the royal museum of fine arts anversa

THE ROYAL M U S E U M OF FINE ARTS

A N T W E R P

ELS M A R E C H A L LEEN DE J O N G

MUSEA NOSTRA

Contents

T h e History of the Roya l M u s e u m in Antwerp 7

T h e 15th Century 1 1 Medieva l painting of the O ld Nether lands 11

Foreign medieval art 22

T h e 16th Century 27

T h e 17th Cen tury 43

T h e grand masters of the Flemish B a r o q u e : Rubens , J o r d a e n s and 43

V a n Dyck

Flemish f igure painters 53

Landscape , still-life and an imals 57

Sculptures 62

17th Century in Hol land 65

Flemish Paint ing in the 18th Century 73

T h e 19th Cen tury 77

20th Cen tury 99

Symbol i sm and Express ionism 99

Rik Wouters 1 1 0

Modern International Mas te rs 1 1 3

Before 1 9 4 5 1 1 6

After 1 9 4 5 1 2 0

The History of the Royal Museum in Antwerp

T h e earl iest nuc leus of the col lect ion has its

o r ig ins w i th the A n t w e r p G u i l d o f S a i n t L u k e to

w h i c h the c i ty ' s ar t is ts be longed be tween 1 3 8 2

a n d 1 7 7 3 . T h e gu i l d ' s ga l l e ry o r ' k o n s t k a m e r '

w a s used for bo th mee t ings a n d festive occa

s ions , a n d for d i s p l a y i n g the g u i l d ' s t reasures .

In 1 6 6 3 , a t the behes t o f D a v i d T e n i e r s , an

a c a d e m y w a s founded u n d e r the gu i l d ' s au s

p ices . W h e n the gu i lds w e r e f i na l l y d i s b a n d e d

in 1 7 7 3 , the A c a d e m y o f F ine A r t s took posses

sion of the a fo rement ioned ga l l e ry , w h i c h

i nc luded w o r k s l ike Portrait of Abraham Grapheus,

by C o r n e l l s de V o s , Virgin with a Parrot, by P . P .

R u b e n s , three pa in t ings b y J a c o b J o r d a e n s , a n d

a n u m b e r of o ther w o r k s . P a r a d o x i c a l l y , the

nex t s t age in the m u s e u m ' s d e v e l o p m e n t w a s

b rough t a b o u t by the conf iscat ion of pa in t ings

from A n t w e r p ' s chu rches , monas t e r i e s a n d one

or two pub l i c bu i l d ings d u r i n g the F r e n c h

o c c u p a t i o n s o f 1 7 9 4 a n d 1 7 9 6 . A c c o r d i n g t o an

official repor t , 70 pa in t ings , i nc lud ing 30 we l l -

k n o w n w o r k s by R u b e n s , w e r e stolen from

A n t w e r p a lone . F o r t y o f the s tolen w o r k s w e r e

e v e n t u a l l y re tu rned in 1 8 1 5 , 26 o f w h i c h found

their w a y into the A c a d e m y ' s m u s e u m . T h e s e

i nc luded Christ on the Straw, The Lance (Chr i s t

C ruc i f i ed b e t w e e n the two T h i e v e s ) , The Adora

tion of the Magi, The Incredulity of Thomas a n d The

Education of Mary, al l by R u b e n s . T h e s e w o r k s

form one of the centres of g r a v i t y of the A n t w e r p

m u s e u m ' s col lec t ion, w h i c h h a d been m o v e d in

the m e a n t i m e , together w i th the A c a d e m y , to

the bu i ld ings of the fo rmer F r a n c i s c a n m o n a s t e

ry in 1 8 1 0 .

T h e c a t a l o g u e o f 1 8 1 7 a l r e a d y inc luded 1 2 7

i tems , one o f w h i c h w a s Q u i n t e n M a s s y s ' Trip

tych of the Lamentation of Christ, pa in t ed in 1 5 1 0

for the ca thed ra l , w h i c h m a n a g e d to e scape the

I c o n o c l a s m of 1 5 6 6 . I t i s ev ident , therefore, that

in the ea r ly y e a r s of its ex i s tence , the m u s e u m ' s

col lect ion w a s l imi ted , but o f the h ighest qua l i

ty. I t d a t e d p r i m a r i l y from the second ha l f of the

16 th cen tu ry a n d from the 1 7 t h cen tury , w i th

R u b e n s as its c r o w n i n g g lo ry .

D u r i n g the per iod o f D u t c h rule , W i l l e m I ,

K i n g o f the U n i t e d N e t h e r l a n d s , d o n a t e d three

no tewor thy pa in t ings to the m u s e u m . In 1 8 2 3

he g a v e T i t i a n ' s f amous youthful w o r k , Pope

Alexander IV presents Jacopo Pesaro to Saint Peter.

T h i s pa in t ing w a s the first w o r k by a foreign

art is t to j o i n the col lect ion. Panorama of Valen

ciennes, a r e m e m b r a n c e of the bat t le b e t w e e n the

S p a n i s h a n d the F r e n c h i n 1 6 5 6 by D a v i d

T e n i e r s the Y o u n g e r , w a s a lso d o n a t e d i n 1 8 2 3 .

In 1 8 2 9 , W i l l e m I p resen ted the m u s e u m wi th

its f i rs t w o r k by a l iv ing art is t , M a t t h i j s v a n

B r e e , D i r e c t o r o f the A n t w e r p A c a d e m y a n d

M u s e u m . T h e pa in t ing in ques t ion w a s The

Death of Rubens. By R o y a l D e c r e e of 25 th M a r c h

1 8 2 7 , W i l l e m I a l so g r a n t e d a subs idy of 20 000

gu i lde r s for the p u r c h a s e of c o n t e m p o r a r y art

w o r k s f rom the sa lons o f A m s t e r d a m , A n t w e r p ,

G h e n t a n d B r u s s e l s . T h e revolu t ion o f 1 8 3 0 ,

a n d B e l g i u m ' s subsequen t i n d e p e n d e n c e , how

ever , m e a n t that A n t w e r p w a s not ab le to

benefit f rom this. I t w a s not unti l 1 8 7 3 that the

m u s e u m b e g a n to b u y w o r k s by l iv ing ar t is ts .

T h e ra the r l imi ted compos i t i on o f the m u s e u m ' s

col lect ion con t inued unt i l 1 8 4 0 w h e n 1 4 1 w o r k s

w e r e b e q u e a t h e d to i t by F lo ren t v a n E r t b o r n ,

fo rmer m a y o r of A n t w e r p . As a pa t ron of the

ar ts , he h a d bui l t up a col lect ion of 1 5 t h cen tu ry

pa in t ings w i th f lawless taste at a t ime w h e n

a p p r e c i a t i o n o f the F l e m i s h P r imi t i ve s w a s

e x t r e m e l y low. T h e F l e m i s h P r imi t i ve w o r k s

w h i c h he d o n a t e d h a v e he lped a s su re the

m u s e u m ' s repu ta t ion . T h e y inc lude J a n v a n

E y c k ' s Saint Barbara a n d Madonna at the Fountain,

R o g i e r v a n de r W e y d e n ' s Portrait of Philips de

Croy a n d The Seven Sacraments t r ip tych , D i rk

B o u t s ' Madonna with Child, a n d H a n s M e m l i n g ' s

Portrait of Jan de Candida. W o r k s by la ter F l e m i s h

ar t is ts i nc luded Flight into Egypt by J o a c h i m

Pa t in i r , a n d Q u i n t e n M a s s y s ' Saint Mary Mag

dalene. V a n E r t b o r n a lso b e q u e a t h e d a n u m b e r

of w o r k s by i m p o r t a n t foreign mas te r s , such as

J e a n F o u q u e t ' s Madonna, S i m o n e M a r t i n i ' s

beaut i ful ser ies of pane l s dep ic t ing The Annuncia

tion a n d The Crucifixion, An tone l l o da M e s s i n a ' s

Christ on the Cross a n d L u c a s C r a n a c h ' s Caritas,

al l o f w h i c h h a v e he lped ensu re the in ternat ion

a l fame of the A n t w e r p col lect ions .

A l a rge n u m b e r of w o r k s , i nc lud ing c o n t e m p o

ra ry i tems , p r i m a r i l y o f na t iona l i m p o r t a n c e ,

w e r e a d d e d to the m u s e u m ' s col lect ion d u r i n g

the course of the 19 th cen tury . A R o y a l D e c r e e

in 1 8 5 2 led to the founda t ion on 5 th S e p t e m b e r

1 8 5 3 o f the ' A c a d e m i c C o r p s ' , m e m b e r s h i p o f

w h i c h w a s g r an t ed to ar t is ts as an h o n o r a r y title

in recogni t ion of their con t r ibu t ion to B e l g i a n

ar t . U p o n j o i n i n g the A c a d e m i c C o r p s , art is ts

w e r e expec t ed to dona t e a self-portrai t to the

' A c a d e m i c i a n s ' G a l l e r y ' . A l t h o u g h the qua l i t y

of these acqu i s i t i ons w a s not un i fo rmly h igh , the

A c a d e m i c C o r p s a n d its col lect ion never the less

represen ted a f irst s tep t o w a r d s the founda t ion

of a s e p a r a t e ' m o d e r n ' m u s e u m . I t w a s only in

1 8 7 3 that a genu ine p u r c h a s i n g commi t t ee w a s

set up , w i th , as its f i rs t ac t ion , the acqu i s i t i on of

an ' o ld - fash ioned ' pa in t ing by the es tab l i shed

art is t K a r e l V e r l a t , The Mother of the Messiah and

the Four Evangelists. D u r i n g the first few d e c a d e s of

its ex i s tence , the commi t t e e con t inued to f avou r

the w o r k of t rad i t iona l a n d local ar t i s ts .

In the m e a n t i m e , the e x a m p l e set by V a n

E r t b o r n h a d been fo l lowed. In 1 8 5 9 , the

D o u a i r i e r e A d e l a i d e V a n den H e c k e - B a u t d e

R a s m o n left 41 works of ar t to the m u s e u m . H e r

beques t cons is ted p r imar i ly o f the w o r k of 1 7 t h

cen tu ry F l e m i s h a n d D u t c h mas te r s , i nc lud ing

Portrait of a Boy, by E r a s m u s Que l l i n , a n d w o r k s

b y J a n F y t , S a l o m o n a n d J a c o b v a n R u i s d a e l ,

J a c o b J o r d a e n s , D a v i d T e n i e r s the Y o u n g e r ,

A d r i a a n v a n O s t a d e a n d o thers . T h e founda

tion of the society A r t i b u s Pa t r i ae on 27 th J u l y

1 8 6 4 w a s j u s t a s i m p o r t a n t a s the dona t ions a n d

beques t s o f p r iva t e col lec tors . T h e a i m o f the

society w a s to enr ich the col lect ion of the

A n t w e r p m u s e u m by m e a n s of acqu i s i t i ons -

m a d e us ing the a n n u a l con t r ibu t ions of its

m e m b e r s - a n d by e n c o u r a g i n g dona t ions . T h e

society funct ioned for a b o u t a h u n d r e d y e a r s ,

d u r i n g w h i c h t ime i t w a s respons ib le for the

add i t ion of 62 w o r k s to the col lect ion, i nc lud ing

c o n t e m p o r a r y , 19 th cen tu ry a n d o lde r i tems.

E x a m p l e s a r e J o a c h i m B e u c k e l a e r , C o r n e l i s d e

V o s , M a r i n u s v a n R e y m e r s w a e l , J a n W i l d e n s ,

the M a s t e r o f the Sa in t M a g d a l e n e L e g e n d ,

R o e l a n t S a v e r y , H e n r i L e y s , H e n r i D e B r a e k e l -

eer , R i k W o u t e r s , G e o r g e M i n n e , Per ic les P a n -

tazis a n d C h a r l e s M e r t e n s . As a c o n s e q u e n c e of

these acqu i s i t ions there s i m p l y w a s not e n o u g h

space to a c c o m m o d a t e the col lect ion as a w h o l e ,

desp i te the ex tens ion a n d a l te ra t ion of the

A c a d e m y ' s bu i l d ings on a n u m b e r of occas ions ,

i nc lud ing P ie r re B o u r l a ' s add i t ion of a m o n u

men ta l s t a i r case , a c lass ica l f acade a n d a g a t e

house w h i c h funct ioned as the en t r ance to the

m u s e u m .

I n A u g u s t 1 8 7 3 the A c a d e m y ' s m u s e u m w a s

pu t at ser ious risk as a resul t of a m a j o r fire at

the n e a r b y S t a d s w a a g , a n d the au thor i t ies

b e g a n to cons ide r se r ious ly the need to find a

n e w h o m e for the f amous col lec t ions .

O n 2nd D e c e m b e r 1 8 7 5 , after two y e a r s o f

negot ia t ions a n d d i scuss ions , the C i t y C o u n c i l

dec ided upon the site former ly occup i ed by the

Z u i d e r k a s t e e l , the S p a n i s h s t rongho ld con

s t ructed i n 1 5 6 7 by the D u k e o f A l v a . T h e

c l e a r a n c e of the site y i e lded s o m e 1 0 0 hec ta res

for the cons t ruc t ion of a new m u n i c i p a l d is t r ic t

a n d h a r b o u r ins ta l la t ion . T h e cons t ruc t ion

c o m p a n y Soc ie te A n o n y m e d u S u d d ' A n v e r s

submi t t ed a n u m b e r of p l ans to the m u n i c i p a l

au thor i t ies before f i na l a p p r o v a l w a s g r a n t e d on

1 8 t h S e p t e m b e r 1 8 7 5 . T h i s p lan fea tured the

m u s e u m as its g e o m e t r i c centre , s u r r o u n d e d by

s q u a r e s , s treets a n d pa rks . O n 29th J a n u a r y

1 8 7 7 , the C i t y C o u n c i l a n n o u n c e d a compe t i

tion a m o n g s t B e l g i a n a rch i tec t s for the des ign of

a n e w m u s e u m . T h e f i r s t pr ize w a s a w a r d e d to

the des ign submi t t ed b y J e a n - J a c q u e s W i n d e r s

( 1 8 4 9 - 1 9 3 6 ) , a y o u n g (28 y e a r o ld) a n d a m b i

tious a rchi tec t , w h o h a d p rev ious ly w o n a n

official compet i t ion for the des ign of the Sche ld t

M o n u m e n t w h i c h s tands in the present M a r n i x -

ple in . W i n d e r s w a s not, h o w e v e r , the only

w i n n e r : six en t ran ts w e r e chosen , but the m a i n

p r o b l e m w a s that they a l l exceeded the specifi

ca t ion o f two mi l l ion f rancs . T h e ma t t e r d r a g

ged on further, until ano the r compe t i t ion w a s

a n n o u n c e d in 1 8 7 9 , w h i c h w a s l imi ted to the s ix

fo rmer f i r s t pr ize w i n n e r s . J . J . W i n d e r s w o n

once a g a i n , wi th the even y o u n g e r F r a n s V a n

Di jck ( 1 8 5 3 - 1 9 3 9 ) i n second p l ace . Both des igns

w e r e a d o p t e d , on condi t ion that the two a rch i

tects c o m b i n e d them to p r o d u c e a s ingle p l an .

T h e c o m b i n a t i o n o f w h a t for the t ime w a s an

u l t r a -modern p r o g r a m m e , wi th the p res t ig ious

f acades a n d s t ruc tures o f the a p p r o v e d p l a n

m e a n t that no th ing else cou ld s t and in the w a y

of cons t ruc t ion , a n d w o r k on the new inst i tut ion

b e g a n i n S e p t e m b e r 1 8 8 4 . T h e c e r e m o n i a l i nau -

gura t i on of the m u s e u m in the south of the ci ty

o n i i t h A u g u s t 1 8 9 0 , w i th p rocess ions ,

speeches , b a n q u e t s a n d a l a rge - sca l e ce lebra

tion m a r k e d the end of a difficult 17 y e a r s . T h e

m u s e u m features a c o m b i n a t i o n of the neo

c lass ica l a n d neo-goth ic s tyles , a n d i s an

e x a m p l e o f c o n t e m p o r a r y temple a rch i t ec tu re .

F r o m the technica l point of v i e w , i t i s b a s e d

upon the g rea t new m u s e u m s o f G e r m a n y ,

A u s t r i a a n d the N e t h e r l a n d s .

In 1 9 2 7 the m u s e u m pas sed into the o w n e r s h i p

of the na t ion . In add i t ion to A r t i b u s P a t r i a e ,

two o ther p r i m a r y benefac tors of the f i r s t ha l f of

the cen tu ry shou ld b e men t ioned . T h e f i r s t w a s

the ' F r i e n d s o f M o d e r n A r t ' socie ty w h i c h w a s

founded in 1 9 2 7 , a n d w h i c h d e v e l o p e d into a

sma l l g r o u p of a r t - lovers s u r r o u n d i n g the bro th

ers L o u i s , F r a n c o i s a n d C h a r l e s F r a n c k . T h e

second source o f suppor t w a s p r o v i d e d by the

bro thers themse lves . O v e r the course of a ha l f

cen tu ry , the ' F r i e n d s o f M o d e r n A r t ' dona ted

42 w o r k s o f ar t , beg inn ing in 1 9 2 1 , before they

h a d b e c o m e an official socie ty , wi th eight

E n s o r s , i nc lud ing Afternoon in Ostend, The Intrigue

a n d Masks fighting over a Hanged Man. T h e

F r a n c k fami ly i tself ( F r a n c o i s a n d C h a r l e s )

d o n a t e d b e t w e e n 1 9 2 0 a n d 1 9 6 7 Fisherwoman by

C o n s t a n t P e r m e k e , Strawberries and Champagne

by H e n r i De B r a e k e l e e r , The Ferryman a n d The

Fall of the Rebel Angels by J a m e s E n s o r , X a v i e r

M e l l e r y ' s Inspiration a n d J a k o b S m i t s ' Pieta.

A l t h o u g h dona t ions a n d beques t s h a v e d r o p p e d

off s h a r p l y d u r i n g the last few d e c a d e s , the

m u s e u m recent ly c a m e into possess ion of a

m a r v e l o u s col lect ion. I n 1 9 8 9 L u d o v a n

B o g a e r t - S h e i d b e q u e a t h e d no less than 69 art

w o r k s , i nc lud ing 58 pa in t ings , d r a w i n g s , w a t e r -

co lours a n d scu lp tu res by R i k W o u t e r s .

T h e col lect ion as a w h o l e now n u m b e r s more

than 7 200 w o r k s of ar t , cons is t ing of 3 200

pa in t ings , 3 600 d r a w i n g s a n d pr in ts , a n d 400

scu lp tu res .

The 15th Century

Medieval painting of the Old Netherlands

T h e ear l ies t p r e - E y c k i a n pane l w h i c h s u r v i v e s

in the N e t h e r l a n d s , The Calvary of Hendrik van

Rijn, w a s pa in t ed by an A n o n y m o u s U t r e c h t (? )

M a s t e r . A c c o r d i n g to the L a t i n inscr ip t ion a t

the bo t tom, the donor , s h o w n knee l ing a n d in

profi le, i s H e n d r i k v a n R i j n . He is s ignif icant ly

s m a l l e r than the sa in ts w h o s u r r o u n d h i m :

C h r i s t o n the c ross , M a r y a n d J o h n . T h i s

m e m o r i a l w o r k w a s p r o d u c e d for Sa in t J o h n ' s

chu rch i n U t r e c h t , t o c o m m e m o r a t e V a n R i j n ,

w h o w a s p rovos t a n d a r c h d e a c o n . T h e rel ief

decora t ion in the b a c k g r o u n d is pa r t i cu l a r l y

in teres t ing, cons i s t ing as i t does of g i lded tiles

wi th a lion motif, a n d refers to the real i ty of

h e a v e n .

F l e m i s h pa in te rs of the 1 5 t h cen tury a re

k n o w n as the ' F l e m i s h P r i m i t i v e s ' . A l t h o u g h

the te rm is app l i ed to a va r i e ty of a r t w o r k s a n d

ar t is ts , there a re seve ra l s t r ik ing s imi la r i t i es .

T h e n e w v is ion w h i c h these ar t is ts b r o u g h t to

b e a r upon the represen ta t ion of the h u m a n

f igure is one no tewor thy aspec t , wh i l e the fresh

interest in space a n d na tu re i s ano ther . T h e use

of oi l pa in t s i s an i nnova t i ve t echn ique w h i c h

has been t rad i t iona l ly a sc r i bed to them. T h e i r

re l ig ious subjects a re s i tua ted in minute ly

o b s e r v e d a n d execu ted na tu ra l o r a rch i t ec tu ra l

loca t ions . T h e b a c k g r o u n d of the pa in t ing i s

o p e n e d up , in o rde r to p r o v i d e a cons t ruc t ion

w h i c h wi l l he igh ten the sense of space .

T h e love o f f ine ry w h i c h cha rac t e r i s ed the

court o f Ph i l ip the G o o d , D u k e o f B u r g u n d y ,

a n d the f lou r i sh ing t rade o f the L o w C o u n t r i e s

he lped s p r e a d the f ame of the F l e m i s h P r i m i

t ives . T h e n u m e r o u s a n d va r i ed w o r k s in this

col lect ion p r o v i d e us w i th an exce l len t o v e r v i e w

of their ar t .

J a n v a n E y c k i s gene ra l ly v i e w e d a s the

l ead ing ar t is t ic f igure of the 1 5 t h cen tu ry

N e t h e r l a n d s . He w a s in teres ted in A n t i q u i t y ,

h a d g o o d g e o g r a p h i c a l k n o w l e d g e , w a s we l l -

ve r sed in l i tera ture a n d possessed grea t techni

cal ingenu i ty . T h e m u s e u m possesses two of his

w o r k s , w h i c h a re sma l l in format but h igh in

q u a l i t y : Saint Barbara a n d Madonna at the Foun

tain. Saint Barbara is su rp r i s ing b e c a u s e of its

g r a p h i c a l qua l i t i e s a n d its u n u s u a l t echn ique ,

a n d the fact that i t is not an o r d i n a r y pa in t ing .

N u m e r o u s exper t s h a v e tried to de t e rmine

whe the r it is in fact an unf inished pa in t ing , a

gr isa i l le , or a f in ished d r a w i n g . T h e d r a w i n g is

execu ted on a smoo th , y e l l o w - b r o w n tinted

g round wi th a s ty lus , a n d is finished off wi th a

f ine pa in tb ru sh . T h e w o r k has a m a r b l e d f rame

bea r ing an inscr ip t ion w h i c h tells us the n a m e

of the art is t a n d the da t e of execu t ion , n a m e l y

1 4 3 7 . V a n E y c k dep ic t s Sa in t B a r b a r a w i th he r

p r a y e r - b o o k a n d p a l m , sea ted before a late-

go th ic tower w h i c h is in the process of cons t ruc

tion. T h e Madonna at the Fountain pane l is even

sma l l e r in format , a n d i s a l so s igned a n d d a t e d

on a m a r b l e d f rame. T h e at tent ion w h i c h V a n

E y c k focused upon the tender e m b r a c e o f moth

er a n d chi ld is cha rac te r i s t i c of l a t e - m e d i e v a l

devo t ion . T h e art is t dep ic t s the p a r a d i s i a c a l

g a r d e n a n d o ther s y m b o l s o f the V i r g i n such a s

the founta in , the rose a n d the iris. A n g e l s hold

up a go rgeous b r o c a d e cloth beh ind the mo the r

a n d chi ld as a s y m b o l o f honour . T h e s y m b o l

i sm of the co lours used in the pa in t ing se rve to

he ighten its sp i r i tua l m e s s a g e .

We see a s imi l a r acu teness of obse rva t i on in

R o g i e r v a n de r W e y d e n ' s Altar of the Sacraments.

T h e C a l v a r y s e q u e n c e takes p l ace in the in ter ior

o f a* l ight , spac ious chu rch , w h o s e careful ly

execu t ed de ta i l s i m m e d i a t e l y ca tch the v i e w e r ' s

eye . T h e seven s a c r a m e n t s are p resen ted

a r o u n d the cen t ra l c ruc i f ix ion g r o u p a c c o m p a

nied by an a n g e l wi th a bande ro l e . T h e impor t

a n c e of the ac t ion in the cent ra l p a n e l is

e m p h a s i s e d by the size of the dep ic t ed pe r son

ages c o m p a r e d to the f igures in the s ide pane l s .

