC 473774777
  • Nathalia Brodskaya: Impressionismus. Parkstone Books, New York 2007, ISBN 978-1-85995-652-6.
  • Norma Broude: Impressionismus. an international movement, 1860–1920 („World impressionism“). Dumont, Köln 2007, ISBN 978-3-8321-7454-5.
  • Jean-Paul Crespelle: Les Fauves, Origines et Evolution, Office du Livre, Fribourg, und Edition Georg Popp, Würzburg 1981, ISBN 3-88155-088-7.
  • Jean Leymarie: Fauvismus, Editions d’Art, Albert Skira Verlag, Genève 1959.
  • Kristian Sotriffer: Expressionismus und Fauvismus. Verlag Anton Schroll & Co., Wien 1971.
  • Jean-Luc Rispail: Les surréalistes. Une génération entre le rêve et l'action (= Découvertes Gallimard. 109). Gallimard, Paris 2005, ISBN 2-05-053140-0.
  • David Britt: Modern Art - Impressionism to Post-Modernism. Thames & Hudson, London 2007, ISBN 978-0-500-23841-7.
  • Sandro Bocola: Die Kunst der Moderne. Zur Struktur und Dynamik ihrer Entwicklung. Von Goya bis Beuys. Prestel, München/ New York 1994, ISBN 3-7913-1889-6. (Neuauflage im Psychosozial-Verlag, Gießen, Lahn 2013, ISBN 978-3-8379-2215-8)
  • Sam Phillips: Moderne Kunst verstehen - Vom Impressionismus ins 21. Jahrhundert. A. Seemann Henschel, Leipzig 2013, ISBN 978-3-86502-316-2.
  • Pierre Daix, Joan Rosselet: Picasso - The Cubist Years 1907–1916., Thames & Hudson, London 1979, ISBN 0-500-09134-X.
  • Michael White: De Stijl and Dutch Modernism (= Critical Perspectives in Art History). Manchester University Press, ISBN 0-7190-6162-8. (englisch)
  • Thomas, Karin: Blickpunkt der Moderne: Eine Geschichte von der Romantik bis heute. Verlag M. DuMont, Köln 2010, ISBN 978-3-8321-9333-1.

Sources[edit]

External links[edit]

Coordinates: 50°50′38″N 4°20′52″E / 50.8440°N 4.3477°E / 50.8440; 4.3477

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