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BNP Paribas Fortis, Brussel/Bruxelles
Architekten: Marcel Lambrichs, Casunur Grochowski, Daniel de Laveleye, 1971-73
Architects: Lambrichs, Grochowski, de Laveleye
By architects M. Lambrichs, C. Grochowski and D. de Laveleye, 1969-1974. Bruxelles, Belgium.
Photo: Stefano Perego.
An example of Brutalism architecture,
by Arch. Marcel Lambrichs, C. Grochowski and D. de Laveleye 1969-73
@Brussels, Belgium
My new girl <3
She's a lady born in a decent, rich family, but she's a bit on the wild side, often unable to control her emotions. Her family is worried that if she won't be able to control herself better, she will be in trouble when she's older, so they've sent her off to live with her aunt to learn some manners.
Her name is short for Maria-Théresa =)
Marais-Jacqmain | Rue des Boiteux
Brutalist building.
Arch. Marcel Lambrichs, C. Grochowski and D. de Laveleye 1969-73.
Andrew and Jennifer, with Belgian expedition member Arnaud de Laveleye, successfully reached the 20,320 ft. summit of Denali on June 2, 2012. They chose to make the climb without a guide. I still marvel at their accomplishment.
Some students from Michigan were on the bus with us the day this photo was made. When they heard of Andrew and Jennifer's accomplishment they asked for photographs with them and even took an interview for their scrapbook.
For a full account of their summit, please see: stilltravelingwithandrewandjen.blogspot.com/2012/06/denal...
and also:
stilltravelingwithandrewandjen.blogspot.com/2012/06/denal...
Marais-Jacqmain | Rue des Boiteux
Brutalist building.
Arch. Marcel Lambrichs, C. Grochowski and D. de Laveleye 1969-73.
Marais-Jacqmain | Rue des Boiteux
Brutalist building.
Arch. Marcel Lambrichs, C. Grochowski and D. de Laveleye 1969-73.
Original Caption: Who worries about submarines now! The Yanks are over there, and the Ulster lads greet them with a double V.
From Wikipedia: On January 14, 1941, Victor de Laveleye, former Belgian Minister of Justice and director of the Belgian French-speaking broadcasts on the BBC (1940–44), suggested in a broadcast that Belgians use a V for victoire (French: “victory”) and vrijheid (Dutch: "freedom") as a rallying emblem during World War II. In the BBC broadcast, de Laveleye said that "the occupier, by seeing this sign, always the same, infinitely repeated, [would] understand that he is surrounded, encircled by an immense crowd of citizens eagerly awaiting his first moment of weakness, watching for his first failure." Within weeks chalked up Vs began appearing on walls throughout Belgium, the Netherlands, and northern France.
Buoyed by this success, the BBC started the "V for Victory" campaign, for which they put in charge the assistant news editor Douglas Ritchie posing as “Colonel Britton”. Ritchie suggested an audible V using its Morse code rhythm (three dots and a dash). As the rousing opening bars of Beethoven's Fifth Symphony had the same rhythm, the BBC used this as its call-sign in its foreign language programmes to occupied Europe for the rest of the war. The more musically educated also understood that it was the Fate motif "knocking on the door" of the Third Reich. The BBC also encouraged the use of the V gesture introduced by de Laveleye.
Well, I'm a bit exaggerating but it seems these trees are sick (eaten by a mushroom). The city administration is planning to cut them all by 2010. These are Aesculus hippocastanum (Common Horse-chestnut or, in French: marronier d'Inde) on de Laveleye boulevard, in Liege.
Europe Europa
Belgique België Belgien Belgium Belgica
Bruxelles Brussel Brüssel Brussels Bruxelas
Saint-Gilles (Sint-Gillis)
Jardin Victor de Laveleye
31 octobre 2011
www.stgilles.irisnet.be/public/uploaded/DEVDUR/TravauxLav...
www.stgillis.irisnet.be/public/uploaded/ComPresse/Avril_2...
