“For me an object is something living. This cigarette or this box of matches contains a secret life much more intense than that of certain human beings.“  Joan Miro’

“The purpose of art is washing the dust of daily life off our souls.” — Pablo Picasso

Talking about washing people’s souls off from daily life: bidders defied grim market sentiment this month, with the majority of lots attracting enthusiastic souls bidding at Damien Hirst’s “Beautiful Inside My Head Forever” sale at Sotheby’s, London.

The highly publicized sale, which took place over two days, realized $207,169,510  above the high estimate, and included a new auction record for the artist with “The Golden Calf“, which sold for $19,227,777 to an anonymous collector.

“We are born with a scream; we come into life with a scream, and maybe love is a mosquito net between the fear of living and the fear of death. ” – Francis Bacon.

A 1976 Triptych by Francis Bacon brought $86.3 million at Sotheby’s, last May, becoming the most expensive work of contemporary art ever sold at auction and a retort to doomsayers who had predicted that the art market would falter seriously this season because of broad economic anxieties. “Recession? What recession?” Barbara Gladstone, a Chelsea dealer, said jokingly as she was leaving the salesroom.

Although the sale had top-quality art and dealers predicted it would be a success, it went well beyond even the auction house’s expectations, bringing in $362 million, above the sale’s high $356 million estimate. Three telephone bidders went for the painting, the most expensive postwar work of art ever sold at auction and sold by the Moueix family, producers of Château Pétrus wines.

“Don’t pay any attention to what they write about you. Just measure it in inches.” — Andy Warhol.

Andy Warhol’s Two Marilyns (Double Marilyn) at Christie’s auction house in London October 14, 2008. The picture was expected to fetch up to 6.5 million pounds ($11.4 million) at the Christie’s post-war and contemporary art sale on October 19.

The death of Marilyn provided Andy Warhol with the perfect pretext to capture, in a range of monochrome and multi-colored works, her celebrated visage smiling out with a pout rendered slightly ridiculous by association… In Two Marilyns (Double Marilyn), one of the early images on this theme executed in the months immediately following the star’s death, these features have been printed in black on the primed canvas, creating an elegant, even austere Pop stele to the tragic star. It was Two Marilyns and its sister-pictures both ushered in Warhol’s own fame while cementing that of the star.

Nobody has done more to capitalize on Andy Warhol’s increasing popularity than Mr. Mugrabi. Together with his two sons, this self-made former cloth merchant from Bogotá, Colombia, says that over the past 20 years he’s amassed about 800 of the artist’s works, a stake that’s easily three times larger than any other private Warhol collection in the world and nearly as large as the paintings collection owned by the Andy Warhol Museum in Pittsburgh. Dealers and major auction houses rarely buy or sell a Warhol without Mr. Mugrabi’s knowledge, and anyone who wants to buy one at auction must be prepared to outbid the family.

Tonino Cacace’s story is a little different and more inventive a creative than the aggressive Mugrabi family approach. The owner of the luxurious Capri Palace & Spa, commissioned the Italian artist Giorgio Tonelli to paint the bottom of two of the hotel’s private swimming pools:  Andy Warhol and the Rene Magritte in the gardens facing the Monte Solaro with the inspiration of the artist’s works in the rooms and bathrooms. The Mondrian and Kandinsky suites have some of their walls painted with the same concept.

The hotel is an art gallery on its own. Tonino Cacace makes a point to share his refined taste on Italian post-modern and contemporary art collection with his guests. After all it’s for no reason that guests receive  on arrival a ” Welcome to your home ” key holder booklet on their way to the rooms.

Among the large collection of interesting art works, I decided to mention a few, especially as I loved the context in which each one has been carefully placed.   The five-star hotel owner’s passionate involvement with life and the space he created, visibly transcend through the artist’s own understanding about the present space, the atmosphere, and finally the cultural background. The result is a natural and harmonic blend of cognitive and unconscious associations of personal and intimate well-being and exclusive, almost private hospitality.

A beautiful painting Giorgio De Chirico, founder of the “Metaphysics School” in 1960, “Ettore and Andromaca” stands close to the reception desk almost implying the longing for the guest arrival.

Most renowned Italian sculptor and worldwide recognized by his particular spheres and discs, both made of bronze, Arnaldo Pomodoro’s “Disco” invigorate the hotel’s main living room creating around a dynamic  perceivable movement of people socializing. Keith Harring lithograph of people dancing in the middle of a pair of ormolue Louis xv style wall lamps reinforces the energy.

The intriguing and gigantic bronze helmet “Elmo” by Mimmo Paladino, has been exclusively created for the Capri Palace lobby entrance. The artist who represents silence made up of shadows and mysterious magic declares: “Art is not a superficial thing, nor a poetic storm. Art is a process around a language of signs.”

I have often noticed children playing around the eyes and openings of the art piece—almost perceiving with gentleness how Mimmo Paladino, the painter, sculptor, regards his work as nomadic art, based on repeated passages, and explains that by nomad he means a crossing of the various territories of art-both in a geographic and temporary sense-with a great technical and creative freedom. Children realize their stay  in “Paradise” is provisional and they’ll be back home and to school soon.

British artist, Allen Jones’ “Believe It or Not”,  whose inspiration by European avant-garde movement and Pop Art honored him with numerous international prizes and awards reigns over the bar near the terrace.  Jones’s art takes the form of paintings and sculptures. It’s easy to notice with a Bellini in one’s hand and a enjoyable company, how his work connects a woman’s threads:  As an object,  as a subject, with long legs on elongated stiletto heels, the absolute symbol of a timeless eroticism and, in particular, a mirror on our age. But we are soon reminded we are in the island of Capri and everything else like in a fantasy is okay.

One of my favorites is Fabrizio Plessi’s “Azzurra”. This exclusive installation realized by the artist for the Capri Palace Hotel represents a typical Caprese boat used by the local fishermen to go into the most famous and romantic Blue Grotto.

Five monitors projecting a water flow are arranged inside the boat. Water and video, frequent characters in Fabrizio Plessi’s work, have the same blue surface, the same capability to carry objects and ideas, they both acquire their beauty from the reflection of the light. Again living the contrast of reality versus fantasy and possibly be so powerful to be able to enjoy both in the morning at sea  and the art work at night in the TV room. Which is real and which is fantasy?

Fabrizio Plessi’s work represents a point of contact between technology and humanity: old elements, images coming from our memories and new video-electronic flow are greatly combined to recall a hardly ever seen neoclassical balance. He is one of the major interpreters of video-art.

“Uomo-Corno” (Horn-Man), in polished bronze, with an iron hook structure is the symbol and emblem of a mythological world in which past and present, irony and tragedy, tradition and modernity take concrete form in a new vision of the amulet — a good luck charm and artifice of its own destiny. We all know how superstitious Neapolitans are

His bronzes are worked as if they were made of clay with scratches and furrows, or modeled to highlight the refractive qualities of their smooth surfaces.

The artistic quest of Pignatelli in “Eroi Melanconici” (Melancholic Heroes), forges a path of fascination between archaeology and the exploration of myths—hemp canvases sewn together depicting skies of ash and dust that come alive with rips and stitches in huge spaces immersed in shadow. Depicting the icy face of a sad Aphrodite or the monumental, poetic countryside of reconnaissance flight, Pignatelli’s paintings are like mute images from a film projected onto a lacerated screen. I could personally feel Anacapri’s landscape, archeological importance  but mostly my own global condition of being an almost rootless gypsy (like most of today’s travelers) through this artist canvas.