T h e emot ion of the cent ra l cha rac t e r s - Sa in t

J o h n a n d the three M a r y s - w h o a re o v e r c o m e

< H A N S MEMLING

Christ among Angels singing and playing instruments

detai l

ANONYMOUS U T R E C H T (?) M A S T E R , Ca . 1 3 6 3

Calvary of Hendrik van Rijn, 1363

Inv. 5 1 9

Pane l , 1 3 3 x 1 3 0 cm (with f r ame : 1 5 0 x 146 cm)

J A N V A N E Y C K

M a a s e i k ? ca . 1 3 9 0 - B r u g e s 1 4 4 1

Saint Barbara, 1437

Inv . 4 1 0

Pane l , 31 x 18 cm

O n the f r ame : I O H ( A N N ) E S D E E Y C K M E F E C I T . 1437

V a n Er tbo rn beques t , 1 8 4 1

J A N V A N E Y C K

M a a s e i k ? ca . 1 3 9 0 - B r u g e s 1 4 4 1

Madonna and Child at the Fountain, I4jg

Inv . 4 1 1

Pane l , 19 x 1 2 . 5 cm

A t the bot tom o f the f r a m e : A L S I C H C A N , a n d :

J O H ( A N N ) E S D E E Y C K M E F E C I T + ( C O M ) P L E V I T A N O 1 4 3 9 ° .

V a n Er tborn beques t , 1 8 4 1

R O G I E R V A N D E R W E Y D E N A N D A S S I S T A N T S

T o u r n a i ca . 1 3 9 9 - Brusse l s 1 4 6 4

Altar of the Sacraments

Inv . 3 9 3 - 3 9 4 - 3 9 5

Pane l , w i n g s 1 1 9 x 63 c m ; centra l panel 200 x 97 cm


with grief, is a cha rac te r i s t i c feature of V a n de r

W e y d e n ' s ar t . I t is thought that the t r ip tych

w a s c o m m i s s i o n e d in 1 4 4 1 by the B i s h o p o f

T o u r n a i , J e a n C h e v r o t , for the a l t a r o f his

p r i v a t e chape l . V a n de r W e y d e n p o r t r a y s h im

on the left of the pa in t ing , as the b i shop a d m i n

is ter ing C o n f i r m a t i o n .

R o g i e r v a n de r W e y d e n , w h o c a m e from

T o u r n a i , w o r k e d in B r u s s e l s as official mun ic i

pa l pa in te r . He i s the f i r s t g rea t ar t is t after J a n

v a n E y c k , bu t unl ike his p redeces so r his s tand

ing a l l o w e d h im to ope ra t e a w o r k s h o p wi th a

l a rge n u m b e r o f ass i s t an t s . W h e r e a s V a n de r

W e y d e n w a s p r o b a b l y he lped b y his ass i s tan ts

d u r i n g the execu t ion of the Altar of the Sacrament,

his Portrait of Philippe de Croy is v i e w e d as be ing

ent i re ly from his o w n h a n d . He w a s a ta lented

pa in t e r o f por t ra i t s , w h o looked b e y o n d the

inc identa l de ta i l s of his subjec ts . P h i l i p p e de

C r o y , w h o be longed to a p rominen t nob le f ami

ly , h a d been G o v e r n o r o f H a i n a u l t s ince 1 4 5 6 .

V a n de r W e y d e n p o r t r a y e d h i m as a refined

a n d p ious m a n . T h e fact that he i s dep ic t ed a t

p r a y e r suppor t s the not ion that this m a l e por

trait o r ig ina l ly fo rmed the r igh t -hand par t of a

d i p t y c h .

T h e Annunciation a t t r ibu ted to a fo l lower of

R o g i e r v a n de r W e y d e n i s ent i re ly in the spir i t

o f the mas te r . In a c c o r d a n c e wi th m e d i e v a l

cus tom, the ange l a p p r o a c h e s M a r y in the

b e d r o o m of a t ownhouse . T h e room con ta ins a

red bed w i th a l a rge c a n o p y . T h e j u g w h i c h

R O G I E R V A N D E R W E Y D E N

T o u r n a i ca . 1 3 9 9 - Brusse l s

1 4 6 4

Philippe de Croy

Inv. 254

Panel . 49 x 30 cm

U p p e r left corner , mono

g r a m : s e ( m ) p . On ihe re

verse , upper pa r t : (Ph i l ) ippe

d e C r o y ; l ower p a r i :

(Se igne )u r de S e m p y . with

the b lazon of Phi l ippe de

C r o y be tween.

V a n Er tbo rn beques t . 1 8 4 1 .

F O L L O W E R O F R O G I E R V A N D E R W E Y D E N

Annunciation

Inv . 396

Pane l , 20 x 12 cm

V a n Er tborn beques t , 1 8 4 1 .

holds a n u m b e r of lily s tems is a s y m b o l of

M a r y ' s v i rg in i ty .

R o g i e r ' s g r a n d s o n , G o o s s e n v a n d e r W e y d e n ,

w h o w a s born i n B r u s s e l s a r o u n d 1 4 6 5 , w a s a lso

a pa in te r w h o ran a l a rge s tudio . T h e bill for the

Triptych of Abbot Antonius Tsgrooten pa in t ed in

1 5 0 7 still s u r v i v e s , so that we can be sure that i t

i s the w o r k o f G o o s s e n v a n de r W e y d e n . T h e

abbo t p r o b a b l y c o m m i s s i o n e d this little tr ip

tych for his p r iva t e qua r t e r s . He is s h o w n

knee l ing on the r igh t -hand pane l , in the pres

ence o f the V i r g i n M a r y . T h e cen t ra l pane l

depic ts C h r i s t a s i n t e r m e d i a r y a n d M a n o f

S o r r o w s , s u r r o u n d e d by the in s t rumen t s of his

Pass ion .

S o m e d o u b t pers is ts as to the a u t h o r s h i p of

the sma l l pa in t ing ent i t led Mary and the Infant

Jesus. I t has been identif ied as o r ig ina t ing from

the circle s u r r o u n d i n g Di rk B o u t s , o f w h o s e

or ig ins we know little wi th a n y cer ta in ty . He

p r o b a b l y c a m e from H a a r l e m , a n d l ea rned his

ar t i s t ' s t rade in the Sou the rn N e t h e r l a n d s

w h e r e h e w a s s t rongly inf luenced b y R o g i e r v a n

der W e y d e n . H e rece ived ma jo r c o m m i s s i o n s

from the civi l a n d ecc les ias t i ca l au thor i t i es in

L o u v a i n . T h e pane l i n ques t ion w a s in tended to

m o v e the v i e w e r to reflect ion. M a r y , the mos t

v i r tuous of a l l w o m e n , is p o r t r a y e d here as the

inca rna t ion of the c o n t e m p o r a r y idea l of b e a u

ty, wi th her long, pa le face a n d the ra i sed

hai r - l ine .

A l t h o u g h H a n s M e m l i n g wi l l forever b e a s so

c ia ted wi th B r u g e s , he w a s ac tua l ly born in

Se l igens tad t in G e r m a n y . F r o m 1 4 6 5 unti l his

dea th in 1 4 9 4 he w o r k e d as a pa in te r in B r u g e s ,

whe re he rece ived c o m m i s s i o n s from w e a l t h y

ci t izens a n d foreign m e r c h a n t s . I t w a s a c o m

miss ion of this type , p r o b a b l y from an I t a l i an

pa t ron , w h i c h caused h im to pa in t the sober

Portrait of a Man. A l t h o u g h m a n y hypo theses

h a v e been p resen ted , i t is not poss ib le to m a k e a

meaningfu l ident i f icat ion of the subject . T h e

a p p e a r a n c e a n d c lo th ing o f the p o r t r a y e d m a n

sugges t that he is a S o u t h e r n E u r o p e a n , most

l ikely an I t a l i an . He is dep ic t ed wi th a coin from

the re ign of the E m p e r o r N e r o in his h a n d ,

before a l a n d s c a p e con ta in ing s w a n s a n d p a l m

trees. M e m l i n g w a s heav i ly inf luenced ini t ia l ly

by R o g i e r v a n der W e y d e n , but in the case of

this ou t s t and ing por t ra i t da t i ng from a r o u n d

1 4 7 8 , i t is the inf luence of the Q u a t t r o c e n t o

wh ich we feel most s t rongly . A p a r t from this

w o r l d l y por t ra i t , the m u s e u m a lso possesses

f ragments of a re l ig ious p o l y p t y c h by M e m l i n g ,

Christ among Angels singing and playing Instruments.

T h e carefu l ly o rde red a n d s imp le compos i t i on

depic ts C h r i s t a s S o v e r e i g n o f the W o r l d , g i v i n g

His b less ing , wi th three s ing ing ange l s on ei ther

s ide. T h e two other pane l s conta in f i ve ange l s

p l a y i n g mus i ca l i n s t r u m e n t s : psa l t e ry , t r o m b a

m a r i n a , lute , t rumpe t a n d oboe ( lef t -hand pan

e l ) , ba s soon , t rumpet , por ta t ive o r g a n , h a r p

a n d viol ( r igh t -hand p a n e l ) . H e a v e n i s sug

ges ted by the g l o w i n g c louds w h i c h run from

the left a c ros s to the r igh t -hand pane l . T h e s e

G O O S S E N V A N D E R W E Y D E N

Brusse l s ca. 1 4 6 5 - A n t w e r p after 1 5 3 8

Triptych of Abbot Antonius Tsgrooten (ijOj)

Inv . 5 0 9 1 / 1 t o 5 0 9 1 / 5

Pane l , central pane l 3 3 . 7 x 2 5 . 2 c m : s ide pane l s

34 x i i c m

P u r c h a s e d in 1966

F O L L O W E R O F D I R K B O U T S

H a a r l e m ? ca . 1 4 1 5 - L o u v a i n 1 4 7 5

Mary and the Infant Jesus

Inv. 28

Panel , 29 .5 x 20 .5 cm

V a n E r t b o r n beques t , 1 8 4 1

H A N S M E M L I N G

Sel igens tad t ( G e r m a n y ) ca . 1 4 3 3 - B r u g e s 1 4 9 4

Portrait of a Man

Inv . 5

Pa r chmen t on w o o d , 29 x 22 cm

O n the co in : N E R O C L A U D . C A E S A R A V G . G E R M T R . P .

I M P E R .

V a n Er tbo rn bequest , 1 8 4 1

H A N S M E M L I N G

Sel igens tad t ( G e r m a n y ) ca . 1 4 3 3 - B r u g e s 1 4 9 4

Christ among Angels singing and playing instruments

Inv . 7 7 8 - 7 7 9 - 7 8 0

Pane l , central pane l 1 6 4 x 2 1 2 c m ; side pane ls , each

1 6 5 x 2 3 0 cm

Purchased in 1 8 9 5

pane l s a r e f r agment s of a po l yp t ych , now larg

ely lost, wh i ch once stood on the high a l t a r of

the Bened i c t ine chu rch o f S an t a M a r i a l a R e a l

in Na j e r a , Sp a i n .

T h e last b ig n ame to be long to the F l em i sh

Pr imi t i ve s w a s G e r a r d Da v i d . He wa s born i n

Ho l l and , but w a s enro l led as a Free Ma s t e r in

Bruge s , whe r e he d ied in 1 5 2 3 . T h e pane l s

dep ic t ing Pilate's Dispute with the High Priest, and

The Holy Women and Saint John at Golgotha, wh i ch

or i g ina l l y formed a t r ip tych together wi th Christ

nailed to the Cross ( Th e Na t i ona l Ga l l e r y , Lon

don) da t e from the per iod 1480-85 .

T h e pa in t ing ent i t led Rest on the Flight into

Egypt has been a t t r ibu ted to a fo l lower of

G e r a r d Da v i d . A pa r t i cu l a r l y impre s s i ve feature

of this serene little pa in t ing is the evoca t ion of

the l a nd s c ap e : we see a sma l l s t r eam wi th a

spr ing, v a r i ou s types of f lowers and p lant s , trees

wi th b i rds , a da rk wood and an impos ing

l and s cape wi th a rocky r idge . T h e wo rk has

been prov i s iona l l y a t t r ibu ted to a B ru g e s mas

ter after a lost pa in t ing by G e r a r d Da v i d .

M A S T E R O F F R A N K F U R T

Born 1460 , anonymou s art ist work ing in An twe r p a round 1500

Portrait of the artist and his wife, 14Ф Inv . 5096 Pane l , 38 x 26 cm T h e date 1496 and the age of the subjects - 36 and 27 respect ive ly - a re g iven at the bot tom Purcha s ed in 1 974

G E R A R D D A V I D

Oudewa t e r ca . 1460 - B ruge s 1 5 2 3 Mary, Saint John and three Women Pilate and the Jews at Golgotha Inv . 179 and 180 Pane l , 45 x 42 . 5 cm V a n Er tborn bequest . 1 8 4 1

F O L L O W E R O F G E R A R D D A V I D

Rest on the Flight into Egypt Inv . 47

Pane l , 81 x 58 cm V a n Er tborn bequest , 1 8 4 1

M A S T E R O F F R A N K F U R T

B o r n 1 4 6 0 , a n o n y m o u s artist work ing in A n t w e r p

a round 1 5 0 0

Archery Festival, ( 1 4 9 3 ? )

Inv . 529

Pane l , 1 7 6 x 1 4 1 cm

F r o m the O l d A r c h e r s ' G u i l d h a l l , A n t w e r p

F e w of the w o r l d l y pa in t ings o f the 1 5 t h cen tu ry

h a v e s u r v i v e d intact . T h e m u s e u m does , how

ever , possess two in teres t ing e x a m p l e s of this

t ype o f pa in t ing by the M a s t e r o f F rankfur t .

Desp i t e his m i s l e a d i n g title, the art is t in ques

tion w a s an a n o n y m o u s m a s t e r w o r k i n g in

A n t w e r p . H i s Portrait of the Artist and his Wife is

one of the first p rofane doub le por t ra i t s in the

ar t o f the Sou the rn N e t h e r l a n d s . A l l that now

s u r v i v e s i s the cen t rep iece of w h a t w a s or ig in

a l ly a t r ip tych , w h i c h is ev iden t from the s h a p e

of the pane l a n d the t races of h inges w h i c h a r e

still v i s ib l e . An equa l ly u n u s u a l a n d fasc ina t ing

w o r k by the s a m e art is t is the Archery Festival

w h i c h da te s from a r o u n d 1 4 9 3 . T h i s i s an

a l l egor ica l represen ta t ion of a h is tor ica l event .

T h e ar t is t l eads the v i e w e r a long a va r i e ty of

scenes w h i c h take p lace aga in s t a na tu r a l back

g r o u n d . T h e m a n d re s sed in a b r o w n t a b a r d

a n d a b l ack c a p w h o m we see in the g r a s s ins ide

the enc losure on the r ight is p r o b a b l y the

art is t .

We ta lked a b o v e a b o u t the m a l e por t ra i t s

pa in ted b y V a n der W e y d e n a n d M e m l i n g .

T h e r e a r e o ther por t ra i t s in the col lect ion w h i c h

do not b e a r such i l lus t r ious n a m e s , but w h i c h

a r e w o r t h y of ou r a t tent ion all the s a m e . T h e s e

inc lude Portrait of Jan zonder Vrees ( J o h n the

F e a r l e s s ) w h i c h w a s pa in t ed in the 1 5 t h cen tu ry

by an A n o n y m o u s M a s t e r o f the Sou the rn

N e t h e r l a n d s , a n d the r ich ly embe l l i shed Portrait

of Abbot Christiaan De Hondt by the M a s t e r of

H 9 9 -

A N O N Y M O U S S O U T H E R N N E T H E R L A N D I S H M A S T E R

M i d - 1 5 t h century

Portrait of Jan zonder Vrees, Duke of Burgundy Inv . 540

Pane l , 21 x 14 cm


M A S T E R O F 1 4 9 9

Portrait of Abbot Christiaan de Hondt

Inv . 2 5 6

Pane l , 30 x 14 cm


Foreign medieval art

A p a r t f rom its r ich a n d d ive r se col lect ion of

F l e m i s h m e d i e v a l art , the m u s e u m a lso boas t s

w o r k by the I t a l i ans S i m o n e M a r t i n i a n d

A n t o n e l l o d a M e s s i n a , a n d the w o r l d - f a m o u s

F r e n c h pa in te r , J e a n F o u q u e t . T h e S i e n a - b o r n

M a r t i n i w a s respons ib le for four s u m p t u o u s

little pane l s , w h i c h w e r e p r o b a b l y execu ted in

A v i g n o n w h e r e the ar t is t w a s in the se rv ice of

the p a p a l court . T h e Annunciation, Crucifixion a n d

Descentfrom the Cross r evea l the u tmos t ref inement

in de s ign a n d use of co lour - b r igh t , deco ra t i ve

tones s t and out f rom a b a c k g r o u n d f inished in

go ld . T h e four A n t w e r p pane l s o r ig ina l ly formed

a s ingle g r o u p w i th Christ carrying the Cross f rom

the D a h l e m m u s e u m in B e r l i n , a n d the Entomb

ment in the L o u v r e , P a r i s .

T h e S ic i l i an An tone l l o d a M e s s i n a pa in t ed

his Calvary in 1 4 7 5 , m o r e than a cen tu ry later .

Da M e s s i n a succeeded in uni t ing the cha rac te r

istics o f 1 5 t h cen tu ry F l e m i s h a n d I t a l i a n pa in t

ing in a p leas ing , b a l a n c e d m a n n e r .

Desp i t e the fact that few of J e a n F o u q u e t ' s

pa in t ings h a v e s u r v i v e d (a l though we still h a v e

m a n y of his d r a w i n g s a n d m i n i a t u r e s ) , he i s

never the less recognised as the g rea tes t F r e n c h

pa in te r o f the 1 5 t h century . T h e A n t w e r p

m u s e u m h a s his m a s t e r l y Mary and Jesus sur

rounded by Seraphim and Cherubim, w h i c h forms a

d ip tych wi th the Portrait of Etienne Chevalier with

Saint Steven. T r a d i t i o n , da t i ng back to the 1 7 t h

cen tury , h a s i t that the por t ra i t of M a n . bea r s

the features of A g n e s So re l , the mis t ress

o f C h a r l e s V I I . W i t h he r h igh forehead , pa le

skin, r o u n d breas t s a n d s lender f igure , this

f amous M a r y e m b o d i e s the con tempora ry idea l

o f beau ty .

We canno t round off this sect ion wi thou t men

t ioning a refined little w o r k of G e r m a n or ig in ,

w h i c h is an i l lus t ra t ive e x a m p l e of the so-ca l led

In t e rna t iona l S ty l e . S o m e fifty w o r k s h a v e been

a t t r ibu ted to an u n k n o w n C o l o g n e mas te r ,

referred to for conven i ence as the M a s t e r of

Sa in t V e r o n i c a , i n c l u d i n g The Man of Sorrows

between Our Lady and Saint Catherine. T h e p a n e l ' s

s lender , a lmos t bone less f igures , dep ic ted

aga in s t a g i lded g r o u n d , its c o m b i n a t i o n of

co lours a n d its de l i ca te m y s t i c i s m m a k e i t char

ac ter is t ic o f the m e d i e v a l C o l o g n e school . T h e

ceuvre of this m a s t e r i s gene ra l l y d a t e d be tween

I395-I4I5-

S I M O N E M A R T I N I

S iena ca . 1 2 8 4 - Av i gnon 1 3 4 4

Annunciation

Crucifixion, Descent from the Cross

Inv. 257-258 , 259-260

Pane l , n° 2 5 7 : 23 x 14 cm, n° 2 5 8 : 23 x 14 cm, n° 2 5 9 :

24 x 1 5 cm and n° 260 : 2 3 . 5 x 1 8 . 5 cm

№ 258 or ig inal ly formed the reverse of n° 259 , and

n° 257 the reverse of n° 260.


M A S T E R O F S A I N T V E R O N I C A

Act i v e late 14 th - ear ly 1 5 t h century

Man of Sorrows between Our Lady and Saint Catherine

Inv . 5070

Pane l , 41 x 24 cm

Lo an e d by the Be lg i an S l a t e in 1 9 5 2

A N T O N E L L O D A M E S S I N A

M e s s i n a ca . 1 4 3 0 - 1 4 7 9

Calvary,

Inv . 4

Panel , 5 2 . 5 x 4 2 . 5 cm

L o w e r left: i 475 . an tone l l u s messaneus me pinxi t .


J E A N F O U Q U E T

T o u r s ca . 1 4 2 0 - ca . 1 4 8 0

Mary and Jesus surrounded by Seraphim and Cherubim

Inv. 1 3 2

Pane l , 91 x 81 cm


Q U I N T E N M A S S Y S

L o u v a i n ca. 1466 - A n t w e r p 1 5 3 0

Triptych with the Lamentation of Christ, 1508-1511

Inv . 245-249

Pane l , 280 x 2 7 3 x 1 2 0 cm

A l t a r o f the cab ine t -maker s ' gu i ld in O u r L a d y ' s

C h u r c h , A n t w e r p ( 1 5 1 1 - 1 5 8 2 ) ; S ta te R o o m of A n t w e r p

T o w n H a l l ( 1 5 8 2 - 1 5 9 0 ) ; C i t y A l t a r i n the Besn i jden is -

kape l i n O u r L a d y ' s C h u r c h , A n t w e r p ( 1 5 9 0 - 1 7 9 8 ) ;

E c o l e C e n t r a l e des A r t s ; or ig ina l collection of the mu

seum

The 16th Century

F l e m i s h pa in t i ng d u r i n g the 16 th cen tu ry is a

c o m p l e x mat te r , wi th no l inea r evo lu t ion of

s ty le . N e w genres a rose , a n d differing g r o u p s o f

ar t is ts w o r k e d in pa ra l l e l . I t is not su rp r i s ing

then that the 16 th cen tu ry has t rad i t iona l ly

been v i e w e d as a t rans i t iona l per iod . " T h e 1 5 t h

cen tu ry w a s a t ime of seeking , the 1 6 t h a t ime of

g r a p p l i n g w i th new ideas , wh i l e the 1 7 t h cen

tury p a v e d the w a y for an e n o r m o u s r a n g e o f

new pos s ib i l i t i e s " ( G . H . Hoogewerff , 1 9 3 5 ) .

" N o t h i n g c rea ted d u r i n g the 16 th cen tu ry w a s

wi thou t v a l u e . E v e r y t h i n g se rved the s a m e end

w h i c h w a s t o b l o s s o m t r i u m p h a n t l y after 1 6 0 0 "

(P . d ' A r s c h o t , 1 9 6 3 ) . No t on ly do these two

c o m m e n t s i l lus t ra te the confusion of the per iod

in ques t ion , they a lso h igh l igh t the a m b i g u o u s

a t t i tude of a r t -h i s tor ians to this e ra . T h e terms

most c o m m o n l y a p p l i e d to 16 th cen tu ry cul ture

- r ena i s s ance a n d h u m a n i s m - a re themse lves

ra the r v a g u e . I f no th ing else, this l ack of prec i

sion se rves to ind ica te the ac tua l mer i t of a

pe r iod , n a m e l y its refusal to be p inned d o w n in

nea t little s chemes .

N e v e r t h e l e s s , i t is poss ib le to d i s t ingu ish one

o r two ma jo r t rends . O n e g r o u p of ar t is ts held

on to the 1 5 t h century t radi t ion , there w a s the

' m a n n e r i s t ' t rend, o ther ar t is ts took their inspi

ra t ion from the I t a l i a n r ena i s s ance a n d E u r o

p e a n h u m a n i s m , whi l e f inal ly we h a v e the

ind igenous f igure of B r u e g e l a n d his school or

c i rc le . T h e s e different m o v e m e n t s h a v e left

beh ind interes t ing, i f not ou t s t and ing w o r k s in

the col lect ion of the A n t w e r p m u s e u m .

S i x w o r k s by Q u i n t e n M a s s y s , the first m a j o r

art is t o f the r i s ing A n t w e r p school , a re i nc luded

in the col lect ion. In his refined Saint Mary

Magdalene, the art is t c o n v e y s his ideal of femin

ine b e a u t y in mas t e r ly fashion, wh i l e his m o n u

men ta l t r ip tych , The Lamentation of Christ w e l d s

together 1 5 t h cen tu ry t radi t ion a n d the n e w

ideas a b o u t ar t w h i c h w e r e e m e r g i n g from I t a ly .

