Masterpieces of the sea

MASTERPIECES OF THE SEA

A SEA OF INSPIRATION

The sea gives and the sea takes, according to folk wisdom. The sea also inspires. Sometimes subtly, in small details or a maritime colour palette. But often openly and overtly. The sea therefore offers artists a... sea of themes and angles: from a hushed seascape to a personal view of beach life, from tough sailor symbols to fantasy figures and mermaids.

For Masterpieces of the Sea, curator Annelies Ysebaert selected 12 Flemish masters who have a connection with or were inspired by the sea, the coast and maritime life. Some were true children of the sea and lived there, others were constantly drawn to it. All developed their own personal style throughout their oeuvre.

With this experience guide, we take you from the far east of our coastline in Knokke almost all the way to the west in Koksijde, with two excursions inland to Veurne and Jabbeke. It will be a trip through times and styles: from the 17th to the 20th century, from paintings to sculptures, from world-famous Belgian artists to lesser-known Flemish masters, from the Baroque to Surrealism...

Some works can be admired in their ‘natural’ setting such as a church or the Kursaal, others are displayed in a museum entirely dedicated to the artist concerned or among works by other painters. And to fully immerse yourself in their world of thinking and living, you can even explore some masters’ authentic studios or former homes.

Coast and art, a world apart. But when both come together, completely new vistas open up to you. Step inside coastal museums, churches, studios or other buildings and discover the power of these Masterpieces of the Sea.

TABLE OF CONTENTS

FLEMISH MASTERS

their masterpieces in text and images

• Anna Boch

• Vigor Boucquet

• Marcel Broodthaers

• Jean Brusselmans

• Paul Delvaux

• James Ensor

• Georges Grard

• René Magritte

• Frans Masereel

• Luc Peire

• Constant Permeke

• Léon Spilliaert

PERMANENT CULTURAL OFFERING

The Coast linked to Flemish masters

ART BY THE SEA:

General cultural offerings on the Coast

MASTERS BY THE SEA

Tourism Flanders

STYLISH ACCOMMODATION

THE COAST PRACTICAL

‘SHE WAS ONE OF THE FEW FEMALE ARTISTS WHO ACTIVELY PARTICIPATED IN THE AVANT-GARDE ART SCENE’

ANNA BOCH

(1848 — 1936)

Anna Boch was fascinated by James Ensor and often took inspiration from the Belgian coast and Ostend in her work. You can see one of her works in Mu.ZEE’s permanent collection.

Born into a wealthy family of art lovers, Boch was exposed to art and culture from an early age. She developed a passion for painting and studied at several art academies in Europe. She is considered one of the most important (Belgian) female artists of her time.

Boch was a pioneer in her time, especially in the field of impressionism and post-impressionism. She was one of the few female artists who actively participated in the avant-garde art scene of her time, enjoying international recognition and respect for her work. One of her best-known works is ‘The Swans’, a painting depicting a group of swans swimming peacefully on a lake. The work is characterised by vibrant colours and loose, impressionistic brushstrokes.

PATRON AND ART COLLECTOR

Anna Boch was also inspired by the Belgian coast and Ostend, so the North Sea is also often featured in her oeuvre. The artist also had a great fascination for Ensor, from whom she acquired the work “La musique russe”.

Boch not only painted, she also supported other artists and was known as a patron and art collector. She was a great admirer of Vincent van Gogh and bought several of his paintings, including his famous work “The Red Vineyard”.

Despite not always receiving the recognition she deserved during her lifetime, Boch is now considered one of the most important female artists of her time. Her work is still admired and appreciated by art lovers around the world, and her legacy as a pioneer in art history continues to live on. In 2023 - 175 years after her birth - she received a tribute at Mu.ZEE with the exhibition “Anna Boch, an impressionist journey”.

DUNES AU SOLEIL (1903)

In this work, Boch presents an impressionist view of the North Sea or the Normandy coast. In a personal and spontaneous way, she juxtaposes paint nuances: commas, hatching and smudges make the variations in light and the colours of nature tangible. The dune tops are highlighted by plants and purple shadows reflecting the power of the sun, while the sea consists of small strokes of colour. The style is reminiscent of pointillism, which is no coincidence: Boch adopted this technique from Seurat around 1891 and then continued to work on it. Boch has always enjoyed painting landscapes and seascapes. Thanks to the wealth of her parents, who produced pottery, she was able to devote herself to painting and travelling without worrying about the future.

© Collectie Museum van Elsene, Brussel

In La Promenade du Dimanche, Anna Boch captures the relaxed atmosphere of a Sunday stroll. With vibrant colours and impressionist-style brushstrokes, she paints a group of figures walking through a leafy area. The playful light and movement in the work create a sense of calm and relaxation, characterising the free Sundays of the bourgeoisie. Boch’s eye for detail and atmosphere creates an intimate moment of harmony between man and nature.

PEIGNANT SUR LA PLAGE (1885)

In this work, Isidore Verhaeghe immortalised Belgian painter Anna Boch, sitting on the edge of a quiet beach, engrossed in her work. With her easel, she symbolises the serenity and dedication of plein air painting, in which artists painted outdoors to capture nature directly in the landscape. The soft colours and flowing lines convey a sense of calm, while Boch’s presence is an ode to her prominent role within the Belgian avant-garde. The painting captures an intimate, creative mood and illustrates both nature and artistry.

LA PROMENADE DU DIMANCHE (1906 - '08)

RETOUR DE LA MESSE (1893 - ‘95)

The work ‘Retour de la messe’ is part of Boch’s mature pointillist period. In 1892, she acquired Georges Seurat’s famous painting “La Seine à la Grande Jatte”, which was a real reference for her later work. Yet she preferred freer, airier brushstrokes without any systematism in her gestures. The figures and houses in this painting are therefore painted with broader strokes. Once Boch had discovered her own style, she did not hesitate to mix different techniques within the same painting. This scene is probably from one of her stays in Knokke-Heist, one of her favourite holiday resorts, where she also produced several works.

PENDANT L’ELEVATION (1893)

Since 1885, Anna Boch has been associated with the artists’ association ‘Les XX’, founded by her cousin Octave Maus. In the painting ‘During Elevation’, Boch clearly revealed the end of her association with ‘Les XX’, after which she joins the group ‘La Libre Esthétique’. Boch increasingly went on to focus on a free and luminous variant of impressionism, characterised by soft brushstrokes and harmonious use of colour. In this work, we again see a warm glow of light, suggested by a dominant purplish pink, which subtly and gently captures the artist’s sensitive lyricism.

‘THE HIGHER YOU CLIMB, THE CLOSER YOU GET TO THE ARTWORK, A UNIQUE EXPERIENCE’

VIGOR BOUCQUET

(1619 — 1677)

Although not as well known as some of his contemporaries, Baroque painter Vigor Boucquet - from Veurne - made a significant contribution to Flemish painting. He was best known for his religious and mythological works. Several of his works are displayed in some of the world’s most famous museums, including the Louvre in Paris. You can also see two of his works in Veurne and Nieuwpoort.

Boucquet was trained as a painter at an early age, quickly developing his own identity as an artist. His style was characterised by bold compositions, expressive figures and vibrant colours. His paintings often depict dramatic scenes from Biblical and mythological stories, compellingly bringing to life the emotions and human drama of the characters.

Besides his religious and mythological works, Boucquet also painted portraits and landscapes, albeit to a lesser extent. His portraits often show rich detail and a sense of individuality, while his landscapes exude a sense of serenity and harmony.

GOTHIC ON THE COAST

In Sint Walburgakerk in Boucquet’s home town of Veurne, you can admire the work ‘Christ washes souls free from purgatory with his blood’. In the 10th century, this church came into possession of the relics of St Walburga and later a relic of the Holy Cross. The church is the only example of a grandiose Gothic church building in the coastal region. The choir with its apse chapels is still early Gothic.

Another work by Boucquet is in Onze-Lieve-Vrouwekerk in Nieuwpoort: “The Judgement of Cambyses”. From a giant staircase, you can admire the church and the painting from a totally different perspective. The higher you climb, the closer you get to the artwork, a unique experience!

THE JUDGEMENT OF CAMBYSES (1671)

Boucquet originally made the canvas for Nieuwpoort town hall, where justice was still being administered by the aldermen at the time. The work tells the story of a corrupt judge from ancient times who was punished for his behaviour: he was skinned alive. Such a ‘justice scene’ was a warning to other judges to judge fairly and with dignity. The painting was probably paid for by a convict, as a form of fine. Today, you can admire the work in the Onze-Lieve-Vrouwekerk in Nieuwpoort.

You can see paintings by Boucquet in several churches in West Flanders. This work hangs in Sint-Walburgakerk in his hometown of Veurne. The canvas was intended for the altar of the Brotherhood of the Dead Souls in Purgatory), which had been founded by pastor Jacob de Wieu. The members begged for God’s mercy for souls in purgatory.

In this rather gory scene, Christ is shown standing in a fountain. In the foreground, two angels are lifting two female figures out of the pool of fire. In 1905, the De Wieu family had the canvas restored.

‘THE MUSSEL POT SYMBOLISES THE BELGIAN COAST AND OUR NATIONAL FOOD CULTURE’

MARCEL BROODTHAERS

(1924 — 1976)

Master provocateur and conceptual artist Marcel Broodthaers did not always receive the recognition he deserved during his lifetime. However, he is now considered one of the most important figures in the conceptual art movement. His world-famous mussel pot is a symbol of our Coast and food culture.

Broodthaers began his artistic career as a poet and writer, but would soon enter the world of visual art and have a lasting influence on the conceptual art movement. One of Broodthaers’ best-known works is “Musée d’Art Moderne, Département des Aigles”, an installation representing a fictional museum of modern art. In this installation, he combined elements of visual art, literature and poetry to examine and question the conventions of the art world.

Another important aspect of Broodthaers’ oeuvre was his use of language as an artistic medium. He often experimented with words, letters and sentences, using language as a means of expressing complex ideas and concepts. His poetic and often cryptic texts were an integral part of his artworks, contributing to their layering and depth.

LOVE OF THE SEA

Besides his installations and poetry, Broodthaers was also active as a filmmaker, making a number of experimental films that explored his interest in language, image and sound. He was fascinated by the coast and shipping and combined his love of film and the sea in the film “A Voyage on the North Sea” (with accompanying book).

One of his most famous works is undoubtedly “Grande Casserole de Moules”, the widely known mussel pot. In creating this high-profile work, Broodthaers tried to create confusion between the terms ‘la moule’ (the mussel) and ‘le moule’ (the mould). In addition, the mussel pot also symbolises the Belgian coast and our national food culture, a tasty harmony between the sea and its regional products.

