Vlamingen in De Wereld
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Flemish Art 1880–1930
COMING FLEMISH ART 1880–1930 EDITOR KATHARINA VAN CAUTEREN HOME WITH ESSAYS BY ANNE ADRIAENS-PANNIER PATRICK BERNAUW PIET BOYENS KLAAS COULEMBIER JOHAN DE SMET MARK EYSKENS DAVID GARIFF LEEN HUET FERNAND HUTS PAUL HUVENNE PETER PAUWELS CONSTANTIJN PETRIDIS NIELS SCHALLEY HERWIG TODTS KATHARINA VAN CAUTEREN LUC VAN CAUTEREN SVEN VAN DORST CATHÉRINE VERLEYSEN Hubert Malfait Home from the Fields, 1923-1924 Oil on canvas, 120 × 100 cm COURTESY OF FRANCIS MAERE FINE ARTS CONTENTS 7 PREFACE 211 JAMES ENSOR’S KATHARINA VAN CAUTEREN WHIMSICAL QUEST FOR BLISS HERWIG TODTS 9 PREFACE FERNAND HUTS 229 WOUTERS WRITINGS 13 THE ROOTS OF FLANDERS HERWIG TODTS KATHARINA VAN CAUTEREN 253 EDGARD TYTGAT. 65 AUTHENTIC, SOUND AND BEAUTIFUL. ‘PEINTRE-IMAGIER’ THE RECEPTION OF LUC VAN CAUTEREN FLEMISH EXPRESSIONISM PAUL HUVENNE 279 CONSTANT PERMEKE. THE ETERNAL IN THE EVERYDAY 79 THE MOST FLEMISH FLEMINGS PAUL HUVENNE WRITE IN FRENCH PATRICK BERNAUW 301 GUST. DE SMET. PAINTER OF CONTENTMENT 99 A GLANCE AT FLEMISH MUSIC NIELS SCHALLEY BETWEEN 1890 AND 1930 KLAAS COULEMBIER 319 FRITS VAN DEN BERGHE. SURVEYOR OF THE DARK SOUL 117 FLEMISH BOHÈME PETER PAUWELS LEEN HUET 339 ‘PRIMITIVISM’ IN BELGIUM? 129 THE BELGIAN LUMINISTS IN AFRICAN ART AND THE CIRCLE OF EMILE CLAUS FLEMISH EXPRESSIONISM JOHAN DE SMET CONSTANTIJN PETRIDIS 149 BENEATH THE SURFACE. 353 LÉON SPILLIAERT. THE ART OF THE ART OF THE INDEFINABLE GUSTAVE VAN DE WOESTYNE ANNE ADRIAENS-PANNIER SVEN VAN DORST 377 THE EXPRESSIONIST IMPULSE 175 VALERIUS DE SAEDELEER. IN MODERN ART THE SOUL OF THE LANDSCAPE DAVID GARIFF PIET BOYENS 395 DOES PAINTING HAVE BORDERS? 195 THE SCULPTURE OF MARK EYSKENS GEORGE MINNE CATHÉRINE VERLEYSEN 6 PREFACE Dear Reader, 7 Just so you know, this book is not the Bible. -
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. -
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”. -
CENTURY of BELGIAN PAINTING from FELICIEN ROPS to JAN FABRE Frissiras Museum Presents an Overview of Belgian Painting from the End of the 19Th Century up to Our Days
CENTURY OF BELGIAN PAINTING FROM FELICIEN ROPS TO JAN FABRE Frissiras Museum presents an overview of Belgian painting from the end of the 19th century up to our days. The exhibition was inaugurated by the Ambassador of Belgium in Greece, His Excellency Mr. Claude Rijmenans, and is open to the public from Thursday 18 th March 2004. Belgian art, far removed from theoretical bombast, it has built its tradition upon simple formulations. Inescapably at the centre, painting endures either as matter, gesture or reflection. This exhibition, based on private collections, is an invitation to look, testifying the traditional opulence of Belgium. Land of collectors, Belgium never ceases to enrich its culture with collections that atest at once to the high standard of creation and the generosity of an active society that continually seeks its identity in art. As the curator of the exhibition and professor of the University of Brussels, Mr Michel Draguet commends in the bilingual catalogue that accompanies the exhibition: "Rops, Khnopff and the Symbolists provided the basis of reflection that stimulated the Surrealists - Magritte first - as well as their contemporary descendants. What significance should be attributed to representation as a form of language? Symbolism's exploratory language of the real; Expressionism's language that tells of modern angst; the Surrealist tongue as an emancipatory tool via the imagination; then with the first wave of Abstracts, language as instrument for the creation of a new world; and lastly with Cobra group, language avowed to gestural freedom. Like so many trails for so many truths that ultimately defer to the modesty of the gaze". -
When Art Takes the Metro
