Hôtel de Charlier Museum
Bruxelas, Brussels, Belgium
Suggest Place to Visit
7076
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Mansion whose appearance acts. result of the combination of two buildings of neoclassical spirit acquired in 1890 by art lover Henri Van Cutsem. The larger of the two, with four spans, was built in 1844 on a plot extending to the st. of Charity. On site of the stables and sheds overlooking this street, Van Cutsem had an exhibition gallery erected with a glass roof, listen to Victor HORTA.
In 1892, had it demolished and rebuilt the neighboring house (formerly No 15) so as to be integrated into the 1st. The uniforms were, as were the interiors. HORTA would also be the author of these arrangements including, among others, the construction of a second glazed gallery.
In 1903, construction of an annex to r.d.ch. on the small courtyard which exists between the two galleries. Van Cutsem has a wide range of openings to important collections and brings together more artists and art lovers. Famous people and avant-garde bought sculptures frequently used in the hotel. Among them, the sculptor Guillaume CHARLIER, of whom Van Cutsem made his universal legatee.
On the death of van Cutsem in 1904, the hero of the hotel and perpetuates the memory of the protector's son. In 1924, most of the paintings in the collection were transferred to Tournai where a bequest from Van Cutsem contributes to the construction of the Museum of Fine Arts. the death of CHARLIER in 1925, the hotel and the property which opened up to the town of Saint-Josse. On October 21, 1928, the residence became the Charlier Museum.
Consolidation of the building in the 1960s and 1994.
Classified in total by AR of July 15, 1993.
Six bays and three levels of decreasing height on a blue stone plinth and under a saddleback roof covered with tiles. Make coated and painted horizontally indicated by the splits of r.d.ch. and the band separating it from the floors, even for the frieze of the scalloped blinds under the dentil and mutula cornice. Blue stone for the profiled plinth, the cords, the band and the door frames of the upper floors. On the ground floor, rectangular boxes, protections for shutters and porte-cochère, the paneled leaves of which are surmounted by an open tympanum with radiating scallops. The size of the port is in blue stone. The beautiful each bay is enriched with entablature of entablature or pediment to the access bay, do not even go to another place on a balcony.
R. de la Charité, left. : on five quées, blind elevation of the gallery in dressed stone and coated bricks, on a blue stone plinth pierced with curved and grilled windows, even if this gives an accosted by two side windows. Wooden cornice on consoles of the glass roof. To dr. : elevation of a single bay on three levels, brick facade delimited by blue stone chaining. Series of phenomena with lintel and blue stone support, marked by hollow spandrels. Simple cornice in blue stone.
Interior
Eclectic in style, mainly neo-Louis XVI and Empire inspiration for the left part, with a more modern influence heralding Art Nouveau for the part of dr. and the galleries are around the vestibule and the stairwell. On the r.d.ch., after having crossed the hall around listening, all the rooms are articulated in a U, one enters on the left. in a small living room. I still smoke, called Salon Charlier, located on the facade, and the painting gallery for windows forming partitions. These showcases with metallic patterns and floral decoration are not attributable to V. HORTA.
Forming here an angle with the painting gallery and covered with greenery, the Music Room gives access to the Chinese Room and, in front, to the boudoir. Paneled stairwell incorporating a panel painted by C. MEUNIER.
On the 1st floor: Meeting room with overhead painted by Guillaume VAN STRYDONCK, Franz COURTENS and Louis PION; Louis XVI Salon; Empire Salon; Louis XV Salon; Empire Room; Salon of Christ; Living room with tapestry.
On the 2nd floor: utility rooms and municipal folklore museum.
All the rooms retain the original decor and furnishings. Collection of curios and stylish objects: European silverware, crystal and earthenware from the 18th and 19th centuries. ; tapestries from Brussels, Audenaerde and Aubusson; French style furniture; furniture from S. China from the end of the 19th century. Sculptures by Guillaume CHARLIER and works by 19th century painters, That Emile WAUTERS, Constantin MEUNIER, Antoine WIERTZ, A. STEVENS, Eugène LAERMANS, Isidore VERHEYDEN.
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