I will end with Arman Fernandez’s “L’Envers du Désir”, potent and at the same time almost imperceptible among the small trees in planters and gray wicker furniture.

Influenced by Dada, and later by much of the Pop Art movement, Arman’s works stand out through their aesthetics; he was the master of composition and this provides even his most absurdest works with beautifully realized compositions. Whether paint on canvas or garbage in Plexiglas, Arman saw the beauty and relevance of the everyday world and created art to reflect his own imaginative ideas on the world. He dared to question traditional views on the nature of art, but stands out as he never abandoned the sense of beauty in composition that has been art’s foundation since antiquity. Apart from the incredible title, he is a Scorpio (as am I) and the intensity is of this feminine sculpture is unique.

Many more can be examined and appreciated individually. The Capri Palace “Art Gallery,” Mario Schifano,  Velasco, Domenico Cantatore, Alessandro Papetti, Stefano Cantaroni, Aldo Mondino, Jakub Nepraš: different artists with different styles, works of creativity that reflect a thousand shadings and life experiences that become the dominant elements within the eternal common denominator of artistic expression.

Apart from the Capri Palace’s complimentary acquarello (watercolor) painting classes conducted by painter, illustrator and art therapist  Michele Costantini (for guests as well as outsiders), the different art exhibitions that take place in the welcoming space also include a forthcoming project with the New York Guggenheim and Whitney Museums that consist in sponsoring trip expenses and stays in the hotel for young international talents so that they can be provided with ideal conditions to create their art. The world is teeming with art events this season. I will enumerate a few in Joelle’s Tips (below).

“I have been lucky enough to be able to live on my obsession. This is my only success” — Francis Bacon

The rest is up to you.

Joelle’s Tips:

Get your art Fix in the world next season events:

3rd Biennial of Contemporary Art of Sevilla – 3/10-11/1 (Sevilla)
Van Gogh at MOMA – 9/10-9/11 (New York)
Frieze – 16/10-19/10 (London)
Contemporary Istanbul – 16/10-19/10 (Istanbul)
SCOPE - 16/10-19/10 ( London )

It’s such a great feeling to come back from hectic Florence and have a nice walk around the peaceful garden here at the Villa.

Throughout the centuries it has been the tradition for Italian nobility to be patrons to great artists. Villa Mangiacane stays true to this sponsoring on-site artist from Zimbabwe and abroad, and numerous art exhibitions openings.

The best time for a walk is in the early evening prior to sunset. Colors reach a degree of saturation which is ideal for photo-shoots or just to admire the splendid collection of art and sculptures integrated in the composition of centennial trees, water basins, small lemons trees in terracotta vases, quiet and iron benches. Not to mention the vast almost infinite renaissance perspective of olive groves upon San Casciano hills.

Most of the profits go to the deserving African charities and the remaining profits are reinvested to support the Shona Art Sculptors in Zimbabue and to promote their work by enabling them to gain international recognition and exposure.

As you pace amongst the myriad of masterpieces in the ‘ Giardino della Scultura‘ with its backdrop of nature,your eye travels in time as it moves across a spectrum the include Lithuanian cubism, and Zimbabwean Shona Sculptures.

The Villa Mangiacane Estate stretches over 300 hectares with very versatile locations for any photographic or film shoot. This Renaissance Haven is an efficient location that offers a high variety of “ready to use” settings with great props – opulent chairs, artworks, textures and materials indoors as well as the Tuscan forest, vineyards, olive groves and the famous sculpture garden outdoors.

I realize that it was not only myself, Cosmopolitan magazine, but also Award winning Norwegian photographer Petter Hegre who studied at the Brooks Institute of Photography in California and worked for Richard Avedon before returning to Europe  has enjoyed the inspiration of the magical garden at the Villa. Hegre who published six books and his work has been exhibited internationally is known for being the pioneer of a new photographic genre called ‘The New Nude’, challenging ingrained views on the female nude.

Just as the Renaissance sculptors believed that a masterpiece lay dormant in every stone, and that artist simply awakens it- Villa Mangiacane itself has awakened to embrace a new era…

By the way if you happen to be in the neighborhood check the Giardino because a container full of new art work in on its way this time to live by the Olive trees through eternity…

Giotto found the kindling, Fra Angelico, Brunelleschi and Donatello built the fire. Massaccio and Verrocchio struck the match, then Leonardo, Michelangelo, Botticelli and Raphael threw gasoline-the result was the greatest blaze of art the world has ever seen.

Dour and medieval from the outside, Florence is so steeped in the fabulous Renaissance that it’s easy to mistake that she’s actually rather a stylish little kitten. So go on get art and about.

Exquisitely walkable, Florence is divided nicely down the middle by the Arno River, the north side of which is home to most of the main monuments and museums;The tourist-swamped Ponte Vecchio, Uffizi and Centro Storico (World heritage Unesco) at dead center. Santa Maria Novella and label-land Via Tornabuoni to the west, the Duomo and San Marco to the north, and Santa Croce due east. The south side of the Arno, Oltrarno is the city Rive Gauche, packed with artisan shops and atmosphere.

Here are some tips in case you decide suddenly to visit; by the way, you’ll need to know only two Italian phrases: Ciao Belloccia/Belloccio (Hello Gorgeous) and Vien Via, andiamo (com’on let’s go)

The Restaurants

Enoteca Pinchiorri: Serious occasion dining, calls for 3 Michelin stars, a 150.000- bottles cellar,over 200 wines by the glass, abundant crystal and pale pink linen and tasting menu that starts st 225 Euros.Via Ghibbellina,87 r Santa Croce +39055242757

BSJ: Designed by Mr. Bonan (a darling of Ferragamo’s) the chic-temporary whites and dark woods, pictures window over the Arno , and tiny, two table terrace (perfect for moon spooning) make for a relaxed sophisticated eve. Lungarno Hotels-Borgo San Yacopo.62r Oltrarno/ +39 055 281661

Trattoria 4 Leoni :Teal and tiles and orange tablecloths inside,but snag a parasol table on the delightful piazza terrace and hoover the classical local treats, divertimento. Via de Vellutini,1r ( piazza della Passera) Oltrarno /+ 39 055 218562

Coffee, Cake & Chocolate

Rivoire: My favorite, this peach tablecloth and woven chair haven of artisan cacao and scandalous pastries serves probably the finest hot chocolate( cioccolata con panna ) in the world. Via Vacchereccia ,4r/ Piazza della Signoria /+39055 214 412

Dolci e dolcezze:  Assuming no responsibility for your figure after visiting. Disgracefully decadent, ultra-dense, fudgy choc cake, made with fine Swiss and Belgian ingredients and creamy Maremma butter, the best in town. Stay away at all cost! Piazza Beccaria, 8r/ Sant’ Ambrogio +39 055 234 5458

Ice-cream

Forget the fluorescent dollopy rubbish you see all over town,the fresh, additive-free, handmade ice-creams you will find at the emporium below, one of the finest in the city.

