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Casa della Storia Europea

https://historia-europa.ep.eu/en/general-information VISION The House of European History aims to become the leading museum about transnational phenomena which have shaped our continent. By interpreting history from a European perspective, it connects and compares shared experiences and their diverse interpretations. It aims to initiate learning on transnational perspectives across Europe. MISSION STATEMENT The House of European History is a forum for learning, reflection and debate, open to audiences from all generations and backgrounds. Our primary mission is to enhance understanding of European history in all its complexity, to encourage the exchange of ideas and to question assumptions. The House presents Europe's history in a way that raises awareness about the multiplicity of perspectives and interpretations. It preserves shared and dividing memories. It exhibits and collects the history of European integration and its foundations. A project of the European Parliament and part of its visitor offer, the House of European History is academically independent. Our transnational collection, our exhibitions and our programmes provide unexpected and inspiring experiences. Through outreach and partnerships, we aim to strengthen the European dimension in debating, exhibiting and learning about history. A place for encounters and exchange, the House's multi-faceted interpretation of the past builds bridges to questions relevant for today's Europe.

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Casa della Storia Europea

135 Rue Belliard

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https://historia-europa.ep.eu/en/general-information VISION The House of European History aims to become the leading museum about transnational phenomena which have shaped our continent. By interpreting history from a European perspective, it connects and compares shared experiences and their diverse interpretations. It aims to initiate learning on transnational perspectives across Europe. MISSION STATEMENT The House of European History is a forum for learning, reflection and debate, open to audiences from all generations and backgrounds. Our primary mission is to enhance understanding of European history in all its complexity, to encourage the exchange of ideas and to question assumptions. The House presents Europe's history in a way that raises awareness about the multiplicity of perspectives and interpretations. It preserves shared and dividing memories. It exhibits and collects the history of European integration and its foundations. A project of the European Parliament and part of its visitor offer, the House of European History is academically independent. Our transnational collection, our exhibitions and our programmes provide unexpected and inspiring experiences. Through outreach and partnerships, we aim to strengthen the European dimension in debating, exhibiting and learning about history. A place for encounters and exchange, the House's multi-faceted interpretation of the past builds bridges to questions relevant for today's Europe.

Brussels Comic Book Museum

https://www.comicscenter.net/en/home In short: The Belgian Comic Strip Center, a true temple dedicated to comic strip art, is also an undisputed masterpiece of the Art Nouveau. The marriage of the 9th Art and Art Nouveau Located in the heart of Brussels, in a majestic Art Nouveau building, created by Victor Horta in 1906, the Belgian Comic Strip Center opened its doors to the public on October 6th 1989. In no time this impressive museum became one of the main attractions of Brussels. Every year more than 200.000 visitors come here to explore 4.200 m² of permanent and temporary exhibitions. Housed in one of the oldest districts of Brussels, just a few steps away from Grand’Place and the Royal district, the Belgian Comic Strip Center seduces in many ways. Come and enjoy the magnificent architecture as well as the communicative pleasure of comic strips. The BCSC assembles anything that deals with European comics, from its prestigious beginnings to its latest developments. Temporary and permanent exhibitions have transformed this Art Nouveau gem into a living and attractive temple. It is a dynamic and exciting place where everything is done to promote the Ninth Art (associated with the creation of the Brussels Comic Strip Route, the issue of Comic Strip stamps, etc...). It is also a cultural ambassador for Belgium, its regions and communities, a reference in the world of comics as well as a unique documentation center. The Belgian Comic Strip Center also produces, for many partners, conferences, books, creative workshops and counciling. Mission statement The non-profit organization “Belgian Comic Strip Center” was created in 1984. It is a private initiative, composed of French-speaking and Dutch-speaking members. Half of the members originate from the comic strips world or from professional associations of comic strip artists. The Belgian Comic Strip Center’s presidents have been, in chronological order, Bob De Moor (1984-1992), Jean Van Hamme (1992-2000), Guy Dessicy (2000-2012), and then Ferry Van Vosselen. Jean-Pierre Vanden Branden is its vice-president. The Belgian Comic Strip Center's aims are twofold: to promote the comic strip as a valuable cultural medium and to maintain the architectural masterpiece which it is housed in. The kingdom of comics With more than 700 comic strip authors, Belgium has more comic strip artists per square kilometre than any other country in the world! It is here that the comic strip has grown from a popular medium into an art in its own right. Nowhere else comics are so strongly rooted in reality and in people's imagination. If you come to visit the Belgian Comic Strip Center, you will witness the unusual marriage of the Ninth Art and Art Nouveau, two artistic forms of expression which have always been particularly cherished in Brussels. This kingdom of imagination is home to some of Belgium's best-known comic strip heroes: Tintin, Spirou, Bob and Bobette, the Smurfs, Lucky Luke, Blake and Mortimer, Marsupilami, etc. They are one big happy family of paper heroes. We can safely say that the heart of European comic strips beats in Brussels.

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Brussels Comic Book Museum

20 Rue des Sables

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https://www.comicscenter.net/en/home In short: The Belgian Comic Strip Center, a true temple dedicated to comic strip art, is also an undisputed masterpiece of the Art Nouveau. The marriage of the 9th Art and Art Nouveau Located in the heart of Brussels, in a majestic Art Nouveau building, created by Victor Horta in 1906, the Belgian Comic Strip Center opened its doors to the public on October 6th 1989. In no time this impressive museum became one of the main attractions of Brussels. Every year more than 200.000 visitors come here to explore 4.200 m² of permanent and temporary exhibitions. Housed in one of the oldest districts of Brussels, just a few steps away from Grand’Place and the Royal district, the Belgian Comic Strip Center seduces in many ways. Come and enjoy the magnificent architecture as well as the communicative pleasure of comic strips. The BCSC assembles anything that deals with European comics, from its prestigious beginnings to its latest developments. Temporary and permanent exhibitions have transformed this Art Nouveau gem into a living and attractive temple. It is a dynamic and exciting place where everything is done to promote the Ninth Art (associated with the creation of the Brussels Comic Strip Route, the issue of Comic Strip stamps, etc...). It is also a cultural ambassador for Belgium, its regions and communities, a reference in the world of comics as well as a unique documentation center. The Belgian Comic Strip Center also produces, for many partners, conferences, books, creative workshops and counciling. Mission statement The non-profit organization “Belgian Comic Strip Center” was created in 1984. It is a private initiative, composed of French-speaking and Dutch-speaking members. Half of the members originate from the comic strips world or from professional associations of comic strip artists. The Belgian Comic Strip Center’s presidents have been, in chronological order, Bob De Moor (1984-1992), Jean Van Hamme (1992-2000), Guy Dessicy (2000-2012), and then Ferry Van Vosselen. Jean-Pierre Vanden Branden is its vice-president. The Belgian Comic Strip Center's aims are twofold: to promote the comic strip as a valuable cultural medium and to maintain the architectural masterpiece which it is housed in. The kingdom of comics With more than 700 comic strip authors, Belgium has more comic strip artists per square kilometre than any other country in the world! It is here that the comic strip has grown from a popular medium into an art in its own right. Nowhere else comics are so strongly rooted in reality and in people's imagination. If you come to visit the Belgian Comic Strip Center, you will witness the unusual marriage of the Ninth Art and Art Nouveau, two artistic forms of expression which have always been particularly cherished in Brussels. This kingdom of imagination is home to some of Belgium's best-known comic strip heroes: Tintin, Spirou, Bob and Bobette, the Smurfs, Lucky Luke, Blake and Mortimer, Marsupilami, etc. They are one big happy family of paper heroes. We can safely say that the heart of European comic strips beats in Brussels.

Museo di scienze naturali

https://www.naturalsciences.be/fr/museum/home A few words : Royal Belgian Institute of Natural Sciences & Museum After coming here as children, on a school trip or with their families, our visitors generally know the Museum of Natural Sciences fairly well. They do not necessary know about the research institute behind it – the Royal Belgian Institute of Natural Sciences. We are a world-class research institute with more than 250 scientists and scientific collaborators covering a wide range of disciplines from biology to geology, oceanography to taxonomy and palaeontology to ecology. For their research, scientists and researchers often make use of our vast collections which contain almost 38 million specimens. They support national and international decision-makers with their scientific expertise and regularly publish scientific articles and reports. For the general public, the Museum of Natural Sciences is the visible part of the RBINS. It has 16,000m² of permanent galleries, temporary exhibition rooms and educational workshops, enabling us to welcome roughly 300,000 visitors each year, approximately 30% of whom are school groups. The Dinosaur Gallery is world famous and the largest in Europe. The museum plays a leading role in the promotion and dissemination of scientific culture, both within and beyond its walls, notably through travelling exhibitions and events. We are pursuing our ambitious efforts to gradually renovate the premises, making the museum more welcoming and meeting and exceeding our visitors expectations. We also seek to promote a more respectful approach to nature.

