MUSEA NOSTRA

THE R O Y A L M U S E U M
OF FINE A R T S
ANTWERP

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

T h e History of the R o y a l M u s e u m in A n t w e r p 7

T h e 15th Century 11
M e d i e v a l painting o f the O l d N e t h e r l a n d s 11
F o r e i g n m e d i e v a l art 22

T h e 16th C e n t u r y 27

T h e 17th Century 43
T h e g r a n d m a s t e r s o f the F l e m i s h B a r o q u e : R u b e n s , J o r d a e n s a n d 43
V a n Dyck
F l e m i s h f i g u r e painters 53
L a n d s c a p e , still-life a n d a n i m a l s 57
Sculptures 62
1 7 t h C e n t u r y in H o l l a n d 65

F l e m i s h P a i n t i n g in the 18th C e n t u r y 73

T h e 19th C e n t u r y 77

20th C e n t u r y 99
Symbolism and Expressionism 99
Rik Wouters 110
Modern International Masters 113
Before 1 9 4 5 116
After 1 9 4 5 120
The History of the Royal Museum in Antwerp
T h e e a r l i e s t n u c l e u s o f the c o l l e c t i o n h a s its
o r i g i n s w i t h the A n t w e r p G u i l d o f S a i n t L u k e t o
w h i c h the c i t y ' s a r t i s t s b e l o n g e d b e t w e e n 1 3 8 2
and 1 7 7 3 . T h e guild's gallery or 'konstkamer'
w a s u s e d for b o t h m e e t i n g s a n d festive o c c a -
s i o n s , a n d for d i s p l a y i n g the g u i l d ' s t r e a s u r e s .
I n 1 6 6 3 , a t the b e h e s t o f D a v i d T e n i e r s , a n
a c a d e m y w a s f o u n d e d u n d e r the g u i l d ' s a u s -
p i c e s . W h e n the g u i l d s w e r e f i n a l l y d i s b a n d e d
i n 1 7 7 3 , the A c a d e m y o f F i n e A r t s took p o s s e s -
sion o f the a f o r e m e n t i o n e d g a l l e r y , w h i c h
i n c l u d e d w o r k s like 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 p a i n t i n g s 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 o f o t h e r w o r k s . P a r a d o x i c a l l y , the
n e x t s t a g e i n the m u s e u m ' s d e v e l o p m e n t w a s
b r o u g h t a b o u t b y the c o n f i s c a t i o n o f p a i n t i n g s
from A n t w e r p ' s c h u r c h e s , m o n a s t e r i e s a n d o n e
o r t w o p u b l i c b u i l d i n g s d u r i n g the F r e n c h
occupations of 1 7 9 4 and 1796. According to an
official r e p o r t , 7 0 p a i n t i n g s , i n c l u d i n g 3 0 w e l l -
k n o w n w o r k s b y R u b e n s , w e r e stolen from
A n t w e r p a l o n e . F o r t y o f the s t o l e n w o r k s w e r e
eventually returned in 1 8 1 5 , 26 of which found
t h e i r 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 n c l u d e d Christ on the Straw, The Lance ( C h r i s t
C r u c i f i e d b e t w e e n the t w o T h i e v e s ) , The Adora-
tion of the Magi, The Incredulity of Thomas a n d The
Education of Mary, all by R u b e n s . T h e s e w o r k s
f o r m o n e o f the c e n t r e s o f g r a v i t y o f the A n t w e r p
m u s e u m ' s collection, which had been m o v e d in
the m e a n t i m e , t o g e t h e r w i t h the A c a d e m y , t o
the b u i l d i n g s o f the f o r m e r 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 catalogue of 1 8 1 7 already included 1 2 7
i t e m s , o n e 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, p a i n t e d in 1 5 1 0
for the c a t h e d r a l , w h i c h m a n a g e d t o e s c a p e the
I c o n o c l a s m o f 1 5 6 6 . I t i s e v i d e n t , therefore, t h a t
i n the e a r l y y e a r s o f its e x i s t e n c e , the m u s e u m ' s
c o l l e c t i o n w a s l i m i t e d , b u t o f the h i g h e s t q u a l i -
ty. I t d a t e d p r i m a r i l y f r o m the s e c o n d h a l f o f the
1 6 t h c e n t u r y a n d from the 1 7 t h c e n t u r y , w i t h
R u b e n s a s its c r o w n i n g g l o r y .
D u r i n g the p e r i o d o f D u t c h r u l e , 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
n o t e w o r t h y p a i n t i n g s t o the m u s e u m . I n 1 8 2 3
h e g a v e T i t i a n ' s f a m o u s y o u t h f u l w o r k , Pope
Alexander IV presents Jacopo Pesaro to Saint Peter.
T h i s p a i n t i n g w a s the first w o r k b y a f o r e i g n
a r t i s t to j o i n the c o l l e c t i o n . Panorama of Valen-
ciennes, a r e m e m b r a n c e of the b a t t l e 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 b y D a v i d
T e n i e r s the Y o u n g e r , w a s a l s o d o n a t e d i n 1 8 2 3 .
I n 1 8 2 9 , W i l l e m I p r e s e n t e d the m u s e u m w i t h
its f i r s t w o r k b y a l i v i n g a r t i s 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 p a i n t i n g i n q u e s t i o n w a s The
Death of Rubens. By R o y a l D e c r e e of 2 5 t h M a r c h
1 8 2 7 , W i l l e m I also g r a n t e d a subsidy of 20 000
g u i l d e r s for the p u r c h a s e o f c o n t e m p o r a r y art-
w o r k s f r o m the s a l o n s o f A m s t e r d a m , A n t w e r p ,
Ghent and Brussels. T h e revolution of 1 8 3 0 ,
and B e l g i u m ' s subsequent independence, how-
e v e r , m e a n t that A n t w e r p w a s not a b l e t o
benefit f r o m this. I t w a s not until 1 8 7 3 t h a t the
m u s e u m b e g a n to b u y w o r k s by living artists.
T h e r a t h e r l i m i t e d c o m p o s i t i o n o f the m u s e u m ' s
collection continued until 1 8 4 0 w h e n 1 4 1 w o r k s
were bequeathed to it by Florent v a n Ertborn,
f o r m e r m a y o r o f A n t w e r p . A s a p a t r o n o f the
arts, he h a d built up a collection of 1 5 t h century
p a i n t i n g s w i t h f l a w l e s s taste a t a t i m e 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 i m i t i v e s w a s
extremely low. T h e Flemish Primitive works
w h i c h h e d o n a t e d h a v e h e l p e d a s s u r e the
m u s e u m ' s reputation. T h e y include J a n van
E y c k ' s Saint Barbara a n d Madonna at the Fountain,
R o g i e r v a n d e r W e y d e n ' s Portrait of Philips de
Croy a n d The Seven Sacraments t r i p t y c h , D i r k
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 l a t e r F l e m i s h
a r t i s t s i n c l u d e d Flight into Egypt by J o a c h i m
P a t i n 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 l s o b e q u e a t h e d a n u m b e r
of w o r k s by important foreign masters, such as
J e a n F o u q u e t ' s Madonna, Simone Martini's
b e a u t i f u l s e r i e s of p a n e l s d e p i c t i n g The Annuncia-
tion a n d The Crucifixion, A n t o n e 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,
a l l o f w h i c h h a v e h e l p e d e n s u r e the i n t e r n a t i o n -
a l f a m e o f the A n t w e r p c o l l e c t i o n s .
A large n u m b e r of works, including contempo-
rary items, primarily of national importance,
w e r e a d d e d t o the m u s e u m ' s c o l l e c t i o n d u r i n g
the c o u r s e o f the 1 9 t h c e n t u r y . A R o y a l D e c r e e
i n 1 8 5 2 l e d t o the f o u n d a t i o n o n 5 t h 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 a n t e d t o a r t i s t s a s a n h o n o r a r y title
in recognition of their contribution to B e l g i a n
a r 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 , artists
w e r e e x p e c t e d to d o n a t e a s e l f - p o r t r a i 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 q u a l i t y
o f these a c q u i s i t i o n s w a s not u n i f o r m l y h i g h , the
A c a d e m i c C o r p s a n d its c o l l e c t i o n n e v e r t h e l e s s
r e p r e s e n t e d a first s t e p t o w a r d s the f o u n d a t i o n
of a separate ' m o d e r n ' m u s e u m . It w a s only in
1 8 7 3 that a genuine p u r c h a s i n g committee w a s
set u p , w i t h , a s its f i r s t a c t i o n , the a c q u i s i t i o n o f
a n ' o l d - f a s h i o n e d ' p a i n t i n g b y the e s t a b l i s h e d
a r t i s 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 e x i s t e n c e , the c o m m i t t e e c o n t i n u e d t o f a v o u r
the w o r k o f t r a d i t i o n a l a n d l o c a l a r t i s t s .
I n the m e a n t i m e , the e x a m p l e set b y V a n
E r t b o r n h a d b e e n f o l l o w e d . I n 1 8 5 9 , the
Douairiere Adelaide V a n den H e c k e - B a u t de
R a s m o n left 4 1 w o r k s o f a r t t o the m u s e u m . H e r
b e q u e s t c o n s i s t e d p r i m a r i l y o f the w o r k o f 1 7 t h
century Flemish and Dutch masters, including
Portrait of a Boy, by E r a s m u s Q u e l l i n , a n d w o r k s
by J a n Fyt, Salomon and J a c o b van Ruisdael,
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 Ostade and others. T h e founda-
tion o f the s o c i e t y A r t i b u s P a t r i a e o n 2 7 t h 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 d o n a t i o n s a n d
b e q u e s t s o f p r i v a t e c o l l e c t o r s . T h e a i m o f the
s o c i e t y w a s to e n r i c h the c o l l e c t i o n of the
A n t w e r p m u s e u m by means of acquisitions -
m a d e u s i n g the a n n u a l c o n t r i b u t i o n s o f its
members - and by encouraging donations. T h e
s o c i e t y f u n c t i o n e d 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 i m e i t w a s r e s p o n s i b l e for the
a d d i t i o n o f 6 2 w o r k s t o the c o l l e c t i o n , i n c l u d i n g
contemporary, 19th century and older items.
E x a m p l e s are J o a c h i m Beuckelaer, Cornelis de
V o s , Marinus van Reymerswael, J a n Wildens,
the M a s t e r o f the S a i n t M a g d a l e n e L e g e n d ,
Roelant Savery, Henri L e y s , Henri De Braekel-
eer, R i k W o u t e r s , G e o r g e M i n n e , Pericles P a n -
tazis a n d C h a r l e s M e r t e n s . A s a c o n s e q u e n c e o f
these a c q u i s i t i o n s there s i m p l y w a s not e n o u g h
s p a c e t o a c c o m m o d a t e the c o l l e c t i o n a s a w h o l e ,
d e s p i t e the e x t e n s i o n a n d a l t e r a t i o n o f the
A c a d e m y ' s buildings on a n u m b e r of occasions,
including Pierre B o u r l a ' s addition of a m o n u -
mental staircase, a classical facade and a gate-
h o u s e w h i c h f u n c t i o n e d a s the e n t r a n c e t o the
museum.
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
p u t at s e r i o u s risk as a r e s u l 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 a u t h o r i t i e s
b e g a n to c o n s i d e r s e r i o u s l y the n e e d to find a
n e w h o m e for the f a m o u s c o l l e c t i o n s .
O n 2 n d D e c e m b e r 1 8 7 5 , after two y e a r s o f
n e g o t i a t i o n s a n d d i s c u s s i o n s , the C i t y C o u n c i l
d e c i d e d u p o n the site f o r m e r l y o c c u p i e d b y the
Z u i d e r k a s t e e l , the S p a n i s h s t r o n g h o l d c o n -
s t r u c t e d i n 1 5 6 7 b y the D u k e o f A l v a . T h e
c l e a r a n c e o f the site y i e l d e d s o m e 1 0 0 h e c t a r e s
for the c o n s t r u c t i o n of a n e w m u n i c i p a l d i s t r i c t
and harbour installation. T h e construction
c o m p a n y Societe A n o n y m e du S u d d ' A n v e r s
s u b m i t t e d a n u m b e r of p l a n s to the m u n i c i p a l
authorities before final a p p r o v a l w a s granted on
1 8 t h S e p t e m b e r 1 8 7 5 . T h i s p l a n f e a t u r e d the
m u s e u m a s its g e o m e t r i c c e n t r e , s u r r o u n d e d b y
s q u a r e s , streets a n d p a r k s . 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 c o m p e t i -
tion a m o n g s t B e l g i a n a r c h i t e c t s for the d e s i g n o f
a new m u s e u m . T h e first prize w a s a w a r d e d to
the d e s i g n s u b m i t t e d 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 l d ) a n d a m b i -
tious a r c h i t e c t , w h o h a d p r e v i o u s l y w o n a n
official c o m p e t i t i o n for the d e s i g n of the S c h e l d t
M o n u m e n t w h i c h s t a n d s i n the p r e s e n t M a r n i x -
p l e i n . W i n d e r s w a s not, h o w e v e r , the o n l y
w i n n e r : six e n t r a n t s w e r e c h o s e n , b u t the m a i n
p r o b l e m w a s that they a l l e x c e e d e d the specifi-
cation of two million francs. T h e matter drag-
g e d o n f u r t h e r , until a n o t h e r c o m p e t i t i o n w a s
a n n o u n c e d i n 1 8 7 9 , w h i c h w a s l i m i t e d t o the s i x
former f i r s t prize winners. J . J . Winders w o n
o n c e a g a i n , w i t h the e v e n y o u n g e r F r a n s V a n
Dijck ( 1 8 5 3 - 1 9 3 9 ) in second place. Both designs
w e r e a d o p t e d , o n c o n d i t i o n t h a t the t w o a r c h i -
tects c o m b i n e d t h e m to p r o d u c e a s i n g l e p l a n .
T h e c o m b i n a t i o n o f w h a t for the t i m e w a s a n
u l t r a - m o d e r n p r o g r a m m e , w i t h the p r e s t i g i o u s
f a c a d e s a n d s t r u c t u r e s o f the a p p r o v e d p l a n
m e a n t t h a t n o t h i n g else c o u l d s t a n d i n the w a y
o f c o n s t r u c t i o n , a n d w o r k o n the n e w i n s t i t u t i o n
began in September 1884. T h e ceremonial inau-
g u r a t i o n o f the m u s e u m i n the s o u t h o f the city
on iith August 1890, with processions,
speeches, banquets and a large-scale celebra-
tion m a r k e d the e n d o f a difficult 1 7 y e a r s . T h e
m u s e u m f e a t u r e s a c o m b i n a t i o n o f the n e o -
classical and neo-gothic styles, a n d is an
e x a m p l e of contemporary temple architecture.
F r o m the t e c h n i c a l p o i n t o f v i e w , i t i s b a s e d
u p o n the g r e a t n e w 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 .
I n 1 9 2 7 the m u s e u m p a s s e d into the o w n e r s h i p
o f the n a t i o n . I n a d d i t i o n t o A r t i b u s P a t r i a e ,
t w o o t h e r p r i m a r y b e n e f a c t o r s o f the f i r s t h a l f o f
the c e n t u r y s h o u l d b e m e n t i o n e d . 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 ' s o c i e t y w h i c h w a s
f o u n d e d i n 1 9 2 7 , a n d w h i c h d e v e l o p e d into a
s m a l l g r o u p o f a r t - l o v e r s s u r r o u n d i n g the b r o t h -
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
s e c o n d s o u r c e o f s u p p o r t w a s p r o v i d e d b y the
b r o t h e r s t h e m s e l v e s . O v e r the c o u r s e o f a h a l f
c e n t u r y , the ' F r i e n d s o f M o d e r n A r t ' d o n a t e d
4 2 w o r k s o f a r t , b e g i n n i n g i n 1 9 2 1 , before they
h a d b e c o m e a n official s o c i e t y , w i t h e i g h t
E n s o r s , i n c l u d i n g Afternoon in Ostend, The Intrigue
a n d Masks fighting over a Hanged Man. T h e
F r a n c k f a m i l y itself ( 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 b y
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.
Although donations and bequests have dropped
off s h a r p l y d u r i n g the l a s t few d e c a d e s , the
m u s e u m recently c a m e into possession of a
m a r v e l o u s collection. In 1989 L u d o van
B o g a e r t - S h e i d b e q u e a t h e d n o less t h a n 6 9 art-
works, including 58 paintings, drawings, water-
colours and sculptures by Rik Wouters.
T h e collection as a whole now n u m b e r s more
t h a n 7 2 0 0 w o r k s of a r t , c o n s i s t i n g of 3 2 0 0
paintings, 3 600 d r a w i n g s a n d prints, and 400
sculptures.
The 15th Century

