Royal Gallery by Arto Drom

MUSEA NOSTRA

THE R O Y A L M U S E U M OF FINE A R T S ANTWERP

ELS M A R E C H A L

LEEN DE J O N G

Contents

T h e History of the R o y a l M u s e u m in A n t w e r p

T h e 15th Century M e d i e v a l painting o f the O l d N e t h e r l a n d s F o r e i g n m e d i e v a l art

11 11 22

T h e 16th C e n t u r y

T h e 17th Century T h e g r a n d m a s t e r s o f the F l e m i s h B a r o q u e : R u b e n s , J o r d a e n s a n d V a n Dyck F l e m i s h f i g u r e painters L a n d s c a p e , still-life a n d a n i m a l s Sculptures 1 7 t h C e n t u r y in H o l l a n d

43 43 53 57 62 65

F l e m i s h P a i n t i n g in the 18th C e n t u r y

T h e 19th C e n t u r y

20th C e n t u r y Symbolism and Expressionism Rik Wouters Modern International Masters Before 1 9 4 5 After 1 9 4 5

99 99 110 113 116 120

The History of the Royal Museum in Antwerp

T h e e a r l i e s t n u c l e u s o f the c o l l e c t i o n h a s its o r i g i n s w i t h the A n t w e r p G u i l d o f S a i n t L u k e t o w h i c h the c i t y ' s a r t i s t s b e l o n g e d b e t w e e n 1 3 8 2 and 1 7 7 3 . T h e guild's gallery or 'konstkamer' w a s u s e d for b o t h m e e t i n g s a n d festive o c c a s i o n s , a n d for d i s p l a y i n g the g u i l d ' s t r e a s u r e s . I n 1 6 6 3 , a t the b e h e s t o f D a v i d T e n i e r s , a n a c a d e m y w a s f o u n d e d u n d e r the g u i l d ' s a u s p i c e s . W h e n the g u i l d s w e r e f i n a l l y d i s b a n d e d i n 1 7 7 3 , the A c a d e m y o f F i n e A r t s took p o s s e s sion o f the a f o r e m e n t i o n e d g a l l e r y , w h i c h i n c l u d e d w o r k s like Portrait of Abraham Grapheus, by C o r n e l l s de V o s , Virgin with a Parrot, by P . P . R u b e n s , three p a i n t i n g s b y J a c o b J o r d a e n s , a n d a n u m b e r o f o t h e r w o r k s . P a r a d o x i c a l l y , the n e x t s t a g e i n the m u s e u m ' s d e v e l o p m e n t w a s b r o u g h t a b o u t b y the c o n f i s c a t i o n o f p a i n t i n g s from A n t w e r p ' s c h u r c h e s , m o n a s t e r i e s a n d o n e o r t w o p u b l i c b u i l d i n g s d u r i n g the F r e n c h occupations of 1 7 9 4 and 1796. According to an official r e p o r t , 7 0 p a i n t i n g s , i n c l u d i n g 3 0 w e l l k n o w n w o r k s b y R u b e n s , w e r e stolen from A n t w e r p a l o n e . F o r t y o f the s t o l e n w o r k s w e r e eventually returned in 1 8 1 5 , 26 of which found t h e i r w a y into the A c a d e m y ' s m u s e u m . T h e s e i n c l u d e d Christ on the Straw, The Lance ( C h r i s t C r u c i f i e d b e t w e e n the t w o T h i e v e s ) , The Adoration of the Magi, The Incredulity of Thomas a n d The Education of Mary, all by R u b e n s . T h e s e w o r k s f o r m o n e o f the c e n t r e s o f g r a v i t y o f the A n t w e r p m u s e u m ' s collection, which had been m o v e d in the m e a n t i m e , t o g e t h e r w i t h the A c a d e m y , t o the b u i l d i n g s o f the f o r m e r F r a n c i s c a n m o n a s t e ry in 1 8 1 0 . T h e catalogue of 1 8 1 7 already included 1 2 7 i t e m s , o n e o f w h i c h w a s Q u i n t e n M a s s y s ' Triptych of the Lamentation of Christ, p a i n t e d in 1 5 1 0 for the c a t h e d r a l , w h i c h m a n a g e d t o e s c a p e the I c o n o c l a s m o f 1 5 6 6 . I t i s e v i d e n t , therefore, t h a t i n the e a r l y y e a r s o f its e x i s t e n c e , the m u s e u m ' s c o l l e c t i o n w a s l i m i t e d , b u t o f the h i g h e s t q u a l i ty. I t d a t e d p r i m a r i l y f r o m the s e c o n d h a l f o f the 1 6 t h c e n t u r y a n d from the 1 7 t h c e n t u r y , w i t h R u b e n s a s its c r o w n i n g g l o r y . D u r i n g the p e r i o d o f D u t c h r u l e , W i l l e m I , K i n g o f the U n i t e d N e t h e r l a n d s , d o n a t e d three n o t e w o r t h y p a i n t i n g s t o the m u s e u m . I n 1 8 2 3 h e g a v e T i t i a n ' s f a m o u s y o u t h f u l w o r k , Pope Alexander IV presents Jacopo Pesaro to Saint Peter. T h i s p a i n t i n g w a s the first w o r k b y a f o r e i g n a r t i s t to j o i n the c o l l e c t i o n . Panorama of Valenciennes, a r e m e m b r a n c e of the b a t t l e b e t w e e n the S p a n i s h a n d the F r e n c h i n 1 6 5 6 b y D a v i d T e n i e r s the Y o u n g e r , w a s a l s o d o n a t e d i n 1 8 2 3 . I n 1 8 2 9 , W i l l e m I p r e s e n t e d the m u s e u m w i t h its f i r s t w o r k b y a l i v i n g a r t i s t , M a t t h i j s v a n

B r e e , D i r e c t o r o f the A n t w e r p A c a d e m y a n d M u s e u m . T h e p a i n t i n g i n q u e s t i o n w a s The Death of Rubens. By R o y a l D e c r e e of 2 5 t h M a r c h 1 8 2 7 , W i l l e m I also g r a n t e d a subsidy of 20 000 g u i l d e r s for the p u r c h a s e o f c o n t e m p o r a r y artw o r k s f r o m the s a l o n s o f A m s t e r d a m , A n t w e r p , Ghent and Brussels. T h e revolution of 1 8 3 0 , and B e l g i u m ' s subsequent independence, howe v e r , m e a n t that A n t w e r p w a s not a b l e t o benefit f r o m this. I t w a s not until 1 8 7 3 t h a t the m u s e u m b e g a n to b u y w o r k s by living artists. T h e r a t h e r l i m i t e d c o m p o s i t i o n o f the m u s e u m ' s collection continued until 1 8 4 0 w h e n 1 4 1 w o r k s were bequeathed to it by Florent v a n Ertborn, f o r m e r m a y o r o f A n t w e r p . A s a p a t r o n o f the arts, he h a d built up a collection of 1 5 t h century p a i n t i n g s w i t h f l a w l e s s taste a t a t i m e w h e n a p p r e c i a t i o n o f the F l e m i s h P r i m i t i v e s w a s extremely low. T h e Flemish Primitive works w h i c h h e d o n a t e d h a v e h e l p e d a s s u r e the m u s e u m ' s reputation. T h e y include J a n van E y c k ' s Saint Barbara a n d Madonna at the Fountain, R o g i e r v a n d e r W e y d e n ' s Portrait of Philips de Croy a n d The Seven Sacraments t r i p t y c h , D i r k B o u t s ' Madonna with Child, a n d H a n s M e m l i n g ' s Portrait of Jan de Candida. W o r k s by l a t e r F l e m i s h a r t i s t s i n c l u d e d Flight into Egypt by J o a c h i m P a t i n i r , a n d Q u i n t e n M a s s y s ' Saint Mary Magdalene. V a n E r t b o r n a l s o b e q u e a t h e d a n u m b e r of w o r k s by important foreign masters, such as J e a n F o u q u e t ' s Madonna, Simone Martini's b e a u t i f u l s e r i e s of p a n e l s d e p i c t i n g The Annunciation a n d The Crucifixion, A n t o n e l l o da M e s s i n a ' s Christ on the Cross a n d L u c a s C r a n a c h ' s Caritas, a l l o f w h i c h h a v e h e l p e d e n s u r e the i n t e r n a t i o n a l f a m e o f the A n t w e r p c o l l e c t i o n s . A large n u m b e r of works, including contemporary items, primarily of national importance, w e r e a d d e d t o the m u s e u m ' s c o l l e c t i o n d u r i n g the c o u r s e o f the 1 9 t h c e n t u r y . A R o y a l D e c r e e i n 1 8 5 2 l e d t o the f o u n d a t i o n o n 5 t h S e p t e m b e r 1 8 5 3 o f the ' A c a d e m i c C o r p s ' , m e m b e r s h i p o f w h i c h w a s g r a n t e d t o a r t i s t s a s a n h o n o r a r y title in recognition of their contribution to B e l g i a n a r t . U p o n j o i n i n g the A c a d e m i c C o r p s , artists w e r e e x p e c t e d to d o n a t e a s e l f - p o r t r a i t to the ' A c a d e m i c i a n s ' G a l l e r y ' . A l t h o u g h the q u a l i t y o f these a c q u i s i t i o n s w a s not u n i f o r m l y h i g h , the A c a d e m i c C o r p s a n d its c o l l e c t i o n n e v e r t h e l e s s r e p r e s e n t e d a first s t e p t o w a r d s the f o u n d a t i o n of a separate ' m o d e r n ' m u s e u m . It w a s only in 1 8 7 3 that a genuine p u r c h a s i n g committee w a s set u p , w i t h , a s its f i r s t a c t i o n , the a c q u i s i t i o n o f a n ' o l d - f a s h i o n e d ' p a i n t i n g b y the e s t a b l i s h e d a r t i s t K a r e l V e r l a t , The Mother of the Messiah and

the Four Evangelists. D u r i n g the first few d e c a d e s of its e x i s t e n c e , the c o m m i t t e e c o n t i n u e d t o f a v o u r the w o r k o f t r a d i t i o n a l a n d l o c a l a r t i s t s . I n the m e a n t i m e , the e x a m p l e set b y V a n E r t b o r n h a d b e e n f o l l o w e d . I n 1 8 5 9 , the Douairiere Adelaide V a n den H e c k e - B a u t de R a s m o n left 4 1 w o r k s o f a r t t o the m u s e u m . H e r b e q u e s t c o n s i s t e d p r i m a r i l y o f the w o r k o f 1 7 t h century Flemish and Dutch masters, including Portrait of a Boy, by E r a s m u s Q u e l l i n , a n d w o r k s by J a n Fyt, Salomon and J a c o b van Ruisdael, J a c o b J o r d a e n s , D a v i d T e n i e r s the Y o u n g e r , A d r i a a n v a n Ostade and others. T h e foundation o f the s o c i e t y A r t i b u s P a t r i a e o n 2 7 t h J u l y 1 8 6 4 w a s j u s t a s i m p o r t a n t a s the d o n a t i o n s a n d b e q u e s t s o f p r i v a t e c o l l e c t o r s . T h e a i m o f the s o c i e t y w a s to e n r i c h the c o l l e c t i o n of the A n t w e r p m u s e u m by means of acquisitions -

m a d e u s i n g the a n n u a l c o n t r i b u t i o n s o f its members - and by encouraging donations. T h e s o c i e t y f u n c t i o n e d for a b o u t a h u n d r e d y e a r s , d u r i n g w h i c h t i m e i t w a s r e s p o n s i b l e for the a d d i t i o n o f 6 2 w o r k s t o the c o l l e c t i o n , i n c l u d i n g contemporary, 19th century and older items. E x a m p l e s are J o a c h i m Beuckelaer, Cornelis de V o s , Marinus van Reymerswael, J a n Wildens, the M a s t e r o f the S a i n t M a g d a l e n e L e g e n d , Roelant Savery, Henri L e y s , Henri De Braekeleer, R i k W o u t e r s , G e o r g e M i n n e , Pericles P a n tazis a n d C h a r l e s M e r t e n s . A s a c o n s e q u e n c e o f these a c q u i s i t i o n s there s i m p l y w a s not e n o u g h s p a c e t o a c c o m m o d a t e the c o l l e c t i o n a s a w h o l e , d e s p i t e the e x t e n s i o n a n d a l t e r a t i o n o f the A c a d e m y ' s buildings on a n u m b e r of occasions, including Pierre B o u r l a ' s addition of a m o n u mental staircase, a classical facade and a gateh o u s e w h i c h f u n c t i o n e d a s the e n t r a n c e t o the museum. I n A u g u s t 1 8 7 3 the A c a d e m y ' s m u s e u m w a s p u t at s e r i o u s risk as a r e s u l t of a m a j o r fire at the n e a r b y S t a d s w a a g , a n d the a u t h o r i t i e s b e g a n to c o n s i d e r s e r i o u s l y the n e e d to find a n e w h o m e for the f a m o u s c o l l e c t i o n s . O n 2 n d D e c e m b e r 1 8 7 5 , after two y e a r s o f n e g o t i a t i o n s a n d d i s c u s s i o n s , the C i t y C o u n c i l d e c i d e d u p o n the site f o r m e r l y o c c u p i e d b y the Z u i d e r k a s t e e l , the S p a n i s h s t r o n g h o l d c o n s t r u c t e d i n 1 5 6 7 b y the D u k e o f A l v a . T h e c l e a r a n c e o f the site y i e l d e d s o m e 1 0 0 h e c t a r e s for the c o n s t r u c t i o n of a n e w m u n i c i p a l d i s t r i c t and harbour installation. T h e construction c o m p a n y Societe A n o n y m e du S u d d ' A n v e r s s u b m i t t e d a n u m b e r of p l a n s to the m u n i c i p a l authorities before final a p p r o v a l w a s granted on 1 8 t h S e p t e m b e r 1 8 7 5 . T h i s p l a n f e a t u r e d the m u s e u m a s its g e o m e t r i c c e n t r e , s u r r o u n d e d b y s q u a r e s , streets a n d p a r k s . O n 29th J a n u a r y 1 8 7 7 , the C i t y C o u n c i l a n n o u n c e d a c o m p e t i tion a m o n g s t B e l g i a n a r c h i t e c t s for the d e s i g n o f a new m u s e u m . T h e first prize w a s a w a r d e d to the d e s i g n s u b m i t t e d b y J e a n - J a c q u e s W i n d e r s ( 1 8 4 9 - 1 9 3 6 ) , a y o u n g (28 y e a r o l d ) a n d a m b i tious a r c h i t e c t , w h o h a d p r e v i o u s l y w o n a n official c o m p e t i t i o n for the d e s i g n of the S c h e l d t M o n u m e n t w h i c h s t a n d s i n the p r e s e n t M a r n i x p l e i n . W i n d e r s w a s not, h o w e v e r , the o n l y w i n n e r : six e n t r a n t s w e r e c h o s e n , b u t the m a i n p r o b l e m w a s that they a l l e x c e e d e d the specification of two million francs. T h e matter dragg e d o n f u r t h e r , until a n o t h e r c o m p e t i t i o n w a s a n n o u n c e d i n 1 8 7 9 , w h i c h w a s l i m i t e d t o the s i x former f i r s t prize winners. J . J . Winders w o n o n c e a g a i n , w i t h the e v e n y o u n g e r F r a n s V a n Dijck ( 1 8 5 3 - 1 9 3 9 ) in second place. Both designs w e r e a d o p t e d , o n c o n d i t i o n t h a t the t w o a r c h i tects c o m b i n e d t h e m to p r o d u c e a s i n g l e p l a n . T h e c o m b i n a t i o n o f w h a t for the t i m e w a s a n u l t r a - m o d e r n p r o g r a m m e , w i t h the p r e s t i g i o u s f a c a d e s a n d s t r u c t u r e s o f the a p p r o v e d p l a n m e a n t t h a t n o t h i n g else c o u l d s t a n d i n the w a y o f c o n s t r u c t i o n , a n d w o r k o n the n e w i n s t i t u t i o n began in September 1884. T h e ceremonial inau-

g u r a t i o n o f the m u s e u m i n the s o u t h o f the city on iith August 1890, with processions, speeches, banquets and a large-scale celebration m a r k e d the e n d o f a difficult 1 7 y e a r s . T h e m u s e u m f e a t u r e s a c o m b i n a t i o n o f the n e o classical and neo-gothic styles, a n d is an e x a m p l e of contemporary temple architecture. F r o m the t e c h n i c a l p o i n t o f v i e w , i t i s b a s e d u p o n the g r e a t n e w m u s e u m s o f G e r m a n y , A u s t r i a a n d the N e t h e r l a n d s .

4 2 w o r k s o f a r t , b e g i n n i n g i n 1 9 2 1 , before they h a d b e c o m e a n official s o c i e t y , w i t h e i g h t E n s o r s , i n c l u d i n g Afternoon in Ostend, The Intrigue a n d Masks fighting over a Hanged Man. T h e F r a n c k f a m i l y itself ( F r a n c o i s a n d C h a r l e s ) d o n a t e d b e t w e e n 1 9 2 0 a n d 1 9 6 7 Fisherwoman b y C o n s t a n t P e r m e k e , Strawberries and Champagne by H e n r i De B r a e k e l e e r , The Ferryman a n d The Fall of the Rebel Angels by J a m e s E n s o r , X a v i e r M e l l e r y ' s Inspiration a n d J a k o b S m i t s ' Pieta.

I n 1 9 2 7 the m u s e u m p a s s e d into the o w n e r s h i p o f the n a t i o n . I n a d d i t i o n t o A r t i b u s P a t r i a e , t w o o t h e r p r i m a r y b e n e f a c t o r s o f the f i r s t h a l f o f the c e n t u r y s h o u l d b e m e n t i o n e d . T h e f i r s t w a s the ' F r i e n d s o f M o d e r n A r t ' s o c i e t y w h i c h w a s f o u n d e d i n 1 9 2 7 , a n d w h i c h d e v e l o p e d into a s m a l l g r o u p o f a r t - l o v e r s s u r r o u n d i n g the b r o t h ers L o u i s , F r a n c o i s a n d C h a r l e s F r a n c k . T h e s e c o n d s o u r c e o f s u p p o r t w a s p r o v i d e d b y the b r o t h e r s t h e m s e l v e s . O v e r the c o u r s e o f a h a l f c e n t u r y , the ' F r i e n d s o f M o d e r n A r t ' d o n a t e d

Although donations and bequests have dropped off s h a r p l y d u r i n g the l a s t few d e c a d e s , the m u s e u m recently c a m e into possession of a m a r v e l o u s collection. In 1989 L u d o van B o g a e r t - S h e i d b e q u e a t h e d n o less t h a n 6 9 artworks, including 58 paintings, drawings, watercolours and sculptures by Rik Wouters. T h e collection as a whole now n u m b e r s more t h a n 7 2 0 0 w o r k s of a r t , c o n s i s t i n g of 3 2 0 0 paintings, 3 600 d r a w i n g s a n d prints, and 400 sculptures.

The 15th Century

Medieval painting of the Old Netherlands T h e earliest p r e - E y c k i a n panel w h i c h survives in the N e t h e r l a n d s , The Calvary of Hendrik van Rijn, w a s p a i n t e d b y a n A n o n y m o u s U t r e c h t ( ? ) M a s t e r . A c c o r d i n g t o the L a t i n i n s c r i p t i o n a t the b o t t o m , the d o n o r , s h o w n k n e e l i n g a n d i n profile, i s H e n d r i k v a n R i j n . H e i s s i g n i f i c a n t l y s m a l l e r t h a n the s a i n t s w h o s u r r o u n d h i m : C h r i s t o n the c r o s s , M a r y a n d J o h n . T h i s m e m o r i a l w o r k w a s p r o d u c e d for S a i n t J o h n ' s church in Utrecht, to commemorate V a n Rijn, w h o w a s provost a n d a r c h d e a c o n . T h e relief d e c o r a t i o n i n the b a c k g r o u n d i s p a r t i c u l a r l y i n t e r e s t i n g , c o n s i s t i n g a s i t d o e s o f g i l d e d tiles w i t h a lion motif, a n d refers to the r e a l i t y of heaven. F l e m i s h p a i n t e r s o f the 1 5 t h c e n t u r y a r e k n o w n a s the ' F l e m i s h P r i m i t i v e s ' . A l t h o u g h the t e r m is a p p l i e d to a v a r i e t y of a r t w o r k s a n d artists, there are several striking similarities. T h e n e w v i s i o n w h i c h these a r t i s t s b r o u g h t t o b e a r u p o n the r e p r e s e n t a t i o n o f the h u m a n f i g u r e i s o n e n o t e w o r t h y a s p e c t , w h i l e the fresh interest i n s p a c e a n d n a t u r e i s a n o t h e r . T h e u s e of oil paints is an i n n o v a t i v e technique w h i c h has been traditionally ascribed to them. T h e i r religious subjects are situated in minutely observed and executed natural or architectural l o c a t i o n s . T h e b a c k g r o u n d o f the p a i n t i n g i s o p e n e d u p , in o r d e r to p r o v i d e a c o n s t r u c t i o n w h i c h w i l l h e i g h t e n the s e n s e o f s p a c e . T h e l o v e o f f i n e r y w h i c h c h a r a c t e r i s e d the c o u r t o f P h i l i p the G o o d , D u k e o f B u r g u n d y , a n d the f l o u r i s h i n g t r a d e o f the L o w C o u n t r i e s h e l p e d s p r e a d the f a m e o f the F l e m i s h P r i m i t i v e s . T h e n u m e r o u s a n d v a r i e d w o r k s i n this collection provide us with an excellent o v e r v i e w of t h e i r a r t . J a n v a n E y c k i s g e n e r a l l y v i e w e d a s the l e a d i n g a r t i s t i c f i g u r e o f the 1 5 t h c e n t u r y Netherlands. He w a s interested in Antiquity, had good geographical knowledge, was wellversed in literature a n d possessed great technical i n g e n u i t y . T h e m u s e u m p o s s e s s e s t w o o f his works, which are small in format but high in q u a l i t y : Saint Barbara a n d Madonna at the Fountain. Saint Barbara is s u r p r i s i n g b e c a u s e of its g r a p h i c a l q u a l i t i e s a n d its u n u s u a l t e c h n i q u e , a n d the fact that it is not an o r d i n a r y p a i n t i n g . N u m e r o u s e x p e r t s h a v e tried t o d e t e r m i n e w h e t h e r it is in fact an u n f i n i s h e d p a i n t i n g , a grisaille, or a finished d r a w i n g . T h e d r a w i n g is e x e c u t e d on a s m o o t h , y e l l o w - b r o w n tinted g r o u n d w i t h a s t y l u s , a n d is finished off w i t h a fine paintbrush. T h e work has a m a r b l e d frame b e a r i n g a n i n s c r i p t i o n w h i c h tells u s the n a m e

o f the a r t i s t a n d the d a t e o f e x e c u t i o n , n a m e l y 1 4 3 7 . V a n E y c k depicts Saint B a r b a r a with her p r a y e r - b o o k a n d p a l m , seated before a lateg o t h i c t o w e r w h i c h i s i n the p r o c e s s o f c o n s t r u c tion. T h e Madonna at the Fountain p a n e l is e v e n smaller in format, and is also signed and dated on a m a r b l e d frame. T h e attention w h i c h V a n E y c k f o c u s e d u p o n the t e n d e r e m b r a c e o f m o t h er and child is characteristic of late-medieval d e v o t i o n . T h e a r t i s t d e p i c t s the p a r a d i s i a c a l g a r d e n a n d o t h e r s y m b o l s o f the V i r g i n s u c h a s the f o u n t a i n , the r o s e a n d the iris. A n g e l s h o l d u p a g o r g e o u s b r o c a d e cloth b e h i n d the m o t h e r a n d child as a s y m b o l of honour. T h e s y m b o l i s m o f the c o l o u r s u s e d i n the p a i n t i n g s e r v e t o h e i g h t e n its s p i r i t u a l m e s s a g e . W e see a s i m i l a r a c u t e n e s s o f o b s e r v a t i o n i n R o g i e r v a n d e r W e y d e n ' s Altar of the Sacraments. T h e C a l v a r y s e q u e n c e t a k e s p l a c e i n the i n t e r i o r of a* light, spacious church, w h o s e carefully e x e c u t e d d e t a i l s i m m e d i a t e l y c a t c h the v i e w e r ' s eye. T h e seven s a c r a m e n t s are presented a r o u n d the c e n t r a l c r u c i f i x i o n g r o u p a c c o m p a nied by an angel with a banderole. T h e importa n c e of the a c t i o n in the c e n t r a l p a n e l is e m p h a s i s e d b y the size o f the d e p i c t e d p e r s o n a g e s c o m p a r e d to the figures in the s i d e p a n e l s . T h e e m o t i o n o f the c e n t r a l c h a r a c t e r s - S a i n t J o h n a n d the three M a r y s - w h o a r e o v e r c o m e

< H A N S MEMLING

Christ among Angels singing and playing instruments detail

A N O N Y M O U S U T R E C H T (?) M A S T E R , C a .