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Museo di scienze naturali

29 Rue Vautier

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https://www.naturalsciences.be/fr/museum/home A few words : Royal Belgian Institute of Natural Sciences & Museum After coming here as children, on a school trip or with their families, our visitors generally know the Museum of Natural Sciences fairly well. They do not necessary know about the research institute behind it – the Royal Belgian Institute of Natural Sciences. We are a world-class research institute with more than 250 scientists and scientific collaborators covering a wide range of disciplines from biology to geology, oceanography to taxonomy and palaeontology to ecology. For their research, scientists and researchers often make use of our vast collections which contain almost 38 million specimens. They support national and international decision-makers with their scientific expertise and regularly publish scientific articles and reports. For the general public, the Museum of Natural Sciences is the visible part of the RBINS. It has 16,000m² of permanent galleries, temporary exhibition rooms and educational workshops, enabling us to welcome roughly 300,000 visitors each year, approximately 30% of whom are school groups. The Dinosaur Gallery is world famous and the largest in Europe. The museum plays a leading role in the promotion and dissemination of scientific culture, both within and beyond its walls, notably through travelling exhibitions and events. We are pursuing our ambitious efforts to gradually renovate the premises, making the museum more welcoming and meeting and exceeding our visitors expectations. We also seek to promote a more respectful approach to nature.

Musee Wiertz

The museum, which has preserved its original atmosphere, is dedicated to painter, sculptor and writer Antoine Wiertz (1806-1865), a somewhat controversial artistic figure of the Belgian Romantic movement. Wiertz loved the spectacular, painting giant canvasses to indulge his thirst for the excessive, like the more than 8 metres long Greeks and Trojans fighting over the body of Patroclus. Wiertz is also known for his dramatic subjects and horror scenes, such as his Premature Burial. His most famous painting is probably Two Girls (La Belle Rosine), in which a young woman faces a skeleton, reflecting the artist's fascination with death and the fragility of human life. Wiertz also produced numerous portraits and self-portraits. HISTORY OF THE COLLECTION The construction of this workshop-museum in the Léopold district of Brussels was agreed in 1850 between Wiertz and the Belgian government. During the year following the artist's death, the entire collection of works then in his studio was bequeathed to the state. Since 1868, the Wiertz Museum has been part of the Royal Museums of Fine Arts of Belgium.

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Musee Wiertz

62 Rue Vautier

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The museum, which has preserved its original atmosphere, is dedicated to painter, sculptor and writer Antoine Wiertz (1806-1865), a somewhat controversial artistic figure of the Belgian Romantic movement. Wiertz loved the spectacular, painting giant canvasses to indulge his thirst for the excessive, like the more than 8 metres long Greeks and Trojans fighting over the body of Patroclus. Wiertz is also known for his dramatic subjects and horror scenes, such as his Premature Burial. His most famous painting is probably Two Girls (La Belle Rosine), in which a young woman faces a skeleton, reflecting the artist's fascination with death and the fragility of human life. Wiertz also produced numerous portraits and self-portraits. HISTORY OF THE COLLECTION The construction of this workshop-museum in the Léopold district of Brussels was agreed in 1850 between Wiertz and the Belgian government. During the year following the artist's death, the entire collection of works then in his studio was bequeathed to the state. Since 1868, the Wiertz Museum has been part of the Royal Museums of Fine Arts of Belgium.

Museo degli Strumenti Musicali

http://www.mim.be/opening-hours-location Since 11 January 1992 the Musical Instruments Museum (now known as the 'mim') has been part of the Royal Museums of Art and History as Department IV. By royal decree, the State has recognised the scientific character of its activities and provided it with two sections: firstly, the early music section and secondly, the section of modern music (19th and 20th centuries), and popular and traditional music. But the original creation of the Brussels Musical Instruments Museum dates from 1 February 1877, when it was attached to the Brussels Royal Music Conservatory with the didactic purpose of showing early instruments to the students. François-Joseph Fétis At the very beginning of the Brussels Musical Instruments Museum's creation two collections of instruments were joined together. One belonged to the celebrated Belgian musicologist François-Joseph Fétis (1784-1871), was bought by the Belgian government in 1872 and put on deposit in the Conservatory where Fétis was the first director. The other was offered to King Leopold II in 1876 by the Rajah Sourindro Mohun Tagore (1840-1914) and comprises about a hundred Indian instruments.

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Museo degli Strumenti Musicali

2 Rue Montagne de la Cour

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http://www.mim.be/opening-hours-location Since 11 January 1992 the Musical Instruments Museum (now known as the 'mim') has been part of the Royal Museums of Art and History as Department IV. By royal decree, the State has recognised the scientific character of its activities and provided it with two sections: firstly, the early music section and secondly, the section of modern music (19th and 20th centuries), and popular and traditional music. But the original creation of the Brussels Musical Instruments Museum dates from 1 February 1877, when it was attached to the Brussels Royal Music Conservatory with the didactic purpose of showing early instruments to the students. François-Joseph Fétis At the very beginning of the Brussels Musical Instruments Museum's creation two collections of instruments were joined together. One belonged to the celebrated Belgian musicologist François-Joseph Fétis (1784-1871), was bought by the Belgian government in 1872 and put on deposit in the Conservatory where Fétis was the first director. The other was offered to King Leopold II in 1876 by the Rajah Sourindro Mohun Tagore (1840-1914) and comprises about a hundred Indian instruments.

Museo Magritte

https://www.musee-magritte-museum.be/en/your-visit The Musée Magritte Museum, located in the heart of Brussels, brings together the world's largest collection of the renowned surrealist artist René Magritte: 230 works and archives are displayed. The multidisciplinary space houses paintings, gouaches, drawings, sculptures and painted objects, as well as advertising posters, musical scores, photographs and films. The Museum also has the most important collection from the artist’s "vache" period. The selection of works exhibited in the Royal Museums of Fine Arts of Belgium is constantly expanding with a changing selection of external loans. With the support of Belgian and foreign museums as well as private collectors, works are being made available that have previously never been exhibited. The visitor can thus discover many treasures that are still in private possession. The Musée Magritte Museum has already received 8 nominations and prizes. Every year more than 300,000 visitors come here for all over the world to discover the life and the works of René Magritte.

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Museo Magritte

1 Pl. Royale

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https://www.musee-magritte-museum.be/en/your-visit The Musée Magritte Museum, located in the heart of Brussels, brings together the world's largest collection of the renowned surrealist artist René Magritte: 230 works and archives are displayed. The multidisciplinary space houses paintings, gouaches, drawings, sculptures and painted objects, as well as advertising posters, musical scores, photographs and films. The Museum also has the most important collection from the artist’s "vache" period. The selection of works exhibited in the Royal Museums of Fine Arts of Belgium is constantly expanding with a changing selection of external loans. With the support of Belgian and foreign museums as well as private collectors, works are being made available that have previously never been exhibited. The visitor can thus discover many treasures that are still in private possession. The Musée Magritte Museum has already received 8 nominations and prizes. Every year more than 300,000 visitors come here for all over the world to discover the life and the works of René Magritte.

Museo reale dell'Africa centrale

https://www.africamuseum.be/en/visit/plan Origin of the museum The Colonial Palace The origin of the AfricaMuseum dates back to the Brussels International Exposition of 1897. At King Leopold II’s behest, The ‘Colonial Section’ of the exhibition was moved to the Africa Palace (formerly the ‘Colonial Palace’) in Tervuren. The exhibition halls were home to naturalised animals, geographic samples, commodities, Congolese ethnographic and artistic objects and art objects created in Belgium. An African village was recreated in the park and this was home to Congolese individuals during the day. Seven of these Congolese died during their time in the village. Leopold II saw the museum as a propaganda tool for his colonial project, aimed at attracting investors and winning over the Belgian population. It was in 1898 that the temporary exhibition became the first permanent museum of the Congo. The institute has always served the dual purpose of a museum and scientific institute. An ambitious construction project site of the museumVery early on, the Africa Palace turned out to be too small. Leopold II called on the services of Charles Girault, architect of the Petit Palais in Paris, and embarked upon an ambitious construction programme. The plans were for a complete site with a new museum of the Congo, a world school, a congress centre, a station, Chinese pavilions and a sports centre. The majority of the profits from the royal private domain of the Congo were used for the construction projects in Belgium. In 1908, the Congo Free State became Belgian Congo and the museum, the Museum of Belgian Congo. Construction works were brought to a halt. The inauguration in 1910 As Leopold II had died before the works were completed, it was King Albert 1st who inaugurated the museum on 30 April 1910. The museum benefited from all modern comforts and was a real architectural masterpiece. The Royal Museum of Central Africa By the Royal Decree of 10 March 1952 the museum became the Royal Museum of the Belgian Congo. When independence was declared, its name was changed to the Royal Museum of Central Africa, offering a broader range of studies. Even today, two thirds of the staff and the budget of the AfricaMuseum are dedicated to scientific research.