Medieval painting o f the a r t i s t a n d the d a t e o f e x e c u t i o n , n a m e l y

of the Old Netherlands
T h e earliest p r e - E y c k i a n panel w h i c h survives
in the N e t h e r l a n d s , The Calvary of Hendrik van
Rijn, w a s p a i n t e d b y a n 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 t o the L a t i n i n s c r i p t i o n a t
the b o t t o m , the d o n o r , s h o w n k n e e l i n g a n d i n
profile, i s H e n d r i k v a n R i j n . H e i s s i g n i f i c a n t l y
s m a l l e r t h a n the s a i n t s w h o s u r r o u n d h i m :
C h r i s t o n the c r o s s , 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 S a i n t J o h n ' s
church in Utrecht, to commemorate V a n Rijn,
w h o w a s provost a n d a r c h d e a c o n . T h e relief
d e c o r a t i o n i n the b a c k g r o u n d i s p a r t i c u l a r l y
i n t e r e s t i n g , c o n s i s t i n g a s i t d o e s o f g i l d e d tiles
w i t h a lion motif, a n d refers to the r e a l i t y of
heaven.
F l e m i s h p a i n t e r s o f the 1 5 t h c e n t u r y a r e
k n o w n a s 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 t e r m is a p p l i e d to a v a r i e t y of a r t w o r k s a n d
artists, there are several striking similarities.
T h e n e w v i s i o n w h i c h these a r t i s t s b r o u g h t t o
b e a r u p o n the r e p r e s e n t a t i o n o f the h u m a n
f i g u r e i s o n e n o t e w o r t h y a s p e c t , w h i l e the fresh
interest i n s p a c e a n d n a t u r e i s a n o t h e r . T h e u s e
of oil paints is an i n n o v a t i v e technique w h i c h
has been traditionally ascribed to them. T h e i r
religious subjects are situated in minutely
observed and executed natural or architectural
l o c a t i o n s . T h e b a c k g r o u n d o f the p a i n t i n g i s
o p e n e d u p , in o r d e r to p r o v i d e a c o n s t r u c t i o n
w h i c h w i l l h e i g h t e n the s e n s e o f s p a c e .
T h e l o v e o f f i n e r y w h i c h c h a r a c t e r i s e d the
c o u r t o f P h i l i p the G o o d , D u k e o f B u r g u n d y ,
a n d the f l o u r i s h i n g t r a d e o f the L o w C o u n t r i e s
1 4 3 7 . V a n E y c k depicts Saint B a r b a r a with her
p r a y e r - b o o k a n d p a l m , seated before a late-
g o t h i c t o w e r w h i c h i s i n the p r o c e s s o f c o n s t r u c -
tion. T h e Madonna at the Fountain p a n e l is e v e n
smaller in format, and is also signed and dated
on a m a r b l e d frame. T h e attention w h i c h V a n
E y c k f o c u s e d u p o n the t e n d e r e m b r a c e o f m o t h -
er and child is characteristic of late-medieval
d e v o t i o n . T h e a r t i s t d e p i c 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 t h e r s y m b o l s o f the V i r g i n s u c h a s
the f o u n t a i n , the r o s e a n d the iris. A n g e l s h o l d
u p a g o r g e o u s b r o c a d e cloth b e h i n d the m o t h e r
a n d child as a s y m b o l of honour. T h e s y m b o l -
i s m o f the c o l o u r s u s e d i n the p a i n t i n g s e r v e t o
h e i g h t e n its s p i r i t u a l m e s s a g e .
W e see a s i m i l a r a c u t e n e s s o f o b s e r v a t i o n i n
R o g i e r v a n d e 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 t a k e s p l a c e i n the i n t e r i o r
of a* light, spacious church, w h o s e carefully
e x e c u t e d d e t a i l s i m m e d i a t e l y c a t c h the v i e w e r ' s
eye. T h e seven s a c r a m e n t s are presented
a r o u n d the c e n t r a l c r u c i f i x i o n g r o u p a c c o m p a -
nied by an angel with a banderole. T h e import-
a n c e of the a c t i o n in the c e n t r a l p a n e l is
e m p h a s i s e d b y the size o f the d e p i c t e d p e r s o n -
a g e s c o m p a r e d to the figures in the s i d e p a n e l s .
T h e e m o t i o n o f the c e n t r a l c h a r a c t e r s - S a i n t
J o h n a n d the three M a r y s - w h o a r e o v e r c o m e
<
H A N S MEMLING
Christ among Angels singing and playing instruments
detail
A N O N Y M O U S U T R E C H T (?) M A S T E R , C a . 1363

h e l p e d s p r e a d the f a m e o f the F l e m i s h P r i m i - Calvary of Hendrik van Rijn, 1363

Inv. 5 1 9
t i v e s . T h e n u m e r o u s a n d v a r i e d w o r k s i n this
P a n e l , 1 3 3 x 1 3 0 c m (with f r a m e : 1 5 0 x 1 4 6 c m )
collection provide us with an excellent o v e r v i e w
of t h e i r a r t .
J a n v a n E y c k i s g e n e r a l l y v i e w e d a s the
l e a d i n g a r t i s t i c f i g u r e o f the 1 5 t h c e n t u r y
Netherlands. He w a s interested in Antiquity,
had good geographical knowledge, was well-
versed in literature a n d possessed great techni-
cal i n g e n u i t y . T h e m u s e u m p o s s e s s e s t w o o f his
works, which are small in format but high in
q u a l i t y : Saint Barbara a n d Madonna at the Foun-
tain. Saint Barbara is s u r p r i s i n g b e c a u s e of its
g r a p h i c a l q u a l i t i e s a n d its u n u s u a l t e c h n i q u e ,
a n d the fact that it is not an o r d i n a r y p a i n t i n g .
N u m e r o u s e x p e r t s h a v e tried t o d e t e r m i n e
w h e t h e r it is in fact an u n f i n i s h e d p a i n t i n g , a
grisaille, or a finished d r a w i n g . T h e d r a w i n g is
e x e c u t e d on a s m o o t h , y e l l o w - b r o w n tinted
g r o u n d w i t h a s t y l u s , a n d is finished off w i t h a
fine paintbrush. T h e work has a m a r b l e d frame
b e a r i n g a n i n s c r i p t i o n w h i c h tells u s the n a m e
JAN VAN EYCK

M a a s e i k ? ca. 1 3 9 0 - Bruges 1 4 4 1
Saint Barbara, 1437
Inv. 4 1 0
Panel, 31 x 18 cm
O n the f r a m e : I O H ( A N N ) E S D E EYCK ME FECIT. 1437
V a n Ertborn bequest, 1 8 4 1
JAN VAN EYCK

M a a s e i k ? ca. 1 3 9 0 - Bruges 1 4 4 1
Madonna and Child at the Fountain, I4jg
Inv. 4 1 1
Panel, 19 x 1 2 . 5 cm
A t the b o t t o m o f the f r a m e : A L S I C H C A N , a n d :
JOH(ANN)ES DE EYCK ME FECIT + (COM)PLEVIT ANO 1439°.
V a n Ertborn bequest, 1 8 4 1
ROGIER VAN DER WEYDEN AND ASSISTANTS
T o u r n a i ca. 1 3 9 9 - Brussels 1464
Altar of the Sacraments
Inv. 393-394-395
Panel, w i n g s 1 1 9 x 63 c m ; central panel 200 x 97 cm
V a n Ertborn bequest, 1 8 4 1
w i t h grief, i s a c h a r a c t e r i s t i c f e a t u r e o f V a n d e r
W e y d e n ' s a r t . I t i s t h o u g h t t h a t the t r i p t y c h
w a s c o m m i s s i o n e d i n 1 4 4 1 b y 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 h i s
private chapel. V a n der W e y d e n portrays him
on the left of the p a i n t i n g , as the b i s h o p a d m i n -
istering Confirmation.
R o g i e r v a n der 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 i n B r u s s e l s a s official m u n i c i -
p a l p a i n t e r . H e i s the f i r s t g r e a t a r t i s t after J a n
v a n E y c k , b u t u n l i k e his p r e d e c e s s o r h i s s t a n d -
i n g a l l o w e d h i m to o p e r a t e a w o r k s h o p w i t h a
large number of assistants. Whereas V a n der
W e y d e n w a s p r o b a b l y helped b y his assistants
d u r i n g the e x e c u t i o n of the Altar of the Sacrament,
his Portrait of Philippe de Croy is v i e w e d as b e i n g
e n t i r e l y f r o m his o w n h a n d . H e w a s a t a l e n t e d
p a i n t e r o f p o r t r a i t s , w h o l o o k e d b e y o n d the
incidental details of his subjects. P h i l i p p e de
C r o y , w h o belonged to a prominent noble fami-
ly, had been G o v e r n o r of H a i n a u l t since 1 4 5 6 .
V a n der 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 i o u s m a n . T h e fact that h e i s d e p i c t e d a t
p r a y e r s u p p o r t s the n o t i o n t h a t this m a l e p o r -
trait o r i g i n a l l y f o r m e d the r i g h t - h a n d p a r t of a
diptych.
T h e Annunciation a t t r i b u t e d to a f o l l o w e r of
R o g i e r v a n d e r W e y d e n i s e n t i r e l y i n the s p i r i t
o f the m a s t e r . I n a c c o r d a n c e w i t h m e d i e v a l
c u s t o m , the a n g e l a p p r o a c h e s M a r y i n the
b e d r o o m of a townhouse. T h e room contains a
red bed with a large canopy. T h e j u g w h i c h
h o l d s a n u m b e r of lily s t e m s is a s y m b o l of
M a r y ' s virginity.
Rogier's grandson, Goossen van der Weyden,
who w a s born in Brussels around 1 4 6 5 , w a s also
a p a i n t e r w h o r a n a l a r g e s t u d i o . T h e bill for the
Triptych of Abbot Antonius Tsgrooten p a i n t e d in
1 5 0 7 still s u r v i v e s , s o that w e c a n b e s u r e that i t
i s the w o r k o f G o o s s e n v a n d e r W e y d e n . T h e
a b b o t p r o b a b l y c o m m i s s i o n e d this little trip-
tych for his p r i v a t e q u a r t e r s . H e i s s h o w n
k n e e l i n g o n the r i g h t - h a n d p a n e l , i n the p r e s -
e n c e o f the V i r g i n M a r y . T h e c e n t r a l p a n e l
depicts Christ as intermediary and M a n of
S o r r o w s , s u r r o u n d e d b y the i n s t r u m e n t s o f his
Passion.
S o m e d o u b t p e r s i s t s a s t o the a u t h o r s h i p o f
the s m a l l p a i n t i n g e n t i t l e d Mary and the Infant ROGIER VAN DER WEYDEN

T o u r n a i ca. 1 3 9 9 - Brussels
Jesus. It h a s b e e n identified as o r i g i n a t i n g from
1464
the c i r c l e s u r r o u n d i n g D i r k B o u t s , o f w h o s e
Philippe de Croy
o r i g i n s w e k n o w little w i t h a n y c e r t a i n t y . H e Inv. 254
p r o b a b l y c a m e f r o m H a a r l e m , a n d l e a r n e d his P a n e l . 49 x 30 cm
a r t i s t ' s t r a d e i n the S o u t h e r n N e t h e r l a n d s U p p e r left c o r n e r , m o n o -
where he w a s strongly influenced by R o g i e r v a n g r a m : s e ( m ) p . O n ihe re-
verse, upper part: (Phil)ippe
der W e y d e n . He received major commissions
de C r o y ; lower pari:
from the c i v i l a n d e c c l e s i a s t i c a l a u t h o r i t i e s i n
(Seigne)ur de S e m p y . with
L o u v a i n . T h e panel in question w a s intended to the b l a z o n of P h i l i p p e de
m o v e the v i e w e r t o reflection. M a r y , the m o s t C r o y between.
v i r t u o u s o f a l l w o m e n , i s p o r t r a y e d h e r e a s the V a n Ertborn bequest. 1 8 4 1 .
i n c a r n a t i o n o f the c o n t e m p o r a r y i d e a l o f b e a u -
ty, w i t h h e r l o n g , p a l e face a n d the r a i s e d
FOLLOWER OF ROGIER VAN DER WEYDEN
hair-line.
Annunciation
Although H a n s M e m l i n g will forever be asso- Inv. 396
ciated with Bruges, he w a s actually born in P a n e l , 20 x 12 cm
S e l i g e n s t a d t i n G e r m a n y . F r o m 1 4 6 5 until his V a n Ertborn bequest, 1 8 4 1 .
death in 1 4 9 4 he w o r k e d as a painter in B r u g e s ,
w h e r e h e r e c e i v e d c o m m i s s i o n s from w e a l t h y
citizens a n d f o r e i g n m e r c h a n t s . I t w a s a c o m -
m i s s i o n o f this t y p e , p r o b a b l y from a n I t a l i a n
p a t r o n , w h i c h c a u s e d h i m t o p a i n t the s o b e r
Portrait of a Man. A l t h o u g h m a n y h y p o t h e s e s
h a v e b e e n p r e s e n t e d , it is not p o s s i b l e to m a k e a
m e a n i n g f u l i d e n t i f i c a t i o n o f the s u b j e c t . T h e
a p p e a r a n c e a n d c l o t h i n g o f the p o r t r a y e d m a n
s u g g e s t that he is a S o u t h e r n E u r o p e a n , m o s t
likely a n I t a l i a n . H e i s d e p i c t e d w i t h a c o i n from
the r e i g n o f the E m p e r o r N e r o i n his h a n d ,
before a l a n d s c a p e c o n t a i n i n g s w a n s a n d p a l m
trees. M e m l i n g w a s h e a v i l y i n f l u e n c e d i n i t i a l l y
b y R o g i e r v a n d e r W e y d e n , b u t i n the c a s e o f
this o u t s t a n d i n g p o r t r a i t d a t i n g f r o m a r o u n d
1 4 7 8 , it is the i n f l u e n c e of the Q u a t t r o c e n t o
w h i c h w e feel m o s t s t r o n g l y . A p a r t from this
w o r l d l y p o r t r a i t , the m u s e u m a l s o p o s s e s s e s
fragments of a religious polyptych by M e m l i n g ,
Christ among Angels singing and playing Instruments.
T h e carefully ordered and simple composition
d e p i c t s 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
H i s b l e s s i n g , w i t h three s i n g i n g a n g e l s o n e i t h e r
side. T h e two other panels contain five angels
playing musical instruments: psaltery, tromba
m a r i n a , lute, trumpet a n d oboe (left-hand pan-
el), bassoon, trumpet, portative organ, harp
and viol (right-hand panel). H e a v e n is sug-
g e s t e d b y the g l o w i n g c l o u d s w h i c h r u n from
the left a c r o s s to the r i g h t - h a n d p a n e l . T h e s e
GOOSSEN VAN DER W E Y D E N

B r u s s e 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 to 5 0 9 1 / 5
Panel, central panel 3 3 . 7 x 2 5 . 2 c m : side panels
34 x i i cm
Purchased in 1966
FOLLOWER OF DIRK BOUTS

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
I n v . 28
Panel, 29.5 x 20.5 cm
V a n Ertborn bequest, 1 8 4 1

HANS MEMLING

Seligenstadt ( G e r m a n y ) ca. 1 4 3 3 - Bruges 1494

Portrait of a Man
Inv. 5
P a r c h m e n t on w o o d , 29 x 22 cm
O n the c o i n : N E R O C L A U D . C A E S A R AVG. GERM TR. P.

IMPER.

V a n Ertborn bequest, 1 8 4 1

HANS MEMLING

Seligenstadt ( G e r m a n y ) ca. 1 4 3 3 - Bruges 1494

Christ among Angels singing and playing instruments
Inv. 778-779-780
P a n e l , c e n t r a l p a n e l 1 6 4 x 2 1 2 c m ; side p a n e l s , e a c h
1 6 5 x 230 cm
Purchased in 1895
G E R A R D DAVID

O u d e w a t e r ca. 1460 - Bruges 1 5 2 3

Mary, Saint John and three Women
Pilate and the Jews at Golgotha
Inv. 179 and 180 p a n e l s a r e f r a g m e n t s o f a p o l y p t y c h , n o w larg­
Panel, 45 x 4 2 . 5 cm e l y lost, w h i c h o n c e s t o o d o n the h i g h a l t a r o f
V a n Ertborn bequest. 1 8 4 1
the B e n e d i c t i n e c h u r c h o f S a n t a M a r i a l a R e a l
in Najera, Spain.
F O L L O W E R OF G E R A R D DAVID T h e last big n a m e to b e l o n g to the F l e m i s h
Rest on the Flight into Egypt Primitives was G e r a r d David. He was born in
I n v . 47
Holland, but w a s enrolled as a Free M a s t e r in
P a n e l , 81 x 58 cm
Bruges, where he died in 1523. The panels
V a n Ertborn bequest, 1 8 4 1
d e p i c t i n g Pilate's Dispute with the High Priest, and
The Holy Women and Saint John at Golgotha, w h i c h
o r i g i n a l l y f o r m e d a t r i p t y c h t o g e t h e r w i t h Christ
nailed to the Cross ( T h e N a t i o n a l G a l l e r y , L o n ­
d o n ) d a t e f r o m the p e r i o d 1 4 8 0 - 8 5 .
The painting entitled Rest on the Flight into
Egypt has been attributed to a follower of
G e r a r d D a v i d . A particularly impressive feature
o f this s e r e n e little p a i n t i n g i s the e v o c a t i o n o f
the l a n d s c a p e : we see a s m a l l s t r e a m with a
spring, v a r i o u s types of flowers a n d p l a n t s , trees
with birds, a dark wood and an imposing
landscape with a rocky ridge. T h e work has
b e e n p r o v i s i o n a l l y a t t r i b u t e d t o a B r u g e s mas­
ter after a lost p a i n t i n g b y G e r a r d D a v i d .