1363

Calvary of Hendrik van Rijn, 1363 Inv. 5 1 9 P a n e l , 1 3 3 x 1 3 0 c m (with f r a m e : 1 5 0 x 1 4 6 c m )

JAN

VAN

EYCK

M a a s e i k ? ca. 1 3 9 0 - Bruges 1 4 4 1 Saint Barbara, 1437 Inv. 4 1 0 Panel, 31 x 18 cm O n the f r a m e : I O H ( A N N ) E S D E V a n Ertborn bequest, 1 8 4 1

EYCK

FECIT.

1437

JAN

VAN

EYCK

M a a s e i k ? ca. 1 3 9 0 - Bruges 1 4 4 1 Madonna and Child at the Fountain, I4jg Inv. 4 1 1 Panel, 19 x 1 2 . 5 cm A t the b o t t o m o f the f r a m e : A L S I C H C A N , a n d : JOH(ANN)ES DE EYCK

ME FECIT

V a n Ertborn bequest, 1 8 4 1

(COM)PLEVIT ANO

1439째.

ROGIER

VAN

DER

WEYDEN

AND

ASSISTANTS

T o u r n a i ca. 1 3 9 9 - Brussels 1464

Altar of the Sacraments Inv. 393-394-395 Panel, w i n g s 1 1 9 x 63 c m ; central panel 200 x 97 cm V a n Ertborn bequest, 1 8 4 1

w i t h grief, i s a c h a r a c t e r i s t i c f e a t u r e o f V a n d e r W e y d e n ' s a r t . I t i s t h o u g h t t h a t the t r i p t y c h w a s c o m m i s s i o n e d i n 1 4 4 1 b y the B i s h o p o f T o u r n a i , J e a n C h e v r o t , for the a l t a r o f h i s private chapel. V a n der W e y d e n portrays him on the left of the p a i n t i n g , as the b i s h o p a d m i n istering Confirmation. R o g i e r v a n der W e y d e n , w h o c a m e from T o u r n a i , w o r k e d i n B r u s s e l s a s official m u n i c i p a l p a i n t e r . H e i s the f i r s t g r e a t a r t i s t after J a n v a n E y c k , b u t u n l i k e his p r e d e c e s s o r h i s s t a n d i n g a l l o w e d h i m to o p e r a t e a w o r k s h o p w i t h a large number of assistants. Whereas V a n der W e y d e n w a s p r o b a b l y helped b y his assistants d u r i n g the e x e c u t i o n of the Altar of the Sacrament, his Portrait of Philippe de Croy is v i e w e d as b e i n g

e n t i r e l y f r o m his o w n h a n d . H e w a s a t a l e n t e d p a i n t e r o f p o r t r a i t s , w h o l o o k e d b e y o n d the incidental details of his subjects. P h i l i p p e de C r o y , w h o belonged to a prominent noble family, had been G o v e r n o r of H a i n a u l t since 1 4 5 6 . V a n der W e y d e n p o r t r a y e d h i m as a refined a n d p i o u s m a n . T h e fact that h e i s d e p i c t e d a t p r a y e r s u p p o r t s the n o t i o n t h a t this m a l e p o r trait o r i g i n a l l y f o r m e d the r i g h t - h a n d p a r t of a diptych. T h e Annunciation a t t r i b u t e d to a f o l l o w e r of R o g i e r v a n d e r W e y d e n i s e n t i r e l y i n the s p i r i t o f the m a s t e r . I n a c c o r d a n c e w i t h m e d i e v a l c u s t o m , the a n g e l a p p r o a c h e s M a r y i n the b e d r o o m of a townhouse. T h e room contains a red bed with a large canopy. T h e j u g w h i c h

h o l d s a n u m b e r of lily s t e m s is a s y m b o l of M a r y ' s virginity. Rogier's grandson, Goossen van der Weyden, who w a s born in Brussels around 1 4 6 5 , w a s also a p a i n t e r w h o r a n a l a r g e s t u d i o . T h e bill for the Triptych of Abbot Antonius Tsgrooten p a i n t e d in 1 5 0 7 still s u r v i v e s , s o that w e c a n b e s u r e that i t i s the w o r k o f G o o s s e n v a n d e r W e y d e n . T h e a b b o t p r o b a b l y c o m m i s s i o n e d this little triptych for his p r i v a t e q u a r t e r s . H e i s s h o w n k n e e l i n g o n the r i g h t - h a n d p a n e l , i n the p r e s e n c e o f the V i r g i n M a r y . T h e c e n t r a l p a n e l depicts Christ as intermediary and M a n of S o r r o w s , s u r r o u n d e d b y the i n s t r u m e n t s o f his Passion. S o m e d o u b t p e r s i s t s a s t o the a u t h o r s h i p o f the s m a l l p a i n t i n g e n t i t l e d Mary and the Infant Jesus. It h a s b e e n identified as o r i g i n a t i n g from the c i r c l e s u r r o u n d i n g D i r k B o u t s , o f w h o s e o r i g i n s w e k n o w little w i t h a n y c e r t a i n t y . H e p r o b a b l y c a m e f r o m H a a r l e m , a n d l e a r n e d his a r t i s t ' s t r a d e i n the S o u t h e r n N e t h e r l a n d s where he w a s strongly influenced by R o g i e r v a n der W e y d e n . He received major commissions from the c i v i l a n d e c c l e s i a s t i c a l a u t h o r i t i e s i n L o u v a i n . T h e panel in question w a s intended to m o v e the v i e w e r t o reflection. M a r y , the m o s t v i r t u o u s o f a l l w o m e n , i s p o r t r a y e d h e r e a s the i n c a r n a t i o n o f the c o n t e m p o r a r y i d e a l o f b e a u ty, w i t h h e r l o n g , p a l e face a n d the r a i s e d hair-line. Although H a n s M e m l i n g will forever be associated with Bruges, he w a s actually born in S e l i g e n s t a d t i n G e r m a n y . F r o m 1 4 6 5 until his death in 1 4 9 4 he w o r k e d as a painter in B r u g e s , w h e r e h e r e c e i v e d c o m m i s s i o n s from w e a l t h y citizens a n d f o r e i g n m e r c h a n t s . I t w a s a c o m m i s s i o n o f this t y p e , p r o b a b l y from a n I t a l i a n p a t r o n , w h i c h c a u s e d h i m t o p a i n t the s o b e r Portrait of a Man. A l t h o u g h m a n y h y p o t h e s e s h a v e b e e n p r e s e n t e d , it is not p o s s i b l e to m a k e a m e a n i n g f u l i d e n t i f i c a t i o n o f the s u b j e c t . T h e a p p e a r a n c e a n d c l o t h i n g o f the p o r t r a y e d m a n s u g g e s t that he is a S o u t h e r n E u r o p e a n , m o s t likely a n I t a l i a n . H e i s d e p i c t e d w i t h a c o i n from the r e i g n o f the E m p e r o r N e r o i n his h a n d , before a l a n d s c a p e c o n t a i n i n g s w a n s a n d p a l m trees. M e m l i n g w a s h e a v i l y i n f l u e n c e d i n i t i a l l y b y R o g i e r v a n d e r W e y d e n , b u t i n the c a s e o f this o u t s t a n d i n g p o r t r a i t d a t i n g f r o m a r o u n d 1 4 7 8 , it is the i n f l u e n c e of the Q u a t t r o c e n t o w h i c h w e feel m o s t s t r o n g l y . A p a r t from this w o r l d l y p o r t r a i t , the m u s e u m a l s o p o s s e s s e s fragments of a religious polyptych by M e m l i n g , Christ among Angels singing and playing Instruments. T h e carefully ordered and simple composition d e p i c t s C h r i s t a s S o v e r e i g n o f the W o r l d , g i v i n g H i s b l e s s i n g , w i t h three s i n g i n g a n g e l s o n e i t h e r side. T h e two other panels contain five angels playing musical instruments: psaltery, tromba m a r i n a , lute, trumpet a n d oboe (left-hand panel), bassoon, trumpet, portative organ, harp and viol (right-hand panel). H e a v e n is sugg e s t e d b y the g l o w i n g c l o u d s w h i c h r u n from the left a c r o s s to the r i g h t - h a n d p a n e l . T h e s e

ROGIER

VAN

DER

WEYDEN

T o u r n a i ca. 1 3 9 9 - Brussels 1464 Philippe de Croy Inv. 254 P a n e l . 49 x 30 cm U p p e r left c o r n e r , m o n o g r a m : s e ( m ) p . O n ihe reverse, upper part: (Phil)ippe de C r o y ; lower pari: (Seigne)ur de S e m p y . with the b l a z o n of P h i l i p p e de C r o y between. V a n Ertborn bequest. 1 8 4 1 .

FOLLOWER

ROGIER

VAN

DER

Annunciation Inv. 396 P a n e l , 20 x 12 cm V a n Ertborn bequest, 1 8 4 1 .

WEYDEN

GOOSSEN

VAN

DER

W E Y D E N

B r u s s e l s ca. 1 4 6 5 - A n t w e r p after 1 5 3 8 Triptych of Abbot Antonius Tsgrooten (ijOj) Inv. 5 0 9 1 / 1 to 5 0 9 1 / 5 Panel, central panel 3 3 . 7 x 2 5 . 2 c m : side panels 34 x i i cm Purchased in 1966

FOLLOWER

DIRK

BOUTS

H a a r l e m ? ca. 1 4 1 5 - L o u v a i n 1 4 7 5 Mary and the Infant Jesus I n v . 28 Panel, 29.5 x 20.5 cm V a n Ertborn bequest, 1 8 4 1

HANS

MEMLING

Seligenstadt ( G e r m a n y ) ca. 1 4 3 3 - Bruges 1494 Portrait of a Man Inv. 5 P a r c h m e n t on w o o d , 29 x 22 cm O n the c o i n : N E R O C L A U D . C A E S A R IMPER.

V a n Ertborn bequest, 1 8 4 1

HANS

MEMLING

Seligenstadt ( G e r m a n y ) ca. 1 4 3 3 - Bruges 1494 Christ among Angels singing and playing instruments Inv. 778-779-780 P a n e l , c e n t r a l p a n e l 1 6 4 x 2 1 2 c m ; side p a n e l s , e a c h 1 6 5 x 230 cm Purchased in 1895

AVG.

GERM

TR.

G E R A R D

DAVID

O u d e w a t e r ca. 1460 - Bruges 1 5 2 3 Mary, Saint John and three Women Pilate and the Jews at Golgotha Inv. 179 and 180 Panel, 45 x 4 2 . 5 cm V a n Ertborn bequest. 1 8 4 1

p a n e l s a r e f r a g m e n t s o f a p o l y p t y c h , n o w larg足 e l y lost, w h i c h o n c e s t o o d o n the h i g h a l t a r o f the B e n e d i c t i n e c h u r c h o f S a n t a M a r i a l a R e a l in Najera, Spain.

F O L L O W E R

G E R A R D

DAVID

Rest on the Flight into Egypt I n v . 47 P a n e l , 81 x 58 cm V a n Ertborn bequest, 1 8 4 1

T h e last big n a m e to b e l o n g to the F l e m i s h Primitives was G e r a r d David. He was born in Holland, but w a s enrolled as a Free M a s t e r in Bruges,

where

he died

1523.

The

panels

d e p i c t i n g Pilate's Dispute with the High Priest, The Holy

and

Women and Saint John at Golgotha, w h i c h

o r i g i n a l l y f o r m e d a t r i p t y c h t o g e t h e r w i t h Christ nailed to the Cross ( T h e N a t i o n a l G a l l e r y , L o n 足 d o n ) d a t e f r o m the p e r i o d 1 4 8 0 - 8 5 . The Egypt

painting has

entitled

been

Rest

attributed

on to

the a

Flight

follower

into of

G e r a r d D a v i d . A particularly impressive feature o f this s e r e n e little p a i n t i n g i s the e v o c a t i o n o f the l a n d s c a p e :

we see a s m a l l s t r e a m

with a

spring, v a r i o u s types of flowers a n d p l a n t s , trees with

birds,

landscape

with

dark a

wood

rocky

and

ridge.

imposing

T h e work

has

b e e n p r o v i s i o n a l l y a t t r i b u t e d t o a B r u g e s mas足 ter after a lost p a i n t i n g b y G e r a r d D a v i d .

M A S T E R OF

FRANKFURT

B o r n 1 4 6 0 , a n o n y m o u s artist w o r k i n g i n A n t w e r p around 1500 Portrait of the artist and his wife, 14个 I n v . 5096 P a n e l , 38 x 26 cm T h e d a t e 1 4 9 6 a n d the a g e o f the subjects - 3 6 a n d 2 7 r e s p e c t i v e l y - a r e g i v e n at the b o t t o m Purchased in 1 9 7 4

MASTER

FRANKFURT

B o r n 1 4 6 0 , a n o n y m o u s artist w o r k i n g i n A n t w e r p around 1500 Archery Festival, ( 1 4 9 3 ? )

Inv. 529 Panel, 176 x 1 4 1 cm F r o m the O l d A r c h e r s ' G u i l d h a l l , A n t w e r p

F e w o f the w o r l d l y p a i n t i n g s o f the 1 5 t h c e n t u r y h a v e survived intact. T h e m u s e u m does, howe v e r , p o s s e s s t w o i n t e r e s t i n g e x a m p l e s o f this t y p e o f p a i n t i n g b y the M a s t e r o f F r a n k f u r t . D e s p i t e his m i s l e a d i n g title, the a r t i s t i n q u e s tion w a s a n a n o n y m o u s m a s t e r w o r k i n g i n A n t w e r p . H i s Portrait of the Artist and his Wife is o n e o f the first p r o f a n e d o u b l e p o r t r a i t s i n the a r t o f the S o u t h e r n N e t h e r l a n d s . A l l that n o w s u r v i v e s i s the c e n t r e p i e c e o f w h a t w a s o r i g i n a l l y a t r i p t y c h , w h i c h i s e v i d e n t f r o m the s h a p e o f the p a n e l a n d the t r a c e s o f h i n g e s w h i c h a r e still v i s i b l e . A n e q u a l l y u n u s u a l a n d f a s c i n a t i n g w o r k by the s a m e a r t i s t is the Archery Festival w h i c h dates from a r o u n d 1 4 9 3 . T h i s is an a l l e g o r i c a l r e p r e s e n t a t i o n of a h i s t o r i c a l e v e n t . T h e a r t i s t l e a d s the v i e w e r a l o n g a v a r i e t y o f

ANONYMOUS

SOUTHERN

NETHERLANDISH

MASTER

M i d - 1 5 t h century

Portrait of Jan zonder Vrees, Duke of Burgundy Inv. 540 Panel, 21 x 14 cm V a n Ertborn bequest, 1 8 4 1

MASTER

1499

Portrait of Abbot Christiaan de Hondt Inv. 256 Panel, 30 x 14 cm V a n Ertborn bequest, 1 8 4 1

scenes w h i c h take place against a natural background. T h e m a n dressed in a brown tabard a n d a b l a c k c a p w h o m w e see i n the g r a s s i n s i d e the e n c l o s u r e on the r i g h t is p r o b a b l y the artist. We

talked

painted

above Van

about

der

the

Weyden

male and

portraits Memling.

T h e r e a r e o t h e r p o r t r a i t s i n the c o l l e c t i o n w h i c h d o not b e a r s u c h i l l u s t r i o u s n a m e s , b u t w h i c h a r e w o r t h y o f o u r a t t e n t i o n all the s a m e . T h e s e include

Portrait

of Jan

zonder

Vrees

(John

the

F e a r l e s s ) w h i c h w a s p a i n t e d i n the 1 5 t h c e n t u r y by

Anonymous

Master

o f the

Southern

N e t h e r l a n d s , a n d the r i c h l y e m b e l l i s h e d Portrait of Abbot H99-

Christiaan De Hondt

the

M a s t e r of

Foreign medieval art A p a r t f r o m its r i c h a n d d i v e r s e c o l l e c t i o n o f F l e m i s h m e d i e v a l art, the m u s e u m a l s o b o a s t s w o r k b y the I t a l i a n s S i m o n e M a r t i n i a n d A n t o n e l l o d a M e s s i n a , a n d the w o r l d - f a m o u s French painter, J e a n Fouquet. T h e Siena-born M a r t i n i w a s r e s p o n s i b l e for four s u m p t u o u s little p a n e l s , w h i c h w e r e p r o b a b l y e x e c u t e d i n A v i g n o n w h e r e the a r t i s t w a s i n the s e r v i c e o f the p a p a l c o u r t . T h e Annunciation, Crucifixion a n d Descentfrom the Cross r e v e a l the u t m o s t r e f i n e m e n t in d e s i g n a n d u s e of c o l o u r - b r i g h t , d e c o r a t i v e tones s t a n d o u t f r o m a b a c k g r o u n d finished in g o l d . T h e four A n t w e r p p a n e l s o r i g i n a l l y f o r m e d a s i n g l e g r o u p w i t h Christ carrying the Cross f r o m the D a h l e m m u s e u m i n B e r l i n , a n d the Entombment in the L o u v r e , P a r i s . T h e Sicilian Antonello da Messina painted his Calvary in 1 4 7 5 , m o r e t h a n a c e n t u r y l a t e r . D a M e s s i n a s u c c e e d e d i n u n i t i n g the c h a r a c t e r istics o f 1 5 t h c e n t u r y F l e m i s h a n d I t a l i a n p a i n t i n g in a p l e a s i n g , b a l a n c e d m a n n e r . D e s p i t e the fact that few o f J e a n F o u q u e t ' s p a i n t i n g s h a v e s u r v i v e d ( a l t h o u g h w e still h a v e m a n y o f his d r a w i n g s a n d m i n i a t u r e s ) , h e i s n e v e r t h e l e s s r e c o g n i s e d a s the g r e a t e s t F r e n c h p a i n t e r o f the 1 5 t h c e n t u r y . T h e A n t w e r p m u s e u m h a s his m a s t e r l y Mary and Jesus surrounded by Seraphim and Cherubim, w h i c h f o r m s a d i p t y c h w i t h the Portrait of Etienne Chevalier with Saint Steven. T r a d i t i o n , d a t i n g b a c k to the 1 7 t h c e n t u r y , h a s i t that the p o r t r a i t o f M a n . b e a r s the f e a t u r e s o f A g n e s S o r e l , the m i s t r e s s of C h a r l e s V I I . W i t h her high forehead, pale skin, r o u n d b r e a s t s a n d s l e n d e r f i g u r e , this f a m o u s M a r y e m b o d i e s the c o n t e m p o r a r y i d e a l of beauty. W e c a n n o t r o u n d off this section w i t h o u t m e n t i o n i n g a refined little w o r k o f G e r m a n o r i g i n , w h i c h i s a n i l l u s t r a t i v e e x a m p l e o f the s o - c a l l e d I n t e r n a t i o n a l S t y l e . S o m e fifty w o r k s h a v e b e e n attributed to an unknown Cologne master, r e f e r r e d t o for c o n v e n i e n c e a s the M a s t e r o f S a i n t V e r o n i c a , i n c l u d i n g The Man of Sorrows between Our Lady and Saint Catherine. T h e p a n e l ' s slender, almost boneless figures, depicted a g a i n s t a g i l d e d g r o u n d , its c o m b i n a t i o n of c o l o u r s a n d its d e l i c a t e m y s t i c i s m m a k e i t c h a r a c t e r i s t i c o f the m e d i e v a l C o l o g n e s c h o o l . T h e c e u v r e o f this m a s t e r i s g e n e r a l l y d a t e d b e t w e e n

I395-I4I5-

SIMONE MARTINI

Siena ca. 1 2 8 4 - Avignon 1 3 4 4 Annunciation Crucifixion,

Descent from

the

Cross

Inv. 257-258, 259-260 Panel, n° 2 5 7 : 23 x 14 cm, n° 2 5 8 : 23 x 14 cm, n° 2 5 9 : 2 4 x 1 5 c m a n d n° 2 6 0 : 2 3 . 5 x 1 8 . 5 c m № 2 5 8 o r i g i n a l l y f o r m e d the r e v e r s e o f n ° 2 5 9 , a n d n ° 2 5 7 the r e v e r s e o f n ° 2 6 0 . V a n Ertborn bequest, 1 8 4 1

M A S T E R

SAINT

VERONICA

A c t i v e late 1 4 t h - early 1 5 t h century Man

of Sorrows

between

Our Lady

and Saint

Inv. 5070 P a n e l , 41 x 24 cm L o a n e d b y the B e l g i a n S l a t e i n 1 9 5 2

Catherine

ANTONELLO

MESSINA

Messina ca. 1 4 3 0 - 1 4 7 9 Calvary, Inv. 4 Panel, 5 2 . 5 x 4 2 . 5 cm L o w e r left: i 4 7 5 . a n t o n e l l u s m e s s a n e u s m e p i n x i t . V a n Ertborn bequest, 1 8 4 1

JEAN FOUQUET

T o u r s ca. 1 4 2 0 - ca. 1480 Mary and Jesus surrounded by Seraphim and Cherubim Inv. 1 3 2 P a n e l , 91 x 81 cm V a n Ertborn bequest, 1 8 4 1

QUINTEN

MASSYS

L o u v a i n ca. 1 4 6 6 - A n t w e r p 1 5 3 0 Triptych with the Lamentation of Christ, 1508-1511 Inv. 245-249 P a n e l , 280 x 2 7 3 x 1 2 0 cm A l t a r o f the c a b i n e t - m a k e r s ' g u i l d i n O u r L a d y ' s C h u r c h , A n t w e r p ( 1 5 1 1 - 1 5 8 2 ) ; S t a t e R o o m of A n t w e r p T o w n H a l l ( 1 5 8 2 - 1 5 9 0 ) ; C i t y A l t a r i n the B e s n i j d e n i s kapel in O u r L a d y ' s Church, Antwerp ( 1 5 9 0 - 1 7 9 8 ) ; E c o l e C e n t r a l e des A r t s ; o r i g i n a l collection o f the m u seum