T h e l ight effects, the g r a d a t i o n of co lour a n d the

i n t e r w e a v i n g of the compos i t ion ha rk b a c k to

the a t tent ion to de ta i l , the use of l a n d s c a p e as a

b a c k d r o p a n d the ra the r s t e reo typ ica l f igures o f

the p r e v i o u s century . M a s s y s ' h u m a n i s t por

t ra i ture is a l so represen ted in the m u s e u m in the

s h a p e of his Portrait of Pieter Gilles, w h o w a s a

friend of the art ist , as wel l as E r a s m u s a n d S i r

T h o m a s M o r e . Q u i n t e n ' s e x a m p l e w a s fo l lowed

by his son C o r n e l l s , by w h o m we h a v e a

cha rac te r i s t i c l a n d s c a p e , a n d J a n M a s s y s ,

w h o s e Judith bea r s w i tnes s to the inf luence of the

F o n t a i n e b l e a u school . J a n P r o v o s t ' s Martyrdom

of Saint Catherine - the p e n d a n t of Saint Catherine

disputing with the Emperor and the fifty Philosophers

i n the M u s e u m B o y m a n s - v a n B e u n i n g e n in

R o t t e r d a m - is a colourful m i x t u r e of t radi t ion

a n d innova t ion . P r o v o s t w a s a pa in te r , car

t o g r a p h e r a n d archi tec t , w h o met A l b r e c h t

Di i re r i n A n t w e r p i n 1 5 2 0 . J o a c h i m Pa t in i r ' s

m a r v e l o u s Flight into Egypt, w i th its three-fold

s c h e m e o f co lour , l a n d s c a p e a n d geome t r i ca l

form comple t e s the s u r v e y of M a s s y s ' entou

rage .

K e y w o r k s from the manne r i s t m o v e m e n t a re

a l so to be found in the m u s e u m in the shape of

B a r e n d v a n O r l e y ' s l a rge Last Judgement t r ip

tych, a n d the s m a l l e r Adoration of the Magi

t r ip tych b y a n a n o n y m o u s art is t . T h e majes t ic

a r c h e d compos i t i on , b o r r o w e d from R a p h a e l ,

the scientif ic represen ta t ion of the n u m e r o u s ,

a n i m a t e d n u d e f igu res , a n d the du l l , b r o w n i s h

but smoo th co lour ing a l r e a d y point to the

s t rongly I t a l i a n a t e t endency in the pa in t ing of

V a n O r l e y . T h e c h a r m i n g little w o r k b y the

M a s t e r of the A n t w e r p A d o r a t i o n (first ha l f o f

the 1 6 t h cen tu ry ) i s e x u b e r a n t , l ively a n d full of

eccent r ic s h a p e s a n d a t t i tudes , wh i l e the n e w l y

a c q u i r e d w e a l t h of A n t w e r p is d i s p l a y e d in the

a b u n d a n c e o f l u x u r i o u s , go th ic r emin i scences .

J A N P R O V O S T

M o n s ca . 1 4 6 5 - B r u g e s 1 5 2 9 The Martyrdom of Saint Catherine Inv. 838 Pane l , 94 x 68 cm Purchased from J . K l e i n b e r g e n , Par i s 1 9 0 4

J O A C H I M P A T I N I R

B o u v i g n e s ca. 1 4 7 5 - A n t w e r p 1 5 2 4 Landscape with the Flight into Egypt Inv . 64 Pane l , 1 7 x 2 1 c m L o w e r left: O P U S J O A C H I M D . P A T I N I R .


Q U I N T E N M A S S Y S

L o u v a i n ca . 1 4 6 6 - A n t w e r p 1 5 3 0 Saint Mary Magdalene Inv . 243 Pane l , 45 x 29 cm V a n Er tbo rn bequest , 1 8 4 1

M a r i n u s v a n R e y m e r s w a e l , a ca lv in i s t from

Z e e l a n d , w a s s t udy ing in A n t w e r p a t the t ime

w h e n Q u i n t e n M a s s y s w a s the und i spu ted l ead

er of the c i t y ' s pa in te r s . In his Saint Jerome

I 1 5 4 1 1 a n d The Tax Collectors, V a n R e y m e r s w a e l

— real is t , manne r i s t a n d even express ion is t -

ca r r i ed on the t radi t ion o f M a s s y s ' gen re w o r k s

in a p i c tu re sque , p rec ious a n d a l m o s t c a r i c a t u r e

fashion .

T h e versa t i l e art ist Pie ter P o u r b u s , w h o s e

ca r ee r w a s spent in the f lour ishing town of

B r u g e s , can a l so be seen as d i s p l a y i n g a ce r ta in

dua l i t y o f both p rogress ive a n d o ld- fash ioned

t rai ts . H i s Portrait of Olivier van Nieulant, a

B r u g e s a l d e r m a n , da tes from his less successful

pe r iod . H i s sobe r a n d s h a r p obse rva t i on is,

h o w e v e r , still present , wh i l e the even execu t ion ,

neut ra l g r o u n d a n d f lowing out l ines o f his

subject a re charac te r i s t i c . T h e neat a n d r a the r

o ld - look ing (he i s only 26) f igure of V a n N i e u

lant con t ras t s wi th two Portraits of young Men

pa in ted by u n k n o w n mas te r s , a n d wi th Pierson

J A N M A S S Y S

A n t w e r p ca . 1 5 0 9 - ca . 1 5 7 5

Judith

Inv . 5076

Pane l , 1 1 5 x 80 .5 cm

O n the s w o r d : J O A N N E S M A S S I I S P I N G .

Beques t o f M r s . Huybrech t s -De l s t anche , 1 9 5 7

B A R E N D V A N O R L E Y

Brusse l s ca . 1 4 9 2 - 1 5 4 2

The Last Judgement and the Seven Acts of Mercy

Inv . 7 4 1 - 7 4 5

Pane l . 248 x 2 1 8 cm ( c e n t r e 1 : 248 x 94 cm

(side pane ls )

Proper ty of the ' O C M W " . A n t w e r p

M A R I N U S V A N R E Y M E R S W A E L

R e i m e r s w a a l ca . 1 4 9 3 - p robab ly M i d d e l b u r g ca . 1 5 6 7

The Tax Collectors

I n v . 244

Pane l , 65 x 52 cm


La Hues, d r u m m e r a n d p a g e of the O l d A r c h e r s '

G u i l d , w h i c h w a s pa in t ed b y G i l l i s C o n g n e t i n

1 5 8 1 . T h e s e pa in t ings a re m a r v e l o u s represen

ta t ives of a genre w h i c h , in the 16 th cen tury ,

w a s the leas t r a ted of the pa in te r ' s spec i a l i sms .

As the por t ra i t is closest to life, c o n t e m p o r a r y

op in ion d e e m e d i t to be m u c h less c rea t ive or

in te l lec tual than m y t h o l o g i c a l , b ib l i ca l o r

mora l i s t i c pa in t ing . Neve r the l e s s , this series of

four por t ra i t s p rov ides us w i th one of the mos t

l ive ly d o c u m e n t s o f the 1 6 t h cen tury .

T h e m u s e u m does not h a v e a n o r ig ina l w o r k

by Pie te r B r u e g e l the E l d e r , but this i s pa r t i a l l y

c o m p e n s a t e d by an ea r ly , re l iable copy , The

Bridal Dance (ca . 1 5 6 6 ) . T h e a p p a r e n t l y chao t ic

ac t ion is rea l ly careful ly p l a n n e d , wh i l e the

t ightly de l inea ted but sha rp ly con t ras t ing

co lours , the short , s tu rdy peasan t f igures a n d

the s e m i c i r c u l a r v i l l a g e scene m e a n that the

w o r k is a truthful r epresen ta t ion of B r u e g e l ' s

i m m e n s e talent . T h e m u s e u m a lso possesses a

w h o l e series o f w o r k s by B r u e g e l ' s fo l lowers ,

M A R I N U S V A N R E Y M E R S W A E L

R e i m e r s w a a l ca. 1 4 9 3 - p r o b a b l y M i d d e l b u r g ca . 1 5 6 7 Saint Jerome 1541 Inv . 990 Pane l , 78 x 1 0 7 cm On the edge of the lec tern : M a r i n u s - me f e c i t . 1 5 4 1 D o n a t e d b y Ar t i bus Pa t r iae , 1 9 3 5

D U T C H M A S T E R 16 th century t> Portrait of a young Man Inv . 3 4 1 Pane l , 46 x 32 cm On the let ter : M o n tres hon.. . bone grace . . . p ressence sera. . . comend par . . . recen. . . la v o s . . . ; in the backg r o u n d : Ae ta t i s 1 9 . V a n Er tborn beques t , 1 8 4 1

M A S T E R O F T H E A N T W E R P A D O R A T I O N (ca. I520) Triptych with the Adoration of the Magi Inv . 208-210b P a n e l , 29 x 22 cm (central pane l ) , 29 x 8.5 cm (side pane ls ) V a n Er tbo rn bequest , 1 8 4 1

P I E T E R P O U R B U S

G o u d a 1 5 2 3 - Bruge s 1 5 8 4

The Portrait of

Olivier van Nieulant

Inv . 5074

Pane l , 49.5 x 3 7 . 5 cm

U p p e r r ight :

An ° D N I I 5 7 3 . / Л . 2 6 . M . 1 0 .

Purcha s ed from

C . Bender , 1 9 54

U N K N O W N M A S T E R

(second quarter

of the 16th century)

Portrait of a young Man

Inv. 564

Panel. 69 x 52 cm

V a n Ertborn bequest. 1 8 4 1

G I L L I S C O N G N E T t >

An twe r p ca . 1 5 3 8 - H a m b u r g 1 5 99

Pierson La Hues, Drummer and Page of the Old Archers'

Guild, 1581

b v . 3 5

Pane l , 1 7 0 x 1 3 3 cm

On a meda l l i on : Gi l l i s Congne t fe. ; on the stone on

the left: P ierson la Hue s , t romels lager heeft dese guide

v an den ouden handboge ghedient 31 j a r en , 1 5 8 1 in

Mee r t , ende sterff i n ' t j a a r 1 5 . .

F r o m the 'G i l d e k ame r v a n d e Oud e Handboo g ' G i l -

denkamer s t r aa t , An tw e r p ; purchased from F . Ve r a ch -

tert, Mun i c i p a l Archiv i s t , 1 8 4 3

E a r l y copy A F T E R P I E T E R

B R U E G E L T H E E L D E R

The Bridal Dance

Inv . 9 7 3

Panel , 1 1 5 x 1 6 6 c m

Purchased from Sp i r idon ,

Ber l in , 1 9 2 9

A B E L G R I M M E R

A n t w e r p ca . 1 5 7 0 / 7 7 - 1 6 1 9

Spring

Inv. 8 3 1

Pane l , 33 x 47 cm

Summer

Inv . 8 3 1

Pane l , 33 x 47 cm

L o w e r r igh t : Alber t G r i m e r F 1607

Autumn

Inv . 8 3 1

Pane l , 33 x 47 cm

O n w e l l : A b e l G r i m e r fecit

Winter

Inv . 8 3 1

Pane l , 33 x 47 cm

L o w e r r i g h t : A b e l G r i m e r f e c i t / 1 6 0 7

Pu rchased from the an t i qua r i an De H e u v e l , Brusse l s ,

1 9 0 4

i nc lud ing eight pa in t ings by Pie ter ' H e l l '

B r e u g h e l the Y o u n g e r , f i v e b y J a n ' V e l v e t '

B r e u g h e l , a fa i r -scene by H a n s B o l , a n d f ive

pane l s b y J a c o b a n d A b e l G r i m m e r . O n e o f the

la t ter i s an in teres t ing r ep roduc t ion of B r u e g e l ' s

Four Seasons. The Temptation of Saint Anthony is a

theme w h i c h w a s i m m e n s e l y successful from the

end o f the 1 5 t h cen tu ry o n w a r d s . T h e A n t w e r p

m u s e u m possesses a copy of the cen t rep iece of

H i e r o n y m u s B o s c h ' s o r ig ina l Sa in t A n t h o n y

t r ip tych i n L i s b o n . T h e p r a y i n g Sa in t A n t h o n y

i s s u r r o u n d e d by d e m o n s in h u m a n , a n i m a l a n d

mons t rous form, w h i c h a r e s y m b o l s o f al l k inds

o f sin. T h e w o r k o f B o s c h a n d his fo l lowers , a n d

of B r u e g e l a n d his fo l lowers , is a v e r y i m p o r t a n t

source for o u r k n o w l e d g e of the life of the l ower

socia l c lasses wi th in the cu l tu re a n d ph i lo sophy

of the 1 6 t h cen tury as a w h o l e .

As i s ev iden t from the a fo rement ioned w o r k

by Pa t in i r , l a n d s c a p e in 1 6 t h cen tu ry ar t w a s

not t rea ted rea l i s t ica l ly in the sense that it w a s a

p o r t r a y a l o f ac tua l v i e w s . C o m p o s i t i o n s w e r e

d e v e l o p e d us ing sketches from na ture . In his

View of Huy, L u c a s v a n V a l c k e n b o r g h offers a

de ta i l ed dep ic t ion of the town a n d its su r round

ings , bu t then cal ls u p o n his i m a g i n a t i o n in

o rde r to c rea te a sense of h a r m o n y be tween the

e lements of the compos i t ion , the de ta i l a n d the

g rey tones. J a c o b G r i m m e r a lso sought topogra

ph ica l p rec i s ion in his View of the Kiel, but still

felt i t necessa ry to a d d the p i c tu resque p l easu re

g a r d e n scene a n d a colourful p rocess ion of

fa i r -goers . T h e Landscape pa in ted by P a u l B r i l ,

w h o w o r k e d for a long t ime in R o m e a n d w h o

w a s the c r ea to r of c l a s s i ca l l a n d s c a p e s in the

style of C l a u d e L o r r a i n , i s full of cont ras t s

be tween the d a r k a n d idy l l i c fo reground a n d the

l ight , p a n o r a m i c b a c k g r o u n d . T h e sereni ty a n d

soberness o f the l a n d s c a p e genre g a v e w a y in

the w o r k of the t rans i t iona l f igure K e r s t i a e n de

K e u n i n c k to ac t ion a n d d r a m a . I t i s p r i m a r i l y

the r ich ly c a r v e d sp r ing w h i c h ca tches the eye

in his Landscape with Diana and Acteon in w h i c h

A c t e o n c o m e s ac ross D i a n a wh i l e she i s ba th-

A F T E R H I E R O N Y M U S B O S C H

Temptation of Saint Anthony

Inv . 25

Pane l , 88 x 71 cm

B o t t o m : J h e r o n i m u s Bosch

V a n Er tborn beques t . 1 8 4 1

ing. T h e fertile i m a g i n a t i o n , the fanciful rock

fo rmat ions a n d the c l ea r s epa ra t ion be tween the

different a r e a s of the pa in t ing la te r g a v e w a y to

g rea t e r uni ty .

F r a n s F lo r i s is cha rac t e r i s ed to a l a rge extent

by the six y e a r s he spent in R o m e a n d by his

a d m i r a t i o n for M i c h e l a n g e l o . He w a s the lead

ing represen ta t ive of I t a l i a n i s m in m i d - 1 6 t h

cen tu ry A n t w e r p . W i t h its c r o w d e d , a n i m a t e d

compos i t ion , his f amous Fall of the Rebel Angels

( 1 5 5 4 ) , a f l amboyant a n d i m a g i n a t i v e glor i f ica

tion of the h u m a n b o d y , cont ras t s s h a r p l y wi th

the sober , s tat ic pane l dep ic t ing Saint Luke

painting the Virgin Mary. As in the Fall, the sense

of space is l imi ted in his Banquet of the Gods

( 1 5 5 0 ) by a g r o u p of f igures in the fo reground .

F l o r i s ' a b i d i n g interest in the m u s c u l a r sys t em

a n d in the represen ta t ion of foreshor tened f ig

ures , together wi th his preference for m y t h o l o g

ical scenes , m a d e h i m a h igh ly i nnova t i ve a n d

a t the s a m e t ime v e r y successful ar t is t in A n t

w e r p . H i s l a rge s tudio p r o d u c e d a w h o l e series

o f pup i l s , a s s i s t an t s a n d fo l lowers . T h e m u s e u m

possesses ten m o n u m e n t a l w o r k s by F l o r i s ' best

pup i l a n d successor , M a a r t e n D e V o s , w h o

founded the fraterni ty of roman i s t s in A n t w e r p .

T h e s e w o r k s a r e c lea r p recu r so r s o f the 1 7 t h

cen tury b a r o q u e . Both Saint Luke painting the

Virgin Mary ( 1 6 0 2 ) a n d The Emperor's Toll

( 1 6 0 1 ) , cent ra l pane l o f the C o i n - M a k e r s ' T r i p

tych, a re late works by De V o s w h o d ied in

1 6 0 3 . H i s r ich a n d v a r i e d use o f co lour migh t be

a t t r ibu tab le to the six y e a r s he spent in F l o r

ence , R o m e a n d V e n i c e (where he s tudied w i th

T i n t o r e t t o ) ; his pa in t ings a r e c lear , b a l a n c e d

a n d often s y m m e t r i c a l in compos i t ion , a n d

despi te his preference for sha l low spaces , he

succeeded in c rea t ing a s t rong sense of d r a m a

a n d p las t ic i ty . On the o ther hand , a l t h o u g h a

L u t h e r a n for a long t ime, De V o s w a s a l so a

f igure-head o f the C o u n t e r Re fo rma t ion . T h e

best ev idence of this is to be found in the

m o n u m e n t a l sca le of his w o r k s a n d his strict

adhe rence to the i c o n o g r a p h i c a l p recep t s la id

d o w n by the C o u n c i l o f T r e n t .

T h e i c o n o g r a p h y o f J o a c h i m B e u c k e l a e r ' s

w o r k is e q u a l l y fasc ina t ing but totally different

in cha rac te r . B e u c k e l a e r w a s a c o n t e m p o r a r y of

M a a r t e n D e V o s , but d ied y o u n g i n a r o u n d

1 5 7 5 . He took the marke t a n d ki tchen pa in t ing

crea ted by Pie te r A e r t s e n , a n d d e v e l o p e d them

into an independen t genre w h i c h r e m a i n e d

p o p u l a r unt i l we l l into the 1 7 t h cen tury . T h e

d idac t i c e l emen t o f B e u c k e l a e r ' s pa in t ings d id

not manifes t i tself in p r o p a g a n d a on b e h a l f of

C a t h o l i c o r t h o d o x y , bu t in the cheerful censu re

of the w i c k e d n e s s of w o r l d l y p l easu re . H i s

pa in t ings a re full of a l lus ions to sensua l i ty ,

s exua l i t y a n d fertil i ty, wi th vege t ab l e s , fruit,

f i sh , mea t a n d cooking utensi ls pi led up a r o u n d

a few figures. In his best w o r k s , B e u c k e l a e r

m i x e s a s t rong sense of space a n d deta i l on the

one hand , wi th uni ty of compos i t ion on the

other .

T h i s su rvey of the col lect ion of 1 6 t h cen tury

ar t w o u l d not be comple te wi thou t men t ion ing a

few ou t s t and ing works by foreign ar t is ts . T h e r e

a re three w o r k s by L u c a s C r a n a c h the E l d e r ,

cour t pa in t e r to the E l ec to r of S a x o n y , of w h i c h

Caritas is pa r t i cu l a r l y in teres t ing, Portrait of the

Dauphin Franqois, son of Francois I, pa in ted by the

cour t pa in t e r J e a n C l o u e t , a n d a youthful w o r k

by T i t i a n , Pope Alexander IV presenting Jacopo

J A C O B G R I M M E R

A n t w e r p ca . 1 5 2 5 - 1 5 9 0

View of the Kiel

Inv . 671

Pane l , 1 2 1 x 196 cm

O n the h e d g e : J A C Q . G R I M E R F A 1 5 7 8 .

Proper ty of the C i ty of A n t w e r p

P A U L B R I L ( ? )

A n t w e r p 1 5 5 4 - R o m e 1 6 2 6

Landscape

Inv . 974

C a n v a s , 91 x 38 cm

Dona t ed by S . H a r t v e l d , A n t w e r p 1 9 2 9 through the in

te rmediary of Ar t i bus Pat r iae

L U C A S V A N V A L C K E N B O R G H L o u v a i n before 1 5 3 5 - Frankfur t 1 5 9 7

View of Huy from Ahin

Inv. 30

Pane l , 24 x 33 cm


K E R S T I A E N D E K E U N I N G K C o u r t r a i 1 5 6 0 - A n t w e r p 1 6 3 3

Landscape with Acteon and Diana

Inv . 3 7 6

Pane l , 31 x 51 cm

Righ t , o n base o f founta in : K . D . K e u n i n c k

Dona t ed by O s c a r No t t ebohm, 1909

F R A N S F L O R I S

A n t w e r p 1 5 1 9 / 2 0 - 1 5 7 0

The Fall of the Rebel Angels,

'554

Inv . I 1 2

Pane l , 308 x 220 cm

L o w e r r igh t : F F I V . E T F A .

' 5 5 4 -

A l t a r of the Fence r ' s gui ld in

O u r L a d y ' s C h u r c h , A n t

w e r p

F R A N S F L O R I S

A n t w e r p 1 5 1 9 / 2 0 - 1 5 7 0

Banquet of the Gods

Inv . 956

Pane l , 1 5 0 x 198 cm

D o n a t e d by W. Fr i l l ing , 1 9 2 6

Pesaro to Saint Peter. T h e s e G e r m a n , F r e n c h a n d

I t a l i a n mas t e r s we re born d u r i n g the f ina l

q u a r t e r o f the 1 5 t h cen tury , bu t a re represen ta

t ives o f an ent i re ly different w o r l d . T h e n u d e

C a r i t a s , o r C h a r i t y , i s su r rounded by three

ch i ld ren . In this w a y , the pro tes tan t C r a n a c h

i m b u e d his subjec t wi th a qua l i ty of mo the r ly

love , desp i te the fact that he is more conce rned

wi th the female b o d y than the e m b l e m a t i c

aspec t o f the subject . C r a n a c h ' s nudes a re

i m m e d i a t e l y r ecogn i sab le a n d he glorif ied them

in n u m e r o u s my tho log i ca l a n d b ib l ica l scenes .

J e a n C l o u e t ' s roya l chi ld be longs to the t radi

tion of cour t ly pa in t ing . It is a little stiff, a n d

r a the r idea l i ses its subject w i th a g rea t d e a l of

a t tent ion to ex te rna l decora t ion . A cha lk s tudy

for this little por t ra i t , in its fine, a n t i q u e s tyle

f rame in imi ta t ion m a r b l e , is now kept in the

m u s e u m a t C h a n t i l l y . T h e third o f these

impor t an t w o r k s is a vo t ive pa in t ing by T i t i a n -

un ique a m o n g s t B e l g i u m ' s ar t is t ic he r i t age .

T h i s youthful w o r k by the V e n e t i a n mas te r ,

w h o s e teacher , G i o v a n n i Be l l i n i , migh t h a v e

begun the c a n v a s , refers to the cap tu re of the

i s land S a n t a M a u r a from the T u r k s b y S p a n i s h ,

V e n e t i a n a n d p a p a l a rmie s i n 1 5 0 2 . A l t h o u g h i t

does not h a v e the sol idi ty a n d p o w e r of conv ic

tion of the m a t u r e T i t i a n , the w o r k is still a

fasc ina t ing spec tac le . T h e co lours a re r ich , the

pope a n d the b i shop incl ine in a h ighly scu lp tu

ral m a n n e r t owards the saint , a n d the loca l

tones a n d v a r y i n g ma te r i a l s a re ea r ly he ra lds o f

T i t i a n ' s g rea t oeuvre.

J O A C H I M B E U C K E L A E R

A n t w e r p ca . 1 5 3 0 / 3 5 -

• 5 7 3 / 7 4

The Vegetable Market, 1367

Inv . 5045

Pane l , 1 4 9 x 2 1 5 cm

On the a w n i n g of the stall

in the b a c k g r o u n d : J O C H

B E U C K E L A E R I 8 N O V . B R I S I 567 .