Badiani: Take the best Vanilla ice cream you’ve ever tasted octopule it and you have patented ‘Buonvalenti’ flavor. The taxi you need to taste it is well worth it…Viale dei Mille, 208 / +39 055578 682

Sites, Museums & Activities

Florence has no museum pass system. This pathetic state of affair can be seriously deleterious to your enjoyment unless you are organized. Two words, book ahead-you’ll reduce your queueing time considerably. Have your passport or driving license if you wish to hire an audio guide or best hire a personal one

! This city is literally one huge, glorious, easily walkable treasure chest. Here are the favorite, big, small, famed and lesser so. Have yourself your very own Renaissance but do not try to do everything at once after all it took more that 60 years for an artist to accomplish one single door.

The Uffizzi : Despite being poorly laid out and presented, with its parlously ‘organized’ entry queueing system,it’s nonetheless completely unmissable. Piazzale degli Uffizzi ,6/+39055 294883

Accademia:The David is one of those unique life moments, and while Michelangelo was the classic Add artist, even his unfinished work amazes-the prisoners emerging from their bloks of stone are haunting. The plaster gals in the Bartolini Gallery are destined to be forever wallflowers. Via Ricasoli,58 /+39055238609

Santa Croce: Giotto’s divine c 14 cth Bardi Chapel frescoes, the tombs of Michelangelo and Galileo, the soothing serenity of the Pazzi Chapel, and the Museo dell’Opera accessible from inside the complex in the Leather School. Piazza Santa Croce /+ 39 055 246 61 05

Bardini and Boboli Gardens: The Bardini’s manicured tiers provide prime peeps of the city and the ticket price include the entrance to the adjoining Boboli Gardens, the Pitti Palace costume museum and glitzy Medici treasury. Enter Bardini at Via dei Bardi /+39 055 265 1816

Shops I Like

Borsalino : 150 years of making hats and still way ahead for flawless panamas and smoking motorbike helmets. Via Porta Rossa, 40r Centro / +39 055 283 354.

Loretta Caponi:  ” Aristoctratic embroidery” Not bad right? The softest silk and cashmere classic lingerie, bed, bath, trousseau and even baptismal gowns. Piazza Antinori, 4r Centro + 39 055 213 668

The Mall: The outlet for Gucci, Pucci, Valentino, Armani, Hogan and other made in Italy brands Via Europa 8, Leccio/Reggello /+39 0558657775

Simone Abbarchi: Made to measure  man shirts using Italian silks Irish linens and Egyptian cotton from 100 Euros. Borgo San Frediano, 143r/ +39 055 210 552

The perfect Travel Guide: Luxe City Guides/ Florence form which I have been inspired and my precious source for this post.

Divertitevi! (have fun!)

I have been traveling in Europe these days and every time I stop in this continent I have the duty to go to Brussels and pay a visit to my parents who have been living  there for a little  more than a quarter of a century.

At the airport, looking distractedly on a magazine a small note catches my attention “At the Musées d’Art et d’Histoire du Cinquantenaire in Brussels,  you will have the opportunity to check the exhibition Medici by artist Isabelle de Borchgrave”

” For some 15 years Isabelle’s paper exhibitions have traveled the world. Everywhere, from New York to Tokyo passing through Venice and Istanbul, the magic produces its effect…causing wonderment at the transformation of a simple sheet of white paper.

It is a meeting through the centuries with one of the most prestigious families in Italian history: the Medici. Through the magic of trompe l’oeil, Isabelle walks us through history and aesthetics. 29 paper costumes showing the elegance of the times in minute detail, and giving new life to the painting of the great masters such as Botticelli, Bronzino or Gozzoli.”

Having read this note I decide to check on Isabelle  as soon as I arrive to Brussels . If I recall she is acquainted to my parent

On my arrival home, I have no words to describe my mother’s happiness learning that I have made plans to stay for a while in the city and work on the brand new project: the Brussels Edition. In exchange for my prolonged stay,  I would need her collaboration  including being my personal driver and  some information about how to reach Isabelle de Borchgrave.

Deal consumed with my mum , on the following early morning of my arrival, I receive a phone call from a young lady named Priscilla , Isabelle’s efficient assistant.

She lets me know that an opening is available in the afternoon for an interview with the busy artist at her notorious studio at rue de Lens in the elegant and  green neighborhood of Ixelles , apparently  a few minutes walk  from my parent’s house.

Extremely exited I check my camera battery, read all the material I manage to find in the internet and after a quick lunch head to the mysterious entrance door of what seems to me the preparative a  Rio De Janeiro Escolas de Samba in peripheral area of the glamorous city a few hours before the carnival parade at the Sambodromo. ( Isabelle by the way, did not share my same enthusiasm when I exclaimed to her my comparison, Some things in life you must experience by yourself)

Isabelle is on the phone and with a short ‘ half smile’ tells me in French ‘ Je suis a vous dans une minute “-” I am ‘ yours’ in a minute.” – I decide I already like her.

In the meantime, my eyes scan every single details of the cluttered and majestic studio , my mind, curious, is intrigued by suspended papier -mache mannequins in very bright and colorful costumes, all made of wire, each adopting a dance pose, none of them touching the ground.

On the other side of the studio young men and women possibly interns,  are busy painting large pieces of paper in ethnic and interesting geometrical patterns as others carefully with the aid of powerful hairdryer make sure the paint gets a good adherence . Seems that everyone and all activities are very well orchestrated peacefully aligned with the silence of a music that through those mannequins clearly translate into a certain explosion.

Suddenly at my back, I hear the voice of a beautiful and tall Priscilla introducing herself obviously at my rescue:- “Les Ballet Russes ! “- she says with an elegant smile – “  Miss De Borchghrave is working at the moment on one of her next and most impressive exhibition inspired by the celebre master Diarghlev.”

” In Isabelle de Borchgrave’s view – she carries on after politely thanking for my visit- “on the les ‘Ballets Russes’ constitute the most beautiful way to bring together painting, music, dance, stage and fashion.

When Diaghilev left Russia for Paris together with his Company he brought together huge talents such as Picasso and Goncharova, Nijinsky, Bakst or Derain.

The Parisian public, not used to this new form of classical dance, would discover Diaghilev and all the Russian and French talents he brought together. Much later Béjart would come back to this” Priscilla explains .

Priscilla  shows me around Isabelle’s latest creation of ethnic jewelry in paper and gold soon to be world-wide distributed by a lady socialite in Jaipur , and  paper lace used as  luxurious never- ending ‘voil de mariee’ ( a veil to go with the wedding dress) The veil is light and pretty and has stenciled spots with a roller.

“for harsh economic times” Priscilla states proudly when finally Isabelle  appears dressed with a simple burgundy sweater, her hair an unruly mix of short curls,  jeans and an Prussian blue apron visibly showcasing uncounted hours of a life over paints, brushes and turpentine.

She looks  at me for a second as curious about me as I am towards her. There is a short silence between us as we both don’t know where to start our encounter from….The Fortuny costumes, my shoots of the studio, her portraits, the interview, the mannequins.

