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Ensor to Permeke
06 • 10 • 2015 Ensor to Permeke A PASSION FOR BELGIAN ART BA cata Ensor 167x242 22/07/15 10:00 Page 1 ENTE VEILING mardi - dinsdag 06 • 10 • 2015 - 19.00 Ensor to Permeke A PASSION FOR BELGIAN ART 7 – 9, RUE ERNEST ALLARDSTRAAT (SABLON-ZAVEL) • B-1000 BRUXELLES - BRUSSEL T. +32 (0)2 511 53 24 • [email protected] WWW.BA-AUCTIONS.COM BA cata Ensor 167x242 22/07/15 10:00 Page 2 BA cata Ensor 167x242 22/07/15 10:00 Page 3 BA cata Ensor 167x242 22/07/15 10:00 Page 4 La collection Eric Drossart, le reflet d’une passion Lorsque je disputais la Coupe Davis dans les années soixante, et même au début de ma carrière chez Mc Cormack, je ne me connais- sais aucune affinité particulière avec l’Art. Tout a commencé lors de mon installation à Londres, au début des années quatre-vingt. J’y ai découvert le monde des galeries d’art, des ventes aux enchères et très vite cet univers fascinant s’est imposé à moi comme une évidence et devint une passion. Mon intérêt pour l’art belge, essentiellement celui de la fin du 19e siècle et du début du 20e siècle, répondait parfaitement à ma sensibilité naissante et à mon sentiment d’exilé. Dès 1991 j’ai donc commencé avec les encouragements de ma mère, qui adorait fouiner, à rechercher et à acquérir des œuvres d’artistes belges de cette période. Peu de temps après, j’ai eu la chance de rencontrer Sabine Taevernier qui est devenue, et qui est encore aujourd’hui, ma conseillère. -
Faculteit Letteren En Wijsbegeerte Vakgroep Kunst-, Muziek- En Theaterwetenschappen Academiejaar 2009-2010 Eerste Examenperiode
Faculteit Letteren en Wijsbegeerte Vakgroep Kunst-, Muziek- en Theaterwetenschappen Academiejaar 2009-2010 Eerste Examenperiode Artistieke afbeeldingen van het amusementsleven in het oeuvre van Gustave De Smet, Edgard Tytgat en Floris Jespers binnen het sociaal culturele spanningsveld van de jaren twintig Scriptie neergelegd tot het behalen van de graad van Master in de Kunstwetenschappen, Optie Beeldende Kunst door Willem Coppejans Promotor: Prof. Dr. Claire Van Damme INHOUDSTAFEL Voorwoord …………………………………………………………………………………………5 Status Quaestionis …………………………………………………………………………………6 1. Situering van de protagonisten in de jaren twintig en hun relatie ten opzichte van het amusementsleven ………………………………………………...…13 1.1 Gustave De Smet………………………………………………………………………………. 13 1.2 Edgard Tytgat………………………………………………………………………………….. 14 1.3 Floris Jespers…………………………………………………………………………………... 16 1.4 Besluit………………………………………………………………………………………….. 17 2 Sociaal historische invloed op het veelvuldige voorkomen van de thematiek van het amusementsleven in de Vlaamse kunst van de jaren twintig …………….. 18 2.1 Historische schets: het amusementsleven in de jaren twintig………………………………….. 18 2.1.1 De dolle jaren twintig?…………………………………………………………………………. 18 2.1.2 Bloei van de amusementscultuur ondanks een bar economisch klimaat………………………. 19 2.1.3 Het amusementsleven van de jaren twintig: voor elk wat wils………………………………... 20 2.1.3.1 Kermis…………………………………………………………………………………………. 20 2.1.3.2 Circus………………………………………………………………………………………….. 20 2.1.3.3 Kusttoerisme…………………………………………………………………………………… 21 2.1.3.4 -
Continuum 119 a Belgian Art Perspective
CONTINUUM 119 A BELGIAN ART PERSPECTIVE OFF-PROGRAM GROUP SHOW 15/04/19 TO 31/07/19 Art does not belong to anyone, it usually passes on from one artist to the next, from one viewer to the next. We inherit it from the past when it served as a cultural testimony to who we were, and we share it with future generations, so they may understand who we are, what we fear, what we love and what we value. Over centuries, civilizations, societies and individuals have built identities around art and culture. This has perhaps never been more so than today. As an off-program exhibition, I decided to invite five Belgian artists whose work I particularly like, to answer back with one of their own contemporary works to a selection of older works that helped build my own Belgian artistic identity. In no way do I wish to suggest that their current work is directly inspired by those artists they will be confronted with. No, their language is mature and singular. But however unique it may be, it can also be looked at in the context of the subtle evolution from their history of art, as mutations into new forms that better capture who these artists are, and the world they live in. Their work can be experienced within an artistic continuum, in which pictorial elements are part of an inheritance, all the while remaining originally distinct. On each of these Belgian artists, I imposed a work from the past, to which they each answered back with a recent work of their own. -
Untitled for the Exhibition Body Talk Presented at WIELS, Brussels 2015