Even today, his work remains a source of inspiration and debate for artists and critics around the world. His legacy as an innovator of contemporary art continues to live on.

UN VOYAGE EN MER DU NORD (1973)

Broodthaers created both a film and a book with ‘Un voyage en Mer du Nord’. The film unfolds like a book, so to speak: it starts with a title page and is divided by page headings that separate the different ‘takes’ (as in the films). The takes show details of a 19th-century painting of a fishing fleet and photos taken by Broodthaers himself during a sailing trip in the 1970s. The lack of action and camera movements rather resembles a slide show. The undisguised old-school tricks and deliberate winks that Broodthaers incorporated into the film editing connect the pre-studio cinema of around 1900 with the rise of amateur photography and video of the late 20th century. Like the film, the book also contains images relating to shipping but conceived rather as a comparative study like

an academic slide show. Broodthaers’ complex interplay with painting, photography, book and film opens up a sea of contradictions in which original and copy, image and text, and the 19th and 20th centuries seem to merge and drift apart simultaneously. The artist often released his films together with a book to create an unusual, double form of artist’s edition that he called ‘book-film’.

© The Estate of Marcel Broodthaers c/o Sabam Belgium 2024

GRANDE CASSEROLE DE MOULES (1966)

In Bouteille à la mer, Marcel Broodthaers plays with the idea of communication and meaning. The work, a bottle with a letter inside, evokes associations with a cry for help or a message lost in space and time. Broodthaers, known for his conceptual approach, challenges the viewer to think about language, interpretation and the elusiveness of art. Balancing between poetry and irony, the work invites reflection on how messages are received - or perhaps not.

One of Broodthaers’ best-known works is undoubtedly ‘Grande casserole de moules’, also known as the famous ‘mussel pot’. This sculptural work combines several crucial aspects of Broodthaers’ oeuvre: nature and culture, the everyday and artificial, the functional and aesthetic. In the work, the artist also sows confusion between ‘la moule’ (the mussel) and ‘le moule’ (the mould). This play on words results in a language game that opens up a wide range of new possibilities in terms of meaning. Among other things, the mussel pot symbolises Belgium and its national food culture. Not coincidentally, ‘casserole’ is also French for ‘prostitute’ and the mussel here also refers to the female gender. For Broodthaers, the mussel is an independent and autonomous entity. It exists in its own shell, does not allow itself to be moulded to the whims of society and is therefore perfect in this sense.

© The Estate of Marcel Broodthaers c/o Sabam Belgium 2024

© The Estate of Marcel Broodthaers c/o Sabam Belgium 2024

LE MANUSCRIT TROUVÉ DANS UNE BOUTEILLE (1974)

Broodthaers’ ‘Le manuscrit trouvé dans une bouteille’ is inspired by a story dating from 1833 about a shipwreck by American writer Edgar Allan Poe (1809-1849). The tale was handed down because one of the crew members had thrown a bottle containing the story into the sea just before the ship sank. The work consists of three elements: a wine bottle with the inscription “Manuscript 1833”, silk paper with text referring to Poe’s story but also to the manuscript in the bottle, and a cardboard box with the title of the work. By not putting the manuscript in the bottle but wrapping it around it, Broodthaers distorts the original story. He thus appears to indicate that art does not proclaim absolute truth and criticises what is to him the false value attributed to works of art.

The lithograph Citron Citroen is a reproduction of an old poster intended to attract tourism to the Belgian coast (Réclame pour la Mer du Nord). The work covers several themes close to Broodthaers’ heart and also highlights the richness of the North Sea fishing grounds. By reproducing an old poster, and not only the image, but also the tears, folds, flaws and pinholes that were in the original, Broodthaers sets Duchamp’s path of the “objet trouvé”. On the second frieze of Citron Lemon, we see the mussel: not only the Belgian national dish, but probably the first image that comes to mind when we think of Broodthaer’s oeuvre. Before starting his career as an artist, Broodthaers was a poet, and among his writings, this poem clearly stands out:

‘La moule

Cette roublarde a évité le moule de société. Elle s’est coulée dans le sien propre. D’autres, ressemblantes, partagent avec elle l’anti mer. Elle est parfaite.’

At first glance, the title Citron Citroen does not appear to have any relationship with the subject of the work. It is a rather surrealist title, comparable to Magritte’s “La trahison des images” (with caption “Ceci n’est pas une pipe”). On the other hand, the addition of the word citroen (lemon) is not as illogical as it seems, since a slice of lemon is also the traditional garnish served with fish.

© The Estate of Marcel Broodthaers c/o Sabam Belgium 2024

‘BRUSSELMANS PAINTED BEACH SCENES

INSPIRED BY POPULAR SEASIDE RESORTS LIKE ZEEBRUGGE AND OSTEND’

JEAN BRUSSELMANS

(1884 — 1953)

Starting out as a decorative painter, Jean Brusselmans grew to inspire artists around the world with his unique style. He himself took inspiration from some of our popular seaside resorts, among others.

His extensive oeuvre comprises a wide range of artistic styles, ranging from landscapes and cityscapes to still lifes and portraits. The common thread throughout his work is a vibrant colour palette.

His early work shows influences from artists such as Van Gogh and Cézanne, but he soon developed his own unique style. Brusselmans’ paintings are often characterised by bold colours, striking geometric shapes, strong lines and a sense of simplicity. He had a particular affinity for the everyday, and managed to bring even the simplest of subjects to life with his vibrant brushstrokes and colours.

ZEEBRUGGE AND OSTEND

Brusselmans’ work testifies both to his technical skill and his ability to assimilate different styles. Some of his most important works are “Farmhouse in Dilbeek”, a work illustrating his transition to cubism, “Self-Portrait with Beard”, as a reflection of himself in an expressionist style, and “The Yellow House”, a typical work with striking use of colour and abstract forms.

Brusselmans also drew inspiration from the sea and the coast, painting beach scenes inspired by popular seaside resorts such as Zeebrugge and Ostend. He painted several colourful scenes showing bathers enjoying a day at the beach.

Although Brusselmans is not as widely known as some of his contemporaries, he is still highly regarded for his contributions to Belgian modernist art. His unique style and lively compositions remain a source of inspiration for artists around the world, and in particular set the tone for the development of new artistic movements in Belgium in the early 20th century.

OSTEND LIGHTHOUSE (1936)

The ‘Ostend Lighthouse’ is a simplified version of the forerunner of ‘Lange Nelle’, Ostend’s current lighthouse. Brusselmans has made mockery of the lighthouse, just as the Ostend residents do in an old folk song about their tower ‘Leve de torre van Ostende’. Brusselmans started his composition from the existing lighthouse on the Ostend-Bruges Canal. The tower is right in the middle and immediately catches the eye. Around the tower, the artist also arranged various other maritime elements, such as clouds, the fish market and a sailing boat. In this painting, Brusselmans’ love of geometry is evident. The structure under the lighthouse is pure constructivism, explaining his nickname of ‘popular cubist’. He has a keen eye for rhythmic patterns, designs and geometric motifs.

JEAN

Collectie Mu.ZEE - Vlaamse Gemeenschap. Foto Steven Decroos

BEACH SCENE WITH BATHERS (1935) NATURE

For the theme of the bathers, Brusselmans drew inspiration from the French tradition of Cézanne and Matisse. To emphasise the shapes and contours of his figures, he used solid fields of colour as backgrounds. In ‘Beach scene with bathers’, the colour plane is loose in the landscape, like a windbreak or the wall of a beach house. The composition of the painting is planned, like a theatre set. The canvas shows five naked women doing their hair in the dunes. Brusselmans’ own wife posed as a nude model in various positions. The figures are not finished, some body fragments are missing and underlying sketches are also still visible here and there. In the distance, we can see the horizon with a hazy transition from sea to sky. The highly elaborate clouds are a pictorial feature that strongly typifies Jean Brusselmans.

This work moves further away from the reality of seascapes and is like a theatrical set with remarkable figures. Brusselmans reduced the natural forms of objects and interiors to simple geometric figures. At the centre is the yellow triangle, surrounded by three evenly arranged ornamental plates. Below it are two scallops. Between the shells, the centreline of the composition starts, which continues along the upper point of the triangle and through the upper ornamental board. The checkerboard on the right and the fan on the left close the composition in the bottom corners. Foreground and background are completely blended together. The matchbox is disproportionately enlarged

and the location of the objects is also disconnected from reality. The skittles and matchbox adorn the wall between the decorative plates. ‘Still life with griffin’ bears more resemblance to a Picasso and Braque-style cubist collage than to a realistic still life.

Collectie Mu.ZEE - Stad Oostende. Foto Cedric Verhelst.

Collectie Mu.ZEE - Foto Steven Decroos.

THE STORM/THE STORM (1938)

Brusselmans painted a first version of this work in a larger format in 1936. Some drawings and a watercolour testify to the formal determination with which he shaped this theme. There is a storm at sea, and two fishing boats are heaving against the last churning waves. Large golden-rimmed black thunderclouds hang menacingly over the water, but behind them the sun peeks out. A solid ray of sunshine penetrates the clouds and shines on the water, peace is near. As with his still life works, Brusselmans also divided this composition into two horizontal parts. The triangular structure of the yellow sunbeam shining through the clouds onto the water is striking. Despite the dynamic and turbulent natural scene, the storm seems to have solidified into an immobile state. The light-dark contrast between foreground and background creates a dramatic effect, enhanced by the contrast in the clouds and the sharp outlines.

THE BEACH (1951)

From the 1920s, Brusselmans developed his own distinctive geometric style of large (bright) areas of colour, clear lines and constructive paint strokes. The artist always saw the world in terms of grids and structures, sometimes with tilting perspectives. Brusselmans’ personal environment and the coastal landscape are his primary sources of inspiration which he felt could easily be reduced to a few simple geometric shapes. Brusselmans saw nature as a ‘wondrous mathematical monument’. It consists of various ordered, stylised or even almost mathematical patterns that play an important role in his abstract compositions.

Collectie Mu.ZEE - Vlaamse Gemeenschap. Foto Steven Decroos.

Koninklijke Musea voor Schone Kunsten van België (Brussel), inv. 9241, foto J. Geleyns.

‘IN CASINO KURSAAL, YOU WILL UNDOUBTEDLY FIND ONE OF HIS MOST IMPRESSIVE WORKS’

PAUL DELVAUX

(1897 — 1994)

With a painting measuring 26 by 5 metres in Ostend’s Casino Kursaal, Paul Delvaux is perhaps the most visible artist on the Coast. In Koksijde, an entire museum is dedicated to the surrealist painter.