I decide instinctively to look around Isabelle’s domain in silence ,

this studio filled with  small aluminum boxes containing  naturally tinted pigments, hundred of lively and used paint brushes neatly organized in ceramic containers, pastels, palettes, vases, kaftans, dresses, jewelry boxes, kimonos, chandeliers un-finished sketches on canvases, and all sorts of  striking Trompe-l’oeils on paper translate into an atmosphere  where I feel compelled to impulsively experience the sense of touch wishing to establish for myself the boundary between  illusion and reality in such a magnetic aphrodisiac  environment.

“Are those  panels made of textiles or paper? ” I finally ask as to break the ice between us…Isabelle smiles and then laughs with a hidden impatience,  it’s a question she heard thousands of times before.  I don’t mind,  like everyone else , I surrender to fall into the same spell of everyone… the spell of a queen who needs to be different from any other textile creator on earth…

” Why I work these motifs on paper rather than textile? ” she repeats my question as wanting to gain some extra time before she answers with a daring lie :”Because in the case I make a mistake, I can start all over again”. But Isabelle never makes “mistakes” she has far too much experience, what she does, almost answering to a distant call of duty,  is to immortalize  history, a history crowded with  splendor of kings , queens and mythical figures to the subtle , modern , almost untouchable reality of our daily life.

And here she is proud, throwing on top of the long table,  hundreds of colorful painted panels made up of paper destined to ” wrap  bacon at Butcher’s shops” before falling into her daring imagination.

Her assistants working ‘hours and hours and hours’ of painting, playing, scrunching, gilding and gluing to transform plain paper into a dress that evokes a red, pleated  textiles. Isabelle through this collection , inspired by works of Mariano Fortuny, reveals the eclectic early 20 th artist to whom she feels so close. A she throws herself into the world of Mariano Fortuny absorbs it and transmits her feeling revealing all the facets of this extraordinary talent.

Once more she seeks to express the timeless beauty of the past, the research of refined tones, colorful lines, exotic motifs and shapes recalling Arab, Persian, Chinese and Japanese inspiration.

By creating a collection of dresses in paper inspired by this artist whose name will forever be associated with the wonderful art of ” plisse“ Isabelle, was fortunate to have had the opportunity of exhibiting her creations at the Fortuny Palace in Venice, the very place where the master lived and created his splendid dresses.

I ask Isabelle about  her  world wide licences. Party ware for the American chain-store Target, which includes a comprehensive range of place cards, chair covers, plates, centre pieces and serving bowls, all made of paper. She licenses her illustrations to Designers Guild, Villeroy & Boch and the French porcelain manufacturers Gien Libeco in Belgium, and Beauville ,Pierre Frey in France.

About  her mural paintings at the Cipriani Hotel in Venice, Gstaad and Kuala Lumpur. Her interior decors, like the Hermes windows in Hong Kong and personal exhibition of paintings and paper collections among the most prestigious museums in the world . She was also, most extraordinarily, commissioned to recreate Jackie Kennedy’s wedding dress for the Kennedy archive in Boston.

A fortuitous meeting with the period costumier Rita Brown, who was working with the opera in Brussels, and a close perusal of Janet Arnold’s seminal Patterns of Fashion series, resulted in the Papier à la Mode collection. It covered 300 years of historical fashion, featured some 80 paper dresses and has been on display in the Victoria & Albert Museum in London, the Royal Ontario Museum in Toronto, in galleries in Japan and Istanbul, and in São Paulo in Brazil. De Borchgrave painted the paper with delicate traceries of lace and Brown constructed the dresses. ‘

Isabelle is visibly bored with the interview, she is obviously looking for something new, and I am under the impression that she sees in me the ‘ something” that will connect her to a different experience all together… She laughs now and says  ” Would you please organize something fun for me in New York City? I want to sell my creations to the Soho scene  . Can you work that out?”

I leave the studio with an enormous responsibility, the royal family in Belgium dares to wear her paper creations at important parties… An interesting idea comes to my mind… but whatever I will suggest for Isabelle better be big and innovative , after all she’s unmistakably a queen.

Joelle’s Tips:

The artist: Isabelle de Borchgrave

The publication: Paper Illusions: The art of Isabelle de Borchgrave by Barbara Stoeltie (Author), Rene Stoeltie (Author) other publications

Exhibitions:

	D’or et de parchemin, Wibald de Stavelot, Abbé d’Empire Stavelot – Abbaye de Stavelot – http://www.abbayedestavelot.be/hp/fr/hp.asp Exhibition from 25/09/09 to 29/11/10 In the 12th century the abbey of Stavelot, one of the most important in the German empire, had an unprecedented influence. This was due to its abbot, Wibald.The exhibition entitled “Of Gold and Parchment” brings to life Wibald and his time through some exceptional pieces. For this occasion Isabelle de Borchgrave has created costumes inspired by the period which will be viewed in the exhibition.
	I Medici: A renaissance in paper by Isabelle de Borchgrave Brussels – Musées d’Art et d’Histoire du Cinquantenaire Exhibition from 20/11/09 to 18/04/10 For some 15 years Isabelle’s paper exhibitions have travelled the world. Everywhere, from New York to Tokyo passing through Venice and Istambul, the magic produces its effect…causing wonderment at the transformation of a simple sheet of white paper. It is a meeting through the centuries with one of the most prestigious families in Italian history: the Medici. Through the magic of trompe l’oeil, Isabelle walks us through history and aesthetics. 29 paper costumes showing the elegance of the times in minute detail, and giving new life to the painting of the great masters such as Botticelli, Bronzino or Gozzoli.

Established in the heart of the Sablon area in Brussels since June 2006, Pierre Bergé & associés has embarked upon a new project by dedicating its space to the creation of a new gallery devoted to Design.

After having developed major sales in this domain and created a reputation as the leading auction room in Belgium,  Pierre Bergé & associés is focusing its new gallery on the world of contemporary design and 1910 to 1970  American vintage .  The exhibitions usually explore the work of an artist or shed light on a specific theme.

With a surface area measuring 200 m2, white walls and a mottled grey floor, the gallery welcomes several  of the most popular designers once a year. Parallel to its design gallery and auctions, Pierre Bergé & associés  initiated a design prize ,the Skieven. The prize was awarded for the first time in the second half of 2008 to first-year students from design schools  encouraged to present pieces that have never been shown in the market.

During my stay in Brussels, and luckily for me, the gallery is showcasing an exhibition on American and Brazilian design . Vintage Brazilian furniture of the 1960s is definitely part of the major references in today’s design this is the reason why I am sure, the auction after the show, will ravish Belgian design collectors and amateurs from all over the country.

As per advice of the very kind Marie Le Tallec the company’s associate attache press from Paris , I decide to go and check the several pieces of the  furniture that became so familiar to me during the 25 years I lived in Brazil. At Rio de Janeiro doctor’s offices, Sao Paulo cozy apartments  , beach properties in Ubatuba and fancy boutique hotels in Curitiba now in the heart of the Sablon in Brussels. The furniture of great quality is from major Brazilian designers such the legendary Sergio Rogrigues, Jorge Zalszupin , from the States Milo Baughman and Carlo Hauner among others.

Several intersting factors can be easily noticed ; the love and respect for the wood, as well a s the comfort and simplicity of shapes as to pay respect with pride to the environment and the expression of a national identity. The key words of these very special people is to defend strongly their national treasure,  Amazonas.

Therefore Imbuia, Palissander or Jacaranda often coming from recycling wood, have contributed to authentic creations made with an exceptional execution which has allowed Brazilian furniture to be internationally known, reaching the top.

