Art in the Belgian Embassies

Belgian Embassies Art in the openbaar kunstbezit vlaanderen

openbaarkunstbezitvlaanderen Art in the Belgian Embassies

Diplomatic force of art

It may not be self-evident, but there is one unequivocal link between art and diplomacy. Or more generally, between culture and diplomacy. At first glance, the rather formalist diplomatic world and the spirited artistic environment seem to be miles apart. In reality they are inter- dependent. Art, by its very nature, represents an internationally understood language that knows no borders. A language that simultaneously affords places, countries and peoples an identity. That not only yields beauty but also frequently produces understanding, and sometimes confrontation. Some refer, a little pretentiously to ‘the diplomatic force of art’. This is precisely because art, and more generally culture, are an essential component of effective diplomacy. They involve a display of a country’s cultural diversity and richness to the outside world. And that is what we do, first and foremost in our communities’ international activities, often in association with our embassies, and through private initiatives that reinforce our country’s image. Not only does this takes place abroad but also in our own country. FPS Foreign Affairs is actively involved, financially as well as in orga- nisational terms, in the biennial arts festival Europalia. This is an am- bitious series of events where the cultural wealth of a different country is assessed in each edition. In addition we collaborate with Bozar, a partnership specifically designed to focus on activities with internatio- Luc TUYMANS, The conversation, nal appeal. 1995, H 50 x W 63 cm, Furthermore our FPS implements an active arts policy, and artworks silk-screen on 200-gram Hahnemühle paper must of course be exhibited. And we do that too, more actively now brussels headquarters than in the past, at accessible locations as well as in the main buildings Félix Augustin MILIUS, Réception solennelle du Consul Général de Belgique Cover 1: Cover 4: in Brussels and in our embassies. Mr. Daluin, par l’Empereur du Maroc à Rabat le 2 décembre 1865 (So- Wim DELVOYE, Atlas 8, 2003, Rear façade Washington lemn reception of the Belgian Consul General, Mr Daluin, by the Emperor H 100 x W 125 cm, residence I am also lucky to have artworks in my office. Three paintings by Rik of Morocco in Rabat on 2 December 1865), 1865, H 110 x W 140 cm cibachrome print on © Tom D’HAENENS Slabbinck adorn the sitting area, a landscape, a portrait and a still life (without frame), H 140 x W 170 cm (with frame), oil on canvas aluminium that offer a worthy presentation of his oeuvre. rabat residence brussels headquarters © Wim DELVOYE Three works were arranged in the meeting area. These consist of a mappemonde (a map of the world), the domain of Foreign Affairs, by the young French artist Jean Denant. There is the lithography The Conver-

sation by Luc Tuymans, which appears to portray a negotiation scene; Augustijnerklooster, Academiestraat 1, 9000 Gent Pre-press one could say the trademark of diplomacy. Lastly there is the work openbaar tel. 09 269 58 30, fax 09 269 58 39, Grafisch Buro Geert Lefevre by Denmark, which could be considered a reference to the documents kunstbezit [email protected], www.tento.be Printing we work with on a daily basis, ranging from treaties to press articles. Production Joh. Enschedé I Van Muysewinkel vlaanderen Peter Wouters Copyright Denmark shreds newspapers and uses them to create open books with [email protected] All rights reserved. The reproduction of this publication fading lines, alluding to the relativity and the transience of what we do Final drafting in whole or in part, its storage in an automated database here every day. Mark Vanvaeck and/or its communication to the public by any means [email protected] whatsoever, whether this be electronically, mechanically, Editor in charge using photocopies, recording or by another means, is Dirk Achten Peter Wouters, Academiestraat 1, 9000 Gent prohibited without prior written authorisation from President of the Board of Directors Layout the editor. FPS Foreign Affairs An Openbaar Kunstbezit Vlaanderen publication Oeyen en Winters WD 2013/7892/13 Diplomatic force of art

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Introduction Belgium certainly has no shortage of collections. The FPS Foreign Affairs’ collection, which is as old as the country itself, leads a fairly inconspicuous existence, at least as far as Belgian citizens are concerned. It is not exhibited nationally and there are few publications devoted to it. This collection is destined to adorn the embassies, thus serving to promote Belgian art abroad. The FPS Foreign Affairs’ collection occupies a unique position in the series of art collections that originated in central state institutions from 1830. The Chamber of Representatives and the Senate possess impressive art collections that have also been the subject of new books published in recent years. These collections are, at least partially, accessible to the public. This is also true for the art collection housed in the Royal Palace, which can be viewed during periods when the Palace is open to the public. They have been highly publicised. FPS Foreign Affairs does not have a space or central location that it could use to publically display the collection or a part thereof. None- theless, FPS Foreign Affairs can use two of the most beautiful buildings in Brussels: Egmont Palace and Val Duchesse. The magnificent Egmont Palace, the former residence of the Princes of Arenberg, one of the great European noble families, is well known to participants of the many international meetings held there. The stunning artefacts they can admire there include a number of tapestries that date back to the 17th and 18th centuries. However, Egmont Palace is virtually inaccessible to the general public, not in the least due to strict security measures. And thus only fragments of the collection, which contains at least 4,500 items including paintings, tapestries, works on paper and sculptures and recently photographs, mixed media and video as well, remain accessible to world travellers with influential contacts in the world of diplomacy, in Belgian embassies, consulates and residences. Nevertheless, the collection unequivocally validates the importance a government agency can attach to art as a communication medium.

Content

3 A prestigious posting

9 FPS Foreign Affairs' collection

Didier MAHIEU, 17 Art traversing the globe Garden, 2007, H 100 x W 150 cm (with 34 Out of sight, but definitely not out of mind frame), mixed techniques, ink on Baryta paper Beijing residence 40 Practical info .

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presentation Visitors to the embassies are not art lovers by definition and viewing art is not the ultimate reason for their visit. Therefore, a conscious decision was made to present these illustrious artworks in an accessible manner. This may be achieved by working around a theme, such as travel in the embassy in Madrid, or around a movement such as CoBrA art in Astana, a collabora- tion with the Dutch. The artworks are labelled to provide interested visitors with a starting point. QR codes were also included on the labels in the most recent projects so that smartphone owners could surf to the artist’s website. In the future, FPS Foreign Affairs also wants to employ diverse communica- Luc TUYMANS, The worshipper, 2005, tion channels to inform people about the collection. This applies to the web- H 105 x W 75 cm, site, intranet and FPS Foreign Affairs’ internal electronic newsletter. Several silk-screen on 270-gram of these channels, such as the newsletter, are already used to share certain BFK Rives paper Amman residence information. A number of brochures are also produced upon a project’s completion. There is an English language brochure about Bangkok, Beijing, Jean-Dominique VAN Washington and London and a trilingual brochure about the artworks of the CAULAERT, Portrait of Queen Astrid with pearl Permanent Representative to the European Union. garland, 1936, In 2013, an art committee was founded with the objective of organising H 100 x W 73 cm exhibitions in the key buildings in Brussels. The first one, entitled Discover (without frame), oil on canvas the World, will be held in September and is devoted to travel photography. Stockholm residence Ilse Dauwe . . . Art in the Belgian Embassies 15

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A prestigious posting

Embassies in the 19th century

The fi rst Belgian ambassadors were, as a rule, members of the nobility; this remained the case for over a century. The situation was not typically Bel- gian, but also applied in many other countries with a monarchy and old nobility. The government called upon members of noble families that were able to represent the country, with the required prestige, in a permanent manner (albeit limited in duration). The ambassador was expected to reside in the capital of the country concerned. The post and the title of ambassador were considered a great honour, rather than a job that required specifi c training (which didn’t even exist in those days). Thus the government did not provide any remuneration for the service. Even the décor of the embassy or residence was sometimes entrusted to the incumbents’ taste and standard of living. One can only assume that the interiors refl ected the world inhabited by the high nobility in their own country. There was no shortage of family portraits, hunting still lifes, historical scenes and probably large tapestries, the prestigious showpiece of many a 19th-century salon. One still highly in- tact example of a nobleman’s life is the Castle of Beloeil, which is open to the public. Prince Eugène François Charles Lamoral de Ligne (1804-1880) was the Belgian ambassador to Paris from 1842 to 1848. He was certainly able to decorate his residence in Paris in a most prestigious manner. The family castle at Beloeil still stands testament to this today, more than a century later. . . Art in the Belgian Embassies 3

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a small gift In 1838, the Belgian ambassador to Vienna, Baron Alphonse O’Sullivan de Grass de Séovaud (1798-1866), was received in Istanbul, after the Ottoman Empire gave diplomatic recognition to Belgium. The Antwerp painter, Jacob Jacobs (1812-1879), was present at the time as he was returning from a painting exhibition in Egypt. His painting, Harem of Constantinople, after nature (which he may have started on location after this encounter and completed in Antwerp), was presented to the Sultan a year later by the ambassador. Ac- cording to Eugène Warmenbol, who mentions this anecdote in his study of two Orientalist painters, Florent Mols (1811-1896) and Jacob Jacobs, it was probably a gift from an Antwerp ship-owner, in the interest of trade in the Bosporus, offered via the ambassador, a gift that benefi ted foreign trade. This example from our diplomacy’s history illustrates several characteristics that can still be observed in the collection’s operations today. The interest in contemporary art is obvious. Orientalism was a new trend at the time and became immediately successful, at least in Europe. It also implies that the artist had thought about what would appeal to the recipient. This might explain the Ottoman subject matter (Istanbul), instead of something related to ancient Egypt, which was Jacob Jacobs’ speciality. This attitude has not disappeared; on the contrary, even now one can identify many examples of the “bridging function” fulfi lled by art, whereby a metaphorical bridge to the local art community or environment is built. In this context, it is also termed “cultural diplomacy” or “art as an ambassador”. It offers possibilities for creating a (cultural) dialogue.

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the glorious fatherland Paintings of the King and his family in the embassies were joined by artworks that refl ected the glory and the beauty of the country. This seemed logical for a country that considered itself to be the heir of the prestigious Flemish painting tradition, in which the landscape played a vital role. This might sound old-fashioned today, but it is still part of the reality. Indeed, representing the country is one of the tasks of a minister of foreign affairs. When the central state institutions were established in Brussels, these buildings were also graced with monumental paintings of characteristic Belgian landscapes, from the sea to the Ardennes, not forgetting famous historical cities and fi gures. The names of the painters that were often also involved in the fi rst lithographic fi rms are not familiar to us today. Nevertheless, this fact does nothing to diminish the quality of their work. Portrait of King Leopold I, Paintings depicting major economic activities, the ports, agriculture and in- H 72 x W 57 cm, work on paper dustry also occupy their rightful place here. Belgium was the fi rst country lOndOn chAncery in continental Europe to be engulfed by the Industrial Revolution. In order to manoeuvre the ever-expanding economic machine or keep it on track, an Xavier DELORY, Barre îlot 01, 2010-2012, international network of contacts was required in places of importance to H 135 x W 90 cm, the world economy at the time. These were represented by industrial cen- Lambda print tres such as Liverpool or Manchester, as well as port cities throughout the BelgiAn hOuSe in cOlOgne world, from the Ottoman Empire, Africa to Australia, China and America. Xavier DELORY, Barre îlot 04, (Noble) ambassadors were not immediately dispatched to such locations, 2010-2012, but employed consuls (merchant consuls) that were sometimes recruited in H 135 x B 90 cm, Lambda print Belgium, or even more frequently enlisted on location, from business or po- BelgiAn hOuSe in cOlOgne litical circles, taking effi ciency into account. . . Art in the Belgian Embassies 5