Dona ted by Ar t i bus Pa t r i ae ,

• 9 5 °

L U C A S C R A N A C H T H E E L D E R

K r o n a c h 1 4 7 7 - W e i m a r 1 5 5 3

Caritas

Inv . 43

Pane l , 50 x 34 cm

M o n o g r a m lower left

V a n E r t b o r n bequest , 1 8 4 1

J E A N C L O U E T

Brusse l s (?) ca . 1 4 7 5 - 1 5 4 0 / 4 1 ?

The Dauphin Francois, son of Francois I

Inv . 3 3

Pane l , 1 6 x 1 3 c m


M A A R T E N D E V O S

A n t w e r p 1 5 3 1 / 3 2 - 1 6 0 2

The Emperor's Toll, 1601

Inv . 83

L o w e r r igh t : M . D . V . F . 1 6 0 1

C e n t r a l panel of t r iptych of the C o i n m a k e r ' s G u i l d

from Saint A n d r e w ' s C h u r c h , A n t w e r p

T I Z I A N O V E C E L L I O ( T I T I A N )

Pieve d i C a d o r e be tween 1 4 7 7 / 1 4 8 9 - V e n i c e 1 5 7 6

Pope Alexander IV presenting Jacopo Pesaro to Saint Peter

Inv . 3 5 7

C a n v a s , 1 4 5 x 1 8 4 cm

Col lec t ion of C h a r l e s I of E n g l a n d ; convent of S a n

P a s q u a l e in M a d r i d ; dona ted by Wi l l em I of the

Ne the r l ands in 1 8 2 3

<3

M A A R T E N D E V O S

A n t w e r p 1 5 3 1 / 3 2 - 1 6 0 3

Saint Luke painting the Virgin Mary, 1602

Inv. 88

Pane l , 270 x 2 1 7 cm

O n table leg, r ight : F . M . D . V o s 1 6 0 2

C e n t r a l pane l of the t r iptych of the G u i l d of Sa in t

L u k e , for wh ich side pane ls were painted by M a a r t e n

Pepyn , from A n t w e r p C a t h e d r a l

The 17th century

The Grand Masters of the Flemish Baroque: Rubens, Jordaens and Van Dyck

R u b e n s , V a n D y c k a n d J o r d a e n s . often n a m e d

in the s a m e brea th , a re the mos t p rominen t

ar t is ts o f the F l e m i s h B a r o q u e . T h e trio domi

na ted ar t is t ic life in the Sou the rn N e t h e r l a n d s

th roughou t the 1 7 t h century . Al l three m a d e an

e n o r m o u s con t r ibu t ion to the fame of the city of

A n t w e r p , but i t i s R u b e n s w h o bea r s the

grea tes t au thor i ty , b e c a u s e he w a s the most

ve r sa t i l e a n d ta lented . T h e m u s e u m possesses

no fewer than 21 of his pa in t ings a n d oil

ske tches . Af te r b e c o m i n g a mas t e r in the A n t

w e r p G u i l d o f Sa in t L u k e in 1 5 9 8 , R u b e n s left

for I t a l y in 1 6 0 0 , w h e r e he spent eight y e a r s a n d

v i s i t ed al l the ma jo r cit ies. He spoke I t a l i an ,

knew L a t i n , a n d w a s fami l i a r wi th the g rea t

wr i t e r s o f A n t i q u i t y . H i s per iod in I t a l y a l l o w e d

h i m to s tudy A n t i q u e w o r k s of art a n d the

mas te rp ieces of the I ta l ian R e n a i s s a n c e at first

hand . Af te r re tu rn ing to A n t w e r p in 1 6 0 8 , he

w a s a p p o i n t e d court pa in te r to A r c h d u k e A l b e r t

a n d the Infan ta I s abe l l a in 1609. He m a r r i e d

I s a b e l l a B r a n t , a n d w o r k e d on the cons t ruc t ion ,

decora t ion a n d furnishing o f his house a n d

s tudio . He w a s g iven a g rea t m a n y c o m m i s

s ions . B e t w e e n 1 6 1 3 a n d 1 6 1 5 . for ins tance , h e

pa in t ed the t r ip tych The Incredulity of Saint Thom

as for N i c o l a a s R o c k o x . w h i c h w a s des t ined for

the chape l con ta in ing his t o m b in the F r a n c i s

c a n chu rch in A n t w e r p . R o c k o x . a f a m o u s

A n t w e r p pa t r i c i an a n d h u m a n i s t , w h o w a s

m a y o r of the ci ty on a n u m b e r of occas ions , is

s h o w n in the left-hand pane l , wi th his wife on

the r ight . O n e of the few my tho log i ca l scenes b\

R u b e n s to be found in B e l g i u m is Venus Frigida

da t ing from 1 6 1 4 . T h e pa in t ing dep ic t s the

p r o v e r b ' H u n g e r a n d thirst cool love ' s ardour" .

W h e n R u b e n s d ied in 1 6 4 0 , he still possessed

his Prodigal Son of 1 6 1 8 . A m o n g s t his many-

g r a n d a l t a rp ieces a n d d r a m a t i c my tho log i ca l

P E T E R P A U L R U B E N S

Th Adoration of the Magi

detai l


Siegen ( G e r m a n y ) 1 5 7 7 - A n t w e r p 1640

The Incredulity of Saint Thomas

Inv . 3 0 7 - 3 1 1

W o o d , central pane l 1 4 3 x 1 2 3 cm, s ide pane ls

1 4 6 x 5 5 cm

F r o m the F r a n c i s c a n church in A n t w e r p

P E T E R P A U L R U B E N S Siegen ( G e r m a n y ) 1 5 7 7 - A n t w e r p 1640

The Prodigal Son

Inv. 781

Panel , 1 0 7 x 1 5 5 cm




Venus Frigida

Inv . 709

Panel , 1 4 2 x 1 8 4 cm

Purchased in 1888

On the next p a g e s :


Siegen ( G e r m a n ) ) 1 5 7 7 - A n t w e r p 1640

The Lance

Inv. 297

Pane l , 429 x 3 1 1 cm



Siegen ( G e r m a n y ) 1 5 7 7 - A n t w e r p 1 6 4 0

77K Adoration of the Magi

Inv . 298

Panel , 447 x 3 3 6 cm

F r o m the C h u r c h o f Sain t M i c h a e l ' s A b b e y . A n t w e r p

subjec ts , the crea t ion of this rura l scene,

in tended for his o w n l iv ing room, mus t h a v e

g iven h i m a g rea t dea l o f p l easu re . T h e b ib l ica l

subject - dep ic t ed bo t tom r ight — serves mere ly

as a veh ic le for the pa in t i ng of one of his ear l iest

l a n d s c a p e s .

R u b e n s ' c lose i n v o l v e m e n t wi th the r e su rgence

of C a t h o l i c i s m a n d the s t rugg le for p o w e r led to

the p roduc t ion a n u m e r o u s l a rge a l t a rp ieces .

H i s s t i r r ing b a r o q u e ideas come to the fore in

The Lance ( 1 6 1 9 - 2 0 ) , wi th its emot iona l ly -

c h a r g e d , h ighly p las t ic figures, a n d The Adora

tion of the Magi ( 1 6 2 4 ) . T h i s mas te rp iece is

pa r t i cu l a r ly i m p r e s s i v e b e c a u s e of its a n i m a t e d ,

a s y m m e t r i c a l compos i t i on , its m a r v e l o u s l y

g r a d a t e d co lour ing , the spon tane i ty of execu

tion a n d , a b o v e a l l , the exp re s s ivenes s of the

dep ic t ed f igu res .

R u b e n s ' r e n o w n g r e w to such an extent that

he rece ived c o m m i s s i o n s from r o y a l a n d a r i s to

cra t ic c i rc les for l a rge ser ies of w o r k s in w h i c h

he w a s ab l e to d i sp l ay the full r a n g e of his

versa t i l i ty . R u b e n s ' a s ton i sh ing ou tpu t i s pa r t ly

e x p l a i n e d by the efforts of his ex tens ive s tud io .

H i s interests w e r e v e r y w i d e - r a n g i n g , a n d

ex t ended to affairs of state. A s s i s t e d by his

ar t is t ic ca ree r , R u b e n s ca r r i ed out d i p l o m a t i c

miss ions w h i c h took h im to M a d r i d a n d

E n g l a n d . D u r i n g his s tay in M a d r i d , he sought

out source ma te r i a l conce rn ing the wr i t i ngs of

M a r c u s A u r e l i u s on b e h a l f of his fr iend, the

A n t w e r p m u n i c i p a l official w h o m he dep ic t ed a t

his desk in the Portrait of Gaspard Gevartius.

R u b e n s con t inued to c a r r y out l a rge - sca l e c o m

miss ions until the end of his life. In 1 6 3 8 the

A n t w e r p city au thor i t ies o rde red a t r i u m p h a l

c a r w h i c h w a s to be d r a w n c e r e m o n i a l l y



Portrait of Gaspard Gevartius

Inv . 706

Pane l , 1 1 9 x 98 cm

Beques t o f C o u n t e s s Gi l l e s d e ' s G r a v e n w e z e l , nee d e

B r o u c k h o v e n de B e r g e y c k



The Triumphal Car of Kallo

Inv. 3 1 8

Pane l , 1 0 3 x 71 cm

F r o m A n t w e r p T o w n Ha l l . Be tween 1 7 9 4 and 1 8 1 5 i n

Par i s

J A C O B J O R D A E N S

A n t w e r p 1 5 9 3 - 1 6 7 8

Meleager and Atalanta

Inv . 844

C a n v a s , 1 5 2 x 1 2 0 cm

Purchased in 1906

J A C O B J O R D A E N S

A n t w e r p 1 5 9 3 - 1678

As the Old sang, the Young play Pipes, 1638

Inv. 677

C a n v a s , 1 9 2 x 1 2 0 cm

U p p e r cen t re : J A C O B J O R D A E N S 1 6 3 8

P u r c h a s e d in 1 8 8 3

A N T H O N Y V A N D Y C K

A n t w e r p 1 5 9 9 - Blackf r ia rs ( E n g l a n d ) 1 6 4 1

Portrait of the Artist Marten Pepijn

Inv . 793

Pane l , 72 x 56 cm

Lef t : M e Pic torem Pictor Pinxi t D . A n t . V a n D y c k ,

E g n e s I l lustr is

Pu rchased in 1898

th rough the city. T h e c o m m i s s i o n w a s

p r o m p t e d by the v ic to ry of the Infante F e r d i

nand o v e r the a r m i e s of the U n i t e d P rov inces of

the N e t h e r l a n d s at K a l l o . The Triumphal Car of

Kallo is a br i l l ian t e x a m p l e of R u b e n s ' confident

a n d i m p r o v i s a t i o n a l ske tch ing t echn ique .

Af te r the dea th o f R u b e n s in 1 6 4 0 , J a c o b

J o r d a e n s b e c a m e the l ead ing art is t o f the S o u t h

ern N e t h e r l a n d s . He w a s p r imar i l y ac t ive in

A n t w e r p , a n d his ar t is t ic a sp i r a t ions d id not

ex tend qui te so h igh a s those o f R u b e n s . J o r

d a e n s s h o w e d h imse l f to be an u n c o m p l i c a t e d

m e m b e r of the midd le -c l a s s , a n d there is little

room in his w o r k for reflection or a n y feeling of

t r anscendence . A l t h o u g h he neve r v is i ted I t a ly ,

h e w a s s t rongly inf luenced b y C a r a v a g g i o .

T r a c e s of this inf luence a r e v i s ib le in the con

trast be tween light a n d d a r k w h i c h se rves to

he igh ten the d r a m a t i c tension of his Meleager and

Atalanta pa in t ed in 1 6 1 8 . T h e p a i n t i n g ' s subject

is taken from O v i d ' s Metamorphoses. T h e w o r k

dep ic t ing the theme o( As the Old sang, the Young

play Pipes, s igned by J o r d a e n s a n d d a t e d 1 6 3 8 , is

the ear l ies t k n o w n ver s ion of this h igh ly p o p u l a r

theme w h i c h the art is t pa in ted a n d d r e w on a

va r i e ty o f occas ions . T h i s wonder fu l fami ly

concer t s h o w s J o r d a e n s a t his best .

T h e y o u n g e s t o f the three grea t mas t e r s w a s

A n t h o n y V a n D y c k , ten o f w h o s e w o r k s a re i n

the m u s e u m ' s possess ion . H e w o r k e d wi th R u b

ens for a t ime in his you th , after w h i c h he spent

mos t o f his c a r ee r i n E n g l a n d a n d I t a ly . He w a s

even more a d m i r e d in E n g l a n d than in his o w n

coun t ry , a n d he h a d a s ignif icant inf luence upon

E n g l i s h pa in t ing . V a n D y c k ' s ceuvre , less v a r i e d

than that o f R u b e n s , consis ts m a i n l y of br i l l ian t

por t ra i t s . H i s sens i t ive persona l i ty a n d rest less

t e m p e r a m e n t w e r e b rough t to b e a r in pene t ra t

ing p s y c h o l o g i c a l s tudies o f m e m b e r s o f l e ad ing

fami l ies , the nobi l i ty a n d roya l ty . H i s sobe r

Portrait of Marten Pepijn s h o w s the ar t is t as an

energe t ic m a n of fifty-eight y e a r s , dep ic ted in a

b l ack j e r k i n wi th a refined p lea ted co l la r . V a n

D y c k a lso pa in ted g r a n d i o s e re l ig ious a n d

m y t h o l o g i c a l compos i t i ons . H i s Descent from the

Cross, execu t ed as a c o m m i s s i o n from an I t a l i a n

a b b o t , is i m b u e d wi th some th ing of a thea t r ica l

c h a r a c t e r b y M a r y ' s e x p a n s i v e ges tures . V a n

D y c k shows his sense of the m o n u m e n t a l in this

b ib l i ca l t heme in w h i c h the in t ima te emot ion of

the dep ic t ed cha rac t e r s en joys the v i e w e r ' s ful

lest a t tent ion.

A N T H O N Y V A N D Y C K

A n t w e r p 1 5 9 9 - Blackfr jars ( E n g l a n d ) 1 6 4 1

The Lamentation of Christ

Inv . 404

C a n v a s . 1 1 5 x 208 c m


A B R A H A M J A N S S E N S

A n t w e r p 1 5 7 5 - 1 6 3 2

Scaldis and Antiuerpia

Inv . 2 1 2

Pane l , 1 7 4 x 308 cm

F r o m A n t w e r p T o w n Ha l l

T H E O D O O R R O M B O U T S

A n t w e r p 1 5 9 7 - 1 6 3 7

The Card Players

Inv . 3 5 8

C a n v a s , 1 5 2 x 206 cm

V a n den B o s c h - V a n C a m p beques t , 1847

Flemish figure painters

A p a r t from its ma jo r col lect ions of the three

grea t A n t w e r p mas te r s , the m u s e u m a lso pos

sesses m a n y pa in t ings w h i c h p r o v i d e a v a r i e d

p ic tu re o f 1 7 t h cen tury F l e m i s h ar t is t ic spec ia l

i sms , such as a l l egory , genre , art ga l l e r i e s ,

embe l l i shed l a n d s c a p e , h is tor ica l pa in t ings a n d

por t ra i tu re .

In add i t ion to his favour i te a l l egor ica l scenes ,

A b r a h a m J a n s s e n s a lso pa in ted re l ig ious a n d

m y t h o l o g i c a l themes . J a n s s e n s w a s s l ight ly

y o u n g e r than R u b e n s , a n d for a t ime w a s his

e q u a l . Af te r his vis i t to I t a l y , h o w e v e r , R u b e n s

qu ick ly s u r p a s s e d h im. J a n s s e n s pa in ted Scaldis

and Antwerpia for the S ta te R o o m or ' S t ae t en -

c a m e r ' o f A n t w e r p T o w n H a l l . T h i s d e c o r a t i v e ,

a l l egor ica l w o r k , c o m m i s s i o n e d by the city

au thor i t i es , o r ig ina l ly a d o r n e d the c h i m n e y

breas t , a n d consis ts of a p a e a n of p r a i s e to the

c i ty ' s m a i n a r te ry , the R i v e r Sche ld t . T h e s h a r p

cont ras t be tween l ight a n d da rk reca l l s C a r a v -

a g g i o , w h o h a d a g rea t inf luence upon m a n y of

the ar t is ts of the t ime.

T h e o d o r e R o m b o u t s w a s a pupi l o f A b r a h a m

J a n s s e n s , a n d ano the r c a r a v a g g i s t . He spent a

n u m b e r o f y e a r s in I t a ly , a n d w a s m u c h influ

enced b y C a r a v a g g i o ' s genre w o r k s . A s far a s

the subjec t ma t t e r is conce rned , his Card Players

is a g e n r e pa in t ing , dep ic t ing as it does a jolly-

scene from e v e r y d a y life p r o b a b l y wi th a mora l

is ing under tone . T h e pa in t i ng i s l a rge in format ,

rea l is t ic in concep t ion a n d t rad i t iona l in s tyle ,

a n d its subjec t i s p o r t r a y e d in sober a n d m o n u

men ta l fashion . T h e m u s e u m a lso has a treat

ment of the s a m e subject , Card Players by

A d r i a a n B r o u w e r , one of the most o r ig ina l

ta lents in F l e m i s h art . B r o u w e r ' s ve r s ion is a

genre piece in a s m a l l e r format , wi th m a r v e l o u s ,

v e l v e t y co lour ing . W h e r e a s B r o u w e r chose to

p l ace pa r t i cu l a r e m p h a s i s upon the g r i m e x i s

tence o f the poor , D a v i d T e n i e r s the Y o u n g e r

concen t ra t ed upon more idea l i sed w o r k s . A s

u sua l , he p a y s a grea t dea l of a t tent ion to the

l a n d s c a p e in his Before the Inn. T h e d r inkers a re

a lmos t inc identa l .

A p a r t from pa in t ings dea l i ng wi th socia l

cu s toms a n d m o r e s , there w a s a grea t d e m a n d

from c o n t e m p o r a r y pa t rons of the ar ts for deco

ra t ive c a n v a s e s . An a t t r ac t ive e x a m p l e i s p ro

v i d e d by the l a rge n u m b e r of art ga l l e ry pa in t

ings , a spec i a l i sm w h i c h a rose in the 1 7 t h

cen tury , in w h i c h the p a t r o n is p o r t r a y e d in the

mids t of his col lec t ion, a n d in w h i c h the art is t

exp re s se s the ideas a n d a t t i tudes of his t ime.

F r a n s F r a n c k e n I I , w h o pa in t ed the A n t w e r p

m e r c h a n t Sebastiaan Leerse in his Gallery together

w i th h is second wife a n d their son, w a s a m a s t e r

in this field. Pa in t ings of this k ind h a v e both

aes the t ic a n d documentary- v a l u e , as the

dep ic ted pa in t ings could l a rge ly be identif ied.

Po r t r a i tu re w a s gene ra l l y v i e w e d as a slightly-

infer ior b r a n c h of art , as i t r equ i red less inven

t iveness on the pa r t of the pa in te r . T h e por t ra i t s

o f C o r n e l i s De V o s a re a m o n g s t the mos t

beaut i ful p r o d u c e d in the Sou the rn N e t h e r l a n d s

in the 1 7 t h cen tury . T h e m u s e u m possesses

s eve ra l w o r k s by this ar t is t w h o w a s born in

Hu l s t in the Nor the rn N e t h e r l a n d s , bu t w h o

w a s ac t i ve i n A n t w e r p . T h e ful l- length, l ife-size

subjects of his Family Portrait a r e execu ted in a

truthful a n d in t r igu ing m a n n e r .

D A V I D T E N I E R S T H E Y O U N G E R

A n t w e r p 1 6 1 0 - Brusse l s 1690

Before the Inn I n v - 3 4 5

Pane l , 37 x 49 cm

L o w e r cen t re : D . T E N T E R S , F E C . Pu rchased at the

S c h a m p v a n Aveschoo t Auc t ion in Ghen t in 1840

A D R I A E N B R O U W E R

O u d e n a a r d e 1 6 0 5 / 0 6 - A n t w e r p 1 6 3 8

The Card Players

Inv . 642

Pane l , 25 x 39 cm

P u r c h a s e d a t the C o u r t e b o u r n e Auc t ion in 1 8 8 0

No mat t e r how versa t i l e i nd iv idua l ar t is ts

migh t h a v e been , the spl i t t ing up of pa in t i ng

into different spec i a l i sms m e a n t that ar t is ts

often coope ra t ed on a s ingle pa in t ing to w h i c h

each m a d e his o w n spec ia l cont r ibu t ion . E r a s

m u s Q u e l l i n a n d J a n F y t pa in t ed the Portrait of a

Boy, w i th Q u e l l i n p o r t r a y i n g the y o u n g l ad , a n d

F y t the dogs .

F R A N S F R A N C K E N I I

A n t w e r p 1 6 0 7 - 1 6 6 7 Art Gallery Inv . 669 Pane l , 77 x 1 1 4 cm L o w e r right: F. F R A N C K . IN. E T . F. Dona t ed by A r t i b u s Pa t r i ae , 1 8 7 8

C O R N E L I S D E v o s

Huls t 1 5 8 4 / 8 5 -A n t w e r p 1 6 5 1 Family Portrait, 1631 Inv . 841 Pane l , 1 6 5 x 1 3 5 cm L o w e r left: C. D E V O S F . A ° I 63 I


E R A S M U S Q U E L L I N

A n t w e r p 1 6 0 7 - 1 6 7 8 and J A N F Y T

A n t w e r p 1 6 1 1 - 1 6 6 1 Portrait of a Boy Inv . 407 Pane l , 1 3 6 x 1 0 3 cm V a n den H e c k e - B a u t de R a s m o n bequest , 1 8 5 9

J O O S D E M O M P E R T H E Y O U N G E R

A n t w e r p 1 5 6 4 - c a . 1 6 3 5

H E N D R I K V A N B A L E N

A n t w e r p 1 5 7 5 - 1 6 3 2

J A N ' V E L V E T ' B R E U G H E L

Brusse l s 1 5 6 8 - A n t w e r p 1 6 2 5

Helicon or Minerva's Visit to the Muses

Inv . 957

Pane l , 140 x 199 cm

L o w e r right: B A L E , M O M P E R . B R U E G H E L .

S e l b . V a n H u m b e e c k bequest , 1 9 2 5

D A V I D T E N I E R S T H E Y O U N G E R


Return from the Hunt, 1670

Inv . 727

Pane l , 28 x 35 cm

L o w e r r igh t : D . T E N I R S 1670 F E .

Purchased a t the G e e l h a n d de Lab i s t r a t e Auc t ion ,

1 8 7 8

Landscape, still-life and animals

We pick up the th read o f l a n d s c a p e d e v e l o p

ment w i th K e r s t i a e n de K e u n i n c k ' s Landscape

(see p. 3 7 ) . Helicon or Minerva's visit to the Muses,

b y the trio J o o s d e M o m p e r ( l a n d s c a p e ) , H e n

dr ik v a n B a l e n (f igures) a n d J a n ' V e l v e t '

B r e u g h e l ( f lowers) is a v e r y s imi l a r w o r k , a lbei t

r a the r more a t t rac t ive , a n d wi th a m o r e har

m o n i o u s l a n d s c a p e . (It is in fact a ra ther

ar t i f icial dev i ce to p lace De K e u n i n c k in the

16 th cen tu ry a t a l l , as the pa in t ing in ques t ion

da tes from the 1 7 t h c e n t u r y ) . T h e fo reground

a n d b a c k g r o u n d merge g r a d u a l l y wi th one

another , fo rb idd ing rocks g ive w a y to a g r a n d

v a l l e y , in w h i c h the m y t h o l o g i c a l scene forms a

b a l a n c e d c o m p o n e n t . In his Landscape with She

pherds, J a n W i l d e n s a b a n d o n e d the b i rd ' s - eye

v i e w in f avou r of a type of real is t ic , a l t hough at

the s a m e t ime idea l i sed a n d serene slice of

na ture . T h e d y n a m i c , cosmic v i s ion in the

t radi t ion of R u b e n s i s a l so absen t from D a v i d

T e n i e r s the Y o u n g e r ' s Return from the Hunt a n d

J a n S i b e r e c h t s ' The Wager. B o t h ar t is ts w e r e

seduced by D u t c h l a n d s c a p e art wi th its l ight

ness o f touch, a n d c lea r , impress ion i s t i c a t m o

sphere . S i b e r e c h t s ' v a g u e l y erot ic pa in t ings

h a v e , h o w e v e r , a cer ta in sol idi ty of form a n d

evenness o f execu t ion , wh i l e in T e n i e r s ' w o r k ,

co lours a n d con tours a re d i a p h a n o u s a n d

a lmos t d i s so lve into one another .

