the royal museum of fine arts
TRANSCRIPT
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
V a n Er tbo rn beques t , 1 8 4 1
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
V a n E r t b o r n beques t , 1 8 4 1
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
V a n Er tbo rn bequest , 1 8 4 1
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.
V a n Er tbo rn bequest , 1 8 4 1
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 .
V a n E r t b o r n beques t , 1 8 4 1
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
V a n E r t b o r n beques t , 1 8 4 1
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 .
V a n Er tbo rn bequest , 1 8 4 1
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
V a n Er tbo rn beques t , 1 8 4 1
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
V a n Er tbo rn bequest , 1 8 4 1
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
V a n Er tbo rn bequest , 1 8 4 1
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
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 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
Purchased in 1 8 9 4
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
Venus Frigida
Inv . 709
Panel , 1 4 2 x 1 8 4 cm
Purchased in 1888
On the next p a g e s :
P E T E R P A U L R U B E N 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
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 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
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
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
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 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
F r o m the F r a n c i s c a n church in A n t w e r p
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
Purchased in 1 9 0 5
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
A n t w e r p 1 6 1 0 - Brusse l s 1690
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
Pu rchased in 1 8 9 2
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
Pu rchased in 1 8 9 9
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
P u r c h a s e d in 1947
H E N R I D E B R A E K E L E E R
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 .
H E N R I D E B R A E K E L E E R
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
H E N R I D E B R A E K E L E E R
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
A n t w e r p 1 8 5 2 - Brusse l s 1908
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
Pu rchased in 1 9 5 2
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
P u r c h a s e d in 1988
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
Purchased in 1 9 8 7
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
Purchased in 1 9 4 2
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
Purchased in 1 9 2 3
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
Pu rchased in 1 9 7 5
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
Pu rchased in 1 9 3 9
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