Europe Europa
Belgique België Belgien Belgium Belgica
Bruxelles Brussel Brüssel Brussels Bruxelas
Saint-Gilles (Sint-Gillis)
Jardin Victor de Laveleye
31 octobre 2011
www.stgilles.irisnet.be/public/uploaded/DEVDUR/TravauxLav...
www.stgillis.irisnet.be/public/uploaded/ComPresse/Avril_2...
Juan Luna y Novicio (1857 - 1899)
La Majordoma
signed (lower right)
ca. 1890
oil on canvas
20" x 18" (51 cm x 46 cm)
Opening bid: PHP 1,800,000
Property from the Ambassador Pedro Conlu Hernaez Collection
Provenance: Acquired by Amb. Hernaez in the 1960s, Madrid, Spain
ABOUT THE WORK
At the height of his fame at the turn of the 1890s, Juan Luna decided to take a divergent path. When his lyrical Hymen, oh Hyménée! won the bronze medal at the Paris Exposition of 1889 despite it being submitted as hors concours, it seemed that Luna had no other way but up, considering that he had just participated—and won at the world's biggest exposition in the world's magnificent art capital. He had also been accorded recognition for his artistic talents and was warmly received by the European monarchs of the time, including King Alfonso XII of Spain and King Umberto and his wife, Queen Marguerita, of Italy. However, this was also a time when the Propaganda Movement further strengthened with the establishment of La Solidaridad, peopled by Rizal, Del Pilar, Jaena, and the two Luna brothers, among others. It would publish its own newspaper of the same name, with the first issue coming out on February 15, 1899. The Propaganda Movement, although reformist in form, was revolutionary and radical in essence. Juan Luna as a Painter of the Common People Luna’s Social Realist Period of 1890 - 1893 by ADRIAN MARANAN “Despite access to the head of the table, Luna would eventually find himself more concerned with those without a seat. If 1872 was formative in Rizal’s nationalism, 1889 can be viewed as a decisive year for Luna. Towards the end of his life, Luna became more active as a politician for the fledgling Philippine government after Emilio Aguinaldo proclaimed independence from Spain in 1898. But it was in the City of Lights, between splendor and struggle, that Luna’s own nascent expression of nationalism was born.” —MARINELLA ANDREA C. MINA, “OF SPLENDOR & STRUGGLE: THE FIN-DE-SIÈCLE AND THE WORLD OF JUAN LUNA,” ESSAY PUBLISHED IN THE MONOGRAPH “SPLENDOR, JUAN LUNA: PAINTER AS HERO,” 2023 The Beginnings of Luna’s Social Realist Period I n a correspondence with Javier Gomez de la Serna dated May 26, 1889, Luna revealed that his painting was becoming more inclined to a kind of everyday realism rather than his tried and tested formula of romantic realism. "[My] painting is [becoming] more realistic each day," Luna wrote. The end that has been sought has not yet been reached, but the tendency to an intangible reality, there is no doubt, and do not think it is a brutal and disgusting reality. No, a sublime reality in a new form." (English translation by Dr. Ambeth Ocampo, in his essay "Juan Luna and the Pursuit of Greatness," published in the book "Splendor, Juan Luna: Painter as Hero") In 1890, Luna corresponded with Rizal about a "large" painting he was doing depicting a "modern and simple" subject. Titled Monjas Francesas y su Rebaño (French Nuns and their Flock), which showed an orphanage along a Parisian street, the piece would become a significant turning point in Luna's career, as it would manifest his sympathies and affinities with the ordinary people. He would begin to document everyday Parisian living, focusing on the proletarians and the greater population of the impoverished masses. As a Filipino expatriado in the French capital, Luna saw the oppressive conditions of the working class under industrial capitalism (i.e. the widening inequality as profits from production were favored over humane working conditions) as reflections of the injustices committed by the Spanish to his fellow Filipinos. Luna would join the Salon of 1890, in which a new group, the Société Nationale des BeauxArts, held its first exhibition organized and led by Puvis de Chavannes. The Société rejected the overt orthodoxy of the older Société des Artistes Français. Members of the Société Nationale des Beaux-Arts were influenced by the ideas of Gustave Courbet, the French painter who rejected Romanticism and led the Realism movement in the 1840s and held as its battle cry the depiction of reality as it is. Courbet was a