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what approach do other countries adopt? There are several marked differences between the Belgian FPS Foreign Affairs' collection and other countries’ collections. The U.S. Department of State does not have its own collection. It compiles a collection for each post, based on collaborations with galleries and artists, which remains in the ambassador’s residence for the duration of his or her term of office. The Department of State invests in transport and communication. This has seen considerable success. The operations of the British Government Art Collection and the Irish Office of Public Works have more in common with the collection management approach adopted by the Flemish and French Communities. They manage a vast collection, with a considerable workforce and a department that is also responsible for minor procedures and makes artworks available to various public bodies. In Sweden and Switzerland, operations resemble the Belgian Buildings Agency, in which architects, interior architects and art historians are entrusted with the management for other bodies. France uses le mobilier national for furniture and a reserve for contemporary art. The approach adopted by FPS Foreign Affairs comes closest to that of the Neth- erlands, in terms of staff and setup, although our northern neighbour’s budget surpasses ours. The greatest similarity between the various collections is the fact that their management is implemented along the same lines and that virtually no country talks solely of enhancing their properties, but view art as an ambassador, art as cultural diplomacy. Most place the emphasis in terms of acquisitions (or exhibitions) on contemporary art. mission ancient maps and portraits In the FPS Foreign Affairs' art policy plan, the mission statement reads: “The Portraits of important figures are inherent to the development of a national artworks support FPS Foreign Affairs’ corporate identity. Their objective is to awareness. The decoration of the Senate, with its series of monumental, his- provide a multifaceted and contemporary representation of Belgium, to initiate torical portraits of important figures from the history of the Low Countries, an intercultural dialogue. In the public areas in the embassies and in the main by the Tournai-born painter Louis Gallait (1810-1887), commissioned by buildings in Brussels, they help create a dynamic working atmosphere, hone the Chairman of the Senate, Prince de Ligne, is a wonderful example of this. the critical spirit and reflect the constantly changing world. FPS Foreign Affairs It has left its mark in the embassies, represented, to cite just one example, by wants to continue to score well on the core tasks involved in collection manage- the portrait of Philip IV, in the style of Rubens, in Madrid, on loan from the ment (digital registration and documentation, conservation and management, Royal Museums of Fine Arts of Belgium. collection policy and presentation) so that it can take its place in the global, Wim DELVOYE, The representation of multiple aspects of the country is easier if one has a Atlas 7, 2003, artistic landscape as a reliable partner with a clearly defined profile. Moreover, H 100 x W 125 cm, decent map in hand, certainly for a territory such as present-day Belgium, art and antiques are increasingly viewed in relation to architecture, interior cibachrome print on with its constantly-changing borders over the centuries. Maps have always design and their cultural and geographical contexts.” aluminium played an important role in the world of diplomacy. This means that his- Headquarters Brussels The collection profile is described as follows: “It is FPS Foreign Affairs’ task to torical maps in particular are a permanent feature of the delights a visitor collect and exhibit a range of qualitative works by Belgian professional artists Yvonne KROESE, may glimpse on a trip to the embassy. They provide an opportunity to call that is as broad as possible. This qualitative cross-section of artworks, from België (Belgium), 2013, attention to our important cartographic tradition, which includes Mercator, H 250 x W 500 cm, the past and present, consisting of different media, devoted to both new and print on canvas among others. Today, one can distinguish a link between ancient cartog- established values, represents added value for the buildings and the interior and The Hague chancery raphy and contemporary art, which adds a fascinating dimension to pure promotes a multifaceted and contemporary image of Belgium.” history. Some examples include the imaginary world maps by Wim Delvoye, In the style of Peter Paul RUBENS, Philip IV, XVII, a world map by Mona Hatoum, a mappemonde by Jean Denant, a collage art acquisition policy H 75 x W 60 cm, oil on by Elisabeth Lecourt, two interwoven paper world maps by Hoessein Val- Little is known about how the collection was built up in the 19th century. The canvas, on loan from the amanesh and a graphic design National Geographic Institute map by the Royal Museums of Fine Arts antique furniture is mainly housed in the purchased, historical properties locat- of Belgium in Brussels Dutch artist Yvonne Kroese. ed mainly in Europe and America. The collections of former ambassadors and Madrid residence Joost De Geest

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FPS Foreign Affairs' collection

Positioning, profile and presentation

The FPS Foreign Affairs' art and antiques collection is a public, semi- accessible collection. It takes its place besides those of other federal public services, collection management institutions (such as parlia- ments, universities and the Royal Palace), corporate collections and the federal scientific institutions, museums and art centres. It is a collection that is part of the Belgian Federal State. The buildings in Brussels are - just like those of other federal public services - managed by the Belgian Buildings Agency (Regie der Gebouwen). Management of the buildings related to diplomatic postings (also in Brussels) is entrusted to FPS Foreign Affairs. © Aliceday Gallery On 4 February 2013, our country had at its disposal 318 buildings, of which it owned 179, 52 being chancelleries and consulates-general, 77 residences and 50 staff accommodation units and other types of property, and 139 rentals, including 82 chancelleries and consulates-general and 57 residences. Certain buildings have historical value, dating from the eighteenth and nineteenth centuries. The vast majority of the con- structions date from the twentieth century, and a few have been built in

Charlotte BEAUDRY, the twenty-first century. As of 2013, the network of missions, which is a Mlle Nineteen-Natasja dynamic factor, will be modified. The focus will be on co-location with (Miss Nineteen-Natasja), other EU embassies, such as those of the Netherlands. High-quality 2010, H 120 x W 140 cm, oil on canvas management of the immovable and movable heritage will pay a major Amman residence role in this regard. . . 8 Art in the Belgian Embassies Art in the Belgian Embassies 9

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FPS Foreign Affairs' collection

Positioning, profile and presentation

The FPS Foreign Affairs' art and antiques collection is a public, semi- accessible collection. It takes its place besides those of other federal public services, collection management institutions (such as parlia- ments, universities and the Royal Palace), corporate collections and the federal scientific institutions, museums and art centres. It is a collection that is part of the Belgian Federal State. The buildings in Brussels are - just like those of other federal public services - managed by the Belgian Buildings Agency (Regie der Gebouwen). Management of the buildings related to diplomatic postings (also in Brussels) is entrusted to FPS Foreign Affairs. On 4 February 2013, our country had at its disposal 318 buildings, of which it owned 179, 52 being chancelleries and consulates-general, 77 residences and 50 staff accommodation units and other types of property, and 139 rentals, including 82 chancelleries and consulates-general and 57 residences. Certain buildings have historical value, dating from the eighteenth and nineteenth centuries. The vast majority of the con- structions date from the twentieth century, and a few have been built in the twenty-first century. As of 2013, the network of missions, which is a dynamic factor, will be modified. The focus will be on co-location with other EU embassies, such as those of the Netherlands. High-quality management of the immovable and movable heritage will pay a major role in this regard. . . Art in the Belgian Embassies 9

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mission In the FPS Foreign Affairs' art policy plan, the mission statement reads: “The artworks support FPS Foreign Affairs’ corporate identity. Their objective is to provide a multifaceted and contemporary representation of Belgium, to initiate an intercultural dialogue. In the public areas in the embassies and in the main buildings in Brussels, they help create a dynamic working atmosphere, hone the critical spirit and reflect the constantly changing world. FPS Foreign Affairs wants to continue to score well on the core tasks involved in collection management (digital registration and documentation, conservation and management, collection policy and presentation) so that it can take its place in the global, artistic landscape as a reliable partner with a clearly defined profile. Moreover, art and antiques are increasingly viewed in relation to architecture, interior design and their cultural and geographical contexts.” The collection profile is described as follows: “It is FPS Foreign Affairs’ task to collect and exhibit a range of qualitative works by Belgian professional artists that is as broad as possible. This qualitative cross-section of artworks, from the past and present, consisting of different media, devoted to both new and established values, represents added value for the buildings and the interior and promotes a multifaceted and contemporary image of Belgium.”

art acquisition policy Little is known about how the collection was built up in the 19th century. The antique furniture is mainly housed in the purchased, historical properties located mainly in Europe and America. The collections of former ambassadors and

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consuls were often dipped into for the artworks. In those days, they frequently remained at the same post long-term and were not replaced every four years as is the case today. The art collection was built up from acquisitions in Brussels and at the various embassy locations. It is certain that, as far as the paintings are concerned, the focus was placed on Post-Impressionism. Notable works include an Emile Claus in Berlin and a painting by Theo Van Rysselberghe in Budapest. When a diplomatic post is renovated nowadays, an ad hoc committee is often involved that includes the ambassador as well as the administration. Consid- erable importance is attached to consultation. The rooms’ local needs and functionality are tested with the ambassador, the architect and the interior architect. An acquisition is only made after the art market has been adequately explored. If necessary, experts from the art world are also consulted. FPS Foreign Affairs purchases a fairly large number of artworks each year and has a budget at its disposal amounting to approximately 200,000 euros. Acquisitions focus on contemporary art and must respect a number of objective criteria. Only works by professional artists are eligible for acquisition. The main focus is on Belgian artists or artists that have a connection with our country, who can boast several major exhibitions and/or the work itself must depict something characteristically “Belgian” or be linked to FPS For- eign Affairs’ operational scope. The work must not pose any issues in terms of dimension or durability. The work’s quality and validity (proof of authen- ticity, pedigree) are equally important. There must be a potential connection with the location in which it is to be displayed and it must be possible to acquire the work for a reasonable price. Several balances are also observed: French-speaking/Dutch-speaking, male/female and new/established artists. In 2012, FPS Foreign Affairs acquired 76 works by 44 artists. The works were © Wim DELVOYE purchased via galleries, auctions and directly from the artists themselves. Ac- quisitions are considered as sustainable investments. It is assumed that the State can also play a role for young artists who have already experienced a certain amount of success. In the past ten years, works acquired include those by Katrien Vermeire, Charlotte Beaudry, Otobong Nkanga, Tinka Pittoors, Tina Gillen, Goedele Peeters, Virginie Bailly, Nele Tas, Kim Corbisier, Gert De Keyser, Rinus Van De Velde, Tom Bogaert, Stefan Serneels, Lieven De

Theo VAN RYSSELBERGHE, Boeck and Xavier Delory. Femme au collier d’ambre With regard to established artists, work by Marthe Wéry was acquired, and jaune - Vrouw met barnstenen on an international level, work by Jeff Wall, Mona Hatoum and Noboyoshi halssnoer (Woman with amber necklace), 1905, Araki. H 80 x W 72 cm (without frame), H 102 x W 91 x loan policy thickness 6 cm (with frame), oil on canvas Loans were concluded from the very beginning and certainly since the 1920s. Budapest residence Approximately 120 works are currently on loan. The institutions that provide the most works on loan are the Flemish and French Communities (collection Front façade Budapest Chancery of the former National Ministry of Education and Culture), followed by the Royal Museums of Fine Arts of Belgium in Brussels. There are artworks on Virginie BAILLY, Berlin, 2002, loan from the Royal Museums of Art and History, the Museum of Ixelles, the H 180 x W 200 cm, oil on canvas Broel Museum in Kortrijk and several works were recently loaned from the Hanoi residence Royal Museum of Fine Arts Antwerp for the Quirinal Palace in Rome. . . . .

