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Een Leefwereld in Portretten Leven En Werk Van Antonine De Mun (1849-1931)

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Een Leefwereld in Portretten Leven En Werk Van Antonine De Mun (1849-1931) KATHOLIEKE FACULTEIT LETTEREN UNIVERSITEIT ONDERZOEKSEENHEID LEUVEN KUNSTWETENSCHAPPEN Een leefwereld in portretten Leven en werk van Antonine De Mun (1849-1931) Wendy Wiertz Student 0199814 1 master kunstwetenschappen F0UM5a masterpaper Prof. dr. Katlijne Van der Stighelen Academiejaar 2011-2012 Leuven 11 juni 2012 KATHOLIEKE FACULTEIT LETTEREN UNIVERSITEIT ONDERZOEKSEENHEID LEUVEN KUNSTWETENSCHAPPEN Een leefwereld in portretten Leven en werk van Antonine De Mun (1849-1931) Wendy Wiertz Student 0199814 1 master kunstwetenschappen F0UM5a masterpaper Prof. dr. Katlijne Van der Stighelen Academiejaar 2011-2012 Leuven 11 juni 2012 "Faisons-nous une amitié éternelle dans ce monde où il ne reste rien de durable et d'immobile".1 1 7.5 Brief- en dagboekfragmenten, fragment 1, Parijs, Rue Barbet-de-Jouy 27, 23 juni 1909: Antonine De Mun schrijft aan de gravin van Vlaanderen over hun vriendschap en haar reizen naar verschillende familieleden in Frankrijk. […] Laten we een eeuwigdurende vriendschap stichten in deze wereld waar niets duurzaam en onbeweeglijk is. […] Antonine De Mun en Maria von Hohenzollern-Sigmaringen, “Correspondentie tussen hertogin Antonine De Mun en Maria von Hohenzollern, gravin van Vlaanderen”, 1891-1912, familiearchief d’Ursel. I Abstract For centuries, only minor research on female artists was conducted. This changed, however, under the influence of feminism in the 1970s. One of these female artists was dilettante Antonine de Mun, duchess d’Ursel. In this masters paper, her life and work are presented for the first time. Antonine De Mun, born on the 14 November 1849 in Lumigny, France, grew up in the family of Adrien, marquess de Mun, and his second wife Claire Pauline de Ludre-Frolois. In the nineteenth century, the arts were an important part in the education of daughters descended from noble and bourgeois backgrounds. Antonine followed classes in the ladies-studio of painter Charles Chaplin. After her marriage to Joseph d’Ursel and the birth of their four children, she continued drawing and painting. For sixty years De Mun handles pencil and brush. Her oeuvre certainly counts 317 works, but it is presumed that her productivity rate was higher. Much is preserved in private collections. The large number of works prohibits a detailed analysis of all retrieved objects made by De Mun. Thus this paper concentrates on her oil paintings and pastel drawings. This group consists mainly of portraits. Family members, friends and servants are immortalized in paint. They posed for her in a corner of the drawing room, in the studios of other amateurs or in her own studio in Hingene. Besides portraits, she painted religious works and copies originals. Together with four other artists, De Mun worked on a folding screen, that shows the family properties. Some works of art were shown to family members and friends during their visits and to a broader public during exhibitions.he participated several times in the art exhibitions of the Société Artistique des Amateurs in Parijs. Reviews, published in the magazine La Revue and Le bulletin de l’art ancient et modern, praise her mastery as a portrait painter. Her oeuvre was known by a wider public, but family and friends were probably her main market. Although Antonine did not work as a professional, she sometimes received money for orders. Since it did not befit a lady to earn her own money, she gave it to charity. In April 1931, she was knighted to the Leopoldorde for her dedication to charity organizations in Brussels. A month later onMay 31, the dowager passed away at the age of 81. Abstract 2.323 tekens Masterpaper 108.180 tekens II Dankwoord Een leefwereld in portretten is een weergave wie een deel uitmaakte in het leven van Antonine de Mun, hertogin d’Ursel. Dit dankwoord is gericht naar iedereen, die tijdens de afgelopen twee jaar zijn steentje bijdroeg om mijn thesis mee tot een goed einde te brengen. Allereerst wens ik mijn promoter prof. dr. Katlijne Van der Stighelen te danken, die mij dit onderwerp voorstelde en me steeds goede raad en tips gaf. Steeds waren onze gesprekken stimulerend en verhelderend. Een tweede uiting van dank is bestemd voor Koen De Vlieger – De Wilde, de beheerder van het kasteel d’Ursel in Hingene. Zijn enthousiasme, contacten met de familie d’Ursel en andere particulieren, advies en steeds warme verwelkoming zijn een grote hulp geweest. Bij het opsporen naar het oeuvre van Antonine de Mun, hertogin d’Ursel werd ik steeds gastvrij ontvangen of wanneer dit niet mogelijk was, werden me foto’s en informatie doorgestuurd. Hiervoor wil ik graag volgende particulieren en instellingen noemen: talrijke leden van de hertogelijke familie d’Ursel, familie