WHEN ART TAKES THE METRO... Get ready to take a unique journey into the heart of the largest underground art gallery in Brussels. This artistic route will take you on a journey of discovery of more than 90 works of art that have been adding the personal touch to the Brussels metro for more than 40 years. The fruit of the imagination and work of artists from various backgrounds, these works are unique thanks to their style, materials, volumes, the images they evoke and the atmosphere they create, like springboards for wandering spirits. In the early 1960s, when a metro project Its recommendations are submitted became a reality in Brussels, the designers to the Regional Minister for Mobility imagined this new underground and Public Works, who also proposes network as an open, lively and original artworks to be incorporated in the metro. environment where Art also needed a More than 90 works of art currently place. All the stations had to be different, decorate the platforms, mezzanines either by their design or by the nature of and corridors, and they breathe life into their finishing, while ensuring uniformity the 69 metro and pre-metro stations. in their decoration. As such, passengers All genres are represented: paintings, see a series of stations pass by, each with sculptures, photographs, stained glass, its own atmosphere and identity, in which etc., as well as all materials: from canvas they nonetheless find constant elements to bronze and from wood to glass, not that help them find their bearings. forgetting steel. Shortly before the first pre-metro stations Consciously or otherwise, tens of were commissioned at the end of 1969, thousands of passengers rub shoulders an Artistic Committee was set up. -
Brussels Collector/Dealer Gustave Coûteaux, Mark the Highpoint of His Oeuvre
With the Renaissance, drawing emphatically developed as the basis of all is what unites the artist’s active imagination with technical execution. The art and at the same time as an individual means of expression. The unique passionate artist is completely filled with his subject, totally absorbed by sketchbook replaces the medieval model book, the new art liberates itself it and does not rest until he has given it artistic form. Hegel’s particular PREFACE from codified visual language. Gradually drawings are no longer considered appreciation for drawing is hardly surprising: ‘(...) drawings are of as mere aids but as fully-fledged art works. They are valued as witnesses especially utter importance, in the sense that one perceives the wonder of — Jan Ceuleers to moments of discovery that the viewer can re-experience. Drawings are how the whole mind immediately passes into the skill of the hand, that so direct expressions of creative genius; they are the handwriting that reveals fluently, unsought for, produces an instantaneous representation of what is the artist’s true nature. The great appreciation for drawings as the visual present in the artist’s mind.’ result of the ‘first idea’ leads in the Romantic era to a preference for the fragment containing the visible genesis of the art work, unencumbered by This ensemble of drawings offers a privileged look at all stages of the its completed state. Over time, the importance attached to drawings only creative process, from the first, rapid sketch to the fully elaborated drawing increases. ‘What we love in drawings is the initial trace, the original stroke, that stands on its own. -
Flemish Art Collection
Flemish Art Collection Three museums of fine arts join forces The Flemish Art Collection is a structural partnership joining the three main museums of fine arts in Flanders: the Royal Museum of Fine Arts in Antwerp, the Groeninge Museum in Bruges and the Ghent Museum of Fine Arts. The museums’ collections have all been developed in a similar way. Together, they offer a unique, representative overview of Flemish art from the 15th to the 20th century and historically. The three museums complement each other perfectly as partners sharing the same responsibility in our cultural heritage. By exchanging their expertise, they strive for a more sustainable, high quality management and international awareness of their collections, including works that are part of the world patrimony. The partnership is truly visible in joint exhibitions and promotions, but also concerns rather ‘hidden’ subjects like insurance, security, restoration and conservation expertise. Finally, the three museums have laid a foundation for a worldwide renowned research network. Three museums, one Flemish Art Collection The Royal Museum of Fine Arts in Antwerp, the historical art museum of the Flemish Community, is situated in the heart of the trendy Southern part of Antwerp. The stately 19th century building houses some magnificent works of art. The comprehensive collections present a nice overview of the history of artistic life in Flanders and Belgium. You will discover an impressive collection of Baroque art works by Rubens and his contemporary colleagues. The 19th century Salon artists and the Modernist painters James Ensor and Rik Wouters are also represented. The Royal Museum of Fine Arts exhibits prominent Flemish works alongside international artists from Italy, the Netherlands and France, such as Jean Fouquet, Titiaan, Frans Hals, Auguste Rodin and Amedeo Modigliani. -