Stefan SERNEELS, The Stairs and the pit, 2010, H 112 x W 177 cm, Indian ink, gouache and collage on paper Riyadh residence © Xavier DELORY © Xavier DELORY

the glorious fatherland Paintings of the King and his family in the embassies were joined by artworks that refl ected the glory and the beauty of the country. This seemed logical for a country that considered itself to be the heir of the prestigious Flemish painting tradition, in which the landscape played a vital role. This might sound old-fashioned today, but it is still part of the reality. Indeed, representing the country is one of the tasks of a minister of foreign affairs. © Crown Gallery When the central state institutions were established in Brussels, these buildings were also graced with monumental paintings of characteristic Belgian landscapes, from the sea to the Ardennes, not forgetting famous historical cities and fi gures. The names of the painters that were often also involved Jan DE MAESSCHALCK, Untitled, 2008, in the fi rst lithographic fi rms are not familiar to us today. Nevertheless, this H 27.5 x W 36.6 cm, fact does nothing to diminish the quality of their work. acrylics, acrylics on paper Portrait of King Leopold I, Paintings depicting major economic activities, the ports, agriculture and in- Riga chancery H 72 x W 57 cm, work on paper dustry also occupy their rightful place here. Belgium was the fi rst country Irish Minister Brian Hayes, lOndOn chAncery in continental Europe to be engulfed by the Industrial Revolution. In order Minister of State for Public to manoeuvre the ever-expanding economic machine or keep it on track, an Sector Reform and the Office Xavier DELORY, Barre îlot 01, of Public Works, and Belgian 2010-2012, international network of contacts was required in places of importance to Ambassador Robert Devriese H 135 x W 90 cm, the world economy at the time. These were represented by industrial cen- view Ervinck’s artwork at the Lambda print tres such as Liverpool or Manchester, as well as port cities throughout the opening of the ‘Kaleidoscope’ BelgiAn hOuSe in cOlOgne exhibition on 30 April 2013 world, from the Ottoman Empire, Africa to Australia, China and America. in Dublin Xavier DELORY, Barre îlot 04, (Noble) ambassadors were not immediately dispatched to such locations, Nick ERVINCK, Ayamonsk, 2010-2012, but employed consuls (merchant consuls) that were sometimes recruited in 2010, 36 x 41 x 33 cm, H 135 x B 90 cm, 3D print Lambda print Belgium, or even more frequently enlisted on location, from business or po- Dublin chancery BelgiAn hOuSe in cOlOgne litical circles, taking effi ciency into account. . . 12 Art in the Belgian Embassies Art in the Belgian Embassies 5

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royal portraits An absolute must for every embassy and all the new country’s institutions (from the Chamber of Representatives and the Senate to town halls and schools) was a royal portrait. Portraits of Leopold I depicted him during his London years and included the work of Thomas Lawrence (1769-1830), though these could not be used for his Belgian kingship. So Franz Xaver Winterhalter (1805-1873), the great European portrait painter of ruling monarchs, was called upon, as was the Dutch painter Ary Scheffer (1795- 1858) who had found fame in Paris. Winterhalter was a prominent and tal- ented specialist who had painted virtually all the ruling dynasties of the time. He used monumental dimensions, endowed his models with a noble air and his painting technique was extremely precise, which was a valuable asset when reproducing the elaborate dresses worn by the queens and princesses. Winterhalter usually supplied several examples of the work in the same dimensions, which were then copied by his studio or others in various dimensions and using different techniques such as engraving and lithography. This was necessary due to the incredible demand following the fall of Napoleon, when the map of Europe was redrawn, of which Belgium is just one example. The Ghent painter Liévin de Winne (1821-1880) is famous for his portrait of an older Leopold I, which expresses more psychological empathy. This realistic painting makes quite an impression and was also copied. He went on to paint the young Leopold II. a small gift © Zeno X Gallery In 1838, the Belgian ambassador to Vienna, Baron Alphonse O’Sullivan de Grass de Séovaud (1798-1866), was received in Istanbul, after the Ottoman Empire gave diplomatic recognition to Belgium. The Antwerp painter, Jacob Jacobs (1812-1879), was present at the time as he was returning from a paint- Loans are sometimes agreed with a local museum such as in Riga, with ing exhibition in Egypt. His painting, Harem of Constantinople, after nature a local private collector such as in Los Angeles, or with the actual artist. (which he may have started on location after this encounter and completed This was the case for the Shadow piece video by David Claerbout in Tokyo, in Antwerp), was presented to the Sultan a year later by the ambassador. Ac- followed by Waterdrawing by Katleen Vermeir. cording to Eugène Warmenbol, who mentions this anecdote in his study of FPS Foreign Affairs also acts as a lender to promote the collection’s vis- two Orientalist painters, Florent Mols (1811-1896) and Jacob Jacobs, it was ibility. Two tapestries are on permanent loan to the Foundation of Tapestry probably a gift from an Antwerp ship-owner, in the interest of trade in the and Textile Arts (La Fondation de la Tapisserie) in Tournai. Another two Bosporus, offered via the ambassador, a gift that benefi ted foreign trade. tapestries could be admired in an exhibition in the Museum of Walloon This example from our diplomacy’s history illustrates several characteristics Art (Le Musée de l’Art Wallon) in Liège. A painting from the embassy in that can still be observed in the collection’s operations today. The interest London took part in the King Albert I exhibition in the BELvue Museum. in contemporary art is obvious. Orientalism was a new trend at the time A dinner service (crystal and porcelain) was requested for the Feestelijk and became immediately successful, at least in Europe. It also implies that tafelen (Festive dining) exhibition organised by the Royal Museums of Art the artist had thought about what would appeal to the recipient. This might and History in Brussels. Furthermore, the James Ensor painting by Charles explain the Ottoman subject matter (Istanbul), instead of something related Szymkowicz was loaned, at the artist’s request, for his retrospective at the to ancient Egypt, which was Jacob Jacobs’ speciality. This attitude has not Le Bois du Cazier site in Charleroi-Marcinelle in 2009. In 2013, a work disappeared; on the contrary, even now one can identify many examples of by Jan De Maesschalck from the embassy in Riga was included in the Weg the “bridging function” fulfi lled by art, whereby a metaphorical bridge to the van Vlaanderen (Swept away by Flanders) exhibition at the Warande in local art community or environment is built. In this context, it is also termed Turnhout. The recently acquired artwork Ayamonsk, by Nick Ervinck, for “cultural diplomacy” or “art as an ambassador”. It offers possibilities for the new chancery in Dublin can be seen in the Irish capital in 2013 at the creating a (cultural) dialogue. Kaleidoscope exhibition, as part of Ireland’s Presidency of the EU. . . 4 Art in the Belgian Embassies Art in the Belgian Embassies 13 122637 - Front FB 001 Perfecting 03: ENG

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A prestigious posting © Bart CLOET

collection management Embassies in the 19th century To a far greater extent than is true for a museum collection, FPS Foreign Af- fairs is confronted with the artworks’ considerable mobility. One must take into account different climatic conditions as well as potential risks, such as political unrest. The artworks are displayed in secure buildings; they are not housed in a museum context and are not surrounded by museum-trained The fi rst Belgian ambassadors were, as a rule, members of the nobility; this staff. remained the case for over a century. The situation was not typically Bel- FPS Foreign Affairs has designed a number of specific tools to manage this gian, but also applied in many other countries with a monarchy and old particular situation. An art database describes and provides the location of nobility. The government called upon members of noble families that were the collection pieces and is linked to the database for buildings and the em- able to represent the country, with the required prestige, in a permanent bassies’ inventories. This creates a transparent and traceable system. Exter- manner (albeit limited in duration). The ambassador was expected to reside nal experts are also occasionally called upon to provide information about in the capital of the country concerned. The post and the title of ambassa- a certain piece. In addition, the administration has developed an internal dor were considered a great honour, rather than a job that required specifi c guide with a code of ethics that, for example, describes in great detail how a training (which didn’t even exist in those days). Thus the government did not work should be moved and what to do if it is damaged. Considerable impor- provide any remuneration for the service. Even the décor of the embassy or tance is attached to preventive conservation. Conservation and restoration residence was sometimes entrusted to the incumbents’ taste and standard of activities are exclusively performed by external professionals and local ex- living. One can only assume that the interiors refl ected the world inhabited

pertise is employed when possible. For example, there are master craftsmen Bram BOGART, by the high nobility in their own country. There was no shortage of family in Eastern European countries and in Italy, which makes it possible for valu- Red-blue-brown, 1986, portraits, hunting still lifes, historical scenes and probably large tapestries, able furniture and paintings to be restored. There are skilled carpet restorers H 56.5 x W 76 cm (without the prestigious showpiece of many a 19th-century salon. One still highly in- frame), H 84 x W 98 x in other countries. Ten years ago, the construction of a substantial art and thickness 4 cm (with frame), tact example of a nobleman’s life is the Castle of Beloeil, which is open to the furniture depot in the main building in Brussels was introduced as a prior- lithograph public. Prince Eugène François Charles Lamoral de Ligne (1804-1880) was ity. The depot provides temporary shelter for the pieces. The emphasis is, Montreal residence the Belgian ambassador to Paris from 1842 to 1848. He was certainly able to

however, on temporary because the vast majority of pieces in the collection Art plan for the Astana decorate his residence in Paris in a most prestigious manner. The family cas- are intended to be on display. chancery tle at Beloeil still stands testament to this today, more than a century later. . . 14 Art in the Belgian Embassies Art in the Belgian Embassies 3

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presentation Visitors to the embassies are not art lovers by definition and viewing art is not the ultimate reason for their visit. Therefore, a conscious decision was made to present these illustrious artworks in an accessible manner. This may be achieved by working around a theme, such as travel in the embassy in Madrid, or around a movement such as CoBrA art in Astana, a collabora- tion with the Dutch. The artworks are labelled to provide interested visitors with a starting point. QR codes were also included on the labels in the most recent projects so that smartphone owners could surf to the artist’s website. In the future, FPS Foreign Affairs also wants to employ diverse communication channels to inform people about the collection. This applies to the website, intranet and FPS Foreign Affairs’ internal electronic newsletter. Several of these channels, such as the newsletter, are already used to share certain information. A number of brochures are also produced upon a project’s completion. There is an English language brochure about Bangkok, Beijing, Washington and London and a trilingual brochure about the artworks of the Permanent Representative to the European Union. In 2013, an art committee was founded with the objective of organising exhibitions in the key buildings in Brussels. The first one, entitled Discover the World, will be held in September and is devoted to travel photography. Ilse Dauwe

. Art in the Belgian Embassies 15

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Didier MAHIEU, Garden, 2007, H 100 x W 150 cm (with frame), mixed techniques, ink on Baryta paper Beijing residence .