Stil l life in the 1 7 t h cen tury , be it a floral

compos i t i on , a ' p ronks tuk ' (or s u m p t u o u s still

life) or a r epresen ta t ion of the vanitas theme, is

i n v a r i a b l y opu len t , i ngen ious a n d mora l i s t i c .

J a n ' V e l v e t ' B r e u g h e l ' s Flowers in a Vase b loom

in different seasons , a re a r r a n g e d h i e r a r ch i ca l l y

in a r ich bouque t , a n d refer in al l their b e a u t y to

the t rans ience of life. T h e o d o o r A e n v a n c k ' s

Fruit a l so represen ts the p rocess of d e c a y a n d

des t ruc t ion , bu t i t w a s F r a n c i s c u s G y s b r e c h t s

w h o e x p r e s s e d this t rans ience in the mos t expl i

cit fash ion . H i s Vanitas is conce ived as a g ran

diose spec tac le d e a l i n g w i th the v a n i t y of the

in te l lec tua l w o r l d (g lobe , b o o k s ) , of the vita

voluptaria (mus ica l ins t ruments , s m o k i n g imple

ments ) and , f inal ly, of the t rans ience of life

(skul l , h o u r g l a s s ) . T h e mora l i s t i c m e a n i n g o f

these still lifes migh t h a v e lost s o m e of its

u r g e n c y as far a s m o d e r n v i e w e r s a re con

ce rned , bu t the v i s u a l p l ea su re w h i c h they offer

i s an e q u a l l y i m p o r t a n t aspec t .

T h e ful ly-f ledged a n i m a l pa in t ing e m e r g e d in

the late 16 th cen tury w i th the r ise of b io log ica l

r esearch a n d col lect ions o f r a re c rea tu res . R o e -

lant S a v e r y in The Garden of Eden a n d J a n v a n

K e s s e l in The Mockery of the Owl d e m o n s t r a t e a

thorough k n o w l e d g e o f exo t ic a n i m a l s such a s

the wa te r -buf fa lo a n d the d r o m e d a r y . Bo th

ar t is ts use a na r r a t i ve subject as a veh ic le for

pa in t ing their a n i m a l s , wh i l e F r a n s S n y d e r s , by

cont ras t , t akes a rea l is t ic s ta r t ing point - a

ma rke t scene - for his pa in t ing of the Fishmon

ger's. T h e d r a m a t i c , l a rge format w a s a lso used

for h u n t i n g scenes .

A O R I A A N V A N S T A L B E M T A n t w e r p 1 5 8 0 - 1 6 6 2

Landscape with Fables, 1620

Inv . 469

Panel , 1 2 9 x 1 6 9 cm

L o w e r r igh t : A . S ta lbemt F 1 6 2 0

Dona t ed by A r t i b u s Pat r iae , 1 8 6 8

J A N W I L D E N S A n t w e r p 1 5 8 6 - 1 6 5 3

Landscape with Shepherds, 1631

Inv . 987

C a n v a s , 1 3 5 x 201 cm

L o w e r left: J . Wi ldens 1 6 3 1

Dona t ed b y A r t i b u s Pat r iae , 1 9 3 5

J A N ' V E L V E T ' B R E U G H E L

Brusse l s 1 5 6 8 - A n t w e r p 1 6 2 5

Flowers in a Vase

Inv. 643

Pane l , 1 0 1 x 76 cm

P u r c h a s e d from M r s . Pe lgr ims-Haenegraef f , 1 8 8 0

J A N S I B E R E C H T S

A n t w e r p 1 6 2 7 - L o n d o n ca. 1 7 0 3

The Wager

Inv . 886

C a n v a s , 1 2 0 x 1 6 0 cm

L o w e r r ight : J e a n S iberech ts . D . E n v e r s 1 6 6 .

C . S e d e l m e y e r col lect ion, P a r i s ; pu rchased from

F . K l e i n b e r g e r , Pa r i s , 1 9 1 0 .

T H E O D O O R A E N V A N C K

A n t w e r p 1 6 3 3 - 1690

Fruit, 1653

Inv . 758

Pane l , 63 x 80 cm

Left o n t ab le : T h e o d o o r A e n v a n c k 1 6 5 3

Pu rchased from the

V a n C u t s e m family, 1 8 9 2

R O E L A N T S A V E R Y

C o u r t r a i 1 5 7 6 - Ut rech t 1 6 3 9

77K Garden of Eden

Inv . 5088

Pane l , 54 x 87 cm

Left on s tone :

Roe lan t S a v e r y Fe

P u r c h a s e d a t Chr i s t i e ' s

Auc t ion H o u s e , L o n d o n , 1 9 6 5

F R A N C I S C U S G Y S B R E C H T S (second hal f 1 7 t h century)

Vanitas

Inv . 5 1 0 2

C a n v a s , 1 1 5 x 1 3 4 c m

C e n t r e left: F . G y s b r e c h t s .

Pu rchased from G u y Darr ien tor t , Par i s , 1 9 8 4

J A N V A N K E S S E L T H E E L D E R

A n t w e r p 1 6 2 6 - 1 6 7 9

Concert of the Owl

Inv . 428

C a n v a s , 1 7 0 x 2 3 4 cm

F r o m the P i t s e m b u r g

C o m m a n d e r i e , M e c h e l e n

F R A N S S N Y D E R S

A n t w e r p 1 5 7 9 - 1 6 5 7

Fishmonger's

Inv . 7 1 9

C a n v a s , 202 x 3 3 7 cm

M a x v a n den B e r g h beques t .

1 8 7 3

G E O R G P E T E L

Wei lhe im ( G e r m a n y ) 1 5 9 0 / 9 3 - A u g s b u r g ( G e r m a n y )

> 6 3 4 Bust of P.P. Rubens, 1633 Inv . 6 2 1 Fi red c lay, b ronzed , 68 x 67 cm O n the left shou lde r : P . P . R U B E N S

Benea th the left shou lde r : I A P F C T 1 6 3 3 Dona t ed b y J . A . No t t ebohm, 1866

A R T U S Q U E L L I N T H E E L D E R

A n t w e r p 1 6 0 9 - 1668 Luis de Benavides, Marquis of Caracena, Governor-General of the Spanish Netherlands Inv. 701 M a r b l e , 98 x 74 .2 cm C h a m b e r o f the G u i l d o f Sa in t L u k e

1 jth century sculpture

T h e r e w a s a ma jo r b l o s s o m i n g of scu lp tu re in

the S o u t h e r n N e t h e r l a n d s in the 1 7 t h cen tu ry .

T h e m u s e u m is not ab l e to p r o v i d e a c o m p r e

hens ive su rvey o f ar t is t ic p roduc t ion a n d deve l

o p m e n t in this f ield, but a n u m b e r of v a l u a b l e

pieces from the era in ques t ion a r e to be found

in the col lect ion.

T h e G e r m a n art is t G e o r g Petel mode l l ed a

h igh ly exp re s s ive Bust of P.P. Rubens in 1 6 3 3 . He

b e c a m e the p ioneer o f G e r m a n B a r o q u e scu lp

ture, pa r t ly b e c a u s e of the m a n y contac t s he

h a d w i th the l ead ing f igures of the F l e m i s h

B a r o q u e .

O n e of the most inf luent ia l r ep resen ta t ives of

the c lass ica l B a r o q u e i s A r t u s Q u e l l i n the E l d e r .

In 1 6 6 5 , this impor t an t in terpre ter o f the R u b

ens s tyle d o n a t e d a bust of Luis de Benavides,

Marquess of Caracena, Governor-General of the Span

ish Netherlands to the G u i l d of Sa in t L u k e ,

b e c a u s e the M a r q u e s s had pressed for the

set t ing up o f the R o y a l A c a d e m y in 1 6 6 3 .

A n o t h e r m e m b e r o f the s a m e ar t is t ic family w a s

A r t u s Que l l i n I I . A r t u s Q u e l l i n the Y o u n g e r ,

n e p h e w a n d pup i l o f Q u e l l i n the E l d e r , c a r v e d

an oak Saint Sebastian w h i c h , unti l the end of the

18 th cen tury , formed par t of the chape l enc lo

sure oppos i t e the a l t a r o f the Y o u n g A r c h e r s '

G u i l d i n A n t w e r p C a t h e d r a l .

T h e m a r b l e bust of Maximilian Emmanuel of

Bavaria, Governor of the Spanish Netherlands b e longs

to the l a t e - B a r o q u e . It is the mas te rp iece of the

A n t w e r p scu lp to r W i l l e m K e r r i c k x the E l d e r ,

w h o , w o r k i n g the m a r b l e wi th such v e r v e a n d

e l egance , a c h i e v e d a l ive ly por t ra i t of a cour t ly

appa r i t i on from a society c iv i l i sed to the point of

ca r i ca tu re .

W I L L E M K E R R I C K X T H E E L D E R

D e n d e r m o n d e 1 6 5 2 - A n t w e r p 1 7 1 9

Maximilian Emmanuel of Bavaria, Governor of the Spanish

Netherlands, i6g4

Inv . 678

M a r b l e , 1 1 7 x 7 5 . 3 c m

L o w e r r igh t : G . K E R R I C X I N V . E T F E C I T A " 1694

C h a m b e r o f the G u i l d o f Sain t L u k e

A R T U S Q U E L L I N T H E Y O U N G E R

S i n t - T r u i d e n 1 6 2 5 - A n t w e r p 1 7 0 0

Saint Sebastian

Inv . 702

O a k , 1 5 0 x 5 3 . 5 cm

Or ig ina l collection of the M u s e u m

F L O R I S G E R R I T S Z . V A N S C H O O T E N

Haa r l em ca. 1590 - after 1 6 5 5

Breakfast

Inv . 836

Pane l , 50 x 82 cm

O n knife: F V S

Purcha sed a l J o z e f I senbaer t

Auc t ion , An twe rp , 1905

A B R A H A M V A N B E Y E R E N

T h e Hagu e 1620/21 -

Over sch ie 1690

Still life

Inv . 5084

Can v a s , 87 x 107 cm

Lowe r r ight : лв.Г.

Pu rcha s ed in 1962

i yth century in Holland

T h e limited scope of this book does not permit a

comprehensive survey of Dutch art, which is

represented in the museum by a fine collection

of around 2 5 0 items, including several master

pieces. T h e examples depicted here represent a

variety of genres: still life, portrait, landscape,

architectural painting and genre works. Al l of

these genres were also practiced in Flanders, yet

there are distinct differences between the North

and the South. Middle-class and calvinist ten

dencies are particularly evident in the Dutch

preference for mock-realism and intimacy, and

it is these characteristics which predominate in

most of the works discussed here. Anthonie

Palamedes' Family Portrait dates from ten years

after Comel i s De V o s ' painting of a similar

subject (see page 5 4 ) . T h e family, with numer

ous children, sits primly in a room with the air

of a peep-show; Palamedes is not particularly

interested in the actual portrait aspect of the

work. T h e rather stiff relationship between the

characters is also present, in a manner of

speaking, in Floris Gerritz. van Schooten's aus

tere Breakfast. T h e carefully painted and

arranged ingredients contrast sharply with the

baroque Still life of A b r a h a m van Beyeren, in

which the silver plates, Venetian glassware and

fruit a re h e a p e d up to form a w a r m - c o l o u r e d

w h o l e , w i th spa rk l ing l ight effects.

U s e of l ight in this w a y w a s , in fact, a p r i m a r y

feature of D u t c h p a i n t i n g : the pink, sou thern

l ight of K a r e l D u j a r d i n ' s Roman Campagna, the

h igh , c l ea r l ight of the nor th that we f ind in the

smal l pa in t ings of Ph i l ips W o u w e r m a n s (Rider's

rest Place) a n d J a n v a n de r H e y d e (View of a

Bridge), or the even l ight in The new Church at

Delft by H e n d r i k C o r n e l i s z . v a n V l i e t . F r o m

1 6 3 5 o n w a r d s , w h e n co lour tones we re a t their

peak , a n d co lour con t ras t s w e r e be ing r ep l aced

by t rans lucen t s t rokes, D u t c h l u m i n i s m es tab

l ished the repu ta t ion w h i c h w a s to last unt i l

we l l into the 20th cen tury .

T h e i n t i m a c y , w h e t h e r or not wi th a m o r a l i s

ing under tone , w h i c h we detect in in ter ior

pa in t ings such as G e r a r d T e r B o r c h ' s Lute Player

or J a c o b V r e l ' s Hospital Orderly, a r e far r e m o v e d

from the pas s iona te , a lmos t u n - D u t c h s q u a b

b l ing of the Inn Scene pa in t ed by A d r i a e n v a n

O s t a d e , w h o d e v e l o p e d after 1 6 4 0 t o w a r d s a

' gen ia l h o m e l i n e s s ' . D u t c h ar t is ts m a n a g e d to

c a p t u r e br i l l i an t ly the twin , c losed w o r l d s of the

midd le - c l a s se s (uppe r a n d lower ) on the one

h a n d , and the pro le ta r ia t on the other . T h e

truthfulness of their w o r k he lped the genre to

d e v e l o p into one of the peaks of 1 7 t h cen tu ry

ar t .

A N T H O N I E P A L A M E D E S

Delft 1601 - A m s t e r d a m 1 6 7 3

Family Portrait, / 6 5 5

Inv . 8 1 0

Pane l , 80 x 107 cm

Left on t i le: A . P a l a m e d e s A . 1 6 3 5

P u r c h a s e d from the Le R o y brothers , Brusse l s , 1902

K A R E L D U J A R D I N

A m s t e r d a m 1 6 2 2 - V e n i c e 1 6 7 8 Landscape in the Roman Campagna, i6jj Inv . 965 C a n v a s . 85 x 1 0 7 cm L o w e r r igh t : K . D u J a r d i n Fee . R o m a 1 6 7 5 K . O o m s - V a n Eerse l beques t , 1 9 2 2

H E N D R I K C O R N E L I S Z . V A N V L I E T

Delft 1 6 1 1 / 1 2 - 1 6 7 5 The new Church at Delft I n v . 1 9 6 Pane l , 40 x 35 cm A d e l a i d e v a n H e c k e - B a u t d e R a s m o n beques t , 1 8 5 9

T h e abso lu t e m a s t e r p i e c e i n the m u s e u m ' s

col lect ion of D u t c h ar t is the Portrait of Stefanus

Geraerdts by F r a n s H a l s . S te fanus holds out his

hand to his wife I s a b e l l a C o y m a n s , w h o , in a

m a t c h i n g por t ra i t w h i c h is not, unfor tuna te ly ,

in the s a m e col lec t ion, offers h im a rose in

re turn . T h e m a n (and the couple) r ad ia tes

w a r m t h . His full f igure , his smi le a n d his r ich

c lo th ing a r e execu ted wi th a j a u n t y , impress ion

istic s t roke in b lack , wh i t e a n d go ld . Desp i t e the

fact that i t bea r s R e m b r a n d t ' s s igna tu re a n d a

da te , the o ther w e l l - k n o w n por t ra i t , that of

Eleazer Swalmius, is p r o b a b l y not by the m a s t e r

himself, to w h o m i t h a s t rad i t iona l ly been at tr i

bu ted , but f rom his A m s t e r d a m s tudio . T h e

p o r t r a y a l i s sober , s imp le a n d l i fe-s ize; the

co lour ing is mu ted , a n d the use of l ight se rves to

e m p h a s i s e the face a n d h a n d s of the sitter.

Desp i t e all the qua l i t i e s offered by this por t ra i t ,

i t canno t e q u a l the mas t e rp i ece by H a l s .

A D R I A E N V A N O S T A D E

H a a r l e m 1 6 1 0 - 1 6 8 5

Inn Scene I n v - 959

Pane l , 31 x 46 cm

P u r c h a s e d in 1 9 2 6

J A N V A N D E R H E Y D E

G o r i n c h e m 1 6 3 7 — A m s t e r d a m 1 7 1 2

View of a Bridge

Inv . 980

Pane l , 24 x 31 cm

D o n a t e d by G. N a u w e l a e r t s , through the in te rmedia ry

o f A r t i b u s Pa t r iae , 1 9 3 1

P H I L I P S W O U W E R M A N S

H a a r l e m 1 6 1 9 - 1668

Rider's rest Place

Inv . 500

Pane l , 43 x 37 cm

L o w e r r igh t : P A W

P u r c h a s e d a t the Des i re v a n den Schr iek A u c t i o n .

B rus se l s , 1 8 6 1

G E R A R D T E R B O R C H

Z w o l l e 1 6 1 7 - Deven te r 1681

The Lute Player

Inv . 349

Pane l , 31 x 27 cm

On the sp ine o f the book on the t ab le : G t . B o r g F C T

P u r c h a s e d a t the Des i re v a n den Schr iek Auc t ion ,

Brusse l s , 1 8 6 1

J A C O B V R E L

P r o b a b l y worked in Delft and H a a r l e m a round 1 6 5 0

The Hospital Orderly

Inv. 790

Pane l , 56 x 45 cm

O n u p p e r hal f o f doo r : P H

P u r c h a s e d a t the K u m s Auc t ion , A n t w e r p , 1898

F R A N S H A L S

A n t w e r p ca . 1 5 8 0 - H a a r l e m 1666

Portrait of Stefanus Geraerdts

Inv . 674

C a n v a s , 1 1 5 x 8 7 c m

S tephen Bourgeo i s , C o l o g n e - P a r i s , sold the por t ra i t of

the wife to B a r o n de Ro thsch i ld , Par i s , and the portrai t

of the h u s b a n d to A n t w e r p M u s e u m , 1886

F R A N S H A L S

A n t w e r p ca . 1 5 8 0 - H a a r l e m 1 6 6 6

Fisherboy

Inv . 188

C a n v a s , 74 x 61 cm

Lef t : F H

Purchased from J . C . M e r t z , Pa r i s , 1 8 7 1

R E M B R A N D T V A N R I J N

L e y d e 1 6 0 6 - A m s t e r d a m 1669

Portrait of Eleazer Swalmius

Inv . 7 0 5

C a n v a s , 1 3 2 x 1 0 9 cm

U p p e r r igh t : R e m b r a n d t 1 6 3 7

Pu rchased in 1886

Flemish painting in the 18th century

A ser ies of recent s tudies a n d acqu i s i t i ons h a v e

led to someth ing of a new a t t i tude t o w a r d s

pa in t ing in the 1 8 t h cen tury . Unt i l fair ly recent

ly, the ar t of this pe r iod w a s cons ide red to be

r a the r inferior , desp i te the high ar t is t ic ou tput ,

b e c a u s e o f its pe rce ived lack o f innova t ion . On

the one h a n d , F l e m i s h ar t is ts of the 1 8 t h cen

tury con t inued to l ive off the inher i t ance of

R u b e n s , w h o s e art s e e m e d u n s u r p a s s a b l e . A r t i

sts such a s Pie ter J o z e f V e r h a g h e n w o r k e d

ent i re ly in the t radi t ion of R u b e n s , a n d

a l t hough he spent a few y e a r s in I t a ly , there a r e

few t races of this in his work . H i s Hagar and

Ishmael banished by Abraham, pa in ted for the

a b b e y a t T o n g e r l o , has al l the o u t w a r d c h a r a c

terist ics of a b a r o q u e pa in t ing , but lacks R u b

ens ' e x p r e s s i v e n e s s .

M e a n w h i l e , o ther ar t is ts h a d fallen u n d e r the

spell of F r a n c e wi th its t rend-set t ing rococo

ar t i s ts . T h i s d e v e l o p m e n t w a s , h o w e v e r , r a the r

out o f c h a r a c t e r wi th F l e m i s h ar t is t ic t radi t ion ,

a n d encoun te r ed a cer ta in degree of res i s tance

in the ar t w o r l d . A n d r i e s C o r n e l l s L e n s h a d to

run the gaun t l e t of these difficulties in A n t w e r p

w h e r e he s t rove to r enew both pa in t ing a n d

ar t i s t ic educa t ion . He w a s an artist wi th an

in te rna t iona l repu ta t ion , a r ep resen ta t ive of the

neo-c lass ica l idea l . His pa in t ings a re the resul t

o f his s tudy of a n t i q u e a n d I t a l i a n mas t e r s , but

a l so his r e a d i n g of c lass ica l a n d b ib l i ca l wr i t

ings . In 1 7 6 3 , L e n s b e c a m e the d i rec tor o f the

A n t w e r p A c a d e m y , a n d to show his g ra t i tude ,

he dona ted the w o r k Hercules protects Painting

from Ignorance and Envy - an a l legory in w h i c h his

J A N F R A N S E L I A E R T S

Bouquet of Flowers in a Sculpted Vase

detail

P I E T E R - J O Z E F V E R H A G H E N

A a r s c h o t 1 7 2 8 - L o u v a i n 1 8 1 1

Hagar and Ishmael banished by Abraham, iy8i

Inv . 491

C a n v a s , 168 x 1 9 5 cm

L o w e r r igh t : P . J . V e r h a g h e n F 1 7 8 1

O r i g i n a l col lect ion o f the m u s e u m , 1 8 1 0

new task w a s c lear ly exp re s sed . L e n s h imse l f i s

p o r t r a y e d in an e x p r e s s i v e , theat r ica l m a n n e r ,

in a f lowing c loak, s u r r o u n d e d by the tools of his

pa in te r ' s t rade , in Portrait of the Artist A.C. Lens,

by W i l l e m H e r r e y n s . T h i s pa in t ing revea l s

H e r r e y n s ' i nnova t i ve a p p r o a c h to his por t ra i t s ,

some th ing w h i c h canno t be sa id of his re l ig ious

a n d his tor ica l c o m m i s s i o n s . He w a s in fact an

o p p o n e n t o f L e n s ' re forms.

D u r i n g the second ha l f of the cen tu ry , as

Brusse l s b e g a n to o c c u p y centre s tage a l o n g s i d e

A n t w e r p , h is tory pa in t ing as a form of official

ar t is t ic expres s ion a lso b e g a n to ga in in impor t

ance . T h e midd le -c l a s se s , h o w e v e r , re ta ined

their preference for por t ra i t s , still lifes, l and

s c a p e s a n d scenes from e v e r y d a y life. J a n J o z e f

H o r e m a n s I I w a s w i d e l y a d m i r e d for c h a r m i n g

scenes such as The Card Game a n d Tea Time.

T a k i n g his cue from 1 7 t h cen tu ry genre w o r k s ,

H o r e m a n s dep ic ted p l easan t scenes wi th a

J A N F R A N S E L I A E R T S

A n t w e r p 1 7 6 1 - 1848 Bouquet of Flowers in a sculpted Vase Inv . 1 2 6 C a n v a s , 90 x 71 cm L o w e r left: J . F . E l iaer t s Pu rchased in 1 8 5 0

A N D R I E S C O R N E L I S L E N S

A n t w e r p 1 7 3 9 - Brusse l s 1 8 2 2 Hercules protects Painting from Ignorance and Envy, 1763 Inv . 1 0 9 2 C a n v a s , 73 x 92 cm L o w e r left: A n d r e a s C . L e n s i nv : p inx i t /e t huic A c a -d e m i a D . D . 1 7 6 3 Or ig ina l collection o f the m u s e u m , 1 8 1 0

J A N J O Z E F H O R E M A N S

A n t w e r p 1 7 1 4 - after 1 7 9 0 Tea Time Inv . 5 0 6 1 C a n v a s , 51 x 58 cm R e c o v e r e d from G e r m a n y , 1 9 5 1

refined co lour s c h e m e . H i s w o r k s do not, how

ever , s h o w a n y s ign of profundi ty o r c r i t i c i sm.