The 16th Century

F l e m i s h p a i n t i n g d u r i n g the 1 6 t h c e n t u r y is a complex matter, with no linear evolution of s t y l e . N e w g e n r e s a r o s e , a n d differing g r o u p s o f a r t i s t s w o r k e d in p a r a l l e l . It is not s u r p r i s i n g then t h a t the 1 6 t h c e n t u r y h a s t r a d i t i o n a l l y been viewed as a transitional period. " T h e 1 5 t h c e n t u r y w a s a t i m e of s e e k i n g , the 1 6 t h a t i m e of g r a p p l i n g w i t h n e w i d e a s , w h i l e the 1 7 t h century p a v e d the w a y for a n e n o r m o u s r a n g e o f new possibilities" ( G . H . Hoogewerff, 1 9 3 5 ) . " N o t h i n g c r e a t e d d u r i n g the 1 6 t h c e n t u r y w a s w i t h o u t v a l u e . E v e r y t h i n g s e r v e d the s a m e e n d w h i c h w a s t o b l o s s o m t r i u m p h a n t l y after 1 6 0 0 " ( P . d ' A r s c h o t , 1 9 6 3 ) . N o t o n l y d o these t w o c o m m e n t s i l l u s t r a t e the c o n f u s i o n o f the p e r i o d i n q u e s t i o n , t h e y a l s o h i g h l i g h t the a m b i g u o u s a t t i t u d e o f a r t - h i s t o r i a n s t o this e r a . T h e t e r m s most c o m m o n l y applied to 16th century culture - renaissance and h u m a n i s m - are themselves r a t h e r v a g u e . I f n o t h i n g else, this l a c k o f p r e c i sion s e r v e s to i n d i c a t e the a c t u a l m e r i t of a

p e r i o d , n a m e l y its refusal t o b e p i n n e d d o w n i n n e a t little s c h e m e s . N e v e r t h e l e s s , it is p o s s i b l e to d i s t i n g u i s h o n e or two major trends. O n e g r o u p of artists held o n t o the 1 5 t h c e n t u r y t r a d i t i o n , there w a s the ' m a n n e r i s t ' t r e n d , o t h e r a r t i s t s took t h e i r i n s p i r a t i o n f r o m the I t a l i a n r e n a i s s a n c e a n d E u r o p e a n h u m a n i s m , w h i l e f i n a l l y w e h a v e the i n d i g e n o u s f i g u r e o f B r u e g e l a n d his s c h o o l o r c i r c l e . T h e s e different m o v e m e n t s h a v e left b e h i n d i n t e r e s t i n g , i f not o u t s t a n d i n g w o r k s i n the c o l l e c t i o n o f the A n t w e r p m u s e u m . S i x w o r k s b y Q u i n t e n M a s s y s , the first m a j o r a r t i s t o f the r i s i n g A n t w e r p s c h o o l , a r e i n c l u d e d in the c o l l e c t i o n . In his refined Saint Mary Magdalene, the a r t i s t c o n v e y s his i d e a l of f e m i n ine b e a u t y i n m a s t e r l y f a s h i o n , w h i l e his m o n u m e n t a l t r i p t y c h , The Lamentation of Christ w e l d s t o g e t h e r 1 5 t h c e n t u r y t r a d i t i o n a n d the n e w ideas about art w h i c h w e r e e m e r g i n g from Italy. T h e l i g h t effects, the g r a d a t i o n o f c o l o u r a n d the

i n t e r w e a v i n g o f the c o m p o s i t i o n h a r k b a c k t o the a t t e n t i o n to d e t a i l , the u s e of l a n d s c a p e as a b a c k d r o p a n d the r a t h e r s t e r e o t y p i c a l f i g u r e s o f the p r e v i o u s c e n t u r y . M a s s y s ' h u m a n i s t p o r t r a i t u r e i s a l s o r e p r e s e n t e d i n the m u s e u m i n the s h a p e of his Portrait of Pieter Gilles, w h o w a s a friend o f the artist, a s w e l l a s E r a s m u s a n d S i r T h o m a s M o r e . Quinten's e x a m p l e w a s followed b y his son C o r n e l l s , b y w h o m w e h a v e a characteristic landscape, and J a n M a s s y s , w h o s e Judith b e a r s w i t n e s s to the i n f l u e n c e of the F o n t a i n e b l e a u s c h o o l . J a n P r o v o s t ' s Martyrdom of Saint Catherine - the p e n d a n t of Saint Catherine disputing with the Emperor and the fifty Philosophers i n the M u s e u m B o y m a n s - v a n B e u n i n g e n i n R o t t e r d a m - is a c o l o u r f u l m i x t u r e of t r a d i t i o n and innovation. Provost w a s a painter, cartographer and architect, w h o met A l b r e c h t Diirer in A n t w e r p in 1 5 2 0 . J o a c h i m Patinir's m a r v e l o u s Flight into Egypt, w i t h its three-fold scheme of colour, landscape and geometrical form c o m p l e t e s the s u r v e y o f M a s s y s ' e n t o u rage. K e y w o r k s from the m a n n e r i s t m o v e m e n t a r e a l s o t o b e f o u n d i n the m u s e u m i n the s h a p e o f B a r e n d v a n O r l e y ' s l a r g e Last Judgement tript y c h , a n d the s m a l l e r Adoration of the Magi triptych b y a n a n o n y m o u s artist. T h e majestic a r c h e d c o m p o s i t i o n , b o r r o w e d from R a p h a e l , the scientific r e p r e s e n t a t i o n o f the n u m e r o u s , a n i m a t e d n u d e f i g u r e s , a n d the d u l l , b r o w n i s h but s m o o t h c o l o u r i n g a l r e a d y p o i n t t o the s t r o n g l y I t a l i a n a t e t e n d e n c y i n the p a i n t i n g o f V a n O r l e y . T h e c h a r m i n g little w o r k b y the M a s t e r o f the A n t w e r p A d o r a t i o n (first h a l f o f the 1 6 t h c e n t u r y ) i s e x u b e r a n t , l i v e l y a n d full o f e c c e n t r i c s h a p e s a n d a t t i t u d e s , w h i l e the n e w l y a c q u i r e d w e a l t h o f A n t w e r p i s d i s p l a y e d i n the a b u n d a n c e of luxurious, gothic reminiscences.

JAN

PROVOST

M o n s ca. 1465 - Bruges 1 5 2 9 The Martyrdom of Saint Catherine Inv. 8 3 8 P a n e l , 94 x 68 cm P u r c h a s e d from J . K l e i n b e r g e n , Paris 1 9 0 4 JOACHIM

PATINIR

B o u v i g n e s ca. 1 4 7 5 - A n t w e r p 1 5 2 4 Landscape with the Flight into Egypt I n v . 64 Panel, 1 7 x 2 1 c m L o w e r left: O P U S J O A C H I M D . P A T I N I R . V a n E r t b o r n bequest, 1 8 4 1

QUINTEN

MASSYS

L o u v a i n ca. 1 4 6 6 - A n t w e r p 1 5 3 0 Saint Mary Magdalene Inv. 243 P a n e l , 45 x 29 cm V a n E r t b o r n bequest, 1 8 4 1

BAREND

VAN

ORLEY

Brussels ca. 1 4 9 2 - 1 5 4 2 The Last Judgement and the Seven Acts of Mercy Inv. 7 4 1 - 7 4 5 P a n e l . 248 x 2 1 8 c m ( c e n t r e 1 : 248 x 9 4 c m (side p a n e l s ) P r o p e r t y o f the ' O C M W " . A n t w e r p

MARINUS

VAN

R E Y M E R S W A E L

R e i m e r s w a a l ca. 1493 - probably Middelburg ca. 1 5 6 7 The Tax Collectors Inv. 244 Panel, 65 x 52 cm V a n Ertborn bequest, 1 8 4 1

M a r i n u s v a n R e y m e r s w a e l , a c a l v i n i s t from Z e e l a n d , w a s s t u d y i n g i n A n t w e r p a t the t i m e w h e n Q u i n t e n M a s s y s w a s the u n d i s p u t e d l e a d er of the c i t y ' s p a i n t e r s . In his Saint Jerome I 1 5 4 1 1 a n d The Tax Collectors, V a n R e y m e r s w a e l â&#x20AC;&#x201D; realist, mannerist and even expressionist c a r r i e d o n the t r a d i t i o n o f M a s s y s ' g e n r e w o r k s in a picturesque, precious a n d almost caricature fashion. T h e v e r s a t i l e artist P i e t e r P o u r b u s , w h o s e c a r e e r w a s s p e n t i n the f l o u r i s h i n g t o w n o f B r u g e s , c a n a l s o b e seen a s d i s p l a y i n g a c e r t a i n duality of both progressive a n d old-fashioned t r a i t s . H i s Portrait of Olivier van Nieulant, a B r u g e s a l d e r m a n , d a t e s from his less s u c c e s s f u l p e r i o d . H i s s o b e r a n d s h a r p o b s e r v a t i o n is, h o w e v e r , still p r e s e n t , w h i l e the e v e n e x e c u t i o n , n e u t r a l g r o u n d a n d f l o w i n g o u t l i n e s o f his subject are characteristic. T h e neat a n d rather o l d - l o o k i n g (he i s o n l y 2 6 ) f i g u r e o f V a n N i e u l a n t c o n t r a s t s w i t h t w o Portraits of young Men p a i n t e d b y u n k n o w n m a s t e r s , a n d w i t h Pierson

JAN

MASSYS

A n t w e r p ca. 1 5 0 9 - ca. 1 5 7 5 Judith Inv. 5076 Panel, 1 1 5 x 80.5 cm O n the s w o r d : J O A N N E S M A S S I I S

PING.

Bequest of M r s . Huybrechts-Delstanche, 1957

L a Hues, d r u m m e r a n d p a g e o f the O l d A r c h e r s ' Guild, which w a s painted by Gillis Congnet in 1 5 8 1 . T h e s e paintings are marvelous represent a t i v e s o f a g e n r e w h i c h , i n the 1 6 t h c e n t u r y , w a s the l e a s t r a t e d o f the p a i n t e r ' s s p e c i a l i s m s . A s the p o r t r a i t i s c l o s e s t t o life, c o n t e m p o r a r y o p i n i o n d e e m e d i t t o b e m u c h less c r e a t i v e o r intellectual

than

mythological,

biblical

m o r a l i s t i c p a i n t i n g . N e v e r t h e l e s s , this s e r i e s o f f o u r p o r t r a i t s p r o v i d e s u s w i t h o n e o f the m o s t l i v e l y d o c u m e n t s o f the 1 6 t h c e n t u r y . T h e m u s e u m does not h a v e a n original w o r k b y P i e t e r B r u e g e l the E l d e r , b u t this i s p a r t i a l l y compensated

Bridal Dance ( c a . action

really

early,

reliable

copy,

The

1 5 6 6 ) . T h e apparently chaotic carefully

the

colours,

the s h o r t , s t u r d y p e a s a n t f i g u r e s a n d

semicircular village

w o r k is a

sharply

while

delineated

the

but

planned,

tightly

scene

contrasting

mean

truthful r e p r e s e n t a t i o n

that

the

of B r u e g e l ' s

i m m e n s e talent. T h e m u s e u m also possesses a w h o l e series of w o r k s by B r u e g e l ' s followers, MARINUS

VAN

REYMERSWAEL

R e i m e r s w a a l ca. 1 4 9 3 - p r o b a b l y M i d d e l b u r g ca. 1 5 6 7 Saint Jerome 1541 I n v . 990 P a n e l , 78 x 1 0 7 cm On the e d g e of the lectern: M a r i n u s - me f e c i t . 1 5 4 1 Donated by Artibus Patriae, 1 9 3 5

O F T H E A N T W E R P A D O R A T I O N (ca. I520) Triptych with the Adoration of the Magi I n v . 208-210b P a n e l , 29 x 22 cm (central p a n e l ) , 29 x 8.5 cm (side panels) V a n E r t b o r n bequest, 1 8 4 1 MASTER

1 6 t h century t> Portrait of a young Man Inv. 341 P a n e l , 46 x 32 cm O n the letter: M o n tres hon... b o n e g r a c e . . . p r e s s e n c e sera... c o m e n d par... recen... la v o s . . . ; in the b a c k ground: Aetatis 1 9 . V a n Ertborn bequest, 1 8 4 1 DUTCH MASTER

PIETER

POURBUS

G o u d a 1 5 2 3 - Bruges 1584 The

Portrait

Olivier

van

of Nieulant

Inv. 5074 Panel, 49.5 x 3 7 . 5 cm U p p e r right: An° D N I

I 573./Л.26.M. 10.

P u r c h a s e d from C. Bender, 1954

UNKNOWN

MASTER

(second quarter of the 16th century) Portrait of a young Man Inv. 5 6 4 Panel. 69 x 52 cm V a n Ertborn bequest. 1 8 4 1

GILLIS CONGNET

A n t w e r p ca. 1 5 3 8 - H a m b u r g 1 5 9 9 Pierson

Guild,

1581

Hues,

Drummer and Page

of the

Old Archers'

b v . 35 Panel, 1 7 0 x 1 3 3 cm O n a m e d a l l i o n : G i l l i s C o n g n e t f e . ; o n the s t o n e o n t h e left: P i e r s o n l a H u e s , t r o m e l s l a g e r heeft d e s e g u i d e v a n den ouden handboge ghedient 31 j a r e n , 1 5 8 1 in M e e r t , e n d e sterff i n ' t j a a r 1 5 . . F r o m the ' G i l d e k a m e r v a n d e O u d e H a n d b o o g ' G i l d e n k a m e r s t r a a t , A n t w e r p ; p u r c h a s e d from F . V e r a c h tert, M u n i c i p a l A r c h i v i s t , 1 8 4 3

Early copy BRUEGEL

AFTER

THE

PIETER

ELDER

The Bridal Dance Inv. 973 Panel, 1 1 5 x 166 cm P u r c h a s e d from S p i r i d o n , Berlin, 1929

ABEL

GRIMMER

A n t w e r p ca. 1 5 7 0 / 7 7 - 1 6 1 9 Spring Inv. 8 3 1 P a n e l , 33 x 47 cm Summer Inv. 8 3 1 P a n e l , 33 x 47 cm L o w e r right: Albert G r i m e r F 1607 Autumn Inv. 831 Panel, 33 x 47 cm O n w e l l : A b e l G r i m e r fecit Winter Inv. 831 P a n e l , 33 x 47 cm Lower right: Abel Grimer fecit/1607 P u r c h a s e d from the a n t i q u a r i a n D e H e u v e l , B r u s s e l s , 1904

including eight paintings by Pieter ' H e l l ' B r e u g h e l the Y o u n g e r , f i v e b y J a n ' V e l v e t ' Breughel, a fair-scene by H a n s B o l , and five p a n e l s b y J a c o b a n d A b e l G r i m m e r . O n e o f the latter is an interesting reproduction of B r u e g e l ' s Four Seasons. The Temptation of Saint Anthony is a t h e m e w h i c h w a s i m m e n s e l y s u c c e s s f u l from the e n d o f the 1 5 t h c e n t u r y o n w a r d s . T h e A n t w e r p m u s e u m p o s s e s s e s a c o p y o f the c e n t r e p i e c e o f H i e r o n y m u s Bosch's original Saint Anthony triptych in Lisbon. T h e praying Saint Anthony is surrounded by d e m o n s in human, animal and m o n s t r o u s f o r m , w h i c h a r e s y m b o l s o f all k i n d s o f sin. T h e w o r k o f B o s c h a n d his f o l l o w e r s , a n d o f B r u e g e l a n d his f o l l o w e r s , i s a v e r y i m p o r t a n t s o u r c e for o u r k n o w l e d g e o f the life o f the l o w e r s o c i a l c l a s s e s w i t h i n the c u l t u r e a n d p h i l o s o p h y of the 1 6 t h c e n t u r y as a w h o l e . A s i s e v i d e n t from the a f o r e m e n t i o n e d w o r k by Patinir, l a n d s c a p e in 1 6 t h century art w a s not t r e a t e d r e a l i s t i c a l l y in the s e n s e t h a t it w a s a portrayal of actual views. Compositions were d e v e l o p e d u s i n g s k e t c h e s from n a t u r e . I n his View of Huy, L u c a s v a n V a l c k e n b o r g h offers a d e t a i l e d d e p i c t i o n o f the t o w n a n d its s u r r o u n d i n g s , b u t then c a l l s u p o n h i s i m a g i n a t i o n i n o r d e r to c r e a t e a s e n s e of h a r m o n y b e t w e e n the e l e m e n t s o f the c o m p o s i t i o n , the d e t a i l a n d the grey tones. J a c o b G r i m m e r also sought topograp h i c a l p r e c i s i o n in h i s View of the Kiel, b u t still felt it n e c e s s a r y to a d d the p i c t u r e s q u e p l e a s u r e g a r d e n scene a n d a colourful procession of f a i r - g o e r s . T h e Landscape p a i n t e d b y P a u l B r i l , w h o w o r k e d for a l o n g t i m e i n R o m e a n d w h o w a s the c r e a t o r o f c l a s s i c a l l a n d s c a p e s i n the s t y l e o f C l a u d e L o r r a i n , i s full o f c o n t r a s t s b e t w e e n the d a r k a n d i d y l l i c f o r e g r o u n d a n d the light, p a n o r a m i c b a c k g r o u n d . T h e s e r e n i t y a n d s o b e r n e s s o f the l a n d s c a p e g e n r e g a v e w a y i n the w o r k o f the t r a n s i t i o n a l f i g u r e K e r s t i a e n d e K e u n i n c k to action and d r a m a . It is primarily the r i c h l y c a r v e d s p r i n g w h i c h c a t c h e s the e y e in his Landscape with Diana and Acteon in w h i c h A c t e o n c o m e s across D i a n a while she is bath-

AFTER

HIERONYMUS

BOSCH

Temptation of Saint Anthony Inv. 25 P a n e l , 88 x 71 cm Bottom: J h e r o n i m u s Bosch V a n Ertborn bequest. 1841

i n g . T h e fertile i m a g i n a t i o n , the fanciful r o c k f o r m a t i o n s a n d the c l e a r s e p a r a t i o n b e t w e e n the different a r e a s o f the p a i n t i n g l a t e r g a v e w a y t o greater unity. F r a n s F l o r i s is c h a r a c t e r i s e d to a l a r g e e x t e n t b y the six y e a r s h e s p e n t i n R o m e a n d b y his a d m i r a t i o n for M i c h e l a n g e l o . H e w a s the l e a d ing representative of Italianism in m i d - 1 6 t h c e n t u r y A n t w e r p . W i t h its c r o w d e d , a n i m a t e d c o m p o s i t i o n , his f a m o u s Fall of the Rebel Angels ( 1 5 5 4 ) , a flamboyant a n d i m a g i n a t i v e glorification o f the h u m a n b o d y , c o n t r a s t s s h a r p l y w i t h the s o b e r , s t a t i c p a n e l d e p i c t i n g Saint Luke painting the Virgin Mary. As in the Fall, the s e n s e of s p a c e is l i m i t e d in his Banquet of the Gods ( 1 5 5 0 ) by a g r o u p of figures in the f o r e g r o u n d . F l o r i s ' a b i d i n g i n t e r e s t i n the m u s c u l a r s y s t e m

JACOB

GRIMMER

A n t w e r p ca. 1 5 2 5 - 1 5 9 0 View of the Kiel Inv. 671 Panel, 1 2 1 x 196 cm O n the h e d g e : J A C Q . G R I M E R F A 1 5 7 8 . P r o p e r t y o f the C i t y o f A n t w e r p

a n d i n the r e p r e s e n t a t i o n o f f o r e s h o r t e n e d f i g u r e s , t o g e t h e r w i t h his p r e f e r e n c e for m y t h o l o g ical scenes, m a d e him a highly innovative a n d a t the s a m e t i m e v e r y s u c c e s s f u l a r t i s t i n A n t w e r p . H i s large studio p r o d u c e d a w h o l e series of pupils, assistants and followers. T h e m u s e u m p o s s e s s e s ten m o n u m e n t a l w o r k s b y F l o r i s ' b e s t pupil and successor, M a a r t e n De V o s , w h o f o u n d e d the f r a t e r n i t y o f r o m a n i s t s i n A n t w e r p . T h e s e w o r k s a r e c l e a r p r e c u r s o r s o f the 1 7 t h c e n t u r y b a r o q u e . B o t h Saint Luke painting the Virgin Mary (1602) and The Emperor's Toll ( 1 6 0 1 ) , c e n t r a l p a n e l o f the C o i n - M a k e r s ' T r i p t y c h , a r e late w o r k s b y D e V o s w h o d i e d i n 1 6 0 3 . His rich and varied use of colour might be a t t r i b u t a b l e t o the six y e a r s h e s p e n t i n F l o r ence, R o m e and Venice (where he studied with T i n t o r e t t o ) ; his paintings are clear, b a l a n c e d a n d often s y m m e t r i c a l i n c o m p o s i t i o n , a n d d e s p i t e his p r e f e r e n c e for s h a l l o w s p a c e s , h e s u c c e e d e d in c r e a t i n g a s t r o n g s e n s e of d r a m a a n d p l a s t i c i t y . O n the o t h e r h a n d , a l t h o u g h a L u t h e r a n for a l o n g t i m e , D e V o s w a s a l s o a f i g u r e - h e a d o f the C o u n t e r R e f o r m a t i o n . T h e best e v i d e n c e of this is to be f o u n d in the m o n u m e n t a l s c a l e o f his w o r k s a n d his strict a d h e r e n c e t o the i c o n o g r a p h i c a l p r e c e p t s l a i d d o w n b y the C o u n c i l o f T r e n t . T h e iconography of J o a c h i m Beuckelaer's w o r k i s e q u a l l y f a s c i n a t i n g but totally different in character. B e u c k e l a e r w a s a contemporary of M a a r t e n D e V o s , but d i e d y o u n g i n a r o u n d 1 5 7 5 . H e took the m a r k e t a n d k i t c h e n p a i n t i n g created by Pieter Aertsen, and developed them into a n i n d e p e n d e n t g e n r e w h i c h r e m a i n e d p o p u l a r u n t i l w e l l into the 1 7 t h c e n t u r y . T h e didactic element of Beuckelaer's paintings did not m a n i f e s t itself i n p r o p a g a n d a o n b e h a l f o f C a t h o l i c o r t h o d o x y , b u t i n the c h e e r f u l c e n s u r e o f the w i c k e d n e s s o f w o r l d l y p l e a s u r e . H i s p a i n t i n g s a r e full o f a l l u s i o n s t o s e n s u a l i t y , s e x u a l i t y a n d fertility, w i t h v e g e t a b l e s , fruit, fish, meat a n d cooking utensils piled up a r o u n d a few f i g u r e s . I n his b e s t w o r k s , B e u c k e l a e r m i x e s a s t r o n g s e n s e o f s p a c e a n d d e t a i l o n the o n e h a n d , w i t h u n i t y o f c o m p o s i t i o n o n the other. T h i s s u r v e y o f the c o l l e c t i o n o f 1 6 t h c e n t u r y a r t w o u l d not b e c o m p l e t e w i t h o u t m e n t i o n i n g a few o u t s t a n d i n g w o r k s b y f o r e i g n a r t i s t s . T h e r e a r e three w o r k s b y L u c a s C r a n a c h the E l d e r , c o u r t p a i n t e r t o the E l e c t o r o f S a x o n y , o f w h i c h Caritas is p a r t i c u l a r l y i n t e r e s t i n g , Portrait of the Dauphin Franqois, son of Francois I, p a i n t e d by the court painter J e a n Clouet, and a youthful work by T i t i a n , Pope Alexander IV presenting Jacopo

PAUL

BRIL

(?)

Antwerp 1 5 5 4 - Rome 1626 Landscape Inv. 974 C a n v a s , 91 x 38 cm D o n a t e d b y S . H a r t v e l d , A n t w e r p 1 9 2 9 t h r o u g h the intermediary of Artibus Patriae

LUCAS VAN VALCKENBORGH L o u v a i n before 1 5 3 5 - F r a n k f u r t 1 5 9 7 View of Huy from Ahin Inv. 30 P a n e l , 24 x 33 cm V a n Ertborn bequest, 1 8 4 1

KERSTIAEN DE KEUNINGK Courtrai 1560 - Antwerp 1 6 3 3 Landscape with Acteon and Diana Inv. 376 Panel, 31 x 51 cm Right, on base of fountain: K . D . Keuninck Donated by Oscar Nottebohm, 1909

Pesaro to Saint Peter. T h e s e G e r m a n , F r e n c h a n d I t a l i a n m a s t e r s w e r e b o r n d u r i n g the f i n a l q u a r t e r o f the 1 5 t h c e n t u r y , b u t a r e r e p r e s e n t a t i v e s o f a n e n t i r e l y different w o r l d . T h e n u d e C a r i t a s , o r C h a r i t y , i s s u r r o u n d e d b y three c h i l d r e n . I n this w a y , the p r o t e s t a n t C r a n a c h i m b u e d his s u b j e c t w i t h a q u a l i t y o f m o t h e r l y l o v e , d e s p i t e the fact t h a t h e i s m o r e c o n c e r n e d w i t h the f e m a l e b o d y t h a n the e m b l e m a t i c a s p e c t o f the s u b j e c t . C r a n a c h ' s n u d e s a r e i m m e d i a t e l y recognisable a n d he glorified them in numerous mythological and biblical scenes. J e a n C l o u e t ' s r o y a l c h i l d b e l o n g s t o the t r a d i tion of c o u r t l y p a i n t i n g . It is a little stiff, a n d r a t h e r i d e a l i s e s its s u b j e c t w i t h a g r e a t d e a l o f a t t e n t i o n to e x t e r n a l d e c o r a t i o n . A c h a l k s t u d y for this little p o r t r a i t , in its fine, a n t i q u e s t y l e f r a m e in i m i t a t i o n m a r b l e , is n o w k e p t in the m u s e u m a t C h a n t i l l y . T h e t h i r d o f these i m p o r t a n t w o r k s is a v o t i v e p a i n t i n g by T i t i a n unique a m o n g s t B e l g i u m ' s artistic heritage. T h i s y o u t h f u l w o r k b y the V e n e t i a n m a s t e r , whose teacher, G i o v a n n i Bellini, might h a v e b e g u n the c a n v a s , refers t o the c a p t u r e o f the i s l a n d S a n t a M a u r a f r o m the T u r k s b y S p a n i s h , Venetian and papal armies in 1 5 0 2 . Although it d o e s not h a v e the s o l i d i t y a n d p o w e r o f c o n v i c tion of the m a t u r e T i t i a n , the w o r k is still a f a s c i n a t i n g s p e c t a c l e . T h e c o l o u r s a r e r i c h , the p o p e a n d the b i s h o p i n c l i n e in a h i g h l y s c u l p t u ral m a n n e r t o w a r d s the s a i n t , a n d the l o c a l tones a n d v a r y i n g m a t e r i a l s a r e e a r l y h e r a l d s o f T i t i a n ' s g r e a t oeuvre.