Having said that, we though it would be interesting to link Brazilian vintage to the talented work of the studio Makkink and Bey. Recognised internationally for his creation guided by recycling, science and poetry, the studio works in a world where techniques and sciences meet the poetry of the object.

Olivia Roussev who is in charge of the Galerie tells me that Pierre Berge & Associes exhibitions are accompanied by a mono-graphic catalog, at the price shown on the label, which is sent to collectors before the inauguration of the event. A website also was created with the possibility of making online purchases.

Joelle’s Tips:

The Gallery: Pierre Berger & Associe – Grand Sablon 40 Grote Zavel,Bruxelles, B1000 Brussels + 32 (02)49 49 90 00

” A work bearing my name without the need for my signature to be affixed to it”

Victor Horta

At the turn of the 19th century, Brussels went through a period of un-rivaled effervescence. The city was beautified under the impetus of King Leopold II,

new districts were divided into plots and turned into neighborhoods in formerly suburban municipalities such as Ixelles, Schaerbeek or Saint-Gilles, the boundaries of which tend to merge with those of the City of Brussels proper.

Naturally, the middle classes, merchants and artists opted to have their houses built in the style in vogue: Art Nouveau, also known in English as “Modern Style.”

This style was launched in 1893 by two architects, Victor Horta and Paul Hankar: the Tassel House and Hankar’s own private home were the first tokens of a new aesthetic.

The use of metal structures allowed the architects to indulge in amazing innovations, and to open out the facades and interiors to allow light to flood in. Three types of motifs tend to predominate: the arabesque, the floral or animal pattern and the feminine silhouette.

At the turn of the century, under the influence of the Viennese Secession, forms tended to become geometric, as circles were combined with squares with greater frequency.

Hundreds of houses, but also schools, cafés, and shops rivaled for originality. Craftsmanship in ironwork, wood, stained glass and mosaics attained the acme of quality.

The buildings of Strauven, Hamesse,Vizzavona, Sneyers, Cauchie and many others turned Brussels into one of the European capitals of Art Nouveau, alongside Vienna and Barcelona.

Whereas the blaze of Art Nouveau would burn bright for a dozen years or so before being followed by Art Deco, also very richly represented in Brussels, it still lives on in many streets of the Belgian capital.

And It’s on a sunny afternoon that I receive a phone call at  home from the Mr Charles Picque , the Minister- President of culture and tourism of  Brussels- Capital also responsible for the so called  BIP.  Mr Pique addresses to me in Portuguese with a warm intent, I imagine, of making my stay in the European capital of culture and tourism  very enjoyable.

”  Joelle”  – he says now in French – ” we are  glad to invite you to our  2009 and fifth edition of the Art Nouveau Biennale truly hoping that you will find our cultural event as well as others we carry in the city quite interesting! ”

I thought Belgian people were cold but honestly Mr Pique is so charming that I’ am definitely drawn to learn more , after a pause almost as a professional actor he carries on:  ” The circuit we are promoting at the moment is called  Voir et Dire Bruxelles. Miss Nastasia Sellens will call you to set a time for you to come and visit us here at the recently inaugurated PIB that I assure you , you will much appreciate.”

Arriving at this wonderful renovated classic building at rue Royale ,the Lloyd a former bank, a very pretty, young  and blue-eyed Nastassia comes in my direction with a large smile, fully equipped with a very organized and generous press kit, DV s and several well-designed brochures  and a  ‘ global passport’.

She introduces me to the president of  Voir et Dire Bruxelles ,Isabelle Paellinck also very charming and visibly at ease with her role. My Belkin voice recorder, a few pencils, my Mosleskine notebook, and here we go in a strenuous half hour questions-and-answers about everything I should, I should not, I could or not visits during my stay the city over the next three weekends.

After digesting the substantial amount of information delivered by these two passionate monsters of efficiency I realize that there are good and very bad news.

The good news are that through a passport I will be able to examine the theme of  “From Art Nouveau to Art Deco” offering me the unique opportunity to visit more than fifty  interiors of buildings in Brussels gems from the inter-war years,

many of which remain relatively unknown,  during these first four weekends of October. Among the most interesting architectural establishments and many splendid private mansions especially opened to the public, schools, industrial buildings, public buildings, more modest houses, hotels and shops and several of which have become part of  the ‘UNESCO World Heritage List’ in 2000.

The bad news, is that I will not be authorized to photograph the interiors of any of the buildings designed by Victor Horta due to extensive and complicated copy-right regulations inflicted by the Horta family heirs  to the public including the building owners.

Having received the news with  deep frustration, my immediate reaction was to smile at these two young women and leave.

How could I work on a Brussels Edition if I cannot photograph myself the Horta Buildings and bring to thousands  thirsty readers worldwide ? (Some of  the pictures you see in this section are from the hotel Hannon, a very beautiful interior by the way.)

But looking at reassuring  Nastassia and Isabelle, I realized of the importance of carrying on with the visit without worrying about this specific detail and focusing on the the importance of the such cultural and unprecedented event while understanding how these buildings have been preserved, inhabited and sometimes completely changed, while remaining remarkable witnesses to this priceless heritage.

Due to space and time restrictions, some of the interiors were only  accessible by prior reservation.

Among those: Maison et Atelier Horta, Hôtel Ciamberlani, Hôtel Solvay, Hôtel Max Hallet, Hôtel Otlet, old personal house of  François Hemelsoet, Maison Eugène Leman, Maison Cauchie Cauchie’s self designed home,

Hôtel Van Eetvelde, Maison Frison, (today the extraordinary Tribal Arts and Antiques J Visser ) Ancienne Banque D’outremer, Maison Autrique, Maison privée rue Van Hasselt, Maison privée rue Lecharlier, Maison privée avenue Duray et la Villa Beau-site, Maison privée rue Monrose, Hôtel Astoria.

During the four weekends we also had access to this remarkable extended list of fascinating landmarks: I have tried to insert as many links as possible, with to transport you into this not-to- be- missed experience if you are in Brussels next time.

To list a few: Demeuldre factory , Coperta Atelier and the beautiful iron structure of this 1810 porcelain factory, former Aegidium movie with his eclectic 1905 facade and Moorish-Style dance -hall, former personal house of Adrien Blomme

whose building is laid on a cental open staircase,

former Wielemans-Ceuppens brewery Gregoire House, Hannon Hotel Private House – rue Coenraets , Saint-Augustin church grandiose example of the Art Deco Style , Solvay Hotel Town hall of Forest,

Wielemans Hotel Former hotel of the Control of the Telephones and the Telegraphs prestigious Art Deco building that has High-quality interior offices, former Niguet store , Former RVS buildin and his superb stained-glass windows, , Former workshops of the Colpaert Master glassmaker , Hanse Office ,

Private House – rue Van Hasselt, Quaker House , Schools «La Ruche/Josaphat» designed by Henry Jacobs, Strauven House , three houses of Henri Jacobs,( absolutely beautiful)  Hostel Eugène  Leman Haus, Former printing house NIMIFI , Vaucquez Textile Shop ( now Belgian comic Strip Center).