Delvaux is best known for his dreamy and mysterious paintings that combine classicist elements with surrealist themes and motifs. At a time when it was difficult to go against social conventions, Delvaux’s perseverance and determination overcame his parents’ resistance to creating a life as an artist.

Delvaux’s oeuvre often includes (semi-)naked women, spooky train stations and deserted landscapes, evoking a certain sense of alienation and mystery. His colour palette of muted tones and contrasting shadows also contributes to the dreamy atmosphere of his work. One of his best-known works is “The Train Station”, a surreal painting of an abandoned train station full of mysterious figures. The work testifies to Delvaux’s ability to explore the limits of the imagination and confirms his name as a “realistic painter of dreams”.

A UNIQUE COMBINATION AND CROSS-POLLINATION

In Ostend’s Casino Kursaal, you will undoubtedly find one of Delvaux’s most impressive works. The 26-by-5 metre fresco features surreal figures such as female figures, sirens and a mermaid, on a predominantly blue background representing the sea.

A little further west along the coastline, you can discover an extraordinary collection by the artist at the Paul Delvaux museum in Sint-Idesbald (Koksijde). In addition to his own donation, the collection is enriched by the prestigious contribution of a special private collection. For years, an art-loving couple of amateurs devoted themselves to collecting Delvaux’s lesser-knownoften early - works.

Thanks to the combination and cross-pollination of these two extensive collections, visitors get a complete visual overview of Delvaux’s oeuvre and learn more about Delvaux’s historical significance. The underrated 1920s and 1930s are reappraised as successive phases that foreshadowed his widely known oeuvre.

HOTEL DES DUNES (1948)

In Hôtel des Dunes, Paul Delvaux creates a dreamy and mysterious atmosphere, in which an empty hotel in the dunes takes centre stage. The desolation of the building and its quiet surroundings evoke a sense of timelessness and alienation, typical of Delvaux’s surrealist style. His signature figures, often in hushed poses, are absent here, leaving the focus entirely on the atmosphere of desolation and mystery. The work stimulates the imagination and leaves the viewer wondering what stories and secrets this place harbours.

PAUL DELVAUX

© Fondation Paul Delvaux, Brussel - Sabam België 2024

In Watercolour with Seascape, Paul Delvaux presents a serene and almost surreal view of the coast. Using soft tones and delicate brushstrokes, he paints a calm sea that seems endless

PAUL DELVAUX

© Fondation Paul Delvaux, Brussel - Sabam België 2024

WATERCOLOUR WITH COASTAL TRAM

In Watercolour with Coastal Tram, Paul Delvaux unites his fascination with the everyday and the surreal. The coastal tram, a recognisable feature of the Belgian coastal landscape, seems abandoned as it glides through a quiet, timeless setting. The soft colours and hushed atmosphere evoke a sense of alienation, as if the tram is in a dreamscape. As is often the case in Delvaux’s work, human life is missing, giving the scene a mysterious, almost magical character. The work invites contemplation and reflection on travel, time and space.

KURSAAL OSTEND

This mural is undoubtedly one of Delvaux’s most impressive works. Measuring a huge 26 by 5 metres, this art gem in the Kursaal was preceded by detailed preliminary drawings and designs by Delvaux and his team. The fresco itself features surreal figures, such as female figures, sirens and a mermaid, on a predominantly blue background (representing the sea). In 2021, the work was professionally restored, after suffering from its intense use as a party and event venue in the past. During the restoration works, the experts learned about the techniques used by Delvaux at the time. For example, he combined water-based paint with eggs as a binder.

PAUL DELVAUX

© Fondation Paul Delvaux, Brussel - Sabam België 2024

© Fondation Paul Delvaux, Brussel - Sabam België 2024

NAKED ON THE BEACH (1930)

Women and nature are two of Delvaux’s favourite themes, both of which are strongly present in this oil painting. It is one of the works produced by Delvaux in the 1930s. Paintings from this period are very rare, as the artist had just left his first wife and left her the house - including studio with its contents.

Nu sur la plage (Naked Woman on the Beach) suggests that dreams are slowly taking over from reality. With eyes closed and arms raised, the young woman seems to be at the mercy of the pleasures of reverie. She evokes the image of the famous sleeping Venus, of which she offers a peaceful version. Her mermaid body rests on the beach, which has subtly transformed into a calm sea. The waves are like an echo of the clouds in a clear sky with the light from the North. The limited colour palette contributes to the impression of calm emanating from the scene. This composition unites two elements close to the artist’s heart: women and nature. The tight framing of the nude body, enclosing it from head to foot, allows the painter to empower a subject of extreme simplicity. This oil painting is the testimony of a body of work that is still under construction.

PAUL DELVAUX

© Fondation Paul Delvaux, Brussel - Sabam België 2024

‘ENSOR FOUND INSPIRATION

IN LOCAL CULTURE, THE SEA AND VIBRANT CITY LIFE’

JAMES ENSOR

(1860 — 1949)

Ostend is associated with James Ensor, and vice versa. This pioneer of Belgian symbolism and expressionism is not only known for his grotesque masks and carnivalesque and absurd elements, but also for his satirical take on coastal tourism of the time.

Ensor’s early works were heavily influenced by realism and impressionism. His paintings and drawings often feature masks, skeletons and other bizarre figures, evoking a sense of menace and alienation. These symbolic elements served as a form of criticism of society’s hypocrisy and narrow-mindedness. Ensor was also known for his graphic work, including etchings and lithographs. His skill in those techniques contributed to his reputation as one of the most versatile artists of his time.

A DAY BY THE SEA

Throughout his life, Ensor had a strong connection with Ostend, the Queen of Seaside Towns. In fact, he is considered one of the most prominent artists the seaside town has produced. Ensor was born there and spent much of his life there. He found inspiration in local culture, the sea and vibrant city life.

This connection is also frequently featured in his works, including through scenes of maritime life and paintings illustrating the flourishing bathing culture on the Belgian coast. In the painting “The Baths of Ostend”, Ensor shows his fascination with the liveliness of bathers and the social aspect of the seaside resort. It is a remarkable painting, a lively composition that satirically depicts the playful and cheerful atmosphere of a day by the sea.

The influence of changing sea light also plays an important role in Ensor’s oeuvre. The artist was intrigued by the reflections of sunlight on the rippling water, and these nuances of light and colour often feature in his work. The sea and coastal environment served as a constant source of inspiration for Ensor. He managed to integrate these elements into his art in a unique and symbolic way. It is this connection with the sea that Ostend continues to cherish to this day as an important aspect of its artistic heritage.

CHRIST CALMING THE STORM (1891)

The work depicts a violent storm at sea, in which lighting effects, colour, atmosphere and dynamics play the main role. Was Ensor thinking of the North Sea when he painted the churning waters of the Sea of Galilee? The boat with Christ and his disciples seems to disappear in an explosion of “drama, colour and atmosphere”. Light is rendered as an endless play of contrasting shapes. What particularly fascinated Ensor was how he was able to capture the constant change of light and colours in the sky. He chose ‘Pro luce nobilis sum’ as his motto when he was elevated to nobility in 1930: ‘For the light am noble’. Presumably Ensor identifies with Christ in this work, but the small stature of the figures makes it difficult to tell.

JAMES ENSOR

Collectie Mu.ZEE - Stad Oostende. Foto Adri Verburg - vzw Arcobaleno.

‘The coquettish death (masks)’ is a lithograph with a dolled-up skeleton surrounded by various figures in the centre. The work was later further elaborated by Ensor in a painting. Masks, skeletons and skulls are some of the best-known components of his art. Behind the skeletons is a multifaceted story that begins in his student years at the Academy in Brussels.

There, Ensor sketched after skeletons in anatomy classes. He was fascinated by death and even had a collection of obituaries. This theme inspired his work as well as himself as a person until the end of his life. Ensor has also been called ‘le peintre des masques’. Masks offered him new expressive possibilities. The ugly or weak no longer hid behind a charming mask, but the artist used the disguise to reveal the true nature of the characters.

In this coloured etching, Ensor captures bathing culture on the Belgian coast. The work is characterised by bright colours and lively composition. The painting features various objects (such as bathing machines) as well as bathers enjoying the sea. The many bathing characters form small, grotesque scenes alone or in pairs, while the individual scenes are incorporated to form a grand panorama. The work displays Ensor’s typical style, mixing realistic elements with symbolism and his unique artistic vision. The work not only offers a fun and cynical view of Ostend’s bathing beaches, but is also an expression of Ensor’s criticism of ranks and classes, as well as the prudishness that prevailed at the time.

JAMES ENSOR

Collectie Mu.ZEE - Stad Oostende. Foto Cedric Verhelst.

Collectie Mu.ZEE - Stad Oostende. Foto Cedric Verhelst.

LARGE SEASCAPE

- SUNSET (1885)

Although he became world-famous as a painter of hilarious masquerades and grotesque persiflages, Ensor was one of the great nineteenth-century realists early in his career and embraced pleinairism (painting in the open). Ensor loved the North Sea and intensively painted dozens of seascapes between 1880 and 1885. Living barely 50 metres from the sea, he observed the clouds, haze and wind every day and thus the endless shades of light and colour. In this work, a heavy rainstorm passes over the sea. In Ensor’s work, the dark thunderstorm becomes a colourful scene with blues, greys, whites and numerous shades of browns and oranges, a beautiful spectacle. He focuses entirely on the representation of light and colour and on his personal experience of that reality. Later in life, he describes light as “the queen of our senses”.

FISHER COUPLE (1873 - ‘75)

The painting ‘Fisher couple’ on pink cardboard is a very early oil painting, which can be dated before a series of works in which Ensor explores Ostend, the Queen of the Seaside Towns, and her surroundings. The artwork is based on an existing prototype. There are no recognisable Ostend locations present in the work, nor can the couple’s attire be described as typical of Ostend. On the other hand, the work does testify to a precocious talent that already dares to work in a less romantically-refined way and places keys here and there.

Collectie Mu.ZEE - Stad Oostende. Foto Adri Verburg - vzw Arcobaleno.

Collectie Mu.ZEE - Stad Oostende. Foto Adri Verburg - vzw Arcobaleno.

‘THE BATHING WOMAN EXUDES A SENSE OF SERENITY AND INTIMACY’

LA CAILLE (1960)

GEORGE GRARD

(1901 — 1984)

With “The Bathing Woman” and “The Sea” (better known as “Fat Mathilda”) as his best-known works, sculptor George Grard was clearly inspired by the sea. His sculptures of nude and mythological figures such as gods and goddesses and classical influences are typical of his oeuvre.