FRANS

FLORIS

Antwerp 1 5 1 9 / 2 0 - 1570

The Fall of the Rebel Angels, '554 Inv.

P a n e l , 3 0 8 x 2 2 0 cm L o w e r right:

FF IV. ET F A .

'554A l t a r of the F e n c e r ' s g u i l d in Our L a d y ' s Church, Antwerp

FRANS

FLORIS

Antwerp 1 5 1 9 / 2 0 - 1570 Banquet of the Gods Inv. 956 Panel, 1 5 0 x 198 cm Donated by W. Frilling, 1926

JOACHIM B E U C K E L A E R

A n t w e r p ca.

1530/35 -

•573/74 The Vegetable Market, 1367 Inv. 5045 Panel, 149 x 2 1 5 cm O n the a w n i n g o f the stall in t h e b a c k g r o u n d : J O C H BEUCKELAER

I 8 NOV.

BRIS

I 567.

Donated by Artibus Patriae, •95°

LUCAS CRANACH T H E

ELDER

Kronach 1477 - Weimar 1553 Caritas Inv. 43 P a n e l , 50 x 34 cm M o n o g r a m l o w e r left V a n Ertborn bequest, 1 8 4 1

JEAN

CLOUET

MAARTEN

B r u s s e l s (?) c a . 1 4 7 5 - 1 5 4 0 / 4 1 ? The Dauphin Francois, son of Francois I Inv. 33 c

Panel, 1 6 x 1 3 V a n Ertborn bequest, 1 8 4 1

TIZIANO

VECELLIO

(TITIAN)

Pieve di C a d o r e between 1 4 7 7 / 1 4 8 9 - Venice 1 5 7 6 Pope Alexander IV presenting Jacopo Pesaro to Saint Peter Inv. 3 5 7 C a n v a s , 1 4 5 x 184 cm Collection of C h a r l e s I of E n g l a n d ; convent of San P a s q u a l e i n M a d r i d ; d o n a t e d b y W i l l e m I o f the Netherlands in 1 8 2 3

<3 MAARTEN

VOS

Antwerp 1 5 3 1 / 3 2 - 1603 Saint Luke painting the Virgin Mary, 1602 I n v . 88 Panel, 270 x 2 1 7 cm O n t a b l e leg, r i g h t : F . M . D . V o s 1 6 0 2 C e n t r a l p a n e l o f the t r i p t y c h o f the G u i l d o f S a i n t L u k e , for w h i c h side p a n e l s w e r e p a i n t e d b y M a a r t e n P e p y n , from A n t w e r p C a t h e d r a l

VOS

Antwerp 1 5 3 1 / 3 2 - 1602 The Emperor's Toll, 1601 Inv. 83 L o w e r right: M . D . V . F . 1601 C e n t r a l p a n e l o f t r i p t y c h o f the C o i n m a k e r ' s G u i l d from S a i n t A n d r e w ' s C h u r c h , A n t w e r p

The 17th century

The Grand Masters of the Flemish Baroque: Rubens, Jordaens and Van Dyck R u b e n s , V a n D y c k a n d J o r d a e n s . often n a m e d i n the s a m e b r e a t h , a r e the m o s t p r o m i n e n t a r t i s t s o f the F l e m i s h B a r o q u e . T h e trio d o m i n a t e d a r t i s t i c life i n the S o u t h e r n N e t h e r l a n d s t h r o u g h o u t the 1 7 t h c e n t u r y . A l l three m a d e a n e n o r m o u s c o n t r i b u t i o n to the f a m e of the city of A n t w e r p , b u t i t i s R u b e n s w h o b e a r s the g r e a t e s t a u t h o r i t y , b e c a u s e h e w a s the m o s t versatile and talented. T h e m u s e u m possesses n o f e w e r t h a n 2 1 o f his p a i n t i n g s a n d oil s k e t c h e s . A f t e r b e c o m i n g a m a s t e r i n the A n t w e r p G u i l d o f S a i n t L u k e i n 1 5 9 8 , R u b e n s left for I t a l y i n 1 6 0 0 , w h e r e h e s p e n t e i g h t y e a r s a n d v i s i t e d all the m a j o r cities. H e s p o k e I t a l i a n , k n e w L a t i n , a n d w a s f a m i l i a r w i t h the g r e a t writers of Antiquity. His period in Italy allowed h i m t o s t u d y A n t i q u e w o r k s o f art a n d the

PETER

PAUL

RUBENS

Th Adoration of the Magi detail

m a s t e r p i e c e s o f the I t a l i a n R e n a i s s a n c e a t first hand. After returning to A n t w e r p in 1608, he w a s appointed court painter to A r c h d u k e A l b e r t a n d the I n f a n t a I s a b e l l a i n 1 6 0 9 . H e m a r r i e d I s a b e l l a B r a n t , a n d w o r k e d o n the c o n s t r u c t i o n , d e c o r a t i o n a n d f u r n i s h i n g o f his h o u s e a n d studio. He w a s given a great many c o m m i s s i o n s . B e t w e e n 1 6 1 3 a n d 1 6 1 5 . for i n s t a n c e , h e p a i n t e d the t r i p t y c h The Incredulity of Saint Thoma s for N i c o l a a s R o c k o x . w h i c h w a s d e s t i n e d for the c h a p e l c o n t a i n i n g his t o m b i n the F r a n c i s can church in A n t w e r p . R o c k o x . a famous A n t w e r p patrician and humanist, w h o w a s m a y o r o f the city o n a n u m b e r o f o c c a s i o n s , i s s h o w n i n the left-hand p a n e l , w i t h his w i f e o n the right. O n e o f the few m y t h o l o g i c a l s c e n e s b \ R u b e n s to be f o u n d in B e l g i u m is Venus Frigida d a t i n g from 1 6 1 4 . T h e p a i n t i n g d e p i c t s the p r o v e r b ' H u n g e r a n d thirst cool l o v e ' s a r d o u r " . W h e n R u b e n s d i e d i n 1 6 4 0 , h e still p o s s e s s e d his Prodigal Son of 1 6 1 8 . A m o n g s t his manygrand altarpieces and dramatic mythological

PETER

PAUL

RUBENS

Siegen ( G e r m a n y ) 1 5 7 7 - Antwerp 1640 The Incredulity of Saint Thomas Inv. 3 0 7 - 3 1 1 W o o d , central panel 1 4 3 x 1 2 3 cm, side panels 146 x 55 cm F r o m the F r a n c i s c a n c h u r c h i n A n t w e r p

PETER PAUL RUBENS Siegen ( G e r m a n y ) 1 5 7 7 - A n t w e r p 1640 The Prodigal Son Inv. 781 Panel, 107 x 1 5 5 cm Purchased in 1894

PETER PAUL RUBENS

Siegen ( G e r m a n y ) 1 5 7 7 - A n t w e r p 1640 Venus Frigida I n v . 709 Panel, 1 4 2 x 1 8 4 cm Purchased in 1888

O n the next p a g e s : PETER PAUL RUBENS

Siegen ( G e r m a n ) ) 1 5 7 7 - A n t w e r p 1640 The Lance I n v . 297 Panel, 429 x 3 1 1 cm F r o m the F r a n c i s c a n c h u r c h i n A n t w e r p PETER PAUL RUBENS

Siegen (Germany) 1 5 7 7 - Antwerp 1640 7 7 K Adoration of the Magi I n v . 298 P a n e l , 4 4 7 x 3 3 6 cm F r o m the C h u r c h o f S a i n t M i c h a e l ' s A b b e y . A n t w e r p

s u b j e c t s , the c r e a t i o n o f this r u r a l s c e n e , i n t e n d e d for his o w n l i v i n g r o o m , m u s t h a v e given him a great deal of pleasure. T h e biblical subject - depicted bottom right â&#x20AC;&#x201D; serves merely as a v e h i c l e for the p a i n t i n g of o n e of his e a r l i e s t landscapes. R u b e n s ' c l o s e i n v o l v e m e n t w i t h the r e s u r g e n c e o f C a t h o l i c i s m a n d the s t r u g g l e for p o w e r led t o the p r o d u c t i o n a n u m e r o u s l a r g e a l t a r p i e c e s . H i s s t i r r i n g b a r o q u e i d e a s c o m e t o the fore i n The Lance ( 1 6 1 9 - 2 0 ) , w i t h its e m o t i o n a l l y c h a r g e d , h i g h l y p l a s t i c figures, a n d The Adoration of the Magi ( 1 6 2 4 ) . T h i s m a s t e r p i e c e is p a r t i c u l a r l y i m p r e s s i v e b e c a u s e o f its a n i m a t e d , asymmetrical composition, its marvelously g r a d a t e d c o l o u r i n g , the s p o n t a n e i t y o f e x e c u tion a n d , a b o v e a l l , the e x p r e s s i v e n e s s o f the depicted figures.

R u b e n s ' r e n o w n g r e w t o s u c h a n e x t e n t that h e r e c e i v e d c o m m i s s i o n s from r o y a l a n d a r i s t o c r a t i c c i r c l e s for l a r g e s e r i e s o f w o r k s i n w h i c h h e w a s a b l e t o d i s p l a y the full r a n g e o f his versatility. R u b e n s ' astonishing output is partly e x p l a i n e d b y the efforts o f his e x t e n s i v e s t u d i o . H i s interests w e r e v e r y w i d e - r a n g i n g , a n d e x t e n d e d t o affairs o f state. A s s i s t e d b y his artistic career, R u b e n s carried out d i p l o m a t i c m i s s i o n s w h i c h took h i m t o M a d r i d a n d E n g l a n d . D u r i n g his s t a y i n M a d r i d , h e s o u g h t o u t s o u r c e m a t e r i a l c o n c e r n i n g the w r i t i n g s o f M a r c u s A u r e l i u s o n b e h a l f o f his friend, the A n t w e r p m u n i c i p a l official w h o m h e d e p i c t e d a t his d e s k in the Portrait of Gaspard Gevartius. R u b e n s continued to carry out large-scale comm i s s i o n s until the e n d o f his life. I n 1 6 3 8 the A n t w e r p city a u t h o r i t i e s o r d e r e d a t r i u m p h a l car which was to be drawn ceremonially

PETER

PAUL

RUBENS

Siegen ( G e r m a n y ) 1 5 7 7 - A n t w e r p 1640 Portrait of Gaspard Gevartius I n v . 706 Panel, 1 1 9 x 98 cm B e q u e s t o f C o u n t e s s G i l l e s d e ' s G r a v e n w e z e l , nee d e Brouckhoven de Bergeyck

PETER

PAUL

RUBENS

Siegen ( G e r m a n y ) 1 5 7 7 - A n t w e r p 1640 The Triumphal Car of Kallo Inv. 3 1 8 Panel, 1 0 3 x 71 cm From Antwerp T o w n Hall. Between 1794 and 1 8 1 5 in Paris

JACOB JORDAENS

Antwerp 1593 - 1678 Meleager and Atalanta

Inv. 844 C a n v a s , 1 5 2 x 120 cm Purchased in 1906

JACOB

JORDAENS

Antwerp 1593 - 1678 As the Old sang, the Young play Pipes, 1638 Inv. 677 C a n v a s , 192 x 1 2 0 cm U p p e r centre: J A C O B Purchased in 1883

ANTHONY

VAN

JORDAENS

1638

DYCK

Antwerp 1 5 9 9 - Blackfriars (England) 1641 Portrait of the Artist Marten Pepijn Inv. 793 P a n e l , 72 x 56 cm Left: M e Pictorem Pictor Pinxit D . A n t . V a n D y c k , E g n e s Illustris Purchased in 1898

through the city. The commission was p r o m p t e d b y the v i c t o r y o f the I n f a n t e F e r d i n a n d o v e r the a r m i e s o f the U n i t e d P r o v i n c e s o f the N e t h e r l a n d s at K a l l o . The Triumphal Car of Kallo is a b r i l l i a n t e x a m p l e of R u b e n s ' c o n f i d e n t and improvisational sketching technique. A f t e r the d e a t h o f R u b e n s i n 1 6 4 0 , J a c o b J o r d a e n s b e c a m e the l e a d i n g a r t i s t o f the S o u t h ern N e t h e r l a n d s . H e w a s p r i m a r i l y a c t i v e i n A n t w e r p , a n d his a r t i s t i c a s p i r a t i o n s d i d not e x t e n d q u i t e s o h i g h a s those o f R u b e n s . J o r daens showed himself to be an uncomplicated m e m b e r o f the m i d d l e - c l a s s , a n d there i s little r o o m i n his w o r k for reflection o r a n y feeling o f transcendence. Although he never visited Italy, he w a s strongly influenced by C a r a v a g g i o . T r a c e s o f this i n f l u e n c e a r e v i s i b l e i n the c o n trast b e t w e e n light a n d d a r k w h i c h s e r v e s t o h e i g h t e n the d r a m a t i c t e n s i o n of his Meleager and Atalanta p a i n t e d i n 1 6 1 8 . T h e p a i n t i n g ' s s u b j e c t i s t a k e n f r o m O v i d ' s Metamorphoses. T h e w o r k d e p i c t i n g the t h e m e o( As the Old sang, the Young play Pipes, s i g n e d b y J o r d a e n s a n d d a t e d 1 6 3 8 , i s the e a r l i e s t k n o w n v e r s i o n o f this h i g h l y p o p u l a r t h e m e w h i c h the a r t i s t p a i n t e d a n d d r e w o n a variety of occasions. T h i s wonderful family c o n c e r t s h o w s J o r d a e n s a t his b e s t . T h e y o u n g e s t o f the three g r e a t m a s t e r s w a s A n t h o n y V a n D y c k , ten o f w h o s e w o r k s a r e i n the m u s e u m ' s p o s s e s s i o n . H e w o r k e d w i t h R u b -

e n s for a t i m e in his y o u t h , after w h i c h he s p e n t m o s t o f his c a r e e r i n E n g l a n d a n d I t a l y . H e w a s e v e n m o r e a d m i r e d i n E n g l a n d t h a n i n his o w n country, and he had a significant influence upon E n g l i s h p a i n t i n g . V a n D y c k ' s c e u v r e , less v a r i e d t h a n that o f R u b e n s , c o n s i s t s m a i n l y o f b r i l l i a n t portraits. H i s sensitive personality a n d restless temperament were brought to bear in penetrating p s y c h o l o g i c a l s t u d i e s o f m e m b e r s o f l e a d i n g f a m i l i e s , the n o b i l i t y a n d r o y a l t y . H i s s o b e r Portrait of Marten Pepijn s h o w s the a r t i s t as an e n e r g e t i c m a n o f fifty-eight y e a r s , d e p i c t e d i n a b l a c k j e r k i n w i t h a refined p l e a t e d c o l l a r . V a n D y c k also painted grandiose religious a n d m y t h o l o g i c a l c o m p o s i t i o n s . H i s Descent from the Cross, e x e c u t e d as a c o m m i s s i o n from an I t a l i a n a b b o t , is i m b u e d w i t h s o m e t h i n g of a t h e a t r i c a l character b y M a r y ' s expansive gestures. V a n D y c k s h o w s his s e n s e o f the m o n u m e n t a l i n this b i b l i c a l t h e m e i n w h i c h the i n t i m a t e e m o t i o n o f the d e p i c t e d c h a r a c t e r s e n j o y s the v i e w e r ' s fullest a t t e n t i o n .

ANTHONY VAN DYCK

A n t w e r p 1 5 9 9 - Blackfrjars ( E n g l a n d ) 1 6 4 1 The Lamentation of Christ I n v . 404 C a n v a s . 1 1 5 x 208 c m F r o m the F r a n c i s c a n c h u r c h i n A n t w e r p

ABRAHAM JANSSENS

Antwerp 1 5 7 5 - 1632 Scaldis and Antiuerpia Inv. 2 1 2 Panel, 1 7 4 x 308 cm From Antwerp T o w n Hall

THEODOOR ROMBOUTS

Antwerp 1597 - 1637 The Card Players Inv. 358 C a n v a s , 1 5 2 x 206 c m V a n den B o s c h - V a n C a m p bequest, 1847

Flemish figure painters A p a r t from its m a j o r c o l l e c t i o n s o f the three g r e a t A n t w e r p m a s t e r s , the m u s e u m a l s o p o s sesses m a n y paintings w h i c h p r o v i d e a v a r i e d picture of 1 7 t h century Flemish artistic speciali s m s , s u c h a s a l l e g o r y , g e n r e , art g a l l e r i e s , embellished landscape, historical paintings and portraiture. I n a d d i t i o n t o his f a v o u r i t e a l l e g o r i c a l s c e n e s , A b r a h a m J a n s s e n s also painted religious and mythological themes. J a n s s e n s w a s slightly y o u n g e r t h a n R u b e n s , a n d for a t i m e w a s his e q u a l . A f t e r his v i s i t t o I t a l y , h o w e v e r , R u b e n s q u i c k l y s u r p a s s e d h i m . J a n s s e n s p a i n t e d Scaldis and Antwerpia for the S t a t e R o o m or ' S t a e t e n camer' of Antwerp T o w n Hall. This decorative, a l l e g o r i c a l w o r k , c o m m i s s i o n e d b y the city a u t h o r i t i e s , o r i g i n a l l y a d o r n e d the c h i m n e y b r e a s t , a n d c o n s i s t s o f a p a e a n o f p r a i s e t o the c i t y ' s m a i n a r t e r y , the R i v e r S c h e l d t . T h e s h a r p contrast b e t w e e n light a n d dark recalls C a r a v aggio, w h o h a d a great influence upon m a n y of the a r t i s t s of the t i m e . T h e o d o r e R o m b o u t s was a pupil of A b r a h a m J a n s s e n s , a n d another c a r a v a g g i s t . He spent a n u m b e r o f y e a r s i n I t a l y , a n d w a s m u c h influenced by C a r a v a g g i o ' s genre works. As far as the s u b j e c t m a t t e r is c o n c e r n e d , his Card Players is a g e n r e p a i n t i n g , d e p i c t i n g as it d o e s a jollys c e n e from e v e r y d a y life p r o b a b l y w i t h a m o r a l ising undertone. T h e painting is large in format, realistic in conception a n d traditional in style, a n d its s u b j e c t i s p o r t r a y e d i n s o b e r a n d m o n u m e n t a l f a s h i o n . T h e m u s e u m a l s o h a s a treatm e n t of the s a m e s u b j e c t , Card Players by

DAVID

TENIERS

THE

A d r i a a n B r o u w e r , o n e o f the m o s t o r i g i n a l t a l e n t s in F l e m i s h art. B r o u w e r ' s v e r s i o n is a genre piece in a s m a l l e r format, with m a r v e l o u s , velvety colouring. W h e r e a s B r o u w e r chose to p l a c e p a r t i c u l a r e m p h a s i s u p o n the g r i m e x i s t e n c e o f the p o o r , D a v i d T e n i e r s the Y o u n g e r concentrated upon more idealised works. As u s u a l , he p a y s a g r e a t d e a l of a t t e n t i o n to the l a n d s c a p e in his Before the Inn. T h e d r i n k e r s a r e almost incidental. A p a r t from p a i n t i n g s d e a l i n g w i t h s o c i a l c u s t o m s a n d m o r e s , there w a s a g r e a t d e m a n d from c o n t e m p o r a r y p a t r o n s o f the a r t s for d e c o rative canvases. An attractive example is prov i d e d b y the l a r g e n u m b e r o f art g a l l e r y p a i n t i n g s , a s p e c i a l i s m w h i c h a r o s e i n the 1 7 t h c e n t u r y , i n w h i c h the p a t r o n i s p o r t r a y e d i n the m i d s t o f his c o l l e c t i o n , a n d i n w h i c h the a r t i s t e x p r e s s e s the i d e a s a n d a t t i t u d e s o f his t i m e . F r a n s F r a n c k e n I I , w h o p a i n t e d the A n t w e r p m e r c h a n t Sebastiaan Leerse in his Gallery t o g e t h e r w i t h h i s s e c o n d w i f e a n d their s o n , w a s a m a s t e r i n this field. P a i n t i n g s o f this k i n d h a v e b o t h aesthetic and documentaryvalue, as the d e p i c t e d p a i n t i n g s c o u l d l a r g e l y b e identified. P o r t r a i t u r e w a s g e n e r a l l y v i e w e d a s a slightlyi n f e r i o r b r a n c h o f art, a s i t r e q u i r e d less i n v e n t i v e n e s s o n the p a r t o f the p a i n t e r . T h e p o r t r a i t s o f C o r n e l i s D e V o s a r e a m o n g s t the m o s t b e a u t i f u l p r o d u c e d i n the S o u t h e r n N e t h e r l a n d s i n the 1 7 t h c e n t u r y . T h e m u s e u m p o s s e s s e s s e v e r a l w o r k s b y this a r t i s t w h o w a s b o r n i n H u l s t i n the N o r t h e r n N e t h e r l a n d s , b u t w h o w a s a c t i v e i n A n t w e r p . T h e f u l l - l e n g t h , life-size s u b j e c t s of his Family Portrait a r e e x e c u t e d in a truthful a n d i n t r i g u i n g m a n n e r .

YOUNGER

Antwerp 1 6 1 0 - Brussels 1690 Before the Inn I n v

- 345 P a n e l , 37 x 49 cm L o w e r c e n t r e : D . T E N T E R S , F E C . P u r c h a s e d at the S c h a m p van Aveschoot Auction in Ghent in 1840

ADRIAEN

BROUWER

Oudenaarde 1605/06 - Antwerp 1638 The Card Players Inv. 642 Panel, 25 x 39 cm P u r c h a s e d a t the C o u r t e b o u r n e A u c t i o n i n 1 8 8 0

FRANS FRANCKEN II

Antwerp 1607 - 1667 Art Gallery I n v . 669 Panel, 77 x 1 1 4 cm L o w e r right: F. F R A N C K . I N . E T . F. Donated by Artibus Patriae, 1878

No matter how versatile individual artists m i g h t h a v e b e e n , the s p l i t t i n g u p o f p a i n t i n g into different s p e c i a l i s m s m e a n t that a r t i s t s often c o o p e r a t e d on a s i n g l e p a i n t i n g to w h i c h e a c h m a d e his o w n s p e c i a l c o n t r i b u t i o n . E r a s m u s Q u e l l i n a n d J a n F y t p a i n t e d the Portrait o f a Boy, w i t h Q u e l l i n p o r t r a y i n g the y o u n g l a d , a n d F y t the d o g s .