M A S T E R OF FRANKFURT

B o r n 1 4 6 0 , a n o n y m o u s artist w o r k i n g i n A n t w e r p
around 1500
Portrait of the artist and his wife, 14Ф
I n v . 5096
P a n e l , 38 x 26 cm
T h e d a t e 1 4 9 6 a n d the a g e o f the subjects - 3 6 a n d 2 7
r e s p e c t i v e l y - a r e g i v e n at the b o t t o m
Purchased in 1 9 7 4
MASTER OF FRANKFURT Inv. 529
B o r n 1 4 6 0 , a n o n y m o u s artist w o r k i n g i n A n t w e r p Panel, 176 x 1 4 1 cm
around 1500 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
Archery Festival, ( 1 4 9 3 ? )
F e w o f the w o r l d l y p a i n t i n g s o f the 1 5 t h c e n t u r y scenes w h i c h take place against a natural back-
h a v e survived intact. T h e m u s e u m does, how- ground. T h e m a n dressed in a brown tabard
e v e r , p o s s e s s t w o i n t e r e s t i n g e x a m p l e s o f this a n d a b l a c k c a p w h o m w e see i n the g r a s s i n s i d e
t y p e o f p a i n t i n g b y the M a s t e r o f F r a n k f u r t . the e n c l o s u r e on the r i g h t is p r o b a b l y the
D e s p i t e his m i s l e a d i n g title, the a r t i s t i n q u e s - artist.
tion w a s a n a n o n y m o u s m a s t e r w o r k i n g i n
A n t w e r p . H i s Portrait of the Artist and his Wife is We talked above about the male portraits
o n e o f the first p r o f a n e d o u b l e p o r t r a i t s i n the painted by Van der Weyden and Memling.
a r t o f the S o u t h e r n N e t h e r l a n d s . A l l that n o w T h e r e a r e o t h e r p o r t r a i t s i n the c o l l e c t i o n w h i c h
s u r v i v e s i s the c e n t r e p i e c e o f w h a t w a s o r i g i n - d o not b e a r s u c h i l l u s t r i o u s n a m e s , b u t w h i c h
a l l y a t r i p t y c h , w h i c h i s e v i d e n t f r o m the s h a p e a r e w o r t h y o f o u r a t t e n t i o n all the s a m e . T h e s e
o f the p a n e l a n d the t r a c e s o f h i n g e s w h i c h a r e include Portrait of Jan zonder Vrees (John the
still v i s i b l e . A n e q u a l l y u n u s u a l a n d f a s c i n a t i n g F e a r l e s s ) w h i c h w a s p a i n t e d i n the 1 5 t h c e n t u r y
w o r k by the s a m e a r t i s t is the Archery Festival by an Anonymous Master o f the Southern
w h i c h dates from a r o u n d 1 4 9 3 . T h i s is an N e t h e r l a n d s , a n d the r i c h l y e m b e l l i s h e d Portrait
a l l e g o r i c a l r e p r e s e n t a t i o n of a h i s t o r i c a l e v e n t . of Abbot Christiaan De Hondt by the M a s t e r of
T h e a r t i s t l e a d s the v i e w e r a l o n g a v a r i e t y o f H99-

ANONYMOUS SOUTHERN NETHERLANDISH MASTER

M i d - 1 5 t h century
Portrait of Jan zonder Vrees, Duke of Burgundy
Inv. 540
Panel, 21 x 14 cm
V a n Ertborn bequest, 1 8 4 1

MASTER OF 1499

Portrait of Abbot Christiaan de Hondt

Inv. 256
Panel, 30 x 14 cm
V a n Ertborn bequest, 1 8 4 1
Foreign medieval art
A p a r t f r o m its r i c h a n d d i v e r s e c o l l e c t i o n o f
F l e m i s h m e d i e v a l art, the m u s e u m a l s o b o a s t s
w o r k b y the I t a l i a n s 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
French painter, J e a n Fouquet. T h e Siena-born
M a r t i n i w a s r e s p o n s i b l e for four s u m p t u o u s
little p a n e l s , w h i c h w e r e p r o b a b l y e x e c u t e d i n
A v i g n o n w h e r e the a r t i s t w a s i n the s e r v i c e o f
the p a p a l c o u r t . T h e Annunciation, Crucifixion a n d
Descentfrom the Cross r e v e a l the u t m o s t r e f i n e m e n t
in d e s i g n a n d u s e of c o l o u r - b r i g h t , d e c o r a t i v e
tones s t a n d o u t f r o m a b a c k g r o u n d finished in
g o l d . T h e four A n t w e r p p a n e l s o r i g i n a l l y f o r m e d
a s i n g l e g r o u p w i t h Christ carrying the Cross f r o m
the D a h l e m m u s e u m i n 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 Sicilian Antonello da Messina painted
his Calvary in 1 4 7 5 , m o r e t h a n a c e n t u r y l a t e r .
D a M e s s i n a s u c c e e d e d i n u n i t i n g the c h a r a c t e r -
istics o f 1 5 t h c e n t u r y F l e m i s h a n d I t a l i a n p a i n t -
i n g in a p l e a s i n g , b a l a n c e d m a n n e r .
D e s p i t e the fact that few o f J e a n F o u q u e t ' s
p a i n t i n g s h a v e s u r v i v e d ( a l t h o u g h w e still h a v e
m a n y o f his d r a w i n g s a n d m i n i a t u r e s ) , h e i s
n e v e r t h e l e s s r e c o g n i s e d a s the g r e a t e s t F r e n c h
p a i n t e r o f the 1 5 t h c e n t u r y . 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 f o r m s a
d i p t y c h w i t h the Portrait of Etienne Chevalier with
Saint Steven. T r a d i t i o n , d a t i n g b a c k to the 1 7 t h
c e n t u r y , h a s i t that the p o r t r a i t o f M a n . b e a r s
the f e a t u r e s o f A g n e s S o r e l , the m i s t r e s s
of C h a r l e s V I I . W i t h her high forehead, pale
skin, r o u n d b r e a s t s a n d s l e n d e r f i g u r e , this
f a m o u s M a r y e m b o d i e s the c o n t e m p o r a r y i d e a l
of beauty.

W e c a n n o t r o u n d off this section w i t h o u t m e n -

t i o n i n g a refined little w o r k o f G e r m a n o r i g i n ,
w h i c h i s a n i l l u s t r a t i v e e x a m p l e o f the s o - c a l l e d
I n t e r n a t i o n a l S t y l e . S o m e fifty w o r k s h a v e b e e n
attributed to an unknown Cologne master,
r e f e r r e d t o for c o n v e n i e n c e a s the M a s t e r o f
S a i n 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
slender, almost boneless figures, depicted
a g a i n s t a g i l d e d g r o u n d , its c o m b i n a t i o n of
c o l o u r s a n d its d e l i c a t e m y s t i c i s m m a k e i t c h a r -
a c t e r i s t i c o f the m e d i e v a l C o l o g n e s c h o o l . T h e
c e u v r e o f this m a s t e r i s g e n e r a l l y d a t e d b e t w e e n
I395-I4I5-
SIMONE MARTINI

Siena ca. 1 2 8 4 - Avignon 1 3 4 4

Annunciation
Crucifixion, Descent from the Cross
Inv. 257-258, 259-260
Panel, n° 2 5 7 : 23 x 14 cm, n° 2 5 8 : 23 x 14 cm, n° 2 5 9 :
2 4 x 1 5 c m a n d n° 2 6 0 : 2 3 . 5 x 1 8 . 5 c m
№ 2 5 8 o r i g i n a l l y f o r m e d the r e v e r s e o f n ° 2 5 9 , a n d
n ° 2 5 7 the r e v e r s e o f n ° 2 6 0 .
V a n Ertborn bequest, 1 8 4 1

M A S T E R OF SAINT VERONICA

A c t i v e late 1 4 t h - early 1 5 t h century

Man of Sorrows between Our Lady and Saint Catherine
Inv. 5070
P a n e l , 41 x 24 cm
L o a n e d b y the B e l g i a n S l a t e i n 1 9 5 2
ANTONELLO DA MESSINA

Messina 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 4 7 5 . a n t o n e l l u s m e s s a n e u s m e p i n x i t .
V a n Ertborn bequest, 1 8 4 1
JEAN FOUQUET
T o u r s ca. 1 4 2 0 - ca. 1480
Mary and Jesus surrounded by Seraphim and Cherubim
Inv. 1 3 2
P a n e l , 91 x 81 cm
V a n Ertborn bequest, 1 8 4 1
QUINTEN MASSYS

L o u v a i n ca. 1 4 6 6 - A n t w e r p 1 5 3 0
Triptych with the Lamentation of Christ, 1508-1511
Inv. 245-249
P a n e l , 280 x 2 7 3 x 1 2 0 cm
A l t a r o f the c a b i n e t - m a k e r s ' g u i l d 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 1 1 - 1 5 8 2 ) ; S t a t e 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 B e s n i j d e n i s -
kapel in O u r L a d y ' s Church, Antwerp ( 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 ; o r i g i n a l collection o f the m u -
seum
The 16th Century
F l e m i s h p a i n t i n g d u r i n g the 1 6 t h c e n t u r y is a
complex matter, with no linear evolution of
s t y l e . N e w g e n r e s a r o s e , a n d differing g r o u p s o f
a r t i s t s w o r k e d in p a r a l l e l . It is not s u r p r i s i n g
then t h a t the 1 6 t h c e n t u r y h a s t r a d i t i o n a l l y
been viewed as a transitional period. " T h e 1 5 t h
c e n t u r y w a s a t i m e of s e e k i n g , the 1 6 t h a t i m e of
g r a p p l i n g w i t h n e w i d e a s , w h i l e the 1 7 t h cen-
tury p a v e d the w a y for a n e n o r m o u s r a n g e o f
new possibilities" ( G . H . Hoogewerff, 1 9 3 5 ) .
" N o t h i n g c r e a t e d d u r i n g the 1 6 t h c e n t u r y w a s
w i t h o u t v a l u e . E v e r y t h i n g s e r v e d the s a m e e n d
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 ) . N o t o n l y d o these t w o
c o m m e n t s i l l u s t r a t e the c o n f u s i o n o f the p e r i o d
i n q u e s t i o n , t h e y a l s o h i g h l i g h t the a m b i g u o u s
a t t i t u d e o f a r t - h i s t o r i a n s t o this e r a . T h e t e r m s
most c o m m o n l y applied to 16th century culture
- renaissance and h u m a n i s m - are themselves
r a t h e r v a g u e . I f n o t h i n g else, this l a c k o f p r e c i -
sion s e r v e s to i n d i c a t e the a c t u a l m e r i t of a
p e r i o d , n a m e l y its refusal t o b e p i n n e d d o w n i n
n e a t little s c h e m e s .
N e v e r t h e l e s s , it is p o s s i b l e to d i s t i n g u i s h o n e
or two major trends. O n e g r o u p of artists held
o n t o the 1 5 t h c e n t u r y t r a d i t i o n , there w a s the
' m a n n e r i s t ' t r e n d , o t h e r a r t i s t s took t h e i r i n s p i -
r a t i o n f r o m the I t a l i a n r e n a i s s a n c e a n d E u r o -
p e a n h u m a n i s m , w h i l e f i n a l l y w e h a v e the
i n d i g e n o u s f i g u r e o f B r u e g e l a n d his s c h o o l o r
c i r c l e . T h e s e different m o v e m e n t s h a v e left
b e h i n d i n t e r e s t i n g , i f not o u t s t a n d i n g w o r k s i n
the c o l l e c t i o n o f the A n t w e r p m u s e u m .
S i x w o r k s b y Q u i n t e n M a s s y s , the first m a j o r
a r t i s t o f the r i s i n g A n t w e r p s c h o o l , a r e i n c l u d e d
in the c o l l e c t i o n . In his refined Saint Mary
Magdalene, the a r t i s t c o n v e y s his i d e a l of f e m i n -
ine b e a u t y i n m a s t e r l y f a s h i o n , w h i l e his m o n u -
m e n t a l t r i p t y c h , The Lamentation of Christ w e l d s
t o g e t h e r 1 5 t h c e n t u r y t r a d i t i o n a n d the n e w
ideas about art w h i c h w e r e e m e r g i n g from Italy.
T h e l i g h t effects, the g r a d a t i o n o f c o l o u r a n d the
i n t e r w e a v i n g o f the c o m p o s i t i o n h a r k b a c k t o
the a t t e n t i o n to d e t a i l , the u s e of l a n d s c a p e as a
b a c k d r o p a n d the r a t h e r s t e r e o t y p i c a l f i g u r e s o f
the p r e v i o u s c e n t u r y . M a s s y s ' h u m a n i s t p o r -
t r a i t u r e i s a l s o r e p r e s e n t e d i n the m u s e u m i n the
s h a p e of his Portrait of Pieter Gilles, w h o w a s a
friend o f the artist, a s w e l l a s E r a s m u s a n d S i r
T h o m a s M o r e . Quinten's e x a m p l e w a s followed
b y his son C o r n e l l s , b y w h o m w e h a v e a
characteristic landscape, and J a n M a s s y s ,
w h o s e Judith b e a r s w i t n e s s to the i n f l u e n c e of the
F o n t a i n e b l e a u s c h o o l . 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 i n
R o t t e r d a m - is a c o l o u r f u l m i x t u r e of t r a d i t i o n
and innovation. Provost w a s a painter, car-
tographer and architect, w h o met A l b r e c h t
Diirer in A n t w e r p in 1 5 2 0 . J o a c h i m Patinir's
m a r v e l o u s Flight into Egypt, w i t h its three-fold
scheme of colour, landscape and geometrical
form c o m p l e t e s the s u r v e y o f M a s s y s ' e n t o u -
rage.
K e y w o r k s from the m a n n e r i s t m o v e m e n t a r e
a l s o t o b e f o u n d i n the m u s e u m i n the s h a p e o f
B a r e n d v a n O r l e y ' s l a r g e Last Judgement trip-
t y c h , a n d the s m a l l e r Adoration of the Magi
triptych b y a n a n o n y m o u s artist. T h e majestic
a r c h e d c o m p o s i t i o n , b o r r o w e d from R a p h a e l ,
the scientific r e p r e s e n t a t i o n o f the n u m e r o u s ,
a n i m a t e d n u d e f i g u r e s , a n d the d u l l , b r o w n i s h
but s m o o t h c o l o u r i n g a l r e a d y p o i n t t o the
s t r o n g l y I t a l i a n a t e t e n d e n c y i n the p a i n t i n g o f
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 o f the A n t w e r p A d o r a t i o n (first h a l f o f
the 1 6 t h c e n t u r y ) i s e x u b e r a n t , l i v e l y a n d full o f
e c c e n t r i c s h a p e s a n d a t t i t u d e s , w h i l e the n e w l y
a c q u i r e d w e a l t h o f A n t w e r p i s d i s p l a y e d i n the
a b u n d a n c e of luxurious, gothic reminiscences.

JAN PROVOST

M o n s ca. 1465 - Bruges 1 5 2 9

The Martyrdom of Saint Catherine
Inv. 8 3 8
P a n e l , 94 x 68 cm
P u r c h a s e d from J . K l e i n b e r g e n , Paris 1 9 0 4

JOACHIM PATINIR

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
I n v . 64
Panel, 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 E r t b o r n bequest, 1 8 4 1

QUINTEN MASSYS

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
P a n e l , 45 x 29 cm
V a n E r t b o r n bequest, 1 8 4 1
BAREND VAN ORLEY

Brussels 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
P a n e l . 248 x 2 1 8 c m ( c e n t r e 1 : 248 x 9 4 c m
(side p a n e l s )
M a r i n u s v a n R e y m e r s w a e l , a c a l v i n i s t from
P r o p e r t y o f the ' O C M W " . A n t w e r p
Z e e l a n d , w a s s t u d y i n g i n A n t w e r p a t the t i m e
w h e n Q u i n t e n M a s s y s w a s the u n d i s p u t e d l e a d -
er of the c i t y ' s p a i n t e 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
MARINUS VAN R E Y M E R S W A E L
— realist, mannerist and even expressionist -
R e i m e r s w a a l ca. 1493 - probably Middelburg ca. 1 5 6 7
The Tax Collectors c a r r i e d o n the t r a d i t i o n o f M a s s y s ' g e n r e w o r k s
Inv. 244 in a picturesque, precious a n d almost caricature
Panel, 65 x 52 cm fashion.
V a n Ertborn bequest, 1 8 4 1 T h e v e r s a t i l e artist P i e t e r P o u r b u s , w h o s e
c a r e e r w a s s p e n t i n the f l o u r i s h i n g t o w n o f
B r u g e s , c a n a l s o b e seen a s d i s p l a y i n g a c e r t a i n
duality of both progressive a n d old-fashioned
t r a i t s . H i s Portrait of Olivier van Nieulant, a
B r u g e s a l d e r m a n , d a t e s from his less s u c c e s s f u l
p e r i o d . H i s s o b e r a n d s h a r p o b s e r v a t i o n is,
h o w e v e r , still p r e s e n t , w h i l e the e v e n e x e c u t i o n ,
n e u t r a l g r o u n d a n d f l o w i n g o u t l i n e s o f his
subject are characteristic. T h e neat a n d rather
o l d - l o o k i n g (he i s o n l y 2 6 ) f i g u r e o f V a n N i e u -
l a n t c o n t r a s t s w i t h t w o Portraits of young Men
p a i n t e d b y u n k n o w n m a s t e r s , a n d w i t h Pierson

JAN MASSYS

A n t w e r p ca. 1 5 0 9 - ca. 1 5 7 5
Judith
Inv. 5076
Panel, 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 PING.