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The Palace, which was continuous- ly expanded and rebuilt, belonged to the Egmont family, succeeded by the Arenbergs, one of the wealthiest European families, who owned many properties both in Belgium and abroad. It had already been extensively renovated at the beginning of the 19th century by Tilman-François Suys (1783-1861), who also designed the marble room in the Academy Palace at the time. In 1892, an entire wing went up in flames, that of Françoise van Luxemburg (the mother of the beheaded Lamoral, Count of Egmont, whose statue now graces the Kleine Zavel/Petit Sablon). It was the oldest part of the palace and it is thought that the Arenbergs kept one of the most arresting art collections there, which included pieces from ancient times and the Middle Ages, from the Renaissance and Baroque periods. Alas, not a single work was rescued. After the First World War, the Arenbergs’ Belgian assets were seized. The palace became the property of the City of Brussels until the State and the A selection of noteworthy embassies Ministry of Foreign Affairs took it over and restored it to its former glory. It is now intensively used for receptions, as a residence for foreign guests and beijing as an international conference centre. There were contacts between China and our Regions long before Belgium The interior exudes prestige with its spectacular staircase, grand gallery and came to be. In the mid 19th century, the authorities wanted to establish con- a series of salons. Of the original, far larger park, there remains an agree- tacts with “distant” lands. The spotlight turned to China and the consul gen- able city park with several monuments ranging from a Gothic fountain to a eral in Singapore was assigned the mission to negotiate a place for Belgium © KIK - IRPA, Brussels statue of Peter Pan and a Marguerite Yourcenar space. following the Treaty of Tientsin (1858) that opened up eleven Chinese ports to The modern-day palace is the result of various construction phases. The foreign countries and allowed embassies to be established there. This business large stables, which were located behind the wing that houses the great gal- View of 2 of the 4 tapestries gained momentum in 1865 during and after Leopold II's visits to Guangzhou lery, were converted into a well-equipped meeting room for the international “Les quatres continents” - and Hong Kong. This led to the foundation of an embassy in Beijing in 1868 “Europe”, “Amériques”, “Afrique” conference centre, which was renovated again in 2012. The central hallway and “Asie” (The four continents and to the construction of a railway line in the Chinese Empire, running from displays all the posters from the Europalia exhibitions, which were support- - Europe, the Americas, Africa north to south (1,200 km) a year later, from 1898 to 1906. At the same time, ed by FPS Foreign Affairs. and Asia), Brussels, XVII, cartoon: a Belgian consulate was established in Shanghai and a Chinese embassy in Louis VAN SCHOOR, Atelier The blue and orange meeting rooms display series of photographs by Brussels Judocus de Vos Brussels. This period also saw the construction of the Chinese Pavilion on photographer Bernard Queeckers (b. 1950) - the Aligner series, 1986 - and View of 1 tapestry from the the edge of the royal domain in Laeken. Valuable contacts with China may by the French photographer Marie-France Lejeune (b. 1957). These series “Le Dressage du cheval” (The also have prompted the efforts of many Chinese to reconstruct the completely Dressage of the Horse) series, focus on disappearing, the illusion of reality and playing with the horizon. Antwerp, XVII, Van Hecke or decimated city of Ypres at the end of the First World War. An artwork by the Beirut-born Mona Hatoum (b. 1952) adorns the recep- Peemans The existing embassy is a recent (1972) building by the Chinese architect Li tion area. She now lives in Berlin and London. The piece Projections (2006) View of 1 of the 2 sculptures Zhezhi. Since then, it has been expanded to incorporate the ambassador’s by Plumier, “L’enlèvement de comprises a world map, not using the Mercator projection, but the principles Proserpine” and “L’enlèvement residence and to receive visitors. The artistic decoration is almost entirely of cartography and those of the historian Arno Peters, in which the conti- des Sabines” (The Rape of contemporary, apart from a small etching by Fernand Khnopff (1858-1921). nents are eaten away by acid. It makes one reflect on a country’s place in the Proserpine and The Rape of the The viewer’s eye is drawn to the ensemble comprising four works by Didier Sabine), XVIII, marble, H 215 x world and the relationship between nations. The international dimension W 83 x thickness 52 cm Mahieu (b. 1961). Mahieu has become known for highly refined and evocative

is fulfilled by a piece by the Ethiopian-born Mulugeta Tafesse (b. 1960), Egmont Palace © Tom D’HAENENS drawings of figures, portraits and landscapes. This refinement and occasional . . . .

24 Art in the Belgian Embassies Art in the Belgian Embassies 17

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sense of floating also lean towards the Chinese tradition. One of the portraits is entitled Anna. It is a fictional portrait of a woman who gets lost during World War II. It is the sole embodiment of the artist’s imagination and has nothing to do with reality. In Portret van een Chinese vrouw (Portrait of a Chinese woman), Chinese visitors can identify the features of a famous gallery owner. Mahieu delights in these kinds of suggestions. The dining room boasts two more of his landscapes and a Boom (Tree) by Frans Labath (b. 1949), an artist who is devoted to seeking out the essence of things. La- bath exhibited at the Modern Chinese Art Foundation in Beijing in 2008. Here, too, there are a couple of works with a connection to the country’s culture. Displayed close to the dreamy work En souvenir by Khnopff is a photograph by Michael Chia, who was born in Singapore and has lived in Brussels since 1980. His Fantasia is a tranquil and somewhat mysterious image. Even more explicitly, Tjok Dessauvage (b. 1948) engages in a dialogue with the great Chinese ceramic tradition. The library houses a display of a series of nine pots, or urns, fired using the ancient raku technique, with a drawing in porcelain. This refers to the period of Wanli porcelain, which became known in Europe as Kraak porcelain because of the type of ship the Portu- guese used to transport it. One striking aspect is the presence of several pieces of ancient Chinese pot- th th

tery (8 - 12 century) that are on loan from the Broel Museum in Kortrijk. © KIK - IRPA, Brussels Due to the original composition under glass cloches against the walls, they resemble an intervention by a contemporary artist.

Tjok DESSAUVAGE, Fragmentaties (Fragments), 2008, H 100 x W 100 x thickness 30 cm, ceramics and Wanli porcelain, metal plate Beijing residence

Washington rear façade

Taf WALLET, Saint-Idesbald and Saint-Idesbald Marée basse (Saint-Idesbald and Saint-Idesbald at low tide), 1945, H 65.4 x W 80 cm and H 65 x W 80 cm, oil on canvas Washington residence

In the style of Jean-Michel CLODION, four bronze sculptures - two matching pairs - male figure and female figure with torch, 1880, France (Paris), H 113 x W 42 x t hickness 31 cm, bronze

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washington The residence in Washington is situated in a large park and was inspired by an 18th-century mansion in Paris: the Hôtel de Rothelin-Charolais (rue de Grenelle), constructed by an architect of Louis XIV, Pierre Cailleteau, and occupied by a granddaughter of Louis XIV, Louise-Anne de Bourbon- Condé, Countess of Charolais. The American version was commissioned in 1930 by Anna Dodge Dillman (1871-1970), widow of the Dodge automo- tive pioneer, as a wedding gift for her daughter Delphine. The architect was Horace Trumbauer (1868-1938), who specialised in large mansions and who collaborated with Julian Abele (1881-1950) on the design. The latter had spent several years in Paris, which explains the French finesse in the decora- tive details that imbue the entire house. This is clearly not a residence that was built at the Belgian State’s behest. Belgium had already established diplomatic contacts with the United States in 1832 and dispatched a Resident Minister, Baron Désiré Behr, to defend the country’s economic interests. In 1854, the two countries signed the Trade and Navigation Treaty. Behr was later sent in the same capacity to Con- stantinople, to the Sublime Porte, the central government of the Ottoman Empire. The fact that this gem of the American Gilded Age ultimately fell into Bel- gian hands is due to Baron Robert Silvercruys (1893-1971), an entrepreneur- ial ambassador with exquisite taste. He succeeded in acquiring the palace for the Belgian State in 1945. The house had been rented for a time and was in need of some tender loving care. Baron Silvercruys enlisted the services of the same decorators used . . Art in the Belgian Embassies 19

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by the original inhabitant, Anna Dodge Dillman. Consequently, the house’s Library in the Washington residence 18th century, French Regency style has been completely preserved. The role afforded to sculptural elements is extraordinary, such as the four torchères Alphonse JONGERS, in the style of Jean-Michel Clodion (1738-1814). This sculptor spent a con- Baron Sylvercruys, 1942, H 92 x W 71.3 cm, siderable time in Rome and developed a style in which he combined Roman oil on canvas elements with a sensuality à la Rubens with French nuances. Painting did WAShingtOn reSidence not take centre stage in the initial design. The two antique-style landscapes Taf WALLET, La plage (The in the dining room are conventional replicas created towards the end of the beach), no date, H 81 x W 65 cm, 19th century. Nevertheless, they are a fi tting adornment for the panelling, as oil on canvas are the two shepherdesses in bisque. WAShingtOn reSidence

One of the paintings displays great similarities with a painting by Paul-Jo- Taf WALLET, Matinée à 11 h seph De Cock (1724-1801), a relatively unknown Bruges painter, which is (Matinee at 11), no date, located in the Groeninge Museum in Bruges. De Cock depicts a mixture H 81 x W 65 cm, oil on canvas WAShingtOn reSidence of famous monuments from Rome, such as the Pantheon, the ruins of the Temple of Castor and Pollux and the Colosseum. Several fi gures are depicted Henri-Léon GREBER, urn, between around a fountain crowned by a classic statue of Diana, the Roman goddess 1880-1920, France, zinc, iron/lead, steel, aluminium of the hunt, who carries a quiver over her shoulder and a bow in her right WAShingtOn reSidence hand. The painting is a creation of an imaginary, ruin landscape in which the various monuments are brought together in an unrealistic fashion. Old Section through urn showing schematic armature, fi nal report catalogues mention that the painting is copied from a work by Canaletto on the restoration by Conservation

(1697-1768). The original on which this painting is based was, however, not Solutions INC, 17/04/2007 © Conservation Solutions INC.

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by the original inhabitant, Anna Dodge Dillman. Consequently, the house’s Library in the Washington created by Canaletto, but is the work of Gian Paolo Panini (1691-1765), who residence 18th century, French Regency style has been completely preserved. The role specialised in paintings featuring these kinds of Roman fantasies. afforded to sculptural elements is extraordinary, such as the four torchères Alphonse JONGERS, On the mantelpiece, in between two porcelain birds, stands a bronze por- in the style of Jean-Michel Clodion (1738-1814). This sculptor spent a con- Baron Sylvercruys, 1942, trait of Silvercruys, which was created by his sister Suzanne (1898-1973). H 92 x W 71.3 cm, siderable time in Rome and developed a style in which he combined Roman oil on canvas She was more than just the man’s sister. She fl ed Belgium during the First elements with a sensuality à la Rubens with French nuances. Painting did WAShingtOn reSidence World War and soon made a name for herself in the USA as a sculptor and not take centre stage in the initial design. The two antique-style landscapes gave numerous readings. She created busts of leading personalities, includ- Taf WALLET, La plage (The in the dining room are conventional replicas created towards the end of the beach), no date, H 81 x W 65 cm, ing President Hoover and Audrey Hepburn, and wrote several books. 19th century. Nevertheless, they are a fi tting adornment for the panelling, as oil on canvas Baron Silvercruys also watches over the great salon. It features a portrait of are the two shepherdesses in bisque. WAShingtOn reSidence him painted by the Canadian artist Alphonse Jongers (1872-1942), thus be-

One of the paintings displays great similarities with a painting by Paul-Jo- Taf WALLET, Matinée à 11 h fore the building was acquired. There are also two beach scenes, painted in seph De Cock (1724-1801), a relatively unknown Bruges painter, which is (Matinee at 11), no date, Saint-Idesbald, by Taf Wallet (1902-2001). These were a gift (in 1982) to the located in the Groeninge Museum in Bruges. De Cock depicts a mixture H 81 x W 65 cm, oil on canvas embassy from Mary Marvin Breckinridge Patterson (1905-2002). Wallet’s WAShingtOn reSidence of famous monuments from Rome, such as the Pantheon, the ruins of the serene, poetic art blends effortlessly with the 18th-century decor, which also Temple of Castor and Pollux and the Colosseum. Several fi gures are depicted Henri-Léon GREBER, urn, between boasts armchairs upholstered in Beauvais tapestry and a large Aubusson car- around a fountain crowned by a classic statue of Diana, the Roman goddess 1880-1920, France, pet (although this is actually a copy). In 2011, FPS Foreign Affairs acquired zinc, iron/lead, steel, aluminium of the hunt, who carries a quiver over her shoulder and a bow in her right WAShingtOn reSidence two additional works by Taf Wallet. hand. The painting is a creation of an imaginary, ruin landscape in which In the garden stand four, sizeable lead urns, works by the French sculptor the various monuments are brought together in an unrealistic fashion. Old Section through urn showing Henri-Léon Gréber (1855-1941). They are topped by a couple of putti, fur- schematic armature, fi nal report © Tom D’HAENENS catalogues mention that the painting is copied from a work by Canaletto on the restoration by Conservation ther underlining the property’s aristocratic bearing. The urns were restored

(1697-1768). The original on which this painting is based was, however, not Solutions INC, 17/04/2007 © Conservation Solutions INC. in 2007. . .