F l o w e r pa in te r s w e r e r e g a r d e d pa r t i cu l a r ly

h ighly . J a n F r a n s E l i ae r t s pa in ted a s u m p t u o u s

b o u q u e t of f lowers w h i c h , in te rms of compos i

tion, con t inues the t radi t ion es tab l i shed in the

f i n a l q u a r t e r o f the 1 7 t h cen tury . T h e pa in t ing

in ques t ion is ent i t led Bouquet of Flowers in a

sculpted Vase. T h e choice of flowers a n d the cool

co lour ing a r e a g a i n typ ica l o f their t ime. W I L L E M H E R R E Y N S

A n t w e r p 1 7 4 3 - 1 8 2 7

Portrait of the Artist A.C. Lens

Inv . 1 2 1 3

C a n v a s , 1 1 6 x 96 cm

P u r c h a s e d in 1 8 9 3

The 19th Century

T h e r o m a n t i c m o v e m e n t , w h i c h m a y b e d a t e d

be tween 1 7 8 0 a n d 1 8 5 0 , turned its face aga in s t

au tho r i t a r i an c l a s s i c i sm. R e l e a s e d from e v e r y

d a y conce rns by the p o w e r of the i m a g i n a t i o n ,

the r o m a n t i c s sought new art is t ic fo rms , but

a l so a new ideal of life b a s e d u p o n a d e m a n d for

f reedom. T h e r o m a n t i c art is t w a s d r a w n

t o w a r d s mys t e r ious , a m b i g u o u s a n d u n k n o w n

terr i tory, wh i l e his feeling of p rofound lonel iness

cou ld take on t rag ic p ropor t ions . R o m a n t i c i s m

se rved to unite E u r o p e , but each coun t ry

reac ted in a c c o r d a n c e wi th its spec ia l na t iona l

cha rac t e r . G e r m a n r o m a n t i c i s m had a pen

chan t for the m a g i c a l , Eng l i sh r o m a n t i c i s m w a s

ly r i ca l , w h i l e the F r e n c h h a d a taste for eve ry

thing d r a m a t i c . T h e s a m e app l i ed t o B e l g i a n

r o m a n t i c i s m . I n s p i r e d b y B e l g i u m ' s recent ly

w o n i n d e p e n d e n c e from the U n i t e d Ne the r

l ands , there w a s a m a r k e d preference for por

t r aya l s of the heroic a n d d r a m a t i c e lements of

the na t ional i s t s t ruggle in the c o u n t r y ' s pas t .

T h e l a rge format pa in t ings wi th their d i a g o n a l

l y a r r a n g e d compos i t i ons , a n i m a t e d m o v e m e n t

a n d s t rong con t ras t s be tween light a n d s h a d o w

a n d different co lours , often recal l the ' G o l d e n

A g e ' o f R u b e n s . N i c a i s e D e K e y s e r cons t ruc ted

his Charles V freeing the Slaves at Tunis in acco r

d a n c e w i th these p r inc ip les from the B a r o q u e

e ra , bu t i t w a s G u s t a f W a p p e r s in p a r t i c u l a r

w h o b e c a m e B e l g i u m ' s foremost r o m a n t i c ar t i

st. T h e insp i ra t ion for his pa in t ings w a s d r a w n

from his w i d e k n o w l e d g e of r o m a n t i c l i te ra ture ,

the history of the L o w C o u n t r i e s , a n d his

reflections upon the role of the art is t a n d pol i t ics

in gene ra l . H i s best w o r k ( 1 8 2 8 - 1 8 5 0 ) r evea l s a

cha rac te r i s t i c s ty le a n d r ich use of co lour . In the

pa in t ing The De Witt Brothers in Captivity ( 1 8 3 8 ) ,

he succeeded in c o m b i n i n g a sober compos i t i on

H E N R I D E B R A E K E L E E R

Flower Grower's Garden

detai l

G U S T A F W A P P E R S

A n t w e r p 1 8 0 3 - Par i s 1 8 7 4

The De Witt Brothers in Captivity, 1838

Inv . 1 1 8 1

Pane l , 56 x 69 cm

P u r c h a s e d i n 1 8 7 5

wi th d r a m a t i c tension. C o r n e l i s a n d J o h a n d e

Wi t t , 1 7 t h cen tu ry D u t c h s t a t e smen a n d f i e r c e

an t i -Orang i s t s , a r e abou t to be d r a g g e d from

pr i son b y the m o b a n d l ynched . T o W a p p e r s

a n d other r o m a n t i c s , they w e r e a s y m b o l of faith

in l i be ra l i sm a n d in pol i t ica l s teadfas tness .

F r o m 1 8 4 0 o n w a r d s , the h is tor ica l pa in t i ng

g r a d u a l l y b e c a m e a ra the r sedate , b o u r g e o i s

genre . H e n r i L e y s , for ins tance , chose to po r t r ay

the Arrival of Albrecht Diirer in Antwerp in 1520

( 1 8 5 5 ) r a the r than a m o r e t umu l tuous a n d

m o m e n t o u s occas ion . T h e a c c u r a c y o f co lour ,

form a n d h is tor ica l recons t ruc t ion cont ras t w i th

a cer ta in nos ta lg ic tone, cha rac te r i s t i c of

r o m a n t i c i s m .

T h e b r e a k t h r o u g h o f r ea l i sm , w h i c h , l ike

r o m a n t i c i s m , o r ig ina ted in F r a n c e , occu r r ed in

B e l g i u m be tween 1 8 5 0 a n d i 8 6 0 . A c c o r d i n g t o

the real is ts , e v e r y d a y subjects shou ld no longe r

be cons ide red u n w o r t h y o f be ing pa in t ed . T h e

innova t ion of the real is ts lay not on ly in the

m a n n e r of pa in t ing , but a l so in the themes a n d

subjects of their work . T h e y chose to p o r t r a y

their i m m e d i a t e s u r r o u n d i n g s ra the r than seek

ing refuge in compos i t e w o r k s or i m a g i n a t i o n .

L a n d s c a p e s w e r e pa in ted in si tu, a n d w e r e no

longer the result of c o m b i n e d s tudies from

na tu r e a n d the i m a g i n a t i o n or idea l s of the

ar t i s ts . T h e w o r l d s u r r o u n d i n g the ar t is t w a s

m o r e i m p o r t a n t than h is tor ica l scenes or ta les

from A n t i q u i t y a n d the B i b l e . R u l e s o f c o m p o s i

t ion, co lour a n d execu t ion h a d to g ive w a y to

the accu ra t e represen ta t ion of rea l i ty .

T h e ar t is t A l f r ed S t evens w a s the ch ron ic l e r

of the P a r i s demi-monde. O n e of his best w o r k s is

the Parisienne Sphinx ( 1 8 6 7 ) , in w h i c h an enig

ma t i c female por t ra i t wi th sobe r co lour ing a n d

de l ica te l ight ing is preferred to an anecdo ta l

N I C A I S E D E K E Y S E R

Z a n d v l i e t 1 8 1 3 - A n t w e r p 1 8 8 7 Charles V freeing the Slaves at Tunis Inv . 2886 C a n v a s , 44 x 64 cm L o w e r left: N D K Purchased in 1 9 5 8

A L F R E D S T E V E N S

Brusse l s 1 8 2 3 - Par i s 1906 Parisienne Sphinx, 1867 Inv . 1 3 7 3 C a n v a s , 72 x 53 cm L o w e r left: A . S tevens P u r c h a s e d in 1 9 0 2

H E N R I L E Y S

A n t w e r p 1 8 1 5 — 1869 Arrival of Albrecht Diirer in Antwerp in 1 5 2 0 , 183J Inv . 2 1 9 8 Pane l , 90 x 1 6 0 cm L o w e r r igh t : H . L e y s f . 1 8 5 5

Dona ted by the government , citv and A r t i b u s Pa t r i ae .

• 9 3 1

H I P P O L Y T E B O U L E N G E R

T o u r n a i 1 8 3 7 - Brusse l s 1 8 7 4

Josafat Valley at Schaarbeek, 1868

Inv . 1988

Pane l , 1 1 0 x 85 cm

L o w e r left: H i p . B o u l e n g e r

Pu rchased in 1 9 2 5

C H A R L E S D E G R O U X

K o m e n 1 8 2 5 - Brusse l s 1 8 7 0

The Coffee Tin

Inv . 1 2 0 6

C a n v a s . 1 1 7 x 1 5 0 c m

L o w e r r igh t : C h a r l e s D e G r o u x


C O N S T A N T ™ M E U N I E R

Etterbeek 1 8 3 1 - E l sene 1 9 0 5

Man with a Sledgehammer

Inv . 1 9 8 4

Bronze , 48 x 25 cm

Pedes ta l : C . M e u n i e r ; reverse r igh t : Fondu p a r V e r -

beys t pour l 'a tel ier Cons t an t i n Meun ie r . B ruxe l l e s

P u r c h a s e d in 1 9 2 5

C O N S T A N T I N M E U N I E R

Etterbeek 1 8 3 1 - E lsene 1 9 0 5

Return from the Mine

Inv. 2698

C a n v a s , 1 5 9 x 1 1 5 c m

L o w e r r igh t : C . M e u n i e r

Dona ted b y M r s . G . Born , 1 9 5 0

J A N S T O B B A E R T S

A n t w e r p 1 8 3 9 -

S c h a a r b e e k 1 9 1 4

Dragging in the Woluwe

Inv . 1 8 0 1

C a n v a s , 47 x 70 cm

L o w e r r igh t : s t amp -

Ate l ie r J a n S l o b b a e r t s 1 9 1 4

Dona ted by a g roup of

friends of the m u s e u m , 1 9 2 0

F R A N C O I S L A M O R I N I E R E

A n t w e r p 1 8 2 8 - 1 9 1 1

Fir Wood, 1883

Inv . 1 5 8 9

C a n v a s , 1 1 4 x 1 2 6 c m

L o w e r r igh t :

F . L a m o r i n i e r e x x 1 8 8 3


a n d sen t imen ta l ly bourgeo i s a p p r o a c h . R e a l i s m

a d o p t e d a soc ia l ly e n g a g e d c h a r a c t e r w i th J o z e f

S t e v e n s , C h a r l e s D e G r o u x a n d C o n s t a n t i n

M e u n i e r . In S t e v e n s ' case this w a s sens i t ive , in

De G r o u x ' s wre t ched , wh i l e in M e u n i e r ' s Coffee

Tin, the w o r k e r is p o r t r a y e d as noble . M e u n i e r ' s

skill as bo th an art is t a n d scu lp to r i s ev iden t

from Return from the Mine a n d Man with a

Sledgehammer. T h e A n t w e r p m u s e u m has a r ich

select ion o f real is t ic l a n d s c a p e s , i nc lud ing F r a n

cois L a m o r i n i e r e ' s Fir Wood ( 1 8 8 3 ) a n d H i p p o -

lyte B o u l e n g e r ' s Josafat Valley ( 1 8 6 8 ) , both h igh

ly a c c u r a t e s l ices o f na tu re . E v e r y s h a p e , deta i l ,

n u a n c e of co lour , reflection a n d effect of the

l ight i s c o n v e y e d w i th a lmos t painful prec i

sion.

A further s tep in the represen ta t ion of na tu re

i s p r o v i d e d by the l a n d s c a p e s a n d m a r i n e pa in t

ings o f L o u i s A r t a n , G u i l l a u m e V o g e l s , J a n

S t o b b a e r t s a n d Per ic les P a n t a z i s . G i v e n the

rea l i s t s ' obsess ion wi th the p r o b l e m s of v i sua l

obse rva t i on a n d the o u t w a r d a p p e a r a n c e o f

th ings , i t is inev i t ab le that they w o u l d a l so w i sh

to c a p t u r e the changeab i l i ty a n d t rans ience of

na tu re . T h e i m p r e s s i o n i s m o f the B e l g i a n l and

scape ar t is ts i s m e l a n c h o l y a n d g rey , a n d

re ta ins a ce r ta in sol idi ty of form. L o u i s A r t a n ' s

Marine scene is subt le in its c o m b i n a t i o n s of

w a t e r , a i r a n d l ight , G u i l l a u m e V o g e l s ' w o r k ,

pa r t i cu l a r l y My Garden, r ecords the dul l B e l g i a n

c l ima te , J a n S t o b b a e r t s w o r k e d wi th g reen ,

h a z y pa tches of co lour in Dragging in the Woluwe,

whi l e in his On the Beach, Pe r ic les Pan t az i s

reca l l s the sea v i e w s pa in ted by B o u d i n . A l l four

of these l a n d s c a p e pa in te r s h a d a r ich p ic tor ia l

talent w h i c h , though not inc l ined to s u m p t u o u s

co lour ing , never the less r evea l s a de l ica te a n d

poet ic tonal s h a d i n g .

G U I L L A U M E V O G E L S

Brusse l s 1 8 3 6 -

E l sene 1 8 9 6

My Garden

Inv. 2028

C a n v a s , 84 x 56 cm

L o w e r r igh t : G . V o g e l s

P u r c h a s e d i n 1 9 2 5

L O U I S A R T A N

T h e H a g u e 1 8 3 7 -

Oos tdu inke rke 1 8 9 0

Morning

Inv . 1 9 4 3

C a n v a s , 57 x 37 cm

P u r c h a s e d in 1 9 2 3

P E R I C L E S P A N T A Z I S

A t h e n s 1 8 4 9 - Brusse l s 1 8 8 4

On the Beach

Inv . 2 6 1 7

C a n v a s , 70 x 108 cm



A n t w e r p 1 8 4 0 - 1888

Flower Grower's Garden, 1864

Inv . 1 2 0 3

C a n v a s , 8 4 x 1 1 5 c m

L o w e r r i g h t : Henr i d e B r a e k e l e e r

P u r c h a s e d in 1 8 9 2

H e n r i D e B r a e k e l e e r has been d e s c r i b e d a s

the f i rs t r ea l ly s ignif icant f igure in 19 th cen tu ry

B e l g i a n ar t . T h e A n t w e r p m u s e u m possesses 3 3

of his pa in t ings a n d 45 d r a w i n g s . T h e key-

e lements in his pa in t ing a re O l d A n t w e r p wi th

its quiet s q u a r e s a n d peaceful rus t ic facades ,

so l i ta ry peop le , a lmos t m e d i e v a l c ra f t smen a n d

stuffy bourgeo i s in ter iors . He is total ly ob l iv ious

to the ac t ive life, his w o r k e x h a l i n g ins tead an

a t m o s p h e r e of s i lence a n d peace . A w a r m pa l

ette, sobe r compos i t ion , strict d iv i s ion of the

pa in t i ng ' s sur face a n d a pas s ion for the sub

s tance o f th ings a r e cha rac te r i s t i c o f De B r a e k e l

eer. O n e of his be s t -known pa in t ings is The Man

in the Chair ( 1 8 7 5 ) . L i g h t floods th rough the

open w i n d o w into a room in the B r o u w e r s h u i s ,

in w h i c h an old m a n sits s t a r ing in a cha i r . T h e

prec i se r ea l i sm of his Flower Grower's Garden

( 1 8 6 4 ) , an ear ly w o r k , i s c o m b i n e d in one of his

last pa in t ings , Strawberries with Champagne ( 1 8 8 3 )

w i th a free pa in t ing s tyle a n d a more l ive ly

r a n g e o f co lours .


A n t w e r p 1840 - 1888

Strawberries and Champagne, 1863

Inv . 2 1 7 3

C a n v a s , 40 x 60 cm

L o w e r r igh t : Henr i de Braeke lee r

Dona t ed by F . F r a n c k , 1 9 3 0


A n t w e r p 1 8 4 0 - 1888

The Man in the Chair, i8jj

Inv . 1 8 4 5

C a n v a s , 79 x 63 cm

L o w e r r igh t : Henr i de Braeke lee r

D o n a t e d b y B a r o n G . C a r o l y , 1 9 2 1

T h e scu lp to r J e f L a m b e a u x a n d the pa in te r s

J a n v a n B e e r s , L e o n F r e d e r i c a n d G e o r g e H e n

dr ik Bre i tne r , the on ly foreigner to be we l l

r ep resen ted in our col lect ion (seven works )

be long to the fo l lowing gene ra t ion - that of

1 8 5 0 . T h e N a t u r a l i s m w h i c h l inks these ar t is ts

w a s e x p r e s s e d in a different fashion by each .

T h e a n i m a t e d m o v e m e n t of The Kiss ( 1 8 8 1 ) , i s

cha rac te r i s t i c o f L a m b e a u x ' s scu lp tu res , wh i l e

the p h o t o g r a p h i c r ea l i sm of the Portrait of Peter

Benoit by J a n v a n B e e r s takes on a m a g i c a l

d imens ion th rough the f loa t ing accessor ies . In

J E F L A M B E A U X


77K Kiss, 1881

I n v . 1 0 8 5

Fron t , lower left: J e f L a m b e a u x 1 8 8 1 ; reverse , l ower

left: C i e D e s Bronzes Bruxe l l e s . Fonte d 'un seul je t

(cire perdue)

Pu rchased a t T r i e n n i a l Exh ib i t ion , 1 8 8 2

L E O N F R E D E R I C

Brusse l s 1 8 5 6 - S c h a a r b e e k 1940

Two Walloon Peasant Children or Les bo'echelles 1888

Inv. 1 2 6 4

C a n v a s , 1 2 4 x 91 cm

L o w e r left: L . Freder ic 1888

Pu rchased a t T r i e n n i a l Exh ib i t ion , 1 8 9 4

J A N V A N B E E R S

L i e r 1 8 5 2 - F a y - a u x - L o g e s 1 9 2 7

Portrait of Peter Benoit, 1883

Inv . 1 1 4 0

Pane l , 44 x 32 cm

L o w e r r igh t : A a n m y n e n vr iend Peter Benoi t . J a n v a n

Bee r s . Par i j s 1 8 8 3

Dona t ed by the artist , 1 8 8 3

G E O R G E H E N D R I K B R E I T N E R

R o t t e r d a m 1 8 5 7 - A m s t e r d a m 1 9 2 3

Women in Amsterdam

Inv . 2020

C a n v a s , 98 x 1 4 8 cm

P u r c h a s e d in 1 9 2 8

J A M E S E N S O R

Ostend i 860 - 1949

Bourgeois Drawing Room, 1881

Inv . 2 7 3 5

C a n v a s , 1 3 3 x 1 0 9 cm

L o w e r left: J a m e s E n s o r 1 8 8 1

P u r c h a s e d in 1 9 5 2

J A M E S E N S O R

Ostend i 860 - 1 9 4 9

Woman eating Oysters, 1882

Inv . 2 0 7 3

C a n v a s , 207 x 1 5 0 cm

L o w e r r igh t : J . E n s o r 1 8 8 2

P u r c h a s e d in 1 9 2 7

J A M E S E N S O R

Ostend i860 - 1949

Masks fighting over a hanged man, 1891

Inv . 1 8 5 7

C a n v a s , 59 x 74 cm

L o w e r r igh t : E n s o r 1 8 9 1

D o n a t e d by a g roup of friends of the m u s e u m , 1 9 2 1

his Two Walloon Peasant Children ( 1 8 8 8 ) L e o n

F r e d e r i c execu tes a na tu ra l i s t i c por t ra i t wi th a

c lear ly soc ia l in ten t ; his w o r k does , h o w e v e r ,

often w a v e r be tween n a t u r a l i s m a n d s y m b o l

i sm. Bre i tne r , the l ead ing f igure a m o n g s t the

A m s t e r d a m impress ion i s t s , used his o w n photo

g r a p h s - in Women in Amsterdam we a re offered a

k ind of snapsho t - in o rde r to w o r k new motifs

into his pa in t ings .

As in the case o f De B r a e k e l e e r , the m u s e u m

a lso boas t s the l ead ing col lect ion o f w o r k s by

B e l g i u m ' s o ther m a i n f igure from the 19 th

cen tury , n a m e l y J a m e s Enso r . A total of 35

pa in t ings a re p r e se rved here , r a n g i n g from an

ear ly a t t empt a t the a g e of 1 7 , to late works

da t i ng from 1 9 0 6 / 0 7 , together wi th a col lect ion

of 606 d r a w i n g s . E n s o r took the insp i ra t ion for

his ea r ly w o r k from his i m m e d i a t e su r round

i n g s : he pa in ted m e m b e r s of his f ami ly , inter

iors , ci ty v i e w s a n d the sea in a dark- t in ted s ty le

wi th an impress ion i s t i c touch, as in his Bourgeois

Drawing Room ( 1 8 8 1 ) . U n d e r the inf luence of the

F r e n c h , a n d pa r t i cu l a r ly J . M . W . T u r n e r , h e

l igh tened his pale t te a n d his point of v i e w

b e c a m e more mode rn , as in his f amous Woman

eating Oysters. In o ther pa in t ings , like Adam and

Eve driven from the Garden of Eden, the c la r i ty of

the l ight b e c a m e p ie rc ing a n d incandescen t .

Seren i ty w a s b a n i s h e d from his w o r k once a n d

for a l l , to be r ep l aced by fear, vu lne rab i l i t y a n d

oversens i t iv i ty w h i c h w e r e best exp re s sed in the

d i s cove ry of grea tes t gen ius a n d or ig ina l i ty , the

J A M E S E N S O R

Ostend i860 - 1 9 4 9

The Intrigue, i8go

Inv . 1 8 5 6

C a n v a s , 90 x 1 5 0 cm

L o w e r r igh t : E n s o r 1890

Dona t ed by a g r o u p of friends of the m u s e u m , 1 9 2 1

J A M E S E N S O R

Ostend i860 - 1 9 4 9

The Curassiers at Waterloo,

1891

detai l

Inv . 2740

Pas te l , I n d i a ink,

2 2 5 x 6 2 5 m m

L o w e r left: E n s o r 1 8 9 1


mask . In his finest c rea t ions , such as The Intrigue

( 1 8 9 0 ) , Masks fighting over a hanged Man ( 1 8 9 1 ) ,

his s t range , fantas t ic a nd menac i n g mask

peop le expre s s r age , s a r c a sm and v engeance ,

feelings wi th wh ich En s o r h imse l f w a s r a v a g ed .

H i s style b e c ame inc rea s ing ly p e r s ona l ; br ight

co lours , expre s s i ve b ru sh strokes, theat r ica l

compos i t ion , ha r sh contras t s , l inear technique .

En so r ' s art i s un ique in Eu r o p e , a nd represent s

one of the ma in g a t ewa y s to the 20th century .

T h e use o f s ymbo l s b y J a m e s En so r , who held

society up to r id icu le wi th his ma sk people ,

differs f undamenta l l y from the symbo l i s t move

ment wh i ch arose in F r anc e . Fo l l ow ing the

e x amp l e of l i te rary work s , ar t i s t s sought to react

aga in s t impre s s ion i sm by no longer conce rn ing

themse lve s wi th the ou twa rd a pp e a r a n c e o f

things, bu t by a t t empt ing ins tead to convey the

mys t e ry beh ind the real i ty . In o rde r to por t ray

the wor ld o f d r e am , a l legory , my th , sp i r i tua l i ty

a nd l i terature, the symbol i s t s s impl i f ied form

and used deco ra t i v e e lement s and co lour s to

embody an idea . In his pa in t ing Inspiration,

X a v i e r Me l l e r y ha s a ch i e ved someth ing o f his

i d ea l : mu r a l s dep ic t ing a l l egor i ca l scenes wi th

f loa t ing ( and s imu l t aneous l y petri f ied) f i gures

aga in s t a go lden b a ckg round . H i s gr i sa i l le inter

iors in cha lk a re among s t the best in Be l g i a n

s ymbo l i sm . T h i s b lack and whi te pa in t ing

shows c lea r affinities w i th the d r aw ing s of

E d w a r d Bu rne s - Jone s , b y w h o m the mu s e um

possesses three work s . Eu g e n e L a e r m a n s ' Blind

Man ( 1 898 ) represent s a synthet ic ima g e of the

p ro le ta r i an type in an e l emen ta ry l and s c ape .