Bequest of M r s . Huybrechts-Delstanche, 1957

 L a Hues, d r u m m e r a n d p a g e o f the O l d A r c h e r s '
Guild, which w a s painted by Gillis Congnet in
1 5 8 1 . T h e s e paintings are marvelous represen-
t a t i v e s o f a g e n r e w h i c h , i n the 1 6 t h c e n t u r y ,
w a s the l e a s t r a t e d o f the p a i n t e r ' s s p e c i a l i s m s .
A s the p o r t r a i t i s c l o s e s t t o life, c o n t e m p o r a r y
o p i n i o n d e e m e d i t t o b e m u c h less c r e a t i v e o r
intellectual than mythological, biblical or
m o r a l i s t i c p a i n t i n g . N e v e r t h e l e s s , this s e r i e s o f
f o u r p o r t r a i t s p r o v i d e s u s w i t h o n e o f the m o s t
l i v e l y d o c u m e n t s o f the 1 6 t h c e n t u r y .
T h e m u s e u m does not h a v e a n original w o r k
b y P i e t e r B r u e g e l the E l d e r , b u t this i s p a r t i a l l y
compensated by an early, reliable copy, The
Bridal Dance ( c a . 1 5 6 6 ) . T h e apparently chaotic
action is really carefully planned, while the
tightly delineated but sharply contrasting
colours, the s h o r t , s t u r d y p e a s a n t f i g u r e s a n d
the semicircular village scene mean that the
w o r k is a truthful r e p r e s e n t a t i o n 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 also possesses a
w h o l e series of w o r k s by B r u e g e l ' s followers,
MARINUS VAN REYMERSWAEL

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
I n v . 990
P a n e l , 78 x 1 0 7 cm
On the e d g e of the lectern: M a r i n u s - me f e c i t . 1 5 4 1 DUTCH MASTER 1 6 t h century t>
Donated by Artibus Patriae, 1 9 3 5 Portrait of a young Man
Inv. 341
P a n e l , 46 x 32 cm
O n the letter: M o n tres hon... b o n e g r a c e . . . p r e s s e n c e
sera... c o m e n d par... recen... la v o s . . . ; in the b a c k -
ground: Aetatis 1 9 .
MASTER O F T H E A N T W E R P A D O R A T I O N (ca. I520)
V a n Ertborn bequest, 1 8 4 1
Triptych with the Adoration of the Magi
I n v . 208-210b
P a n e l , 29 x 22 cm (central p a n e l ) , 29 x 8.5 cm (side
panels)
V a n E r t b o r n bequest, 1 8 4 1
 PIETER POURBUS

G o u d a 1 5 2 3 - Bruges 1584
The Portrait of
Olivier van Nieulant
Inv. 5074
Panel, 49.5 x 3 7 . 5 cm
U p p e r right:
An° D N I I 573./Л.26.M. 10.
P u r c h a s e d from
C. Bender, 1954

UNKNOWN MASTER

(second quarter
of the 16th century)
Portrait of a young Man
Inv. 5 6 4
Panel. 69 x 52 cm
V a n Ertborn bequest. 1 8 4 1

GILLIS CONGNET t>

A n t w e r p ca. 1 5 3 8 - H a m b u r g 1 5 9 9
Pierson La Hues, Drummer and Page of the Old Archers'
Guild, 1581
b v . 35
Panel, 1 7 0 x 1 3 3 cm
O n a m e d a l l i o n : G i l l i s C o n g n e t f e . ; o n the s t o n e o n
t h e left: P i e r s o n l a H u e s , t r o m e l s l a g e r heeft d e s e g u i d e
v a n den ouden handboge ghedient 31 j a r e n , 1 5 8 1 in
M e e r t , e n d e sterff i n ' t j a a r 1 5 . .
F r o m the ' G i l d e k a m e r v a n d e O u d e H a n d b o o g ' G i l -
d e n k a m e r s t r a a t , A n t w e r p ; p u r c h a s e d from F . V e r a c h -
tert, M u n i c i p a l A r c h i v i s t , 1 8 4 3
Early copy AFTER PIETER

BRUEGEL THE ELDER

The Bridal Dance

Inv. 973
Panel, 1 1 5 x 166 cm
P u r c h a s e d from S p i r i d o n ,
Berlin, 1929

ABEL GRIMMER

A n t w e r p ca. 1 5 7 0 / 7 7 - 1 6 1 9
Spring
Inv. 8 3 1
P a n e l , 33 x 47 cm
Summer
Inv. 8 3 1
P a n e l , 33 x 47 cm
L o w e r right: Albert G r i m e r F 1607
Autumn
Inv. 831
Panel, 33 x 47 cm
O n w e l l : A b e l G r i m e r fecit
Winter
Inv. 831
P a n e l , 33 x 47 cm
Lower right: Abel Grimer fecit/1607
P u r c h a s e d from the a n t i q u a r i a n D e H e u v e l , B r u s s e l s ,
1904
including eight paintings by Pieter ' 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 '
Breughel, a fair-scene by H a n s B o l , and five
p a n e 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
latter is an interesting reproduction of B r u e g e l ' s
Four Seasons. The Temptation of Saint Anthony is a
t h e m e w h i c h w a s i m m e n s e l y s u c c e s s f u l from the
e n d o f the 1 5 t h c e n t u r y o n w a r d s . T h e A n t w e r p
m u s e u m p o s s e s s e s a c o p y o f the c e n t r e p i e c e o f
H i e r o n y m u s Bosch's original Saint Anthony
triptych in Lisbon. T h e praying Saint Anthony
is surrounded by d e m o n s in human, animal and
m o n s t r o u s f o r m , w h i c h a r e s y m b o l s o f all k i n d s
o f sin. T h e w o r k o f B o s c h a n d his f o l l o w e r s , a n d
o f B r u e g e l a n d his f o l l o w e r s , i s a v e r y i m p o r t a n t
s o u r c e for o u r k n o w l e d g e o f the life o f the l o w e r
s o c i a l c l a s s e s w i t h i n the c u l t u r e a n d p h i l o s o p h y
of the 1 6 t h c e n t u r y as a w h o l e .
A s i s e v i d e n t from the a f o r e m e n t i o n e d w o r k
by Patinir, l a n d s c a p e in 1 6 t h century art w a s
not t r e a t e d r e a l i s t i c a l l y in the s e n s e t h a t it w a s a
portrayal of actual views. Compositions were
d e v e l o p e d u s i n g s k e t c h e s from n a t u r e . I n 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
d e t a i l e d d e p i c t i o n o f the t o w n a n d its s u r r o u n d -
i n g s , b u t then c a l l s u p o n h i s i m a g i n a t i o n i n
o r d e r to c r e a t e a s e n s e of h a r m o n y b e t w e e n the
e l e m e n t s o f the c o m p o s i t i o n , the d e t a i l a n d the
grey tones. J a c o b G r i m m e r also sought topogra-
p h i c a l p r e c i s i o n in h i s View of the Kiel, b u t still
felt it n e c e s s a r y to a d d the p i c t u r e s q u e p l e a s u r e
g a r d e n scene a n d a colourful procession of
f a i r - g o e r s . T h e Landscape p a i n t e d b y P a u l B r i l ,
w h o w o r k e d for a l o n g t i m e i n R o m e a n d w h o
w a s the c r e a t o r o f c l a s s i c a l l a n d s c a p e s i n the
s t y l e o f C l a u d e L o r r a i n , i s full o f c o n t r a s t s
b e t w e e n the d a r k a n d i d y l l i c f o r e g r o u n d a n d the
AFTER HIERONYMUS BOSCH
light, p a n o r a m i c b a c k g r o u n d . T h e s e r e n i t y a n d
Temptation of Saint Anthony
s o b e r n e s s o f the l a n d s c a p e g e n r e g a v e w a y i n
Inv. 25
the w o r k o f the t r a n s i t i o n a l f i g u r e K e r s t i a e n d e P a n e l , 88 x 71 cm
K e u n i n c k to action and d r a m a . It is primarily Bottom: J h e r o n i m u s Bosch
the r i c h l y c a r v e d s p r i n g w h i c h c a t c h e s the e y e V a n Ertborn bequest. 1841
in his Landscape with Diana and Acteon in w h i c h
A c t e o n c o m e s across D i a n a while she is bath-
i n g . T h e fertile i m a g i n a t i o n , the fanciful r o c k
f o r m a t i o n s a n d the c l e a r s e p a r a t i o n b e t w e e n the
different a r e a s o f the p a i n t i n g l a t e r g a v e w a y t o
greater unity.
F r a n s F l o r i s is c h a r a c t e r i s e d to a l a r g e e x t e n t
b y the six y e a r s h e s p e n t i n R o m e a n d b y his
a d m i r a t i o n for M i c h e l a n g e l o . H e w a s the l e a d -
ing representative of Italianism in m i d - 1 6 t h
c e n t u r y 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
c o m p o s i t i o n , his f a m o u s Fall of the Rebel Angels
( 1 5 5 4 ) , a flamboyant a n d i m a g i n a t i v e glorifica-
tion o f the h u m a n b o d y , c o n t r a s t s s h a r p l y w i t h
the s o b e r , s t a t i c p a n e l d e p i c t i n g Saint Luke
painting the Virgin Mary. As in the Fall, the s e n s e
of s p a c e is l i m i t e d in his Banquet of the Gods
( 1 5 5 0 ) by a g r o u p of figures in the f o r e g r o u n d .
F l o r i s ' a b i d i n g i n t e r e s t i n the m u s c u l a r s y s t e m
JACOB GRIMMER
A n t w e r p ca. 1 5 2 5 - 1 5 9 0
View of the Kiel
Inv. 671
Panel, 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 .
P r o p e r t y o f the C i t y o f A n t w e r p
a n d i n the r e p r e s e n t a t i o n o f f o r e s h o r t e n e d f i g -
u r e s , t o g e t h e r w i t h his p r e f e r e n c e for m y t h o l o g -
ical scenes, m a d e him a highly innovative a n d
a t the s a m e t i m e v e r y s u c c e s s f u l a r t i s t i n A n t -
w e r p . H i s large studio p r o d u c e d a w h o l e series
of pupils, assistants and followers. T h e m u s e u m
p o s s e s s e s ten m o n u m e n t a l w o r k s b y F l o r i s ' b e s t
pupil and successor, M a a r t e n De V o s , w h o
f o u n d e d the f r a t e r n i t y o f r o m a n i s t s i n A n t w e r p .
T h e s e w o r k s a r e c l e a r p r e c u r s o r s o f the 1 7 t h
c e n t u r y b a r o q u e . B o t h Saint Luke painting the
Virgin Mary (1602) and The Emperor's Toll
( 1 6 0 1 ) , c e n t r a l p a n e l o f the C o i n - M a k e r s ' T r i p -
t y c h , a r e late w o r k s b y D e V o s w h o d i e d i n
1 6 0 3 . His rich and varied use of colour might be
a t t r i b u t a b l e t o the six y e a r s h e s p e n t i n F l o r -
ence, R o m e and Venice (where he studied with
T i n t o r e t t o ) ; his paintings are clear, b a l a n c e d
a n d often s y m m e t r i c a l i n c o m p o s i t i o n , a n d
d e s p i t e his p r e f e r e n c e for s h a l l o w s p a c e s , h e
s u c c e e d e d in c r e a t i n g a s t r o n g s e n s e of d r a m a
a n d p l a s t i c i t y . O n the o t h e r h a n d , a l t h o u g h a
L u t h e r a n for a l o n g t i m e , D e V o s w a s a l s o a
f i g u r e - h e a d o f the C o u n t e r R e f o r m a t i o n . T h e
best e v i d e n c e of this is to be f o u n d in the
m o n u m e n t a l s c a l e o f his w o r k s a n d his strict
a d h e r e n c e t o the i c o n o g r a p h i c a l p r e c e p t s l a i d
d o w n b y the C o u n c i l o f T r e n t .
T h e iconography of J o a c h i m Beuckelaer's
w o r k i s e q u a l l y f a s c i n a t i n g but totally different
in character. B e u c k e l a e r w a s a contemporary of
M a a r t e n D e V o s , but d i e d y o u n g i n a r o u n d
1 5 7 5 . H e took the m a r k e t a n d k i t c h e n p a i n t i n g
created by Pieter Aertsen, and developed them
into a n i n d e p e n d e n t g e n r e w h i c h r e m a i n e d
p o p u l a r u n t i l w e l l into the 1 7 t h c e n t u r y . T h e
didactic element of Beuckelaer's paintings did
not m a n i f e s t itself i n p r o p a g a n d a o n b e h a l f o f
C a t h o l i c o r t h o d o x y , b u t i n the c h e e r f u l c e n s u r e
o f the w i c k e d n e s s o f w o r l d l y p l e a s u r e . H i s
p a i n t i n g s a r e full o f a l l u s i o n s t o s e n s u a l i t y ,
s e x u a l i t y a n d fertility, w i t h v e g e t a b l e s , fruit,
fish, meat a n d cooking utensils piled up a r o u n d
a few f i g u r e s . I n his b e s t w o r k s , B e u c k e l a e r
m i x e s a s t r o n g s e n s e o f s p a c e a n d d e t a i l o n the
o n e h a n d , w i t h u n i t y o f c o m p o s i t i o n o n the
other.
T h i s s u r v e y o f the c o l l e c t i o n o f 1 6 t h c e n t u r y
a r t w o u l d not b e c o m p l e t e w i t h o u t m e n t i o n i n g a
few o u t s t a n d i n g w o r k s b y f o r e i g n a r t i s t s . T h e r e
a r e three w o r k s b y L u c a s C r a n a c h the E l d e r ,
c o u r t p a i n t e r t o the E l e c t o r o f S a x o n y , o f w h i c h
Caritas is p a r t i c u l a r l y i n t e r e s t i n g , Portrait of the
Dauphin Franqois, son of Francois I, p a i n t e d by the
court painter J e a n Clouet, and a youthful work
by T i t i a n , Pope Alexander IV presenting Jacopo
PAUL BRIL (?)
Antwerp 1 5 5 4 - Rome 1626
Landscape
Inv. 974
C a n v a s , 91 x 38 cm
D o n a t e d b y S . H a r t v e l d , A n t w e r p 1 9 2 9 t h r o u g h the in-
termediary of Artibus Patriae
LUCAS VAN VALCKENBORGH
L o u v a i n before 1 5 3 5 - F r a n k f u r t 1 5 9 7
View of Huy from Ahin
Inv. 30
P a n e l , 24 x 33 cm
V a n Ertborn bequest, 1 8 4 1

KERSTIAEN DE KEUNINGK
Courtrai 1560 - Antwerp 1 6 3 3
Landscape with Acteon and Diana
Inv. 376
Panel, 31 x 51 cm
Right, on base of fountain: K . D . Keuninck
Donated by Oscar Nottebohm, 1909
 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 m a s t e r s w e r e b o r n d u r i n g the f i n a l
q u a r t e r o f the 1 5 t h c e n t u r y , b u t a r e r e p r e s e n t a -
t i v e s o f a n e n t i r e l y 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 s u r r o u n d e d b y three
c h i l d r e n . I n this w a y , the p r o t e s t a n t C r a n a c h
i m b u e d his s u b j e c t w i t h a q u a l i t y o f m o t h e r l y
l o v e , d e s p i t e the fact t h a t h e i s m o r e c o n c e r n e d
w i t h the f e m a l e b o d y t h a n the e m b l e m a t i c
a s p e c t o f the s u b j e c t . C r a n a c h ' s n u d e s a r e
i m m e d i a t e l y recognisable a n d he glorified them
in numerous mythological and biblical scenes.
J e a n C l o u e t ' s r o y a l c h i l d b e l o n g s t o the t r a d i -
tion of c o u r t l y p a i n t i n g . It is a little stiff, a n d
r a t h e r i d e a l i s e s its s u b j e c t w i t h a g r e a t d e a l o f
a t t e n t i o n to e x t e r n a l d e c o r a t i o n . A c h a l k s t u d y
for this little p o r t r a i t , in its fine, a n t i q u e s t y l e
f r a m e in i m i t a t i o n m a r b l e , is n o w k e p t in the
m u s e u m a t C h a n t i l l y . T h e t h i r d o f these
i m p o r t a n t w o r k s is a v o t i v e p a i n t i n g by T i t i a n -
unique a m o n g s t B e l g i u m ' s artistic heritage.
T h i s y o u t h f u l w o r k b y the V e n e t i a n m a s t e r ,
whose teacher, G i o v a n n i Bellini, might h a v e
b e g u n the c a n v a s , refers t o the c a p t u r e o f the
i s l a n d S a n t a M a u r a f r o m the T u r k s b y S p a n i s h ,
Venetian and papal armies in 1 5 0 2 . Although it
d o e s not h a v e the s o l i d i t y a n d p o w e r o f c o n v i c -
tion of the m a t u r e T i t i a n , the w o r k is still a
f a s c i n a t i n g s p e c t a c l e . T h e c o l o u r s a r e r i c h , the
p o p e a n d the b i s h o p i n c l i n e in a h i g h l y s c u l p t u -
ral m a n n e r t o w a r d s the s a i n t , a n d the l o c a l
tones a n d v a r y i n g m a t e r i a l s a r e e a r l y h e r a l d s o f
T i t i a n ' s g r e a t oeuvre.

FRANS FLORIS

Antwerp 1 5 1 9 / 2 0 - 1570
The Fall of the Rebel Angels,
'554
Inv. I 12
P a n e l , 3 0 8 x 2 2 0 cm
L o w e r right: FF IV. ET F A .
'554-
A l t a r of the F e n c e r ' s g u i l d in
Our L a d y ' s Church, Ant-
werp

FRANS FLORIS

Antwerp 1 5 1 9 / 2 0 - 1570
Banquet of the Gods
Inv. 956
Panel, 1 5 0 x 198 cm
Donated by W. Frilling, 1926
 JOACHIM B E U C K E L A E R

A n t w e r p ca. 1530/35 -
•573/74
The Vegetable Market, 1367
Inv. 5045
Panel, 149 x 2 1 5 cm
O n the a w n i n g o f the stall
in t h e b a c k g r o u n d : J O C H
BEUCKELAER I 8 NOV. BRIS I 567.