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london The embassy in London was perhaps the most significant for young Belgium. After all, it was where the “London Conference” of European powers de- cided on the new State’s foundation in 1830. A year later, Prince Leopold of Saxe-Coburg-Saalfeld, widower of Princess Charlotte, the only daughter of King George IV, was chosen as the first King of the Belgians. Since 2006, the embassy has been located in a prestigious corner building on Grosvenor Crescent (Belgravia). The Victorian property dates back to the mid-19th century and is a listed building. It houses several noteworthy royal portraits. The most impressive is that of Albert I depicted before the ruins of Ypres and painted by André Cluysenaer (1899-1939), the son of Alfred Cluysenaer (1837-1902), whose paintings can be found in the Royal Palace and the Parliament in Brussels. André Cluyse- naer spent the war years in London. Thus, the portrait was painted after- wards. Albert I never posed before the ruins of Ypres, but there was no better background imaginable for London, taking into account the horrific battles fought between the Allied and German armies that completely devastated the city. The portrait is hung in the meeting room. The ambassador’s office is home to an oval portrait of Leopold I, the work of Polydore Beaufaux (1829-1905). He won the Belgian Prix de Rome and

became a teacher at the Royal Academy of Fine Arts Antwerp. This portrait © Tom D’HAENENS is reminiscent of those by Winterhalter. There is also a portrait of Maria- Henrietta, Archduchess of Austria, who married Leopold II in 1853 and became Duchess of Brabant (and later Queen consort), as well as a coloured washington etching of the Palace of the Nation in Brussels, the seat of the Belgian Federal The residence in Washington is situated in a large park and was inspired Parliament. by an 18th-century mansion in Paris: the Hôtel de Rothelin-Charolais (rue There are several other paintings on loan from the Flemish Community, a de Grenelle), constructed by an architect of Louis XIV, Pierre Cailleteau, work by Henri-Victor Wolvens (1896-1977), two works by Rik Slabbinck and occupied by a granddaughter of Louis XIV, Louise-Anne de Bourbon- (1914-1991), a work by the Liège painter Edgard Scauflaire (1893-1960) Condé, Countess of Charolais. The American version was commissioned in and the drawing entitled Tower Bridge and London Bridge by the Brussels 1930 by Anna Dodge Dillman (1871-1970), widow of the Dodge automo- graphic artist Jacques Muller (1930-1997). Richard JACK, Roi Albert Ier tive pioneer, as a wedding gift for her daughter Delphine. The architect was Uniforme Dragon Guard The artistic bridging function performed by an embassy is evident in Lon- (King Albert I in Dragon Horace Trumbauer (1868-1938), who specialised in large mansions and who don in the display of several watercolours painted in Belgium by the English Guard uniform), XX, collaborated with Julian Abele (1881-1950) on the design. The latter had painter Hubert James Medlycott in the 19th century. Many English artists, H 125 x W 102 cm (without spent several years in Paris, which explains the French finesse in the decora- frame), H 154 x W 130 cm including William Turner (1775-1851), crossed the Channel to paint water- (with frame), tive details that imbue the entire house. colours from Normandy to Zeeland. oil on canvas This is clearly not a residence that was built at the Belgian State’s behest. Then there are two more portraits of a famous ambassador, Baron Emile de London residence Belgium had already established diplomatic contacts with the United States This painting was shown Cartier de Marchienne (1871-1946), who resided in London between 1927 at the exhibition in the in 1832 and dispatched a Resident Minister, Baron Désiré Behr, to defend and 1946 and provided a great service caring for Belgian refugees. He called BELVUEmuseum from the country’s economic interests. In 1854, the two countries signed the Trade on the talents of leading society portrait painters. One is the work of Rich- 25/11/2009 to 28/01/2010 and Navigation Treaty. Behr was later sent in the same capacity to Con-

ard Jack (1866-1952), an English painter who became the first war artist for From the “Tristan & Isolde” stantinople, to the Sublime Porte, the central government of the Ottoman Canada during the First World War. He painted subjects such as George V, suite, “Yseult trouvant l’épée” Empire. Queen Mary and the King of Spain and worked repeatedly for Buckingham (Isolde finding the wors d), The fact that this gem of the American Gilded Age ultimately fell into Bel- Brussels, circa 1580, Palace. The other portrait is the work of Oswald Birley (1880-1952), who H 330 x W 400 cm gian hands is due to Baron Robert Silvercruys (1893-1971), an entrepreneur- was born in New Zealand when his parents were on a world tour. He earned Egmont Palace ial ambassador with exquisite taste. He succeeded in acquiring the palace for his fame with portraits of personalities including George V, Queen Mary, the Belgian State in 1945. Verdure, Brussels, XVII, George VI, the Queen Mother, Elisabeth II, Churchill (to whom he also gave H 378 x W 260 cm The house had been rented for a time and was in need of some tender loving painting lessons) and prominent figures of the British Empire. London residence care. Baron Silvercruys enlisted the services of the same decorators used . . . . 22 Art in the Belgian Embassies Art in the Belgian Embassies 19

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brussels, the european nucleus Brussels continues to be a hub of Belgian diplomacy, as the country’s capital and headquarters of numerous international institutions in which Belgium is represented, such as the European Union and NATO. One historical building plays a prominent role in this regard: Egmont Palace on the Kleine Za- vel/Petit Sablon and in the immediate vicinity of the FPS Foreign Affairs’ administrative headquarters. Egmont Palace is virtually the only great noble residence to have survived the centuries. The Palace, which was continuous- ly expanded and rebuilt, belonged to the Egmont family, succeeded by the Arenbergs, one of the wealthiest European families, who owned many properties both in Belgium and abroad. It had already been extensively renovated at the beginning of the 19th century by Tilman-François Suys (1783-1861), who also designed the marble room in the Academy Palace at the time. In 1892, an entire wing went up in flames, that of Françoise van Luxemburg (the mother of the beheaded Lamoral, Count of Egmont, whose statue now graces the Kleine Zavel/Petit Sablon). It was the oldest part of the palace and it is thought that the Arenbergs kept one of the most arresting art collections there, which included pieces from ancient times and the Middle Ages, from the Renaissance and Baroque periods. Alas, not a single work was rescued. After the First World War, the Arenbergs’ Belgian assets were seized. The palace became the property of the City of Brussels until the State and the Ministry of Foreign Affairs took it over and restored it to its former glory. It is now intensively used for receptions, as a residence for foreign guests and as an international conference centre. The interior exudes prestige with its spectacular staircase, grand gallery and a series of salons. Of the original, far larger park, there remains an agree- able city park with several monuments ranging from a Gothic fountain to a © KIK - IRPA, Brussels statue of Peter Pan and a Marguerite Yourcenar space. The modern-day palace is the result of various construction phases. The large stables, which were located behind the wing that houses the great gal- View of 2 of the 4 tapestries lery, were converted into a well-equipped meeting room for the international “Les quatres continents” - “Europe”, “Amériques”, “Afrique” conference centre, which was renovated again in 2012. The central hallway and “Asie” (The four continents displays all the posters from the Europalia exhibitions, which were support- - Europe, the Americas, Africa ed by FPS Foreign Affairs. and Asia), Brussels, XVII, cartoon: Louis VAN SCHOOR, Atelier The blue and orange meeting rooms display series of photographs by Brussels Judocus de Vos photographer Bernard Queeckers (b. 1950) - the Aligner series, 1986 - and View of 1 tapestry from the by the French photographer Marie-France Lejeune (b. 1957). These series “Le Dressage du cheval” (The Dressage of the Horse) series, focus on disappearing, the illusion of reality and playing with the horizon. Antwerp, XVII, Van Hecke or An artwork by the Beirut-born Mona Hatoum (b. 1952) adorns the recep- Peemans tion area. She now lives in Berlin and London. The piece Projections (2006) View of 1 of the 2 sculptures by Plumier, “L’enlèvement de comprises a world map, not using the Mercator projection, but the principles Proserpine” and “L’enlèvement of cartography and those of the historian Arno Peters, in which the conti- des Sabines” (The Rape of nents are eaten away by acid. It makes one reflect on a country’s place in the Proserpine and The Rape of the Sabine), XVIII, marble, H 215 x world and the relationship between nations. The international dimension W 83 x thickness 52 cm is fulfilled by a piece by the Ethiopian-born Mulugeta Tafesse (b. 1960), Egmont Palace . .

24 Art in the Belgian Embassies

2013-06-18 AMBAS ENG BAT-17

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who paints figurative art as in the example Buick, in deep carmine pink (2006-2007). He views the car as a “civilisation vessel”. In addition to work by Sven ‘t Jolle (b. 1966) and Vincent Meessen (b. 1971), there are two vide- os by Angel Vergara (b. 1958), an artist with Spanish roots, Palais d’Egmont - Peinture en 1 acte et 12 tableaux and the video Tree by Bart Stolle.

In 2011, a new residence for Belgium’s Permanent Representative to the Eu- ropean Union was acquired. It is an elegant, Art-Nouveau property from 1903, close to the Ter Kameren/La Cambre Abbey. The selection of artworks is explained by the FPS Foreign Affairs art historian, Ilse Dauwe, in the publication Art in Residence@the PR of Belgium to the EU. The cur- rent ambassador stipulates therein that fifteen artworks were collected and that he hopes that residents and visitors to the residence will be inspired by the project’s welcome slogan, a defiant “fist” for Europe. The clenched fist, Power, a bronze by Etienne Desmet (b. 1943), is in fact the first thing that confronts the visitor in the hallway. It conjures up Europe’s historical residence in New Delhi, where several tapestries (including Le pêcheur influence and symbolises the power of Europe, of Belgium, of politics and (The fisherman) and Les grandes voiles (The mainsails) by Somville and diplomacy. Another piece also refers to Europe, a light sculpture by Fred Forces Murales have hung since 2011. The embassy in Kampala is fortu- Eerdekens (b. 1951), that demonstrates Wat af is, is nooit gemaakt (What’s nate enough to display the colourful, abstract tapestries by Degenève and completed, was never made), a replica of his piece that graces the office of Reginald Mangon, as well as the stylised Puenté la Reina by Truyens. the President of the European Council, Herman Van Rompuy. Political life Lastly, closer to home, a modern ensemble of four tapestries is displayed is also the theme of Giscard (2004), a lithograph by Luc Tuymans (b. 1958). at the embassy in Helsinki. Vogels met slingerplanten (Birds with creep- Etienne DESMET, The surroundings were systematically taken into account when the artworks Power, 1980, ers) by Netty de Montalembert (1892-1993) and the warm, impressive Ar- were selected. The Sonian Forest (Ter Kamerenbos/Bois de la Cambre) is H 50 x thickness 50 cm, dente Espagne (Passionate Spain) by Crunelle date back to the 1960s. The close by. It is represented by four drawings of trees by Patrick Van Caecken- bronze, here, the artwork is piece by Marcelle La Croix-Flagey (1900-1999) is truly exceptional. Her flanked by the artist and the bergh (b. 1960), as well as in a more traditional watercolour by the relatively ambassador, Mr Wouters, and abstract tapestry cartoon designs include natural phenomena, feelings or forgotten Willy Gilbert, depicting the entrance to the Ter Kamerenbos/Bois his wife cities, such as Helsinki from 1971, totally befitting for this location. Her de la Cambre with the two pavilions. PR to the EU residence in extremely personal visual language and subtle use of colour affords La Brussels Another eye-catching painting is Cities of the Red Night II, the colour- Croix-Flagey’s tapestries a certain timelessness. Recently, a work in red ful piece by the young, German artist Abel Auer (b. 1974). He has already Piet STOCKMANS, and purple by Tapta Wierusz Kowalski (1926-1997) was added, which tes- exhibited at Wiels. The work has a poetic, dreamy quality and offers an 27 EU ribbons, 2006 and tifies to the evolution that tapestry art underwent in the 1970s. This means 2010, 40 to 50 cm long/ abundance of glimpses into another world. The second large painting in this ribbon, porcelain strips that various genres are represented in Helsinki. house is a work by Stijn Cole (b. 1978), Colorscape, in which he approaches PR to the EU chancery in This brief insight, featuring a limited selection of embassies, illustrates the nature in a totally different way, using an abstraction of the perception re- Brussels attention that FPS Foreign Affairs devotes to the balanced representation

sulting in a canvas filled with square, coloured boxes. Abel AUER, of modern Belgian tapestry art abroad. Safe in the knowledge that this All the artworks, including a lambda print by Pieter Vermeersch and four Cities of the Red Night II, art form and broader textile art is still alive in Belgium today, it offers the “briefjes” (letters) by Etienne Van Doorslaer, are recent acquisitions with 2012, H 200 x W 170 cm, hope that this tradition will endure and that Foreign Affairs will continue oil on canvas the exception of three of the four works by Van Caeckenbergh, on loan to PR to the EU residence in its leading role by also including contemporary creations in its collection. the M HKA, and the piece by Gilbert on loan from the Flemish Community. Brussels Elsje Janssen . . . 26 Art in the Belgian Embassies Art in the Belgian Embassies 39