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Museo reale dell'Africa centrale

13 Leuvensesteenweg

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https://www.africamuseum.be/en/visit/plan Origin of the museum The Colonial Palace The origin of the AfricaMuseum dates back to the Brussels International Exposition of 1897. At King Leopold II’s behest, The ‘Colonial Section’ of the exhibition was moved to the Africa Palace (formerly the ‘Colonial Palace’) in Tervuren. The exhibition halls were home to naturalised animals, geographic samples, commodities, Congolese ethnographic and artistic objects and art objects created in Belgium. An African village was recreated in the park and this was home to Congolese individuals during the day. Seven of these Congolese died during their time in the village. Leopold II saw the museum as a propaganda tool for his colonial project, aimed at attracting investors and winning over the Belgian population. It was in 1898 that the temporary exhibition became the first permanent museum of the Congo. The institute has always served the dual purpose of a museum and scientific institute. An ambitious construction project site of the museumVery early on, the Africa Palace turned out to be too small. Leopold II called on the services of Charles Girault, architect of the Petit Palais in Paris, and embarked upon an ambitious construction programme. The plans were for a complete site with a new museum of the Congo, a world school, a congress centre, a station, Chinese pavilions and a sports centre. The majority of the profits from the royal private domain of the Congo were used for the construction projects in Belgium. In 1908, the Congo Free State became Belgian Congo and the museum, the Museum of Belgian Congo. Construction works were brought to a halt. The inauguration in 1910 As Leopold II had died before the works were completed, it was King Albert 1st who inaugurated the museum on 30 April 1910. The museum benefited from all modern comforts and was a real architectural masterpiece. The Royal Museum of Central Africa By the Royal Decree of 10 March 1952 the museum became the Royal Museum of the Belgian Congo. When independence was declared, its name was changed to the Royal Museum of Central Africa, offering a broader range of studies. Even today, two thirds of the staff and the budget of the AfricaMuseum are dedicated to scientific research.

Fine Arts Museum - Museumplein entrance

https://www.fine-arts-museum.be/en/museums/musee-modern-museum The collection of modern and contemporary art covers works dating from the late 18th century to the present day. The collection of Modern and Contemporary Art, from David to Panamarenko, Alechinsky, Bacon, Dalí or Fabre, underwent an extensive upgrade by being redeployed in three multidisciplinary areas. Thanks to the enthusiasm of generous sponsors and partners, two new spaces were created in less than five years’ time: the Musée Magritte Museum and the Musée Fin-de-Siècle Museum. The third space, the new Museum of Modern and Contemporary Art with artworks from 1914 onwards, is currently presented through regularly renewed selections of works and a contemporary art in situ route, in anticipation of the move to a new location which will allow it to grow to its full potential.

Fine Arts Museum - Museumplein entrance

5 Rue du Musée

https://www.fine-arts-museum.be/en/museums/musee-modern-museum The collection of modern and contemporary art covers works dating from the late 18th century to the present day. The collection of Modern and Contemporary Art, from David to Panamarenko, Alechinsky, Bacon, Dalí or Fabre, underwent an extensive upgrade by being redeployed in three multidisciplinary areas. Thanks to the enthusiasm of generous sponsors and partners, two new spaces were created in less than five years’ time: the Musée Magritte Museum and the Musée Fin-de-Siècle Museum. The third space, the new Museum of Modern and Contemporary Art with artworks from 1914 onwards, is currently presented through regularly renewed selections of works and a contemporary art in situ route, in anticipation of the move to a new location which will allow it to grow to its full potential.

Musée Constantin Meunier Museum

https://www.fine-arts-museum.be/en/museums/musee-meunier-museum This museum is located in Ixelles in the house-cum-studio of artist, painter, sculptor and draughtsman Constantin Meunier (1831-1905). The items on display trace more specifically the evolution of the master between 1875 and 1905, this "second life" in his own words, during which his Realist talent focused more on the social and industrial aspects of Belgium, first through painting and drawing and then, from 1885 onwards, with his return to sculpture to become one of the greatest artists of the genre. Paintings like The Broken Pot are echoed by important sculptures like The Hammerer, a whole people of plaster and bronze that deeply marked his day and continued to influence Realist art well into the first decades of the 20th century. HISTORY OF THE COLLECTION Constantin Meunier (1831-1905) had this beautiful house-cum-studio built towards the end of his life. Sheltering an extensive collection of over 700 works, the house was acquired by the Belgian state in 1936 and opened to the public in 1939. Attached to the Royal Museums of Fine Arts of Belgium, and subsequently renovated, it has since 1986 presented a selection of about 150 works and documents.

Musée Constantin Meunier Museum

59 Rue de l'Abbaye

https://www.fine-arts-museum.be/en/museums/musee-meunier-museum This museum is located in Ixelles in the house-cum-studio of artist, painter, sculptor and draughtsman Constantin Meunier (1831-1905). The items on display trace more specifically the evolution of the master between 1875 and 1905, this "second life" in his own words, during which his Realist talent focused more on the social and industrial aspects of Belgium, first through painting and drawing and then, from 1885 onwards, with his return to sculpture to become one of the greatest artists of the genre. Paintings like The Broken Pot are echoed by important sculptures like The Hammerer, a whole people of plaster and bronze that deeply marked his day and continued to influence Realist art well into the first decades of the 20th century. HISTORY OF THE COLLECTION Constantin Meunier (1831-1905) had this beautiful house-cum-studio built towards the end of his life. Sheltering an extensive collection of over 700 works, the house was acquired by the Belgian state in 1936 and opened to the public in 1939. Attached to the Royal Museums of Fine Arts of Belgium, and subsequently renovated, it has since 1986 presented a selection of about 150 works and documents.

Musee Fin-De-Siecle

https://www.fine-arts-museum.be/en/museums/musee-fin-de-siecle-museum musée fin-de-siècle museum – Every end is a new beginning. The works reflect the multitude of artistic disciplines between 1868, date of the founding of the Société libre des Beaux-Arts, and 1914. Famous visual artists like Constantin Meunier, James Ensor, Henri Evenepoel, Fernand Khnopff, Léon Spilliaert and Georges Minne testify to the effervescent activity of this period, reflected also in all other creative fields: literature, opera, music, architecture, photography and poetry (Maurice Maeterlinck, Emile Verhaeren, Octave Maus, Victor Horta, Henry Van de Velde, Maurice Kufferath, Guillaume Lekeu and others). Art Nouveau architecture is evoked by means of a 3D reconstruction of six buildings Art nouveau. Located at the heart of Brussels, where between 1884 and 1914 the exhibitions of Les XX and La Libre Esthétique made the city one of the artistic capitals of the late nineteenth century, this museum is distinguished by its multidisciplinary nature, through a partnership formed with the Royal Library, the Théâtre Royal de la Monnaie, the Royal Museums of Art and History, Cinematek, the Bibliotheca Wittockiana, the King Baudouin Foundation and the Brussels Capital Region for housing the Gillion Crowet collection, which is one of the museum's highlights. ABOUT THE ROTATION OF ARTWORKS The Royal Museums of Fine Arts of Belgium possesses a rich collection of works on paper, which mainly consists of drawings, pastels and watercolors from the years 1868-1914. Our structural partner institutions, the print room and the music department of the KBR, the collection of 20th-century art from the RMAH and the archives of la Monnaie, also have a rich and specific collection that is complementary to ours. All these collections demonstrate the importance of the techniques on paper during this period. Because of their sensitivity to light, these works cannot be permanently shown to the public. That is why these works are shown in specific parts of the exhibition route, each time on a specific theme, and the set-up is replaced every six months, in accordance with the strict protection guidelines.