Former building of Constancia Insurances , Former warehouse Wolfers Frères has a monumental staircase designed by Victor Horta, now a branch of KBC bank, Hotel Crowne Plaza -

Le Palace Hôtel with inspiration in the works of Gustav Klimt ,L’Archiduc , Medical Foundation Queen Elizabeth , Private House – rue F. Lecharlier , School Catteau -Victor Horta ,Tavern “L’Espérance” , Wine palace,

Blerot House along with other houses in the street,brings together beautiful elements of flowers and some period furniture, Boelens House, Delune House ,

Flagey – Former building of INR,( Newly inaugurated trendy cultural center) Former masonic lodge, Former overseas bank, Former warehouse Old England (MIM), Palace “La Folle Chanson“,Villa Bea (Charming facade). Finally, I wanted to include in this itinerary a  19th century,  construction techniques, with the use of metal and glass as construction materials, made a new type of building possible: the greenhouse.

In 1873, architect Alphonse Balat designed for King Leopold II a complex of greenhouses which complement the castle of Laeken, built in the classical style. The complex has the appearance of a glass city set in an undulating landscape. The monumental pavilions, glass cupolas, wide arcades that cross the site like covered streets, are much more than an anecdote on the architectural applications of iron and glass or on little greenhouses of exotic plants.

Voir et Dire Bruxelles, (“Seek and Tell Brussels”) is a round-table group of the following themed cultural tourism associations: ARAU, Arkadia.be, Chatterbus, Itinéraires and Pro Velo. Each association has its own identity and specialism, which adds to the diversity of the round table.

Together, the five associations organize varied programmed of high-quality, themed, guided tours, either on request for groups throughout the year or for individual members of the public on fixed dates between March and December. Since it was set up in 1994, Voir et Dire Bruxelles has organized several joint-events, of which the most well-known and successful is the Biennial Art Nouveau Event.

Maybe I was not allowed in certain places to make use good use of my camera, but certainly tried and hopefully achieved to- Seek and Tell-  about the Art Nouveau and Deco loud and hidden atmosphere in Brussles to all those of you who have chosen to follow this post from different parts of the globe.. I truly hope you enjoyed the ride.

Joelle’s Tips:

The organizations: Voir e Dire Bruxelles 2/4 , rue Royale B-1000 Bruxelles /Tel +32 (0)2563 6151 /Fax 32 ( 0) 2 563 6161 / for other tours:  info@voiretdirebruxelles.be

BIP: 2/4 , rue Royale B-1000 Bruxelles /

Photo Credits: All photos representing the works of Victot Horta are licensed under the Creative Commons Attribution 3.0 and public domain. Ecxept courtesy who of photographers, Henry Townsend,  François Bernardin,  Mary Sullivan , J Visser Gallery. Other Credits Albert Videt

Need to through a party in the same atmosphere?  Choose Events at Horta at the magnificent Hôtel Max Hallet Avenue Louise 346  1000 Bruxelles / Tel: 02 648 81 11 / Fax: 02 646 71 11 / info@events-at-horta.be

Sources: Vivre l’Art Nouveau by Françoise Aubry, Curator of the Horta Museum, Brussels

David and Alice Van Buuren were art patrons and philanthropists who used funds from the fortune that David made in the financial services industry to build a magnificent Art Deco house and outfit it with exquisite gardens and valuable works of art.

The house I visited this week and its contents were bequeathed to a private foundation in 1970, and subsequently made available to the general public as a museum. While we walk around I will give you an outlook of the story behind this remarkable couple.

David Van Buuren was born in Gouda, Holland, in 1886. He settled down in Brussels in 1909 and entered the banking sector. During his financial career, there were great political and economic events of the 20th  century. He married thn the Belgian Alice Piette (1890-1973) and began a period of 30 happy years with the cultural vocation of their Art Deco house.

The house bought in 1928 has a outdoor architecture typical of the Amsterdam School, while the indoor decoration characterizes an ” Art Deco ” whole by Belgian, French and Dutch designers. The van Buuren made their villa a ” living academy “, with rare furniture, carpets, stained-glass windows, sculptures and international masterpieces.This ” private memory house ” became a museum in 1975 according to the testament of Alice van Buuren.

From 1928 to 1970 the house became a ” Salon ” as in the 18th century. People as Dufy, Prévert, Lalique, Diaghilev, Satie,Magritte, Chanel, Ben Gourion, and many others V.I.P. of that time were regular visitors

The famous ” Salon” consisted of three enchanting  living rooms opening one out onto other, with Art Deco furniture, made of exotic woods (sycamore, Macassar’s ebony), as in the central part, the music lounge..Van Buuren sponsored several charities and cultural activities which  Alice continued till their Private Foundation in 1970, to which she be bequeathed her house, works of art and gardens.

The ” modern idea ” of the owners, which summarizes the ” avant-gardisme ” of the Twenties, is a triumph of harmony between furniture and “objets d’art “. The cosy-corner, 1918. Armchairs by Dominique, cushions by Sonia Delaunay, carpets of cubist style by J. Gidding.  A wealth of rich and unusual materials perfect in their detail :

horsehair from the Cavalry school of Saumur, Cordovan leather, parchment, metal, mother of pearl, ivory, enamels. The light floods through the huge windows in their picture like frames bringing to life the colors of objects, paintings and carpets.

On the floor of this cozy corner, one can admire the stunning a carpet ” Futurist painting ” by Jaap Gidding,  dating around 1915. This designer of the Amsterdam School uses different creative skills, and made stained-glass windows as well as several carpets of the house, finding his inspiration in the undulating shape and the vivid colours of the young lady painted by Van Dongen, following the idea of Matisse and the Fauvist.

On their return, Alice became the first Curator of her Collection, and took in hand the gardens with René Pechère, a landscape designer. She continued the sponsoring activities of her husband, helping artists, ceramists, sculptors, dancers, opera singers and scientific researchers. She also became closer to the Royal family, especially Queen Elisabeth of Belgium, and together they met in her house young winners of the famous musical competition. The house seemed to live in the spirit of the Twenties, round Eric Satie’s piano.

David and Alice traveled a lot after World War II. Van Buuren took overseas the most famous Belgian paintings of his collection (and this explains the present success of James Ensor or G. Minne in the U.S.). Alice became vice-president of the YWCA and gave her financial help to the Queen Elisabeth Archeological Institute of Jerusalem, where she financed the building of Collegium Fabiolanum. Golda Meir, Ben Gourion, Shimon Peres, Moshe Dayan and Itzaak Rabin often visited the villa which interested political and military events of the Middle East between 1960 and 1970.

We are now going to the first floor. The mezzanine has beautiful 1928 paneling in ornamental Japanese style lacquer with Dutch geometrical design. The are by artist Dominique, 1928. A 1898  bronze sculpture “Kneeling Man ” by  Georges Minne, looks at the crowd from the first stairway steps, Art Deco stained glass windows and Chinese cloisonee vases decorate the hallway.

We arrive in a very elegant room . It’ here  where David van Buuren used to work, the desk in a combination of both Rosewood and walnut and made in 1928 by Dominique from a van Buuren sketch  brings together in the centre of a walnut top a writing pad covered in shagreen, a precious material of the Art Deco period made of white shark’s skin.