Grard started his artistic career at the Royal Academy of Fine Arts in Tournai as a painter. He soon discovered that his true vocation actually lay in sculpture. His sculptures are characterised by their powerful, sensual forms and expressive expressions.

Although during his lifetime he was often associated with the classical figurative genre of the “Belgian School”, Grard also had a modernist side and experimented with abstract forms and materials. He masterfully combined traditional techniques with a contemporary sensibility, becoming one of the most versatile and influential sculptors of his time.

Grard’s influence extended far beyond Belgium and his works were exhibited in galleries and museums around the world, as well as in public spaces and gardens. He participated in several important art exhibitions and received numerous awards and prizes for his work, including the prestigious ‘Prix de Rome’ art prize in 1931.

CRAFTSMANSHIP AND AESTHETICS

Grard had a particular affinity for the female body. His work is often praised for its ability to capture the beauty and power of the female form. One of his best-known works is “The Bathing Woman”, a bronze sculpture depicting a naked woman getting ready to take a bath. This work exudes a sense of serenity and intimacy and is considered one of the highlights of his oeuvre. A true example of his craftsmanship and sense of aesthetics.

Like many of Gerard’s sculptures, ‘La Caille’ exists in multiple versions, differing not only in size, but especially in finish and carving. The sculptor insisted on hand carving the surfaces of his sculptures himself, even for monumental pieces. The skin texture is therefore Grard’s trademark: its smoothness reflects an intense sensuality. ‘La Caille’ literally means ‘the quail’, but ‘ma caille’ is also used sweetly for children or girls in a family context - ‘my sweetheart, my girl, my little mouse, my little sister’ - although the word can also have erotic connotations.

GEORGE GRARD

© Sabam België 2024 - © Stichting George Grard.

THE SEA/RECLINING NUDE/FAT MATHILDA (1954)

THE MERMAID (1950-1952)

Following the construction of a traffic roundabout in Koksijde, the town council agreed to purchase Grard’s artwork ‘The Mermaid’. The choice was no coincidence because Grard spent much of his life in Sint-Idesbald (a borough of Koksijde). The artist created the sculpture in the early 1950s. His partner Isette Gabriels was his model. Incidentally, she was also the model for the work ‘The Sea’ - popularly known as Fat Mathilda - in Ostend. According to Grard’s daughter Chantal, ‘The Mermaid’ is meant to be a fountain. The locks of the hair are reminiscent of the waves of the sea and the mermaid should become the symbol of the municipality of Koksijde.

Boulevard Leopold II curves gracefully around Ostend’s most famous bronze statue of a woman: Grard’s ‘The Sea’. ‘Reclining Nude’ is another name for this lady, but popularly she is invariably called “Fat Mathilda”. Sculptor Grard had a preference for the female nude in his work. In ‘The Sea’, he depicted the opulence and sensuality of the sea in a voluptuous, nude female figure.

GEORGE GRARD

© Sabam België 2024 - © Stichting George Grard.

WOMAN LOOKING AT THE SUN

For this work, Grard was inspired by artist Francine Van Mieghem. Throughout his life, she became his great support, ally and muse. Today, there is a version of this imposing sculpture in Veurn city park and at the Ten Bogaerde site in Koksijde. There, you can admire Grard’s sculptures from the permanent collection in a unique location where art, nature and heritage merge.

Grard’s bronze sculpture ‘The Water’ is a reclining and mysterious nude that symbolises the connection with free nature and water. The woman lies on her back with her legs crossed and her arms folded to support her head. At first glance, she appears to be sunbathing while staring dreamily at the clouds. Although the image embodies Grard’s typical style (the harmonious combination between nature and women), it also includes some new elements. The slender and lithe female body in ‘The Water’ contrasts with the dominant voluptuous body types in the sculptor’s

oeuvre. There has also been an evolution in the more open shape of the figure. Whereas the artist tended to present clenched and compact forms, here there is more room for open forms with light passages.

L’EAU

GEORGE GRARD

© Sabam België 2024 - © Stichting George Grard.

© Sabam België 2024 - © Stichting George Grard.

‘HIS UNUSUAL AND DREAMY WORKS CHALLENGE REALITY’

RENÉ MAGRITTE

(1898 — 1967)

René Magritte, known worldwide as the standard-bearer of Belgian surrealism, made his debut in painting with rather futuristic and abstract work. At Knokke Casino, you will find a tribute to his work and his unique take on reality.

After studying art at the Royal Academy of Fine Arts in Brussels, Magritte developed into a true master of surrealism throughout his career. That artistic movement explores the imagination and evokes dream worlds. Magritte is known for his realistic depictions of everyday objects, but always with a touch of irrationality. His unusual and dreamy works challenge reality and invite you to reconsider habitual perceptions of objects and situations. This is eminently true of one of Magritte’s most iconic works: “La trahison des images”, better known as “Ceci n’est pas une pipe”. That painting raises the philosophical question about the relationship between images and reality, and about the role of language in interpreting art.

PHOTOGRAPHIC PRECISION AND ALIENATION

Other works by Magritte are also characterised by his sense of detail and his ability to transform everyday objects into mysterious symbols. His paintings, which often display an almost photographic precision, contain an element of alienation, challenging you as a viewer to unravel the hidden meanings.

Besides his paintings, Magritte was also known for his provocative statements on art and creativity. He strongly believed in the power of imagination and claimed that “everything we see is just a dream within a dream”.

Knokke Casino houses the Magritte Room, which is entirely dedicated to Magritte and his contribution to the art world. Its walls are decorated with his monumental hand-painted fresco “The Enchanted Domain”, which also contains references to the sea.

KNOKKE CASINO (1952 - 1953)

Magritte created this monumental 360° mural in 1952-1953 at the request of Knokke Casino director at the time, Gustave Nellens. He was a great art lover and wanted a large panoramic fresco in the casino. The work has lost none of its impressive power: the 72-metre-long, 7-metre-high mural is known and loved worldwide. Using colourful, surreal scenes, Magritte tells visitors some magical stories from his own world. He combines a childlike fascination with adult messages. Not surprisingly, thanks to this impressive masterpiece, architect Léon Stynen’s rotunda room was renamed the iconic ‘Magritte Room’.

© Succession René Magritte - © Sabam België 2024

L’HOMME DU LARGE (1927)

‘L’homme du large’ (Man of the Sea) is one of the most important works of Magritte’s black period (1925-1930). His artworks from that period depict scenes mainly characterised by a menacing and even macabre atmosphere. Dark landscapes, red or grey drapes and enclosed spaces are often the backdrop for strange objects and characters. In these sombre-coloured sets, the artist displays everyday objects in an unexpected and theatrical way. The numerous works from the period are meticulously painted and immerse us in a mysterious and enchanting universe. In a poetic way, Magritte turns his paintings into ‘visible thoughts’ that contributes to the emancipation of the mind.

LA FLÈCHE DE ZÉNON (1954)

The Greek philosopher Zeno devised a series of paradoxes, including the arrow paradox. This describes a flying arrow and states that at any specific moment in time, the arrow is in a certain position in space and is therefore motionless. Extending this idea over the entire flight of the arrow, it seems as if the arrow never moves. At every instant of time, the arrow occupies a fixed position and is therefore not in motion. Zeno concludes that if the arrow is motionless at any time, then the arrow is always motionless and thus movement is an illusion.

Magritte pays homage to Zeno’s paradox with an equally unlikely image of a large boulder floating above the sea. Perhaps we are not meant to wonder how that block got there or where it is going, since any movement is impossible.

LE SÉDUCTEUR (1950 & ‘53)

‘Le séducteur’ (The seducer) is a surrealist painting first produced by Magritte in 1950 and then again in 1953. The 1950 version is owned by the Virginia Museum of Fine Arts, while the 1953 version is part of a private collection. ‘The Seducer’ essentially constitutes Magritte’s reflection on different modes of interpretation. The boat plays a prominent role in this work and is almost indistinguishable from the sea in the foreground. Thus, subject and background flow into each other, as it were, with Magritte blurring the traditional hierarchy between the pictorial and the decorative.

SHÉHÉRAZADE (1950)

The mythical Sheherazade captured the attention and eventually the heart of Shahryar (or “king”) with her stories. Betrayed by his first wife, the king took a new lover every night, only to have her beheaded in the morning. Sheherazade offered herself to the king and told such a miraculous story that her life was spared, so that she could continue the next night. And so the king kept Scheherazade alive as he eagerly looked forward to each new story, until, a thousand and one nights of adventure and three sons later, the king had not only been entertained, but had been wisely educated in morality and kindness by Scheherazade, who became his queen. The work is based on Edgar Allan Poe’s story of the Persian queen Scheherazade, the narrator of One Thousand and One Nights. In the work, Magritte mainly focuses attention on her eyes and red mouth, the site of all her power. With her features cloaked in a delicate veil of diamonds, this compelling figure becomes a visual reminder of the veils draped over the truth of things. To know what is real, we need to look past the appearance.

© Succession René Magritte - © Sabam België 2024

© Succession René Magritte - © Sabam België 2024

‘MASEREEL WAS ALSO INSPIRED

BY THE SEA AND FISHING LIFE’

FRANS MASEREEL

(1889 — 1972)

ANCHORS (1968)

Masereel is best known internationally for his pacifist and humanitarian graphic work. It also often forgotten that he was a “visual poet” in addition to being an artist. He created dozens of canvases and woodcuts inspired by the sea and marine mythology, his natural habitat. For the Blankenberg artist, the sea and all objects related to it evoke a force of nature and fascination.

A native of Blankenbergen, Masereel was a child of the sea. He developed a very distinctive style with his woodcuts, which regularly contained references to maritime life and the sea.

Best known as a graphic artist, Frans Masereel was a pioneer of modern woodcut. This technique involves cutting a drawing into a wooden block, then using the block as a stamp to print images on paper.

Masereel studied art at the Academy of Fine Arts in Ghent. Although he started his career as a painter, he soon discovered his true calling in graphic art. Through his signature technique of woodcutting, the artist tells a story without having to use words. His woodcuts are often striking in their simplicity, yet penetrating in their message. Moreover, they testify to his mastery of line, form and composition.

THE POWER OF ART

Masereel - whose works are characterised by powerful and expressive images exploring social and political themesbelieved in the power of art as an agent of social change. His art is therefore often seen as a reaction to the social events of his time, such as the two World Wars.

