Origins and History of Curtius Museum
The Curtius Museum, situated on the banks of the river Meuse in Liège, Belgium, possesses a history rooted in the private lives of the city's industrial elite. The structure was built between 1597 and 1610, serving originally as a private mansion for Jean Curtius. As an industrialist and a munitions supplier to the Spanish army, Curtius established a residence that reflected his significant standing within the region. This building remains classified as a Major Heritage of Wallonia.
The institution has undergone significant transformations to accommodate its growing importance. Following a redevelopment costing €50 million, the site reopened in March 2009 under the name Grand Curtius. This modern iteration represents the merger of several distinct entities, bringing together the former Museum of Archaeology, the Museum of Weaponry, the Museum of Decorative Arts, and the Arteum of Religious Art and Mosan art. The current museum functions as a unified center for archaeology and decorative arts.
The Building and Its Architecture
Situated on the bank of the river Meuse in Liège, Belgium, the structure presents a clear example of the Mosan Renaissance style. The facade is defined by a rhythmic pattern of alternating layers of red brick and natural stone. This material choice creates a textured surface that catches the light differently as the day progresses. The windows are characterized by their cross-mullioned design, a feature that anchors the building in its regional architectural tradition.
The architecture reflects the history of the site, which was originally constructed between 1597 and 1610 as a private mansion for Jean Curtius. The building's presence is tied to the industrial and social history of the region. Its design is not merely decorative but is deeply rooted in the specific building techniques of the Meuse valley. The interplay of stone and brick provides a sense of permanence to the riverside location.
The physical space has undergone significant changes, including a major redevelopment that resulted in the current configuration of the Grand Curtius. This evolution has allowed the building to house various merged collections within its historic walls. The architecture remains a central element of the experience, providing a specific context for the objects held within its departments.
The Diverse Museum Collections
The museum brings together the merged collections of four former institutions, creating a vast repository of regional history. These departments encompass archaeology, arms, religious art and Mosan art, decorative arts, and glass. Within the archaeological department, the Hamal-Nandrin and Depuydt collections offer a deep look into the past. These holdings provide a physical connection to the long-standing presence of human activity in the region.
The glass collections hold a significant position, recognized as the second largest in the world after the Corning collection in the United States. This department reflects a high level of technical skill and material expertise. Alongside these glassworks, the museum houses various earthenware and porcelain pieces originating from Delft, Liège, and Brussels. The presence of these ceramics provides a tangible sense of the domestic and artistic life of previous centuries.
The collection is structured to present a wide variety of artistic and industrial practices. It spans from prehistory to contemporary times, drawing from multiple sources including the City of Liège, the Walloon Region, the University of Liège, and the Bishopric of Liège. The sheer density of these objects allows for a quiet study of how different materials—from metal and ivory to marble and terracotta—were shaped by the hands of craftsmen.
Masterpieces of the Collection
The presence of the 12th-century gilded reliquary triptych, which once resided in the church of Sainte-Croix, commands a quiet attention. Nearby, the Evangelarium of Notger offers a glimpse into the spiritual artistry of a previous era. These objects exist alongside the sculptures of Jean Del Cour, whose work defines much of the regional aesthetic. The weight of history is felt in the physical presence of the three-tap fountain that once belonged to Johann Theodor of Bavaria, the Prince-Bishop of Liège.
Portraiture finds a significant moment in the 1804 depiction of Napoleon Bonaparte, painted by Ingres. This work captures the First Consul with a precision that invites long observation. In a similar vein, the figure of Saint Domitian by Jean Delcour (1631-1707) remains a central part of the sculptural and painted holdings. Each piece occupies its space with a specific, unyielding gravity.
- Napoleon Bonaparte in the Uniform of the First Consul, 1804 - Jean-Auguste-Dominique Ingres
- Saint Domitian - Jean Delcour
Exhibitions and Research
The museum maintains a continuous dialogue between historical craftsmanship and contemporary study. A significant upcoming event is the ‘Japonism and Art Nouveau’ exhibition, scheduled from April 17, 2026, to September 27, 2026. This presentation marks the bicentenary of Cristalleries du Val Saint-Lambert, celebrating the period from 1826 to 2026. It brings together approximately 150 works that highlight the specific aesthetics and technical developments achieved at Val Saint Lambert during its golden age between 1880 and 1914.
These displays offer a focused look at the evolution of glassmaking and design. The works reflect the progressive shapes and dynamic curved designs characteristic of the Art Nouveau style. Such exhibitions allow for a closer examination of how industrial and artistic achievements merged during the Belle Époque. The presence of these pieces provides a tangible connection to the technical expertise of the Val Saint Lambert glassworks.