CORNELIS

vos

Hulst 1 5 8 4 / 8 5 Antwerp 1651 Family Portrait, 1631 Inv. 841 Panel, 1 6 5 x 1 3 5 cm L o w e r left: C . D E V O S F . A 째 I 63 I P u r c h a s e d in 1 9 0 5

ERASMUS QUELLIN

Antwerp 1 6 0 7 - 1678 and JAN FYT Antwerp 1 6 1 1 - 1661 Portrait of a Boy I n v . 407 P a n e l , 1 3 6 x 1 0 3 cm V a n den H e c k e - B a u t d e R a s m o n bequest, 1 8 5 9

JOOS

MOMPER

THE

YOUNGER

Antwerp 1 5 6 4 - c a . 1635 HENDRIK

VAN

BALEN

Antwerp 1 5 7 5 - 1632 JAN

'VELVET'

BREUGHEL

Brussels 1568 - Antwerp 1 6 2 5 Helicon or Minerva's Visit to the Muses Inv. 957 P a n e l , 1 4 0 x 1 9 9 cm L o w e r right: B A L E , M O M P E R . B R U E G H E L . Selb. V a n H u m b e e c k bequest, 1 9 2 5

DAVID

TENIERS

THE

YOUNGER

Antwerp 1 6 1 0 - Brussels 1690 Return from the Hunt, 1670 Inv. 727 P a n e l , 28 x 35 cm L o w e r r i g h t : D . T E N I R S 1670 F E . P u r c h a s e d a t the G e e l h a n d d e L a b i s t r a t e A u c t i o n , 1878

Landscape, still-life and animals W e p i c k u p the t h r e a d o f l a n d s c a p e d e v e l o p m e n t w i t h K e r s t i a e n d e K e u n i n c k ' s Landscape (see p. 3 7 ) . Helicon or Minerva's visit to the Muses, b y the trio J o o s d e M o m p e r ( l a n d s c a p e ) , H e n d r i k v a n B a l e n (figures) a n d J a n ' V e l v e t ' B r e u g h e l ( f l o w e r s ) is a v e r y s i m i l a r w o r k , a l b e i t rather more attractive, and with a more harm o n i o u s l a n d s c a p e . (It is in fact a r a t h e r a r t i f i c i a l d e v i c e t o p l a c e D e K e u n i n c k i n the 1 6 t h c e n t u r y a t a l l , a s the p a i n t i n g i n q u e s t i o n d a t e s from the 1 7 t h c e n t u r y ) . T h e f o r e g r o u n d and b a c k g r o u n d merge gradually with one another, forbidding rocks give w a y to a g r a n d v a l l e y , in w h i c h the m y t h o l o g i c a l s c e n e f o r m s a b a l a n c e d c o m p o n e n t . In his Landscape with Shepherds, J a n W i l d e n s a b a n d o n e d the b i r d ' s - e y e v i e w in f a v o u r of a t y p e of r e a l i s t i c , a l t h o u g h at the s a m e t i m e i d e a l i s e d a n d s e r e n e slice o f n a t u r e . T h e d y n a m i c , c o s m i c v i s i o n i n the tradition of R u b e n s is also absent from D a v i d T e n i e r s the Y o u n g e r ' s Return from the Hunt a n d J a n S i b e r e c h t s ' The Wager. B o t h a r t i s t s w e r e s e d u c e d b y D u t c h l a n d s c a p e art w i t h its lightness of touch, a n d clear, impressionistic a t m o sphere. Siberechts' v a g u e l y erotic paintings h a v e , h o w e v e r , a certain solidity of form a n d evenness of execution, while in Teniers' work, colours and contours are diaphanous and a l m o s t d i s s o l v e into o n e a n o t h e r . Still life in the 1 7 t h c e n t u r y , be it a floral c o m p o s i t i o n , a ' p r o n k s t u k ' (or s u m p t u o u s still life) or a r e p r e s e n t a t i o n of the vanitas t h e m e , is invariably opulent, ingenious and moralistic. J a n ' V e l v e t ' B r e u g h e l ' s Flowers in a Vase b l o o m i n different s e a s o n s , a r e a r r a n g e d h i e r a r c h i c a l l y in a rich b o u q u e t , a n d refer in all t h e i r b e a u t y to the t r a n s i e n c e o f life. T h e o d o o r A e n v a n c k ' s Fruit a l s o r e p r e s e n t s the p r o c e s s o f d e c a y a n d destruction, but it w a s Franciscus G y s b r e c h t s w h o e x p r e s s e d this t r a n s i e n c e i n the m o s t e x p l i cit f a s h i o n . H i s Vanitas is c o n c e i v e d as a g r a n d i o s e s p e c t a c l e d e a l i n g w i t h the v a n i t y o f the i n t e l l e c t u a l w o r l d ( g l o b e , b o o k s ) , of the vita voluptaria ( m u s i c a l i n s t r u m e n t s , s m o k i n g i m p l e m e n t s ) a n d , f i n a l l y , of the t r a n s i e n c e of life (skull, h o u r g l a s s ) . T h e moralistic m e a n i n g o f these still lifes m i g h t h a v e lost s o m e o f its u r g e n c y a s far a s m o d e r n v i e w e r s a r e c o n c e r n e d , b u t the v i s u a l p l e a s u r e w h i c h they offer is an equally important aspect. T h e fully-fledged a n i m a l painting e m e r g e d in the l a t e 1 6 t h c e n t u r y w i t h the rise o f b i o l o g i c a l research a n d collections of rare creatures. R o e l a n t S a v e r y in The Garden of Eden a n d J a n v a n K e s s e l in The Mockery of the Owl d e m o n s t r a t e a thorough knowledge of exotic animals such as the w a t e r - b u f f a l o a n d the d r o m e d a r y . B o t h a r t i s t s u s e a n a r r a t i v e s u b j e c t as a v e h i c l e for painting their a n i m a l s , while F r a n s S n y d e r s , by contrast, takes a realistic starting point - a m a r k e t s c e n e - for his p a i n t i n g of the Fishmonger's. T h e d r a m a t i c , l a r g e f o r m a t w a s a l s o u s e d for h u n t i n g s c e n e s .

AORIAAN VAN STALBEMT Antwerp 1 5 8 0 - 1662 Landscape with Fables, 1620 I n v . 469 Panel, 1 2 9 x 169 cm L o w e r right: A. Stalbemt F 1620 Donated by Artibus Patriae, 1868

JAN

WILDENS

Antwerp 1 5 8 6 - 1653 Landscape with Shepherds, 1631 I n v . 987 C a n v a s , 1 3 5 x 201 cm L o w e r left: J . W i l d e n s 1 6 3 1 Donated by Artibus Patriae, 1 9 3 5

JAN 'VELVET'

BREUGHEL

Brussels 1568 - Antwerp 1 6 2 5 Flowers in a Vase Inv. 643 P a n e l , 1 0 1 x 76 cm P u r c h a s e d from M r s . P e l g r i m s - H a e n e g r a e f f , 1 8 8 0

JAN

SIBERECHTS

A n t w e r p 1 6 2 7 - L o n d o n ca. 1 7 0 3 The Wager Inv. 886 C a n v a s , 120 x 160 cm L o w e r right: J e a n Siberechts. D . Envers 1 6 6 . C . S e d e l m e y e r c o l l e c t i o n , P a r i s ; p u r c h a s e d from F. Kleinberger, Paris, 1 9 1 0 .

THEODOOR AENVANCK

Antwerp 1 6 3 3 - 1690 Fruit, 1653 Inv. 758 P a n e l , 63 x 80 cm Left o n t a b l e : T h e o d o o r A e n v a n c k 1 6 5 3 P u r c h a s e d from the V a n C u t s e m family, 1 8 9 2

ROELANT SAVERY

Courtrai 1 5 7 6 - Utrecht 1 6 3 9 77K Garden of Eden Inv. 5088 P a n e l , 54 x 87 cm Left on s t o n e : Roelant Savery Fe Purchased at Christie's Auction House, London, 1965

FRANCISCUS G Y S B R E C H T S (second half 1 7 t h century) Vanitas Inv. 5 1 0 2 Canvas, 1 1 5 x 134 cm C e n t r e left: F . G y s b r e c h t s . P u r c h a s e d from G u y D a r r i e n t o r t , P a r i s , 1 9 8 4

JAN VAN KESSEL THE E L D E R

Antwerp 1626 - 1679 Concert of the Owl Inv. 428 C a n v a s , 1 7 0 x 234 cm F r o m the P i t s e m b u r g Commanderie, Mechelen

FRANS

SNYDERS

Antwerp 1 5 7 9 - 1657 Fishmonger's Inv. 7 1 9 C a n v a s , 202 x 3 3 7 cm M a x v a n den Bergh bequest. 1873

GEORG

PETEL

Weilheim (Germany) 1 5 9 0 / 9 3 - Augsburg (Germany) 6

> 34 Bust of P.P. Rubens, 1633 Inv. 6 2 1 Fired clay, b r o n z e d , 68 x 67 cm O n the left s h o u l d e r : P . P . R U B E N S B e n e a t h the left s h o u l d e r : I A P F C T 1 6 3 3 Donated by J . A . Nottebohm, 1866

ARTUS

QUELLIN

THE

ELDER

Antwerp 1 6 0 9 - 1668 Luis de Benavides, Marquis of Caracena, Governor-General of the Spanish Netherlands Inv. 701 M a r b l e , 98 x 7 4 . 2 cm C h a m b e r o f the G u i l d o f S a i n t L u k e

1 jth century sculpture T h e r e w a s a major blossoming of sculpture in the S o u t h e r n N e t h e r l a n d s i n the 1 7 t h c e n t u r y . T h e m u s e u m i s not a b l e t o p r o v i d e a c o m p r e hensive survey of artistic production a n d develo p m e n t in this field, b u t a n u m b e r of v a l u a b l e p i e c e s from the e r a in q u e s t i o n a r e to be f o u n d in the c o l l e c t i o n . T h e G e r m a n artist G e o r g Petel modelled a h i g h l y e x p r e s s i v e Bust of P.P. Rubens in 1 6 3 3 . He b e c a m e the p i o n e e r o f G e r m a n B a r o q u e s c u l p ture, p a r t l y b e c a u s e o f the m a n y c o n t a c t s h e h a d w i t h the l e a d i n g f i g u r e s o f the F l e m i s h Baroque. O n e o f the m o s t i n f l u e n t i a l r e p r e s e n t a t i v e s o f the c l a s s i c a l B a r o q u e i s A r t u s Q u e l l i n the E l d e r . I n 1 6 6 5 , this i m p o r t a n t i n t e r p r e t e r o f the R u b ens s t y l e d o n a t e d a b u s t of Luis de Benavides,

Marquess of Caracena, Governor-General of the Spanish Netherlands to the G u i l d of S a i n t L u k e , b e c a u s e the M a r q u e s s h a d p r e s s e d for the s e t t i n g u p o f the R o y a l A c a d e m y i n 1 6 6 3 . A n o t h e r m e m b e r o f the s a m e a r t i s t i c f a m i l y w a s A r t u s Q u e l l i n I I . A r t u s Q u e l l i n the Y o u n g e r , n e p h e w a n d p u p i l o f Q u e l l i n the E l d e r , c a r v e d an o a k Saint Sebastian w h i c h , until the e n d of the 1 8 t h c e n t u r y , f o r m e d p a r t o f the c h a p e l e n c l o s u r e o p p o s i t e the a l t a r o f the Y o u n g A r c h e r s ' Guild in Antwerp Cathedral. T h e m a r b l e b u s t of Maximilian Emmanuel of Bavaria, Governor of the Spanish Netherlands b e l o n g s to the l a t e - B a r o q u e . It is the m a s t e r p i e c e of the A n t w e r p s c u l p t o r W i l l e m K e r r i c k x the E l d e r , w h o , w o r k i n g the m a r b l e w i t h s u c h v e r v e a n d e l e g a n c e , a c h i e v e d a l i v e l y p o r t r a i t of a c o u r t l y a p p a r i t i o n from a s o c i e t y c i v i l i s e d to the p o i n t of caricature.

WILLEM

KERRICKX

THE

ELDER

Dendermonde 1652 - Antwerp 1 7 1 9 Maximilian Emmanuel of Bavaria, Governor of the Spanish Netherlands, i6g4 Inv. 678 Marble, 1 1 7 x 75.3 cm L o w e r right: G. K E R R I C X I N V . E T F E C I T C h a m b e r o f the G u i l d o f S a i n t L u k e

ARTUS

QUELLIN

THE

YOUNGER

Sint-Truiden 1 6 2 5 - A n t w e r p 1700 Saint Sebastian Inv. 702 Oak, 150 x 5 3 . 5 cm O r i g i n a l collection o f the M u s e u m

1694

FLORIS

GERRITSZ.

VAN

SCHOOTEN

H a a r l e m c a . 1 5 9 0 - after 1 6 5 5 Breakfast Inv. 836 P a n e l , 50 x 82 cm O n knife: F V S Purchased al J o z e f Isenbaert Auction, Antwerp, 1905

A B R A H A M

VAN

B E Y E R E N

T h e Hague 1620/21 Overschie Still

1690

life

Inv. 5084 C a n v a s , 87 x 107 cm L o w e r r i g h t : лв.Г. Purchased in 1962

i yth century in Holland

fruit a r e h e a p e d u p t o f o r m a w a r m - c o l o u r e d w h o l e , w i t h s p a r k l i n g l i g h t effects.

T h e limited scope of this book does not permit a comprehensive survey of D u t c h art, w h i c h is represented in the museum by a fine collection of around 2 5 0 items, including several masterpieces. T h e examples depicted here represent a variety of genres: still life, portrait, landscape, architectural painting and genre works. A l l of these genres were also practiced in F l a n d e r s , yet there are distinct differences between the N o r t h and the South. M i d d l e - c l a s s and calvinist tendencies are particularly evident in the D u t c h preference for mock-realism and intimacy, a n d it is these characteristics w h i c h predominate in most of the works discussed here. Anthonie Palamedes' Family Portrait dates from ten years after C o m e l i s De V o s ' painting of a similar subject (see p a g e 5 4 ) . T h e family, with numerous children, sits primly in a room with the air of a peep-show; P a l a m e d e s is not particularly interested in the actual portrait aspect of the work. T h e rather stiff relationship between the characters is also present, in a manner of speaking, in Floris G e r r i t z . v a n Schooten's austere Breakfast. The carefully painted and arranged ingredients contrast sharply with the baroque Still life of A b r a h a m v a n Beyeren, in w h i c h the silver plates, V e n e t i a n g l a s s w a r e and

U s e o f l i g h t i n this w a y w a s , i n fact, a p r i m a r y f e a t u r e o f D u t c h p a i n t i n g : the p i n k , s o u t h e r n l i g h t of K a r e l D u j a r d i n ' s Roman Campagna, the h i g h , c l e a r light o f the n o r t h t h a t w e f i n d i n the s m a l l p a i n t i n g s o f P h i l i p s W o u w e r m a n s (Rider's rest Place) a n d J a n v a n d e r H e y d e (View of a Bridge), or the e v e n light in The new Church at Delft b y H e n d r i k C o r n e l i s z . v a n V l i e t . F r o m 1 6 3 5 o n w a r d s , w h e n c o l o u r t o n e s w e r e a t their peak, and colour contrasts were being replaced by translucent strokes, Dutch l u m i n i s m establ i s h e d the r e p u t a t i o n w h i c h w a s t o l a s t u n t i l w e l l into the 2 0 t h c e n t u r y .

ANTHONIE

PALAMEDES

Delft 1 6 0 1 - A m s t e r d a m 1 6 7 3 Family Portrait, / 6 5 5 Inv. 8 1 0 P a n e l , 80 x 1 0 7 cm Left o n t i l e : A . P a l a m e d e s A . 1 6 3 5 P u r c h a s e d from the L e R o y b r o t h e r s , B r u s s e l s , 1 9 0 2

T h e i n t i m a c y , w h e t h e r or not with a m o r a l i s ing undertone, w h i c h we detect in interior p a i n t i n g s s u c h a s G e r a r d T e r B o r c h ' s Lute Player o r J a c o b V r e l ' s Hospital Orderly, a r e far r e m o v e d from the p a s s i o n a t e , a l m o s t u n - D u t c h s q u a b b l i n g o f the Inn Scene p a i n t e d b y A d r i a e n v a n O s t a d e , w h o d e v e l o p e d after 1 6 4 0 t o w a r d s a 'genial homeliness'. D u t c h artists m a n a g e d to c a p t u r e b r i l l i a n t l y the t w i n , c l o s e d w o r l d s o f the m i d d l e - c l a s s e s ( u p p e r a n d l o w e r ) o n the o n e h a n d , a n d the p r o l e t a r i a t o n the o t h e r . T h e t r u t h f u l n e s s o f t h e i r w o r k h e l p e d the g e n r e t o d e v e l o p i n t o o n e o f the p e a k s o f 1 7 t h c e n t u r y art.

KAREL

DUJARDIN

Amsterdam 1622 - Venice 1678 Landscape in the Roman Campagna, i6jj Inv. 965 C a n v a s . 85 x 1 0 7 cm L o w e r right: K . D u J a r d i n F e e . R o m a 1 6 7 5 K . O o m s - V a n Eersel bequest, 1 9 2 2

HENDRIK

CORNELISZ.

VAN

VLIET

Delft 1 6 1 1 / 1 2 - 1 6 7 5 The new Church at Delft Inv. 196 Panel, 40 x 35 cm A d e l a i d e v a n H e c k e - B a u t d e R a s m o n bequest, 1 8 5 9

T h e a b s o l u t e m a s t e r p i e c e i n the m u s e u m ' s c o l l e c t i o n of D u t c h a r t is the Portrait of Stefanus Geraerdts b y F r a n s H a l s . S t e f a n u s h o l d s out h i s h a n d t o his w i f e I s a b e l l a C o y m a n s , w h o , i n a m a t c h i n g p o r t r a i t w h i c h i s not, u n f o r t u n a t e l y , in the s a m e c o l l e c t i o n , offers h i m a rose in r e t u r n . T h e m a n ( a n d the c o u p l e ) r a d i a t e s w a r m t h . H i s full f i g u r e , his s m i l e a n d his r i c h clothing are executed with a j a u n t y , impressionistic s t r o k e i n b l a c k , w h i t e a n d g o l d . D e s p i t e the fact that it b e a r s R e m b r a n d t ' s s i g n a t u r e a n d a d a t e , the o t h e r w e l l - k n o w n p o r t r a i t , that o f Eleazer Swalmius, is p r o b a b l y not by the m a s t e r himself, t o w h o m i t h a s t r a d i t i o n a l l y b e e n a t t r i b u t e d , b u t f r o m his A m s t e r d a m s t u d i o . T h e p o r t r a y a l i s s o b e r , s i m p l e a n d l i f e - s i z e ; the c o l o u r i n g i s m u t e d , a n d the u s e o f l i g h t s e r v e s t o e m p h a s i s e the f a c e a n d h a n d s o f the sitter. D e s p i t e all the q u a l i t i e s offered b y this p o r t r a i t , i t c a n n o t e q u a l the m a s t e r p i e c e b y H a l s .

ADRIAEN VAN OSTADE

Haarlem 1 6 1 0 - 1685 Inn Scene I n

v - 959 P a n e l , 31 x 46 cm Purchased in 1 9 2 6

JAN VAN

DER

HEYDE

Gorinchem 1637 â&#x20AC;&#x201D; Amsterdam 1 7 1 2 View of a Bridge I n v . 980 Panel, 24 x 31 cm D o n a t e d b y G . N a u w e l a e r t s , t h r o u g h the i n t e r m e d i a r y of Artibus Patriae, 1 9 3 1

PHILIPS WOUWERMANS

H a a r l e m 1 6 1 9 - 1668 Rider's rest Place Inv. 500 P a n e l , 43 x 37 cm L o w e r right: P A W P u r c h a s e d a t the D e s i r e v a n d e n S c h r i e k A u c t i o n . Brussels, 1861

GERARD

TER

BORCH

Zwolle 1 6 1 7 - Deventer 1681 The Lute Player Inv. 349 P a n e l , 31 x 27 cm O n the s p i n e o f the b o o k o n the t a b l e : G t . B o r g F C T P u r c h a s e d a t the D e s i r e v a n d e n S c h r i e k A u c t i o n , Brussels, 1861

JACOB

VREL

P r o b a b l y w o r k e d i n Delft a n d H a a r l e m a r o u n d 1 6 5 0 The Hospital Orderly Inv. 790 P a n e l , 56 x 45 cm O n upper half o f door: P H P u r c h a s e d a t the K u m s A u c t i o n , A n t w e r p , 1 8 9 8

FRANS

HALS

A n t w e r p ca. 1 5 8 0 - H a a r l e m 1666 Fisherboy Inv. 188 C a n v a s , 74 x 61 cm Left: F H P u r c h a s e d from J . C . M e r t z , P a r i s , 1 8 7 1

REMBRANDT

VAN

RIJN

Leyde 1606 - Amsterdam 1669 Portrait of Eleazer Swalmius Inv. 705 C a n v a s , 1 3 2 x 109 cm U p p e r right: Rembrandt 1 6 3 7 Purchased in 1886

FRANS

HALS

A n t w e r p ca. 1 5 8 0 - H a a r l e m 1666 Portrait of Stefanus Geraerdts Inv. 674 Canvas, 1 1 5 x 87 cm S t e p h e n B o u r g e o i s , C o l o g n e - P a r i s , sold the p o r t r a i t o f the wife t o B a r o n d e R o t h s c h i l d , P a r i s , a n d the p o r t r a i t o f the h u s b a n d t o A n t w e r p M u s e u m , 1 8 8 6

Flemish painting in the 18th century

A series of recent studies a n d acquisitions h a v e led to s o m e t h i n g of a n e w a t t i t u d e t o w a r d s p a i n t i n g i n the 1 8 t h c e n t u r y . U n t i l f a i r l y r e c e n t ly, the a r t o f this p e r i o d w a s c o n s i d e r e d t o b e r a t h e r i n f e r i o r , d e s p i t e the h i g h a r t i s t i c o u t p u t , b e c a u s e o f its p e r c e i v e d l a c k o f i n n o v a t i o n . O n the o n e h a n d , F l e m i s h a r t i s t s o f the 1 8 t h c e n t u r y c o n t i n u e d to l i v e off the i n h e r i t a n c e of R u b e n s , w h o s e art s e e m e d u n s u r p a s s a b l e . A r t i sts s u c h a s P i e t e r J o z e f V e r h a g h e n w o r k e d entirely in the t r a d i t i o n o f R u b e n s , a n d a l t h o u g h he s p e n t a few y e a r s in I t a l y , t h e r e a r e few t r a c e s of this in his w o r k . H i s Hagar and Ishmael banished by Abraham, p a i n t e d for the a b b e y a t T o n g e r l o , h a s all the o u t w a r d c h a r a c teristics o f a b a r o q u e p a i n t i n g , b u t l a c k s R u b ens' expressiveness.