The design of the carpets by J. Gidding. Picture,  follows the theme found in the furniture. Partner-Manager at the Cassel Bank & Co, he taught financial deontology at the Free University of Brussels. On left the wall ” The Torrent “, H. Seghers, 17th century.

The modern collection of paintings has a variety of portraits that van Buuren particularly appreciated. As a past time he attended The Art Academy of Antwerpen and knew personally painters such as Kees van Dongen, or C. Permeke, from whom he bought paintings.

” Woman Thinking ” by K.Van Dongen is the portrait of the painter’s wife, and it sensual qualities make it comparable to the ” Red Ballerina ” (1907-1908), an oil painting at the Hermitage Museum of Saint-Petersburg.

In 1924 the gardens covered only 26 ares (100 m²), and now cover 1,5 ha. There is great harmony of style and time between the J Buyssens’s garden and the Art Deco house. 45 years later, Alice considered René Pechère’s gardens as a complement of her villa.

The actual garden is made of the ” Picturesque Garden “, ” The Labyrinth “, and ” The Garden of the Heart “.The ” Picturesque Garden ” was designed by Jules Buyssens, a landscape architect, in the twenties, and represents the geometrical ideas of the Art Deco. This jewel of greenery in the center of Brussels can be visited all year round. René Pechère transformed the Art Deco gardens into a landscape garden (1968-1970).

Specialist in the protection of historical patrimony, he created 900 public and private gardens. His ” Labyrinth ” or ” Dedalus ” – the name of Icarus father – has an itinerary with 1300 yewtrees on 500 m, where ” The Song of Songs ” is illustrated by 7 sculp- tures in bronze, made by the Belgian André Willequet. There are only 2 mazes in Belgium. .

The maze of René Pechère was made in 5 months (1968) and evokes the shelter of the Minotaur, from where Icarus and Dedalus escaped thanks to the Ariadne’s help. Open air exhibitions of contemporary sculptures are organized in the orchard. Since 1991, there have been 3 Triennal Priz Exhibitions of sculpture. This year 2000 there will be an exhibition of Sculptures by Olivier Strebelle in the park.From 2002 the Sculpture Exhibition will take place every two years as in the past.

The ” Garden of the Heart ” was conceived in 1970 on a small area of 2,5 a and is made of yewtrees and boxwood, , representing 12 little hearts with a heart-shaped hedge around.This ” secret garden “, according to René Pechère, gives the romantic touch to the enclosure, intended for private meditation and dream.

Joelle’s Tips:

The Museum: Van Buuren 41 Léo Errera Avenue 1180-Brussels /Tel : + 32 2 343 48 51 Fax: + 32 2 347 66 89

I love subversive humor, freckles, knees, the long hair of women, the dreams of young children at liberty, a young girl running in the street.

Rene Magritte

On June 2 2009, the Magritte Museum opened its doors to the public on the Place Royale in Brussels. The first museum of this scope devoted to one of  the best known artists of the 20th century, presents for the first time the largest collection of Magritte works in the world. This new cultural and touristic attraction in Belgium has been completed thanks to an original partnership between the Royal Museums of Fine Arts of Belgium

the Magritte Foundation, the Belgian Régie des Bâtiments, the Belgian Federal Science Policy Administration, and the  GDF SUEZ Group, which completed the museum’s installation thanks to  a skill-based sponsorship unique in Belgium.

A prestigious setting for Magritte  Site work was carried out in less than one year  by GDF SUEZ teams working  alongside Belgium’s Régie des Bâtiments.

Their contribution was symbolized  by an immense canvas tarpaulin inspired by L’Empire des Lumières (Empire of  Light) that covered the building during its restoration. The Hôtel Altenloh, a neo-classical edifice located on Place Royale, was thus transformed into a contemporary museum reference.

With their modern, pedagogical treatment of the museum experience,the  Royal Museums of Fine Arts of Belgium and the Magritte Foundation   unveiled  to the public, with over 26,000 sq. ft. and five exhibition levels, the world’s largest collection of René Magritte works of art.

Two hundred and  fifty artworks and archive pieces are presented together for the first time.  They are organized and presented in a manner linking them together by different levels of chronological and thematic interpretation.

With its attachment to the prestigious ensemble of the Royal Fine Arts Museums of Belgium, the Magritte Museum has the advantage of an exceptional location in the heart of Brussels, the painter’s birthplace and the capital of Europe

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The largest collection of works by René Magritte in the world  The Royal Museums of Fine Arts of Belgium, with the support of the Magritte  Foundation, has the most remarkable collection of the artist’s work in the world.  Representative of René Magritte’s creative evolution, it is un-equalled in its richness.

There are numerous masterpieces, including Empire of Light (1954), The Return (1940), and Shéhérazade (1948), as well as a highly diverse range of techniques and  media (paintings, drawings, gouaches, photographs, sculptures, sundry objects, cine- ma films, posters, advertisements, etc.), with the various periods of the artist’s life fully covered.

Painter, illustrator, engraver, sculptor, photographer, film-maker, René Magritte  (1898-1967) was one of the most eminent artists of the Surrealist movement. He is considered as the most important Belgian painter of the 20thcentury.

Celebrated for his style subversive analysis of language and its conceptualization of image, René Magritte is “the man who transformed poetic images into plastic poems,” according to  Michel Draguet, Director of the Royal Fine Arts Museums of Belgium.

In the heart of Brussels, the new Magritte Museum is Belgium’s tribute to a world famous artist who spent the greater part of his life in the Belgian capital.

Magritte was not just a great painter. His multi-faceted work opens up perspectives that  the Magritte Museum will catalogue in a fascinating display .

A poet in images, Magritte continually cultivated paradox. In his work, his writings, his interviews, his photo- graphs and his correspondence, he created a world in which what is perceived is in fact an illusion, since it portrays not reality, but the conventions through which we construct “reality.”

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And this intellectual painter, whose highly subversive ideas undermine  the very principle of language as a vehicle for representing reality, has himself the appearance of a very ordinary man.

Subversive, Magritte’s work advances in disguise, subtly diffusing its pathways into the unconscious, just as the man himself projects the insignificant appearance of a typical middle class stereotype.

From obviousness to mystery  Magritte constantly covered his tracks so that the image retained its capacity for surprise, transforming obviousness into mystery, revealing forcefully the impossibility that now constitutes the fate of a conscience that has reached the end of its illusions. Beginning with the illusion of modernity which Magritte, as a Dadaist, soon liquidated.

His images are effective also because it seems that all they amount to is what they lead you to see. But hidden behind the effect, a deep desire lurks to go deeply into the language, far down to its core.

It is the place where Magritte feels the vibration of nothingness where, in a same movement, any possibility of reality would cancel out and the expression, devoid of any intent to communicate, would come back to its only truth: the subject.

This is the starting point from which Magritte outlined his conception of poetry where the painted image was only a development based on other means. In a first stage, the image – inspired by the enigmatic work of Giorgio de Chirico – takes root in the depths of a psyche where the painter systematically explores its revealing objects.

Magritte would gradually release them from their expressive dimension. He erased its share of shade to make the object a fundamental idea, at first sight irrefutable.

Magritte broadly anticipated the evolution of contemporary art: the place that he assigns to the object – and which in the thirties surrealism would take over as its own – could not just be broken down into a series of facts

From the end of the twenties, Magritte was to undertake a work of deconstruction that anticipated the revolutions of post-modern thought by almost half a century. The use that someone like Foucault was to make of it resounds like a tribute.

