Papers by Wivine Wailliez
Brussels Erfgoed - Dossier KLEUREN EN TEXTUREN, 2021
Colours and textures are obviously an integral part of any architectural work, but the level of a... more Colours and textures are obviously an integral part of any architectural work, but the level of attention paid to colour has varied a lot over the centuries. The materials used in a façade sometimes contribute to a polychromatic appearance. As colour is such a complex phenomenon, this article examines it only in terms of how it is perceived. The texture of the material or cladding plays a part in how the colour is perceived, as is clear with a fabric like damask, where threads of the same colour are perceived differently depending on the weave of the cloth. In conclusion the survey of various remarkable Brussels buildings presents the role of colour in the 19th century and in the first half of
the 20th century. Nevertheless, the neoclassical penchant for white recurs regularly, only to be chased away yet again by a return to the use of colour and ornamentation.
Kronikas - L'inventaire imaginaire, 2021
Conservator in the Conservation Department of the Royal Institute for Cultural Heritage (IRPA-KIK... more Conservator in the Conservation Department of the Royal Institute for Cultural Heritage (IRPA-KIK, Brussels), Wivine Wailliez is at the origin of the wallpaper inventory for this institution. Contacted to suggest wallpapers for the Maison Devalck, she lends herself to the game of imagination. Which hangings could cohabit with the sumptuous schemes of this Art nouveau house? Computer graphics by Shanna Caboz Cabeleira.
https://monument.heritage.brussels/fr/Schaerbeek/Rue_Andre_Van_Hasselt/32/20433
Bruxelles Patrimoine / Dossier Couleurs et Textures, 2021
COLOURS AND TEXTURES OF BRUSSELS INTERIORS: FROM
THE 19TH CENTURY TO MODERNISM. Understanding and... more COLOURS AND TEXTURES OF BRUSSELS INTERIORS: FROM
THE 19TH CENTURY TO MODERNISM. Understanding and restoring practices
Colours and textures are obviously an integral part of any architectural work, but the level of attention paid to colour has varied a lot over
the centuries. As colour is such a complex phenomenon, this article examines it only in terms of how it is perceived. The texture of the material or cladding plays a part in how the colour is perceived, as is clear with a fabric like damask, where threads of the same colour are perceived differently depending on the weave of the cloth. In conclusion the survey of various remarkable Brussels buildings presents the role of colour in the 19th century and in the first half of the 20th century. Nevertheless, the neoclassical penchant for white recurs regularly, only to be chased away yet again by a return to the use of colour and
ornamentation.
Monumenten en Landschappen, 2000
with Ingrid GEELEN
Bulletin de l'Institut royal du Patrimoine artistique (IRPA-KIK, Brussels), 2003
Bulletin de l'Institut royal du Patrimoine artistique (IRPA-KIK, Brussels), 2003
Art Nouveau Interiors: Research, Reflect, Restore, Reuse. Réseau Art nouveau Network: Proceedings of the International Symposium, 2020
What materials are architecture historians dealing with, and how can they improve their knowledge... more What materials are architecture historians dealing with, and how can they improve their knowledge and understanding of Art Nouveau interiors? In the Call for papers for the 20th Réseau Art Nouveau Network (RANN) anniversary conference, the “plans, photographs, descriptions, articles, drawings” were cited — without any mention of the archaeological findings — as sources.
FR: Plaidoyer pour les études préalables in situ, cet article démontre comment les examens des finitions du second oeuvre du patrimoine bâti constituent un outil indispensable pour « connaître, comprendre et restaurer » les intérieurs Art nouveau. L'examen matériel est un moyen unique de caractériser l'oeuvre et ses finitions, d'en comprendre l'exécution et l'histoire, voire de formuler des choix en vue de sa restauration.
Journal of the international Association of Research Institutes in the History of Art (RIHA), Sep 14, 2020
Co-author: Véronique DE BRUIGNAC-LA HOUGUE
Paul Balin, the head of one of the most famous Fre... more Co-author: Véronique DE BRUIGNAC-LA HOUGUE
Paul Balin, the head of one of the most famous French wallpaper manufactories from the second half of the 19th century, championed historicism in the wallpaper domain. Having taken over the Genoux manufacture in 1863, he was awarded at the 1867 Paris World Exhibition and again in Vienna in 1873. His relentless endeavor to improve the embossing process, the use of metallic finishes and the imitations of textiles had led him to file up to 15 patents between 1866 and 1884. His manufacturing processes were exclusively pre-industrial methods, executed by hand. A stubborn and fierce competitor, he brought infringement lawsuits against the whole profession from 1876 until at least 1885. Several European museums keep his productions, among which three collections have been acquired directly after his Grand diplôme d’honneur award in Vienna.