JAN

FRANS

ELIAERTS

Bouquet of Flowers in a Sculpted Vase detail

M e a n w h i l e , o t h e r a r t i s t s h a d fallen u n d e r the spell o f F r a n c e w i t h its t r e n d - s e t t i n g r o c o c o artists. T h i s development w a s , however, rather out of c h a r a c t e r with F l e m i s h artistic tradition, and encountered a certain degree of resistance i n the a r t w o r l d . A n d r i e s C o r n e l l s L e n s h a d t o r u n the g a u n t l e t o f these difficulties i n A n t w e r p w h e r e he strove to renew both painting a n d a r t i s t i c e d u c a t i o n . H e w a s a n artist w i t h a n i n t e r n a t i o n a l r e p u t a t i o n , a r e p r e s e n t a t i v e of the n e o - c l a s s i c a l i d e a l . H i s p a i n t i n g s a r e the r e s u l t o f his s t u d y o f a n t i q u e a n d I t a l i a n m a s t e r s , b u t a l s o his r e a d i n g o f c l a s s i c a l a n d b i b l i c a l w r i t i n g s . I n 1 7 6 3 , L e n s b e c a m e the d i r e c t o r o f the A n t w e r p A c a d e m y , a n d t o s h o w his g r a t i t u d e , he d o n a t e d the w o r k Hercules protects Painting from Ignorance and Envy - an a l l e g o r y in w h i c h h i s

PIETER-JOZEF

VERHAGHEN

Aarschot 1728 - Louvain 1 8 1 1

Hagar and Ishmael banished by Abraham, Inv. 491 C a n v a s , 168 x 1 9 5 cm

iy8i

L o w e r right: P . J . V e r h a g h e n F 1 7 8 1 O r i g i n a l c o l l e c t i o n o f the m u s e u m , 1 8 1 0

n e w task w a s c l e a r l y e x p r e s s e d . L e n s h i m s e l f i s portrayed in an expressive, theatrical manner, in a f l o w i n g c l o a k , s u r r o u n d e d by the tools of his p a i n t e r ' s t r a d e , in Portrait of the Artist A.C. Lens, by Willem Herreyns. T h i s painting reveals H e r r e y n s ' i n n o v a t i v e a p p r o a c h t o his p o r t r a i t s , s o m e t h i n g w h i c h c a n n o t b e s a i d o f his r e l i g i o u s a n d h i s t o r i c a l c o m m i s s i o n s . H e w a s i n fact a n opponent of L e n s ' reforms. During

the

second

h a l f o f the

century,

Brussels b e g a n to occupy centre stage alongside A n t w e r p , h i s t o r y p a i n t i n g as a form of official artistic expression also began to gain in importance. T h e middle-classes, however, retained their p r e f e r e n c e for p o r t r a i t s , still lifes, l a n d s c a p e s a n d s c e n e s from e v e r y d a y life. J a n J o z e f H o r e m a n s I I w a s w i d e l y a d m i r e d for c h a r m i n g s c e n e s s u c h as The Card Game a n d Tea Time. T a k i n g his c u e f r o m 1 7 t h c e n t u r y g e n r e w o r k s , H o r e m a n s depicted pleasant scenes with a

JAN

FRANS

ELIAERTS

Antwerp 1 7 6 1 - 1848 Bouquet of Flowers in a sculpted Vase Inv. 1 2 6 C a n v a s , 90 x 71 cm L o w e r left: J . F . E l i a e r t s P u r c h a s e d in 1 8 5 0

ANDRIES

CORNELIS

LENS

Antwerp 1 7 3 9 - Brussels 1822 Hercules protects Painting from Ignorance and Envy, 1763 Inv. 1 0 9 2 C a n v a s , 73 x 92 cm L o w e r left: A n d r e a s C . L e n s i n v : pinxit/et huic A c a demia D . D . 1 7 6 3 O r i g i n a l collection o f the m u s e u m , 1 8 1 0

J A N JOZEF HOREMANS

A n t w e r p 1 7 1 4 - after 1 7 9 0 Tea Time Inv. 5061 C a n v a s , 51 x 58 cm R e c o v e r e d from G e r m a n y , 1 9 5 1

refined c o l o u r s c h e m e . H i s w o r k s d o not, h o w ever, show a n y sign of profundity or criticism. Flower painters were regarded particularly highly. J a n Frans Eliaerts painted a sumptuous bouquet of flowers which, in terms of composition, c o n t i n u e s the t r a d i t i o n e s t a b l i s h e d in the f i n a l q u a r t e r o f the 1 7 t h c e n t u r y . T h e p a i n t i n g in q u e s t i o n is e n t i t l e d Bouquet of Flowers in a sculpted Vase. T h e c h o i c e of flowers a n d the cool c o l o u r i n g a r e a g a i n t y p i c a l o f their t i m e .

WILLEM

HERREYNS

Antwerp 1743 - 1827 Portrait of the Artist A.C. Lens Inv. 1 2 1 3 C a n v a s , 1 1 6 x 96 cm Purchased in 1 8 9 3

The 19th Century

T h e romantic movement, which m a y be dated b e t w e e n 1 7 8 0 a n d 1 8 5 0 , t u r n e d its f a c e a g a i n s t authoritarian classicism. R e l e a s e d from e v e r y d a y c o n c e r n s b y the p o w e r o f the i m a g i n a t i o n , the r o m a n t i c s s o u g h t n e w a r t i s t i c f o r m s , b u t a l s o a n e w i d e a l of life b a s e d u p o n a d e m a n d for freedom. T h e r o m a n t i c artist w a s d r a w n towards mysterious, ambiguous and unknown t e r r i t o r y , w h i l e his feeling o f p r o f o u n d l o n e l i n e s s could take on tragic proportions. R o m a n t i c i s m s e r v e d t o unite E u r o p e , b u t e a c h c o u n t r y r e a c t e d i n a c c o r d a n c e w i t h its s p e c i a l n a t i o n a l character. G e r m a n r o m a n t i c i s m had a penc h a n t for the m a g i c a l , E n g l i s h r o m a n t i c i s m w a s l y r i c a l , w h i l e the F r e n c h h a d a taste for e v e r y thing d r a m a t i c . T h e s a m e applied to B e l g i a n romanticism. Inspired by B e l g i u m ' s recently w o n i n d e p e n d e n c e from the U n i t e d N e t h e r l a n d s , t h e r e w a s a m a r k e d p r e f e r e n c e for p o r -

t r a y a l s o f the h e r o i c a n d d r a m a t i c e l e m e n t s o f the n a t i o n a l i s t s t r u g g l e i n the c o u n t r y ' s p a s t . T h e l a r g e f o r m a t p a i n t i n g s w i t h their d i a g o n a l ly arranged compositions, animated movement a n d s t r o n g c o n t r a s t s b e t w e e n light a n d s h a d o w a n d different c o l o u r s , often r e c a l l the ' G o l d e n A g e ' of R u b e n s . Nicaise De K e y s e r constructed his Charles V freeing the Slaves at Tunis in a c c o r d a n c e w i t h these p r i n c i p l e s from the B a r o q u e era, but it w a s G u s t a f W a p p e r s in particular w h o b e c a m e B e l g i u m ' s foremost romantic artist. T h e i n s p i r a t i o n for h i s p a i n t i n g s w a s d r a w n from his w i d e k n o w l e d g e o f r o m a n t i c l i t e r a t u r e , the history o f the L o w C o u n t r i e s , a n d his reflections u p o n the role o f the a r t i s t a n d p o l i t i c s in general. H i s best w o r k ( 1 8 2 8 - 1 8 5 0 ) reveals a c h a r a c t e r i s t i c s t y l e a n d r i c h use o f c o l o u r . I n the p a i n t i n g The De Witt Brothers in Captivity ( 1 8 3 8 ) , he s u c c e e d e d in c o m b i n i n g a s o b e r c o m p o s i t i o n

HENRI

GUSTAF

Flower detail

BRAEKELEER

Grower's

Garden

WAPPERS

A n t w e r p 1 8 0 3 - Paris 1 8 7 4 The De Witt Brothers in Captivity, 1838

Inv. 1 1 8 1 P a n e l , 56 x 69 cm Purchased in 1 8 7 5

w i t h d r a m a t i c tension. C o r n e l i s a n d J o h a n d e Witt, 1 7 t h century Dutch statesmen and fierce anti-Orangists, are about to be d r a g g e d from p r i s o n b y the m o b a n d l y n c h e d . T o W a p p e r s a n d o t h e r r o m a n t i c s , they w e r e a s y m b o l o f faith in liberalism a n d in political steadfastness. F r o m 1 8 4 0 o n w a r d s , the h i s t o r i c a l p a i n t i n g gradually b e c a m e a rather sedate, bourgeois g e n r e . H e n r i L e y s , for i n s t a n c e , c h o s e t o p o r t r a y the Arrival of Albrecht Diirer in Antwerp in 1520 ( 1 8 5 5 ) rather than a more tumultuous and momentous occasion. T h e accuracy of colour, form and historical reconstruction contrast with a c e r t a i n n o s t a l g i c tone, c h a r a c t e r i s t i c of romanticism.

NICAISE

KEYSER

Zandvliet 1 8 1 3 - Antwerp 1887 Charles V freeing the Slaves at Tunis I n v . 2886 C a n v a s , 44 x 64 cm L o w e r left: N D K Purchased in 1958

ALFRED

STEVENS

B r u s s e l s 1 8 2 3 - Paris 1 9 0 6 Parisienne Sphinx, 1867 Inv. 1 3 7 3 C a n v a s , 72 x 53 cm L o w e r left: A . S t e v e n s P u r c h a s e d in 1 9 0 2

HENRI

LEYS

Antwerp 1 8 1 5 â&#x20AC;&#x201D; 1869 Arrival of Albrecht Diirer in Antwerp in 1 5 2 0 , 183J Inv. 2 1 9 8 P a n e l , 90 x 1 6 0 cm L o w e r right: H . L e y s f . 1 8 5 5 D o n a t e d by the g o v e r n m e n t , citv a n d A r t i b u s P a t r i a e . â&#x20AC;˘93 1

T h e b r e a k t h r o u g h o f r e a l i s m , w h i c h , like romanticism, originated in France, occurred in Belgium between 1850 and i860. According to the r e a l i s t s , e v e r y d a y s u b j e c t s s h o u l d n o l o n g e r be considered unworthy of being painted. T h e i n n o v a t i o n o f the r e a l i s t s l a y not o n l y i n the m a n n e r o f p a i n t i n g , b u t a l s o i n the t h e m e s a n d subjects of their work. T h e y chose to p o r t r a y their i m m e d i a t e s u r r o u n d i n g s r a t h e r t h a n seeki n g refuge i n c o m p o s i t e w o r k s o r i m a g i n a t i o n . L a n d s c a p e s w e r e painted in situ, a n d w e r e no l o n g e r the r e s u l t o f c o m b i n e d s t u d i e s f r o m n a t u r e a n d the i m a g i n a t i o n o r i d e a l s o f the a r t i s t s . T h e w o r l d s u r r o u n d i n g the a r t i s t w a s m o r e important than historical scenes or tales f r o m A n t i q u i t y a n d the B i b l e . R u l e s o f c o m p o s i tion, c o l o u r a n d e x e c u t i o n h a d t o g i v e w a y t o the a c c u r a t e r e p r e s e n t a t i o n o f r e a l i t y . T h e a r t i s t A l f r e d S t e v e n s w a s the c h r o n i c l e r o f the P a r i s demi-monde. O n e o f h i s b e s t w o r k s i s the Parisienne Sphinx ( 1 8 6 7 ) , in w h i c h an e n i g matic female portrait with sober colouring a n d delicate lighting is preferred to an a n e c d o t a l

HIPPOLYTE

BOULENGER

T o u r n a i 1 8 3 7 - Brussels 1874 Josafat Valley at Schaarbeek, 1868 Inv. 1988 Panel, 1 1 0 x 85 cm L o w e r left: H i p . B o u l e n g e r Purchased in 1 9 2 5

CHARLES

GROUX

K o m e n 1 8 2 5 - Brussels 1 8 7 0 The Coffee Tin Inv. 1206 Canvas. 1 1 7 x 150 cm L o w e r right: Charles De G r o u x Purchased in 1892

C O N S T A N T â&#x201E;˘

MEUNIER

Etterbeek 1 8 3 1 - Elsene 1 9 0 5 Man with a Sledgehammer Inv. 1984 B r o n z e , 48 x 25 cm Pedestal: C. M e u n i e r ; reverse right: Fondu par V e r beyst pour l'atelier Constantin Meunier. Bruxelles Purchased in 1 9 2 5

CONSTANTIN

MEUNIER

Etterbeek 1 8 3 1 - Elsene 1905 Return from the Mine I n v . 2698 Canvas, 159 x 1 1 5 cm L o w e r right: C . Meunier Donated by Mrs. G. Born, 1950

JAN

STOBBAERTS

Antwerp 1839 Schaarbeek 1 9 1 4 Dragging in the Woluwe Inv. 1801 C a n v a s , 47 x 70 cm Lower right: stamp Atelier J a n Slobbaerts 1 9 1 4 D o n a t e d by a g r o u p of friends o f the m u s e u m , 1 9 2 0

FRANCOIS

LAMORINIERE

Antwerp 1828 - 1 9 1 1 Fir Wood, 1883 Inv. 1 5 8 9 Canvas, 1 1 4 x 126 cm L o w e r right: F. Lamoriniere xx 1883 Purchased in 1899

and sentimentally bourgeois approach. Realism adopted a socially engaged character with J o z e f Stevens, Charles De G r o u x and Constantin M e u n i e r . I n S t e v e n s ' c a s e this w a s s e n s i t i v e , i n D e G r o u x ' s w r e t c h e d , w h i l e i n M e u n i e r ' s Coffee Tin, the w o r k e r i s p o r t r a y e d a s n o b l e . M e u n i e r ' s skill a s b o t h a n a r t i s t a n d s c u l p t o r i s e v i d e n t from Return from the Mine a n d Man with a Sledgehammer. T h e A n t w e r p m u s e u m h a s a r i c h selection of realistic l a n d s c a p e s , including F r a n c o i s L a m o r i n i e r e ' s Fir Wood ( 1 8 8 3 ) a n d H i p p o l y t e B o u l e n g e r ' s Josafat Valley ( 1 8 6 8 ) , b o t h h i g h ly a c c u r a t e slices of nature. E v e r y s h a p e , detail, n u a n c e o f c o l o u r , reflection a n d effect o f the light i s c o n v e y e d w i t h a l m o s t p a i n f u l p r e c i sion. A f u r t h e r s t e p in the r e p r e s e n t a t i o n of n a t u r e i s p r o v i d e d b y the l a n d s c a p e s a n d m a r i n e p a i n t ings o f L o u i s A r t a n , G u i l l a u m e V o g e l s , J a n

GUILLAUME

VOGELS

Brussels 1836 Elsene 1896 My Garden Inv. 2028 C a n v a s , 84 x 56 cm L o w e r right: G . Vogels Purchased in 1925

S t o b b a e r t s a n d P e r i c l e s P a n t a z i s . G i v e n the r e a l i s t s ' o b s e s s i o n w i t h the p r o b l e m s o f v i s u a l o b s e r v a t i o n a n d the o u t w a r d a p p e a r a n c e o f t h i n g s , i t i s i n e v i t a b l e that t h e y w o u l d a l s o w i s h t o c a p t u r e the c h a n g e a b i l i t y a n d t r a n s i e n c e o f n a t u r e . T h e i m p r e s s i o n i s m o f the B e l g i a n l a n d scape artists is m e l a n c h o l y and grey, and retains a certain solidity of form. L o u i s A r t a n ' s Marine scene is s u b t l e in its c o m b i n a t i o n s of w a t e r , a i r a n d light, G u i l l a u m e V o g e l s ' w o r k , p a r t i c u l a r l y My Garden, r e c o r d s the d u l l B e l g i a n climate, J a n Stobbaerts worked with green, h a z y p a t c h e s of c o l o u r in Dragging in the Woluwe, w h i l e in his On the Beach, P e r i c l e s P a n t a z i s r e c a l l s the s e a v i e w s p a i n t e d b y B o u d i n . A l l four of these l a n d s c a p e painters h a d a rich pictorial t a l e n t w h i c h , t h o u g h not i n c l i n e d t o s u m p t u o u s colouring, nevertheless reveals a delicate and poetic tonal shading.

LOUIS A R T A N

The Hague 1837 Oostduinkerke 1890 Morning Inv. 1943 C a n v a s , 57 x 37 cm Purchased in 1 9 2 3

PERICLES PANTAZIS

Athens 1 8 4 9 - Brussels 1884 On the Beach Inv. 2 6 1 7 C a n v a s , 70 x 108 cm Purchased in 1947

HENRI DE B R A E K E L E E R

Antwerp 1840 - 1888 Flower Grower's Garden, Inv. 1 2 0 3

1864

Canvas, 84 x 1 1 5 cm L o w e r right: Henri de Braekeleer Purchased in 1 8 9 2

Henri De Braekeleer has been described as the f i r s t r e a l l y s i g n i f i c a n t f i g u r e i n 1 9 t h c e n t u r y B e l g i a n art. T h e A n t w e r p m u s e u m possesses 3 3 o f his p a i n t i n g s a n d 4 5 d r a w i n g s . T h e keye l e m e n t s i n his p a i n t i n g a r e O l d A n t w e r p w i t h its q u i e t s q u a r e s a n d p e a c e f u l r u s t i c f a c a d e s , solitary people, almost medieval craftsmen and stuffy b o u r g e o i s i n t e r i o r s . H e i s totally o b l i v i o u s t o the a c t i v e life, his w o r k e x h a l i n g i n s t e a d a n a t m o s p h e r e of silence and peace. A w a r m palette, s o b e r c o m p o s i t i o n , strict d i v i s i o n o f the

p a i n t i n g ' s s u r f a c e a n d a p a s s i o n for the s u b stance of things are characteristic of De Braekeleer. O n e of his b e s t - k n o w n p a i n t i n g s is The Man in the Chair ( 1 8 7 5 ) . L i g h t floods t h r o u g h the o p e n w i n d o w into a r o o m i n the B r o u w e r s h u i s , i n w h i c h a n o l d m a n sits s t a r i n g i n a c h a i r . T h e p r e c i s e r e a l i s m of his Flower Grower's Garden ( 1 8 6 4 ) , a n e a r l y w o r k , i s c o m b i n e d i n o n e o f his l a s t p a i n t i n g s , Strawberries with Champagne ( 1 8 8 3 ) w i t h a free p a i n t i n g s t y l e a n d a m o r e l i v e l y range of colours.

HENRI

BRAEKELEER

Antwerp 1840 - 1888 Strawberries and Champagne, Inv. 2 1 7 3

1863

C a n v a s , 40 x 60 cm L o w e r right: Henri de Braekeleer Donated by F. Franck, 1930

HENRI

BRAEKELEER

Antwerp 1840 - 1888 The Man in the Chair, i8jj Inv. 1 8 4 5 C a n v a s , 79 x 63 cm L o w e r right: Henri de Braekeleer Donated by Baron G. Caroly, 1921

J E F

T h e s c u l p t o r J e f L a m b e a u x a n d the p a i n t e r s J a n van Beers, Leon Frederic and George Hend r i k B r e i t n e r , the o n l y f o r e i g n e r t o b e w e l l represented in our collection (seven works) b e l o n g to the f o l l o w i n g g e n e r a t i o n - that of 1 8 5 0 . T h e N a t u r a l i s m w h i c h links these artists w a s e x p r e s s e d i n a different f a s h i o n b y e a c h . T h e a n i m a t e d m o v e m e n t o f The Kiss ( 1 8 8 1 ) , i s characteristic of L a m b e a u x ' s sculptures, while the p h o t o g r a p h i c r e a l i s m of the Portrait of Peter Benoit b y J a n v a n B e e r s t a k e s o n a m a g i c a l d i m e n s i o n t h r o u g h the f l o a t i n g a c c e s s o r i e s . I n

LAMBEAUX

Antwerp 1 8 5 2 - Brussels 1908 77K Kiss, 1881 Inv. 1085 F r o n t , l o w e r left: J e f L a m b e a u x 1 8 8 1 ; r e v e r s e , l o w e r left: C i e D e s B r o n z e s B r u x e l l e s . F o n t e d ' u n s e u l j e t (cire p e r d u e ) Purchased at Triennial Exhibition, 1882

LEON FREDERIC

Brussels 1 8 5 6 - Schaarbeek 1940 Two Walloon Peasant Children or Les bo'echelles 1888 Inv. 1 2 6 4 C a n v a s , 1 2 4 x 91 cm L o w e r left: L . F r e d e r i c 1 8 8 8 Purchased at Triennial Exhibition, 1894

JAN

VAN

BEERS

Lier 1852 - Fay-aux-Loges 1927 Portrait of Peter Benoit, 1883 Inv. 1 1 4 0 P a n e l , 44 x 32 cm L o w e r r i g h t : A a n m y n e n v r i e n d Peter B e n o i t . J a n v a n Beers. Parijs 1 8 8 3 D o n a t e d b y the artist, 1 8 8 3

GEORGE HENDRIK BREITNER

Rotterdam 1857 - Amsterdam 1923 Women in Amsterdam Inv. 2020 C a n v a s , 98 x 1 4 8 cm Purchased in 1928

JAMES

ENSOR

Ostend i860 - 1949 Bourgeois Drawing Room, 1881 Inv. 2 7 3 5 C a n v a s , 1 3 3 x 109 cm L o w e r left: J a m e s E n s o r 1 8 8 1 Purchased in 1 9 5 2

JAMES

ENSOR

Ostend i860 Woman eating Inv. 2073 C a n v a s , 207 Lower right: Purchased in

- 1949 Oysters, 1882 x 1 5 0 cm J . Ensor 1882 1927

JAMES

ENSOR

Ostend i860 - 1949 Masks fighting over a hanged man, 1891

Inv. 1857 C a n v a s , 59 x 74 cm L o w e r right: Ensor 1 8 9 1 D o n a t e d b y a g r o u p o f friends o f the m u s e u m , 1 9 2 1

his Two Walloon Peasant Children ( 1 8 8 8 ) L e o n Frederic executes a naturalistic portrait with a c l e a r l y s o c i a l i n t e n t ; his w o r k d o e s , h o w e v e r , often w a v e r b e t w e e n n a t u r a l i s m a n d s y m b o l i s m . B r e i t n e r , the l e a d i n g f i g u r e a m o n g s t the A m s t e r d a m i m p r e s s i o n i s t s , u s e d his o w n p h o t o g r a p h s - in Women in Amsterdam we a r e offered a k i n d of s n a p s h o t - in o r d e r to w o r k n e w motifs into his p a i n t i n g s . A s i n the c a s e o f D e B r a e k e l e e r , the m u s e u m a l s o b o a s t s the l e a d i n g c o l l e c t i o n o f w o r k s b y B e l g i u m ' s o t h e r m a i n f i g u r e f r o m the 1 9 t h c e n t u r y , n a m e l y J a m e s E n s o r . A total o f 3 5 p a i n t i n g s a r e p r e s e r v e d h e r e , r a n g i n g from a n e a r l y a t t e m p t a t the a g e o f 1 7 , t o late w o r k s d a t i n g from 1 9 0 6 / 0 7 , t o g e t h e r w i t h a c o l l e c t i o n

o f 6 0 6 d r a w i n g s . E n s o r took the i n s p i r a t i o n for his e a r l y w o r k f r o m his i m m e d i a t e s u r r o u n d i n g s : h e p a i n t e d m e m b e r s o f his f a m i l y , i n t e r i o r s , city v i e w s a n d the s e a i n a d a r k - t i n t e d s t y l e w i t h an i m p r e s s i o n i s t i c t o u c h , as in his Bourgeois Drawing Room ( 1 8 8 1 ) . U n d e r the i n f l u e n c e of the French, and particularly J . M . W . Turner, he l i g h t e n e d his p a l e t t e a n d his p o i n t o f v i e w b e c a m e m o r e m o d e r n , a s i n his f a m o u s Woman eating Oysters. In o t h e r p a i n t i n g s , like Adam and Eve driven from the Garden of Eden, the c l a r i t y of the light b e c a m e p i e r c i n g a n d i n c a n d e s c e n t . S e r e n i t y w a s b a n i s h e d f r o m his w o r k o n c e a n d for a l l , t o b e r e p l a c e d b y fear, v u l n e r a b i l i t y a n d o v e r s e n s i t i v i t y w h i c h w e r e b e s t e x p r e s s e d i n the d i s c o v e r y o f g r e a t e s t g e n i u s a n d o r i g i n a l i t y , the

JAMES

ENSOR

Ostend i860 - 1949 The Intrigue, i8go Inv. 1856 C a n v a s , 90 x 1 5 0 cm L o w e r right: Ensor 1890 D o n a t e d b y a g r o u p o f friends o f the m u s e u m , 1 9 2 1

JAMES

ENSOR

Ostend i860 - 1949 The Curassiers at Waterloo, 1891 detail Inv. 2740 P a s t e l , I n d i a ink, 225 x 625 mm L o w e r left: E n s o r 1 8 9 1 Purchased in 1 9 5 2

m a s k . I n h i s f i n e s t c r e a t i o n s , s u c h a s The Intrigue

the w o r l d of d r e a m , allegory, m y t h , spirituality

( 1 8 9 0 ) , Masks

fighting

and

literature,

his

fantastic

and

used

strange,

people

express

over a hanged Man ( 1 8 9 1 ) ,

rage,

and

menacing

sarcasm

and

mask

vengeance,

feelings with w h i c h E n s o r h i m s e l f w a s r a v a g e d .

embody

the

symbolists

decorative an

idea.

elements

his

simplified and

form

colours

painting

Inspiration,

X a v i e r M e l l e r y h a s a c h i e v e d s o m e t h i n g o f his

H i s style b e c a m e increasingly p e r s o n a l ; bright

ideal: murals depicting allegorical scenes with

colours,

floating (and

expressive

brush

strokes,

theatrical

simultaneously

petrified) figures

composition, harsh contrasts, linear technique.

a g a i n s t a g o l d e n b a c k g r o u n d . H i s g r i s a i l l e inter

E n s o r ' s art is u n i q u e in E u r o p e , a n d represents

iors in c h a l k are a m o n g s t the best in B e l g i a n

o n e o f t h e m a i n g a t e w a y s t o the 2 0 t h c e n t u r y .

symbolism.