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Musee Fin-De-Siecle

3 Rue de la Régence

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https://www.fine-arts-museum.be/en/museums/musee-fin-de-siecle-museum musée fin-de-siècle museum – Every end is a new beginning. The works reflect the multitude of artistic disciplines between 1868, date of the founding of the Société libre des Beaux-Arts, and 1914. Famous visual artists like Constantin Meunier, James Ensor, Henri Evenepoel, Fernand Khnopff, Léon Spilliaert and Georges Minne testify to the effervescent activity of this period, reflected also in all other creative fields: literature, opera, music, architecture, photography and poetry (Maurice Maeterlinck, Emile Verhaeren, Octave Maus, Victor Horta, Henry Van de Velde, Maurice Kufferath, Guillaume Lekeu and others). Art Nouveau architecture is evoked by means of a 3D reconstruction of six buildings Art nouveau. Located at the heart of Brussels, where between 1884 and 1914 the exhibitions of Les XX and La Libre Esthétique made the city one of the artistic capitals of the late nineteenth century, this museum is distinguished by its multidisciplinary nature, through a partnership formed with the Royal Library, the Théâtre Royal de la Monnaie, the Royal Museums of Art and History, Cinematek, the Bibliotheca Wittockiana, the King Baudouin Foundation and the Brussels Capital Region for housing the Gillion Crowet collection, which is one of the museum's highlights. ABOUT THE ROTATION OF ARTWORKS The Royal Museums of Fine Arts of Belgium possesses a rich collection of works on paper, which mainly consists of drawings, pastels and watercolors from the years 1868-1914. Our structural partner institutions, the print room and the music department of the KBR, the collection of 20th-century art from the RMAH and the archives of la Monnaie, also have a rich and specific collection that is complementary to ours. All these collections demonstrate the importance of the techniques on paper during this period. Because of their sensitivity to light, these works cannot be permanently shown to the public. That is why these works are shown in specific parts of the exhibition route, each time on a specific theme, and the set-up is replaced every six months, in accordance with the strict protection guidelines.

Oldmasters Museum

https://www.fine-arts-museum.be/en/museums/musee-oldmasters-museum The remarkable collection of Old Masters, witnessing to a rich and creative past, covers a period running from the 15th to the 18th centuries. The bulk of this collection consists of the painting of the former Southern Netherlands, with masterpieces by Rogier van der Weyden, Petrus Christus, Dirk Bouts, Hans Memling, Hieronymus Bosch, Lucas Cranach and Gerard David. For the sixteenth century, Pieter Bruegel the Elder is magnificently represented with major works like The Fall of the Rebel Angels or The Census at Bethlehem. Finally, for the 17th and 18th centuries the Flemish School is represented by Peter Paul Rubens, Anthony van Dyck and Jacques Jordaens, the French and Italian schools by Simon Vouet, Philippe de Champaigne, Le Lorrain, Jusepe de Ribera, Giovani BattistaTiepolo and others ... HISTORY OF THE COLLECTION The collection originated during the French Revolution, when many works of art were seized by the occupant, especially from religious institutions. The Museum was founded in 1801 by Napoleon Bonaparte, but it was in 1830, with Belgian independence, that it really became a major institution. In 1913, de Grez donation enriched the collection with more than 4,000 works on paper dating from the 16th to the 19th centuries (Hendrick Goltzius, Jacques de Gheyn the Younger, Rembrandt ...).

Oldmasters Museum

3 Rue de la Régence

https://www.fine-arts-museum.be/en/museums/musee-oldmasters-museum The remarkable collection of Old Masters, witnessing to a rich and creative past, covers a period running from the 15th to the 18th centuries. The bulk of this collection consists of the painting of the former Southern Netherlands, with masterpieces by Rogier van der Weyden, Petrus Christus, Dirk Bouts, Hans Memling, Hieronymus Bosch, Lucas Cranach and Gerard David. For the sixteenth century, Pieter Bruegel the Elder is magnificently represented with major works like The Fall of the Rebel Angels or The Census at Bethlehem. Finally, for the 17th and 18th centuries the Flemish School is represented by Peter Paul Rubens, Anthony van Dyck and Jacques Jordaens, the French and Italian schools by Simon Vouet, Philippe de Champaigne, Le Lorrain, Jusepe de Ribera, Giovani BattistaTiepolo and others ... HISTORY OF THE COLLECTION The collection originated during the French Revolution, when many works of art were seized by the occupant, especially from religious institutions. The Museum was founded in 1801 by Napoleon Bonaparte, but it was in 1830, with Belgian independence, that it really became a major institution. In 1913, de Grez donation enriched the collection with more than 4,000 works on paper dating from the 16th to the 19th centuries (Hendrick Goltzius, Jacques de Gheyn the Younger, Rembrandt ...).

Bozar station

HISTORY AN UNDERGROUND "MOUNT" OF THE ARTS The Centre for Fine Arts, a palace of the arts. Immense and yet almost invisible, overlooking the city and yet buried underground, multiple and yet unified, prestigious and yet open to all...this was how Victor Horta imagined the first cultural centre of its kind to be constructed in Europe, the Brussels Centre for Fine Arts. His ambitious project was designed to meet several challenges. A town planning one, first of all: linking the upper to the lower town. An architectural one: creating a building that would meet the needs of different disciplines while still preserving its own architectural cogency. An artistic challenge: to host all forms of art, at the highest level and in the best possible conditions. A cultural challenge, finally: to make art accessible to as many people as possible, free of elitism but without lowering standards. The Centre for Fine Arts first opened its doors in 1928. Here, Horta traded the sinuous lines of art nouveau for the geometric design language of art deco, but the incidence of light in the exhibition rooms and the ingenious arrangement of the different spaces betray the hand of the master. In his memoirs, Horta referred to the Centre as a high point in his career. An underground "Mount" of the Arts All forms of art come together in the PSK. Horta pieced together a jigsaw combining three concert halls, exhibition spaces, and lecture rooms in one harmonious whole. From the outset, music and exhibitions were placed on an equal footing. The open plan was made possible by a steel skeleton of rafters and the use of reinforced concrete. When walking through the building, without really being aware of it one is climbing a hill: the Mont des Arts/Kunstberg. In total, Horta’s Palace has no fewer than eight levels. It is quite difficult to represent all these floors and mezzanines in a single, easy-to-use floor plan. In order to orient oneself, it is easiest to use the main entrance on rue Ravenstein/Ravensteinstraat as the point of reference.

215 persone del luogo consigliano

Bozar station

215 persone del luogo consigliano

HISTORY AN UNDERGROUND "MOUNT" OF THE ARTS The Centre for Fine Arts, a palace of the arts. Immense and yet almost invisible, overlooking the city and yet buried underground, multiple and yet unified, prestigious and yet open to all...this was how Victor Horta imagined the first cultural centre of its kind to be constructed in Europe, the Brussels Centre for Fine Arts. His ambitious project was designed to meet several challenges. A town planning one, first of all: linking the upper to the lower town. An architectural one: creating a building that would meet the needs of different disciplines while still preserving its own architectural cogency. An artistic challenge: to host all forms of art, at the highest level and in the best possible conditions. A cultural challenge, finally: to make art accessible to as many people as possible, free of elitism but without lowering standards. The Centre for Fine Arts first opened its doors in 1928. Here, Horta traded the sinuous lines of art nouveau for the geometric design language of art deco, but the incidence of light in the exhibition rooms and the ingenious arrangement of the different spaces betray the hand of the master. In his memoirs, Horta referred to the Centre as a high point in his career. An underground "Mount" of the Arts All forms of art come together in the PSK. Horta pieced together a jigsaw combining three concert halls, exhibition spaces, and lecture rooms in one harmonious whole. From the outset, music and exhibitions were placed on an equal footing. The open plan was made possible by a steel skeleton of rafters and the use of reinforced concrete. When walking through the building, without really being aware of it one is climbing a hill: the Mont des Arts/Kunstberg. In total, Horta’s Palace has no fewer than eight levels. It is quite difficult to represent all these floors and mezzanines in a single, easy-to-use floor plan. In order to orient oneself, it is easiest to use the main entrance on rue Ravenstein/Ravensteinstraat as the point of reference.