Joelle’s Tips:

The Museum: Musee Magritte For individual visitors with tickets and groups with reservation :
1 Place Royale – 1000 Brussels
For individual visitors without tickets and groups without reservation :
3 Rue de la Régence – 1000 Brussels
Information – Contact Musee Magritte Museum / Royal Museums of Fine Arts of Belgium
Rue de la Régence 3, 1000 Brussels/ Tel. : +32 2 508 32 11 / Fax : +32 2 508 32 32

Photos credits: Photo credit: Lothar Wolleh copyright   GNU Free Documentation License Wikipedia Commons / Courtesy Musee Magritte @ Herscovici / and of  UK  Guardian John Thys/AFP/Getty Image

Judaism is not just a set of beliefs about G-d, man and the universe.

Judaism is a comprehensive way of life, filled with rules and practices that affect every aspect of life: What you do when you wake up in the morning, what you can and cannot eat, what you can and cannot wear, how to groom yourself, how to conduct business,

who you can marry, how to observe the holidays and Shabbat, and perhaps most important, how to treat G-d, other people, and animals.

This set of rules and practices is known as Halakhah.

The word “Halakhah” is usually translated as “Jewish Law,” although a more literal (and more appropriate) translation might be “the path that one walks.” The word is derived from the Hebrew root Hei-Lamed-Kaf, meaning to go, to walk or to travel.

Halakhah comes from three sources: from the Torah, from laws instituted by the rabbis and from long-standing customs.

Halakhah from any of these sources can be referred to as a Mitzvah (commandment; plural: Mitzvot). The word “Mitzvah” is also commonly used in a casual way to refer to any good deed.

Because of this imprecise usage, sophisticated Halakhic discussions are careful to identify Mitzvot as being Mitzvot d’Oraita (an Aramaic word meaning “from the Torah“) or Mitzvot d’Rabbanan (Aramaic for “from the rabbis”).

A Mitzvah that arises from custom is referred to as a Minhag. Mitzvot from all three of these sources are binding, though there are differences in the way they are applied. The term Mitzvah has also come to express an act of human kindness and Tzedaka. (Charity)

According to the teachings of Judaism, all moral laws are, or are derived from, divine commandments. The opinions of the Talmudic rabbis are divided between those who seek the purpose of the Mitzvot and those who do not question them.

The latter argue that if the reason for each Mitzvah could be determined, people might try to achieve what they see as the purpose of the Mitzvah, without actually performing the Mitzvah itself.

The Rabbis came to assume that the Law comprised 618 commandments. According to Rabbi Simlai, as quoted in the Talmud, this enumeration of 618 commandments was representative of the following.

“  365 negative commandments like the number of days in the solar year, and 248 positive commandments corresponding to a person’s limbs”

Inspired by the the Rabbinical Mitzvots,  Moshe Mizrahi and Eitan Nissanian of MDM Judaica created exclusive one of a kind art pieces allowing every Jew in the world to remember and practice freely in their own homes the rituals present in the Talmudic teachings.

Among the 630 Mitzvots, I have chosen to enumerate a few basic ones to give you a good idea of what it takes today, to understand the basic principles of Jewish Faith the how the inherited knowledge from past generations is manifested through simple and sometimes more complex rituals.

And the greatest privilege for me is to illustrate in this case, the needed basic tools through beautiful uniquely precious works of art described below each Miztvah each one of a kind and all created with love and devoted care. And the Mitzvoths are:

And the  Mitvots are: Put a Mezuzah at the door frame of your home,

Below a collector’s case in Silver and wood inlay  a small key for Parnassa is hidden inside

To recite a blessing for each enjoyment ,

This hand painted illustration on parchment is from the beautiful Book of Perek Shira ( The song of creation) by Rabbi Eliezer.

To ritually wash the hands before eating ,

I am holding a gorgeous embossed and engraved silver Mayyim Acharonim in my hand.

Very good to put in my suitcase on my travels throughout the world.

To prepare lights in advance of Shabbat

A portable gold prayer book, scribed with Kosher Ink and hand sown with 24 k gold thread

http://1.bp.blogspot.com/_7tLqMOXSPm8/Rf_wuENDL4I/AAAAAAAAAYo/6iTDDR1gFxA/s400/dubrov.jpeg

To recite the Hallel psalms on holy days,

To light the Hanukkah lights,

I have displayed on a table in front of an 18th century Venetian mirror in my bedroom two beautiful examples of Menoras.

The first is a collectible,  25 years old in pure Silver.

It carries a small doors with a silver tray for an incorporated driedel game, a small drawer for the extra candles , and containers for the oil.

The second is a replica of an old Moroccan tradition of inlay .

To read the Scroll of Esther on Purim

This 9 meters (27′ length and 2′ wide) Kosher Meguilhat Esther is entirely hand painted and scribed by expert artisans in Israel. It took more than three years to be crafted. At the left hand-side a scroll of Esther case in silver inlay and the shape of a Castle.  The silver inlay representation of the brave chevalier Mordechai  riding a horse lays on the left at the bottom of the castle’s door.

Observe Jewish Holidays: Rosh Hashana

A very rare serving plate made in silver and gold with  hand painted in porcelain plates  for the Simanim (symbolic foods) .

Blessings are engraved all around the pedestal

and two drawers on the side contain the instruments to work on the dishes

Keep  Shabbat ( Kiddush)

Sheva Brachot/ Brit/ Bar-Mitzva /  7 Blessing Cup. First of it’s kind. It is all engraved by hand with a magnifying glass.

Pure Silver inlay with 24 karat Gold. Includes the engraving of all Seven blessings.

A flower ruby encrusted in gold wine leaves on a Spice container for Havdalah. Another silver Spice Box. Wood inlay. Both Collector’s items

Keep Shabbat ( Havdalah)

One of the richest works of MDM. a pyramid Havdalah set. Made of white and red Afghan onyx and or-moulu silver and enamel

A kiddush cup and a spice box are part of this magnificent set

Another spectacular, Havdalah Set.  It is completely hand made.

3-D engraving in silver gold plate. Unique enamel color. All stones are pure-quality rubies.

The or-moulu tray has  a beautiful representation of the Shabbat ceremony in a Jewish household, blessings engraved on the borders.

These seven rabbinical commandments are treated like Biblical commandments insofar as, prior to the performance of each, a benediction is recited.

“Blessed are You, O LORD our God, King of the universe, Who has commanded us …”

Joelle’s Tips:

Several pieces like the ” Flower of Mitzvots ” and the Piano of Mitzvots” have  all year round  Mitzvots incorporated. Some are pieces like  inspired in the Spanish Marranos where they are hidden like the telephone Havdallah set

All hand painted illustrations as well as the Judaica works of art are from the Jerusalem private collection of MDM.

They can be made to order if not available in stock, price is on demand and can be delivered personally to your home.

MDM : Original Judaica on Parchment and Silver

Contact Info in the US :  Eitan Nissanian eitan126@yahoo.com  / Tel +1( 718) 544-0180 / cell +1 ( 917) 582 57 51 /(646) 270-0680

Rabbis photo Copyrights : common  writes / Wikipedia

Photo wedding copyrights :