T h e use o f s y m b o l s b y J a m e s E n s o r , w h o held

shows

This

clear

black

affinities

and

with

white the

painting

drawings

people,

E d w a r d B u r n e s - J o n e s , b y w h o m the m u s e u m

differs f u n d a m e n t a l l y f r o m the s y m b o l i s t move

p o s s e s s e s t h r e e w o r k s . E u g e n e L a e r m a n s ' Blind

ment

Man ( 1 8 9 8 ) r e p r e s e n t s a s y n t h e t i c i m a g e o f the

society

which

ridicule arose

with

his

France.

mask

Following

the

e x a m p l e of literary works, artists sought to react

proletarian

type

against impressionism by no longer concerning

His

themselves

e n g a g e d - forms a link b e t w e e n r e a l i s m ,

with

the

outward

appearance

work

grey,

elementary

expressive

things, but by a t t e m p t i n g instead to c o n v e y the

bolism and expressionism.

m y s t e r y b e h i n d the r e a l i t y . I n o r d e r t o p o r t r a y

Blue

XAVIER

HENRI

M E L L E R Y

Laken 1845 - 1921 Inspiration Inv. 2 1 7 7 Canvas, 1 5 3 x 1 3 1 cm L o w e r r i g h t : X . M e l l e r y ; u p p e r part, l o w e r left: х м . Donated by Francois Franck, 1930

landscape.

and

socially

Emile Vloors'

sym The

Thistle or Portrait of Louise Laridon a n d J o s u e

EVENEPOEL

Nice 1872 - Paris 1899 Louise in Mourning, 1894. Inv. 2 8 1 3 C a n v a s on w o o d , 79 x 46 cm L o w e r left: A m a c h e r e L o u i s e . L . E v e n e p o e l 9 4 Purchased in 1954

EUGENE

LAERMANS

St.-Jans-Molenbeek 1 8 6 4 - Brussels 1940 Blind Man, i8g8 Inv. 1 9 4 1 C a n v a s , 1 3 4 x 1 7 4 cm L o w e r right: Eug. Laermans 1898 P u r c h a s e d in 1 9 2 3

EMILE

VLOORS

Borgerhout 1 8 7 1 - Antwerp 1 9 5 2 77K Blue Thistle or Portrait of Louise Laridon Inv. 1 4 1 7 C a n v a s , 1 3 6 x 126 cm C e n t r e left: E m i l e V l o o r s P u r c h a s e d at the T r i e n n i a l E x h i b i t i o n , 1 9 0 4

D u p o n ' s i v o r y s t a t u e t t e Diana b e a r w i t n e s s t o a n o t h e r c o n f l u e n c e - that b e t w e e n a c e r t a i n s e v e r i t y c h a r a c t e r i s t i c o f s y m b o l i s m , a n d the decorative refinement o f A r t n o u v e a u . T h e seco n d g e n e r a t i o n o f s y m b o l i s t s i s t o b e f o u n d after 1 9 0 0 at S i n t - M a r t e n s - L a t e m , w h e r e they were r e s p o n s i b l e for a m a j o r r e n e w a l o f i d e a s a n d form. It is c l e a r t h a t up to the turn of the c e n t u r y , a w i d e variety of styles existed both alongside one another, and in a n u m b e r of hybrid forms. T h e c h a r a c t e r i s t i c f i n - d e - s i e c l e m e l t i n g pot i n c l u d e d r e a l i s m , i m p r e s s i o n i s m a n d s y m b o l i s m , togethe r w i t h all t h e i r v a r i a n t s . T h e s h o r t - l i v e d H e n r i E v e n e p o e l p a i d h o m a g e to M a n e t in h i s Louise in Mourning ( 1 8 9 4 ) w i t h its s o l i d c o n s t r u c t i o n a n d s t u r d y u s e o f c o l o u r s , b u t w i t h i n a few y e a r s , his

HENRY

VAN

VELDE

JOSUE

DUPON

Antwerp 1863 - Oberiigi 1 9 5 7 Woman at the Window (1889) Inv. 2 5 8 9 Canvas, i l l x 125 cm P u r c h a s e d in 1 9 4 4

Ichtegem 1 8 6 4 - Berchem 1 9 3 5 Diana Inv. 1 2 6 3 I v o r y and bronze, 92 x 25 cm Side, lower right: J . Dupon P u r c h a s e d at the T r i e n n i a l E x h i b i t i o n , 1 8 9 7

work underwent a fundamental change. Emile C l a u s a l s o set off a l o n g the realist p a t h , but his contact with impressionism turned him around 1 g o o into a p i o n e e r of B e l g i a n l u m i n i s m . Summer ( 1 8 9 3 ) is a m a s t e r p i e c e of fine c o l o u r s h a d i n g r e p r e s e n t i n g light, s u n a n d h e a t . T h e r e w e r e also Belgian adepts of French neo-impressioni s m or p o i n t i l l i s m , a n d it is w i t h t w o m a s t e r p i e c e s o f this g e n r e that w e r o u n d off this s u r v e y o f B e l g i a n art i n the 1 9 t h c e n t u r y : H e n r y V a n

de V e l d e ' s Woman at the Window ( 1 8 8 9 ) a n d T h e o V a n R y s s e l b e r g h e ' s Portrait of Marie Sethe ( 1 8 9 1 ) . W h i l e V a n R y s s e l b e r g h e u s e s the p o i n tillist t e c h n i q u e to a c h i e v e a fairly r e a l i s t i c p o r t r a i t , d e s p i t e the u n u s u a l , artificial c o l o u r s , V a n d e V e l d e p r o d u c e d a n e n t i r e l y different r e s u l t u s i n g the s a m e p r o c e d u r e . T h e s i m p l i f i c a tion of the s u r f a c e s a n d a c o m b i n a t i o n of p i n k a n d p u r p l e c o l o u r s i m b u e his p o r t r a i t w i t h a n almost symbolic quality.

THEO VAN RYSSELBERGHE

Ghent 1862 - Saint-Clair 1926 Portrait of Marie Sethi, 1891 Inv. 2690 C a n v a s , 1 1 8 x 84.5 cm U p p e r centre: 18 VR 91 P u r c h a s e d from H e n r y V a n de Velde, 1949 EMILE GLAUS

St.-Eloois-Vijve 1849 - Astene 1924 Summer, 1893 Inv. 1836 C a n v a s , 59 x 91 cm L o w e r left: E m i l e C l a u s ; r e v e r s e : J u n i j 1 8 9 3 E . C . Donated by Mrs. Edm. Wappers, 1924

20th Century

Symbolism

and

Expressionism

T h e m u s e u m ' s acquisition policy has resulted in a rich c o l l e c t i o n o f w o r k b y F l e m i s h s y m b o l i s t s a n d , p a r t i c u l a r l y , e x p r e s s i o n i s t s i n the w i d e s t s e n s e o f the w o r d . T h e w o r k o f G e o r g e M i n n e , Valerius De Saedeleer, Gustave V a n de Woest y n e a n d J a k o b S m i t s a r e different e x p r e s s i o n s of a mystical, almost religious s y m b o l i s m . A r o u n d 1 9 0 0 , a g r o u p of artists met at SintM a r t e n s - L a t e m o n the r i v e r L y s . T h i s i d y l l i c little v i l l a g e n e a r G h e n t w a s the h o m e o f the l a n d s c a p e artist V a l e r i u s D e S a e d e l e e r , w h o was joined by sculptor and draughtsman G e o r g e M i n n e , the p o e t a n d c r i t i c K a r e l V a n d e W o e s t y n e , a n d his b r o t h e r G u s t a v e . T h e y l a t e r b e c a m e f a m o u s a s the f i r s t L a t e m g r o u p , w h i c h took its i n s p i r a t i o n from s y m b o l i s m . T h e y s o u g h t t o c a p t u r e i n their p a i n t i n g s the d e e p e r , invisible character of nature and people. T h r o u g h t h e i r p a i n t i n g s they w a n t e d to lift the v e i l o f o u t w a r d r e a l i t y i n o r d e r t o r e v e a l the magic, mystic or religious mystery beneath. G u s t a v e V a n d e W o e s t y n e ' s earl) w o r k contained certain symbolist elements, but g r a d u a l ly evolved towards expressionism. His painting The two Springs m a y be d e s c r i b e d as s y m b o l i s t d u e to the p e r s o n i f i c a t i o n in the t w o f e m a l e f i g u r e s o f the n a t u r a l c o u n t r y life o n the o n e h a n d , a n d a r t i f i c i a l city life o n the o t h e r . H i s l a t e r w o r k Gaston and his Sister is, in its a l i e n a tion, a t y p i c a l l y e x p r e s s i o n i s t p i e c e . I n the s a m e w a y a s the a r t i s t s m e n t i o n e d a b o v e w i t h d r e w t o the u n s p o i l e d b e a u t y o f L a t e m , the o l d e r J a k o b S m i t s h a d a l r e a d y s p e n t a d e c a d e i n the C a m p i n e w h e r e h e p a i n t e d his r u s t i c i n t e r i o r s , p o r t r a i t s , l a n d s c a p e s a n d religious paintings. T h e m u s e u m possesses a comprehensive collection of 31 paintings and n u m e r o u s d r a w i n g s b y this artist, w h i c h c l e a r l y i l l u s t r a t e his c o n c e p t i o n o f light. I t w a s his specific technique, consisting of thickly layered and thoroughly worked paint, which imbued w o r k s s u c h as The Train of the Magi w i t h their u n u s u a l intensity of light.

RIK WOUTERS

Woman ironing detail GEORGE

MINNE

Ghent 1 8 6 6 - Latem 1941

Design for the I 'oldersmonument (Solidarity), i8g8 Inv. 2687 P l a s t e r , 68 x 69 x 28 cm Donated by Henry V a n de Velde, 1949

T h e F l e m i s h e x p r e s s i o n i s t s o c c u p i e d a not unimportant place in Western Europe between the t w o W o r l d W a r s . G u s t a v e D e S m e t , F r i t s V a n den Berghe, Albert Servaes and Constant P e r m e k e e a c h c r e a t e d a p e r s o n a l c c u v r e in w h i c h the r u r a l t h e m e in p a r t i c u l a r is a c o m m o n feature. T h e s e artists b e c a m e f a m o u s as the s e c o n d g r o u p to settle in S i n t - M a r t e n s L a t e m . T h e time spent a b r o a d - De S m e t a n d V a n d e n B e r g h e i n the N e t h e r l a n d s , a n d P e r m e k e in B r i t a i n - s e r v e d to o r i e n t a t e t h e i r a r t further t o w a r d s c u b i s m a n d e x p r e s s i o n i s m . A l b e r t S e r v a e s w a s the f i g u r e w h i c h p r o v i d e d the link b e t w e e n the f i r s t a n d s e c o n d g r o u p o f S i n t - M a r t e n s - L a t e m artists. S e r v a e s v i e w e d p e o p l e a n d l a n d s c a p e from a r e l i g i o u s p e r s p e c tive w h i c h led h i m t o d e v e l o p his o w n s t y l e . H i s early works are simple in form and two-dimens i o n a l , b u t a t the s a m e time p o w e r f u l a n d

m o n u m e n t a l . The dying Man, p a i n t e d in 1 9 1 0 and purchased in 1989, recalls J a k o b Smits with its fresh c o l o u r i n g , t w o - d i m e n s i o n a l c h a r a c t e r , the g r a i n y s u r f a c e a n d the l o c a t i o n o f the subject in an e v e r y d a y interior. De S m e t e v o l v e d f r o m his i m p r e s s i o n i s t i c d e b u t t o w a r d s a fairly s t r i c t l y c o n s t r u c t e d b u t s e r e n e e x p r e s sionism. A n y sense of directness a n d spontaneity is t i g h t l y c o n t r o l l e d in The Mussel Eaters. T h e i n t i m a t e , d o m e s t i c s c e n e w i t h its s u b t l e t o n a l i ties, the c u b i s t , s y n t h e t i c s t y l e a n d the m a n n e r in w h i c h s p a c e is r e d u c e d to a flat s u r f a c e , a r e b r o u g h t t o g e t h e r to f o r m a s i n g l e h a r m o n i o u s image. Frits V a n den B e r g h e later b e c a m e more i n t e r e s t e d in city life t h a n in the r u r a l e n v i r o n m e n t . T w o o f the w o r k s i n o u r c o l l e c t i o n complement one another particularly well in

their i l l u s t r a t i o n o f the t w o s i d e s o f his art. I n the r e c e n t l y a c q u i r e d Double Portrait of P.G. Van Hecke and Norine, d a t i n g from 1 9 2 3 / 2 4 , we r e c o g nise the a r t i s t ' s w o r l d l y , i r o n i c a n d c r i t i c a l characteristics, while the melancholy Life, p a i n t e d i n the s a m e y e a r , h i g h l i g h t s the m o r a l i s i n g t e n d e n c y o f his p e r s o n a l i t y . B o t h w o r k s w e r e p r o d u c e d d u r i n g his e x p r e s s i o n i s t p e r i o d . P . G . V a n H e c k e p l a y e d a n i m p o r t a n t role i n B e l g i a n a r t i s t i c life a s a w r i t e r , g a l l e r y o w n e r and promotor of m o d e r n art. T h e rather s a r c a s tic V a n d e n B e r g h e w a s l a t e r d u b b e d the s u r r e a l i s t a m o n g s t the E x p r e s s i o n i s t s , b e c a u s e a r o u n d 1 9 2 9 h e left the p u r e e x p r e s s i o n i s t fold and turned increasingly towards p h a n t a s m a g o ria. T h e m u s e u m ' s c o l l e c t i o n i s p a r t i c u l a r l y w e l l - e n d o w e d w i t h his w o r k from the 1 9 3 0 - 3 9 period.

GUSTAVE

VAN

WOESTYNE

Ghent 1881 - Ukkel 1947 The two Springs, igio Inv. 2044 C a n v a s , 73 x 63 cm L o w e r left: G u s t a v e V a n d e Woestyne 1923 Purchased in 1927

GUSTAVE

VAN

WOESTYNE

Ghent 1 8 8 1 - Ukkel 1947 Gaston and his Sister, 1923 Inv. 3 2 1 1 C a n v a s , 2 0 4 x 204 cm Lower right: Gve V A N Purchased in 1984

DE WOESTYNE

1923

JAKOB

SMITS

Rotterdam 1 8 5 5 - Achterbos (Mol) 1928 The Train of the Magi Inv. 2 3 2 5 C a n v a s , 91 x 1 0 0 cm D o n a t e d b y the late E . \ " a n d e n B o s c h . 1 9 3 6

C o n s t a n t P e r m e k e , the p u r e s t e x p r e s s i o n i s t , portrayed m a n as crushed and deformed by work, with broad, hard contours and monochr o m e tints. H e p a i n t e d f a r m w o r k e r s a n d fishermen, large seascapes, imposing landscapes and large female nudes in a rough and p r i m a r y m a n n e r , but with a sense of e m p a t h y . H i s O s t e n d Fisherwoman, r o b u s t , like a m a s s i v e b l o c k b e a r i n g the m a r k o f life's t r a g e d y , sits a n d waits. Permeke used a sombre range of colours w i t h b l u i s h g r e y tones. H i s p r e f e r e n c e for m o n o c h r o m e i s e v e n m o r e s t r i k i n g i n the a n g u l a r a n d l i n e a r Vespers o f 1 9 2 7 . Hippolyte Daeye, Edgard Tytgat, J e a n Brusselmans and Leon Spilliaert - rather more isolated figures w h o , nonetheless, h a d certain points of contact with e x p r e s s i o n i s m - develo p e d a new content a n d style through their o w n particular temperaments. Hippolyte Daeye s p e n t the p e r i o d b e t w e e n 1 9 1 4 a n d 1 9 2 0 i n Britain, where he w a s in contact with G u s t a v e V a n de Woestyne, Edgard Tytgat and Constant P e r m e k e . I t w a s d u r i n g this p e r i o d t h a t h e w a s introduced to other modernist tendencies in E u r o p e a n a r t . H e w a s f a s c i n a t e d b y the w o r k o f M o d i g l i a n i , as he w a s following a similar path t o w a r d s s t r i p p i n g d o w n the p o r t r a i t g e n r e t o its e s s e n c e . A p a r t from the o u t w a r d f o r m , h e a l s o s o u g h t to c r e a t e the e x p e r i e n c e of s e e i n g . Despite Daeye's apparently spontaneous m e t h o d o f w o r k i n g , h e s t u d i e d the m o d e l for a g r e a t d e a l of t i m e u n t i l a s y n t h e s i s b e g a n to ALBERT

SERVAES

Ghent 1 8 8 3 - Lucerne (Sw.) 1966 GUSTAVE DE SMET

Ghent 1877 - Deurle 1943 The Mussel Eaters Inv. 2 1 6 0 C a n v a s , 93 x 1 2 3 cm D o n a t e d b y the G o v e r n m e n t 1 9 3 0

The dying Man, Inv. 3 2 8 1

igio

C a n v a s , 99 x 88 cm P u r c h a s e d in 1988

d e v e l o p , b r i n g i n g w i t h it a n e c e s s a r y d e g r e e of d e f o r m a t i o n . Serenity is s i m p l e in c o n s t r u c t i o n a n d h i g h l y refined i n its c o l o u r i n g . D a e y e ' s p a l e t t e i s u n u s u a l l y i n t e n s e i n this w o r k , i n w h i c h , as c u s t o m a r y , a single figure situated a g a i n s t a n a b s t r a c t b a c k g r o u n d f i l l s the c a n vas. A l t h o u g h l e a n i n g t o w a r d s e x p r e s s i o n i s m , the paintings o f J e a n B r u s s e l m a n s are m o r e cont r o l l e d i n c h a r a c t e r . T h e s t r u c t u r e o f his c a n v a s e s i s p a r a m o u n t , a n d i t i s his i m p r e s s i o n s o f n a t u r e w h i c h then h a v e t o y i e l d , thereby r e s u l t ing i n s t r i c t l y c o n s t r u c t e d c o m p o s i t i o n s . T h e y are carefully ordered, but retain a playful quality t h r o u g h their l i v e l y c o l o u r i n g a n d r h y t h m a s w e see i n Spring a n d Pajottenland. T h e m u s e u m h a s t w e l v e p a i n t i n g s b y this h i g h l y i n d i v i d u a l f i g u r e w i t h i n F l e m i s h e x p r e s s i o n i s m , three o f w h i c h w e r e d o n a t e d b y the a r t i s t ' s son i n 1981. W a s Spilliaert an expressionist, a symbolist o r a s u r r e a l i s t ? M o s t o f his w o r k s h a v e s o m e t h i n g of a s u r r e a l a t m o s p h e r e , w i t h every t h i n g bound up synthetically, and he w a s able to c o n v e y the e s s e n c e of his s u b j e c t w ith s p a r i n g u s e o f m a t e r i a l s . H e d i d not w o r k after n a t u r e , but r a t h e r s u g g e s t s a m e m o r y o f r e a l i t y , p r e f e r -

ring w a t e r colours, g o u a c h e a n d coloured pencils to oil p a i n t s . T h e a r t i s t ' s Self Portrait reflected in a m i r r o r is e x e c u t e d in s y m b o l i c light-dark water colours. O s c a r J e s p e r s i s o n e o f the m o s t i m p o r t a n t representatives of expressionist sculpture. He m a d e his d e b u t a s a n i m p r e s s i o n i s t , b u t c h a n g e d his v i e w s u n d e r the i n f l u e n c e o f s e v e r a l revolutionary impulses. His works are simple a n d p u r e i n f o r m . T h e h u m a n f i g u r e o f The Hooded Cloak e x e c u t e d in taille directe is s t r i p p e d d o w n to a s t r i c t l y c l o s e d f o r m .

FRITS

VAN

DEN

BERGHE

Ghent 1883 - 1939 Double Portrait of P.G. van Hecke and his Wife Norine Inv. 3268 Canvas. 1 6 1 x 1 2 1 cm Purchased in 1987 FRITS

VAN

DEN

BERGHE

Ghent 1883 - 1939 Life

Inv. 2527 Canvas, 1 3 1 x 141 cm Purchased in 1942

CONSTANT

PERMEKE

A n t w e r p 1 8 8 6 - Ostend 1 9 5 2 Fishtruoman. 1920 Inv. 2 1 7 9 Panel. 1 0 0 x 1 2 4 cm L o w e r r i g h t : Permeke 1 9 2 0 Oosiende Donated b> F. Franck 1 9 3 0

CONSTANT

P E R M E K E

Antwerp 1 8 8 6 - O s t e n d 1952 Vespers, ig2y Inv. 2779 Panel, 1 2 8 x 1 4 9 cm L o w e r c e n t r e : P e r m e k e ; l o w e r left: 1 9 2 7 Purchased in 1 9 5 3

LEON

SPILLIAERT

Ostend 1 8 8 1 - Brussels 1946 Self Portrait Inv. 3 1 0 7 W a t e r c o l o u r on p a p e r , 6 x 50 cm Purchased in 1 9 7 2

HIPPOLYTE

DAEYE

Ghent 1873 - Antwerp 1952 Serenity Inv. 2229 C a n v a s , 91 x 74.5 cm L o w e r right: D a e y e Purchased in 1 9 3 2

OSCAR

JESPERS

Borgerhout 1887 - Sint-Lambrechts-Woluwe 1970 The hooded Cloak Inv. 2066 W h i t e stone, 89 x 31 cm Reverse: Osc. Jespers D o n a t e d b y the F r i e n d s o f M o d e r n A r t i n 1 9 2 6

JEAN

BRUSSELMANS

Brussels 1 8 8 1 - Dilbeek 1 9 5 3 Spring, 1935 I n v . 2967 Canvas, 1 5 1 x 1 5 1 cm L o w e r left: J e a n B r u s s e l m a n s 1 9 3 5 Purchase

Rik Wouters

RIK WOUTERS

Mechelen 1882 Amsterdam 1 9 1 6 Woman ironing Inv. 1 9 3 2 C a n v a s . 107 x 1 2 3 cm Purchased in 1 9 2 3

T h e m u s e u m ' s collection features 1 0 9 w o r k s b y R i k W o u t e r s , t h a n k s in p a r t to the r e c e n t donation of 58 works by L u d o van BogaertS h e i d . W o u t e r s , the m o s t i n t e r e s t i n g o f the B r a b a n t f a u v i s t s , w a s a w a r e o f the n e w p o s s i b i l ities o f e x p r e s s i o n offered b y c o l o u r . B r a b a n t f a u v i s m is a t e r m a p p l i e d to the w o r k of a n u m b e r o f p a i n t e r s a c t i v e i n the B r u s s e l s r e g i o n (the p r o v i n c e o f B r a b a n t ) i n the p e r i o d a r o u n d 1 9 1 0 - 2 3 , w h o are related to French fauvism. T h e artists w e r e friends w h o exhibited together, b u t d i d not r e a l l y f o r m a c o h e r e n t g r o u p . S o m e o f t h e m o n l y a d h e r e d t o f a u v i s m for p a r t o f their c a r e e r . T h e h o m e o f A u g u s t e Oleffe w a s a m e e t i n g p l a c e for E d g a r d T y t g a t , J e a n B r u s s e l mans, Anne-Pierre de K a t and Rik Wouters, the s t a r o f the g r o u p .

o b s e r v e d feasts o f c o l o u r . T h e c h a o t i c f e e l i n g s a n d p r o b l e m s o f the w a r p e r i o d a r e barelyd e t e c t a b l e in his w o r k . Woman ironing is o n e of m a n y paintings inspired by Nel at work. She l o o k s up in s u r p r i s e in a b r i g h t r o o m filled w i t h shimmering sunlight. T h e colours are muted to f o r m s u b t l e v a r i a t i o n s o f soft y e l l o w , p a l e p i n k a n d w a t e r y g r e e n a c r o s s the e n t i r e s u r f a c e o f the c a n v a s . T h i s p a i n t i n g w h i c h d a t e s from 1 9 1 2 i s the f i r s t o f W o u t e r s ' w o r k s t o b e p u r c h a s e d b y the m u s e u m i n 1 9 2 3 . W o u t e r s p a i n t e d h i m s e l f d u r i n g his i l l n e s s in Rik with a black Eye Patch, which followed a second operation in 1 9 1 5 . T h e c a n v a s i s d i v i d e d into l a r g e p a t c h e s o f c o l o u r : the d e e p r e d o f the c u r t a i n , the m e l a n c h o l y b l u e o f his p y j a m a s a n d the b l u e - b l a c k a r m c h a i r . D e s p i t e all his t r o u b l e s , W o u t e r s c o n t i n u e d t o w o r k w i t h a n u n f o r g e t t a b l e i n t e n s i t y u n t i l the very end.