Masereel has had a huge influence on graphic art, across generations and national borders. His work inspired numerous artists and writers, including German Expressionist filmmakers and American cartoonist Lynd Ward.

Masereel was also inspired by the sea and fishing life. In his works, you often find a link to maritime life on the coast. For example, he places mermaids and mermen in woodcut in the foreground in an endless sea full of boats and anchors.

© Sabam België 2024 - © Frans Masereel Stiftung Saarbrücken

NAMELESS (MERMAIDS)

Masereel’s sirens (mermaids) appear in several maritime works. According to Greek mythology, these sirens are actually half woman and half man. They sit on the shore of an island and lure passing ships onto the cliffs with their enchanting song. In Masereel’s works, these beautiful figures often appear at night in the imaginations of fishermen and sailors. They are, as it were, the personification of the irresistible and sometimes even fatal attraction of the sea. On the other hand, the creatures also symbolise man’s indefinable longing for all that is unattainable and elusive.

DREAMY SAILOR

Frans Masereel grew up in Blankenberge amid the constant background noise of waves on the beach and the cawing of seagulls. In the 1890s, Blankenberge is still a fishing village where Masereel grew up as a young boy. His early memories of Blankenberge therefore mainly relate to an old fisherman who took him on walks through the dunes and ‘le Bassin des pêcheurs’. Sailors and other seafarers also play a central role in his imagination, such as this dreamy sailor.

NAMELESS (FEMALE NUDE)

The sea, in all its simplicity and complexity, was a favourite theme for Masereel, recurring repeatedly in his works in his very typical, uncomplicated formal language. People in and around the sea are also a focus of the artist, he depicts them in a natural, pure and powerful way.

PAINTING OF TWO FISHERMEN (1928)

In the dunes near the fishing port in Boulogne-sur-Mer, Masereel paints an entire series of impressive figure pieces around maritime life. In the painting of Two Fishermen, the artist presents an expressive portrait of two sturdily built fishermen. Using a palette knife, Masereel opts for thick layers of paint with a broad square touch, adding to the intensity of the rough and harsh fishing life.

‘YOU FIND AN UNMISTAKABLE LINK TO THE SEA IN THE OVERALL ATMOSPHERE OF CALM AND SERENITY IN HIS WORK’

LUC PEIRE

(1926 — 1994)

With Luc Peire’s selection for the theme “Masterpieces of the sea”, we take you to Knokke, where you will get an insight into his art and life in relation to the sea and the coast. Peire is considered an important representative of geometric-abstract art.

After starting out as a sculptor, he turned to painting. He mainly painted abstract compositions combining geometric shapes with use of colour. His style is characterised by harmony, balance and serenity, traits that symbolise the coast and the sea.

Although Luc Peire is not specifically known for seascapes, you will find an unmistakable link to the sea in the general atmosphere of calm and serenity in his work. Incidentally, in his early years he did paint some seascapes that can be seen in the viewmaster.

INSPIRED BY NATURE AND THE COAST

Moreover, the link with Knokke-Heist was very tangible and concrete because he had a studio in Duinbergenlaan. The seaside town was and is still known as an artistic community that attracts many artists because of its inspiring environment. This was also the case for Luc Peire, who drew inspiration from the surrounding nature and coastal environment in his Knok studio.

Since July 2003, you can visit the artist’s studio at “Atelier Luc Peire - Jenny & Luc Peire Foundation”. Established by Peire himself in his will, this foundation aims to open up his oeuvre to the widest possible audience and preserve his living and working environment. The Foundation’s archive collects and preserves all data and material about Luc Peire, his oeuvre, his artistic and family environment.

You can find the Foundation at De Judestraat 64 in Knokke-Dorp.

The former studio, bungalow and garden of Jenny and Luc Peire are located there. A functional new building was also built as a ‘vault’ for Luc Peire’s works, including a small exhibition space designed by architects De Bruycker-De Brock. They also designed a ‘garden room’ in the garden that was specially extended to display Peire’s key work “Environnement I”.

ENVIRONNEMENT (1967)

In his studio in Knokke, Luc Peire painted the iconic graphite walls (black paintings on formica) of his first ‘Environment’. He would later make two more. ‘Environnement’ focuses on two important concepts: on the one hand, the human being and, on the other, the space in which this human being is located. A master of vertical abstraction, Peire created a dizzying space with this installation in which the mirrored walls evoke an intriguing sense of infinity. According to the artist, the feeling of “striving for infinity” is the essence of every individual’s quest. He consequently describes his own work as “the most explicit image” of his endeavour. The work travelled around the world and was exhibited in Paris, Lille, Bruges, Rotterdam, Helsinki, Stuttgart, Cologne, Venice, among other places....

THE BEACH (1949)

Luc Peire abstracts the coastal landscape into a play of clean lines and vertical shapes. His minimalist style presents an alienating view of the beach, where natural elements such as sand and sea have been reduced to geometric shapes and subtle areas of colour. The vertical lines suggest infinite space and highlight Peire’s fascination with the balance between order and chaos. This work stimulates the imagination and invites the viewer to look beyond visible reality to a deeper, abstract interpretation of the landscape.

SEASCAPE (1947)

In Marine I, Peire approaches the sea with the same abstract vision. The infinity of the sea is represented by clean horizontal lines, while the vertical structures give a sense of balance and depth. The calmness of the sea is felt through the subtle colour contrasts and simple shapes.

BEACH (1935)

Luc Peire’s Beach is an intriguing work that captures the essence of the coast in an abstract manner. With his characteristic vertical lines and geometric shapes, Peire creates a dynamic and modern scene. The clean lines and contrasting colors convey a sense of movement and energy, as if the sea and the beach come to life on the canvas.

PAGILU (1991)

In Pagilu, Luc Peire explores the boundaries of abstraction and verticality. The painting is composed of long, vertical lines and clean surfaces, evoking a sense of movement and space. The minimalist composition and the use of dark and light contrasts create an almost meditative atmosphere. Peire’s work, including Pagilu, highlights his search for harmony and balance within a structured space, emphasising the essence of form and line. This abstract painting invites the viewer to find meaning in the simplicity of the composition.

© Sabam België 2024 - © Stichting Jenny & Luc Peire

© Sabam België 2024 - © Stichting Jenny & Luc Peire

Jenny & Luc Peire

‘INSPIRED BY THE RUGGED LANDSCAPE OF THE COAST AND HARSH FISHING LIFE, PERMEKE CREATED INCREASINGLY MONUMENTAL PAINTINGS’

CONSTANT PERMEKE (1886

— 1952)

Although Permeke’s style is mainly characterised by earthy colours and tones, the Antwerp-born painter and sculptor is inextricably linked with the coastal region.

With his powerful, robust works that emphasise shapes and a dark colour palette, Permeke is considered one of the most important representatives of Flemish expressionism. He initially trained as a sculptor but soon discovered his passion for painting. In 1912, he moved to the coast and began to develop his signature style. Inspired by the rugged landscape of the Belgian coast and the hard life of fishermen, Permeke created increasingly monumental paintings, imbued with emotion and a sense of primitiveness.

His works are often populated with massive figures and painted with broad brushstrokes in earthy, sombre colours. As a result, his oeuvre shows a deep compassion for humanity and reflects the social and human aspects of life. On the other hand, the use of heavy contour lines and simplified forms creates a sense of monumentality and eternity in Permeke’s work.

THE CYCLE OF LIFE AND DEATH

One of his best-known works is “The Sower”, an imposing painting of a farmer sowing seeds in a barren landscape. The work symbolises the eternal cycle of life and death, and the strength of human will to survive amid harsh conditions.

Permeke also painted seascapes with oil on canvas. These can be admired at Mu.ZEE in Ostend and at the Permekemuseum in Jabbeke, located in his former studio/residence, among others.

BLUE SEASCAPE (1947)

From the mid-1920s, Permeke concentrated on seascapes. The theme of the North Sea in all its power and splendour continued to fascinate him throughout his life. For Permeke, the depiction of the moving water is a mirror of his own soul and, above all, a means of expressing his personal emotions. Initially, his seascapes still included areas of the beach and breakwaters, but later only the essence of the sea remained. In ‘Blue Seascape’, this simplicity is clear. Permeke omits any anecdotalism and opts for pure and emotional colour expression.

THE SHEPHERD (1926)

‘The Shepherd’ is one of the highlights of Permeke’s oeuvre and was painted near Jabbeke. Its warm and contrasting hues makes this painting a notable standout in his oeuvre of the 1920s. Its lightheartedness is in stark contrast to his predominantly black paintings. Typical of Permeke is the extensive distortion of humans and animals. Despite the monumentality of the figures and the horse, the painter wants to portray goodwill. The horse’s blaze and flapping mane, and especially its light, almost cheerful gait, pay a playful tribute to rural life at the time.

BRIGHT SEASCAPE (1928)

With ‘Bright Seascape’, Permeke proves that the sea is an enduring source of inspiration for him. He painted the sea numerous times in all its various guises. Sometimes she is calm, sometimes stormy, but for the artist she is always a mirror of his own soul. And although his work is often dark, Permeke paints a light and colourful version here. Expressive and with thick brushstrokes, you can infer the ferocity and power of the sea in the painting, the work of a true passionate Master of the Sea.

FISHERMAN’S WIFE (1921)

Fascinated by the harsh fishing life, Permeke observed and sketched the fishermen unloading their boats in Ostend’s fishing quarter, as well as their fisherwomen selling the fish afterwards. In his studio, he elaborated the sketches, sometimes into larger-than-life charcoal drawings, other times into gossamer smaller drawings like this ‘Fisherman’s wife’. In the early 1920s, Permeke also discovered primitive art through the works of Picasso and the cubism of Gust De Smet and Oscar Jespers. For Permeke, the simple and powerful shapes of the primitive figurines and masks in particular inspired his

drawings and paintings. He characterised and distorted the faces and bodies of fishermen and farmers to portray more feeling and expression. Thanks to paintings with a switch function like this ‘Fisherman’s Wife’, Permeke was immediately included in the modernist and expressionist scene.

During the summer months from 1930 to 1937, Permeke often went sailing on his boat De Zeeuw, which was moored in the Ostend canal. Although he no longer embarked on long voyages on the high seas as he used to, the sea was again the favourite theme of his paintings. In 1935, Permeke painted ‘Seascape’ for the Maritime Pavilion of the Brussels International Exposition. It is also the largest seascape in his oeuvre, a monumental 2-by-4-metre canvas that he painted in just 48

hours. With its threatening clouds and the dark sea, the work initially gives a very grim and melancholic impression. Yet a light shines on the horizon. The white crests here and there make everything a little more palatable.

