Birgit Schulte & Klaus-Jurgen Sembach - Henry van de Velde - 1993

Henry van de Velde Contents see photo 4. Publication for the exhibition at the Karl Ernst Osthaus Museum, Hagen, Kunstmuseum zu Weimar, Bauhaus Archiv Berlin, Museum voor Sierkunst Ghent, Museum für Gestaltung Zurich and Germanisches Nationalmuseum Nuremberg from 1992 to 1994. Important and extensive monograph! Hundreds of illustrations, many in color (see photos) In excellent condition except for 2 small, non-disruptive creases on the front and back plate (see photos) Will be carefully packed with trace and insurance shipped. Good luck with bidding!! "Henry Clemens Van de Velde was a Belgian painter, designer, formmaker and architect. Together with Victor Horta, Van de Velde is regarded as one of the most important representatives of Art Nouveau. He is also called the ‘apostle of functionalism’. "Henry van de Velde" is a book by Birgit Schulte & Klaus-Jürgen Sembach. It is published by Pandora. This edition appeared in 1995. The work has 464 pages. It is written in Dutch. Henry Clemens Van de Velde (Antwerp, 3 April 1863 – Zürich, 15 October 1957) was a Belgian painter, designer, formmaker and architect. Together with Victor Horta Van de Velde is considered one of the leading representatives of Art Nouveau. He is also called the “apostle of functionalism.” From the early 20th century he played a leading role in architecture and the decorative arts, especially in Germany. Life story Boekentoren (Ghent University Library) Henry Van de Velde as painter Van de Velde studied painting with Karel Verlat at the Royal Academy of Fine Arts in Antwerp and with painter Carolus-Duran in Paris. He was deeply influenced by Paul Signac and Georges Seurat and painted in a neo-impressionist style (pointillism). When he was twenty-two, he moved to the remote Wechelderzande. The landscape and its inhabitants were the subject of his canvases for four years. His aversion to the academism of painters in Antwerp and his visit to the Barbizon artistic colony in France led him to choose the countryside. He followed in the footsteps of painters such as Isidore Meyers and Adriaan Joseph Heymans and moved to the North Kemp. It was the latest gathering place for young artists full of “Sturm und Drang.” Wechelderzande had not yet been opened by a tram and the main road. Henry Van de Velde found lodging in inn De Keizer, in the shadow of the Wechele church. With the influx of artists, the farm with inn was turned into a boarding house. The inn gained a second floor with bedrooms and a painter’s studio. Van de Velde painted his Woman at the Window from the open window on the south side. This canvas is one of a series of eight depicting impressions of village life. The inn is as of 2019 a brasserie-restaurant named De Nieuwe Keizer. Little remains of the days of artists. The artist’s studio has disappeared; only the north side, the round-arched studio window, is still visible. In 1889 Van de Velde became a member of the artistic group Les XX in Brussels. After Vincent van Gogh exhibited some works at the Les XX annual exhibition, Van de Velde became one of the first painters influenced by Van Gogh. During his honeymoon to the Netherlands he visited Theo van Gogh’s widow, Vincent’s brother. He got a good idea of almost the entire oeuvre of the painter and realized he would never reach that overwhelming level. For him, that marked the end of his career as a painter. Henry Van de Velde as designer and architect From 1892 Van de Velde left painting, turning to applied arts (metalwork arts, porcelain and cutlery, fashion design, carpet and upholstery design) and also architecture, including the construction of his own house in Uccle, Bloemenwerf. In his house the furnishings and design formed an organic whole. In 1895 he designed interiors and furniture for the influential art trade L'Art Nouveau, of the gallery owner Samuel Bing in Paris. Van de Velde’s work also stood in Bing’s pavilion at the 1900 World’s Fair in Paris. Van de Velde was influenced by the English Arts and Crafts movement with John Ruskin and William Morris, and was one of the first architects and furniture designers to work in an abstract style with curved lines. He resisted copying historical styles and chose an original form. He aimed to dispel the banality and ugliness from the human spirit. In 1899 he settled in Germany. He received a number of commissions here, including for the Museum Folkwang and the Hohenhof villa in Hagen and for the Nietzsche House in Weimar. Together with Harry Kessler, he was the founder of the Kunstgewerbeschule and the academy in Weimar, the precursor of the Bauhaus that would be further developed by Walter Gropius in Dessau. He also maintained a close connection with the Deutscher Werkbund. Portrait of Maria Sèthe, later Van de Velde’s wife, 1891, by Théo Van Rysselberghe. It was through the painter that Van de Velde and Maria Sèthe got to know each other. During World War I Van de Velde stayed in Switzerland and the Netherlands. On behalf of Helene Kröller-Müller he designed a supervisor’s house and a workers’ house in Schipborg (building permits dated 1921), next to the farm De Schepbord designed by architect Hendrik Petrus Berlage in 1914. Van de Velde ultimately designed the Kröller-Müller Museum in Otterlo, which opened in 1938. In 1925 he was appointed to the Higher Institute for Art History and Archaeology of Ghent University, where he taught architectural history and applied arts from 1926 to 1936. In 1933 he was commissioned to design the university library; the Boekentoren. Construction began in 1936, but completion took place after World War II and, for budgetary reasons, not entirely according to the original plans. Thus the reading room floor was marble instead of black rubber as Van de Velde had intended. Van de Velde was also involved in the construction of Ghent University Hospital. In Leuven he built his last building on Diestsestraat between 1936 and 1942, a technical school, which between 1997 and 2000 was restored and converted by architect Georges Baines into the Municipal Library and City Archive, De Tweebronnen. The original building served in 1997 as a backdrop for the choreography with minimal music by the Rosas group of Anne Teresa De Keersmaeker for the dance film Rosas danst Rosas. Contrary to what is often thought, Van de Velde is not the designer of the logo of the National Company of the Belgian Railways; the famous letter “B” in a lying ellipse was conceived by Jean de Roy. As artistic advisor to NMBS he did, however, persuade the management to choose this design. He also designed the interior of the first Belgian electric trains (AM35) and several carriages. Van de Velde also left his mark on Blankenberge railway station. After World War II Van de Velde was accused of collaboration. The case never went to trial, but Van de Velde did go into voluntary exile; he retired to Oberägeri in Switzerland, where he wrote his memoirs, which would appear posthumously in 1962 under the title Die Geschichte meines Lebens. Van de Velde died in 1957 at the age of 94 in Zürich and was buried in Tervuren, near Brussels.

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