Wouters painted sun-drenched landscapes, brilliant portraits with b r o a d green a n d blue strokes, a n d sunny rooms filled with vibrant light. H i s u n u s u a l v i t a l i t y i s a p p a r e n t from the fact that he c o m p l e t e d this c e u v r e in a p e r i o d of less t h a n ten y e a r s . H e d r e w , p a i n t e d a n d m o d e l l e d the life a r o u n d h i m - his wife N e l , the l a n d s c a p e o f B o s v o o r d e , c h i l d r e n a n d still lifes. H e r a r e l y d e v i a t e d i n his p a i n t i n g s from his

W o u t e r s a l s o m a n a g e d t o i m b u e his s c u l p t u r e s w i t h the s a m e i m p r e s s i o n i s t i c t o u c h a s his p a i n t i n g s . N e l w a s o n c e a g a i n his m o d e l for Reverie, a u n i q u e , s l i g h t l y l a r g e r t h a n life-size w o r k . T h e m a t u r i t y o f the f i g u r e i s a c c e n t u a t e d b y the a l m o s t c l o s e d c o m p o s i t i o n , a n d a g r e a t deal of e m p h a s i s is p l a c e d upon a c h i e v i n g a plastic, round representation of volume. T w o s c u l p t u r e s a r e p a r t i c u l a r l y e y e - c a t c h i n g : Mad

RIK W O U T E R S

Mechelen 1882 - Amsterdam 1 9 1 6 Rik with a black Eye Patch Inv. 3297 C a n v a s , 102 x 85 cm D o n a t e d b y L u d o v a n B o g a e r t - S h e i d i n 1989

Force a n d Household Cares, b o t h on l o a n to the Middelheim Open Air Museum in Antwerp. T h e latter represents a m o m e n t of reflection, w h i l e the f o r m e r s h o w s the letting g o o f all control. W o u t e r s ' progressive attitudes are reflected in the r e t u r n to the c l a s s i c a l , b r e a k i n g w i t h p a t h o s a n d r o m a n t i c i s m . H e tries t o c a p ture n a t u r e i n its o u t w a r d a p p e a r a n c e a n d c o n c e n t r a t e s o n its v o l u m e i n s p a c e , the m o v e m e n t o f this s i n g l e f i g u r e , a n d the c o n s t r u c t i o n o f the h u m a n b o d y .

GEORGES

ROUAULT

Paris 1 8 7 1 - 1958 Newspaper Vendor, igog Inv. 2792 P a p e r and w o o d , 50 x 40 cm L o w e r right: G. Rouault 1909 Purchased in 1 9 5 3

RIK

WOUTERS

Mechelen 1882 - Amsterdam 1 9 1 6 Reverie Inv. 2056 Bronze, 1 9 3 x 50 cm L o w e r left s i d e : R i k W o u t e r s D o n a t e d b y E . M i s t i e r t h r o u g h the i n t e r m e d i a r y o f Artibus Patriae in 1 9 2 7

Modern

International Masters

A l t h o u g h they c a n n o t b e s u m m e d u p u n d e r a single heading, we certainly cannot ignore a series of i m p r e s s i v e n a m e s - a r t i s t s of i n t e r n a t i o n a l s t a t u r e w h o h e l p e d d e t e r m i n e the c h a r a c ter of the 2 0 t h c e n t u r y a r t i s t i c s c e n e . A n u m b e r o f f o r e i g n m a s t e r s a r e r e p r e s e n t e d i n the m u s e u m ' s collection, thanks in particular to p u r c h a s e s s t i m u l a t e d b y the ' F r i e n d s o f M o d e r n Art', and a variety of donations. L o v i s Corinth w a s o n e o f the l e a d e r s o f G e r m a n i m p r e s s i o n i s m . H e p a i n t e d the e x p r e s s i o n i s t i c p o r t r a i t o f Georg Brandes, the D a n i s h c r i t i c , in 1 9 2 5 , the y e a r of B r a n d e s ' d e a t h . The Newspaper Vendor ( 1 9 0 9 ) b y the F r e n c h m a n G e o r g e s R o u a u l t , w h o w a s p a r t i c u l a r l y i n t e r e s t e d i n p e o p l e o n the

RAOUL

fringes of s o c i e t y , is f a u v i s t in c h a r a c t e r . A n o t h e r F r e n c h m a n , R a o u l D u f y , e x e c u t e d his w a t e r c o l o u r Anemones w i t h b r i g h t , j o y f u l c o l o u r ing of typical fauvist sumptuousness. A m e d e o M o d i g l i a n i , a n I t a l i a n a r t i s t from a r o u n d the t u r n o f the c e n t u r y , w h o w o r k e d i n P a r i s , w a s a leading sculptor and painter. His monumental Sitting Nude w a s a gift of the g o v e r n m e n t . M a r c C h a g a l l , meanwhile, w a s a quiet modernist w h o l i v e d i n a u n i v e r s e all o f his o w n . H i s s e n s e o f c o l o u r is e v i d e n t from At the Window, w h i c h is dated around 1927-28. Like Henri Matisse and Maurice De Vlaminck, Kees van Dongen was o n e o f the f o u n d e r s o f f a u v i s m . H e p a i n t e d Mgr. G. Messarra, Metropolitan of Beirut w h e n f a u v i s m h a d a l r e a d y p a s s e d its p e a k , a n d h e d e d i c a t e d himself to portraits of figures from w o r l d l y and

DUFY

Le H a v r e (Fr.) 1877 - Forcalquier (Fr.) 1 9 5 3 Anemones Inv. 2286 W a t e r c o l o u r , 65 x 49 cm L o w e r left: R a o u l D u f y Purchased in 1 9 3 4

LOVIS CORINTH

T a p i a u (East Prussia) 1858 - Zandvoort 1 9 2 5 Georg Brandes, 1925 Inv. 2452 C a n v a s , 91 x 70 cm U p p e r left: L o v i s C o r i n t h 4 A p r i l 1 9 2 5 Purchased in 1 9 3 9

official c i r c l e s w i t h a c e r t a i n e l e m e n t of l i g h t h e a r t e d m o c k e r y . G e o r g G r o s z ' s Portrait of Walter Mehring w a s p u r c h a s e d at the f a m o u s a u c t i o n o f ' D e g e n e r a t e A r t ' in L u c e r n e in 1 9 3 9 . T h i s is a fine e x a m p l e of the G e r m a n Neue Sachlichkeit. T h e m u s e u m h a s a l s o a c q u i r e d three s c u l p t u r e s i n different m a t e r i a l s b y O s s i p Z a d k i n e , o n e o f the m o s t i m p o r t a n t s c u l p t o r s o f the 2 0 t h cent u r y . T h e e a r l i e s t of these, The Suffering of Job, e x e c u t e d i n 1 9 1 4 , a n d w h i c h w a s d o n a t e d b y the artist himself, is a s t y l i s e d , e x p r e s s i o n i s t w o r k .

MARC

CHAGALL

Vitebsk (Ru.) 1887 - Saint-Paul-de-Vence 1985 At the Window Inv. 2280 P a p e r and o p a q u e water colour, 65 x 50 cm L o w e r right: C h a g a l l M a r c D o n a t e d b y the F r i e n d s o f M o d e r n A r t 1 9 3 2

AMEDEO

MODIGLIANI

Livorno 1 8 8 4 - Paris 1920 Sitting Nude Inv. 2060 Canvas, 1 1 4 x 74 cm U p p e r right: Modigliani D o n a t e d b y the G o v e r n m e n t i n 1 9 2 7

GEORG

GROSZ

Berlin 1893 - 1959 Portrait of Walter Mehring Inv. 2454 C a n v a s , 90 x 80 cm Purchased in 1 9 3 9

OSSIP Z A D K I N E

Smolensk (Ru.) 1890 - Neuilly-sur-Seine (Paris) The Suffering of Job, 1914 Inv. 2338 E l m wood, 1 2 3 x 84 cm Front right: Zadkine 1 9 1 4 D o n a t e d b y the artist i n 1 9 3 6

KEES

VAN

DONGEN

Delfshaven 1877 - Monte C a r l o 1968 Mgr. Gerassimos Messarra, Metropolitan of Beirut Inv. 2 3 5 1 Canvas, 2 1 8 x 1 2 5 cm L o w e r right: V a n Dongen Purchased in 1 9 3 7

1967

Before

ig45

c o m p l e x compositions. His resolute message is c o n v e y e d by b o t h the g e o m e t r i c a l Opus 20 of 1 9 2 2 , a n d The Domain of the Water, a c o s m i c w o r k i n w h i c h h e u s e s the s t r u c t u r e o f the b a s e m a t e r i a l , a t r i p l e x sheet, t o s u g g e s t w a v e m o v e m e n t s . L i k e S e r v r a n c k x , w h o w a s a friend a n d c o r r e s p o n d e n t o f the f u t u r i s t s , J u l e s S c h m a l z i g a u g w a s a l s o p a r t i c u l a r l y a t t r a c t e d t o futurist a r t . H e i s the o n l y B e l g i a n futurist, a n d h i s w o r k consists primarily of w a t e r colours a n d d r a w i n g s , w i t h a total of o n l y t h i r t y oil p a i n t i n g s . S e v e n o f h i s w o r k s w e r e d o n a t e d t o the m u s e u m b y the a r t i s t ' s f a m i l y , i n c l u d i n g the r e v o l u t i o n a ry Impression of a Dance Hall d a t i n g from 1 9 1 4 .

T h e first g e n e r a t i o n o f a b s t r a c t a r t i s t s a c t i v e i n B e l g i u m d u r i n g a n d after the F i r s t W o r l d W a r included J o z e f Peeters, G e o r g e s v a n Tongerloo, Jules Schmalzigaug, Victor Servranckx and J a n K i e m e n i j . V a n T o n g e r l o o i s not r e p r e s e n t e d i n the m u s e u m . J o z e f P e e t e r s w a s A n t w e r p ' s d e f e n d e r o f the c o n s t r u c t i v i s t i d e a l , w h i c h w a s based u p o n form, geometry and surface structure. Composition, d a t i n g from 1 9 2 1 , i s his painted manifesto. It is brightly coloured with o v e r l a p p i n g surfaces, with m o v e m e n t a n d dist a n c e c r e a t e d b y the p r o p e r t i e s o f the c o l o u r s . B e f o r e P e e t e r s w i t h d r e w from the a v a n t - g a r d e f r a y i n 1 9 2 7 h e w a s a f o u n d e r o f the M o d e r n A r t group, he organised conferences and exhibitions and contributed to magazines. V i c t o r Servr a n c k x a l s o h a d t o d e f e n d a b s t r a c t art b y m e a n s o f a r t i c l e s a n d a d d r e s s e s b e c a u s e o f the r e s i s t a n c e w h i c h i t a r o u s e d . T h e t w o e x t r e m e s o f this p i o n e e r i n g a r t i s t ' s w o r k a r e p r e s e n t i n the museum. His paintings are sometimes w a r m l y lyrical, with a suggestion of m o v e m e n t a n d chaos, a n d sometimes strictly constructive with

' T h e G e n e r a t i o n of 1 9 0 0 ' , a collective n a m e g i v e n to artists born a r o u n d 1 9 0 0 , can be b r o a d l y split into t w o t r e n d s . O n the o n e h a n d t h e r e w e r e a n i m i s t s like A l b e r t V a n D y c k a n d J o z e f V i n c k , w h o sought through a process of internalisation to achieve an intimate realism, w h i l e o n the o t h e r t h e r e w e r e the s u r r e a l i s t s Paul Delvaux, Rene Magritte and E . L . T . Mesens, who created alien worlds with concrete and f a m i l i a r d e t a i l s . P a u l D e l v a u x p a i n t e d his Pink Snares i n a n a l m o s t f r u g a l s t y l e . T h e t h e a t r i c a l

JOZEF

VICTOR SERVRANCKX

PEETERS

A n t w e r p 1895 - i960

Diegem 1897 - Vilvoorde 1965

Composition,

OpUS 20, IQ22

1921

Inv. 2924

Inv. 3 1 4 2

C a n v a s , 150 x 150 cm

C a n v a s , 70 x 45 cm

L o w e r left: J . P . / 2 2 - 1 0 - 2 1 /

L o w e r left: 1 9 2 2 S e r v r a n c k x

Purchased in 1961

Purchased in 1 9 7 5

VICTOR

SERVRANCKX

Diegem 1897 - Vilvoorde 1965 The Domain of the Water (Opus 2), 1927 Inv. 3 0 5 9 T r i p l e x , 70 x 45 cm L o w e r left: S e r v r a n c k x 1 9 2 7 P u r c h a s e d in 1 9 6 8

d e c o r a n d the a n t i q u e b u i l d i n g s f o r m a s p a c e for a group of naked women w h o have just stepped out of a d r e a m w o r l d . R e n e M a g r i t t e had an e n o r m o u s i n f l u e n c e u p o n the d e v e l o p m e n t o f i n t e r n a t i o n a l c o n t e m p o r a r y a r t . I n 1 9 8 5 , the museum purchased the sculpture Madame Recamier by this m a r v e l o u s t r a n s f o r m e r of o b j e c t s , w h o c r e a t e d s u r p r i s i n g effects b y linking hitherto unconnected items. H i s w o r k s a r e not e x p l a i n e d b y their p o e t i c titles. O n the contrary, even greater mystery is aroused t h r o u g h the l i n k i n g o f w o r d a n d i m a g e , a s i n Vengeance.

RENE

MAGRITTE

Lessines 1898 - Brussels 1967 Vengeance Inv. 2569 W a t e r colour, 47 x 35 cm U p p e r right: Magritte Purchased in 1 9 3 9

JULES

SCHMALZIGAUG

A n t w e r p 1 8 8 6 - Delft 1 9 1 7 Impression of a Dance Hall, 1914 I n v . 2 1 0 0 bis C a n v a s , 53 x 65 cm L o w e r right: Schmalzigaug 1 9 1 4 D o n a t e d b y the a r t i s t ' s f a m i l y , 1 9 2 8

PAUL

DELVAUX

Antheit 1897 Pink Snares, ig^y Inv. 2850 C a n v a s , 1 2 1 . 5 x 160 cm L o w e r right: P. Delvaux 2-37 P u r c h a s e d .in 1 9 5 7

After JAN

ig45

Abstract

СОХ

art,

which

Belgium

My Father in

trends - the g e o m e t r i c w i t h J o

igyj

Inv. 3 1 3 1 C a n v a s , 243 x 1 2 7 cm R e v e r s e : ' M y father i n c o m a ' J a n C o x 1 9 7 3 Purchased in 1 9 7 4

after

1920,

Coma,

flourished

began

T h e Hague 1 9 1 9 - Antwerp 1980

1945.

The

before

two

main

Delahaut,

Luc

P e i r e a n d G u y V a n d e n b r a n d e n , a n d the e x p r e s sionistic

Mortier,

Louis

lyrical

Van

Lint

abstract and

Anderlecht - are represented

of Antoine

Englebert

van

i n the m u s e u m ' s

collection. T h e artists' m o v e m e n t ' J e u n e Peinture B e i g e ' w a s founded in 1 9 4 5 , and w a s joined by Pierre Alechinsky,

Jan

Cox,

Louis

Van

Lint

and

A n t o i n e M o r t i e r , a l t h o u g h it did not give birth to

uniform

style.

Jan

Cox,

painter

pictorially rich portraits a n d figures, has been dubbed

subjects,

classical which

fragments

based

civilisation, images.

modernist

are

often

upon

together

Like Cox,

Antique with

because

colourful, and

visions

Louis V a n

of his ethereal

Christian

and

dream

L i n t w a s inter-

ested-in the C o b r a m o v e m e n t . H i s e x p e r i m e n t s led

him

the

creation

of lyrically

abstract

c a n v a s e s . T h e s t r u c t u r e o f h i s Chartres ( 1 9 5 0 ) i s determined

LOUIS VAN

powerful

rhythm

LINT

Sint-Joost-ten-Node 1 9 0 9 - Brussels 1980 Chartres,

ipjo

Inv. 2707 Canvas, 1 5 1 x 106.5

L o w e r left: L . V a n L i n t 5 0 Purchased in 1950

applied

t o p o f the c o l o u r like n e r v o u s h a n d w r i t i n g . T h e lyrical abstraction of Antoine Mortier is more passionate, and it is Mortier w h o m a y be v i e w e d as B e l g i u m ' s 'action painter'. His spont a n e o u s g e s t u r e s a r e like a r e l e a s e , l e a v i n g d y n a m i c t r a c e s b e h i n d o n the c a n v a s . I n 1 9 6 6 , r a w a n d e m o t i o n a l , he p a i n t e d The third Pair, with powerful stripes, a true u n b u r d e n i n g . We find a similar tendency towards expressionism i n the C o b r a m o v e m e n t - a n i n t e r n a t i o n a l g r o u p i n g of poets and artists such as K a r e l A p p e l a n d Pierre A l e c h i n s k y w h i c h w a s fascin a t e d b y the m a t e r i a l s , c o l o u r , w r i t i n g a n d i m a g e s i t f o u n d i n the w o r l d o f p r i m i t i v e p e o p l e s , c h i l d r e n a n d the m e n t a l l y ill. I n h i s Flying Man d a t i n g from 1 9 5 8 , K a r e l A p p e l combined bright colours and raw, passionate forms to p r o d u c e a d i s p l a y of action painting. The last Day ( 1 9 6 4 ) is a m o n u m e n t a l oil p a i n t i n g w h i c h is v i e w e d as a h i s t o r i c p e a k in the evolution of Alechinsky's C o b r a adventure. A c c o r d i n g to the artist, the title of the w o r k refers t o the i d e a o f d e a t h . I n the m i d s t o f prevailing chaos we discover strange creatures in a c o l o u r f u l w h i r l w i n d .

T h e years 1960-70 saw a great deal of experim e n t a t i o n . T h e a i m o f the i n t e r n a t i o n a l a v a n t garde group called ' Z e r o ' w a s to find a symbiosis b e t w e e n n a t u r e , a r t a n d t e c h n o l o g y . A m a j o r exhibition entitled ' Z e r o International A n t w e r p ' w a s m o u n t e d i n the m u s e u m i n 1 9 7 9 , w h i c h l e d to a n u m b e r of p u r c h a s e s . Concetto Spaziale, w i t h its r a z o r c u t s , by the s p i r i t u a l f a t h e r o f the Z e r o g r o u p , L u c i o F o n t a n a , w a s b o u g h t , as w e r e Big Sun a n d the s e r i a l Nail Object b y O t t o P i e n s a n d G t i n t h e r U e c k e r r e s p e c t i v e l y , b o t h o f w h o m b e l o n g e d t o the G e r m a n c o r e o f the m o v e m e n t . T h e k e y f i g u r e a s f a r a s the Z e r o m o v e m e n t i n B e l g i u m w a s c o n c e r n e d , w a s J e f V e r h e y e n w i t h his m o n o c h r o m e paintings. P u r e m o n o c h r o m e is u s e d in his w o r k to s u g g e s t infinite s p a c e . Variation is o n e of h i s w e l l - k n o w n " r a i n b o w tint p a i n t i n g s ' , from w h i c h a r a d i a n t light i s c o n j u r e d . I t w a s t h r o u g h the p e r s o n o f J e f V e r h e y e n that the internationally oriented g r o u p 'G 58 - Hessenh u i s ' c a m e into c o n t a c t w i t h the G e r m a n Z e r o m o v e m e n t . T h e g r o u p p r o v i d e d a n artistic m e e t i n g p l a c e i n A n t w e r p for d e m o n s t r a t i o n s and exhibitions, and boasted honorary mem-

KAREL

APPEL

Amsterdam 1921 Firing Man. igj8 Inv. 2897 Canvas, 145 x 1 1 4 cm L o w e r right: K. Appel 58 Purchased in 1 9 5 9

ANTOINE

MORTIER

'Sint-Gillis (Brussels) 1908 The third Pair, ig66 Inv. 3047 C a n v a s , 1 9 5 x 146 cm L o w e r r i g h t : M o r t i e r 9-66 Purchased in 1968

bers like R e n e Guiette and J o z e f Peeters, and members including V i c Gentils, Paul V a n H o e y d o n c k a n d W a l t e r L e b l a n c . T h e s e artists experimented with new materials. V i c Gentils created spatial compositions by combining wooden materials and objects like frames, driftw o o d , furniture legs and hat blocks, w h i c h he scorched with a blow l a m p or sandblasted. T h e s e heterogenous objects were combined to form b a r o q u e figures, charged with irony a n d / or humour. Homage to Permeke developed into a pure sculpture, while Sun Explosion is a lively relief m a d e from piano keys and h a m m e r s , and felt. After setting out with abstract, monochrome c a n v a s e s , Paul V a n H o e y d o n c k discovered an entirely new figuration: his w o r k is associated with space travel and the planets. He gives concrete form to the new mythology which

has g r o w n up around j o u r n e y s of exploration in space, by means of assembled astronauts, cosmonauts and mutants. H i s Spacemen are put together using all kinds of materials, including little wheels, machine parts and rags, w h i c h he sprays white in order to indicate the infinity of the universe. T h e sculptor Roel D ' H a e s e is also inspired by new materials, and he attaches a great deal of importance to craftsmanship. T h e large equestrian statue Song of Evil is his most monumental and most recent self-cast statue. He began by fashioning the hind legs, then the body, the front legs, the head and the rider. It is his d r a m a t i c manifesto, in which he views the worst enemy of mankind as mankind itself. D ' H a e s e occupies a leading position in p o s t - w a r Belgian sculpture.

LUCIO FONTANA

Rosario de Santa Fe (Arg.) â&#x20AC;˘969 Concetto Spaziale Inv. 3 1 9 7 C a n v a s , 92 x 58 cm Purchased in 1980

PIERRE

ALECHINSKY

Brussels 1927 The last Day Inv. 3 0 3 9 C a n v a s , 330 x 500 cm L o w e r right: Alechinsky P u r c h a s e d in 1 9 6 8

1 8 9 9 - C o m a b b i o (It.)

OTTO

PIENE

Laasplu (Ger.) 1928 Big Sun, ig6j Inv. 3 1 9 6 C a n v a s , 2 0 0 x 2 0 0 cm On reverse: Piene 65 P u r c h a s e d in 1 9 8 0

GUNTHER

UECKER

Wendsdorf (Ger.) 1 9 3 0 Nail Object Inv. 3202 Panel, 1 5 0 x 1 5 0 cm Purchased in 1981

J E F

VERHEYEN

Izegem 1932 Saint-Saturnin D'Apt 1984 Variation Inv. 3063 C a n v a s , 1 3 0 . 5 x 1 3 0 . 5 cm Purchased in 1968

VIC

GENTILS

Ilfracombe (Eng.) 1 9 1 9 Homage to Permeke Inv. 3070 W o o d , 75 x 60 cm Reverse: H o m m a g e a Permeke 1964 V i c Gentils L o a n e d b y the M i n i s t r y o f the F l e m i s h C o m m u n i t y

PAUL VAN

HOEYDONCK

Antwerp 1925 Spaceman, ig6y Inv. 3045 Mixed media, 2 1 1 x 1 1 2 cm R e v e r s e r i g h t : P . V . H o e y d o n c k oct. 6 7 Purchased in 1968

ROEL

D'HAESE

Geraardsbergen 1921 The Song of Evil,

•

1Ф4

Inv. 3038 B r o n z e , 2 2 7 x 87 cm Side right: Roel D ' H a e s e 1964 P u r c h a s e d in

1968