Museo reale dell'esercito e della storia militare

http://www.klm-mra.be/D7t/en The Royal Military Museum is a category two federal scientific institution (ISF/FWI), as well as a state service with separate management (SEGS/SAB). It furthers knowledge about military history and conflict history, in times of war and times of peace, through the unique and rich military heritage it manages on its different sites. That heritage is movable, immovable and immaterial. In view of long-term conservation the collections are managed, preserved, analysed, interpreted and extended in a professional and scientific manner. The timeframe stretches from the Middle Ages till the present; the geographical framework covers both the historic territories preceding the creation of our kingdom and present-day Belgium, in a European and international perspective. Vision The Museum benefits from public financing, private funding and personal revenue, and takes all necessary steps to reduce costs. The public can discover the many aspects of military history in various ways. As the Museum not only manages the site in the Jubilee Park, but also several external museums (Trench of Death, Mount Kemmel, McAuliffe basement, Gunfire) and remote storages, its name could be changed into “Royal Museums of Military History”, RMMH for short. This denomination would more closely fit the mission described above. As a category two federal scientific institution the Museum eventually hopes to evolve into a category one institution. It also wishes to become a national and international experts centre for military history. It encourages scientific research concerning military history and heritage. It will extend, commercialize and promote public services, exhibitions and publications, as well as fully engage the digital dimension. In that way, the Museum will play its social part in a modern manner.

74 persone del luogo consigliano

Museo reale dell'esercito e della storia militare

3 Parc du Cinquantenaire

74 persone del luogo consigliano

http://www.klm-mra.be/D7t/en The Royal Military Museum is a category two federal scientific institution (ISF/FWI), as well as a state service with separate management (SEGS/SAB). It furthers knowledge about military history and conflict history, in times of war and times of peace, through the unique and rich military heritage it manages on its different sites. That heritage is movable, immovable and immaterial. In view of long-term conservation the collections are managed, preserved, analysed, interpreted and extended in a professional and scientific manner. The timeframe stretches from the Middle Ages till the present; the geographical framework covers both the historic territories preceding the creation of our kingdom and present-day Belgium, in a European and international perspective. Vision The Museum benefits from public financing, private funding and personal revenue, and takes all necessary steps to reduce costs. The public can discover the many aspects of military history in various ways. As the Museum not only manages the site in the Jubilee Park, but also several external museums (Trench of Death, Mount Kemmel, McAuliffe basement, Gunfire) and remote storages, its name could be changed into “Royal Museums of Military History”, RMMH for short. This denomination would more closely fit the mission described above. As a category two federal scientific institution the Museum eventually hopes to evolve into a category one institution. It also wishes to become a national and international experts centre for military history. It encourages scientific research concerning military history and heritage. It will extend, commercialize and promote public services, exhibitions and publications, as well as fully engage the digital dimension. In that way, the Museum will play its social part in a modern manner.