supporter of the Paris Commune of 1871, in which he also participated. The Paris Commune was a short-lived revolutionary government led by the French working class that aimed to establish a socialist republic governed by proletarians and put an end to the hegemony of the repressive state. The Salon of 1890, reported The Art Amateur, an American magazine "devoted to art in the household," had as its "great feature… the delineation of contemporary life—genre painting, as it is called." Continues the magazine, "But, if we sometimes find a sincere and personal effort to render the living reality, it is not so agreeable to notice that a majority of the artists chose by preference scenes of rags and misery, surgical operations, and "human documents" of a like nature." Luna felt rapport with the socialist-influenced Société, writing to Rizal, "I belong to the dissident Salon." At this time, Luna fully assimilated himself into the French social realist movement. He submitted an entry in the 1890 Salon—held at the historic Champs-de-Mars, titled Le Chiffonnier / El Trapero (The Ragpicker), depicting an old man burdened by a rag basket on his shoulders. The following year, he submitted three works: Les Ignorés, Héroes Anónimos, and Desherados (Disinherited), which depicted a funeral procession. Of Les Ignorés, he wrote to Rizal: “To my painting of the funeral, I gave the title Les Ignorés, and as you must have noted, I now give attention to the humble and disinherited.” These three works earned him the respect of the Société and gave him honors, including exclusive membership in the group, which also accorded him the privilege of sitting in screening committees and in the jury for painting competitions. Luna said to Rizal that this milestone was "an appointment I did not expect." He was also granted the special privilege of submitting as many as ten paintings without undergoing the thorough jury process. Through his admission to the Société, Luna was not anymore an outsider; he became an exclusive member of a prime art circle in a city revered as the very center of artistic gravity. It was in this milieu that Luna painted La Majordoma. The work at hand depicts an old majordome, the head servant of a French household. Luna endows the lady with dignified elegance through his smooth brushwork and muted shades of grey, a color traditionally associated with wisdom and richness. The work comes from a series of Luna paintings, in which he manifested his preference for depicting the affairs of the masses' everyday living and the unwanted consequences of the Industrial Revolution on workers’ and people’s rights, as opposed to the romantic grandiosity of portraying defining events and personalities in history and gaining inspiration from the literature and art of the Classical Era of Greek and Roman splendor. Like the narrative of the people's history or "history from below," Luna at this time deeply identified with an "art from below." There exists a thematically similar work titled Head of a Laborer, also painted in 1890 and now in the collection of the Lopez Memorial Museum. Luna’s social realist period as a reflection of his Filipino Nationalist Ideals In this period of stylistic and thematic change for Luna, he found an affinity in reading socialist-themed literature, such as Les Misérables by Victor Hugo and Le Socialisme Contemporain, an anthology edited by Emile de Laveleye and reproduced in its pages the writings of none other than the great Karl Marx and prominent Catholic socialists. In a letter to Rizal, Luna wrote that he had been searching for "a book stressing the miseries of contemporary society, a kind of Divine Comedy, with a Dante taking a walk through shops where one can hardly breathe, and where he would see men, children, and women in the most wretched state imaginable." Luna had also been thinking of a subject for a monumental painting that would encapsulate his newfound ideals. He asked Rizal, “What book would you advise me to read to inspire me? By someone who has written against this naked materialism and this infamous exploitation of the poor, the struggle of the rich with the wretched! I am looking for a subject worthy to be developed on a canvas of eight meters.” Luna would also share with Rizal about his visit to a French iron foundry, where he encountered the miserable conditions of the workers. He wrote, "I was there three or four minutes, and it seemed