Proceedings of the 16th ICOM-CC Triennal Meeting, Lisbon 19-23 september 2011, CD-Rom, poster 1714, 2011., 2011
Abandoned for many years, the impressive Moorish hall of the former party venue Diamant-Palace co... more Abandoned for many years, the impressive Moorish hall of the former party venue Diamant-Palace constitutes a unique example of Orientalist architecture from the turn of the last century in Brussels. At this time, many European entertainment facilities were executed in this style to evoke exoticism and hedonism in the public. Currently in beige and gold, the hall originally displayed a dazzling spectacle of multi-coloured worked stucco, enhanced by a fairy illumination of the theatre ceiling. The formal vocabulary draws from Islamic decorative forms. The examination of the finishings, carried out in April–May 2010, revealed a wide palette of yellow, green, orange, blue, red, pink, ochre, greenish brown, and gilding. The colours gradually diversify from the floor level to the ceiling together with the increasing use of stucco passing from the balconies to the architrave and cornice.
Proceedings of the 14th ICOM-CC Triennal meeting, The Hague, Sept. 2005, 2005
GEELEN, Ingrid & STEYAERT, Delphine (eds.), Imitation and Illusion. Applied Brocades in the Art of the Low Countries in the Fifteenth and Sixteenth Centuries, Scientia Artis (IRPA-KIK), Brussels, 2011
Fragment of white silk lampas with gold pattern weft; design with banderole, leopard, griffon, bi... more Fragment of white silk lampas with gold pattern weft; design with banderole, leopard, griffon, birds and foliage, Italy, 14th century; Brussels, KMKG-MRAH Fig. 122. Fragment of green silk damask, Italy, 15th century; Brussels, KMKG-MRAH
Erfgoed Brussel, 2012
Met Anne-Sophie AUGUSTYNIAK
Bulletin de l'Institut royal du Patrimoine artistique - Bulletin of het Instituut voor het Kunstpatrimonium, 2002
With Ingrid GEELEN - Short version of GEELEN I., WAILLIEZ W., "Enkele beschouwingen over de Apost... more With Ingrid GEELEN - Short version of GEELEN I., WAILLIEZ W., "Enkele beschouwingen over de Apostelenbeelden te Halle : de plaats van de kleur", Monumenten en Landschappen, 2000, 19/5, pp. 37-48.
Couleur et Temps. La couleur en conservation-restauration, actes des 12es journées d'études de la SFIIC, Paris, Institut national du Patrimoine, 21-23 juin 2006, 2006
Erfgoed Brussel, 2017
Many renowned Brussels Art nouveau interiors have been studied and examined over the past fifteen... more Many renowned Brussels Art nouveau interiors have been studied and examined over the past fifteen years: the assessment of the results and the literature allow to develop a profile of their decoration and finishings.
Bruxelles Patrimoines, 2017
Many renowned Brussels Art nouveau interiors have been studied and examined over the past fifteen... more Many renowned Brussels Art nouveau interiors have been studied and examined over the past fifteen years: the assessment of the results and the literature allow to develop a profile of their decoration and finishings.
Proceedings of the ICOM_CC 14th triennial meeting- The Hague, Sep 2005
with Marina VAN BOS and Cécile GLAUDE
Quelques papiers peints japonisants conservés dans des i... more with Marina VAN BOS and Cécile GLAUDE
Quelques papiers peints japonisants conservés dans des intérieurs bruxellois1900 ont attiré notre attention. Ces papiers peints en relief imitent des cuirs dorés et s’inspirent des modèles néerlandais introduits au Japon au cours du XVIIe
siècle. Ils furent créés pour le marché occidental dès 1870 et acquirent leur renommée notamment par le biais des expositions universelles internationales ou d’art industriel. Une étude technique et physico-chimique des exemplaires bruxellois a permis d’en déterminer les principales caractéristiques, une recherche dans la littérature spécialisée étant menée en parallèle.