The Low Countries. Jaargang 2
The Low Countries. Jaargang 2 bron The Low Countries. Jaargang 2. Stichting Ons Erfdeel, Rekkem 1994-1995 Zie voor verantwoording: https://www.dbnl.org/tekst/_low001199401_01/colofon.php Let op: werken die korter dan 140 jaar geleden verschenen zijn, kunnen auteursrechtelijk beschermd zijn. i.s.m. 10 Brussels, City of the Coming Century Hidden bilingualism Foreigners who come to live in Belgium soon realise that they have arrived in a bilingual country. Many of them, those who work for the European institutions and the private companies which cluster around them, live either in the centre of the capital city, Brussels, or else very nearby. I am constantly amazed by the fact that these people see Brussels as an exclusively Frenchspeaking city. Even Dutch people, who speak the same language as Flemings, are able to miss the bilingualism of this city, which is so obvious to me. Worse still, a great many Flemings, themselves Belgians, assume without any further consideration that Brussels is French-speaking, even though Brussels is the capital of their own Flemish Community. Can these people not see? Can they not hear? All the street name plates and road signs are bilingual, with combinations which are sometimes very original, such as ‘Schae/arbeek’ or ‘centre/um’, and sometimes almost surrealistic, such as ‘Treurenberg/Treurenberg’. Every notice in every town hall and post office is bilingual, and the counter staff have to be able to speak both languages. The metro and tram systems are completely bilingual, although some employees still obstinately refuse to understand simple phrases like ‘one tram card please’ or ‘how much does this cost?’ if they are said in Dutch. -
Mijn Geliefde, Jij En Ik
V I E W 2014 # 03 MIJN GELIEFDE, JIJ EN IK 06.04.2014 _ 15.06.2014 MIJN GELIEFDE, JIJ EN IK DE LIEFDE IN TIJDEN VAN ‘expressionisme’ TANGUY EECKHOUT De kunststroming ‘Expressionisme’, waaronder ook veel Belgische moderne kunstenaars actief in de jaren 1920 gecatalogiseerd worden, associeert men vaak met getormenteerde kunstenaars, die de duistere eenzaamheid van het be- staan vorm wilden geven aan de hand van dissonante kleuren en vormen. Nochtans getuigt veel werk gemaakt in de jaren 1920 van een ongelofelijke le- vensvreugde. Meer nog, die levensvreugde kan zelfs als een centraal thema be- schouwd worden in het werk van kunstenaars als Gust De Smet, Frits Van den Berghe, Edgard Tytgat, Frans Masereel en anderen. De jaren 1920 waren dan ook goede tijden voor de avant-gardekunst: er was veel mogelijk dankzij een aantal galeriehouders, kunstcritici en kunstverzamelaars die het artistiek expe- riment steunden en promootten. Ook op het vlak van de mode, literatuur, film, design … waren het vruchtbare tijden. Net daarom spreekt men vaak over de dolle jaren twintig. De liefde is uiteraard de veruitwendiging bij uitstek van de levensvreugde en komt in vele gedaantes terug in het werk van een heel aantal kunstenaars in de jaren 1920. De tentoonstelling ‘Mijn Geliefde, jij en ik.’ heeft niet de pretentie om het thema van de liefde uitputtend te analyseren en zoveel mogelijk werken die vallen onder het thema te presenteren. Veeleer is de tentoonstelling een be- scheiden bloemlezing uit de Belgische moderne kunst van de jaren 1920, met de liefde als rode draad. Werken uit de eigen collectie worden in dialoog getoond met werk uit voornamelijk private collecties. -
Folder Vlaamse Publicum GB 2 02.03.2007 13:37 Uhr Seite 1
Folder vlaamse publicum_GB_2 02.03.2007 13:37 Uhr Seite 1 ANTWERP flemishartcollection Baroque, multifaceted, fascinating, surprising ... The MUSEUMS OF FINE ARTS ANTWERP BRUGES GHENT fashion and design city of Antwerp cherishes its rich heritage of immemorial art treasures in a mo- dern way. Ever since the end of the 15th century art and artists have been part of this historic city. The CONTACT work of Rubens, Van Dyck and their contemporary colleagues are displayed in many of the museums Toerisme Antwerpen including the Royal Museum of Fine Arts, the Rubens Grote Markt 13 house, the Plantin-Moretus Museum and the Rockox 2000 Antwerpen house. Famous city palaces, churches and especial- Tel. +32 (0)3 232 01 03 ly the cathedral are true pearls of