Beer Museum

https://www.belvue.be/en/about BELvue : more than a museum, a living space for history and democracy The BELvue is located in the heart of Brussels and is both the museum of Belgium and its history as well as a centre for democracy. Managed by the King Baudouin Foundation, the BELvue was created as a place where visitors, and especially young people, can learn about and better understand Belgium, its history, its socio-economic development and the workings of its institutions. Employing a theme-based approach and with a modern, interactive exhibition layout, the museum offers visitors the keys to understanding Belgium and Belgian society. Seven social themes are addressed in the rooms: democracy, prosperity, solidarity, pluralism, migration, language and Europe. Each team is firstly presented from the perspective of the present day, then subsequently developed and explained through the history of Belgium. How did Belgium and the Belgians become what they are today? In the BELvue’s new exhibition, history is not an end in itself, but rather a means to explain and provide the keys to understanding and interpreting our society. This overview of Belgium past and present is complemented by a gallery of more than 200 objects. Presented chronologically from the 19th century to today, the pieces embody Belgium’s “physical memory”. Visitors will find everyday objects, works of art and design, well-known brands, scientific discoveries, references to great sporting achievements as well as objects that recall the richness of our popular culture. The BELvue also organises temporary exhibitions which give the opportunity to the visitor to discover in depth a special topic, dedicated to history, to heritage or to more recent events of the country. Next to its museum activities, the BELvue is also a centre for democracy. It contributes to improving the confidence in democratic values by developing a historical conscience and by stimulating critical reflexion on major democratic stakes. The BELvue also welcomes a large diversity of visitors : schools, (future) teachers, youth associations, families, seniors, vulnerable people, as well as disabled people, ... They benefit from a large and appropriate offer of activities, exhibitions, workshops, guided tours, conferences or events around democracy, history and justice. All these activities are coordinated by eduBEL, the educational department of the BELvue. Members of the team are teachers detached for a predetermined period who are responsible for the educational activities and the training of external guest speakers. To complete this accessible approach, most of the activities are free of charge or available at democratic prices. The BELvue is located in Brussels, Belgian and European capital city, next to the Royal Palace and neighbour of the greatest national institutions. It aims to be a place to meet and to exchange ideas, a place where past, present and future gather. History Hôtel Bellevue 1776-1830 : building and first residents of the Belle-Vue (De Proft family I) Philippe De Proft, wine merchant and channel horses contractor, was authorised by the Empress Maria-Theresa to build a high standard hotel at the north east corner of the Royal Square. The house was been built on the remains of the old Palace of Brussels, the imperial residence that was destroyed by a fire in 1731. The private establishment was named “Hotel de Belle-Vue”, from the name of the street that ran along the Brussels park (present day Place des Palais). The operator, who had started his career as manager of the inn “la Maison Rouge”, rue de l’Escalier (near the old Halle au Blés) counted on using the cellars from the former palace for storing his barrels and casks. The building was erected according to the blueprints of Barnabé Guimard (revised by Nieslas Barré) in the Louis XVI style of the entire Place Royale. Ph. De Proft was ultimately forced to sell off all his other assets in order to be able to pay for the extremely meticulous work on the Bellevue. Among the first distinguished guests was a series of French nobles, including several members of the royal family, fleeing to Brussels after the 1789 revolution. Amongst them were Prince Louis-Joseph de Condé and his son, the Count of Artois (future king Charles X) and the Duke of Enghien, as well as Count Axel Fersen and the Princess of Lamballe(First Lady-in-Waiting to Queen Marie Antoinette). In 1795, Louis De Proft bought the hotel from his father and succeeded him as head of the establishment. On 28th June 1816, he purchased the hotel built by Baron de Aguilar, former member of the Conseil d'État (Council of State), resulting in the Bellevue extending towards the south-east, along the present day Impasse de Borgendael(formerly Rue du Jeu de Paume). The two edifices were connected by a low adjoining building that rose to the height of its neighbours in 1827. Numerous foreign dignitaries, heads of state, aristocrats, politicians and artists stayed at the Bellevue during their stay in Brussels, enjoying its many suites. In turn, Charles De Proft, captain in the Garde Civique (Civic Guardsmen)bought the hotel from his father in 1825. New guests stopped in at the hotel and they included many crowned heads. It is said that Napoleon Bonaparte dined there (because he stayed at the Grande Bretagne hotel) and the Duke of Wellington purportedly met there with his general staff a few days before the battle of Waterloo. Jerome Bonaparte, former King of Westphalia and Julie Bonaparte, former Queen of Spain, stayed there after events in 1815. Numerous British travellers also enjoyed the hospitality of the De Proft family. 1830-1862: after the Revolution (De Proft family II) The Bellevue found itself right in the middle of fighting during the Revolution for Belgian Independence (23rd-26th September 1830). The façade facing the Parc de Bruxelles ended up riddled with bullet holes and shrapnel. The Bellevue became a national monument (memorial) at the end of the fighting. Several months later, it was the object of restoration work that lasted nearly one year. Its main entrance was located at number 9 Place Royale, but the hotel also had a ‘baggage’ entrance and a ‘stable’ entrance next to the Place des Palais. The hotel’s reputation attracted very high-status clientele, which then became more diversified as European tourism developed. A tavern opened on the hotel ground floor, looking onto the Impasse Borgendael. Many illustrious travellers chose to stay at the Bellevue, including Honoré de Balzac (1841), the family of the Prince of Metternich (1849), Louis Adolphe Thiers (1852) and Franz Liszt and his daughters (1854). 1862-1905: Grand period of tourism (E. Dremel era) Henriette De Proft, Charles’ widow (he died in 1842) and her children Louis and Leon rented (1862)and then sold (1866) the hotel to Edouard Dremel, who was soon to acquire Hotel de Flandre (1878), just on the other side of the Impasse de Borgendael. The two buildings, which attracted an ever-increasing number of voyagers on holiday in Brussels, were connected by an underground passage. E. Dremel and his sons carried out major work in the hotel. They increased the number of rooms by dividing the levels in half (mezzanines). Three dining rooms were set up in the interior courtyard, hidden by the surrounding wall of the premises, on the Parc de Bruxelles side. They were covered over by balconies. A glass gallery and ‘conservatory’ completed this area. In the “Guide de Bruxelles” [Guide to Brussels](fully bound in leather and gilded with gold leaf)that the hotel published for its guests, there is an impressive list of distinguished visitors. Nearly every court is represented: King Edward VII of England, Wilhelm I of Germany, Tsar Alexander II of Russia, Empress Eugenie (wife of Napoleon III), the emperor of Brazil, king of Denmark, the Italian kings Umberto I and Victor-Emmanuel III, the king of Sweden, king of Spain… Other celebrities from the world of politics, finance or culture also stayed at the hotel: General Ulysses Grant (President of the United States), Benjamin Disraeli, (British Prime Minister), Cecil Rhodes (South African Prime Minister), the banker James de Rothschild, the industrialist Alfred Krupp, actress Sarah Bernhardt, painter Jean Meissonier, etc. It must be said that at that time, the Bellevue could boast of stocking the finest wines of France, Italy, Spain and Portugal in its wine cellars. The many promotional images (engravings or “porcelain cards”) sang the praises of the hotel well beyond the borders of Belgium. 1905-1910: refurbishing by Leopold II (as residence for Princess Clementine) The Fondation de la Couronne (of the Independent State of the Congo) purchased the Hotel de Belle-Vue from Edouard Dremel(junior) and his brother Albert in 1902. However they continued running it as a hotel until 1905 (and the Hotel de Flandre until World War I). King Leopold II wanted to transform the site into a royal residence for his youngest daughter Princess Clementine. He appointed the architect Octave Flanneau (who took over from Henri Maquet), sculptor Colleye and the interior designer Leon Cardon to supervise the work. In 1905, the Bellevue stopped receiving hotel guests. All the buildings formerly attached to the original Guimard hotel were demolished in order to enable the construction of the planned Borgendael gallery and house of the same name that were to link the Bellevue to the new wing of the Palais Royal (Royal Palace). The hotel was transformed from top to bottom so it could fulfil its new role. The bedrooms were replaced by drawing rooms, the galleries by large corridors and the small stairways by a grand marble staircase with fountain. All the floors were refurbished, the gate of the Place Royale was walled up, running water was installed in the bathroom and electrical lighting was put in everywhere. The cellars also underwent major renovation at that time, as did the roof. In the meanwhile, the Independent State of the Congo was handed over to Belgium (1908). The Belgian State bore the costs of continuing the work of joining the Bellevue to the Palais Royal. The building became the property of the Donation Royale. Princess Clementine lived in the Bellevue from 1909 to 1910, just before her marriage to Prince Victor Napoleon. Her living quarters were on the first floor. 1910-1934: the Palais Bellevue (residence of the Dukes of Brabant) The Duke and Duchess of Brabant, future King Leopold III and Queen Astrid, lived in the Bellevue for four years (1926-1930); the Bellevue was renovated for the occasion by the architect Octave Flanneau. The prince’s private residential quarters were on the second floor (bedroom, bathroom, small drawing room, kitchen, guestrooms). The first floor contained the receptions rooms, library and dining room. The decoration of these rooms is the one we can still admire today. Prince Leopold had a small office on the ground floor, the other rooms on this floor were occupied by his advisers and secretariat. These offices were used by the Prince until his accession to the throne in 1934. Princess Josephine-Charlotte (future Grand Duchess of Luxembourg) was born in the bedroom originally occupied by Princess Clementine. Her own room and the nursery were located on the second floor. 1934-1977: In search of a use (Red Cross and Congo) In 1935, the Bellevue received many donations from citizens. These donations were intended as aid for the victims of the economic crisis (“Appel de la Reine”). Once these packages were distributed, it remained unoccupied for years. In 1953, King Baudoin placed the Bellevue at the disposal of the Red Cross during the floods that ravaged Belgium. Following that, the Bellevue was then used in 1960 to house refugees from the Congo. In particular it served as temporary accommodation for civil servants from the former colony. 1977-1997: Royal Museums of Art and History and Museum of the Belgian Dynasty In 1976, the building was rearranged from top to bottom by the Régie des Batiments (National Building Authority) to adapt it for its new use: the King offered it to the Royal Museums of Art and History for presenting part of their collections. It was necessary to revise the layout of rooms, to add new passageways for moving around inside the building (a new staircase column was built into the south wing) and to add toilet facilities at various locations. Offices and storage rooms were installed on the third floor. The electrical installation was brought up to date on this occasion as was the heating system, connected to the boilers in the Palais Royal. The Royal Museums of Art and History exhibited several collections of 18th century furniture and porcelain at the Bellevue, as well as at the “Musée du Coeur” (Boyadjan collection). The Musée de la Dynastie (Museum of the Belgian Dynasty) was set up on the second floor of the Bellevue in 1992. The Donation Royale moved to the house at number 5, Place des Palais, adjacent to the Bellevue (1993-1994). 1997-2001: King Baudoin Memorial and Euroculture The Royal Museums of Art and History left the Bellevue in 1997-98. The site was renovated by the Art & Build architectural firm with a view to integrating the “King Baudoin Memorial” as a continuation of the visit of the Museum of the Belgian Dynasty. The restoration of the Atrium and its magnificent glasswork was also done at this time, as was the installation of the lift in the south wing and the installation of a new series of toilet facilities. In 2000, at the request of the King Baudoin Foundation, the architectural firm Art & Build designed and built an adjoining staircase between the cellar level of the Bellevue and the archaeological remnants of the former Palais De Bruxelles on Coudenberg hill, recently uncovered under the Rue Royale (excavations of the Royal Society of Brussels Archaeology, together with the ULB (Free University of Brussels). The firm Euroculture, responsible for designing the museum layout of the rooms had several decors and a considerable amount of multimedia equipment installed in the Bellevue. 2001-2005: Bellevue Fund of the King Baudouin Foundation and Portail Démocratie The Bellevue Fund of the King Baudouin Foundation has taken on the management of the site and its fundraising for 25 years, taking over from Euroculture Gestion S.A. The Museum of the Belgian Dynasty and the King Baudoin Memorial have become the “Bellevue Museums”. In March 2003, the Donation Royale, owner of the site, gave the use of the Borgendael house that it occupied to the Bellevue Fund, so that the King Baudouin Foundation could organise temporary exhibits and prestigious cultural activities. TRIO architecture and technology consulting firm CTA helped the King Baudouin Foundation with the building renovation. Various interior refurbishment work has also been carried out under their guidance since 2002. The King Baudouin Foundation has transformed the entire site into a museum of the history of Belgium (in time for the celebrations on the occasion of the 175th anniversary). The firm Tijdsbeeld-Pièce Montée (Ghent), specialist in museography and exhibition building was commissioned to design a new visit path and to set it up inside the museum. The Bellevue also host the Democracy Portal, a cultural centre aimed at school groups that focuses on Belgian and European democratic institutions. Since 2005 : the BELvue museum On July 19th 2005, the BELvue museum officially opened its doors, inaugurated by Her Majesties the King Albert II and the Queen Paola, as well as by Queen Fabiola. Great events throughout the history of Belgium and out of the lives of its sovereigns are illustrated in a two stages itinerary. More than 1500 historical documents, movie trailers, old pictures and ancient objects bring the visitor back in time, to relive prominent events of the country’s history, from its foundation in 1830 till today. The Bellevue Fund becomes the “BELvue Fund” In 2009 the BELvue Fund expands its activities and becomes a centre committed to democracy and history, mainly dedicated to three important axis : the permanent itinerary about the history of Belgium, the temporary exhibitions and the educational activities. In 2016 opens the BELvue a new permanent exhibition. Employing a theme-based approach and with a modern, interactive exhibition layout, the museum offers visitors the keys to understanding Belgium and Belgian society. EDUbox Financial Education The EDUbox Financial Education is actually a double EDUbox around one theme: money. The two boxes can be used separately from each other, but the combination of the two offers additional insights and added value. 1. EDUbox Money and me This EDUbox is about the importance of money in life. It allows pupils to think and discuss the value of money and other things in life. But it also shows how individual choices determine what they spend their money on and what factors influence those choices. 2. EDUbox Money in the world Where is the money in the world and what is our economic system like? With this EDUbox, pupils learn about the roles of the various actors in the economy. What is inflation? Is our system able to cope with a crisis such as the coronavirus? VRT expert Michaël Van Drogenbroeck, among others, explains. How to receive them ? EDUboxes can be ordered free of charge here or you can download the digital versions via the links below. Please also kindly note that these EDUboxes are only available in Dutch (analog & digital versions) and in French (digital version only). Money and me: NL https://images.kbs-frb.be/lo7KaEz4ME & FR https://images.kbs-frb.be/RIeGe8wxYC Money and the world: NL https://images.kbs-frb.be/2qvd3Go2Vm & FR https://images.kbs-frb.be/pyMMfiNIk2 Teacher's handbook: to ensure that you always consult the most recent version of the manual, please visit the following website for NL https://bit.ly/3kKhFJK and FR https://bit.ly/306nedA These EDUboxes are developed in collaboration with VRT NEWS, Wikifin School (FSMA) and the National Bank of Belgium. Follow EDUbox on social media: Facebook logo Twitter logo LinkedIn logo VRT logo Support the BELvue The BELvue is a centre for democracy and history and promotes many projects. You will find a full overview on this website. It is managed by the King Baudouin Foundation, an independent and pluralistic organisation, which aim is to work together for a better society. The Foundation was created for the 25th anniversary of King Baudouin’s coronation and contributes in improving in a more sustainable way justice, democracy and respect for diversity.