that I had swallowed sand and dust all my life. They penetrated my nose, mouth, and eyes…and to think that those wretches breathed coal and dust twelve hours of each day! I believe that they are infallibly condemned to death, and that it is a crime to abandon such people." The sight strengthened Luna's empathy for the proletarian class. La Majordoma, a social realist portrait of a French Proletarian I t was in this milieu that Luna painted La Majordoma. The work at hand depicts an old majordome, the head servant of a French household. Luna endows the lady with dignified elegance through his smooth brushwork and muted shades of grey, a color traditionally associated with wisdom and richness. The work comes from a series of Luna paintings, in which he manifested his preference for depicting the affairs of the masses' everyday living and the unwanted consequences of the Industrial Revolution on workers’ and people’s rights, as opposed to the romantic grandiosity of portraying defining events and personalities in history and gaining inspiration from the literature and art of the Classical Era of Greek and Roman splendor. Like the narrative of the people's history or "history from below," Luna at this time deeply identified with an "art from below." There exists a thematically similar work titled Head of a Laborer, also painted in 1890 and now in the collection of the Lopez Memorial Museum. Luna's social realist period would climax in the now-lost masterpiece Peuple et Rois (People and Kings), painted from 1891 to 1892 and portrayed the desecration of the French royal tombs in the Cathedral of St. Denis by the revolutionaries of the French Revolution of 1830 (the "Second French Revolution"). In a way, Peuple et Rois echoed the anti-friar sentiments of the ilustrados. Although European in form and subject, Luna espoused and imparted in La Majordoma a sense of dignity to his fellow natives in the Philippine motherland, which had been deemed morally, culturally, socially, and ethnically inferior to their peninsular counterparts. In these European images of the working class, and with an art further strengthened by his recognition in the European expositions, Luna hoped to endow his fellow countrymen with the utmost sense of national pride, especially within their historically crucial milieu of the Filipinos' endeavor in the formation of a shared national identity that is crucial for the struggle for eventual independence.
Lot 134 of the Leon Gallery live and online auction on November 30, 2024. Please see leon-gallery.com and leonexchange.com for more information and to place an online bid.
Europe Europa
Belgique België Belgien Belgium Belgica
Bruxelles Brussel Brüssel Brussels Bruxelas
Saint-Gilles (Sint-Gillis)
Jardin Victor de Laveleye
31 octobre 2011
www.stgilles.irisnet.be/public/uploaded/DEVDUR/TravauxLav...
www.stgillis.irisnet.be/public/uploaded/ComPresse/Avril_2...
Europe Europa
Belgique België Belgien Belgium Belgica
Bruxelles Brussel Brüssel Brussels Bruxelas
Saint-Gilles (Sint-Gillis)
Jardin Victor de Laveleye
31 octobre 2011
www.stgilles.irisnet.be/public/uploaded/DEVDUR/TravauxLav...
www.stgillis.irisnet.be/public/uploaded/ComPresse/Avril_2...
Europe Europa
Belgique België Belgien Belgium Belgica
Bruxelles Brussel Brüssel Brussels Bruxelas
Saint-Gilles (Sint-Gillis)
Jardin Victor de Laveleye
31 octobre 2011
www.stgilles.irisnet.be/public/uploaded/DEVDUR/TravauxLav...
www.stgillis.irisnet.be/public/uploaded/ComPresse/Avril_2...
Europe Europa
Belgique België Belgien Belgium Belgica
Bruxelles Brussel Brüssel Brussels Bruxelas
Saint-Gilles (Sint-Gillis)
Jardin Victor de Laveleye
31 octobre 2011
www.stgilles.irisnet.be/public/uploaded/DEVDUR/TravauxLav...
www.stgillis.irisnet.be/public/uploaded/ComPresse/Avril_2...
Le signe de ralliement V, première lettre des mots Victoire, Vrijheid et Victory, est lancé par le Belge Victor de Laveleye le 14 janvier 1941 dans un message sur la BBC. C'est le début de la Campagne des V qui verra apparaître des V graffités sur les murs de Belgique puis dans toute l'Europe. Winston Churchill fera lui-même du V son emblème. (www.exporadio.be)
Europe Europa
Belgique België Belgien Belgium Belgica
Bruxelles Brussel Brüssel Brussels Bruxelas
Saint-Gilles (Sint-Gillis)
Jardin Victor de Laveleye
31 octobre 2011
www.stgilles.irisnet.be/public/uploaded/DEVDUR/TravauxLav...
www.stgillis.irisnet.be/public/uploaded/ComPresse/Avril_2...