Suykens-Discart, mevrouw Rebecca Stassijns, het echtpaar Stassijns-Spiessens, de zusters H. Vincentius à Paulo in Gijzegem, mevrouw Mia Bonneux en de andere medewerkers van De Notelaer, meneer Jf Cuche van het Atelier Cuche Bonneviot, Christophe graaf de Beauffort, Wilfrid graaf de Virieu, graaf de Liedekerke en Anne-François, graaf d’Harcourt. Een speciaal woord van dank is gereserveerd voor Baudouin graaf d’Ursel, de familiehistoricus, dankzij wie ik toegang kreeg tot veel persoonlijke documenten, correspondentie en foto’s van zowel Antonine de Mun, hertogin d’Ursel, als van haar gezin en vrienden. Hij stond steeds open voor nieuwe vragen over zijn overgrootmoeder. In verband met belangrijke informatie, nuttige tips en goede ondersteuning gaat mijn dank uit naar prof. dr. Koenraad Brosens, Anneleen Arnout doctoraatsstudente cultuurgeschiedenis vanaf 1750, Mario Detemmerman, medewerker bij het archief Vincentiuszusters in Gijzegem, frère Eloi Merry, archivaris van Abbaye de Maredsous, prof. dr. Hubert Krins, curator van het Kunstarchivs der Erzabtei St. Martin Beuron, E.H. pastoor Patrick Maervoet en Hugo Spiessens, namens de kerkfabriek van de Sint-Stefanuskerk in Hingene, zuster Anne, supérieure générale en zuster Monique van de Orantes de l’Assomption, restauratrices Jill en III Ellen Keppens, heemkundige Benny Croket, het echtpaar Van Ranst-Pauwels, mevrouw Magda Claesen, familie Geens en dr. Hanna Klarenbeek, stagebegeleidster bij het RKD in Den Haag. Hierna zou ik mijn dank willen richten aan fotograaf Stefan Dewickere die prachtige opnames van het oeuvre van de hertogin maakte. Oprechte dank voor de dienstverlening van het personeel van de Centrale Bibliotheek – waarbij de IBL-dienst en meneer Wasyl Radelicki moeten worden vernoemd –, de Letterenbib en het KADOC in Leuven, de Don Boscobibliotheek in Oud-Heverlee, meneer Baudouin D’hoore, eerstaanwezend assistent en de medewerkers van het Algemeen Rijksarchief in Brussel, prof. dr. Gustaaf Janssens en mevrouw Martine Vermeire van het Archief van het Koninklijk Paleis. Hun hulp was onmisbaar bij de vordering van het onderzoek. Het abstract werd nagelezen door dr. Emily Thelen-Snow en de Franstalige correspondentie en de catalogue raisonné werden gecorrigeerd door mevrouw Denise Geelen. Bij de zusters trappistinnen van de O.L.V.-abdij Nazareth in Brecht had ik het genoegen om een vijftal dagen in alle rust te mogen schrijven. Tenslotte zou ik graag mijn klasgenoten, kotgenoten, vrienden, en alle andere mensen willen danken, die elk op één of andere manier betrokken waren bij de totstandkoming van dit werk. Hierbij wil ik Johannes Mechiels, Lien Swinnen, Anke Wolters, Ann-Sophie Veys, Yamina Bens, Céline Batsleer, Henk Coppein en Wouter Verstraeten noemen. Als allerlaatste mag de liefdevolle steun van mijn ouders en naaste familie om mij mijn passie na te laten streven, niet worden vergeten. IV Inhoudstafel Abstract ................................................................................................................................. II Dankwoord ........................................................................................................................... III 1. Inleiding .........................................................................................................................7 2. Biografie ....................................................................................................................... 11 3. Een leefwereld in portretten........................................................................................ 17 3.1 Inleiding ................................................................................................................. 17 3.2 Oeuvreschatting ..................................................................................................... 17 3.3 Signeerwijze ........................................................................................................... 23 3.4 Materiaal ............................................................................................................... 25 3.5 Antonine De Mun, een portretschilderes.................................................................. 27 3.5.1 Familieportretten .................................................................................................. 28 3.5.2 Een kijkje achter de schermen .............................................................................. 30 3.5.3 Katholiek voor alles ............................................................................................. 31 3.5.4 Origineel en kopie ................................................................................................ 33 3.5.5 “Eendracht maakt macht” of tenminste een kamerscherm ..................................... 35 4. Facetten van het dilettantisme.......................................................................................
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