47 persone del luogo consigliano

Beer Museum

7 Place des Palais

47 persone del luogo consigliano

https://www.belvue.be/en/about BELvue : more than a museum, a living space for history and democracy The BELvue is located in the heart of Brussels and is both the museum of Belgium and its history as well as a centre for democracy. Managed by the King Baudouin Foundation, the BELvue was created as a place where visitors, and especially young people, can learn about and better understand Belgium, its history, its socio-economic development and the workings of its institutions. Employing a theme-based approach and with a modern, interactive exhibition layout, the museum offers visitors the keys to understanding Belgium and Belgian society. Seven social themes are addressed in the rooms: democracy, prosperity, solidarity, pluralism, migration, language and Europe. Each team is firstly presented from the perspective of the present day, then subsequently developed and explained through the history of Belgium. How did Belgium and the Belgians become what they are today? In the BELvue’s new exhibition, history is not an end in itself, but rather a means to explain and provide the keys to understanding and interpreting our society. This overview of Belgium past and present is complemented by a gallery of more than 200 objects. Presented chronologically from the 19th century to today, the pieces embody Belgium’s “physical memory”. Visitors will find everyday objects, works of art and design, well-known brands, scientific discoveries, references to great sporting achievements as well as objects that recall the richness of our popular culture. The BELvue also organises temporary exhibitions which give the opportunity to the visitor to discover in depth a special topic, dedicated to history, to heritage or to more recent events of the country. Next to its museum activities, the BELvue is also a centre for democracy. It contributes to improving the confidence in democratic values by developing a historical conscience and by stimulating critical reflexion on major democratic stakes. The BELvue also welcomes a large diversity of visitors : schools, (future) teachers, youth associations, families, seniors, vulnerable people, as well as disabled people, ... They benefit from a large and appropriate offer of activities, exhibitions, workshops, guided tours, conferences or events around democracy, history and justice. All these activities are coordinated by eduBEL, the educational department of the BELvue. Members of the team are teachers detached for a predetermined period who are responsible for the educational activities and the training of external guest speakers. To complete this accessible approach, most of the activities are free of charge or available at democratic prices. The BELvue is located in Brussels, Belgian and European capital city, next to the Royal Palace and neighbour of the greatest national institutions. It aims to be a place to meet and to exchange ideas, a place where past, present and future gather. History Hôtel Bellevue 1776-1830 : building and first residents of the Belle-Vue (De Proft family I) Philippe De Proft, wine merchant and channel horses contractor, was authorised by the Empress Maria-Theresa to build a high standard hotel at the north east corner of the Royal Square. The house was been built on the remains of the old Palace of Brussels, the imperial residence that was destroyed by a fire in 1731. The private establishment was named “Hotel de Belle-Vue”, from the name of the street that ran along the Brussels park (present day Place des Palais). The operator, who had started his career as manager of the inn “la Maison Rouge”, rue de l’Escalier (near the old Halle au Blés) counted on using the cellars from the former palace for storing his barrels and casks. The building was erected according to the blueprints of Barnabé Guimard (revised by Nieslas Barré) in the Louis XVI style of the entire Place Royale. Ph. De Proft was ultimately forced to sell off all his other assets in order to be able to pay for the extremely meticulous work on the Bellevue. Among the first distinguished guests was a series of French nobles, including several members of the royal family, fleeing to Brussels after the 1789 revolution. Amongst them were Prince Louis-Joseph de Condé and his son, the Count of Artois (future king Charles X) and the Duke of Enghien, as well as Count Axel Fersen and the Princess of Lamballe(First Lady-in-Waiting to Queen Marie Antoinette). In 1795, Louis De Proft bought the hotel from his father and succeeded him as head of the establishment. On 28th June 1816, he purchased the hotel built by Baron de Aguilar, former member of the Conseil d'État (Council of State), resulting in the Bellevue extending towards the south-east, along the present day Impasse de Borgendael(formerly Rue du Jeu de Paume). The two edifices were connected by a low adjoining building that rose to the height of its neighbours in 1827. Numerous foreign dignitaries, heads of state, aristocrats, politicians and artists stayed at the Bellevue during their stay in Brussels, enjoying its many suites. In turn, Charles De Proft, captain in the Garde Civique (Civic Guardsmen)bought the hotel from his father in 1825. New guests stopped in at the hotel and they included many crowned heads. It is said that Napoleon Bonaparte dined there (because he stayed at the Grande Bretagne hotel) and the Duke of Wellington purportedly met there with his general staff a few days before the battle of Waterloo. Jerome Bonaparte, former King of Westphalia and Julie Bonaparte, former Queen of Spain, stayed there after events in 1815. Numerous British travellers also enjoyed the hospitality of the De Proft family. 1830-1862: after the Revolution (De Proft family II) The Bellevue found itself right in the middle of fighting during the Revolution for Belgian Independence (23rd-26th September 1830). The façade facing the Parc de Bruxelles ended up riddled with bullet holes and shrapnel. The Bellevue became a national monument (memorial) at the end of the fighting. Several months later, it was the object of restoration work that lasted nearly one year. Its main entrance was located at number 9 Place Royale, but the hotel also had a ‘baggage’ entrance and a ‘stable’ entrance next to the Place des Palais. The hotel’s reputation attracted very high-status clientele, which then became more diversified as European tourism developed. A tavern opened on the hotel ground floor, looking onto the Impasse Borgendael. Many illustrious travellers chose to stay at the Bellevue, including Honoré de Balzac (1841), the family of the Prince of Metternich (1849), Louis Adolphe Thiers (1852) and Franz Liszt and his daughters (1854). 1862-1905: Grand period of tourism (E. Dremel era) Henriette De Proft, Charles’ widow (he died in 1842) and her children Louis and Leon rented (1862)and then sold (1866) the hotel to Edouard Dremel, who was soon to acquire Hotel de Flandre (1878), just on the other side of the Impasse de Borgendael. The two buildings, which attracted an ever-increasing number of voyagers on holiday in Brussels, were connected by an underground passage. E. Dremel and his sons carried out major work in the hotel. They increased the number of rooms by dividing the levels in half (mezzanines). Three dining rooms were set up in the interior courtyard, hidden by the surrounding wall of the premises, on the Parc de Bruxelles side. They were covered over by balconies. A glass gallery and ‘conservatory’ completed this area. In the “Guide de Bruxelles” [Guide to Brussels](fully bound in leather and gilded with gold leaf)that the hotel published for its guests, there is an impressive list of distinguished visitors. Nearly every court is represented: King Edward VII of England, Wilhelm I of Germany, Tsar Alexander II of Russia, Empress Eugenie (wife of Napoleon III), the emperor of Brazil, king of Denmark, the Italian kings Umberto I and Victor-Emmanuel III, the king of Sweden, king of Spain… Other celebrities from the world of politics, finance or culture also stayed at the hotel: General Ulysses Grant (President of the United States), Benjamin Disraeli, (British Prime Minister), Cecil Rhodes (South African Prime Minister), the banker James de Rothschild, the industrialist Alfred Krupp, actress Sarah Bernhardt, painter Jean Meissonier, etc. It must be said that at that time, the Bellevue could boast of stocking the finest wines of France, Italy, Spain and Portugal in its wine cellars. The many promotional images (engravings or “porcelain cards”) sang the praises of the hotel well beyond the borders of Belgium. 