EVIDENCE
Provenance evidence: Inscription, Shelf Mark
Location in book: Title Page
Owner: Ben Damph House. Library
COPY
Repository: Penn Libraries
Call number: DG427 .L39 1884
Collection: LIBRA Rare
Copy title: Nouvelles lettres d'Italie
Author(s): Laveleye, Emile de, 1822-1892
Published: Librairie Hachette et cie, London, 1884
FIND IN POP
EVIDENCE
Provenance evidence: Stamp -- inked, Shelf Mark
Location in book: Front Endleaf
Transcription: LIBRARY, BEN DAMPH FOREST. CASE A SHELF VII NUMBER 29
Owner: Ben Damph House. Library
COPY
Repository: Penn Libraries
Call number: DG427 .L39 1884
Collection: LIBRA Rare
Copy title: Nouvelles lettres d'Italie
Author(s): Laveleye, Emile de, 1822-1892
Published: Librairie Hachette et cie, London, 1884
FIND IN POP
COPY
Repository: Penn Libraries
Call number: DG427 .L39 1884
Collection: LIBRA Rare
Copy title: Nouvelles lettres d'Italie
Author(s): Laveleye, Emile de, 1822-1892
Published: Librairie Hachette et cie, London, 1884
FIND IN POP
This work by #PhilipppeCPhoto (Philippe Clabots / photos.philippec.be / photos@philippec.be) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License / Facebook / Instagram
Image from 'Letters from Italy. ... Translated by Mrs. Thorpe, etc', 002091375
Author: LAVELEYE, Émile Louis Victor de Baron
Page: 17
Year: 1886
Place: London
Publisher: T. Fisher Unwin
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000017)
Image from 'Letters from Italy. ... Translated by Mrs. Thorpe, etc', 002091375
Author: LAVELEYE, Émile Louis Victor de Baron
Page: 89
Year: 1886
Place: London
Publisher: T. Fisher Unwin
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000089)
Image from 'Letters from Italy. ... Translated by Mrs. Thorpe, etc', 002091375
Author: LAVELEYE, Émile Louis Victor de Baron
Page: 316
Year: 1886
Place: London
Publisher: T. Fisher Unwin
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000316)
This work by #PhilipppeCPhoto (Philippe Clabots / photos.philippec.be / photos@philippec.be) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License / Facebook / Instagram
This work by #PhilipppeCPhoto (Philippe Clabots / photos.philippec.be / photos@philippec.be) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License / Facebook / Instagram
This work by #PhilipppeCPhoto (Philippe Clabots / photos.philippec.be / photos@philippec.be) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License / Facebook / Instagram
This work by #PhilipppeCPhoto (Philippe Clabots / photos.philippec.be / photos@philippec.be) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License / Facebook / Instagram
This work by #PhilipppeCPhoto (Philippe Clabots / photos.philippec.be / photos@philippec.be) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License / Facebook / Instagram
This work by #PhilipppeCPhoto (Philippe Clabots / photos.philippec.be / photos@philippec.be) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License / Facebook / Instagram
This work by #PhilipppeCPhoto (Philippe Clabots / photos.philippec.be / photos@philippec.be) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License / Facebook / Instagram
Image from 'Letters from Italy. ... Translated by Mrs. Thorpe, etc', 002091375
Author: LAVELEYE, Émile Louis Victor de Baron
Page: 19
Year: 1886
Place: London
Publisher: T. Fisher Unwin
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000019)
Image from 'Letters from Italy. ... Translated by Mrs. Thorpe, etc', 002091375
Author: LAVELEYE, Émile Louis Victor de Baron
Page: 235
Year: 1886
Place: London
Publisher: T. Fisher Unwin
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000235)