Over the next few months, numerous works from the King Baudouin Foundation’s collections will be enriching various exhibitions in Belgium and abroad, providing more opportunities to (re-)discover them in a different context.

Les Flambeaux (The Torches, 1945), oil on canvas painting by Antoine Mortier, will be shown for the first time as part of the inaugural exhibition by the Maurice Verbaet Art Center (mvAc), Connexions One. Art belge entre 1945 et 1975 (Connections One. Belgian Art Between 1945 and 1975). This new art centre in Antwerp is presenting a panorama of post-World War II Belgian artists. The exhibition is open until 20 December 2015.
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Until 17 January 2016, the Musée d’Orsay is presenting a remarkable and pioneering exhibition on artists’ fascination with prostitution between 1850 and 1910. It goes without saying that a work by Félicien Rops had to be present and so his Dame au pantin (Woman and Puppet), an allegory of the dominant prostitute is part of the exhibition. This watercolour, acquired by the Foundation in 1997, is usually on show at the Félicien Rops Museum in Namur.
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From 3 October 2015 to 10 January 2016, the Musée Royal de Mariemont is presenting an exhibition entitled (using a pun): Levez l’a(e)ncre! (Pull up the Anchor/the Ink). Man’s fascination with the ocean, dating back to Antiquity, lies at the heart of this show. A wonderful opportunity to exhibit a stoneware vase decorated with a ship, from the impressive collection of Charles Catteau, a ceramic artist who worked during the heyday of the Boch earthenware factory.
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From 9 October 2015 to 28 February 2016, the National Museum of Art, Architecture and Design in Oslo will present Architecture in Comic Strip Form, a show that will exhibit the artwork for the cover and other original drawings made for the BRÜSEL album by François Schuiten and Benoît Peeters.
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Parade sauvage. Art et contreculture autour des sixties (Wild Parade. Art and Counterculture of the Sixties) highlights artists’ resistance to bourgeois conformism in an exhibition at the Musée des Beaux-Arts de Mons (BAM) from 17 October 2015 to 24 January 2016. L’infinie suffisance or La victime joyeuse by the Danish painter Asger Jorn, from the Thomas Neirynck Fund, illustrates the opposition of painters in the CoBrA movement to rational culture in the period following the end of the Second World War.
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The STAM, the Ghent City Museum, proposes a return to the reign of William I in its exhibition Het verloren koninkrijk. Willem I en België (The Lost Kingdom. William I in Belgium), from 15 October 2015 to 28 March 2016. 2015 marks the bicentenary of the creation of the United Kingdom of the Netherlands, the ephemeral buffer-state created by the coalition of European powers against Napoleon. The exhibition aims to take a more nuanced look at this page of our history. The King Baudouin Foundation has lent a document from the Goffinet Archives, a secret article about the convention of London on 14 December 1831.
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Also in Ghent, Design Derby: Nederland – België (1815–2015) (Design Derby Netherlands-Belgium 1815-2015) will be open from 23 October 2015 to 13 March 2016 at the Design Museum. This large exhibition, devoted to design in the Netherlands and Belgium, has as its aim to compare, using a chronological journey of 21 themes, some 500 objects from these two countries that were once united. The King Baudouin Foundation has lent two objects: a silver and ivory document holder called Civilisation et barbarie (Civilisation and Barbarism), created by the Belgian silversmith Philippe Wolfers, and the ivory and silver Lampe aux nymphes (Lamp with Nymphs), by François Hoosemans and Égide Rombaux. Both objects are masterpieces of Belgian Art Nouveau.
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