1905-1910: refurbishing by Leopold II (as residence for Princess Clementine) The Fondation de la Couronne (of the Independent State of the Congo) purchased the Hotel de Belle-Vue from Edouard Dremel(junior) and his brother Albert in 1902. However they continued running it as a hotel until 1905 (and the Hotel de Flandre until World War I). King Leopold II wanted to transform the site into a royal residence for his youngest daughter Princess Clementine. He appointed the architect Octave Flanneau (who took over from Henri Maquet), sculptor Colleye and the interior designer Leon Cardon to supervise the work. In 1905, the Bellevue stopped receiving hotel guests. All the buildings formerly attached to the original Guimard hotel were demolished in order to enable the construction of the planned Borgendael gallery and house of the same name that were to link the Bellevue to the new wing of the Palais Royal (Royal Palace). The hotel was transformed from top to bottom so it could fulfil its new role. The bedrooms were replaced by drawing rooms, the galleries by large corridors and the small stairways by a grand marble staircase with fountain. All the floors were refurbished, the gate of the Place Royale was walled up, running water was installed in the bathroom and electrical lighting was put in everywhere. The cellars also underwent major renovation at that time, as did the roof. In the meanwhile, the Independent State of the Congo was handed over to Belgium (1908). The Belgian State bore the costs of continuing the work of joining the Bellevue to the Palais Royal. The building became the property of the Donation Royale. Princess Clementine lived in the Bellevue from 1909 to 1910, just before her marriage to Prince Victor Napoleon. Her living quarters were on the first floor. 1910-1934: the Palais Bellevue (residence of the Dukes of Brabant) The Duke and Duchess of Brabant, future King Leopold III and Queen Astrid, lived in the Bellevue for four years (1926-1930); the Bellevue was renovated for the occasion by the architect Octave Flanneau. The prince’s private residential quarters were on the second floor (bedroom, bathroom, small drawing room, kitchen, guestrooms). The first floor contained the receptions rooms, library and dining room. The decoration of these rooms is the one we can still admire today. Prince Leopold had a small office on the ground floor, the other rooms on this floor were occupied by his advisers and secretariat. These offices were used by the Prince until his accession to the throne in 1934. Princess Josephine-Charlotte (future Grand Duchess of Luxembourg) was born in the bedroom originally occupied by Princess Clementine. Her own room and the nursery were located on the second floor. 1934-1977: In search of a use (Red Cross and Congo) In 1935, the Bellevue received many donations from citizens. These donations were intended as aid for the victims of the economic crisis (“Appel de la Reine”). Once these packages were distributed, it remained unoccupied for years. In 1953, King Baudoin placed the Bellevue at the disposal of the Red Cross during the floods that ravaged Belgium. Following that, the Bellevue was then used in 1960 to house refugees from the Congo. In particular it served as temporary accommodation for civil servants from the former colony. 1977-1997: Royal Museums of Art and History and Museum of the Belgian Dynasty In 1976, the building was rearranged from top to bottom by the Régie des Batiments (National Building Authority) to adapt it for its new use: the King offered it to the Royal Museums of Art and History for presenting part of their collections. It was necessary to revise the layout of rooms, to add new passageways for moving around inside the building (a new staircase column was built into the south wing) and to add toilet facilities at various locations. Offices and storage rooms were installed on the third floor. The electrical installation was brought up to date on this occasion as was the heating system, connected to the boilers in the Palais Royal. The Royal Museums of Art and History exhibited several collections of 18th century furniture and porcelain at the Bellevue, as well as at the “Musée du Coeur” (Boyadjan collection). The Musée de la Dynastie (Museum of the Belgian Dynasty) was set up on the second floor of the Bellevue in 1992. The Donation Royale moved to the house at number 5, Place des Palais, adjacent to the Bellevue (1993-1994). 1997-2001: King Baudoin Memorial and Euroculture The Royal Museums of Art and History left the Bellevue in 1997-98. The site was renovated by the Art & Build architectural firm with a view to integrating the “King Baudoin Memorial” as a continuation of the visit of the Museum of the Belgian Dynasty. The restoration of the Atrium and its magnificent glasswork was also done at this time, as was the installation of the lift in the south wing and the installation of a new series of toilet facilities. In 2000, at the request of the King Baudoin Foundation, the architectural firm Art & Build designed and built an adjoining staircase between the cellar level of the Bellevue and the archaeological remnants of the former Palais De Bruxelles on Coudenberg hill, recently uncovered under the Rue Royale (excavations of the Royal Society of Brussels Archaeology, together with the ULB (Free University of Brussels). The firm Euroculture, responsible for designing the museum layout of the rooms had several decors and a considerable amount of multimedia equipment installed in the Bellevue. 2001-2005: Bellevue Fund of the King Baudouin Foundation and Portail Démocratie The Bellevue Fund of the King Baudouin Foundation has taken on the management of the site and its fundraising for 25 years, taking over from Euroculture Gestion S.A. The Museum of the Belgian Dynasty and the King Baudoin Memorial have become the “Bellevue Museums”. In March 2003, the Donation Royale, owner of the site, gave the use of the Borgendael house that it occupied to the Bellevue Fund, so that the King Baudouin Foundation could organise temporary exhibits and prestigious cultural activities. TRIO architecture and technology consulting firm CTA helped the King Baudouin Foundation with the building renovation. Various interior refurbishment work has also been carried out under their guidance since 2002. The King Baudouin Foundation has transformed the entire site into a museum of the history of Belgium (in time for the celebrations on the occasion of the 175th anniversary). The firm Tijdsbeeld-Pièce Montée (Ghent), specialist in museography and exhibition building was commissioned to design a new visit path and to set it up inside the museum. The Bellevue also host the Democracy Portal, a cultural centre aimed at school groups that focuses on Belgian and European democratic institutions. Since 2005 : the BELvue museum On July 19th 2005, the BELvue museum officially opened its doors, inaugurated by Her Majesties the King Albert II and the Queen Paola, as well as by Queen Fabiola. Great events throughout the history of Belgium and out of the lives of its sovereigns are illustrated in a two stages itinerary. More than 1500 historical documents, movie trailers, old pictures and ancient objects bring the visitor back in time, to relive prominent events of the country’s history, from its foundation in 1830 till today. The Bellevue Fund becomes the “BELvue Fund” In 2009 the BELvue Fund expands its activities and becomes a centre committed to democracy and history, mainly dedicated to three important axis : the permanent itinerary about the history of Belgium, the temporary exhibitions and the educational activities. In 2016 opens the BELvue a new permanent exhibition. Employing a theme-based approach and with a modern, interactive exhibition layout, the museum offers visitors the keys to understanding Belgium and Belgian society. EDUbox Financial Education The EDUbox Financial Education is actually a double EDUbox around one theme: money. The two boxes can be used separately from each other, but the combination of the two offers additional insights and added value. 1. EDUbox Money and me This EDUbox is about the importance of money in life. It allows pupils to think and discuss the value of money and other things in life. But it also shows how individual choices determine what they spend their money on and what factors influence those choices. 2. EDUbox Money in the world Where is the money in the world and what is our economic system like? With this EDUbox, pupils learn about the roles of the various actors in the economy. What is inflation? Is our system able to cope with a crisis such as the coronavirus? VRT expert Michaël Van Drogenbroeck, among others, explains. How to receive them ? EDUboxes can be ordered free of charge here or you can download the digital versions via the links below. Please also kindly note that these EDUboxes are only available in Dutch (analog & digital versions) and in French (digital version only). Money and me: NL https://images.kbs-frb.be/lo7KaEz4ME & FR https://images.kbs-frb.be/RIeGe8wxYC Money and the world: NL https://images.kbs-frb.be/2qvd3Go2Vm & FR https://images.kbs-frb.be/pyMMfiNIk2 Teacher's handbook: to ensure that you always consult the most recent version of the manual, please visit the following website for NL https://bit.ly/3kKhFJK and FR https://bit.ly/306nedA These EDUboxes are developed in collaboration with VRT NEWS, Wikifin School (FSMA) and the National Bank of Belgium. Follow EDUbox on social media: Facebook logo Twitter logo LinkedIn logo VRT logo Support the BELvue The BELvue is a centre for democracy and history and promotes many projects. You will find a full overview on this website. It is managed by the King Baudouin Foundation, an independent and pluralistic organisation, which aim is to work together for a better society. The Foundation was created for the 25th anniversary of King Baudouin’s coronation and contributes in improving in a more sustainable way justice, democracy and respect for diversity.