After the talk delivered on the Studiedag Historisch Interieur (Vakgroep Kunst-, Muziek- en Theat... more After the talk delivered on the Studiedag Historisch Interieur (Vakgroep Kunst-, Muziek- en Theaterwetenschappen), Universiteit Gent, 9 Mai 2012 (submitted Dec. 2012)
7,54 m de largeur sur ≈ [sic] de profondeur » : C. DULIÈRE, Victor Horta. Mémoires, Bruxelles, 19... more 7,54 m de largeur sur ≈ [sic] de profondeur » : C. DULIÈRE, Victor Horta. Mémoires, Bruxelles, 1985, chapitre 1894-95: Maison Frison et école de la rue Saint-Ghislain, p. 39. Octave Maus donne les dimensions suivantes : 7 m de large ≈ 40 m de long pour la parcelle ; 7 m de large ≈ 22 m de long pour la maison. O. MAUS, Habitations modernes. M. Victor Horta, dans L'art Moderne. Revue critique des arts et de la littérature, n° 28, 15 juillet 1900, p. 221-223, voir p. 222-223. 2 Horta poursuit : « Le programme, y compris la dépense, fut rempli à la satisfaction de tout le monde, y compris de la fiancée à qui l'on me présenta quand tout fut sur le point d'être terminé, mademoiselle M. de Paris. De Paris ? Et elle va habiter cette sorte de tour, où, de pièce en pièce, il faut gravir un escalier ? Mais certainement, elle en est enchantée […] » : DULIÈRE, Victor Horta. Mémoires [n. 1], p. 39-41. HET HUIS FRISON (1894-95) VAN VICTOR HORTA: ONDERZOEK EN EVALUATIE VAN DE GESCHILDERDE DECORS IN HET KADER VAN HET VOORONDERZOEK VOOR DE RESTAURATIE Wivine WAILLIEZ De opdracht tot de bouw van het huis Frison wordt aan Victor Horta (1861-1947) gegeven door de vader van zijn persoonlijke vriend, de advocaat Maurice Frison (1863-1938), wanneer die op het punt staat te huwen. Het is de periode waarin de architect, speerpunt van de art nouveau-beweging, naam begint te maken: in 1893 heeft hij het huis Autrique gebouwd dat een zeker succes heeft gekend terwijl hij met het huis Tassel, zijn eerste meesterwerk toen in opbouw, in de schijnwerpers komt te staan. (D'après / naar GOETGEBUER, Architecture et décoration [n. 13], pl. 38.) 1 Victor Horta, Hôtel Frison, 37 rue Lebeau à Bruxelles : état original de la façade. Victor Horta, huis Frison, Lebeaustraat 37 te Brussel: originele staat van de voorgevel.
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Papers by Wivine Wailliez
the 20th century. Nevertheless, the neoclassical penchant for white recurs regularly, only to be chased away yet again by a return to the use of colour and ornamentation.
https://monument.heritage.brussels/fr/Schaerbeek/Rue_Andre_Van_Hasselt/32/20433
THE 19TH CENTURY TO MODERNISM. Understanding and restoring practices
Colours and textures are obviously an integral part of any architectural work, but the level of attention paid to colour has varied a lot over
the centuries. As colour is such a complex phenomenon, this article examines it only in terms of how it is perceived. The texture of the material or cladding plays a part in how the colour is perceived, as is clear with a fabric like damask, where threads of the same colour are perceived differently depending on the weave of the cloth. In conclusion the survey of various remarkable Brussels buildings presents the role of colour in the 19th century and in the first half of the 20th century. Nevertheless, the neoclassical penchant for white recurs regularly, only to be chased away yet again by a return to the use of colour and
ornamentation.
FR: Plaidoyer pour les études préalables in situ, cet article démontre comment les examens des finitions du second oeuvre du patrimoine bâti constituent un outil indispensable pour « connaître, comprendre et restaurer » les intérieurs Art nouveau. L'examen matériel est un moyen unique de caractériser l'oeuvre et ses finitions, d'en comprendre l'exécution et l'histoire, voire de formuler des choix en vue de sa restauration.