1 Inhoudstafel Inhoudstafel ............................................................................................................................................................................................... 2 Feast of Fools. Bruegel herontdekt ............................................................................................................................................. 4 Meer dan alleen een tentoonstelling .................................................................................................................................... 6 Titel ........................................................................................................................................................................................................... 7 Kunstwerken ‘Feast of Fools. Bruegel herontdekt’............................................................................................................ 8 Bruiklenen ............................................................................................................................................................................................ 8 1. Introductie ............................................................................................................................................................................ 8 2. Back to the Roots ............................................................................................................................................................ 8 3. Everybody Hurts ............................................................................................................................................................. -
Press Release Brafa 2020 All Together Different
PRESS RELEASE BRAFA 2020 ALL TOGETHER DIFFERENT Over more than fifty years, Galerie Oscar De Vos built a tradition of prestigious exhibitions on Modern Belgian Art, with an emphasis on the art of The Latem School. Artists such as George Minne, Valerius De Saedeleer, Gustave Van de Woestyne, Emile Claus, Albert Servaes, Constant Permeke, Gust. De Smet, Frits Van den Berghe and Hubert Malfait enjoy the appreciation of a large audience throughout museum exhibitions, publications in Belgium and abroad. Each of these artists loved the nature of Latem. There they created their works spontaneously and interacted with the other artists who resided in the village. The region of Flanders has long been an area rich in art. On the outskirts of the city Ghent, along the river Lys, artists relocated to the village of Sint-Martens-Latem. In Flanders, artists converged on Latem because of its beauty. In this pastoral environment were born a great many attractive works that could not have been originated in any city. The artworks on show during BRAFA 2020 will mainly be divided in two thematic sections: Symbolism and Expressionism (1890-1930). The collection of Galerie Oscar De Vos for the 65th BRAFA edition will mark this period as part of the flow of art history. The focus will be on artworks of an important provenance, being fresh on the art market and that have been exhibited in international art institutions, such as Venice Art Biennale, Amsterdam Stedelijk Museum, Eindhoven Van Abbe Museum, Hamburg Kunsthaus, London Royal Academy of Arts, Maastricht Bonnefanten Museum, Sao Paolo Museo de Arta Moderna. -
Press Release Brafa 2018
PRESS RELEASE BRAFA 2018 Galerie Oscar De Vos is pleased to announce the selected artworks for BRAFA 2018 at Tour & Taxis, Brussels. The exhibition focuses on quality works of MODERN BELGIAN ART FROM ABOUT 1890-1930. More than 40 oil paintings and a fine selection of works on paper and sculptures (marble , bronze, plaster) will expose the wide-ranging art of the Latem School is the collection will show how radically the art movements in Belgian, and even internationally, have been changed in such a short time period. Most of the artworks belonged to private collections and these artworks will be – even for the first time – on show during BRAFA 2018 since decades. Special attention is given to: Kneeling youth (1896) with gold leaf patina by George Minne Nasturtiums (1901) by Emile Claus Rest after the haymaking (1902) by Emile Claus Spring morning in Wales (1920) by Valerius De Saedeleer Wrapped up peasant (1910) by Gustave Van de Woestyne Playing boy in the snow (1918) by Frits Van den Berghe The lumberman (1930) by Gust. De Smet and the magnum opus of Frits Van den Berghe: The companions (1932). These paintings have been exhibited in major international museums, among others in Antwerp, Brussels, Ghent, Leningrad, Moscow, Oslo, Stockholm and Tokyo. Museum catalogues, scientific publications and articles illustrate and confirm the importance of these artworks in specific and the Latem School artists in general. These Belgian avant-garde artists were protagonists of international art movements such as Impressionism, Symbolism, Expressionism and Surrealism. Over the last fifty years, Galerie Oscar De Vos has established its name in this specialized domain, contributing to international museum exhibitions and publications, and participating in international art fairs. -
Galerie Oscar De Vos Sint-Martens-Latem