SEASCAPE (1935)

‘HIS NOCTURNAL SCENES AND REFLECTIONS CAN BE SEEN AS AN ARTISTIC EXPLORATION OF THE MYSTERIES OF THE SEA.’

LÉON SPILLIAERT (1881

— 1946)

Born Orientalist Léon Spilliaert is widely regarded as an important figure in symbolism and expressionism. His works reflect an introspective and often melancholic view of life. And although he did not immediately choose maritime subjects, his work is often imbued with the special atmosphere of the coast.

Spilliaert started drawing and painting at an early age, in search of his own distinctive style. In some of his early works, the artist focuses mainly on dark and gloomy landscapes that evoke a sense of desolation and alienation. In addition, Spilliaert’s art is mainly characterised by a unique combination of symbolism, abstract elements and realistic renderings. Through the use of light and shadow, he creates a dramatic effect, giving his works a poetic and contemplative atmosphere.

INSIDE THE ARTIST’S PSYCHE

His interest in man’s inner world was also reflected in his many self-portraits - such as the well-known “Self-Portrait with Lantern” - which symbolise his own fears, doubts and desires.

As a viewer, the intense, almost hypnotic gaze invites you to look deep into the artist’s psyche, so to speak.

As an artist from Ostend, Spilliaert’s link to the sea and the coast is obvious. Although he did not always depict maritime subjects, his work often exudes the unique atmosphere of the coast. His nocturnal scenes and reflections can be seen as an artistic exploration of the mysteries of the sea. An example is Spilliaert’s work “The Wave”, a painting that symbolises the power of the sea through evocative lines and contrasts. At Mu.ZEE, you can admire an extensive collection of Spilliaert’s works.

BRISE D’OSTENDE (1900-1901)

Spilliaert’s father, Leonard-Hubert Spilliaert, ran a barbershop-perfumery in Ostend’s Kapellestraat. He occasionally created his own perfumes, such as his ‘Brise d’Ostende’. This drawing by Spilliaert junior refers to that same perfume. Was it a design for a poster or even a label? You see a woman in a billowing dress, a theme that also recurs in the work ‘The Gust of Wind’.

Collectie Mu.ZEE - Stad Oostende. Foto Cedric Verhelst.

COQUILLAGE (1909)

During his walks, Spilliaert was completely absorbed in musings. His mind and gaze were never at rest. In the familiar surroundings of Ostend, in parks, by the sea or in the countryside, he always found a reason to marvel and this is reflected in his art. Even simple objects like seashells had something poetic and mysterious to him. He juxtaposes them, as silent objects with no identity of their own. In doing so, Spilliaert thus tries to reposition the shells in space. Little by little, he is able to unravel the secret of their structure. Light reflections illuminate their material structure. They remain realistic in their mysterious appearance, but they also have something precious and become a pretext for a game of elegant and decorative curves.

GUST OF WIND (1904)

In ‘The Gust of Wind’, Spilliaert depicts a woman at the water’s edge. She clings to the railing on the quay and stares at the horizon. She is at the barricade and may be screaming her lungs out. The wind is very strong and yet it is deafeningly quiet. The theme of a woman in a billowing dress on the seafront was often found in late nineteenth-century graphics. Félicien Rops and Édouard Dubar also produced similar humorous prints. Spilliaert gave this banal event an expressionist expression and design. He reduced the woman to a dark silhouette, sharply outlined against the decorative play of the rippling water. For a moment, Edvard Munch’s character ‘The Scream’ comes to mind. Spilliaert was fascinated in women’s special relationship with the sea, for their similar temperaments.

Collectie Mu.ZEE - Bruikleen uit privéverzameling. Foto Steven Decroos.

Just past the Royal Galleries in Ostend you will find a posthumous monument to Léon Spilliaert, based on one of his masterpieces, ‘Vertigo’. Both the monument and the drawing show a tower-like construction of concentric plateaus looming out of the darkness. A veiled woman tries to keep upright and battles the wind. The various stair levels are too high to be able to make a quick getaway. The woman is trapped in a nightmare and escape is not an option. Here, Spilliaert creates a vision of horror and despair. The woman clings to the dizzying staircase, fear grips her and the spiral downward seems endless. She also seems to be cautiously stepping into uncertainty. Does her salvation lie in the depths or is it her downfall?

THE BATHERS (1917)

From a high vantage point in ‘The bathers’, Spilliaert observes a young man who has lifted his girlfriend on his back and is standing at the waterline. In a close embrace, she clings to him. The couple stands in stark contrast to the abstract waves. With this lithograph, Spilliaert revisits one of his favourite themes, that of bathers at the seaside. As a viewer, you also immediately recognise the influence of Japanese printmaking and of the Nabis or prophets, a group of post-impressionist French painters active in the last decade of the 19e century.

VERTIGO (1908)

Collectie Mu.ZEEStad Oostende. Foto Steven Decroos.

Collectie Mu.ZEE - Stad Oostende. Foto Steven Decroos.

FIND YEAR-ROUND INSPIRATION FROM MASTERPIECES OF THE SEA

The sea has inspired artists of all schools for centuries. Find your own inspiration by the Coast with lots of ideas for an exciting and educational trip. Because even today, the connection between the artists in this guide and the sea is still tangible and visible. In museums, in churches, in public buildings or in the intimate setting of their former home or studio. Delve into their world of thinking and living and be

PAUL DELVAUX MUSEUM KOKSIJDE

Take a real dive into the life and work of Paul Delvaux!

Here you will find the surrealist painter’s largest collection of works. Spread over more than 1,000 square metres of exhibition space, the museum invites you to get to know the paintings, watercolours, drawings, sketchbooks and etchings from the internationally renowned artist’s work. Immerse yourself in a poetic world and meet the women and frameworks, neoclassical architecture and trains that are part of

Paul Delvaux’s daydream.

Besides the permanent collection, with a frequently reworked scenography, the museum also hosts annual temporary exhibitions that offer new perspectives on a complex and varied body of work.

P. DELVAUXLAAN 42 8670 SINT-IDESBALD WWW.DELVAUXMUSEUM.BE

CLOSED ON MONDAY. FOR OTHER WEEKDAYS, PLEASE CONSULT THE WEBSITE. CLOSURE PERIOD FROM 06/01/25 TO 21/02/25.

TEN BOGAERDE ARTS CENTRE

KOKSIJDE

An arts centre in a former monastery farmstead?

Yes! The monastery farmstead Ten Bogaerde was donated to Ten Duinen Abbey around 1148. From 1950, the agricultural school used the monastery farm. In the 1990s, the former church building was restored and converted into a cultural centre. With its authentic decoration, the monastery’s courtyard is a dream setting for concerts, exhibitions, receptions and lectures. On the first floor, you can view Georges Grard’s artworks from the permanent collection. Here you will find a unique collection that offers you a retrospective of the most important works of Grard’s career. And be sure to explore the medieval garden on the estate where you can admire some 10 monumental statues.

ONZE-LIEVE-VROUWEKERK NIEUWPOORT

Admiring a work of art step by step - or staircase by staircase - down to the smallest details? You can do that at the Onze-Lieve-Vrouwekerk in Nieuwpoort which is home to Vigor Bouquet’s work “The Judgement of Cambyses”. This allows you to view and study this Flemish Master’s painting from a completely different perspective. The higher you climb, the closer you get to the artwork.

Incidentally, this is the main church of Nieuwpoort. It is a three-aisled Gothic hall church, with a north tower that is virtually detached. After both the First and Second World Wars, the church was rebuilt according to the original plans. Also admire the valuable stained glass windows which not only depict Biblical themes but also local historical events. The fishing boat on the Onze-Lieve-Vrouwaltaar is the symbol of the city.

OPENING HOURS: 10.00 AM TP 6.00 PM. THE SITE AND SCULPTURE GARDEN ARE DAILY AND FREELY ACCESSIBLE. OPENING HOURS: 10.00 AM TP 6.00 PM. FOR THE OPENING HOURS OF THE TEMPORARY EXHIBITIONS, PLEASE CONSULT THE WEBSITE.

MU.ZEE OSTEND THE JAMES ENSOR HOUSE OSTEND

What was once a department store where you could do your shopping, today you can satisfy your appetite for art with an impressive collection of (contemporary) art. Mu.ZEE is the only place in the world that focuses on modern and contemporary art in Belgium, from 1880 to today. With works by Anna Boch, Jean Brusselmans, James Ensor, Constant Permeke and an extensive collection by Leon Spillaert, our Masters of the Sea shopping basket is well stocked.

At Mu.ZEE, you have the opportunity to get to know the iconic building, its magnificent collection and growing knowledge about the artworks in a warm, welcoming and generous way. Incidentally, you can still find some references to the former department store.

OPEN FROM TUESDAY TO SUNDAY (11:00 AM TO 5:30 PM). MU.ZEE WILL BE CLOSED FROM 06.01.2025 UNTIL SPRING 2028 DUE TO RENOVATION WORKS. THE WORKS FROM THE MU.ZEE COLLECTION WILL GO ON TOUR AND CAN BE SEEN AT VARIOUS LOCATIONS.

ROMESTRAAT 11 8400 OSTEND WWW.MUZEE.BE

Literally walk in the footsteps of James Ensor! Because it was here in Vlaanderenstraat that James Ensor lived and worked until his death in 1949. He inherited the property from his uncle. Before that, he and his parents lived down the road. After his death, the house was promoted to a museum in its original state. The brand-new experience centre includes Ensor’s home and five interactive experience rooms. And you can take the interactive element quite literally. You can bring Ensor’s paintings to life, look at his interior

items and carnival masks, browse through his letters and photos and then explore his authentic living and working space. In short, this is where you are Ensor’s house guest.

Booking your tickets online in advance is recommended so you can choose your time slot.

OPEN DAILY FROM 10:00 AM TO 6:00 PM. CLOSED ON MONDAY, EXCEPT DURING FLEMISH SCHOOL HOLIDAYS AND PUBLIC HOLIDAYS. CLOSED ON 01/01 & 25/12.

VLAANDERENSTRAAT 29 - 8400 OSTEND WWW.ENSORHUIS.BE

PERMEKEMUSEUM JABBEKE KURSAAL OSTEND

Ostend is often associated with James Ensor and Léon Spilliaert but at the Kursaal it is Paul Delvaux who claims all the attention. The Kursaal building dominates the view on the Albert I promenade and was designed by Leon Stynen (1953). The casino stands on the site of a first casino which was built back in 1875. After the building was destroyed during the Second World War, it would be another eight years before the current Casino was built. The remarkably

large building is considered the biggest casino in our country and is a typical example of modernism. The eye-catcher is obviously the game room with Paul Delvaux’s murals.