architecture. Music www.antwerpen.be Antoon van Dyk, lovers can indulge themselves in the former Augus- The Lamentation over Christ, 1635 vlaamsekunstcollectie tinus church, which has recently been converted Toerisme Brugge KUNSTHISTORISCHE MUSEEN ANTWERPEN BRÜGGE GENT into music centre AMUZ (Augustinus Music Centre). PB 744 Museum für Schöne Künste Gent Peter Paul Rubens, The Holy Family with the Parrot, 1614 Antwerp city continues to be a melting pot of arti- 8000 Brugge stic and creative talent, fashion, diamonds and tren- Tel. +32 (0)50 44 46 46 dy shops. www.brugge.be On-site tourist Information Point: In&Uit Brugge Pieter Pourbus, BRUGES Portrait of Jacquemyne Buuck, 1551 [Concertgebouw], ‘t Zand Known as the Venice of the North, Bruges is one of the most beautiful cities in Europe. It was a justified Toerisme Gent , 1451-1452 motive that prompted UNESCO in 2000 to include Belfort the entire historical city centre on the World Heri- Botermarkt 17a tage list. -
Fantastic Art, Barr, Surrealism
Fantastic art, Barr, surrealism Tessel M. Bauduin Introduction Surrealism was not entirely unknown to American audiences before 1936,1 but that year it was introduced once and for all to a great many people. Curator and director Alfred Barr, jr. (1902-1981) staged the grand show Fantastic Art, Dada, Surrealism at the Museum of Modern Art (MoMA), New York. The exhibition ran from December 1936 into early 1937 before packing up to travel to six other major museum locations in the US, and in 1938, in adapted form and under the title Fantastic Art, Past and Present, to a further five smaller locations. The exhibition must have been hard to miss; over 50,000 visitors graced it at the MoMA alone, the print press had a field day—or several of them, with Salvador Dalí also having arrived on the scene—and Universal and Paramount Pictures incorporated reports about it into their newsreels.2 Although eventually the show’s impact would prove far-reaching, at the time the reception was rather lukewarm. Visitors and critics struggled to get the point of it. Barr hardly made it easy, including not only over 700 objects in his show but those also a rather heterogeneous bunch: dada and surrealist works of art, works by other modernists including such diverse artists as George Grosz and Wassily Kandinsky, as well as old masters from the fifteenth century through to Symbolism. The show further incorporated children’s drawings, cartoons by Walt Disney, a machine-design by Rube Goldberg, ‘folk’ art or naïve art, and art by mental patients or asylum art.3 ‘Drawings by Lunatic Asylum Inmates as Good as Acknowledgements: my thanks go out to Abigail Susik and Richard Woodfield for their helpful feedback. -
Diana Naylor E.L.T. Mesens: His Contribution to the Dada
DIANA NAYLOR E.L.T. MESENS: HIS CONTRIBUTION TO THE DADA AND SURREALiST MOVEMENTS IN BELG JUM AND ENGLAND AS ARTIST, POET AND DEALER. A THESIS SUBMITTED FOR THE DEGREE OF Ph.D. UNIVERSITY COLLEGE, LONDON. -2- E.L.T. MESENS: HIS CONTRIBUTION TO THE DADA AND SURREALiST MOVEMENTS IN BELGIUM AND ENG LAN D AS ARTIST, POET AN D DEALER. ABSTRACT OF THESIS The aim of this thesis is to provide a survey of E.L.TS Mesens' activities within the Dada and Surrealist movements and an initial assessment of his work. The thesis outlines Mesens' career and considers his work as an organiser and polemicist of the Dada and Surrealist movements in Belgium and the Surrealist movement in England. The period in which Mesens initiated Dada activities in Brussels and developed important contacts with Paris, though brief, affected his whole outlook on art and poetry. The devel opment of Dada and the work of a number of European Dadaists whose work influenced Mesens' own development and the Dada movement in Antwerp and Brussels is discussed. Differences emerged between the theory and practice of Surrealism in Paris and Brussels and the thesis considers the diverging development of Surrealism in each of these centres. Mesens' involvement in the Surrealist movement in Belgium is examined and his theoretical position is appraised. The thesis also briefly outlines late nineteenth and early twentieth century art movements in Belgium, in particular Symbolism and Expressionhm, in order that the Dada and Surrealist movements may be seen in context. Mesens' main efforts were concentrated in his work as an art dealer in Brussels and London, where he promoted the work of Dada and Surreaflst artists in particular.