Donated by Artibus Patriae,

•95°

LUCAS CRANACH T H E ELDER

Kronach 1477 - Weimar 1553
Caritas
Inv. 43
P a n e l , 50 x 34 cm
M o n o g r a m l o w e r left
V a n Ertborn bequest, 1 8 4 1
JEAN CLOUET MAARTEN DE VOS

B r u s s e l s (?) c a . 1 4 7 5 - 1 5 4 0 / 4 1 ? Antwerp 1 5 3 1 / 3 2 - 1602

The Dauphin Francois, son of Francois I The Emperor's Toll, 1601
Inv. 33 Inv. 83
Panel, 1 6 x 1 3 c m
L o w e r right: M . D . V . F . 1601
V a n Ertborn bequest, 1 8 4 1 C e n t r a l p a n e l o f t r i p t y c h o f the C o i n m a k e r ' s G u i l d
from S a i n t A n d r e w ' s C h u r c h , A n t w e r p

TIZIANO VECELLIO (TITIAN)

Pieve di C a d o r e between 1 4 7 7 / 1 4 8 9 - Venice 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 184 cm
Collection of C h a r l e s I of E n g l a n d ; convent of San
P a s q u a l e i n M a d r i d ; d o n a t e d b y W i l l e m I o f the
Netherlands in 1 8 2 3

<3
MAARTEN DE VOS

Antwerp 1 5 3 1 / 3 2 - 1603
Saint Luke painting the Virgin Mary, 1602
I n v . 88
Panel, 270 x 2 1 7 cm
O n t a b l e leg, r i g h t : F . M . D . V o s 1 6 0 2
C e n t r a l p a n e l o f the t r i p t y c h o f the G u i l d o f S a i n t
L u k e , for w h i c h side p a n e l s w e r e p a i n t e d b y M a a r t e n
P e p y n , 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
i n the s a m e b r e a t h , a r e the m o s t p r o m i n e n t
a r t i s t s o f the F l e m i s h B a r o q u e . T h e trio d o m i -
n a t e d a r t i s t i c life i n the S o u t h e r n N e t h e r l a n d s
t h r o u g h o u t the 1 7 t h c e n t u r y . A l l three m a d e a n
e n o r m o u s c o n t r i b u t i o n to the f a m e of the city of
A n t w e r p , b u t i t i s R u b e n s w h o b e a r s the
g r e a t e s t a u t h o r i t y , b e c a u s e h e w a s the m o s t
versatile and talented. T h e m u s e u m possesses
n o f e w e r t h a n 2 1 o f his p a i n t i n g s a n d oil
s k e t c h e s . A f t e r b e c o m i n g a m a s t e r i n the A n t -
w e r p G u i l d o f S a i n t L u k e i n 1 5 9 8 , R u b e n s left
for I t a l y i n 1 6 0 0 , w h e r e h e s p e n t e i g h t y e a r s a n d
v i s i t e d all the m a j o r cities. H e s p o k e I t a l i a n ,
k n e w L a t i n , a n d w a s f a m i l i a r w i t h the g r e a t
writers of Antiquity. His period in Italy allowed
h i m t o s t u d y A n t i q u e w o r k s o f art a n d the
PETER PAUL RUBENS
Th Adoration of the Magi
detail
m a s t e r p i e c e s o f the I t a l i a n R e n a i s s a n c e a t first
hand. After returning to A n t w e r p in 1608, he
w a s appointed court painter to A r c h d u k e A l b e r t
a n d the I n f a n t a I s a b e l l a i n 1 6 0 9 . H e 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 o n the c o n s t r u c t i o n ,
d e c o r a t i o n a n d f u r n i s h i n g o f his h o u s e a n d
studio. He w a s given a great many c o m m i s -
s i o n s . B e t w e e n 1 6 1 3 a n d 1 6 1 5 . for i n s t a n c e , h e
p a i n t e d the t r i p t y c h The Incredulity of Saint Thom-
a s for N i c o l a a s R o c k o x . w h i c h w a s d e s t i n e d for
the c h a p e l c o n t a i n i n g his t o m b i n the F r a n c i s -
can church in A n t w e r p . R o c k o x . a famous
A n t w e r p patrician and humanist, w h o w a s
m a y o r o f the city o n a n u m b e r o f o c c a s i o n s , i s
s h o w n i n the left-hand p a n e l , w i t h his w i f e o n
the right. O n e o f the few m y t h o l o g i c a l s c e n e s b \
R u b e n s to be f o u n d in B e l g i u m is Venus Frigida
d a t i n g from 1 6 1 4 . T h e p a i n t i n g d e p i c t s the
p r o v e r b ' H u n g e r a n d thirst cool l o v e ' s a r d o u r " .
W h e n R u b e n s d i e d i n 1 6 4 0 , h e still p o s s e s s e d
his Prodigal Son of 1 6 1 8 . A m o n g s t his many-
grand altarpieces and dramatic mythological
PETER PAUL RUBENS
Siegen ( G e r m a n y ) 1 5 7 7 - Antwerp 1640
The Incredulity of Saint Thomas
Inv. 3 0 7 - 3 1 1
W o o d , central panel 1 4 3 x 1 2 3 cm, side panels
146 x 55 cm
F r o m the F r a n c i s c a n c h u r c h i n A n t w e r p
PETER PAUL RUBENS
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, 107 x 1 5 5 cm
Purchased in 1894
PETER PAUL RUBENS
Siegen ( G e r m a n y ) 1 5 7 7 - A n t w e r p 1640
Venus Frigida
I n v . 709
Panel, 1 4 2 x 1 8 4 cm
Purchased in 1888

O n the next p a g e s :

PETER PAUL RUBENS

Siegen ( G e r m a n ) ) 1 5 7 7 - A n t w e r p 1640
The Lance
I n v . 297
Panel, 429 x 3 1 1 cm
F r o m the F r a n c i s c a n c h u r c h i n A n t w e r p

PETER PAUL RUBENS

Siegen (Germany) 1 5 7 7 - Antwerp 1640
7 7 K Adoration of the Magi
I n v . 298
P a n e l , 4 4 7 x 3 3 6 cm
F r o m the C h u r c h o f S a i n t M i c h a e l ' s A b b e y . A n t w e r p
s u b j e c t s , the c r e a t i o n o f this r u r a l s c e n e ,
i n t e n d e d for his o w n l i v i n g r o o m , m u s t h a v e
given him a great deal of pleasure. T h e biblical
subject - depicted bottom right — serves merely
as a v e h i c l e for the p a i n t i n g of o n e of his e a r l i e s t
landscapes.
R u b e n s ' c l o s e i n v o l v e m e n t w i t h the r e s u r g e n c e
o f C a t h o l i c i s m a n d the s t r u g g l e for p o w e r led t o
the p r o d u c t i o n a n u m e r o u s l a r g e a l t a r p i e c e s .
H i s s t i r r i n g b a r o q u e i d e a s c o m e t o the fore i n
The Lance ( 1 6 1 9 - 2 0 ) , w i t h its e m o t i o n a l l y -
c h a r g e d , h i g h l y p l a s t i c figures, a n d The Adora-
tion of the Magi ( 1 6 2 4 ) . T h i s m a s t e r p i e c e is
p a r t i c u l a r l y i m p r e s s i v e b e c a u s e o f its a n i m a t e d ,
asymmetrical composition, its marvelously
g r a d a t e d c o l o u r i n g , the s p o n t a n e i t y o f e x e c u -
tion a n d , a b o v e a l l , the e x p r e s s i v e n e s s o f the
depicted figures.
R u b e n s ' r e n o w n g r e w t o s u c h a n e x t e n t that
h e r e c e i v e d c o m m i s s i o n s from r o y a l a n d a r i s t o -
c r a t i c c i r c l e s for l a r g e s e r i e s o f w o r k s i n w h i c h
h e w a s a b l e t o d i s p l a y the full r a n g e o f his
versatility. R u b e n s ' astonishing output is partly
e x p l a i n e d b y the efforts o f his e x t e n s i v e s t u d i o .
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
e x t e n d e d t o affairs o f state. A s s i s t e d b y his
artistic career, R u b e n s carried out d i p l o m a t i c
m i s s i o n s w h i c h took h i m t o M a d r i d a n d
E n g l a n d . D u r i n g his s t a y i n M a d r i d , h e s o u g h t
o u t s o u r c e m a t e r i a l c o n c e r n i n g the w r i t i n g s o f
M a r c u s A u r e l i u s o n b e h a l f o f his friend, the
A n t w e r p m u n i c i p a l official w h o m h e d e p i c t e d a t
his d e s k in the Portrait of Gaspard Gevartius.
R u b e n s continued to carry out large-scale com-
m i s s i o n s until the e n d o f his life. I n 1 6 3 8 the
A n t w e r p city a u t h o r i t i e s o r d e r e d a t r i u m p h a l
car which was to be drawn ceremonially
PETER PAUL RUBENS
Siegen ( G e r m a n y ) 1 5 7 7 - A n t w e r p 1640
Portrait of Gaspard Gevartius
I n v . 706
Panel, 1 1 9 x 98 cm
B e q u e s t o f C o u n t e s s G i l l e s d e ' s G r a v e n w e z e l , nee d e
Brouckhoven de Bergeyck
PETER PAUL RUBENS
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
Panel, 1 0 3 x 71 cm
From Antwerp T o w n Hall. Between 1794 and 1 8 1 5 in
Paris
JACOB JORDAENS Inv. 844
Antwerp 1593 - 1678 C a n v a s , 1 5 2 x 120 cm
Meleager and Atalanta Purchased in 1906
JACOB JORDAENS

Antwerp 1593 - 1678

As the Old sang, the Young play Pipes, 1638
Inv. 677
C a n v a s , 192 x 1 2 0 cm
U p p e r centre: J A C O B JORDAENS 1638
Purchased in 1883

ANTHONY VAN DYCK

Antwerp 1 5 9 9 - Blackfriars (England) 1641

Portrait of the Artist Marten Pepijn
Inv. 793
P a n e l , 72 x 56 cm
Left: M e Pictorem Pictor Pinxit D . A n t . V a n D y c k ,
E g n e s Illustris
Purchased in 1898
through the city. The commission was
p r o m p t e d b y the v i c t o r y o f the I n f a n t e F e r d i -
n a n d o v e r the a r m i e s o f the U n i t e d P r o v i n c e s o f
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 b r i l l i a n t e x a m p l e of R u b e n s ' c o n f i d e n t
and improvisational sketching technique.
A f t e r the d e a t h o f R u b e n s i n 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 e a d i n g a r t i s t o f the S o u t h -
ern N e t h e r l a n d s . H e w a s p r i m a r i l y a c t i v e i n
A n t w e r p , a n d his a r t i s t i c a s p i r a t i o n s d i d not
e x t e n d q u i t e s o h i g h a s those o f R u b e n s . J o r -
daens showed himself to be an uncomplicated
m e m b e r o f the m i d d l e - c l a s s , a n d there i s little
r o o m i n his w o r k for reflection o r a n y feeling o f
transcendence. Although he never visited Italy,
he w a s strongly influenced by C a r a v a g g i o .
T r a c e s o f this i n f l u e n c e a r e v i s i b l e i n the c o n -
trast b e t w e e n light a n d d a r k w h i c h s e r v e s t o
h e i g h t e n the d r a m a t i c t e n s i o n of his Meleager and
Atalanta p a i n t e d i n 1 6 1 8 . T h e p a i n t i n g ' s s u b j e c t
i s t a k e n f r o m O v i d ' s Metamorphoses. T h e w o r k
d e p i c t i n g the t h e m e o( As the Old sang, the Young
play Pipes, s i g n e d b y J o r d a e n s a n d d a t e d 1 6 3 8 , i s
the e a r l i e s t k n o w n v e r s i o n o f this h i g h l y p o p u l a r
t h e m e w h i c h the a r t i s t p a i n t e d a n d d r e w o n a
variety of occasions. T h i s wonderful family
c o n c e r t s h o w s J o r d a e n s a t his b e s t .
T h e y o u n g e s t o f the three g r e a t m a s 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 r e i n
the m u s e u m ' s p o s s e s s i o n . H e w o r k e d w i t h R u b -
e n s for a t i m e in his y o u t h , after w h i c h he s p e n t
m o s t o f his c a r e e r i n E n g l a n d a n d I t a l y . H e w a s
e v e n m o r e a d m i r e d i n E n g l a n d t h a n i n his o w n
country, and he had a significant influence upon
E n g l i s h p a i n t i n g . V a n D y c k ' s c e u v r e , less v a r i e d
t h a n that o f R u b e n s , c o n s i s t s m a i n l y o f b r i l l i a n t
portraits. H i s sensitive personality a n d restless
temperament were brought to bear in penetrat-
ing p s y c h o l o g i c a l s t u d i e s o f m e m b e r s o f l e a d i n g
f a m i l i e s , the n o b i l i t y a n d r o y a l t y . H i s s o b e r
Portrait of Marten Pepijn s h o w s the a r t i s t as an
e n e r g e t i c m a n o f fifty-eight y e a r s , d e p i c t e d i n a
b l a c k j e r k i n w i t h a refined p l e a t e d c o l l a r . V a n
D y c k also painted grandiose religious a n d
m y t h o l o g i c a l c o m p o s i t i o n s . H i s Descent from the
Cross, e x e c u t e d 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 w i t h s o m e t h i n g of a t h e a t r i c a l
character b y M a r y ' s expansive gestures. V a n
D y c k s h o w s his s e n s e o f the m o n u m e n t a l i n this
b i b l i c a l t h e m e i n w h i c h the i n t i m a t e e m o t i o n o f
the d e p i c t e d c h a r a c t e r s e n j o y s the v i e w e r ' s ful-
lest a t t e n t i o n .
ANTHONY VAN DYCK
A n t w e r p 1 5 9 9 - Blackfrjars ( E n g l a n d ) 1 6 4 1
The Lamentation of Christ
I n v . 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 c h u r c h i n A n t w e r p
ABRAHAM JANSSENS
Antwerp 1 5 7 5 - 1632
Scaldis and Antiuerpia
Inv. 2 1 2
Panel, 1 7 4 x 308 cm THEODOOR ROMBOUTS
From Antwerp T o w n Hall Antwerp 1597 - 1637
The Card Players
Inv. 358
C a n v a s , 1 5 2 x 206 c m
V a n den B o s c h - V a n C a m p bequest, 1847
Flemish figure painters
A p a r t from its m a j o r c o l l e c t i o n s o f the three
g r e a t A n t w e r p m a s t e r s , the m u s e u m a l s o p o s -
sesses m a n y paintings w h i c h p r o v i d e a v a r i e d
picture of 1 7 t h century Flemish artistic special-
i s m s , s u c h a s a l l e g o r y , g e n r e , art g a l l e r i e s ,
embellished landscape, historical paintings and
portraiture.
I n a d d i t i o n t o his f a v o u r i t e a l l e g o r i c a l s c e n e s ,
A b r a h a m J a n s s e n s also painted religious and
mythological themes. J a n s s e n s w a s slightly
y o u n g e r t h a n R u b e n s , a n d for a t i m e w a s his
e q u a l . A f t e r his v i s i t t o I t a l y , h o w e v e r , R u b e n s
q u i c k l y s u r p a s s e d h i m . J a n s s e n s p a i n t e d Scaldis
and Antwerpia for the S t a t e R o o m or ' S t a e t e n -
camer' of Antwerp T o w n Hall. This decorative,
a l l e g o r i c a l w o r k , c o m m i s s i o n e d b y the city
a u t h o r i t i e s , o r i g i n a l l y a d o r n e d the c h i m n e y
b r e a s t , a n d c o n s i s t s o f a p a e a n o f p r a i s e t o the
c i t y ' s m a i n a r t e r y , the R i v e r S c h e l d t . T h e s h a r p
contrast b e t w e e n light a n d dark recalls C a r a v -
aggio, w h o h a d a great influence upon m a n y of
the a r t i s t s of the t i m e .
T h e o d o r e R o m b o u t s was a pupil of A b r a h a m
J a n s s e n s , a n d another 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 i n I t a l y , a n d w a s m u c h influ-
enced by C a r a v a g g i o ' s genre works. As far as
the s u b j e c t m a t t e r is c o n c e r n e d , his Card Players
is a g e n r e p a i n t i n g , d e p i c t i n g as it d o e s a jolly-
s c e n e from e v e r y d a y life p r o b a b l y w i t h a m o r a l -
ising undertone. T h e painting is large in format,
realistic in conception a n d traditional in style,
a n d its s u b j e c t i s p o r t r a y e d i n s o b e r a n d m o n u -
m e n t a l f a s h i o n . T h e m u s e u m a l s o h a s a treat-
m e n t of the s a m e s u b j e c t , Card Players by
DAVID TENIERS THE YOUNGER
Antwerp 1 6 1 0 - Brussels 1690
Before the Inn
I n v
- 345
P a n e l , 37 x 49 cm
L o w e r c e n t r e : D . T E N T E R S , F E C . P u r c h a s e d at the
S c h a m p van Aveschoot Auction in Ghent in 1840
A d r i a a n B r o u w e r , o n e o f the m o s t o r i g i n a l
t a l e n t s in F l e m i s h art. B r o u w e r ' s v e r s i o n is a
genre piece in a s m a l l e r format, with m a r v e l o u s ,
velvety colouring. W h e r e a s B r o u w e r chose to
p l a c e p a r t i c u l a r e m p h a s i s u p o n the g r i m e x i s -
t e n c e o f the p o o r , D a v i d T e n i e r s the Y o u n g e r
concentrated upon more idealised works. As
u s u a l , he p a y s a g r e a t d e a l of a t t e n t i o n to the
l a n d s c a p e in his Before the Inn. T h e d r i n k e r s a r e
almost incidental.
A p a r t from p a i n t i n g s d e a l i n g w i t h s o c i a l
c u s t o m s a n d m o r e s , there w a s a g r e a t d e m a n d
from c o n t e m p o r a r y p a t r o n s o f the a r t s for d e c o -
rative canvases. An attractive example is pro-
v i d e d b y the l a r g e n u m b e r o f art g a l l e r y p a i n t -
i n g s , a s p e c i a l i s m w h i c h a r o s e i n the 1 7 t h
c e n t u r y , i n w h i c h the p a t r o n i s p o r t r a y e d i n the
m i d s t o f his c o l l e c t i o n , a n d i n w h i c h the a r t i s t
e x p r e s s e s the i d e a s a n d a t t i t u d e s o f his t i m e .
F r a n s F r a n c k e n I I , w h o p a i n t e d the A n t w e r p
m e r c h a n t Sebastiaan Leerse in his Gallery t o g e t h e r
w i t h h i s s e c o n d w i f e a n d their s o n , w a s a m a s t e r
i n this field. P a i n t i n g s o f this k i n d h a v e b o t h
aesthetic and documentary- value, as the
d e p i c t e d p a i n t i n g s c o u l d l a r g e l y b e identified.
P o r t r a i t u r e w a s g e n e r a l l y v i e w e d a s a slightly-
i n f e r i o r b r a n c h o f art, a s i t r e q u i r e d less i n v e n -
t i v e n e s s o n the p a r t o f the p a i n t e r . T h e p o r t r a i t s
o f C o r n e l i s D e V o s a r e a m o n g s t the m o s t
b e a u t i f u l p r o d u c e d i n the S o u t h e r n N e t h e r l a n d s
i n the 1 7 t h c e n t u r y . T h e m u s e u m p o s s e s s e s
s e v e r a l w o r k s b y this a r t i s t w h o w a s b o r n i n
H u l s t i n the N o r t h e r n N e t h e r l a n d s , b u t w h o
w a s a c t i v e i n A n t w e r p . T h e f u l l - l e n g t h , life-size
s u b j e c t s of his Family Portrait a r e e x e c u t e d in a
truthful a n d i n t r i g u i n g m a n n e r .
ADRIAEN BROUWER
Oudenaarde 1605/06 - Antwerp 1638
The Card Players
Inv. 642
Panel, 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 A u c t i o n i n 1 8 8 0
 No matter how versatile individual artists
m i g h t h a v e b e e n , the s p l i t t i n g u p o f p a i n t i n g
into different s p e c i a l i s m s m e a n t that a r t i s t s
often c o o p e r a t e d on a s i n g l e p a i n t i n g to w h i c h
FRANS FRANCKEN II e a c h m a d e his o w n s p e c i a l c o n t r i b u t i o n . E r a s -
Antwerp 1607 - 1667 m u s Q u e l l i n a n d J a n F y t p a i n t e d the Portrait o f a
Art Gallery
Boy, w i t h Q u e l l i n p o r t r a y i n g the y o u n g l a d , a n d
I n v . 669
Panel, 77 x 1 1 4 cm F y t the d o g s .
L o w e r right: F. F R A N C K . I N . E T . F.
Donated by Artibus Patriae, 1878