Take a trip through time and imagine yourself in the 1920s. Because the Permeke Museum in Jabbeke is located in the former residence with studio of Constant Permeke. Not only will you find a valuable collection of his paintings, drawings and sculptures, but you can also catch a glimpse of his studio and the natural environment that inspired him. The building itself is an example of 1920s expressionist architecture. Be sure to check out the museum’s calendar because Permeke Museum regularly organises temporary exhibitions and cultural events linked to the art of Permeke and his contemporaries. You can also visit

for a range of educational programmes and tours that will give you a deeper insight into Permeke’s life and art. In summer, you will enjoy the beautiful, replanted and ecological garden where you can take a break, have a quiet chat or picnic together.

BELLE EPOQUE CENTRUM BLANKENBERGE

The Belle Epoque Centre evokes the past glory of the belle époque. That period of prosperity for the European bourgeoisie lasted from about 1870 to 1914 and was abruptly cut short by the First World War.

At the time, Blankenberge developed into an important resort with major architectural achievements. In the interactive exhibition, you will discover the nostalgic story of this exciting and flourishing period.

OPEN FROM TUESDAY TO SUNDAY (2:00 PM TO 5:00 PM). CLOSED ON MONDAY. APPOINTMENTS FOR GROUPS ARE ALSO POSSIBLE IN THE MORNING (TUESDAY TO FRIDAY, 9:00 AM TO 12:00 PM).

ELISABETHSTRAAT 24 - 8370 BLANKENBERGE WWW.BELLEEPOQUECENTRUM.BE

PEIREMUZEE KNOKKE-HEIST

Come and see for yourself what inspired Luc Peire here in Knokke. Atelier Luc Peire was recently transferred to Mu.ZEE. When you visit the Peiremuzee, you will learn about artist Luc Peire and his oeuvre and you can visit the ‘vault’ (containing dozens of works by and collected by Luc Peire), the garden, the studio and the bungalow. A visit to the ‘Garden Room’

with its amazing mirror room Environnement I (1967) by Luc Peire is the highlight of the tour. This optical illusion gives you the impression of looking into infinity amidst a mirror space.

OPEN FROM FRIDAY TO MONDAY (11:00 AM TO 5:00 PM), DURING SCHOOL HOLIDAYS EVERY DAY (11:00 AM TO 5:00 PM).

DE JUDESTRAAT 64 - 8300 KNOKKE-HEIST WWW.LUCPEIRE.COM

ART BY THE SEA: GENERAL CULTURAL OFFERINGS ON THE COAST

The Belgian Coast offers a unique fusion of culture and sea. Besides its many museums, you will find the impressive Beaufort Sculpture Park, transformed public spaces, listed neighbourhoods, street art and hidden architectural gems. Thanks to the Beaufort art triennial, the Coast has a permanent sculpture park with numerous works of art. This magnificent collection of masterpieces can be admired all year round. And there are many other special places and addresses for art lovers. Whether you are an avid art enthusiast or just like to see beautiful things, there is something for everyone. The most famous street art festival on the Coast is The Crystal Ship in Ostend. Every year, new artists join those who add colour to the facades and landmarks in the seaside town. On the Coast you can also find three listed heritage districts, guaranteeing hours of strolling pleasure and numerous discoveries: the Dumont district in De Panne, the Concession in De Haan and Joseph Stübben’s villa district in Het Zoute, behind the Knokse Kustlaan.

Come and discover the rich art and cultural experience on the Belgian Coast, where there is something for everyone!

SCAN AND DISCOVER THE OFFER

FLEMISH MASTERS IN SITU: WHERE ART IS AT HOME

MASTERS BY THE SEA

Van Eyck. Rubens. The Flemish surrealists and expressionists. In Flanders, old and modern Masters are at home. It is here where they lived and worked. Where they found their inspiration. And it is here where you can still see many of their works - sometimes even in unique places.

The Flemish Masters often created their works for a specific location: a church, a monastery, a town hall, a castle, etc. Many of those pieces have since moved to museums, but some can still be viewed at their original location. A unique experience. You stand where the artist must have stood and you see what he saw: the exact spot where his work would come, the lighting, the space around it.

In Flanders you can still find dozens of paintings, sculptures, altarpieces and other works at the place for which they were originally created or where they have often been for centuries.

Is it the air? The light? The ceaseless swishing of the waves? Artists have always been attracted to the sea. Ensor lived his entire life in Ostend. Paul Delvaux and Constant Permeke, who began their painting careers elsewhere, ended up stranded in the vicinity of the Flemish coast - and never left again.

With this Master Tour, you follow in their footsteps. From museums to the homes of the artists to picturesque churches, your connecting thread is the blue sea.

• Paul Delvauxmuseum, Koksijde

• Permeke museum, Jabbeke

• Atelier Luc Peire, Knokke

• Church of our Lady, Nieuwpoort

• St Walburga’s Church, Veurne

Discover Flanders and visit our Masters in their ‘homes’ and in our museums. FlemishMastersinSitu.com

STYLISH ACCOMMODATION

C-HOTELS CONTINENTAL - DE PANNE

C-Hotels Continental is ideally located in the heart of De Panne, close to the seafront and the picturesque centre. This unique hotel combines rich history with modern luxury and is keen to introduce you to our contemporary interpretation of Art Nouveau. Behind the historic facade, elegant rooms lurk. C-Hotels Continental is the perfect base for a beach holiday and the ideal location from where you can shop, dine, discover art, explore culture and relax. Be amazed and learn about the history of this iconic hotel!

DUNKIRK AVENUE 11, 8660 DE PANNE

WWW.CONTINENTALHOTEL.BE

HOTEL CORNR – NIEUWPOORT

The CORNR Hotel is more than a hotel. It’s the place to meet people and enjoy special times together. Come and enjoy the salty air of the Coast and immerse yourself in an unforgettable experience of luxury and comfort. Everything is aimed at creating the perfect holiday feeling for you in a warm and familiar environment. Start the day with a wonderful breakfast buffet and end it in style with a nightcap. Be pampered at The CORNR Hotel and come home to the sea.

ALBERT I-LAAN 129, 8620 NIEUWPOORT

WWW.CORNRHOTEL.BE

HOTEL VILLA SELECT – DE PANNE

Looking for unique accommodation by the sea? With its panoramic views over the beach and the North Sea from its spacious double rooms, Hotel Select in De Panne is the ideal destination. And its family rooms are certainly a good option for families.

WALCKIERSTRAAT 7, 8660 DE PANNE

WWW.HOTELVILLASELECT.BE

B&B SUMMERTIME – KOKSIJDE

Charming B&B in Koksijde where relaxation is key. The interior design has Scandinavian and Nordic touches: high ceilings, pristine white walls, larch parquet, an open kitchen and a cosy fireplace. Start each morning enjoying an extensive buffet breakfast before discovering the region’s many activities and experiences, including beach walks, shopping and cultural attractions.

ROBERT VANDAMMESTRAAT 40, 8670 KOKSIJDE

WWW.BNBSUMMERTIME.COM

B&B TERRE DU NORD – RAMSKAPELLE (NIEUWPOORT)

B&B Terre du Nord is a special B&B with a clay studio, where you can be completely yourself. It is a place where they want to inspire you and where you can find the peace to totally relax and recharge. With 4 tastefully decorated rooms, the B&B provides a cosy and comfortable stay. There is also a swimming pond where you can take a dip undisturbed and a cosy living room where you can enjoy a good book or the view over the fields.

DIKSMUIDSE WEG 8A, 8620 RAMSKAPELLE

WWW.TERRE-DU-NORD.BE

C-HOTELS

SILT

- MIDDELKERKE

SILT is literally the focal point of Middelkerke, interacting with nature and the sea to stimulate all the senses. The four-star hotel has 70 luxurious rooms with expansive sea views. The name SILT refers to the salty (salt-like) taste of the sea, which the hotel overlooks.

ZEEDIJK 117B, 8430 MIDDELKERKE

WWW.SILTHOTEL.BE

B&B MAISON NOIRE - WESTENDE

B&B Maison Noire is ideally located just 200 metres from the beach at Westende-Bad. The modern design of the Art Deco villa still retains its characteristic style. Here you will receive a warm welcome in a unique homely atmosphere. Maison Noire is the ideal base for a relaxing holiday, a healthy walk or bike ride.

PARKLAAN 60, 8434 WESTENDE

WWW.BBMAISONNOIRE.BE/NL

HOTEL DU PARC – OSTEND

Enjoy a unique experience at Hotel Du Parc, an architectural gem in Art Deco style that has a rich history and exudes elegance. The story of Hotel Du Parc is steeped in the presence of inspiring writers and notable guests, including Albert Einstein, James Ensor and legendary musician Arno. Hotel Du Parc offers a unique combination of history, hospitality and sophistication.

MARIE JOSÉPLEIN 3, 8400 OSTEND

WWW.HOTELDUPARC.BE

HOTEL THERMAE PALACE – OSTEND

Grandeur in a historic setting. On Ostend’s beautiful sandy beach lies the iconic Thermae Palace Hotel. When you enter the hotel, Leopold II’s former walkway takes you to the central lobby in authentic Belle Époque style. Located 500 metres from Ostend’s bustling city centre, this is the ideal place to unwind.

KONINGIN ASTRIDLAAN 7, 8400 OSTEND

WWW.THERMAEPALACE.BE

VILLA DUINRUST - BREDENE

At the beginning of Hendrik Consciencelaan, our attention is drawn to the picturesque Villa Duinrust. This spacious B&B is one of the oldest buildings in Bredene. It was built in 1908 for a Ghent antique dealer. Certain details of the villa, such as a stone with the date 1650 in the landing of the staircase and the lions on the fence, may be explained by the client’s profession.

HENDRIK CONSCIENSELAAN 2, 8450 BREDENE

DEKUST.BE/VILLADUINRUST

LEOPOLD HOTEL – OSTEND

Leopold Hotel Ostend is a boutique hotel located just 150 metres from the beach and is the perfect place to relax and unwind. The hotel is housed in a unique art deco building dating back to 1928. Leopold Hotel Ostend has its own bar and bistro, and in the morning all guests can enjoy a wonderful breakfast buffet. The hotel is the perfect base from which to explore Ostend.

