Lou Cosyn Gallery: An Avant-Garde Gallery from Surrealism to Abstraction: Studies in the History of Collecting & Art Markets, cartea 24
Autor Suzanne Vandervekenen Limba Engleză Hardback – 30 dec 2026
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Specificații
ISBN-13: 9789004743847
ISBN-10: 9004743847
Dimensiuni: 155 x 235 mm
Greutate: 0 kg
Editura: Brill
Colecția Brill
Seria Studies in the History of Collecting & Art Markets
ISBN-10: 9004743847
Dimensiuni: 155 x 235 mm
Greutate: 0 kg
Editura: Brill
Colecția Brill
Seria Studies in the History of Collecting & Art Markets
Notă biografică
Suzanne Vanderveken, MA (2025), Ghent University, is Master of Arts in Art History, Musicology and Theatre Studies at that university. She is a freelance art historian specialising in visual art of the Interbellum and of the 1950s in Belgium.
Cuprins
Contents
Preface
Acknowledgments
List of Figures, Tables and Graph
Abbreviations
1 Introduction
1.1 The Brussels Biotope of Lou Cosyn
1.2 The Brussels-Paris Exchange
1.3 Art in Belgium from the Interbellum Period to the 1950s
2 Three Protagonists
2.1 A Child of Merchants
2.2 An All-round Man
2.3 René Magritte
3 A New Gallery in Brussels
3.1 No. 21 rue de la Madeleine
3.2 Exhibitions
4 The Retour à l’ordre of the 1930s
4.1 Reactionary Modernism and Nach-Expressionismus
4.2 The Return to Human Nature of Paul Haesaerts
5 Dealing Art in Times of War
5.1 The Complicity of German Art Historical Institutions
5.2 The Art Market at the Service of the Nazis
5.3 The Boom of the Art Market in Belgium
5.4 The Market Is Overheating
5.5 The Pleasure of the Occupying Forces
5.6 Magritte’s Fears
6 An Avant-Garde Gallery in Brussels
6.1 A Gallery for Surrealists
6.2 Young Surrealist Talent
6.3 The World Festival of Film and The Fine Arts in 1947
6.4 An Older Generation
6.5 Distant Friends of Surrealism
6.6 An Artistic Rendezvous in Brussels
7 Surrealism: From Avant-Garde to Institutionalised Art
7.1 The Dogmatism of René Magritte
7.2 The Young Generation Wants Change
7.3 Surrealism and Money
7.4 The 1954 Venice Biennale
7.5 Armchair Surrealism Rebuked
8 Repositioning the Gallery
8.1 La Jeune Peinture française (1945, Brussels and Liège)
8.2 The French-Speaking Flemish Art Lovers (Artes)
8.3 The Friends of the rue de Paille
8.4 Pioneers of Post-War Abstraction at Lou Cosyn’s
9 The Young Generation Is Looking Elsewhere
9.1 Jo Delahaut and the Group Art abstrait (1952)
9.2 Pol Bury: Paris, and Then the World
9.3 The Saint-Laurent Gallery: Les développements de l’œil (1950)
10 Without a Gallery
10.1 Signs of an Imminent Closure
10.2 In Search of Walloon Artists
10.3 Two Incomplete Seasons
10.4 Lou Cosyn as marchand en chambre
11 Conclusion
Annexes
Bibliography
Illustration Credits
Preface
Acknowledgments
List of Figures, Tables and Graph
Abbreviations
1 Introduction
1.1 The Brussels Biotope of Lou Cosyn
1.2 The Brussels-Paris Exchange
1.3 Art in Belgium from the Interbellum Period to the 1950s
2 Three Protagonists
2.1 A Child of Merchants
2.2 An All-round Man
2.3 René Magritte
3 A New Gallery in Brussels
3.1 No. 21 rue de la Madeleine
3.2 Exhibitions
4 The Retour à l’ordre of the 1930s
4.1 Reactionary Modernism and Nach-Expressionismus
4.2 The Return to Human Nature of Paul Haesaerts
5 Dealing Art in Times of War
5.1 The Complicity of German Art Historical Institutions
5.2 The Art Market at the Service of the Nazis
5.3 The Boom of the Art Market in Belgium
5.4 The Market Is Overheating
5.5 The Pleasure of the Occupying Forces
5.6 Magritte’s Fears
6 An Avant-Garde Gallery in Brussels
6.1 A Gallery for Surrealists
6.2 Young Surrealist Talent
6.3 The World Festival of Film and The Fine Arts in 1947
6.4 An Older Generation
6.5 Distant Friends of Surrealism
6.6 An Artistic Rendezvous in Brussels
7 Surrealism: From Avant-Garde to Institutionalised Art
7.1 The Dogmatism of René Magritte
7.2 The Young Generation Wants Change
7.3 Surrealism and Money
7.4 The 1954 Venice Biennale
7.5 Armchair Surrealism Rebuked
8 Repositioning the Gallery
8.1 La Jeune Peinture française (1945, Brussels and Liège)
8.2 The French-Speaking Flemish Art Lovers (Artes)
8.3 The Friends of the rue de Paille
8.4 Pioneers of Post-War Abstraction at Lou Cosyn’s
9 The Young Generation Is Looking Elsewhere
9.1 Jo Delahaut and the Group Art abstrait (1952)
9.2 Pol Bury: Paris, and Then the World
9.3 The Saint-Laurent Gallery: Les développements de l’œil (1950)
10 Without a Gallery
10.1 Signs of an Imminent Closure
10.2 In Search of Walloon Artists
10.3 Two Incomplete Seasons
10.4 Lou Cosyn as marchand en chambre
11 Conclusion
Annexes
Bibliography
Illustration Credits