CORNELIS DE vos
Hulst 1 5 8 4 / 8 5 -
Antwerp 1651
Family Portrait, 1631
Inv. 841
Panel, 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
P u r c h a s e d in 1 9 0 5

ERASMUS QUELLIN
Antwerp 1 6 0 7 - 1678
and JAN FYT
Antwerp 1 6 1 1 - 1661
Portrait of a Boy
I n v . 407
P a n e l , 1 3 6 x 1 0 3 cm
V a n den H e c k e - B a u t
d e R a s m o n bequest, 1 8 5 9
JOOS DE MOMPER THE YOUNGER

Antwerp 1 5 6 4 - c a . 1635
HENDRIK VAN BALEN

Antwerp 1 5 7 5 - 1632
JAN 'VELVET' BREUGHEL

Brussels 1568 - Antwerp 1 6 2 5

Helicon or Minerva's Visit to the Muses
Inv. 957
P a n e l , 1 4 0 x 1 9 9 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 .
Selb. V a n H u m b e e c k bequest, 1 9 2 5

DAVID TENIERS THE YOUNGER

Antwerp 1 6 1 0 - Brussels 1690

Return from the Hunt, 1670
Inv. 727
P a n e l , 28 x 35 cm
L o w e r r i g h t : D . T E N I R S 1670 F E .
P u r c h a s e d a t the G e e l h a n d d e L a b i s t r a t e A u c t i o n ,
1878
Landscape, still-life and animals
W e p i c k u p the t h r e a d o f l a n d s c a p e d e v e l o p -
m e n t w i t h K e r s t i a e n d e 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 -
d r i k v a n B a l e n (figures) a n d J a n ' V e l v e t '
B r e u g h e l ( f l o w e r s ) is a v e r y s i m i l a r w o r k , a l b e i t
rather more attractive, and with a more har-
m o n i o u s l a n d s c a p e . (It is in fact a r a t h e r
a r t i f i c i a l d e v i c e t o p l a c e D e K e u n i n c k i n the
1 6 t h c e n t u r y a t a l l , a s the p a i n t i n g i n q u e s t i o n
d a t e s from the 1 7 t h c e n t u r y ) . T h e f o r e g r o u n d
and b a c k g r o u n d merge gradually with one
another, forbidding rocks give 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 s c e n e f o r m s 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 r d ' s - e y e
v i e w in f a v o u r of a t y p e of r e a l i s t i c , a l t h o u g h at
the s a m e t i m e i d e a l i s e d a n d s e r e n e slice o f
n a t u r e . T h e d y n a m i c , c o s m i c v i s i o n i n the
tradition of R u b e n s is also absent 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 a r t i s t s w e r e
s e d u c e d b y D u t c h l a n d s c a p e art w i t h its light-
ness of touch, a n d clear, impressionistic a t m o -
sphere. Siberechts' v a g u e l y erotic paintings
h a v e , h o w e v e r , a certain solidity of form a n d
evenness of execution, while in Teniers' work,
colours and contours are diaphanous and
a l m o s t d i s s o l v e into o n e a n o t h e r .
Still life in the 1 7 t h c e n t u r y , be it a floral
c o m p o s i t i o n , a ' p r o n k s t u k ' (or s u m p t u o u s still
life) or a r e p r e s e n t a t i o n of the vanitas t h e m e , is
invariably opulent, ingenious and moralistic.
J a n ' V e l v e t ' B r e u g h e l ' s Flowers in a Vase b l o o m
i n different s e a s o n s , a r e a r r a n g e d h i e r a r c h i c a l l y
in a rich b o u q u e t , a n d refer in all t h e i r b e a u t y to
the t r a n s i e n c e o f life. T h e o d o o r A e n v a n c k ' s
Fruit a l s o r e p r e s e n t s the p r o c e s s o f d e c a y a n d
destruction, but it w a s Franciscus G y s b r e c h t s
w h o e x p r e s s e d this t r a n s i e n c e i n the m o s t e x p l i -
cit f a s h i o n . H i s Vanitas is c o n c e i v e d as a g r a n -
d i o s e s p e c t a c l e d e a l i n g w i t h the v a n i t y o f the
AORIAAN VAN STALBEMT
i n t e l l e c t u a l w o r l d ( g l o b e , b o o k s ) , of the vita
Antwerp 1 5 8 0 - 1662
voluptaria ( m u s i c a l i n s t r u m e n t s , s m o k i n g i m p l e - Landscape with Fables, 1620
m e n t s ) a n d , f i n a l l y , of the t r a n s i e n c e of life I n v . 469
(skull, h o u r g l a s s ) . T h e moralistic m e a n i n g o f Panel, 1 2 9 x 169 cm
these still lifes m i g h t h a v e lost s o m e o f its L o w e r right: A. Stalbemt F 1620
Donated by Artibus Patriae, 1868
u r g e n c y a s far a s m o d e r n v i e w e r s a r e c o n -
c e r n e d , b u t the v i s u a l p l e a s u r e w h i c h they offer
JAN WILDENS
is an equally important aspect. Antwerp 1 5 8 6 - 1653
T h e fully-fledged a n i m a l painting e m e r g e d in Landscape with Shepherds, 1631
the l a t e 1 6 t h c e n t u r y w i t h the rise o f b i o l o g i c a l I n v . 987
C a n v a s , 1 3 5 x 201 cm
research a n d collections of rare creatures. R o e -
L o w e r left: J . W i l d e n s 1 6 3 1
l a n t S a v e r y in The Garden of Eden a n d J a n v a n
Donated by Artibus Patriae, 1 9 3 5
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 knowledge of exotic animals such as
the w a t e r - b u f f a l o a n d the d r o m e d a r y . B o t h
a r t i s t s u s e a n a r r a t i v e s u b j e c t as a v e h i c l e for
painting their a n i m a l s , while F r a n s S n y d e r s , by
contrast, takes a realistic starting point - a
m a r k e t s c e n e - for his p a i n t i n g of the Fishmon-
ger's. T h e d r a m a t i c , l a r g e f o r m a t w a s a l s o u s e d
for h u n t i n g s c e n e s .
 JAN 'VELVET' BREUGHEL
Brussels 1568 - Antwerp 1 6 2 5
Flowers in a Vase
Inv. 643
P a n e l , 1 0 1 x 76 cm
P u r c h a s e d from M r s . P e l g r i m s - H a e n e g r a e f f , 1 8 8 0

JAN SIBERECHTS
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 , 120 x 160 cm
L o w e r right: J e a n Siberechts. D . Envers 1 6 6 .
C . S e d e l m e y e r c o l l e c t i o n , P a r i s ; p u r c h a s e d from
F. Kleinberger, Paris, 1 9 1 0 .

THEODOOR AENVANCK
Antwerp 1 6 3 3 - 1690
Fruit, 1653
Inv. 758
P a n e l , 63 x 80 cm
Left o n t a b l e : T h e o d o o r A e n v a n c k 1 6 5 3
P u r c h a s e d from the
V a n C u t s e m family, 1 8 9 2
ROELANT SAVERY

Courtrai 1 5 7 6 - Utrecht 1 6 3 9
77K Garden of Eden
Inv. 5088
P a n e l , 54 x 87 cm
Left on s t o n e :
Roelant Savery Fe
Purchased at Christie's
Auction House, London, 1965
FRANCISCUS G Y S B R E C H T S (second half 1 7 t h century)
Vanitas
Inv. 5 1 0 2
Canvas, 1 1 5 x 134 cm
C e n t r e left: F . G y s b r e c h t s .
P u r c h a s e d from G u y D a r r i e n t o r t , P a r i s , 1 9 8 4

JAN VAN KESSEL THE E L D E R

Antwerp 1626 - 1679
Concert of the Owl
Inv. 428
C a n v a s , 1 7 0 x 234 cm
F r o m the P i t s e m b u r g
Commanderie, Mechelen

FRANS SNYDERS

Antwerp 1 5 7 9 - 1657
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 Bergh bequest.
1873

1 jth century sculpture
T h e r e w a s a major blossoming of sculpture in
the S o u t h e r n N e t h e r l a n d s i n the 1 7 t h c e n t u r y .
T h e m u s e u m i s not a b l e t o p r o v i d e a c o m p r e -
hensive survey of artistic production a n d devel-
o p m e n t in this field, b u t a n u m b e r of v a l u a b l e
p i e c e s from the e r a in q u e s t i o n a r e to be f o u n d
in the c o l l e c t i o n .
T h e G e r m a n artist G e o r g Petel modelled a
h i g h l y e x p r e s s i v e Bust of P.P. Rubens in 1 6 3 3 . He
b e c a m e the p i o n e e r o f G e r m a n B a r o q u e s c u l p -
ture, p a r t l y b e c a u s e o f the m a n y c o n t a c t s h e
h a d w i t h the l e a d i n g f i g u r e s o f the F l e m i s h
Baroque.
O n e o f the m o s t i n f l u e n t i a l r e p r e s e n t a t i v e s o f
the c l a s s i c a 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 .
I n 1 6 6 5 , this i m p o r t a n t i n t e r p r e t e r o f the R u b -
ens s t y l e d o n a t e d a b u s t of Luis de Benavides,
GEORG PETEL
Weilheim (Germany) 1 5 9 0 / 9 3 - Augsburg (Germany)
6
> 34
Bust of P.P. Rubens, 1633
Inv. 6 2 1
Fired clay, b r o n z e d , 68 x 67 cm
O n the left s h o u l d e r : P . P . R U B E N S
B e n e a t h the left s h o u l d e r : I A P F C T 1 6 3 3
Donated by J . A . Nottebohm, 1866
ARTUS QUELLIN THE ELDER
Antwerp 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 7 4 . 2 cm
C h a m b e r o f the G u i l d o f S a i n t L u k e
Marquess of Caracena, Governor-General of the Span-
ish Netherlands to the G u i l d of S a i n t L u k e ,
b e c a u s e the M a r q u e s s h a d p r e s s e d for the
s e t t i n g u p o f the R o y a l A c a d e m y i n 1 6 6 3 .
A n o t h e r m e m b e r o f the s a m e a r t i s t i c f a m i l y w a s
A r t u s Q u e 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 p u p i l o f Q u e l l i n the E l d e r , c a r v e d
an o a k Saint Sebastian w h i c h , until the e n d of the
1 8 t h c e n t u r y , f o r m e d p a r t o f the c h a p e l e n c l o -
s u r e o p p o s i t e the a l t a r o f the Y o u n g A r c h e r s '
Guild in Antwerp Cathedral.
T h e m a r b l e b u s t of Maximilian Emmanuel of
Bavaria, Governor of the Spanish Netherlands b e l o n g s
to the l a t e - B a r o q u e . It is the m a s t e r p i e c e of the
A n t w e r p s c u l p t o 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 w i t h s u c h v e r v e a n d
e l e g a n c e , a c h i e v e d a l i v e l y p o r t r a i t of a c o u r t l y
a p p a r i t i o n from a s o c i e t y c i v i l i s e d to the p o i n t of
caricature.
WILLEM KERRICKX THE ELDER

Dendermonde 1652 - Antwerp 1 7 1 9

Maximilian Emmanuel of Bavaria, Governor of the Spanish
Netherlands, i6g4
Inv. 678
Marble, 1 1 7 x 75.3 cm
L o w e r right: 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 S a i n t L u k e

ARTUS QUELLIN THE YOUNGER

Sint-Truiden 1 6 2 5 - A n t w e r p 1700
Saint Sebastian
Inv. 702
Oak, 150 x 5 3 . 5 cm
O r i g i n a l collection o f the M u s e u m
FLORIS GERRITSZ. VAN SCHOOTEN

H a a r l e m c a . 1 5 9 0 - after 1 6 5 5
Breakfast
Inv. 836
P a n e l , 50 x 82 cm
O n knife: F V S
Purchased al J o z e f Isenbaert
Auction, Antwerp, 1905

A B R A H A M VAN B E Y E R E N

T h e Hague 1620/21 -
Overschie 1690
Still life
Inv. 5084
C a n v a s , 87 x 107 cm
L o w e r r i g h t : лв.Г.
Purchased in 1962
i yth century in Holland
T h e limited scope of this book does not permit a
comprehensive survey of D u t c h art, w h i c h 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. A l l of
these genres were also practiced in F l a n d e r s , yet
there are distinct differences between the N o r t h
and the South. M i d d l e - c l a s s and calvinist ten-
dencies are particularly evident in the D u t c h
preference for mock-realism and intimacy, a n d
it is these characteristics w h i c h predominate in
most of the works discussed here. Anthonie
Palamedes' Family Portrait dates from ten years
after C o m e l i s De V o s ' painting of a similar
subject (see p a g e 5 4 ) . T h e family, with numer-
ous children, sits primly in a room with the air
of a peep-show; P a l a m e d e s 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 G e r r i t z . v a n Schooten's aus-
tere Breakfast. The carefully painted and
arranged ingredients contrast sharply with the
baroque Still life of A b r a h a m v a n Beyeren, in
w h i c h the silver plates, V e n e t i a n g l a s s w a r e and
ANTHONIE PALAMEDES
Delft 1 6 0 1 - A m s t e r d a m 1 6 7 3
Family Portrait, / 6 5 5
Inv. 8 1 0
P a n e l , 80 x 1 0 7 cm
Left o n t i l e : 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 L e R o y b r o t h e r s , B r u s s e l s , 1 9 0 2
fruit a r e h e a p e d u p t o f o r m a w a r m - c o l o u r e d
w h o l e , w i t h s p a r k l i n g l i g h t effects.
U s e o f l i g h t i n this w a y w a s , i n fact, a p r i m a r y
f e a t u r e o f D u t c h p a i n t i n g : the p i n k , s o u t h e r n
l i g h t of K a r e l D u j a r d i n ' s Roman Campagna, the
h i g h , c l e a r light o f the n o r t h t h a t w e f i n d i n the
s m a l l p a i n t i n g s o f P h i l i p s W o u w e r m a n s (Rider's
rest Place) a n d J a n v a n d e r H e y d e (View of a
Bridge), or the e v e n light in The new Church at
Delft b y 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 c o l o u r t o n e s w e r e a t their
peak, and colour contrasts were being replaced
by translucent strokes, Dutch l u m i n i s m estab-
l i s h e d the r e p u t a t i o n w h i c h w a s t o l a s t u n t i l
w e l l into the 2 0 t h c e n t u r y .
T h e i n t i m a c y , w h e t h e r or not with a m o r a l i s -
ing undertone, w h i c h we detect in interior
p a i n t i n g s s u c h a s G e r a r d T e r B o r c h ' s Lute Player
o r 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 p a s s i o n a t e , a l m o s t u n - D u t c h s q u a b -
b l i n g o f the Inn Scene p a i n t e d b y 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
'genial homeliness'. D u t c h artists m a n a g e d to
c a p t u r e b r i l l i a n t l y the t w i n , c l o s e d w o r l d s o f the
m i d d l e - c l a s s e s ( u p p e r a n d l o w e r ) o n the o n e
h a n d , a n d the p r o l e t a r i a t o n the o t h e r . T h e
t r u t h f u l n e s s o f t h e i r w o r k h e l p e d the g e n r e t o
d e v e l o p i n t o o n e o f the p e a k s o f 1 7 t h c e n t u r y
art.
KAREL DUJARDIN

Amsterdam 1622 - Venice 1678

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 right: K . D u J a r d i n F e e . R o m a 1 6 7 5
K . O o m s - V a n Eersel bequest, 1 9 2 2

HENDRIK CORNELISZ. VAN VLIET

Delft 1 6 1 1 / 1 2 - 1 6 7 5
The new Church at Delft
Inv. 196
Panel, 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 bequest, 1 8 5 9

T h e a b s o l u t e m a s t e r p i e c e i n the m u s e u m ' s
c o l l e c t i o n of D u t c h a r t is the Portrait of Stefanus
Geraerdts b y F r a n s H a l s . S t e f a n u s h o l d s out h i s
h a n d t o his w i f e I s a b e l l a C o y m a n s , w h o , i n a
m a t c h i n g p o r t r a i t w h i c h i s not, u n f o r t u n a t e l y ,
in the s a m e c o l l e c t i o n , offers h i m a rose in
r e t u r n . T h e m a n ( a n d the c o u p l e ) r a d i a t e s
w a r m t h . H i s full f i g u r e , his s m i l e a n d his r i c h
clothing are executed with a j a u n t y , impression-
istic s t r o k e i n b l a c k , w h i t e a n d g o l d . D e s p i t e the
fact that it b e a r s R e m b r a n d t ' s s i g n a t u r e a n d a
d a t e , the o t h e r w e l l - k n o w n p o r t r a i t , that o f
Eleazer Swalmius, is p r o b a b l y not by the m a s t e r
himself, t o w h o m i t h a s t r a d i t i o n a l l y b e e n a t t r i -
b u t e d , b u t f r o m his A m s t e r d a m s t u d i o . T h e
p o r t r a y a l i s s o b e r , s i m p l e a n d l i f e - s i z e ; the
c o l o u r i n g i s m u t e d , a n d the u s e o f l i g h t s e r v e s t o
e m p h a s i s e the f a c e a n d h a n d s o f the sitter.
D e s p i t e all the q u a l i t i e s offered b y this p o r t r a i t ,
i t c a n n o t e q u a l the m a s t e r p i e c e b y H a l s .
ADRIAEN VAN OSTADE
Haarlem 1 6 1 0 - 1685
Inn Scene JAN VAN DER HEYDE
I n
v - 959 Gorinchem 1637 — Amsterdam 1 7 1 2
P a n e l , 31 x 46 cm View of a Bridge
Purchased in 1 9 2 6 I n v . 980
Panel, 24 x 31 cm
D o n a t e d b y G . N a u w e l a e r t s , t h r o u g h the i n t e r m e d i a r y
of Artibus Patriae, 1 9 3 1

PHILIPS WOUWERMANS
H a a r l e m 1 6 1 9 - 1668
Rider's rest Place
Inv. 500
P a n e l , 43 x 37 cm
L o w e r right: P A W
P u r c h a s e d a t the D e s i r e v a n d e n S c h r i e k A u c t i o n .
Brussels, 1861
GERARD TER BORCH