Paul Balin, the head of one of the most famous French wallpaper manufactories from the second half of the 19th century, championed historicism in the wallpaper domain. Having taken over the Genoux manufacture in 1863, he was awarded at the 1867 Paris World Exhibition and again in Vienna in 1873. His relentless endeavor to improve the embossing process, the use of metallic finishes and the imitations of textiles had led him to file up to 15 patents between 1866 and 1884. His manufacturing processes were exclusively pre-industrial methods, executed by hand. A stubborn and fierce competitor, he brought infringement lawsuits against the whole profession from 1876 until at least 1885. Several European museums keep his productions, among which three collections have been acquired directly after his Grand diplôme d’honneur award in Vienna.
Quelques papiers peints japonisants conservés dans des intérieurs bruxellois1900 ont attiré notre attention. Ces papiers peints en relief imitent des cuirs dorés et s’inspirent des modèles néerlandais introduits au Japon au cours du XVIIe
siècle. Ils furent créés pour le marché occidental dès 1870 et acquirent leur renommée notamment par le biais des expositions universelles internationales ou d’art industriel. Une étude technique et physico-chimique des exemplaires bruxellois a permis d’en déterminer les principales caractéristiques, une recherche dans la littérature spécialisée étant menée en parallèle.
the 20th century. Nevertheless, the neoclassical penchant for white recurs regularly, only to be chased away yet again by a return to the use of colour and ornamentation.
https://monument.heritage.brussels/fr/Schaerbeek/Rue_Andre_Van_Hasselt/32/20433
THE 19TH CENTURY TO MODERNISM. Understanding and restoring practices
Colours and textures are obviously an integral part of any architectural work, but the level of attention paid to colour has varied a lot over
the centuries. As colour is such a complex phenomenon, this article examines it only in terms of how it is perceived. The texture of the material or cladding plays a part in how the colour is perceived, as is clear with a fabric like damask, where threads of the same colour are perceived differently depending on the weave of the cloth. In conclusion the survey of various remarkable Brussels buildings presents the role of colour in the 19th century and in the first half of the 20th century. Nevertheless, the neoclassical penchant for white recurs regularly, only to be chased away yet again by a return to the use of colour and
ornamentation.
FR: Plaidoyer pour les études préalables in situ, cet article démontre comment les examens des finitions du second oeuvre du patrimoine bâti constituent un outil indispensable pour « connaître, comprendre et restaurer » les intérieurs Art nouveau. L'examen matériel est un moyen unique de caractériser l'oeuvre et ses finitions, d'en comprendre l'exécution et l'histoire, voire de formuler des choix en vue de sa restauration.
Paul Balin, the head of one of the most famous French wallpaper manufactories from the second half of the 19th century, championed historicism in the wallpaper domain. Having taken over the Genoux manufacture in 1863, he was awarded at the 1867 Paris World Exhibition and again in Vienna in 1873. His relentless endeavor to improve the embossing process, the use of metallic finishes and the imitations of textiles had led him to file up to 15 patents between 1866 and 1884. His manufacturing processes were exclusively pre-industrial methods, executed by hand. A stubborn and fierce competitor, he brought infringement lawsuits against the whole profession from 1876 until at least 1885. Several European museums keep his productions, among which three collections have been acquired directly after his Grand diplôme d’honneur award in Vienna.
Quelques papiers peints japonisants conservés dans des intérieurs bruxellois1900 ont attiré notre attention. Ces papiers peints en relief imitent des cuirs dorés et s’inspirent des modèles néerlandais introduits au Japon au cours du XVIIe
siècle. Ils furent créés pour le marché occidental dès 1870 et acquirent leur renommée notamment par le biais des expositions universelles internationales ou d’art industriel. Une étude technique et physico-chimique des exemplaires bruxellois a permis d’en déterminer les principales caractéristiques, une recherche dans la littérature spécialisée étant menée en parallèle.
Avec la participation de Wivine Wailliez, conservateur-restaurateur, Département Conservation, Institut Royal du Patrimoine Artistique, Bruxelles, Anne-Laure Carré, ingénieur de recherche, responsable des collections Matériaux au Musée des Arts et Métiers, Paris et Véronique de La Hougue, conservateur en chef du département des Papiers Peints des Arts Décoratifs.
This event, open freely to all, will benefit from a simultaneous interpretation into French-English-Dutch.
This event, open freely to all, will benefit from a simultaneous interpretation into French-English-Dutch.
This event, open freely to all, will benefit from a simultaneous interpretation into French-English-Dutch.
@ Institut royal du Patrimoine artistique / Koninklijk Instituut voor het Kunstpatrimonium / Belgian Royal Institute for Cultural Heritage