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bern In 2011 the residence of the ambassador to Switzerland was provided with new artworks, apart from four old paintings that remained. The villa in Neo-baroque style was constructed in 1904 by a local architectural firm and is now a listed building. It was purchased by the Belgian State in 1949 and consists of three floors. The artworks are displayed exclusively on the ground floor. An art plan was first compiled, as is usual for FPS Foreign Affairs, which takes the architecture and the functions of the rooms into account. It states: “The new artworks should provide a fresh, contemporary, multifaceted Bel- gian touch to the entire place.” It is also notable that there is consideration for the Swiss sensitivity related to the language mix and that artists are represented from the three Communities. The proximity of Art Basel also plays a role. The residence is adorned with 21 pieces, which are predominantly original, unique works. A concerted effort has been made to match the frames; an in- vestment that has certainly paid off. Bern is viewed as a stable and important diplomatic post. Yves ZURSTRASSEN, A coat and a work (in pastels) depicting a coat both hang in the hallway, 080904, 2008, oil on paper, H 40 x W 40 cm (without making a befitting subject for an entryway. The picture of a coat is the work frame), H 62.4 x W 62.4 cm of Mathieu Weemaels (b. 1967), a Brussels artist who has already exhibited (with frame) in Bern. He drew the coat he wore when he was a student at La Cambre. The Bern residence

“real” coat, which hangs on a nail in the wall, is a work by the Antwerp art- Gilbert SWIMBERGHE, ist Mark Luyten (b. 1955). The piece is entitled Iconography. This is how he Untitled blue, 2001, describes it: “Coat, pockets filled with shells. Coat is worn simply, woollen, H 80 x W 80 cm, oil on canvas dark blue waistcoat, North Sea shells in pockets (may eventually be replaced Bern residence with a jacket that is more in tune with the fashion of the day; the coat becomes worn with the passing of time).” Jules LISMONDE, Untitled, 1963, Three paintings (oil on paper) by the Liège artist Yves Zurstrassen (b. 1956), H 213 x W 186 cm, whose work is also exhibited in the IKOB in Eupen, hang in the library. The tapestry (wool) blue salon is decorated with five paintings by Gilbert Swimberghe (b. 1927), Bern residence

who started his career under the influence of Flemish Expressionism, but Mark LUYTEN, later turned to Constructivist art. These resplendent works are in keeping Iconography, 2005, with this movement. When the paintings were hung, the existing moulding H 100 x W 40 x thickness 20 cm, mixed media, organic on the walls had to be taken into consideration. materials, dark blue woollen In the dining room, pride of place is bestowed on the older paintings. They coat, North Sea shells are anonymous paintings in the Flemish tradition from the 17th and 18th cen- Bern residence

turies. The most important is Twee personages keuvelen aan de rand van Hans VANDEKERCKHOVE, een bos (Two figures chatting on the edge of a forest). Hortus Conclusus 1, 1993, The staircase features a tapestry - this is the case in many residences - which H 65 x W 50 cm (without frame), H 91 x W 76 cm is a lyrical, abstract piece by Jules Lismonde (1908-2001), woven at De Wit (with frame), mixed media in Mechelen. Bern residence . . 28 Art in the Belgian Embassies 122637 - Front FB 003 Perfecting 03: ENG

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Y M C Y M C B slurB Y M C Y M C B YslurY M C B 80 B 40 B 20 B Y M C B slurM Y M C B 80 Y 40 Y 20 Y Y M C B slurC Y M C B 80 M 40 M 20 M Y M C B Y M C B 80 C 40 C 20 C Y M C B Y M C B Y M C Y M C Y M Y M C B slurB Y M C B 80 B 40 B 20 B Y M C B slurY Y M C B 80 Y AG Druckmaschinen Heidelberger 2010 © (pdf) 10.01b Dipco 102/105 Format CS−4i Prinect 20 M Y M C B slurC Y M C B 80 C 40 C 20 C Y M C B slurB Y M C B Y M C Y M C Y C Y M C B slurY Y M C B 80 B 40 B 20 B Y M C B Y M C B 80 Y 40 Y 20 Y Y M C B Y M C B 80 M 40 M 20 M Y M C B slurM Y M C B 80 C 40 C 20 C Y M C B slurC Y M C B Y M C Y M C M C Y M C 0B Marin Kasimir tokyo The embassy in Tokyo has suffered a turbulent existence. The former embassy was completely destroyed during the Second World War. The new embassy also disappeared, albeit under more peaceful circumstances. In fact, it was replaced by a large complex, of which only a part is used as an embassy and residence. This explains why all the artworks and furniture were shipped back to Belgium in 2010 and replaced with more contemporary pieces. A rather exceptional procedure was devised for this project. Several walls were selected in the building, in consultation with the architect and the interior architect, and following a prospection and research phase, an artist was designated © Jean-Michel BYL for each location and was contacted regarding an existing artwork or to work Marin KASIMIR, out a proposal. In total, 37 artworks were purchased from 15 artists; one piece Eternel Ephémère (Eternal is on loan and 2 existing paintings were assigned a new location. The total cost Ephemeral), 2009, 200-cm diameter, photograph on amounted to 200,000 euros. This equates to just over 1% of the budget allocat- 10-mm Plexiglas ed by the Communities (and the Flemish and Brussels Government Architects) Tokyo chancery for art integration in government buildings. Michel FRANÇOIS, A dialogue with the host country is always welcome and, in the VIP area at Jeune fille à l’arrêt (Girl at a the entrance, there is clearly an ongoing dialogue between a Belgian sky by stop), 1996 (2010), Marie-Jo Lafontaine (b. 1950), Sky, and a Japanese sky by Nobuyoshi Araki H 250 x W 420 cm, © Jean-Michel BYL photograph (b. 1940). This time, FPS Foreign Affairs has acquired a work by an important Tokyo chancery foreign artist. At the entrance to the Visa department, there is a circular work with a Japanese cherry tree at its centre, surrounded by the Brussels skyline. It is Anne-Mie VAN KERCKHOVEN, “So nothing Eternelle ephémère (Eternal ephemeral) by Marin Kasimir. Four works in fluo- really ends...”, “Formal clarity rescent shades by Anne-Mie Van Kerckhoven (b. 1951) are given a prominent and its effect”, “Beyond the position in the grand entrance hall above the two benches by the Belgian de- unisex”, 2007, H 100 x W 120 x thickness signer Charles Kaisin (b. 1972). Furthermore, an obvious link between Japanese 0.5 cm, acrylic and mixed manga and the Belgian comic book story emerges in the works by Yves Ullens media on Perspex and Benoit Platéus (b. 1972). Tokyo chancery

For the reception desk, Sophie Nys (b. 1974) created six Fujigrammen (photo- Benoit PLATEUS, grams), inspired by Mount Fuji of course. In the ambassador’s secretariat, the Spectrum 2, 2007, dialogue is resumed by Patrick Gerola (b. 1959), a Belgian artist living in Japan, H 200 x W 140 cm, C-Print Tokyo chancery who depicts Kamakura in full bloom, next to three seed packets (lithographs) by Jef Geys (b. 1934). Pierre Alechinsky (b. 1927) is represented by two works Tokyo chancery . . 30 Art in the Belgian Embassies 122637 - Back FB 003 Perfecting 03: ENG

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Out of sight, but definitely not out of mind

Belgian tapestries at embassies around the world

Our country is naturally associated with “High Art”. This also includes the Flemish tapestries. The latter are found in virtually all major museum collections and adorn the walls of many castles and palaces. This means that visitors come into contact with art that has contributed to Belgium’s image for centuries. Those that are only accessible to a privileged few, and are therefore fairly unknown, are the tapestries that hang in Belgian embassies, consulates and official residences around the world. These places are highly suitable havens for displaying these treasures, precisely because this art form is so closely linked to and associated with our country. The FPS Foreign Affairs collection includes fifty-five antique tapestries. They date back to between the 16th and 18th century and were woven in Brus- sels, Antwerp, Oudenaarde and Aubusson. Many are housed in the Egmont Palace in Brussels, while a total of twenty-nine tapestries adorn the walls of the embassies in Rome (the Vatican and Quirinal) and London. They depict mythological scenes, hunting scenes and landscapes. Sometimes the old tapestries are combined or replaced with their counterparts from the 20th century. FPS Foreign Affairs also possesses around 140 modern tapestries created from designs by Belgian artists. In this respect, this collection is, alongside the one in Tournai in the Musée de la Tapisserie et des Arts du tissu (Muse- um of Tapestry and Textile Arts), one of the most important in the country. . .

breathtaking even today. In front of the villa stands a copy of the fountain of the Grand Bassin in Versailles. This incredibly nostalgic monument, decorated with a profusion of artworks, was intensively used to host parties until the death of his partner and the 1955 coffee crisis ruined Pichot. Kenya became independent in 1963. The Trianon was up for sale when the first Belgian ambassador, Baron Eugène Rittweger de Moor (1921-1984), arrived in the country. The Belgian State was able to acquire it for 30,000 pounds sterling at the time. Renovation works were entrusted to a Belgian architect, Brunard, in the spirit of the Louis XV style. It became the ideal location to host receptions for the new elite. The gardens were redesigned and boast the largest collection of ferns in Africa. In 2012, at the suggestion of Ambassador Bart Ouvry, a remarkable event was organised in this rather exceptional décor in the midst of Africa: an exhibition of Kenyan and Belgian artists devoted to a politically charged theme. It was Funika-Fufuka Cover-Recover, involving twelve artists and a local curator, Gonda Geets. The starting point was a work that is on loan from the M HKA: In Flanders Fields by Berlinde de Bruyckere, a dead war horse from 1914-1918. Local artists were invited to exhibit their work related in some way to the theme of aggression, violence and injustice. The exhibition was naturally aimed at visitors to the embassy as well as stu- dents in and around Nairobi. The ambassador linked it to the hope of free, fair and non-violent elections in 2013, and fortunately it transpired that this wish was granted. So, in fact, the exhibition was something of a prophecy. Curator Gonda Geets referred to the conflicts expressed in the art and said: “The artworks invite introspection. As much as they express vulnerability, © Hans Vandekerckhove © Auctionhouse De Vuyst pain and confusion, they are also carriers of hope, beauty and dignity.” The on rice paper that clearly illustrate a major source of inspiration for the art- sculptor Gor Soudan displayed The mother of all eatings, a piece that comes ist, Japanese calligraphy. The ambassador’s office is decorated with four more close to the power of expression found in a Roel d’Haese and said: “Our lives works on paper by Panamarenko (b. 1940), comprising a wealth of graphic and are a battlefield on which is fought a continuous war between the forces that poetic refinement. The choice of décor in the ambassador’s residence is more are pledged to confirm our humanity and those determined to dismantle it.” traditional with a drawing by Gustave De Smet (1877-1943), reminiscent of This is far removed from the sometimes stuffy image one might harbour of Foujita, four watercolours from the early 1930s by Léon Spilliaert (1881-1946) the diplomatic world. with landscapes featuring red-roofed houses, and as their counterpart a con- Joost De Geest temporary piece by Hans Vandekerckhove (b. 1957), Little Village. Next to a Hans VANDEKERCKHOVE, photograph featuring Emperor Akihito and King Albert II in the dining room Little Village, 2008, H 125 x W 100 cm, hangs a painting by Albert Saverys (1886-1964), Entrée au chateau (Entrance to oil on canvas the castle) (1942), which commemorates their encounter. Tokyo chancery The standards maintained by FPS Foreign Affairs for displaying artworks Gustave DE SMET, abroad are illustrated here in an exemplary fashion. De naaister (The seamstress), circa 1921-22, nairobi H 28.5 x W 21.5 cm, pen drawing The Belgian embassy in Nairobi does not have any direct link with colonial Tokyo residence architecture, which is what one would expect to a certain extent. It is a (scaled down) replica of the Grand Trianon in Versailles, albeit resplendent in a lush, Gallery of the Belgian residence in Nairobi: ‘In tropical park. Flanders Fields’ by Berlinde The ever-impressive building dates back to the early 1950s. Frenchman Pierre De Bruyckere and in the Pichot, thanks to the fortune of his British friend, owner of the oldest coffee background ’42 plus 1 Burnt Heads’ by Ehoodi Kichapi plantations in Kenya, assigned the project to a local architect, Indris Davies, to (Funika Fufuka exhibition) create a smaller version of the original of the French palace. The result is still Nairobi residence

