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Hugues Plaideux, « La descendance de Claude Bourgelat », in Bulletin de la Société française d'histoire de la médecine et des sciences vétérinaires, 12, 2012, p. 161-176. on line Bourgelat, Claude , in: Frank Arthur Kafker, The encyclopedists as individuals: a biographical dictionary of the authors of the Encyclopédie, Oxford 1988 ...
This section is dedicated to the fine arts from the Middle Ages to the 20th century showing sculptures, furniture, ceramics, metals, and glassware. There is an important and large department of textiles including Flemish tapestries , costumes and dress, as well as needle lace and bobbin lace (parts from the royal collection).
This name was changed again in 1927 to its current name: the Royal Museums of Fine Arts of Belgium (French: Musées royaux des Beaux-Arts de Belgique, Dutch: Koninklijke Musea voor Schone Kunsten van België). The museum's redevelopment by the architect Albert Van Huffel from 1923 to 1930 allowed a new presentation of the collections.
Mosan art is a regional style of Romanesque art from the valleys of the Meuse in present-day Wallonia, and the Rhineland, with manuscript illumination, metalwork, and enamel work from the 11th, 12th and 13th centuries. Among them the masterpiece of Renier de Huy and perhaps of the whole Mosan art Baptismal font at St Bartholomew's Church, Liège.
The Royal Academy of Science, Letters and Fine Arts of Belgium (French: Académie royale des sciences, des lettres et des beaux-arts de Belgique [akademi ʁwajal de sjɑ̃s de lɛtʁ e de boz‿aʁ də bɛlʒik], sometimes referred to as La Thérésienne [la teʁezjɛn]) is the independent learned society of science and arts of the French Community of Belgium.
The Royal Academy of Fine Arts of Brussels (French: Académie royale des Beaux-Arts de Bruxelles [akademi ʁwajal de boz‿aʁ də bʁysɛl] (ArBA-EsA); Dutch: Koninklijke Academie voor Schone Kunsten van Brussel [ˈkoːnɪŋkləkə ˌaːkaːˈdeːmi voːr ˈsxoːnə ˈkʏnstə(ɱ) vɑm ˈbrʏsəl]) is an art school in Brussels, Belgium, founded in 1711.
Victor Horta began designing the Centre for Fine Arts in Brussels following World War I, in a more geometric style than his previous works, similar to Art Deco. The Belgian Parliament initially denied funding for the plans. [3] With the founding of the Société du Palais des Beaux-Arts in 1922, the project was revived.
Art Deco in Brussels was the result of a dual Austrian and American influence: on the one hand, the influence exerted by the Austrian architect Josef Hoffmann and the Viennese Secession, via the Stoclet Palace in the Woluwe-Saint-Pierre municipality, on certain Brussels' architects following geometric Art Nouveau (such as Léon Sneyers, Jean-Baptiste Dewin and Camille Damman), as well as on ...