VAN ISEGHEMLAAN 110, 8400 OSTEND

WWW.LEOPOLDHOTELOSTEND.COM

VILLA

OSTINATO – OSTEND

Want to forget everything and just have fun? At Villa Ostinato, you will stay in the ideal setting to completely unwind. Villa Ostinato is a unique boutique hotel for foodies and epicureans, located in the heart of Ostend’s bustling centre and close to the beach. All the sights, museums and other leisure facilities are within walking distance from the hotel. The six unique suites offer an exclusive experience, combining contemporary comfort with authentic charm.

KAREL JANSSENSLAAN 10, 8400 OSTEND

WWW.VILLAOSTINATO.BE

HOTEL MANOIR CARPE DIEM – DE HAAN (VLISSEGEM)

Welcome to Manoir Carpe Diem, a stylish four-star hotel located in the beautiful belle-epoque villa district of De Haan, a stone’s throw from the sea. Here you will be immersed in a warm, homely atmosphere where sophistication and romance take centre stage. Whether relaxing in the character-filled rooms, enjoying a quiet moment in the cosy sitting area or unwinding in the garden with heated outdoor pool, Manoir Carpe Diem offers you the perfect setting to unwind.

PRINS KARELLAAN 12, 8421 VLISSEGEM

WWW.MANOIRCARPEDIEM.COM

GRAND HOTEL BELLEVUE – DE HAAN

Grand Hotel Belle Vue welcomes you to a classy, renovated hotel where authentic charm meets contemporary luxury. They have created the perfect place for you to unwind in De Haan. At the ‘Bistro Place Royale’ restaurant, you will enjoy seasonal, light cuisine paired with a selection of quality wines.

KONINKLIJK PLEIN 5, 8420 DE HAAN

WWW.HOTELBELLEVUE.BE

HOTEL GATSBY – BLANKENBERGE

Gatsby Hotel Blankenberge is conveniently located in the centre of Blankenberge, 100 metres from the beach, shopping centre and train station. This historic hotel has spacious elegant rooms that offer everything you need for a stay in the city centre.

MARIE JOSÉLAAN 2, 8370 BLANKENBERGE

WWW.GATSBYHOTEL.BE

HOTEL PANTHEON PALACE – BLANKENBERGE

Come home to Hotel Pantheon Palace, where you will be welcomed in a warm and cosy setting. The 4-star hotel is located in the centre of Blankenberge and just a stone’s throw from the beach. With 33 rooms, all decorated in beautiful Art Nouveau style and providing the necessary comforts, Hotel Pantheon Palace offers a luxurious seaside experience. Start your day with a varied breakfast and end the evening in the atmospheric lounge.

LANGESTRAAT 36, 8370 BLANKENBERGE

WWW.PANTHEONPALACE.BE

ARTY RESTAURANTS AND CAFÉS

HOTEL

BRITTANIA – KNOKKE-HEIST

The impressive Hotel Brittania is a gem of Anglo-Norman coastal architecture in Het Zoute, Knokke-Heist. The hotel is 100 metres from the beach and the vibrant heart of Het Zoute. Besides its iconic façade, this hotel represents a unique style that exudes tranquillity and class on every level, thanks to the recent total renovation of the interior and rooms.

ELIZABETLAAN 85, 8300 KNOKKE-HEIST

WWW.HOTELBRITANNIA.BE

B&B BINNENHOF – KNOKKE-HEIST

Bed & Breakfast Binnenhof is located 500 metres from the Zwin Nature Park, just 1 km from the beach and 1.5 km from the shopping streets of Het Zoute. Works by young and well-known artists are displayed in the art gallery on ground floor and in the basement.

PAULUSSTRAAT 7, 8300 KNOKKE-HEIST

WWW.BBBINNENHOF.BE

SINT-IDESBALD BREWERY

Sharing the site with arts centre Ten Bogaerde, you will find brewery Sint-Idesbald. Here you can enjoy a charming atmosphere connecting the culture of art and beer. The café serves a carefully selected range of local beers, accompanied by traditional snacks and local dishes, all with a nod to the region’s rich culture.

TEN BOGAERDELAAN 12B, 8670 KOKSIJDE

WWW.BROUWERIJSINTIDESBALD.BE

MONDIEU – KOKSIJDE-OOSTDUINKERKE

Restaurant Mondieu in Koksijde, located on the Ten Bogaerde site, offers a refined culinary experience in a unique, cultural setting. Surrounded by Georges Grard’s inspiring sculptures, this venue creates a special ambience that brings together art and gastronomy. Mondieu is the ideal destination for those seeking culinary sophistication in an arty setting.

TEN BOGAERDELAAN 10, 8670 KOKSIJDE

WWW.MONDIEU.EU

CAFÉ DU PARC - OSTEND

Café Du Parc in Ostend is an iconic art deco establishment with a rich cultural history. Located on Marie-José Square, the café exudes the atmosphere of days gone by and was once a meeting place for artists, writers and musicians. With its elegant interior, high ceilings and large windows, Café Du Parc offers a charming setting for breakfast, lunch or coffee. Its authentic atmosphere and beautiful decoration make it a popular spot for both locals and visitors wanting to experience Ostend’s cultural heritage.

MARIE JOSÉPLEIN 3, 8400 OSTEND

WWW.HOTELDUPARC.BE/NL/CAFE-DU-PARC

BELLE DE JOUR - OSTEND

Restaurant Belle de Jour in Ostend is a culinary gem with an artistic flair. The restaurant’s interior reflects owner Els’ fascination with Belgian artist Jean Brusselmans. The decor combines vintage elements with contemporary artworks, creating a unique and inspiring ambience. The cuisine focuses on sophisticated, seasonal dishes with a creative twist, focusing on local seafood. Belle de Jour is the ideal place for foodies who love a culinary experience with a cultural touch.

MADRIDSTRAAT 9, 8400 OSTEND

WWW.BELLEDEJOUR.BE

LAFAYETTE - OSTEND

After visiting a museum, you can enjoy excellent music here in the beautiful surroundings of this music bar. For 25 years, Lafayette has been the place to be in the heart of Ostend’s Montmartre. Here you can enjoy one of its tasty beers, cocktails or a fresh mint tea. The café is known for its friendly musical melting pot of soul, blues, jazz, reggae, ska, chansons and popcorn interspersed with a nice selection of rock & pop classics. Experience the ‘soul Ostendaise’ here

LANGESTRAAT 12, 8400 OSTEND

WWW.LAFAYETTE.BE

CULTUURCAFÉ DE GROTE POST - OSTEND

The Grote Post in Ostend is a vibrant cultural house in a former post office with impressive modernist architecture. This creative centre offers a varied programme of performances, exhibitions and events. The grand café, with its cosy, artistic atmosphere, serves delicious dishes using local produce. One of the highlights is the rooftop terrace, which offers stunning views over the city and the sea, making it the perfect place to enjoy both the cultural and culinary experience that De Grote Post has to offer.

HENDRIK SERRUYSLAAN 18A, 8400 OSTEND

WWW.CULTUURCAFEDEGROTEPOST.BE

GALERIE BEAUSITE – OSTEND

Breathe in the salty air, taste the pristineness and immerse yourself in a world of artistic stimulation. With its universal character, Galerie BeauSite is a breathtaking and inspiring environment. A place where art and culinary enthusiasm meet and enhance each other. Enjoy the amazing coastline, savour the pure flavours of real food and enter a nostalgic world of ‘art, vintage and design’. This culinary platform with art gallery as alter ego, or is it the other way around, is bathed in an atmosphere of non-conformism and homeliness.

ALBERT I-PROMENADE 39, 8400 OSTEND

WWW.GALERIEBEAUSITE.COM

VILLA DE TORRE – DE HAAN

Located at the idyllic tram stop and historic centre of picturesque De Haan, you can dine in authentic Belle Epoque style at Villa de Torre. The restaurant offers an atmospheric ambience reminiscent of the grandeur of days gone by. Villa de Torre is a seafood restaurant serving genuine, healthy food and drinks. Providing excellent value for money, the focus is on the basic ingredients and the environment, always respecting local products.

MEMLINGLAAN 2, 8420 DE HAAN

WWW.VILLADETORRE.BE

ONISM – BLANKENBERGE

Onism, or the realisation that you will only see a small part of the world in your lifetime. Which is why Korneel and Stefanie bring the world a little closer to you. Through taste, experience and moments to cherish. Onism is world cuisine in an inspiring interior. Enjoyment in a sophisticated and original concept. Tasting dishes and drinks that surprise and delight. Onism is an adventure.

GRAAF JANSDIJK 5, 8370 BLANKENBERGE

WWW.ONISM.BE

PRACTICAL

COASTAL TRAM AND TRAIN

The coastal tram - the longest tramway in the world!takes you quickly and safely from Knokke to De Panne. Train stations can be found in De Panne, Koksijde, Ostend, Blankenberge, Zeebrugge and Knokke-Heist.

BELGIANCOAST.CO.UK/PLAN/COASTAL-TRAM

STAYING BY THE SEA

Book your stay on the Coast, directly with the best conditions at

BELGIANCOAST.CO.UK/SLEEP

WALKING AND CYCLING

The cycling and walking networks take you past the most beautiful natural areas and fascinating cultural attractions. In each resort, you can discover hidden architectural gems via heritage walks.

BELGIANCOAST.CO.UK/HIKING

COASTAL MAP

Provides a complete overview of what you can do on the Coast. Available for free at the tourist offices or at SHOP.WESTTOER.BE

COASTAL WEATHER

Proven time and again: the sun shines more by the sea. Check the coastal weather via the webcams.

BELGIANCOAST.CO.UK/DESTINATIONS/WEBCAMS

COASTAL CALENDAR

Prefer to visit the museum, discover triennial Beaufort, go to a festival, concert or theatre performance? The coastal calendar ranks all events by seaside resort. Handy!

BELGIANCOAST.CO.UK/DO/AGENDA

TOURIST OFFICES

Looking for extra practical info or great tips? In every coastal municipality, you can visit one or more of the welcoming information points and tourist services.

WWW.BELGIANCOAST.CO.UK

Scan the QR code and discover the story of the Flemish masters and their works by watching the various inspiring videos. Experience art and culture like never before by the sea!

Discover the hidden stories of the Flemish masters in the unique project Masterpieces of the Sea! Be transported by artworks that bring the sea and the Coast to life. In each resort, nostalgic viewmasters have been installed in surprising locations. Look through the lens and admire the masterpieces that reflect our rich maritime history and culture. Grab an experience guide and dive deeper into the art world, or get inspired to visit the museums in the coastal region.