. 32 Art in the Belgian Embassies

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Out of sight, but definitely not out of mind

Belgian tapestries at embassies around the world

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Out of sight, but definitely not out of mind Marin Kasimir tokyo The embassy in Tokyo has suffered a turbulent existence. The former embassy was completely destroyed during the Second World War. The new embassy also disappeared, albeit under more peaceful circumstances. In fact, it was replaced by a large complex, of which only a part is used as an embassy and residence. This explains why all the artworks and furniture were shipped back to Belgium in 2010 and replaced with more contemporary pieces. A rather exceptional procedure was devised for this project. Several walls were selected in the building, in consultation with the architect and the interior architect, and following a prospection and research phase, an artist was designated © Jean-Michel BYL for each location and was contacted regarding an existing artwork or to work Marin KASIMIR, out a proposal. In total, 37 artworks were purchased from 15 artists; one piece Eternel Ephémère (Eternal is on loan and 2 existing paintings were assigned a new location. The total cost Ephemeral), 2009, 200-cm diameter, photograph on amounted to 200,000 euros. This equates to just over 1% of the budget allocat- 10-mm Plexiglas ed by the Communities (and the Flemish and Brussels Government Architects) Tokyo chancery for art integration in government buildings. Michel FRANÇOIS, A dialogue with the host country is always welcome and, in the VIP area at Jeune fille à l’arrêt (Girl at a the entrance, there is clearly an ongoing dialogue between a Belgian sky by stop), 1996 (2010), Marie-Jo Lafontaine (b. 1950), Sky, and a Japanese sky by Nobuyoshi Araki H 250 x W 420 cm, © Jean-Michel BYL photograph (b. 1940). This time, FPS Foreign Affairs has acquired a work by an important Tokyo chancery foreign artist. At the entrance to the Visa department, there is a circular work with a Japanese cherry tree at its centre, surrounded by the Brussels skyline. It is Anne-Mie VAN Edgard TYTGAT, La souplesse KERCKHOVEN, “So nothing des femmes est comme celle Eternelle ephémère (Eternal ephemeral) by Marin Kasimir. Four works in fluo- really ends...”, “Formal clarity des flots (The flexibility of rescent shades by Anne-Mie Van Kerckhoven (b. 1951) are given a prominent and its effect”, “Beyond the women is like the waves), position in the grand entrance hall above the two benches by the Belgian de- unisex”, 2007, 1937, H 148 x W 207.5 cm, H 100 x W 120 x thickness wool & silk, atelier Elisabeth signer Charles Kaisin (b. 1972). Furthermore, an obvious link between Japanese 0.5 cm, acrylic and mixed De Saedeleer manga and the Belgian comic book story emerges in the works by Yves Ullens media on Perspex Saint Petersburg residence and Benoit Platéus (b. 1972). Tokyo chancery Edgard TYTGAT, La Roulotte For the reception desk, Sophie Nys (b. 1974) created six Fujigrammen (photo- Benoit PLATEUS, - La danseuse (The Caravan - grams), inspired by Mount Fuji of course. In the ambassador’s secretariat, the Spectrum 2, 2007, the dancer), 1939, dialogue is resumed by Patrick Gerola (b. 1959), a Belgian artist living in Japan, H 200 x W 140 cm, C-Print H 149 x W 191 cm, Tokyo chancery wool & silk, atelier Elisabeth who depicts Kamakura in full bloom, next to three seed packets (lithographs) De Saedeleer by Jef Geys (b. 1934). Pierre Alechinsky (b. 1927) is represented by two works Tokyo chancery Saint Petersburg residence . . 30 Art in the Belgian Embassies Art in the Belgian Embassies 35 122637 - Back FB 003 Perfecting 03: ENG

world’s fairs and spaak’s commission In the first half of the last century, the Belgian State commissioned tapestries to be woven on several occasions to be exhibited at the World’s Fairs. Elisabeth De Saedeleer (1902-1972), who ran a small-scale but important weaving workshop, wove tapestries for the World’s Fair in Paris in 1937 designed by Edgard Tytgat (1879-1957): La souplesse des Femmes est comme celle des flots (Women’s flexibility is like that of the waves) and Le sommeil des Femmes fait rêver les Hommes (Sleeping Women make for the dreams of men). La fortune de la roulotte (The caravan’s fortune) was added for the World’s Fair in New York in 1939. The tapestries, smaller versions of which were also produced, are now the property of FPS For- eign Affairs and have been the pride of the Consulate General in Saint Pe- tersburg since 2009. Prior to this, they graced the interior of the ambassador’s residence in Washington. At the World’s Fair in New York, two tapestries were exhibited that had been designed by Floris Jespers (1889- 1965), De Stichting van New York (The New York Foundation) and Het werk van de Missionarissen in de Verenigde Staten (The work of the Mis- Floris JESPERS, Contribution of the sionaries in the United States), woven by the manufacturer Braquenié in Belgian missionaries and Mechelen. This last tapestry now hangs in the chancery in Washington. academics to the discovery The greatest boost for Belgian tapestry art came with the commission from and civilisation of America, 1936, H 400 x W 500 cm, Minister Paul-Henri Spaak (1899-1972) in 1947 and awarded to the Centre Braquenié, Mechelen de Rénovation de la Tapisserie de Tournai (Tournai tapestry restoration Washington chancery

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workshop). The order for 300 m² of tapestries, amounting to 2,100,000 Belgian francs, had to be completed within three years. This was initiated by Forces Murales, a collective founded in 1947 by the young artists Louis Del- tour (1927-1998), Edmond Dubrunfaut (1920-2007) and Roger Somville (b. 1923). The group was later joined by Marcel Baugniet (1896-1995), Michel Holyman (1924-1966) and Jean Ransy (1910-1991). Their objective was the bern procurement and revaluation of monumental arts. They wanted to make art In 2011 the residence of the ambassador to Switzerland was provided with for the people, art that denoted the working man for better or worse, joyful new artworks, apart from four old paintings that remained. The villa in and belligerent. Tapestries using the traditional weaving technique were con- Neo-baroque style was constructed in 1904 by a local architectural firm sidered one of the means to achieve these objectives. The tapestry cartoon and is now a listed building. It was purchased by the Belgian State in 1949 designs were applied in the Atelier Coopérative de Tournai (Tournai cooper- and consists of three floors. The artworks are displayed exclusively on the ative workshop). In spite of the great start and the dedication and enthusiasm ground floor. of those involved, the cooperative went bankrupt in 1951. During its three- An art plan was first compiled, as is usual for FPS Foreign Affairs, which year existence, at least eighteen tapestries were woven from designs by Forc- takes the architecture and the functions of the rooms into account. It states: es Murales. They belong to FPS Foreign Affairs and were intended from the “The new artworks should provide a fresh, contemporary, multifaceted Bel- start to embellish various embassies abroad. Cartoons that the group’s mem- gian touch to the entire place.” It is also notable that there is consideration bers had designed separately were also used by the Tournai workshop. At the for the Swiss sensitivity related to the language mix and that artists are rep- request of Foreign Affairs the weaving workshop’s signature was not applied resented from the three Communities. The proximity of Art Basel also plays to all the tapestries; only the initials of the three artists were woven into the a role. designs. The Forces Murales signature, an F and an S tilted to the right, is The residence is adorned with 21 pieces, which are predominantly original, hidden in the linear pattern of the composition of some of the tapestries. unique works. A concerted effort has been made to match the frames; an in- Spaak’s commission not only supported Tournai’s tapestry production, but vestment that has certainly paid off. Bern is viewed as a stable and important also the jobs associated with it and provided artistic promotion for an in- diplomatic post. Yves ZURSTRASSEN, ternational revival of artistic expression. The tapestries, woven according A coat and a work (in pastels) depicting a coat both hang in the hallway, 080904, 2008, oil on paper, to designs by famous artists, adorn the walls of embassies the world over: H 40 x W 40 cm (without making a befitting subject for an entryway. The picture of a coat is the work frame), H 62.4 x W 62.4 cm Riyadh, Canberra, Johannesburg, Montreal, New Delhi, Santiago de Chile, of Mathieu Weemaels (b. 1967), a Brussels artist who has already exhibited (with frame) Seoul, Sidney, Tehran, etc. Nowadays, however, the style of these tapestries in Bern. He drew the coat he wore when he was a student at La Cambre. The Bern residence is not as popular, which means that many of them are stored in the FPS For-

“real” coat, which hangs on a nail in the wall, is a work by the Antwerp art- Gilbert SWIMBERGHE, eign Affairs art depot in Brussels. ist Mark Luyten (b. 1955). The piece is entitled Iconography. This is how he Untitled blue, 2001, describes it: “Coat, pockets filled with shells. Coat is worn simply, woollen, H 80 x W 80 cm, orders galore oil on canvas dark blue waistcoat, North Sea shells in pockets (may eventually be replaced Bern residence FPS Foreign Affairs (as well as other federal public services such as FPS with a jacket that is more in tune with the fashion of the day; the coat be- Economy, Culture, SMEs and Education) also placed orders for tapes- comes worn with the passing of time).” Jules LISMONDE, tries with other workshops. In 1952, the manufacturer Gaspard De Wit in Untitled, 1963, Three paintings (oil on paper) by the Liège artist Yves Zurstrassen (b. 1956), H 213 x W 186 cm, Mechelen was commissioned by the Belgian State to produce the winning whose work is also exhibited in the IKOB in Eupen, hang in the library. The tapestry (wool) tapestry cartoon resulting from a competition for a tapestry design for the blue salon is decorated with five paintings by Gilbert Swimberghe (b. 1927), Bern residence UN headquarters in New York. For a long time, The United Nations’ work who started his career under the influence of Flemish Expressionism, but Mark LUYTEN, from a design by Peter Colfs (1906-1983), was the largest existing tapestry later turned to Constructivist art. These resplendent works are in keeping Iconography, 2005, (860 x 1350 cm) to be woven as a single piece. When it was completed in with this movement. When the paintings were hung, the existing moulding H 100 x W 40 x thickness 1954, Belgium offered it as a gift to the United Nations; however, FPS For- 20 cm, mixed media, organic on the walls had to be taken into consideration. materials, dark blue woollen eign Affairs continues to be responsible for its maintenance. The tapestry is In the dining room, pride of place is bestowed on the older paintings. They coat, North Sea shells a typical child of its time and is now somewhat dated. Nevertheless, despite are anonymous paintings in the Flemish tradition from the 17th and 18th cen- Bern residence losing its colour palette, it still takes pride of place in the UN headquarters turies. The most important is Twee personages keuvelen aan de rand van Hans VANDEKERCKHOVE, in New York. een bos (Two figures chatting on the edge of a forest). Hortus Conclusus 1, 1993, In the 1950s, FPS Foreign Affairs commissioned De Wit to weave Opschik The staircase features a tapestry - this is the case in many residences - which H 65 x W 50 cm (without van Venus (The Trappings of Venus) and Oranje boeket (Orange bouquet) frame), H 91 x W 76 cm is a lyrical, abstract piece by Jules Lismonde (1908-2001), woven at De Wit (with frame), mixed media by the Flemish artist Julien Van Vlasselaer (1907-1983) and Les Vendanges in Mechelen. Bern residence (The Harvests) and Les vièrges sages et vièrges folles (The wise virgins and . . . . 28 Art in the Belgian Embassies Art in the Belgian Embassies 37 122637 - Front FB 003 Perfecting 03: ENG