Hi s work - grey , expre s s i ve and soc ia l ly

engaged - forms a link be tween rea l i sm, sym

bol i sm and exp re s s ion i sm. Emi l e V l o o r s ' The

Blue Thistle or Portrait of Louise Laridon a nd J o s u e

X A V I E R M E L L E R Y

Lak en 1 845 - 1 9 2 1 Inspiration Inv . 2 1 7 7 C a n v a s , 1 5 3 x 1 3 1 cm Lowe r r i g h t : X . Me l l e r y ; uppe r part , lower left: х м . Dona t ed by Franco i s F ranck , 1 9 3 0

H E N R I E V E N E P O E L

Nice 1 8 7 2 - Pa r i s 1899 Louise in Mourning, 1894. Inv . 2 8 1 3

C a n v a s on wood , 79 x 46 cm Lowe r left: A ma chere Lou i s e . L. Evenepoe l 94 Pu rcha s ed in 1 9 5 4

D u p o n ' s i vo ry s ta tuet te Diana b e a r w i tnes s to

ano the r conf luence - that be tween a cer ta in

sever i ty cha rac te r i s t i c o f s y m b o l i s m , a n d the

deco ra t i ve ref inement o f A r t n o u v e a u . T h e sec

ond gene ra t ion of symbo l i s t s is to be found after

1 9 0 0 a t S i n t - M a r t e n s - L a t e m , w h e r e they we re

respons ib le for a ma jo r r e n e w a l of ideas a n d

form.

It is c l ea r that up to the turn of the cen tu ry , a

w i d e v a r i e t y o f s tyles ex is ted both a l o n g s i d e one

ano the r , a n d in a n u m b e r of h y b r i d forms. T h e

charac te r i s t i c f in-de-s iec le mel t ing pot inc luded

rea l i sm, i m p r e s s i o n i s m a n d s y m b o l i s m , togeth

e r wi th al l their v a r i a n t s . T h e shor t - l ived H e n r i

E v e n e p o e l p a i d h o m a g e to M a n e t in his Louise in

Mourning ( 1 8 9 4 ) wi th its sol id cons t ruc t ion a n d

s tu rdy use of co lours , bu t wi th in a few y e a r s , his

E M I L E V L O O R S

Borge rhou t 1 8 7 1 - A n t w e r p 1 9 5 2 77K Blue Thistle or Portrait of Louise Laridon Inv . 1 4 1 7 C a n v a s , 1 3 6 x 1 2 6 cm C e n t r e left: E m i l e V l o o r s P u r c h a s e d a t the T r i e n n i a l Exh ib i t ion , 1 9 0 4

E U G E N E L A E R M A N S

S t . - J a n s - M o l e n b e e k 1 8 6 4 - Brusse l s 1940 Blind Man, i8g8 Inv . 1 9 4 1 C a n v a s , 1 3 4 x 1 7 4 cm L o w e r r igh t : E u g . L a e r m a n s 1898 P u r c h a s e d in 1 9 2 3

H E N R Y V A N D E V E L D E

A n t w e r p 1 8 6 3 - Ober i ig i 1 9 5 7 Woman at the Window (1889) Inv . 2 5 8 9 C a n v a s , i l l x 1 2 5 c m Purchased in 1 9 4 4

J O S U E D U P O N

I ch t egem 1 8 6 4 - B e r c h e m 1 9 3 5 Diana Inv . 1 2 6 3 I v o r y and bronze , 92 x 25 cm S ide , lower r igh t : J . D u p o n Purchased at the T r i e n n i a l Exh ib i t ion , 1897

w o r k unde rwen t a fundamen ta l c h a n g e . E m i l e

C l a u s a l so set off a long the realist pa th , but his

contac t wi th impres s ion i sm turned h i m a r o u n d

1 goo into a p ioneer of B e l g i a n l u m i n i s m . Summer

( 1 8 9 3 ) is a mas t e rp i ece of fine co lour s h a d i n g

represen t ing l ight , sun a n d heat . T h e r e we re

a lso B e l g i a n adep t s o f F r e n c h neo- impress ion-

i sm or poin t i l l i sm, a n d i t is wi th two mas te r

pieces of this genre that we round off this su rvey

o f B e l g i a n art i n the 1 9 t h c e n t u r y : H e n r y V a n

de V e l d e ' s Woman at the Window ( 1 8 8 9 ) a n d

T h e o V a n R y s s e l b e r g h e ' s Portrait of Marie Sethe

( 1 8 9 1 ) . W h i l e V a n R y s s e l b e r g h e uses the poin-

tillist t echn ique to a c h i e v e a fairly real is t ic

por t ra i t , desp i te the u n u s u a l , art if icial co lours ,

V a n d e V e l d e p r o d u c e d a n ent i re ly different

result us ing the s a m e p r o c e d u r e . T h e s impl i f ica

tion of the sur faces a n d a c o m b i n a t i o n of pink

a n d pu rp l e co lours i m b u e his por t ra i t wi th an

a lmos t s y m b o l i c qua l i t y .

E M I L E G L A U S

S t . - E l o o i s - V i j v e 1849 - As t ene 1 9 2 4

Summer, 1893

Inv . 1 8 3 6

C a n v a s , 59 x 91 cm

L o w e r left: E m i l e C l a u s ; r eve r se : J u n i j 1 8 9 3 E . C .

D o n a t e d b y M r s . E d m . W a p p e r s , 1 9 2 4

T H E O V A N R Y S S E L B E R G H E

G h e n t 1 8 6 2 - S a i n t - C l a i r 1 9 2 6

Portrait of Marie Sethi, 1891

Inv. 2690

C a n v a s , 1 1 8 x 84 .5 cm

U p p e r cen t re : 1 8 V R 9 1

Pu rchased from Henry

V a n d e V e l d e , 1949

20th Century

Symbolism and Expressionism

T h e m u s e u m ' s acqu i s i t ion pol icy has resul ted in

a rich col lect ion of w o r k by F l e m i s h symbo l i s t s

a n d , pa r t i cu l a r ly , express ion i s t s in the wides t

sense o f the w o r d . T h e w o r k o f G e o r g e M i n n e ,

V a l e r i u s D e Saede l ee r , G u s t a v e V a n d e W o e s -

tyne a n d J a k o b S m i t s a re different expres s ions

of a m y s t i c a l , a lmos t re l ig ious s y m b o l i s m .

A r o u n d 1 9 0 0 , a g r o u p of ar t is ts met a t S in t -

M a r t e n s - L a t e m on the r ive r L y s . T h i s idyl l ic

little v i l l a g e nea r G h e n t w a s the h o m e of the

l a n d s c a p e art is t V a l e r i u s D e Saede l ee r , w h o

w a s j o i n e d b y scu lp to r a n d d r a u g h t s m a n

G e o r g e M i n n e , the poet a n d cri t ic K a r e l V a n d e

W o e s t y n e , a n d his b ro the r G u s t a v e . T h e y la ter

b e c a m e f amous a s the f i r s t L a t e m g r o u p , w h i c h

took its insp i ra t ion from s y m b o l i s m . T h e y

sought to cap tu re in their pa in t ings the deeper ,

inv i s ib le c h a r a c t e r o f na tu re a n d people .

T h r o u g h their pa in t ings they w a n t e d to lift the

vei l of o u t w a r d real i ty in o rde r to r evea l the

m a g i c , mys t i c o r re l ig ious m y s t e r y benea th .

G u s t a v e V a n d e W o e s t y n e ' s ear l ) w o r k con

ta ined cer ta in symbo l i s t e l ements , but g r a d u a l

l y e v o l v e d t o w a r d s e x p r e s s i o n i s m . H i s pa in t ing

The two Springs m a y be desc r ibed as symbol i s t

due to the personi f ica t ion in the two female

f igures of the na tu ra l coun t ry life on the one

h a n d , a n d art i f icial ci ty life on the other . H i s

la ter w o r k Gaston and his Sister is, in its a l i ena

tion, a typ ica l ly express ion is t piece.

In the s a m e w a y as the ar t is ts men t ioned

a b o v e w i t h d r e w to the unspo i l ed b e a u t y of

L a t e m , the o lde r J a k o b S m i t s h a d a l r e a d y spent

a d e c a d e in the C a m p i n e w h e r e he pa in t ed his

rus t ic in ter iors , por t ra i t s , l a n d s c a p e s a n d reli

g ious pa in t ings . T h e m u s e u m possesses a c o m

p rehens ive col lect ion o f 31 pa in t ings a n d

n u m e r o u s d r a w i n g s by this art ist , w h i c h c lear ly

i l lus t ra te his concept ion of l ight. I t w a s his

specif ic t echn ique , cons is t ing of thickly l aye red

a n d tho rough ly w o r k e d pa in t , w h i c h i m b u e d

w o r k s such as The Train of the Magi w i th their

u n u s u a l in tensi ty of l ight .

R I K W O U T E R S

Woman ironing

detail

G E O R G E M I N N E

Ghen t 1 8 6 6 - L a t e m 1 9 4 1

Design for the I 'oldersmonument (Solidarity), i8g8

Inv . 2687

Plas ter , 68 x 69 x 28 cm

Dona t ed b y H e n r y V a n d e V e l d e , 1949

T h e F l e m i s h express ion i s t s occup ied a not

u n i m p o r t a n t p l ace in W e s t e r n E u r o p e be tween

the two W o r l d W a r s . G u s t a v e D e S m e t , F r i t s

V a n den B e r g h e , A l b e r t S e r v a e s a n d C o n s t a n t

P e r m e k e each c rea ted a pe r sona l ccuvre in

w h i c h the ru ra l theme in pa r t i cu l a r is a com

m o n feature . T h e s e ar t is ts b e c a m e f a m o u s a s

the second g r o u p to settle in S i n t - M a r t e n s -

L a t e m . T h e t ime spent a b r o a d - De S m e t a n d

V a n den B e r g h e i n the N e t h e r l a n d s , a n d Per

meke in B r i t a i n - se rved to or ienta te their ar t

further t o w a r d s c u b i s m a n d e x p r e s s i o n i s m .

A l b e r t S e r v a e s w a s the f i g u r e w h i c h p r o v i d e d

the link b e t w e e n the f i r s t a n d second g r o u p of

S i n t - M a r t e n s - L a t e m ar t is ts . S e r v a e s v i e w e d

peop le a n d l a n d s c a p e from a re l ig ious pe r spec

tive w h i c h led h im to d e v e l o p his o w n s ty le . H i s

ea r ly w o r k s a r e s imp le in form a n d two-d imen

s iona l , but a t the s a m e t ime powerfu l a n d

m o n u m e n t a l . The dying Man, pa in t ed in 1 9 1 0

a n d p u r c h a s e d i n 1 9 8 9 , reca l l s J a k o b S m i t s wi th

its fresh co lour ing , two-d imens iona l cha rac t e r ,

the g r a i n y surface a n d the locat ion of the

subject in an e v e r y d a y inter ior . De S m e t

e v o l v e d from his impress ion i s t i c d e b u t t o w a r d s

a fair ly s tr ict ly cons t ruc ted bu t serene exp re s

s ion i sm. A n y sense o f d i rec tness a n d spon tane i

ty is t ight ly cont ro l led in The Mussel Eaters. T h e

in t ima te , domes t i c scene wi th its subt le tonal i

ties, the cubis t , syn the t i c s tyle a n d the m a n n e r

in w h i c h s p a c e is r educed to a flat sur face , a re

b rough t together to form a s ingle h a r m o n i o u s

i m a g e .

Fr i t s V a n den B e r g h e la ter b e c a m e more

in teres ted in city life than in the ru ra l env i ron

ment . T w o of the w o r k s in ou r col lect ion

c o m p l e m e n t one ano the r pa r t i cu l a r ly wel l in

their i l lus t ra t ion of the two s ides of his art . In

the recent ly a c q u i r e d Double Portrait of P.G. Van

Hecke and Norine, da t ing from 1 9 2 3 / 2 4 , we recog

nise the a r t i s t ' s w o r l d l y , i ronic a n d cr i t ica l

cha rac te r i s t i c s , wh i l e the m e l a n c h o l y Life,

pa in ted in the s a m e yea r , h igh l igh t s the m o r a l

is ing tendency of his pe r sona l i ty . B o t h w o r k s

we re p r o d u c e d d u r i n g his express ion i s t pe r iod .

P . G . V a n H e c k e p l a y e d a n i m p o r t a n t role i n

B e l g i a n ar t is t ic life as a wr i t e r , ga l l e ry o w n e r

a n d p r o m o t o r o f m o d e r n ar t . T h e ra the r s a r c a s

tic V a n den B e r g h e w a s la ter d u b b e d the

sur rea l i s t a m o n g s t the E x p r e s s i o n i s t s , b e c a u s e

a r o u n d 1 9 2 9 he left the pu re express ion i s t fold

a n d turned inc reas ing ly t o w a r d s p h a n t a s m a g o

ria. T h e m u s e u m ' s col lect ion i s pa r t i cu l a r l y

w e l l - e n d o w e d wi th his w o r k from the 1 9 3 0 - 3 9

per iod .

G U S T A V E V A N D E W O E S T Y N E

G h e n t 1 8 8 1 - U k k e l 1 9 4 7

The two Springs, igio

I n v . 2044

C a n v a s , 73 x 63 cm

L o w e r left: G u s t a v e V a n d e

W o e s t y n e 1 9 2 3

P u r c h a s e d in 1 9 2 7

G U S T A V E V A N D E W O E S T Y N E

G h e n t 1 8 8 1 - Ukke l 1 9 4 7

Gaston and his Sister, 1923

Inv . 3 2 1 1

C a n v a s , 204 x 204 cm

L o w e r r igh t : G v e V A N D E W O E S T Y N E 1 9 2 3

P u r c h a s e d in 1 9 8 4

J A K O B SMITS

R o t t e r d a m 1 8 5 5 - Ach te rbos ( M o l ) 1 9 2 8

The Train of the Magi

Inv . 2 3 2 5

C a n v a s , 91 x 1 0 0 cm

Dona t ed by the late E . \ "an den Bosch . 1 9 3 6

C o n s t a n t P e r m e k e , the pures t express ion is t ,

p o r t r a y e d m a n a s c rushed a n d de fo rmed b y

w o r k , wi th b r o a d , h a r d con tours a n d m o n o c h

r o m e tints. He pa in t ed f a r m w o r k e r s a n d fisher

men , l a rge s e a s c a p e s , i m p o s i n g l a n d s c a p e s a n d

l a rge female nudes in a rough a n d p r i m a r y

m a n n e r , but wi th a sense of e m p a t h y . H i s

O s t e n d Fisherwoman, robus t , like a m a s s i v e

b lock b e a r i n g the m a r k of life's t r agedy , sits a n d

w a i t s . P e r m e k e used a s o m b r e r a n g e of co lours

wi th b lu i sh g rey tones. H i s preference for m o n

o c h r o m e is even more s t r ik ing in the a n g u l a r

a n d l inea r Vespers of 1 9 2 7 .

H i p p o l y t e D a e y e , E d g a r d T y t g a t , J e a n B r u s -

s e l m a n s a n d L e o n Sp i l l i ae r t - r a the r m o r e

i so la ted f igures w h o , nonethe less , h a d cer ta in

poin ts of contac t wi th e x p r e s s i o n i s m - deve l

o p e d a new content a n d s tyle th rough their o w n

pa r t i cu l a r t e m p e r a m e n t s . H i p p o l y t e D a e y e

spent the per iod be tween 1 9 1 4 a n d 1 9 2 0 i n

B r i t a i n , w h e r e he w a s in contac t wi th G u s t a v e

V a n d e W o e s t y n e , E d g a r d T y t g a t a n d C o n s t a n t

P e r m e k e . I t w a s d u r i n g this pe r iod that he w a s

in t roduced to o ther modern i s t tendencies in

E u r o p e a n ar t . H e w a s fasc ina ted b y the w o r k o f

M o d i g l i a n i , as he w a s fo l lowing a s imi l a r pa th

t o w a r d s s t r ipp ing d o w n the por t ra i t gen re to its

essence . A p a r t from the o u t w a r d form, he a l so

sought to c rea te the expe r i ence of seeing.

Desp i t e D a e y e ' s a p p a r e n t l y spon t aneous

m e t h o d of w o r k i n g , he s tud ied the m o d e l for a

g rea t dea l of t ime unti l a syn thes i s b e g a n to

G U S T A V E D E S M E T

G h e n t 1 8 7 7 - Deu r l e 1 9 4 3

The Mussel Eaters

Inv . 2 1 6 0

C a n v a s , 93 x 1 2 3 cm

Dona ted by the G o v e r n m e n t 1 9 3 0

A L B E R T S E R V A E S

G h e n t 1 8 8 3 - L u c e r n e ( S w . ) 1966

The dying Man, igio

Inv. 3 2 8 1

C a n v a s , 99 x 88 cm


d e v e l o p , b r ing ing wi th i t a necessa ry deg ree of

de fo rmat ion . Serenity is s imple in cons t ruc t ion

a n d h igh ly refined in its co lour ing . D a e y e ' s

pale t te is unusua l l y in tense in this w o r k , in

w h i c h , as c u s t o m a r y , a s ingle f igure s i tua ted

aga in s t an abs t r ac t b a c k g r o u n d f i l l s the can

v a s .

A l t h o u g h l ean ing t o w a r d s e x p r e s s i o n i s m , the

pa in t ings o f J e a n B r u s s e l m a n s a re m o r e con

trol led in cha rac t e r . T h e s t ruc ture of his can

v a s e s is p a r a m o u n t , a n d i t is his impres s ions of

na tu re w h i c h then h a v e to y i e ld , thereby resul t

ing in str ict ly cons t ruc ted compos i t i ons . T h e y

a re careful ly o rde red , bu t re ta in a p layfu l qua l

ity th rough their l ively co lour ing a n d r h y t h m as

we see in Spring a n d Pajottenland. T h e m u s e u m

has t w e l v e pa in t ings by this h igh ly i nd iv idua l

f igure w i th in F l e m i s h e x p r e s s i o n i s m , three of

w h i c h w e r e d o n a t e d by the ar t i s t ' s son in

1 9 8 1 .

W a s Spi l l i ae r t an express ion i s t , a symbol i s t

or a su r r ea l i s t ? M o s t of his w o r k s h a v e some

thing of a sur rea l a t m o s p h e r e , wi th every thing

b o u n d up syn the t i ca l ly , a n d he w a s ab l e to

c o n v e y the essence of his subject w ith s p a r i n g

use of ma te r i a l s . He d id not w o r k after na tu re ,

but r a the r sugges t s a m e m o r y of rea l i ty , prefer

r ing w a t e r co lours , g o u a c h e a n d co loured pen

cils to oil pa in t s . T h e ar t i s t ' s Self Portrait

reflected in a m i r r o r is execu t ed in s y m b o l i c

l igh t -dark w a t e r co lours .

O s c a r J e s p e r s i s one of the most i m p o r t a n t

r ep resen ta t ives o f express ion is t scu lp tu re . He

m a d e his debu t a s an impress ion i s t , bu t

c h a n g e d his v i e w s unde r the influence of seve ra l

r evo lu t iona ry impu l se s . H i s w o r k s a re s imp le

a n d pu re in form. T h e h u m a n f igure of The

Hooded Cloak execu t ed in taille directe is s t r i pped

d o w n to a s tr ict ly c losed form.

F R I T S V A N D E N B E R G H E

G h e n t 1 8 8 3 - 1 9 3 9

Double Portrait of P.G. van Hecke and his Wife Norine

Inv . 3268

C a n v a s . 1 6 1 x 1 2 1 c m


F R I T S V A N D E N B E R G H E

G h e n t 1 8 8 3 - 1 9 3 9

Life

Inv . 2 5 2 7

C a n v a s , 1 3 1 x 1 4 1 c m


C O N S T A N T P E R M E K E

Antwerp 1886 - Ostend 1 9 5 2

Fishtruoman. 1920

Inv. 2 1 7 9

Panel. 100 x 1 2 4 cm

Lower right: Permeke 1920 Oosiende

Donated b> F. Franck 1 9 3 0

C O N S T A N T P E R M E K E A n t w e r p 1 8 8 6 - O s t e n d 1 9 5 2

Vespers, ig2y

Inv . 2 7 7 9

Pane l , 1 2 8 x 1 4 9 cm

L o w e r cen t re : P e r m e k e ; lower left: 1 9 2 7

P u r c h a s e d in 1 9 5 3

L E O N S P I L L I A E R T

Ostend 1 8 8 1 - Brusse l s 1946

Self Portrait

Inv . 3 1 0 7

W a t e r colour on paper , 6 x 50 cm

P u r c h a s e d in 1 9 7 2

H I P P O L Y T E D A E Y E

G h e n t 1 8 7 3 - A n t w e r p 1 9 5 2

Serenity

Inv . 2 2 2 9

C a n v a s , 91 x 74 .5 cm

L o w e r r igh t : D a e y e

P u r c h a s e d in 1 9 3 2

O S C A R J E S P E R S

B o r g e r h o u t 1 8 8 7 - S i n t - L a m b r e c h t s - W o l u w e 1 9 7 0

The hooded Cloak

Inv . 2066

Whi t e stone, 89 x 31 cm

R e v e r s e : O s c . J e s p e r s

D o n a t e d by the F r i ends o f M o d e r n A r t in 1 9 2 6

J E A N B R U S S E L M A N S

Brusse l s 1 8 8 1 - Di lbeek 1 9 5 3

Spring, 1935

Inv. 2967

C a n v a s , 1 5 1 x 1 5 1 c m

L o w e r left: J e a n B r u s s e l m a n s 1 9 3 5

Purchase

Rik Wouters

T h e m u s e u m ' s col lect ion features 1 0 9 w o r k s b y

R ik W o u t e r s , thanks in par t to the recent

dona t ion o f 58 w o r k s by L u d o v a n B o g a e r t -

She id . W o u t e r s , the mos t interes t ing of the

B r a b a n t fauvis t s , w a s a w a r e o f the new poss ib i l

ities of expres s ion offered by colour . B r a b a n t

f auv i sm is a term a p p l i e d to the w o r k of a

n u m b e r of pa in te rs ac t ive in the Brus se l s reg ion

(the p r o v i n c e of B r a b a n t ) in the per iod a r o u n d

1 9 1 0 - 2 3 , w h o a re re la ted to F rench f auv i sm.

T h e ar t is ts w e r e fr iends w h o exh ib i ted together ,

but d id not rea l ly form a coherent g r o u p . S o m e

of them only a d h e r e d to f a u v i s m for par t of their

ca reer . T h e h o m e of A u g u s t e Oleffe w a s a

mee t ing p l a c e for E d g a r d T y t g a t , J e a n B r u s s e l -

m a n s , A n n e - P i e r r e d e K a t a n d R i k W o u t e r s ,

the s ta r of the g r o u p .

W o u t e r s pa in ted sun -d renched l a n d s c a p e s ,

br i l l iant por t ra i t s wi th b r o a d g reen a n d b lue

s t rokes , a n d sunny r o o m s f i l l ed wi th v i b r a n t

l ight. H i s unusua l v i ta l i ty is a p p a r e n t from the

fact that he comple t ed this ceuvre in a per iod of

less than ten yea r s . He d r e w , pa in ted a n d

mode l l ed the life a r o u n d h i m - his wife N e l , the

l a n d s c a p e of B o s v o o r d e , ch i ld ren a n d still lifes.

He ra re ly dev i a t ed in his pa in t ings from his

o b s e r v e d feasts o f co lour . T h e chaot ic feel ings

a n d p r o b l e m s of the w a r per iod a re barely-

de tec tab le in his work . Woman ironing is one of

m a n y pa in t ings inspi red by Ne l a t work . S h e

looks up in surpr i se in a b r igh t r o o m fil led wi th

s h i m m e r i n g sunl igh t . T h e co lours a re m u t e d to

form subt le va r i a t i ons of soft y e l l o w , pa l e p ink

a n d w a t e r y g reen ac ros s the ent ire sur face of the

c a n v a s . T h i s pa in t ing w h i c h da te s from 1 9 1 2 i s

the f i r s t o f W o u t e r s ' w o r k s to be p u r c h a s e d by

the m u s e u m in 1 9 2 3 . W o u t e r s pa in ted h imse l f

d u r i n g his i l lness in Rik with a black Eye Patch,

w h i c h fol lowed a second opera t ion in 1 9 1 5 . T h e

c a n v a s i s d i v i d e d into l a rge pa t ches of c o l o u r :

the deep red of the cur ta in , the m e l a n c h o l y b lue

of his p y j a m a s a n d the b lue -b lack a r m c h a i r .

Desp i t e all his t roubles , W o u t e r s con t inued to

w o r k wi th an unforge t tab le intensi ty unti l the

v e r y end .