GALERIE OSCAR DE VOS SINT - MARTENS - LATEM HIGHLIGHTS B R A F A 2 0 1 5 NV GALERIE OSCAR DE VOS L ATEMSTRAAT 2 0 9830 S INT - M ARTENS - L ATEM + 3 2 ( 0 ) 9 2 8 1 11 70 INFO @ OSCARDEVOS . BE WWW. OSCARDEVOS . BE George Minne (Ghent 1866 – 1941 Sint-Martens-Latem) De verloren zoon [The Prodigal Son] 1896 Bronze 58 x 33 x 16 cm Signed: G. Minne Like many other artists of his time, George Minne finds his inspiration in medieval art. The purity of his work is reminiscence of the religious and spiritual creations of Gothic sculpture. Minne realises this purity and simplicity by removing the narrative context from the work. His themes are often personalised by mother and child, but in this case by father and son. De Prodigal Son was borrowed from a parable in the New Testament in which a son returns to demand his inheritance from his still living father. The son squanders the money on his sinful and meaningless life. When all the money is gone, he is forced to take a job. At that moment, the son comes to his senses and decides to return home and ask forgiveness of his father. Instead of punishing him, the father welcomes him home and they celebrate his return. The unconditional love between parent and child in this story has been a source of inspiration for many artists. In this sculpture, Minne carves the father’s face, especially the eyes, in sharp lines. His expression is moving and intensely emotional. -
Untitled for the Exhibition Body Talk Presented at WIELS, Brussels 2015
1 Table of Content Table of Content ..................................................................................................................................................................................... 2 Feast of Fools. Bruegel Rediscovered ........................................................................................................................................ 4 More than an exhibition .............................................................................................................................................................. 6 Title ........................................................................................................................................................................................................... 7 Artworks Feast of Fools. Bruegel Rediscovered .................................................................................................................. 8 Loans ....................................................................................................................................................................................................... 8 1. Introduction ......................................................................................................................................................................... 8 2. Back to the Roots ............................................................................................................................................................ 8 3. Everybody Hurts ............................................................................................................................................................. -
The Fisherman Circa: C
C O N S T A N T P1 E8 8R- 6 M1 E9 K5 E2 The fisherman Circa: c. 1925 c. 1925 Mixed media on paper 148 x 95 cm (58 ¹/₄ x 37 ³/₈ inches) 168 x 115 cm (with frame) Signed lower right: Permeke Exhibitions - 2020, Ostend, Venetiaanse Gaanderijen, Over Permeke, 09.06-08.11.2020. Literature - Avermaete, R., Permeke (Brussel: Arcade, 1977). - De Puydt, R.-M., "Van Ensor tot Delvaux of Van Permeke tot Magritte," in: Vlaanderen, jrg. 46 (1997). - Fierens, P., Hommage à/Hulde aan Constant Permeke, exh. cat. (Brussel: KMSKB, 1952). - Langui, E., Constant Permeke (Antwerpen: De Sikkel, 1947). - Stubbe, A., De Vlaamse Schilderkunst van Van Eyck tot Permeke (Brussel/Amsterdam: Elsevier, 1953), 385-388. - Van Beselaere, W., Constant Permeke Retrospectieve tentoonstelling, exh. cat. (Antwerpen: KMSKA, 1959). - Van den Bussche, W. Permeke, exh. cat. (Oostende: PMMK/Museumfonds Ministerie Vlaamse Gemeenschap, 1986). - Van den Bussche, W., Permeke (Oostende: PMMK, 1987). - Van de Bussche, W., Van Ensor tot Delvaux, exh. cat. (Oostende/Jabbeke: MMK/PMMK, 1997). - Vermeersch, E. e.a., Over Permeke, met de klankkleur van een basviool, exh. cat. (Ostend: Venetiaanse Gaanderijen, 2020), p. 98 (ill.). Artist description:: It is a strange twist of fate that the Patershol neighbourhood repeatedly played a decisive role in the development of painting in the region of the Leie. In the 1890s, it was the meeting place for the most important members of the so-called first Latem group: Minne, Van de Woestyne, De Saedeleer, de Praetere. In 1906, it appeared that history had repeated itself. In 1906-in the same neighbourhood-the foundations of the second group were laid: academy students Permeke, De Smet and Van den Berghe exchanged thoughts and worked on their future. -