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mad virgins) by Mary Dambiermont (1932-1983). In 1963, the workshop produced Triomf van de Vrede (Triumph of Peace) from the design by Roger Somville. The Belgian State agreed to loan it to NATO for its former headquarters in Paris. Furthermore, there are many tapestries in the collection that were woven between 1950 and 1980 by the manufacturer Chaudoir in Brussels. These are mainly works produced from tapestry cartoon designs by Liliane Badin (b. 1929), José Crunelle (1924-2012), Robert Degenève (1919-2008), Marce Truyens (b. 1939) and Jean Van Noten (1903-1982). All these artists have made a major contribution to Belgian tapestry art. The selection of artworks that are on display abroad is compiled from propos- als made by the FPS Foreign Affairs Movable Heritage, Art and Antiquities department, in consultation and/or at the request of the ambassador involved. The selection takes account of the building’s possibilities, location and the Michel HOLYMAN, Sint-Joris en de draak condition of the tapestries. Sometimes work can be observed that spans (St. George and the Dragon), several decades, such as in the Washington D.C. chancery, where the afore- 1949 mentioned tapestry by Floris Jespers from 1936 houses, together with Sint- Washington chancery

Joris en de draak (Saint George and the dragon), also known as St-Georges José CRUNELLE, Untitled, XX, et la Pucelle (Saint George and the Maid), from 1949 by Michel Holyman. H 146 x W 155 cm, wool, Chaudoir, Brussels Oslo residence style combinations Various styles are combined at other locations. The embassy in Riyadh Roger SOMVILLE, displays Le Chèvre (The Goat) by Dubrunfaut and Le Dormeur (The Les pêcheuses (The fishwives), XX, H 298 x W 194.5 cm, Sleeper) by Somville. José Crunelle is an artist famous for his colourful, wool & cotton

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residence in New Delhi, where several tapestries (including Le pêcheur (The fisherman) and Les grandes voiles (The mainsails) by Somville and Forces Murales have hung since 2011. The embassy in Kampala is fortu- nate enough to display the colourful, abstract tapestries by Degenève and Reginald Mangon, as well as the stylised Puenté la Reina by Truyens. Lastly, closer to home, a modern ensemble of four tapestries is displayed at the embassy in Helsinki. Vogels met slingerplanten (Birds with creep- ers) by Netty de Montalembert (1892-1993) and the warm, impressive Ar- dente Espagne (Passionate Spain) by Crunelle date back to the 1960s. The piece by Marcelle La Croix-Flagey (1900-1999) is truly exceptional. Her abstract tapestry cartoon designs include natural phenomena, feelings or cities, such as Helsinki from 1971, totally befitting for this location. Her extremely personal visual language and subtle use of colour affords La Croix-Flagey’s tapestries a certain timelessness. Recently, a work in red and purple by Tapta Wierusz Kowalski (1926-1997) was added, which tes- tifies to the evolution that tapestry art underwent in the 1970s. This means that various genres are represented in Helsinki. This brief insight, featuring a limited selection of embassies, illustrates the attention that FPS Foreign Affairs devotes to the balanced representation of modern Belgian tapestry art abroad. Safe in the knowledge that this art form and broader textile art is still alive in Belgium today, it offers the hope that this tradition will endure and that Foreign Affairs will continue its leading role by also including contemporary creations in its collection. Elsje Janssen

. Art in the Belgian Embassies 39

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brief literature overview related brief literature overview belgian authors to belgian embassies in general tapestries at embassies around Ilse Dauwe studied art sciences at Ghent B. Pierre, et al., Belgian Embassy Beijing, FPS Foreign the world University. She also obtained art and antique dealer Affairs, 2010 R. Avermaete, Van Vlasselaer. Wandtapijten (Van qualifications from Syntra Brussels (evening school). She HC, Kunstzinnige ambassades als culturele uithangborden Vlasselaer. Tapestries), Brussels, 1973 has managed the FPS Foreign Affairs art and antiques (Artistic embassies as cultural showcases), De Morgen, D. Biernaux, Tapisserie et Art Textile. Collection du collection since November 2002. 9/04/2010 Ministère de la Communauté Française de Belgique I. Dauwe, Art @the Conference Centre of the Egmont (Tapestry and Textile Art. The Collection of the Minister Joost De Geest studied at the RUG (now Ghent Palace, FPS Foreign Affairs, 2012 of the French Community of Belgium), Tournai, 1984 University) and the Free University of Brussels. The De Gruben, et al. Belgian Embassy London, FPS Foreign Exhibition catalogue, José Crunelle Cartonnier (José theme of his thesis involved fantastic literature and art. Affairs, 2008 Crunelle Cartoon creator), Schaerbeek, 1999 He worked at the Université de Lille III (Lille 3) and in R. Delcorde, Les diplomates belges (Belgian diplomats), Exhibition catalogue, Kleur voor wand en vloer. Het the communication department at Gemeentekrediet/ Wavre: Mardaga, 2010 weefatelier Elisabeth de Saedeleer (Colour for walls and Dexia bank, including as a curator of the art collection. V DY, De nieuwe ambassade wordt ook een uithangbord van floors. The Elisabeth de Saedeleer weaving studio), He managed the Musea Nostra and Monografiën Belgische kunst (The new embassy becomes a showcase Oudenaarde, 1993 over moderne kunst (Monographs on modern art) for Belgian art). Exhibition catalogue, La Croix-Flagey. Tapisseries (La series. Joost De Geest’s publications include those F. Geerkens, et al., Kunst en cultuur aan huis. Oost- Croix-Flagey. Tapestries), Brussels, 1971 related to Brabant Fauvism, art at the Front 1914- Vlaanderen te gast. (Art and culture at home. East Exhibition catalogue, Robert Degenève Peintre-Cartonnier 1918, H.V. Wolvens, Gustave Van de Woestyne, Flanders, the guest), East Flanders Regional Council, 2012 (Robert Degenève Painter -Cartoon creator), Woluwe- Emile Veranneman, Wilchar, Jozef De Coene, Emile A. Hollosi, “Nieuwe ambassade in Tokio heeft veel aandacht Saint-Pierre, 1999 Salkin, Armand Rassenfosse, Willy Peeters, Jozef Van voor Belgische kunstenaars” (New embassy in Tokyo N. Chalmet, et al., exhibition catalogue, Mobiele fresco’s Ruysseveldt, Bruno Vekemans and Roel D’Haese and devotes considerable attention to Belgian artists) and van het Noorden (Mobile frescoes of the North), he compiled Het Belgisch kunstboek (The Belgian book “Des oeuvres d’art dans la nouvelle ambassade de Belgique Antwerp, 1994 of art) (Lannoo en Standaard). Joost De Geest was à Tokyo inaugurée jeudi” (Works of art in the new N. Chalmet, Edmond Dubrunfaut. De mens in het an art critic at De Standaard, and now performs the Belgian embassy in Tokyo, inaugurated Thursday), Belga, middelpunt van de tijd (Edmond Dubrunfaut. The man at same role for Het Laatste Nieuws and Netto. He is 7/04/2010 the centre of time), Brussels, 2000 the author of the OKV (Public Art Collection Flanders) E. Laloire, Histoire des deux hôtels d’Egmont et du Palais F. Coppe, Artisanat d’Art Aujourd’hui En Belgique themed editions Aquarelkunst na 1800 (Watercolour d’Arenberg (History of the two Egmont and Arenberg Francophone. Le Textile (Arts and Crafts Today In French- art after 1800) (2008, no. 4) and Regionale Palace hotels) (1383-1910), Brussels, 1952 speaking Belgium. Textiles), Brussels, 1983 schilderscholen (Regional painting schools) (2009, no. 6). J. Matthysen, et al., Belgian Embassy Bangkok, FPS Foreign Fondation de la Tapisserie, des Arts du Tissu and des Arts Affairs, 2009 Muraux de la Communauté française de Belgique (Mural Dr Elsje Janssen studied Art history and Archaeology, B. Ouvry, G. Geets, Funika-Fufuka Cover-Recover, Art of the French Community in Belgium), Tournai, 1992 Textile Restoration and Social and Cultural Contemporary Art Exhibition 15 Nov - 9 Dec, 2012, N. Gadenne, et al., exhibition catalogue, Forces Murales Anthropology. She obtained a PhD in Archaeology Nairobi, 2012 1947-1959, Tournai, 1989 and Art History at the Free University of Brussels with 175 ans de diplomatie belge, 175 jaar Belgische diplomatie, J. Guisset, Somville. Tapisseries 1945-1999 (Somville. a thesis about De wandtapijtkunst in België na 1945 175 Jahre Belgischer Diplomatie (175 years of Belgian Tapestries 1945-1999), Sprimont, 1999 (Tapestry art in Belgium after 1945). She worked as the diplomacy) (exhibition at the Egmont Palace), Brussels, E. Janssen, La tapisserie en Belgique, De Wandtapijtkunst in Tapestry and Textile Curator at the Royal Museums of 2005 België, Tapestries in Belgium, Sprimont, 1996 Art and History in Brussels and was actively involved Minister Vanackere kijkt bewonderd toe. (Minister Vanackere E. Janssen, Examples of Belgian Government Use of in the foundation of the MAS Museum in Antwerp. looks on with admiration), Het Nieuwsblad, 9/04/2010 Tapestries, in the International Tapestry Network Journal, She was also curator of the Vleeshuis Collection and Belgische kunst siert ambassade in Tokio (Belgian art vol. 3, no. 1, 1997, p. 16 the Town Hall Collection and director of Collection decorates the embassy in Tokyo), De Redactie, 7/04/2010 E. Janssen, De wandtapijtkunst in België na 1945. (Tapestry Policy/Conservation and Management for the City O. Stevens, et al., La Belgique et ses plus belles ambassades art in Belgium after 1945), Unpublished PhD thesis, Art of Antwerp. Elsje Janssen is coordinator of the ICOM à travers le monde = België en haar mooiste ambassades history and Archaeology, VUB, 2002 Conservation Committee Textiles Working Group and wereldwijd= Belgium’s most beautiful embassies from H. Juin, Edmond Dubrunfaut et la recherche de liens selects artists that will represent Belgium at the around the world, Brussels: La Renaissance du livre (The communs. Art Monumental (Edmond Dubrunfaut and the International Triennial of Tapestry in Lodz, Poland. Since Renaissance of the book) /La Libre-Match, 2003 search for common ground. Monumental Art), Brussels, January 2011, Elsje Janssen has worked as Textiles F. van Daele, et al., Belgian Embassy Washington, FPS 1982 Curator at the Rijksmuseum in Amsterdam. Foreign Affairs, 2010 L.L. Sosset, Tapisserie Contemporaine en Belgique. D. Wouters, et al., Art in Residence @ the PR of Belgium to Hedendaagse wandtapijten in België. Contemporary the EU, FPS Foreign Affairs, 2013 Tapestries in Belgium. Zeitgenössische Wandteppiche in België, Liège, 1989 A.L.J. Van de Walle, exhibition catalogue, Gaspard De Illustrations Unless otherwise stated next to the images: Wit, Mechelen, 1972 © FPS Foreign Affairs.

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