W o u t e r s a l so m a n a g e d to i m b u e his scu lp

tures wi th the s a m e impress ion i s t i c touch as his

pa in t ings . N e l w a s once a g a i n his mode l for

Reverie, a un ique , s l ight ly l a rge r than life-size

work . T h e ma tu r i t y o f the f igure i s a ccen tua t ed

by the a l m o s t c losed compos i t i on , a n d a g rea t

dea l of e m p h a s i s is p l aced upon a c h i e v i n g a

p las t ic , round represen ta t ion o f v o l u m e . T w o

scu lp tures a re pa r t i cu l a r ly e y e - c a t c h i n g : Mad

R I K W O U T E R S

Meche len 1 8 8 2 -

A m s t e r d a m 1 9 1 6

Woman ironing

Inv . 1 9 3 2

C a n v a s . 1 0 7 x 1 2 3 cm


R I K W O U T E R S

M e c h e l e n 1882 - A m s t e r d a m 1 9 1 6

Rik with a black Eye Patch

Inv . 3 2 9 7

C a n v a s , 102 x 85 cm

Dona t ed by L u d o v a n B o g a e r t - S h e i d in 1989

Force a n d Household Cares, bo th on loan to the

M i d d e l h e i m O p e n A i r M u s e u m i n A n t w e r p .

T h e la t ter represen ts a m o m e n t of reflect ion,

w h i l e the fo rmer shows the let t ing go of al l

control . W o u t e r s ' p rogres s ive a t t i tudes a r e

reflected in the re turn to the c l a s s i ca l , b r e a k i n g

w i th pa thos a n d r o m a n t i c i s m . He tries t o c a p

ture na tu re in its o u t w a r d a p p e a r a n c e a n d

concen t ra tes on its v o l u m e in space , the m o v e

ment of this s ingle f igure , a n d the cons t ruc t ion

o f the h u m a n b o d y .

G E O R G E S R O U A U L T

Par i s 1 8 7 1 - 1 9 5 8

Newspaper Vendor, igog

Inv . 2792

P a p e r and w o o d , 50 x 40 cm

L o w e r r igh t : G . R o u a u l t 1 9 0 9

P u r c h a s e d in 1 9 5 3

R I K W O U T E R S

M e c h e l e n 1 8 8 2 - A m s t e r d a m 1 9 1 6

Reverie

Inv . 2056

B r o n z e , 1 9 3 x 50 cm

L o w e r left s i de : R ik Woute r s

Dona t ed by E. Mis t i e r through the in te rmedia ry of

A r t i b u s Pa t r i ae in 1 9 2 7

Modern International Masters

A l t h o u g h they cannot be s u m m e d up unde r a

s ingle h e a d i n g , we cer ta in ly canno t ignore a

series of i m p r e s s i v e n a m e s - ar t is ts of in terna

t ional s ta ture w h o he lped de t e rmine the c h a r a c

ter of the 20th cen tu ry ar t is t ic scene . A n u m b e r

of foreign mas te r s a re represen ted in the

m u s e u m ' s col lec t ion, thanks in p a r t i c u l a r to

p u r c h a s e s s t imu la t ed by the ' F r i e n d s o f M o d e r n

A r t ' , a n d a va r i e ty of dona t ions . L o v i s C o r i n t h

w a s one o f the l eaders o f G e r m a n impress ion

i sm. He pa in ted the express ion i s t i c por t ra i t o f

Georg Brandes, the D a n i s h cri t ic , in 1 9 2 5 , the

y e a r of B r a n d e s ' dea th . The Newspaper Vendor

( 1 9 0 9 ) b y the F r e n c h m a n G e o r g e s R o u a u l t ,

w h o w a s pa r t i cu l a r l y in teres ted in peop le on the

fr inges of society, is fauvis t in cha rac t e r .

A n o t h e r F r e n c h m a n , R a o u l Dufy , execu ted his

w a t e r co lour Anemones w i th br igh t , j oy fu l co lour

ing o f typ ica l fauvis t s u m p t u o u s n e s s . A m e d e o

M o d i g l i a n i , an I t a l i an art is t from a r o u n d the

turn of the cen tu ry , w h o w o r k e d in P a r i s , w a s a

l e ad ing scu lp to r a n d pa in te r . H i s m o n u m e n t a l

Sitting Nude w a s a gift of the g o v e r n m e n t . M a r c

C h a g a l l , m e a n w h i l e , w a s a quie t modern i s t w h o

l ived in a un ive r se all of his o w n . H i s sense of

co lour is ev iden t from At the Window, w h i c h is

d a t e d a r o u n d 1 9 2 7 - 2 8 . L i k e H e n r i M a t i s s e a n d

M a u r i c e D e V l a m i n c k , K e e s v a n D o n g e n w a s

one of the founders of f a u v i s m . He pa in ted Mgr.

G. Messarra, Metropolitan of Beirut w h e n f a u v i s m

h a d a l r e a d y p a s s e d its peak , a n d he ded ica t ed

h imse l f to por t ra i t s of f igures from w o r l d l y a n d

R A O U L D U F Y

Le H a v r e (Fr . ) 1 8 7 7 - Fo rca lqu i e r (Fr . ) 1 9 5 3

Anemones

Inv . 2286

W a t e r colour , 65 x 49 cm

L o w e r left: R a o u l Dufy

P u r c h a s e d in 1 9 3 4

L O V I S C O R I N T H

T a p i a u (Eas t P russ ia ) 1 8 5 8 - Z a n d v o o r t 1 9 2 5

Georg Brandes, 1925

Inv . 2 4 5 2

C a n v a s , 91 x 70 cm

U p p e r left: L o v i s C o r i n t h 4 A p r i l 1 9 2 5

P u r c h a s e d in 1 9 3 9

official c i rc les wi th a cer ta in e lement of l ight-

hea r t ed mocke ry . G e o r g G r o s z ' s Portrait of Wal

ter Mehring w a s p u r c h a s e d at the f amous auc t ion

o f ' D e g e n e r a t e A r t ' in L u c e r n e in 1 9 3 9 . T h i s i s a

fine e x a m p l e of the G e r m a n Neue Sachlichkeit.

T h e m u s e u m has a lso a c q u i r e d three scu lp tures

in different ma te r i a l s by O s s i p Z a d k i n e , one of

the most impor t an t scu lp tors of the 20th cen

tury. T h e ear l ies t of these, The Suffering of Job,

execu ted i n 1 9 1 4 , a n d w h i c h w a s d o n a t e d b y the

art ist himself, is a s ty l i sed , express ion i s t work .

M A R C C H A G A L L

V i t e b s k ( R u . ) 1887 - S a i n t - P a u l - d e - V e n c e 1 9 8 5

At the Window

Inv . 2280

P a p e r and o p a q u e w a t e r colour , 65 x 50 cm

L o w e r r igh t : C h a g a l l M a r c

Dona t ed by the Fr iends o f M o d e r n A r t 1 9 3 2

A M E D E O M O D I G L I A N I

L i v o r n o 1 8 8 4 - Par i s 1 9 2 0

Sitting Nude

Inv . 2060

C a n v a s , 1 1 4 x 7 4 c m

U p p e r r igh t : M o d i g l i a n i

Dona t ed by the G o v e r n m e n t in 1 9 2 7

G E O R G G R O S Z

Ber l in 1 8 9 3 - 1 9 5 9

Portrait of Walter Mehring

Inv . 2 4 5 4

C a n v a s , 90 x 80 cm

P u r c h a s e d in 1 9 3 9

O S S I P Z A D K I N E

Smolensk ( R u . ) 1890 - Neu i l ly - su r -Se ine (Par is ) 1967

The Suffering of Job, 1914

Inv . 2 3 3 8

E l m w o o d , 1 2 3 x 84 cm

Front r igh t : Z a d k i n e 1 9 1 4

Dona t ed by the artist in 1 9 3 6

K E E S V A N D O N G E N

Del f shaven 1 8 7 7 - M o n t e C a r l o 1968

Mgr. Gerassimos Messarra, Metropolitan of Beirut

Inv . 2 3 5 1

C a n v a s , 2 1 8 x 1 2 5 c m

L o w e r r igh t : V a n D o n g e n

P u r c h a s e d in 1 9 3 7

Before ig45

T h e first gene ra t ion of abs t r ac t ar t is ts ac t ive in

B e l g i u m d u r i n g a n d after the Fi rs t W o r l d W a r

i nc luded J o z e f Pee ters , G e o r g e s v a n T o n g e r l o o ,

J u l e s S c h m a l z i g a u g , V i c t o r S e r v r a n c k x a n d J a n

K i e m e n i j . V a n T o n g e r l o o i s not represen ted in

the m u s e u m . J o z e f Peeters w a s A n t w e r p ' s

defender o f the cons t ruc t iv is t idea l , w h i c h w a s

b a s e d u p o n form, g e o m e t r y a n d surface s t ruc

ture. Composition, da t ing from 1 9 2 1 , i s his

pa in t ed manifes to . I t i s b r igh t ly co loured w i th

o v e r l a p p i n g sur faces , wi th m o v e m e n t a n d dis

tance c rea ted by the proper t ies of the colours .

Before Pee te rs w i t h d r e w from the a v a n t - g a r d e

fray in 1 9 2 7 he w a s a founder of the M o d e r n A r t

g r o u p , he o r g a n i s e d conferences a n d exh ib i t ions

a n d con t r ibu ted to m a g a z i n e s . V i c t o r S e r v

r a n c k x a l so h a d to defend abs t r ac t art by m e a n s

of ar t ic les a n d addres ses b e c a u s e of the resis

tance w h i c h i t a roused . T h e two e x t r e m e s of this

p ioneer ing ar t i s t ' s w o r k a re present in the

m u s e u m . H i s pa in t ings a re some t imes w a r m l y

ly r i ca l , w i th a sugges t ion of m o v e m e n t a n d

chaos , a n d somet imes str ict ly cons t ruc t ive wi th

c o m p l e x compos i t ions . H i s resolute m e s s a g e i s

c o n v e y e d by both the geome t r i ca l Opus 20 of

1 9 2 2 , a n d The Domain of the Water, a cosmic w o r k

in w h i c h he uses the s t ruc ture of the b a s e

ma te r i a l , a t r ip lex sheet, to sugges t w a v e m o v e

ment s . L i k e S e r v r a n c k x , w h o w a s a friend a n d

co r re sponden t o f the futurists , J u l e s S c h m a l z i

g a u g w a s a lso pa r t i cu l a r ly a t t rac ted to futurist

ar t . He i s the only B e l g i a n futurist , a n d his w o r k

consis ts p r i m a r i l y o f w a t e r co lours a n d d r a w

ings , wi th a total of on ly thir ty oil pa in t ings .

S e v e n of his w o r k s we re d o n a t e d to the m u s e u m

by the ar t i s t ' s f ami ly , i nc lud ing the r evo lu t iona

ry Impression of a Dance Hall d a t i ng from 1 9 1 4 .

' T h e G e n e r a t i o n of 1 9 0 0 ' , a col lec t ive n a m e

g i v e n to ar t is ts born a r o u n d 1 9 0 0 , can be

b r o a d l y spli t into two t rends . On the one h a n d

there w e r e an imi s t s like A l b e r t V a n D y c k a n d

J o z e f V i n c k , w h o sought th rough a p rocess o f

in te rna l i sa t ion to a c h i e v e an in t imate r ea l i sm ,

wh i l e on the o ther there we re the sur rea l i s t s

P a u l D e l v a u x , R e n e M a g r i t t e a n d E . L . T . M e s -

ens , w h o c rea ted a l ien w o r l d s wi th concre te a n d

fami l i a r de ta i l s . P a u l D e l v a u x pa in t ed his Pink

Snares in an a lmos t f rugal s tyle . T h e thea t r ica l

J O Z E F P E E T E R S

A n t w e r p 1 8 9 5 - i960

Composition, 1921

Inv . 2924

C a n v a s , 1 5 0 x 1 5 0 cm

L o w e r left: J . P . / 2 2 - 1 0 - 2 1 /

P u r c h a s e d in 1 9 6 1

V I C T O R S E R V R A N C K X

D i e g e m 1897 - V i l v o o r d e 1 9 6 5

OpUS 20, IQ22

Inv. 3 1 4 2

C a n v a s , 70 x 45 cm

L o w e r left: 1 9 2 2 S e r v r a n c k x


V I C T O R S E R V R A N C K X

D i e g e m 1897 - V i l v o o r d e 1 9 6 5 The Domain of the Water (Opus 2), 1927 Inv. 3 0 5 9 T r i p l e x , 70 x 45 cm L o w e r left: S e r v r a n c k x 1 9 2 7 Pu rchased in 1968

deco r a n d the a n t i q u e bu i ld ings form a space for

a g r o u p o f naked w o m e n w h o h a v e j u s t s t epped

out of a d r e a m w o r l d . R e n e M a g r i t t e had an

e n o r m o u s inf luence upon the d e v e l o p m e n t of

in te rna t iona l c o n t e m p o r a r y ar t . In 1 9 8 5 , the

m u s e u m p u r c h a s e d the scu lp tu re Madame

Recamier by this m a r v e l o u s t r ans fo rmer of

objec ts , w h o c rea ted su rp r i s ing effects by link

ing hi ther to unconnec ted i tems. H i s w o r k s a r e

not e x p l a i n e d by their poet ic titles. On the

con t r a ry , even g rea t e r m y s t e r y i s a roused

th rough the l inking o f w o r d a n d i m a g e , as in

Vengeance.

R E N E M A G R I T T E

Less ines 1898 - Brusse l s 1 9 6 7

Vengeance

Inv . 2569

W a t e r co lour , 47 x 35 cm

U p p e r r i g h t : Magr i t t e


J U L E S S C H M A L Z I G A U G

A n t w e r p 1 8 8 6 - Delft 1 9 1 7

Impression of a Dance Hall, 1914

Inv . 2 1 0 0 bis

C a n v a s , 53 x 65 cm

L o w e r r igh t : S c h m a l z i g a u g 1 9 1 4

Dona t ed by the ar t is t ' s fami ly , 1 9 2 8

P A U L D E L V A U X

Anthe i t 1897

Pink Snares, ig^y

I n v . 2 8 5 0

C a n v a s , 1 2 1 . 5 x 1 6 0 c m

L o w e r r igh t : P . D e l v a u x 2 -37

P u r c h a s e d .in 1 9 5 7

J A N С О Х

T h e Hagu e 1 9 1 9 - An twe rp 1980

My Father in Coma, igyj

Inv . 3 1 3 1

C a n v a s , 243 x 1 2 7 cm

Rev e r s e : ' M y father i n c o m a ' J a n C o x 1 9 7 3

Pu rcha s ed in 1 974

After ig45

Abs t r a c t art , wh i ch b e g an in B e l g i um before

1 9 2 0 , f lourished after 1 9 4 5 . T h e two ma in

t rends - the geomet r i c w i th Jo De l ah au t , L u c

Pe i r e and G u y V a n d e n b r a n d e n , and the expres-

s ionist ic or more lyr ica l ab s t r ac t o f An to in e

Mor t i e r , Lou i s V a n L in t a nd Eng l ebe r t v a n

Ande r l e ch t - a re represented in the mu s e um ' s

col lect ion.

T h e ar t i s t s ' mov emen t ' J e u n e Pe in tu re Be i g e '

w a s founded in 1 9 4 5 , and wa s j o i n ed by P ie r re

A lech in sky , J a n C o x , Lou i s V a n L i n t a n d

An to ine Mor t i e r , a l though i t d id not g ive b i r th

to a uni form style . J a n C o x , a pa in t e r of

p ic tor ia l ly r i ch por t ra i t s a nd f igures, has been

d u b b e d a c las s ica l modern i s t becau se of his

subjects , wh ich are often colourful, e therea l

f ragments b a s ed upon An t i que and Ch r i s t i a n

c iv i l i sa t ion, together wi th v i s ions and d r e am

image s . L i k e C o x , Lou i s V a n L in t w a s inter-

ested-in the C o b r a movemen t . H i s e xpe r imen t s

led him to the crea t ion of lyr ica l ly ab s t r ac t

canva se s . T h e s t ructure of his Chartres ( 1 9 5 0 ) is

de t e rmined by a powerfu l r h y t hm app l i ed on

LOUIS V A N L I N T

Sint-Joos t- ten-Node 1 9 0 9 - Brusse l s 1980

Chartres, i p jo

Inv . 2707

C a n v a s , 1 5 1 x 106 . 5 c m

Lowe r left: L . V a n L in t 50

Pu rcha s ed in 1950

top o f the co lour l ike ne rvous h a n d w r i t i n g . T h e

ly r i ca l abs t r ac t ion of A n t o i n e M o r t i e r i s more

pas s iona te , a n d i t i s M o r t i e r w h o m a y be

v i e w e d a s B e l g i u m ' s ' ac t ion pa in te r ' . H i s spon

taneous ges tures a re like a re lease , l e av ing

d y n a m i c t races beh ind on the c a n v a s . In 1 9 6 6 ,

r a w a n d emot iona l , he pa in ted The third Pair,

with power fu l s t r ipes , a t rue u n b u r d e n i n g . We

f ind a s imi l a r t endency t o w a r d s e x p r e s s i o n i s m

in the C o b r a m o v e m e n t - an in te rna t iona l

g r o u p i n g o f poets a n d ar t is ts such as K a r e l

A p p e l a n d P ie r re A l e c h i n s k y w h i c h w a s fasci

na ted by the ma te r i a l s , colour , w r i t i n g a n d

i m a g e s i t found in the w o r l d of p r imi t ive

peop les , ch i ld ren a n d the men ta l ly i l l . In his

Flying Man d a t i ng from 1 9 5 8 , K a r e l A p p e l

c o m b i n e d b r igh t co lours a n d r a w , pas s iona te

forms to p r o d u c e a d i s p l a y of ac t ion pa in t ing .

The last Day ( 1 9 6 4 ) is a m o n u m e n t a l oil pa in t ing

w h i c h is v i e w e d as a his tor ic peak in the

evolu t ion o f A l e c h i n s k y ' s C o b r a a d v e n t u r e .

A c c o r d i n g to the art ist , the title of the w o r k

refers to the idea of dea th . In the mids t of

p r e v a i l i n g c h a o s w e d i s c o v e r s t range c rea tu res

in a colourful w h i r l w i n d .

T h e y e a r s 1 9 6 0 - 7 0 s a w a g rea t dea l o f expe r i

menta t ion . T h e a i m o f the in te rna t iona l a v a n t -

g a r d e g r o u p ca l l ed ' Z e r o ' w a s to f ind a s y m b i o

sis be tween na tu re , ar t a n d technology . A ma jo r

exh ib i t ion ent i t led ' Z e r o In t e rna t iona l A n t

w e r p ' w a s m o u n t e d i n the m u s e u m i n 1 9 7 9 ,

w h i c h led to a n u m b e r of p u r c h a s e s . Concetto

Spaziale, w i th its r azo r cuts , by the sp i r i tua l

fa ther o f the Z e r o g r o u p , L u c i o F o n t a n a , w a s

bough t , as w e r e Big Sun a n d the ser ia l Nail

Object by O t t o P iens a n d Gt in the r U e c k e r

r e spec t ive ly , bo th of w h o m be longed to the

G e r m a n core o f the m o v e m e n t . T h e key f i g u r e

a s far a s the Z e r o m o v e m e n t in B e l g i u m w a s

conce rned , w a s J e f V e r h e y e n wi th his m o n o c h

r o m e pa in t ings . P u r e m o n o c h r o m e i s u s e d in his

w o r k to sugges t infinite s p a c e . Variation is one of

his w e l l - k n o w n "ra inbow tint pa in t i ngs ' , from

w h i c h a r ad i an t l ight is conjured . I t w a s

th rough the pe r son o f J e f V e r h e y e n that the

in te rna t iona l ly or iented g r o u p 'G 58 - H e s s e n -

hu i s ' c a m e into contac t wi th the G e r m a n Z e r o

m o v e m e n t . T h e g r o u p p r o v i d e d a n ar t is t ic

mee t ing p l ace in A n t w e r p for demons t r a t i ons

a n d exh ib i t ions , a n d b o a s t e d h o n o r a r y m e m -

K A R E L A P P E L

A m s t e r d a m 1 9 2 1

Firing Man. igj8

Inv . 2897

C a n v a s , 1 4 5 x 1 1 4 c m

L o w e r r igh t : K . A p p e l 5 8

P u r c h a s e d in 1 9 5 9

A N T O I N E M O R T I E R

'S in t -Gi l l i s (Brusse l s ) 1908

The third Pair, ig66

Inv . 3047

C a n v a s , 1 9 5 x 1 4 6 cm

L o w e r r igh t : M o r t i e r 9-66

Pu rchased in 1968

bers like Rene Guiette and J o z e f Peeters, and

members including V i c Gentils, Paul V a n

Hoeydonck and Walter Leblanc. T h e s e artists

experimented with new materials. V i c Gentils

created spatial compositions by combining

wooden materials and objects like frames, drift

wood, furniture legs and hat blocks, which he

scorched with a blow lamp or sandblasted.

These heterogenous objects were combined to

form baroque figures, charged with irony and/

or humour. Homage to Permeke developed into a

pure sculpture, while Sun Explosion is a lively

relief made from piano keys and hammers, and

felt. After setting out with abstract, monoch

rome canvases, Paul V a n Hoeydonck discov

ered an entirely new figuration: his work is

associated with space travel and the planets. He

gives concrete form to the new mythology which

has grown up around journeys of exploration in

space, by means of assembled astronauts, cos

monauts and mutants. His Spacemen are put

together using all kinds of materials, including

little wheels, machine parts and rags, which he

sprays white in order to indicate the infinity of

the universe.

T h e sculptor Roel D'Haese is also inspired by

new materials, and he attaches a great deal of

importance to craftsmanship. T h e large eques

trian statue Song of Evil is his most monumental

and most recent self-cast statue. He began by

fashioning the hind legs, then the body, the

front legs, the head and the rider. It is his

dramatic manifesto, in which he views the worst

enemy of mankind as mankind itself. D'Haese

occupies a leading position in post-war Belgian

sculpture.

L U C I O F O N T A N A

R o s a r i o de S a n t a Fe (Arg . ) 1 8 9 9 - C o m a b b i o (It .)

•969

Concetto Spaziale

Inv . 3 1 9 7

C a n v a s , 92 x 58 cm

P u r c h a s e d in 1 9 8 0

P I E R R E A L E C H I N S K Y

Brusse l s 1 9 2 7

The last Day

Inv . 3 0 3 9

C a n v a s , 3 3 0 x 500 cm

L o w e r r igh t : A lech in sky

Pu rchased in 1968

O T T O P I E N E

L a a s p l u (Ger . ) 1 9 2 8

Big Sun, ig6j

Inv . 3 1 9 6

C a n v a s , 200 x 200 cm

On r eve r se : P iene 65

Pu rchased in 1980

G U N T H E R U E C K E R

W e n d s d o r f (Ger . ) 1 9 3 0

Nail Object

Inv . 3 2 0 2

Pane l , 1 5 0 x 1 5 0 cm

P u r c h a s e d in 1 9 8 1

J E F V E R H E Y E N

I zegem 1 9 3 2 -

Sa in t -Sa tu rn in D ' A p t 1 9 8 4

Variation

Inv. 3 0 6 3

C a n v a s , 1 3 0 . 5 x 1 3 0 . 5 cm

Purchased in 1968

V I C G E N T I L S

I l f r acombe ( E n g . ) 1 9 1 9

Homage to Permeke

Inv . 3 0 7 0

W o o d , 75 x 60 cm

R e v e r s e : H o m m a g e a Pe rmeke 1964 V i c Gen t i l s

L o a n e d by the Min i s t ry of the F lemish C o m m u n i t y

P A U L V A N H O E Y D O N C K

A n t w e r p 1 9 2 5

Spaceman, ig6y

Inv . 3 0 4 5

M i x e d med ia , 2 1 1 x 1 1 2 c m

R e v e r s e r igh t : P . V . H o e y d o n c k oct. 67

Pu rchased in 1968

R O E L D ' H A E S E

Ger a a r d s b e r g en 1 9 2 1 •

The Song of Evil, 1Ф4

Inv . 3038

Bronze , 227 x 87 cm

Side r i gh t : Roe l D 'Ha e s e 1964

Purcha sed in 1968

the royal museum of fine arts anversa

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