Zwolle 1 6 1 7 - Deventer 1681

The Lute Player
Inv. 349
P a n e l , 31 x 27 cm
O n the s p i n e o f the b o o k o n the t a b l e : G t . B o r g F C T
P u r c h a s e d a t the D e s i r e v a n d e n S c h r i e k A u c t i o n ,
Brussels, 1861
JACOB VREL
P r o b a b l y w o r k e d i n Delft a n d H a a r l e m a r o u n d 1 6 5 0
The Hospital Orderly
Inv. 790
P a n e l , 56 x 45 cm
O n upper half o f door: P H
P u r c h a s e d a t the K u m s A u c t i o n , A n t w e r p , 1 8 9 8
FRANS HALS

A n t w e r p ca. 1 5 8 0 - H a a r l e m 1666
Fisherboy
Inv. 188
C a n v a s , 74 x 61 cm
Left: F H
P u r c h a s e d from J . C . M e r t z , P a r i s , 1 8 7 1

REMBRANDT VAN RIJN

Leyde 1606 - Amsterdam 1669

Portrait of Eleazer Swalmius
Inv. 705
C a n v a s , 1 3 2 x 109 cm
U p p e r right: Rembrandt 1 6 3 7
Purchased in 1886

FRANS HALS

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
Canvas, 1 1 5 x 87 cm
S t e p h e n B o u r g e o i s , C o l o g n e - P a r i s , sold the p o r t r a i t o f
the wife t o B a r o n d e R o t h s c h i l d , P a r i s , a n d the p o r t r a i t
o f the h u s b a n d t o A n t w e r p M u s e u m , 1 8 8 6
Flemish painting in the 18th century
A series of recent studies a n d acquisitions h a v e
led to s o m e t h i n g of a n e w a t t i t u d e t o w a r d s
p a i n t i n g i n the 1 8 t h c e n t u r y . U n t i l f a i r l y r e c e n t -
ly, the a r t o f this p e r i o d w a s c o n s i d e r e d t o b e
r a t h e r i n f e r i o r , d e s p i t e the h i g h a r t i s t i c o u t p u t ,
b e c a u s e o f its p e r c e i v e d l a c k o f i n n o v a t i o n . O n
the o n e h a n d , F l e m i s h a r t i s t s o f the 1 8 t h c e n -
t u r y c o n t i n u e d to l i v e off the i n h e r i t a n c e 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 s u c h a s P i e t e r J o z e f V e r h a g h e n w o r k e d
entirely in the t r a d i t i o n o f R u b e n s , a n d
a l t h o u g h he s p e n t a few y e a r s in I t a l y , t h e r e a r e
few t r a c e s of this in his w o r k . H i s Hagar and
Ishmael banished by Abraham, p a i n t e d for the
a b b e y a t T o n g e r l o , h a s all the o u t w a r d c h a r a c -
teristics o f a b a r o q u e p a i n t i n g , b u t l a c k s R u b -
ens' expressiveness.
JAN FRANS ELIAERTS
Bouquet of Flowers in a Sculpted Vase
detail
M e a n w h i l e , o t h e r a r t i s t s h a d fallen u n d e r the
spell o f F r a n c e w i t h its t r e n d - s e t t i n g r o c o c o
artists. T h i s development w a s , however, rather
out of c h a r a c t e r with F l e m i s h artistic tradition,
and encountered a certain degree of resistance
i n the a r 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 t o
r u n the g a u n t l e t o f these difficulties i n A n t w e r p
w h e r e he strove to renew both painting a n d
a r t i s t i c e d u c a t i o n . H e w a s a n artist w i t h a n
i n t e r n a t i o n a l r e p u t a t i o n , a r e p r e s e n t a t i v e of the
n e o - c l a s s i c a l i d e a l . H i s p a i n t i n g s a r e the r e s u l t
o f his s t u d y o f a n t i q u e a n d I t a l i a n m a s t e r s , b u t
a l s o his r e a d i n g o f c l a s s i c a l a n d b i b l i c a l w r i t -
i n g s . I n 1 7 6 3 , L e n s b e c a m e the 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 t o s h o w his g r a t i t u d e ,
he d o n a t e d the w o r k Hercules protects Painting
from Ignorance and Envy - an a l l e g o r y in w h i c h h i s
PIETER-JOZEF VERHAGHEN
Aarschot 1728 - Louvain 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 right: P . J . V e r h a g h e n F 1 7 8 1
O r i g i n a l c o l l e c t i o n o f the m u s e u m , 1 8 1 0
n e w task w a s c l e a r l y e x p r e s s e d . L e n s h i m s e l f i s
portrayed in an expressive, theatrical manner,
in a f l o w i n g c l o a k , s u r r o u n d e d by the tools of his
p a i n t e r ' s t r a d e , in Portrait of the Artist A.C. Lens,
by Willem Herreyns. T h i s painting reveals
H e r r e y n s ' i n n o v a t i v e a p p r o a c h t o his p o r t r a i t s ,
s o m e t h i n g w h i c h c a n n o t b e s a i d o f his r e l i g i o u s
a n d h i s t o r i c a l c o m m i s s i o n s . H e w a s i n fact a n
opponent of L e n s ' reforms.
During the second h a l f o f the century, as
Brussels b e g a n to occupy centre stage alongside
A n t w e r p , h i s t o r y p a i n t i n g as a form of official
artistic expression also began to gain in import-
ance. T h e middle-classes, however, retained
their p r e f e r e n c e for p o r t r a i t s , still lifes, l a n d -
s c a p e s a n d s c e n e s 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
s c e n e s s u c h as The Card Game a n d Tea Time.
T a k i n g his c u e f r o m 1 7 t h c e n t u r y g e n r e w o r k s ,
H o r e m a n s depicted pleasant scenes with a

JAN FRANS ELIAERTS

Antwerp 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 i a e r t s
P u r c h a s e d in 1 8 5 0

ANDRIES CORNELIS LENS

Antwerp 1 7 3 9 - Brussels 1822
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 n v : pinxit/et huic A c a -
demia D . D . 1 7 6 3
O r i g i n a l collection o f the m u s e u m , 1 8 1 0

J A N JOZEF HOREMANS
A n t w e r p 1 7 1 4 - after 1 7 9 0
Tea Time
Inv. 5061
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 c o l o u r s c h e m e . H i s w o r k s d o not, h o w -
ever, show a n y sign of profundity or criticism.
Flower painters were regarded particularly
highly. J a n Frans Eliaerts painted a sumptuous
bouquet of flowers which, in terms of composi-
tion, c o n t i n u e s the t r a d i t i o n e s t a b l i s h e d in the
f i n a l q u a r t e r o f the 1 7 t h c e n t u r y . T h e p a i n t i n g
in q u e s t i o n is e n t i t l e d Bouquet of Flowers in a
sculpted Vase. T h e c h o i c e of flowers a n d the cool
WILLEM HERREYNS
c o l o u r i n g a r e a g a i n t y p i c a l o f their t i m e . Antwerp 1743 - 1827
Portrait of the Artist A.C. Lens
Inv. 1 2 1 3
C a n v a s , 1 1 6 x 96 cm
Purchased in 1 8 9 3
The 19th Century
T h e romantic movement, which m a y be dated
b e t w e e n 1 7 8 0 a n d 1 8 5 0 , t u r n e d its f a c e a g a i n s t
authoritarian classicism. R e l e a s e d from e v e r y -
d a y c o n c e r n s b y the p o w e r o f the i m a g i n a t i o n ,
the r o m a n t i c s s o u g h t n e w a r t i s t i c f o r m s , b u t
a l s o a n e w i d e a l of life b a s e d u p o n a d e m a n d for
freedom. T h e r o m a n t i c artist w a s d r a w n
towards mysterious, ambiguous and unknown
t e r r i t o r y , w h i l e his feeling o f p r o f o u n d l o n e l i n e s s
could take on tragic proportions. R o m a n t i c i s m
s e r v e d t o unite E u r o p e , b u t e a c h c o u n t r y
r e a c t e d i n a c c o r d a n c e w i t h its s p e c i a l n a t i o n a l
character. G e r m a n r o m a n t i c i s m had a pen-
c h a n t for the m a g i c a l , E n g l i s h r o m a n t i c i s m w a s
l y r i c a l , w h i l e the F r e n c h h a d a taste for e v e r y -
thing d r a m a t i c . T h e s a m e applied to B e l g i a n
romanticism. Inspired by B e l g i u m ' s recently
w o n i n d e p e n d e n c e from the U n i t e d N e t h e r -
l a n d s , t h e r e w a s a m a r k e d p r e f e r e n c e for p o r -
HENRI DE BRAEKELEER
Flower Grower's Garden
detail
t r a y a l s o f the h e r o i c a n d d r a m a t i c e l e m e n t s o f
the n a t i o n a l i s t s t r u g g l e i n the c o u n t r y ' s p a s t .
T h e l a r g e f o r m a t p a i n t i n g s w i t h their d i a g o n a l -
ly arranged compositions, animated movement
a n d s t r o n g c o n t r a s t s b e t w e e n light a n d s h a d o w
a n d different c o l o u r s , often r e c a l l the ' G o l d e n
A g e ' of R u b e n s . Nicaise De K e y s e r constructed
his Charles V freeing the Slaves at Tunis in a c c o r -
d a n c e w i t h these p r i n c i p l e s from the B a r o q u e
era, but it w a s G u s t a f W a p p e r s in particular
w h o b e c a m e B e l g i u m ' s foremost romantic arti-
st. T h e i n s p i r a t i o n for h i s p a i n t i n g s w a s d r a w n
from his w i d e k n o w l e d g e o f r o m a n t i c l i t e r a t u r e ,
the history o f the L o w C o u n t r i e s , a n d his
reflections u p o n the role o f the a r t i s t a n d p o l i t i c s
in general. H i s best w o r k ( 1 8 2 8 - 1 8 5 0 ) reveals a
c h a r a c t e r i s t i c s t y l e a n d r i c h use o f c o l o u r . I n the
p a i n t i n g The De Witt Brothers in Captivity ( 1 8 3 8 ) ,
he s u c c e e d e d in c o m b i n i n g a s o b e r c o m p o s i t i o n
GUSTAF WAPPERS
A n t w e r p 1 8 0 3 - Paris 1 8 7 4
The De Witt Brothers in Captivity, 1838
Inv. 1 1 8 1
P a n e l , 56 x 69 cm
Purchased in 1 8 7 5
 w i t h 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
Witt, 1 7 t h century Dutch statesmen and fierce
anti-Orangists, are about to be d r a g g e d from
p r i s o n b y the m o b a n d l y n c h e d . T o W a p p e r s
a n d o t h e r r o m a n t i c s , they w e r e a s y m b o l o f faith
in liberalism a n d in political steadfastness.
F r o m 1 8 4 0 o n w a r d s , the h i s t o r i c a l p a i n t i n g
gradually b e c a m e a rather sedate, bourgeois
g e n r e . H e n r i L e y s , for i n s t a n c e , c h o s e t o p o r t r a y
the Arrival of Albrecht Diirer in Antwerp in 1520
( 1 8 5 5 ) rather than a more tumultuous and
momentous occasion. T h e accuracy of colour,
form and historical reconstruction contrast with
a c e r t a i n n o s t a l g i c tone, c h a r a c t e r i s t i c of
romanticism.

T h e b r e a k t h r o u g h o f r e a l i s m , w h i c h , like
romanticism, originated in France, occurred in
Belgium between 1850 and i860. According to
the r e a l i s t s , e v e r y d a y s u b j e c t s s h o u l d n o l o n g e r
be considered unworthy of being painted. T h e
NICAISE DE KEYSER
Zandvliet 1 8 1 3 - Antwerp 1887 i n n o v a t i o n o f the r e a l i s t s l a y not o n l y i n the
Charles V freeing the Slaves at Tunis m a n n e r o f p a i n t i n g , b u t a l s o i n the t h e m e s a n d
I n v . 2886 subjects of their work. T h e y chose to p o r t r a y
C a n v a s , 44 x 64 cm their i m m e d i a t e s u r r o u n d i n g s r a t h e r t h a n seek-
L o w e r left: N D K i n g refuge i n c o m p o s i t e w o r k s o r i m a g i n a t i o n .
Purchased in 1958
L a n d s c a p e s w e r e painted in situ, a n d w e r e no
l o n g e r the r e s u l t o f c o m b i n e d s t u d i e s f r o m
ALFRED STEVENS
n a t u r e a n d the i m a g i n a t i o n o r i d e a l s o f the
B r u s s e l s 1 8 2 3 - Paris 1 9 0 6 a r t i s t s . T h e w o r l d s u r r o u n d i n g the a r t i s t w a s
Parisienne Sphinx, 1867 m o r e important than historical scenes or tales
Inv. 1 3 7 3 f r o m 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 -
C a n v a s , 72 x 53 cm tion, c o l o u r a n d e x e c u t i o n h a d t o g i v e w a y t o
L o w e r left: A . S t e v e n s
the a c c u r a t e r e p r e s e n t a t i o n o f r e a l i t y .
P u r c h a s e d in 1 9 0 2
T h e a r t i s t A l f r e d S t e v e n s w a s the c h r o n i c l e r
o f the P a r i s demi-monde. O n e o f h i s b e s t w o r k s i s
the Parisienne Sphinx ( 1 8 6 7 ) , in w h i c h an e n i g -
HENRI LEYS matic female portrait with sober colouring a n d
Antwerp 1 8 1 5 — 1869 delicate lighting is preferred to an a n e c d o t a l
Arrival of Albrecht Diirer in Antwerp in 1 5 2 0 , 183J
Inv. 2 1 9 8
P a n e l , 90 x 1 6 0 cm
L o w e r right: H . L e y s f . 1 8 5 5
D o n a t e d by the g o v e r n m e n t , citv a n d A r t i b u s P a t r i a e .
1
•93
 HIPPOLYTE BOULENGER

T o u r n a i 1 8 3 7 - Brussels 1874
Josafat Valley at Schaarbeek, 1868
Inv. 1988
Panel, 1 1 0 x 85 cm
L o w e r left: H i p . B o u l e n g e r
Purchased in 1 9 2 5

CHARLES DE GROUX

K o m e n 1 8 2 5 - Brussels 1 8 7 0
The Coffee Tin
Inv. 1206
Canvas. 1 1 7 x 150 cm
L o w e r right: Charles De G r o u x
Purchased in 1892

C O N S T A N T ™ MEUNIER

Etterbeek 1 8 3 1 - Elsene 1 9 0 5
Man with a Sledgehammer
Inv. 1984
B r o n z e , 48 x 25 cm
Pedestal: C. M e u n i e r ; reverse right: Fondu par V e r -
beyst pour l'atelier Constantin Meunier. Bruxelles
Purchased in 1 9 2 5

CONSTANTIN MEUNIER

Etterbeek 1 8 3 1 - Elsene 1905

Return from the Mine
I n v . 2698
Canvas, 159 x 1 1 5 cm
L o w e r right: C . Meunier
Donated by Mrs. G. Born, 1950
JAN STOBBAERTS

Antwerp 1839 -
Schaarbeek 1 9 1 4
Dragging in the Woluwe
Inv. 1801
C a n v a s , 47 x 70 cm
Lower right: stamp -
Atelier J a n Slobbaerts 1 9 1 4
D o n a t e d by a g r o u p of
friends o f the m u s e u m , 1 9 2 0

FRANCOIS LAMORINIERE

Antwerp 1828 - 1 9 1 1
Fir Wood, 1883
Inv. 1 5 8 9
Canvas, 1 1 4 x 126 cm
L o w e r right:
F. Lamoriniere xx 1883
Purchased in 1899
and sentimentally bourgeois approach. Realism
adopted a socially engaged character with J o z e f
Stevens, Charles De G r o u x and Constantin
M e u n i e r . I n S t e v e n s ' c a s e this w a s s e n s i t i v e , i n
D e G r o u x ' s w r e t c h e d , w h i l e i n M e u n i e r ' s Coffee
Tin, the w o r k e r i s p o r t r a y e d a s n o b l e . M e u n i e r ' s
skill a s b o t h a n a r t i s t a n d s c u l p t o r i s e v i d e n 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 h a s a r i c h
selection of realistic l a n d s c a p e s , including F r a n -
c o i s 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 -
l y t e B o u l e n g e r ' s Josafat Valley ( 1 8 6 8 ) , b o t h h i g h -
ly a c c u r a t e slices of nature. E v e r y s h a p e , detail,
n u a n c e o f c o l o u r , reflection a n d effect o f the
light i s c o n v e y e d w i t h a l m o s t p a i n f u l p r e c i -
sion.
A f u r t h e r s t e p in the r e p r e s e n t a t i o n of n a t u r e
i s p r o v i d e d b y the l a n d s c a p e s a n d m a r i n e p a i n 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
GUILLAUME VOGELS
Brussels 1836 -
Elsene 1896
My Garden
Inv. 2028
C a n v a s , 84 x 56 cm
L o w e r right: G . Vogels
Purchased in 1925
S t o b b a e r t s a n d P e r i c l e s P a n t a z i s . G i v e n the
r e a l i s t s ' o b s e s s i o n w i t h the p r o b l e m s o f v i s u a l
o b s e r v a t i o n a n d the o u t w a r d a p p e a r a n c e o f
t h i n g s , i t i s i n e v i t a b l e that t h e y w o u l d a l s o w i s h
t o c a p t u r e the c h a n g e a b i l i t y a n d t r a n s i e n c e o f
n a t u r e . 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 a n d -
scape artists is m e l a n c h o l y and grey, and
retains a certain solidity of form. L o u i s A r t a n ' s
Marine scene is s u b t l e 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 light, G u i l l a u m e V o g e l s ' w o r k ,
p a r t i c u l a r l y My Garden, r e c o r d s the d u l l B e l g i a n
climate, J a n Stobbaerts worked with green,
h a z y p a t c h e s of c o l o u r in Dragging in the Woluwe,
w h i l e in his On the Beach, P e r i c l e s P a n t a z i s
r e c a l l s the s e a v i e w s p a i n t e d b y B o u d i n . A l l four
of these l a n d s c a p e painters h a d a rich pictorial
t a l e n t w h i c h , t h o u g h not i n c l i n e d t o s u m p t u o u s
colouring, nevertheless reveals a delicate and
poetic tonal shading.
LOUIS A R T A N
The Hague 1837 -
Oostduinkerke 1890
Morning
Inv. 1943
C a n v a s , 57 x 37 cm
Purchased in 1 9 2 3