Belgian Art at Its Finest - Francis Maere Fine Arts at BRAFA 2020
Belgian Art at its Finest - Francis Maere Fine Arts at BRAFA 2020 January 17, 2020 Angie Kordic Passionate about art, frequent visitor of exhibitions, Widewalls photography specialist and Editor-in-Chief. If you are looking for a gallery excelling at Belgian art spanning some of the most important decades of its production, then Francis Maere Fine Arts is the right place for you. Founded in 1995, the gallery is focused on artworks and artists from 1880 until 1950 (but is including some contemporary tendencies as well), including movements such as Impressionism, Luminism, Symbolism, Expressionism and Surrealism. Since 2011, you can find Francis Maere Fine Arts in a new space in Ghent, on the first floor of Hotel Falligan, a simply thriving environment for the art of such quality. But Francis Maere isn’t “just” a gallerist. He is also an active member of ROCAD, the Royal Chamber of Art Dealers Belgium, valued for his experience, as well as the Vice-Chairman of BRAFA, one of the most important in the country, and in Europe. It is because of BRAFA that we sat down with Mr. Maere, to discuss his gallery’s participation in the 2020 edition of the prestigious fair, but we also picked his brains on Belgian art at large, and its market. Left: Léon De Smet – Contemplation, 1914. Oil on canvas, 141,5 x 160,5 cm. Signed and dated lower right Leon De Smet 1914 / Right: Francis Maere The Becoming of Francis Maere Fine Arts Widewalls: Where does your passion for art originate? Francis Maere: I guess my passion for art originated in the cultural environment in which I grew up. -
Gust De Smet Wandelroute Deurle 5.6.2018
Gust De Smet Wandelroute Deurle 5.6.2018 Advertentie voor het kunstenaarsdorp Deurle Een schilderachtige wandeling naar de mooiste plekjes van Deurle Quellen: Eigene Fotos, diverse Prospekte und das INTERNET juehe 2018 story Deurle – het mooiste dorp van Oost-Vlaanderen 1 De wandeling start aan de parking in de Dorpsstraat van Deurle, schuin tegenover de kerk. Na 50 meter wanen we ons midden in een 'pastorale', de landelijke eenvoud van Deurle met de twee oude cafés, de kerk en het kerkhof, de boomgaard, de winkel en de pastorie. De kerk van Deurle dateert in zijn oorspronkelijke vorm waarschijnlijk uit de elfde eeuw. De oudste vermelding vinden wij in een privilege uit 1121, als de kerk onder patronaat van de St.-Baafsabdij wordt gesteld. in de negentiende eeuw is het oude gebouw naar het oosten aanzienlijk uitgebreid (1855). 1980 en 1986 werd de kerk grondig gerestaureerd. Op het kerkhof liggen kunstenaars van allerlei slag begraven: Xavier De Cock, Gaston Martens, Jenny Montigny, Jozef De Belder, Leon de Smet, Albert Claeys en Gust De Smet. Nevelenaar, Deurlenaar, Afsneenaar en “eeuwig resident” op de Gentse Westerbegraafplaats… schrijver Cyriel Buysse (1859-1932). Hij hield van Tussen boomgaard en kerk klimt links een reizen per auto. Hij was hierbij een van de pioniers in Europa. Rond de smal voetpad naar boven: dit is het Cyriel eeuwwisseling waren verre reizen uitzonderlijk, en reisden de mensen Buyssepad (infobord 1). De schrijver zelf vooral met de trein. woonde vanaf 1910 op de beboste Drie maal trok hij met de auto door Frankrijk De eerste keren ruim heuvelrug, in zijn paalwoning naast de honderd jaar geleden, in 1910 en 1913, en dan nog eens in 1923. -
9782390250739.Pdf
1912 - 1932 .) ed INGA INGA ( ROSSI-SCHRIMPF the new 7 MICHEL DRAGUET PREFACE 8 TIMELINE 1912 – 1932 15 INGA ROSSI-SCHRIMPF FROM ART NOUVEAU TO NEW OBJECTIVITY 33 HELMUTH KIESEL BERLIN FROM ITS EXPANSION INTO A WORLD-CLASS METROPOLIS UP TO THE EVE OF THE APOCALYPSE 43 BURCU DOGRAMACI NEW BERLINERS 53 JANINA NENTWIG REVOLUTION!? DADA, ARBEITSRAT FÜR KUNST AND NOVEMBER GRUPPE 63 MATTHIAS SCHIRREN MELTING POT OF MODERNITY 73 ANNE SÖLL VISIONS OF EQUALITY 83 SABINE T. KRIEBEL SUBJECTIVITY, PHOTOMONTAGE, AND MODERNITY 93 NICHOLAS BAER POST-PERSPECTIVAL AESTHETICS IN 'THE CABINET OF DR. CALIGARI' THE NEW BERLIN 1912 – 1932 101 I URBAN AVANT-GARDE & WAR 125 II REVOLUTION & UTOPIA 167 III BERLIN MYTH 217 IV CRISIS 239 APPENDICES CAT. 1 PAUL KLEE Mit dem Kometen (With the Comet), 1917 Watercolour on gypsum-based cotton gauze, Indian ink on cardboard; 24.5 × 22 cm Royal Museums of Fine Arts of Belgium, Brussels, inv. 11191 PREFACE On 11 November 1918, the armistice signed by the German delegation in Compiègne brings an official and definitive end to hostilities on the Western Front. For Belgium, this means liberation from just over four years of German occupation. The idea of creating a new world haunted young Germans—just as much as it did the young Belgian generation—and their eyes now turned toward Germany and its young capital, Berlin. The current exhibition, which is part of commemorations for the Great War, focuses more specifically on the period when the metropolis of Berlin was seen as a symbol for renewal, and on a post- war era where “everything seemed possible”.