PERICLES PANTAZIS
Athens 1 8 4 9 - Brussels 1884
On the Beach
Inv. 2 6 1 7
C a n v a s , 70 x 108 cm
Purchased in 1947
HENRI DE B R A E K E L E E R
Antwerp 1840 - 1888
Flower Grower's Garden, 1864
Inv. 1 2 0 3
Canvas, 84 x 1 1 5 cm
L o w e r right: Henri de Braekeleer
Purchased in 1 8 9 2
Henri De Braekeleer has been described as
the f i r s t r e a l l y s i g n i f i c a n t f i g u r e i n 1 9 t h c e n t u r y
B e l g i a n art. T h e A n t w e r p m u s e u m possesses 3 3
o f his p a i n t i n g s a n d 4 5 d r a w i n g s . T h e key-
e l e m e n t s i n his p a i n t i n g a r e O l d A n t w e r p w i t h
its q u i e t s q u a r e s a n d p e a c e f u l r u s t i c f a c a d e s ,
solitary people, almost medieval craftsmen and
stuffy b o u r g e o i s i n t e r i o r s . H e i s totally o b l i v i o u s
t o the a c t i v e life, his w o r k e x h a l i n g i n s t e a d a n
a t m o s p h e r e of silence and peace. A w a r m pal-
ette, s o b e r c o m p o s i t i o n , strict d i v i s i o n o f the
p a i n t i n g ' s s u r f a c e a n d a p a s s i o n for the s u b -
stance of things are characteristic of De Braekel-
eer. O n e of his b e s t - k n o w n p a i n t i n g s is The Man
in the Chair ( 1 8 7 5 ) . L i g h t floods t h r o u g h the
o p e n w i n d o w into a r o o m i n the B r o u w e r s h u i s ,
i n w h i c h a n o l d m a n sits s t a r i n g i n a c h a i r . T h e
p r e c i s e r e a l i s m of his Flower Grower's Garden
( 1 8 6 4 ) , a n e a r l y w o r k , i s c o m b i n e d i n o n e o f his
l a s t p a i n t i n g s , Strawberries with Champagne ( 1 8 8 3 )
w i t h a free p a i n t i n g s t y l e a n d a m o r e l i v e l y
range of colours.
HENRI DE BRAEKELEER

Antwerp 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 right: Henri de Braekeleer
Donated by F. Franck, 1930

HENRI DE BRAEKELEER

Antwerp 1840 - 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 right: Henri de Braekeleer
Donated by Baron G. Caroly, 1921
 J E F LAMBEAUX

Antwerp 1 8 5 2 - Brussels 1908

77K Kiss, 1881
T h e s c u l p t o r J e f L a m b e a u x a n d the p a i n t e r s Inv. 1085
J a n van Beers, Leon Frederic and George Hen- F r o n t , l o w e r left: J e f L a m b e a u x 1 8 8 1 ; r e v e r s e , l o w e r
left: C i e D e s B r o n z e s B r u x e l l e s . F o n t e d ' u n s e u l j e t
d r i k B r e i t n e r , the o n l y f o r e i g n e r t o b e w e l l
(cire p e r d u e )
represented in our collection (seven works) Purchased at Triennial Exhibition, 1882
b e l o n g to the f o l l o w i n g g e n e r a t i o n - that of
1 8 5 0 . T h e N a t u r a l i s m w h i c h links these artists
w a s e x p r e s s e d i n a different f a s h i o n b y e a c h .
T h e a n i m a t e d m o v e m e n t o f The Kiss ( 1 8 8 1 ) , i s
characteristic of L a m b e a u x ' s sculptures, while
the p h o t o g r a p h i c r e a l i s m of the Portrait of Peter
Benoit b y J a n v a n B e e r s t a k e s o n a m a g i c a l
d i m e n s i o n t h r o u g h the f l o a t i n g a c c e s s o r i e s . I n
LEON FREDERIC

Brussels 1 8 5 6 - Schaarbeek 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 . F r e d e r i c 1 8 8 8
Purchased at Triennial Exhibition, 1894

JAN VAN BEERS

Lier 1852 - Fay-aux-Loges 1927

Portrait of Peter Benoit, 1883
Inv. 1 1 4 0
P a n e l , 44 x 32 cm
L o w e r r i g h t : A a n m y n e n v r i e n d Peter B e n o i t . J a n v a n
Beers. Parijs 1 8 8 3
D o n a t e d b y the artist, 1 8 8 3

GEORGE HENDRIK BREITNER

Rotterdam 1857 - Amsterdam 1923

Women in Amsterdam
Inv. 2020
C a n v a s , 98 x 1 4 8 cm
Purchased in 1928
JAMES ENSOR
Ostend i860 - 1949
Bourgeois Drawing Room, 1881
Inv. 2 7 3 5
C a n v a s , 1 3 3 x 109 cm
L o w e r left: J a m e s E n s o r 1 8 8 1
Purchased in 1 9 5 2
JAMES ENSOR

Ostend i860 - 1949

Woman eating Oysters, 1882
Inv. 2073
C a n v a s , 207 x 1 5 0 cm
Lower right: J . Ensor 1882
Purchased in 1927
JAMES ENSOR
Ostend i860 - 1949
Masks fighting over a hanged man, 1891
Inv. 1857
C a n v a s , 59 x 74 cm
L o w e r right: Ensor 1 8 9 1
D o n a t e d b y a g r o u p o f friends o f the m u s e u m , 1 9 2 1
his Two Walloon Peasant Children ( 1 8 8 8 ) L e o n
Frederic executes a naturalistic portrait with a
c l e a r l y s o c i a l i n t e n t ; his w o r k d o e s , h o w e v e r ,
often w a v e r b e t w e e n n a t u r a l i s m a n d s y m b o l -
i s m . B r e i t n e r , the l e a d i n g f i g u r e a m o n g s t the
A m s t e r d a m i m p r e s s i o n i s t s , u s e d his o w n p h o t o -
g r a p h s - in Women in Amsterdam we a r e offered a
k i n d of s n a p s h o t - in o r d e r to w o r k n e w motifs
into his p a i n t i n g s .
A s i n the c a s e o f D e B r a e k e l e e r , the m u s e u m
a l s o b o a s t s the l e a d i n g c o l l e c t i o n o f w o r k s b y
B e l g i u m ' s o t h e r m a i n f i g u r e f r o m the 1 9 t h
c e n t u r y , n a m e l y J a m e s E n s o r . A total o f 3 5
p a i n t i n g s a r e p r e s e r v e d h e r e , r a n g i n g from a n
e a r l y a t t e m p t a t the a g e o f 1 7 , t o late w o r k s
d a t i n g from 1 9 0 6 / 0 7 , t o g e t h e r w i t h a c o l l e c t i o n
o f 6 0 6 d r a w i n g s . E n s o r took the i n s p i r a t i o n for
his e a r l y w o r k f r o m his i m m e d i a t e s u r r o u n d -
i n g s : h e p a i n t e d m e m b e r s o f his f a m i l y , i n t e r -
i o r s , city v i e w s a n d the s e a i n a d a r k - t i n t e d s t y l e
w i t h an i m p r e s s i o n i s t i c t o u c h , as in his Bourgeois
Drawing Room ( 1 8 8 1 ) . U n d e r the i n f l u e n c e of the
French, and particularly J . M . W . Turner, he
l i g h t e n e d his p a l e t t e a n d his p o i n t o f v i e w
b e c a m e m o r e m o d e r n , a s i n his f a m o u s Woman
eating Oysters. In o t h e r p a i n t i n g s , like Adam and
Eve driven from the Garden of Eden, the c l a r i t y of
the light b e c a m e p i e r c i n g a n d i n c a n d e s c e n t .
S e r e n i t y w a s b a n i s h e d f r o m his w o r k o n c e a n d
for a l l , t o b e r e p l a c e d b y fear, v u l n e r a b i l i t y a n d
o v e r s e n s i t i v i t y w h i c h w e r e b e s t e x p r e s s e d i n the
d i s c o v e r y o f g r e a t e s t g e n i u s a n d o r i g i n a l i t y , the
JAMES ENSOR

Ostend i860 - 1949

The Intrigue, i8go
Inv. 1856
C a n v a s , 90 x 1 5 0 cm
L o w e r right: Ensor 1890
D o n a t e d b y a g r o u p o f friends o f the m u s e u m , 1 9 2 1

JAMES ENSOR

Ostend i860 - 1949

The Curassiers at Waterloo,
1891
detail
Inv. 2740
P a s t e l , I n d i a ink,
225 x 625 mm
L o w e r left: E n s o r 1 8 9 1
Purchased in 1 9 5 2
m a s k . I n h i s f i n e s t c r e a t i o n s , s u c h a s The Intrigue the w o r l d of d r e a m , allegory, m y t h , spirituality
( 1 8 9 0 ) , Masks fighting over a hanged Man ( 1 8 9 1 ) , and literature, the symbolists simplified form
his strange, fantastic and menacing mask and used decorative elements and colours to
people express rage, sarcasm and vengeance, embody an idea. In his painting Inspiration,
feelings with w h i c h E n s o r h i m s e l f w a s r a v a g e d . X a v i e r M e l l e r y h a s a c h i e v e d s o m e t h i n g o f his
H i s style b e c a m e increasingly p e r s o n a l ; bright ideal: murals depicting allegorical scenes with
colours, expressive brush strokes, theatrical floating (and simultaneously petrified) figures
composition, harsh contrasts, linear technique. a g a i n s t a g o l d e n b a c k g r o u n d . H i s g r i s a i l l e inter­
E n s o r ' s art is u n i q u e in E u r o p e , a n d represents iors in c h a l k are a m o n g s t the best in B e l g i a n
o n e o f t h e m a i n g a t e w a y s t o the 2 0 t h c e n t u r y . symbolism. This black and white painting
T h e use o f s y m b o l s b y J a m e s E n s o r , w h o held shows clear affinities with the drawings of
society up to ridicule with his mask people, E d w a r d B u r n e s - J o n e s , b y w h o m the m u s e u m
differs f u n d a m e n t a l l y f r o m the s y m b o l i s t move­ p o s s e s s e s t h r e e w o r k s . E u g e n e L a e r m a n s ' Blind
ment which arose in France. Following the Man ( 1 8 9 8 ) r e p r e s e n t s a s y n t h e t i c i m a g e o f the
e x a m p l e of literary works, artists sought to react proletarian type in an elementary landscape.
against impressionism by no longer concerning His work - grey, expressive and socially
themselves with the outward appearance of e n g a g e d - forms a link b e t w e e n r e a l i s m , sym­
things, but by a t t e m p t i n g instead to c o n v e y the bolism and expressionism. Emile Vloors' The
m y s t e r y b e h i n d the r e a l i t y . I n o r d e r t o p o r t r a y Blue Thistle or Portrait of Louise Laridon a n d J o s u e

XAVIER M E L L E R Y HENRI EVENEPOEL

Laken 1845 - 1921 Nice 1872 - Paris 1899

Inspiration Louise in Mourning, 1894.
Inv. 2 1 7 7 Inv. 2 8 1 3
Canvas, 1 5 3 x 1 3 1 cm C a n v a s on w o o d , 79 x 46 cm
L o w e r r i g h t : X . M e l l e r y ; u p p e r part, l o w e r left: х м . L o w e r left: A m a c h e r e L o u i s e . L . E v e n e p o e l 9 4
Donated by Francois Franck, 1930 Purchased in 1954
EUGENE LAERMANS

St.-Jans-Molenbeek 1 8 6 4 - Brussels 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 right: Eug. Laermans 1898
P u r c h a s e d in 1 9 2 3

EMILE VLOORS

Borgerhout 1 8 7 1 - Antwerp 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 126 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 at the T r i e n n i a l E x h i b i t i o n , 1 9 0 4

D u p o n ' s i v o r y s t a t u e t t e Diana b e a r w i t n e s s t o
a n o t h e r c o n f l u e n c e - that b e t w e e n a c e r t a i n
s e v e r i t y c h a r a c t e r i s t i c o f s y m b o l i s m , a n d the
decorative refinement o f A r t n o u v e a u . T h e sec-
o n d g e n e r a t i o n o f s y m b o l i s t s i s t o b e f o u n d after
1 9 0 0 at S i n t - M a r t e n s - L a t e m , w h e r e they were
r e s p o n s i b l e for a m a j o r r e n e w a l o f i d e a s a n d
form.
It is c l e a r t h a t up to the turn of the c e n t u r y , a
w i d e variety of styles existed both alongside one
another, and in a n u m b e r of hybrid forms. T h e
c h a r a c t e r i s t i c f i n - d e - s i e c l e m e l t i n g pot i n c l u d e d
r e a l i s m , 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 w i t h all t h e i r v a r i a n t s . T h e s h o r t - l i v e d 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 h i s Louise in
Mourning ( 1 8 9 4 ) w i t h its s o l i d c o n s t r u c t i o n a n d
s t u r d y u s e o f c o l o u r s , b u t w i t h i n a few y e a r s , his
HENRY VAN DE VELDE
Antwerp 1863 - Oberiigi 1 9 5 7
Woman at the Window (1889)
Inv. 2 5 8 9
Canvas, i l l x 125 cm
P u r c h a s e d in 1 9 4 4
work underwent a fundamental change. Emile
C l a u s a l s o set off a l o n g the realist p a t h , but his
contact with impressionism turned him around
1 g o o into a p i o n e e r of B e l g i a n l u m i n i s m . Summer
( 1 8 9 3 ) is a m a s t e r p i e c e of fine c o l o u r s h a d i n g
r e p r e s e n t i n g light, s u n a n d h e a t . T h e r e w e r e
also Belgian adepts of French neo-impression-
i s m or p o i n t i l l i s m , a n d it is w i t h t w o m a s t e r -
p i e c e s o f this g e n r e that w e r o u n d off this s u r v e y
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
JOSUE DUPON
Ichtegem 1 8 6 4 - Berchem 1 9 3 5
Diana
Inv. 1 2 6 3
I v o r y and bronze, 92 x 25 cm
Side, lower right: J . Dupon
P u r c h a s e d at the T r i e n n i a l E x h i b i t i o n , 1 8 9 7
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 u s e s the p o i n -
tillist t e c h n i q u e to a c h i e v e a fairly r e a l i s t i c
p o r t r a i t , d e s p i t e the u n u s u a l , artificial c o l o u r s ,
V a n d e V e l d e p r o d u c e d a n e n t i r e l y different
r e s u l t u s i n g the s a m e p r o c e d u r e . T h e s i m p l i f i c a -
tion of the s u r f a c e s a n d a c o m b i n a t i o n of p i n k
a n d p u r p l e c o l o u r s i m b u e his p o r t r a i t w i t h a n
almost symbolic quality.
 THEO VAN RYSSELBERGHE
Ghent 1862 - Saint-Clair 1926
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 centre: 18 VR 91
P u r c h a s e d from H e n r y
V a n de Velde, 1949

EMILE GLAUS
St.-Eloois-Vijve 1849 - Astene 1924
Summer, 1893
Inv. 1836
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 e v e r s e : J u n i j 1 8 9 3 E . C .
Donated by Mrs. Edm. Wappers, 1924
20th Century

Symbolism and Expressionism T h e F l e m i s h e x p r e s s i o n i s t s o c c u p i e d a not

unimportant place in Western Europe between
T h e m u s e u m ' s acquisition policy has resulted in the t w o 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
a rich c o l l e c t i o n o f w o r k b y F l e m i s h s y m b o l i s t s V a n den Berghe, Albert Servaes and Constant
a n d , p a r t i c u l a r l y , e x p r e s s i o n i s t s i n the w i d e s t P e r m e k e e a c h c r e a t e d a p e r s o n a l c c u v r e in
s e n s e 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 , w h i c h the r u r a l t h e m e in p a r t i c u l a r is a c o m -
Valerius De Saedeleer, Gustave V a n de Woes- m o n feature. T h e s e artists b e c a m e f a m o u s as
t y n e a n d J a k o b S m i t s a r e different e x p r e s s i o n s the s e c o n d g r o u p to settle in S i n t - M a r t e n s -
of a mystical, almost religious s y m b o l i s m . L a t e m . T h e time spent a b r o a d - De S m e t a n d
A r o u n d 1 9 0 0 , a g r o u p of artists met at Sint- V a n d e n B e r g h e i n the N e t h e r l a n d s , a n d P e r -
M a r t e n s - L a t e m o n the r i v e r L y s . T h i s i d y l l i c m e k e in B r i t a i n - s e r v e d to o r i e n t a t e t h e i r a r t
little v i l l a g e n e a r G h e n t w a s the h o m e o f the 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 .
l a n d s c a p e artist V a l e r i u s D e S a e d e l e e r , w h o 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
was joined by sculptor and draughtsman the link b e t w e e n the f i r s t a n d s e c o n d g r o u p o f
G e o r g e M i n n e , the p o e t a n d c r i t i c K a r e l V a n d e S i n t - M a r t e n s - L a t e m artists. S e r v a e s v i e w e d
W o e s t y n e , a n d his b r o t h e r G u s t a v e . T h e y l a t e r p e o p l e a n d l a n d s c a p e from a r e l i g i o u s p e r s p e c -
b e c a m e f a m o u s a s the f i r s t L a t e m g r o u p , w h i c h tive w h i c h led h i m t o d e v e l o p his o w n s t y l e . H i s
took its i n s p i r a t i o n from s y m b o l i s m . T h e y early works are simple in form and two-dimen-
s o u g h t t o c a p t u r e i n their p a i n t i n g s the d e e p e r , s i o n a l , b u t a t the s a m e time p o w e r f u l a n d
invisible character of nature and people.
T h r o u g h t h e i r p a i n t i n g s they w a n t e d to lift the
v e i l o f o u t w a r d r e a l i t y i n o r d e r t o r e v e a l the
magic, mystic or religious mystery beneath.
G u s t a v e V a n d e W o e s t y n e ' s earl) w o r k con-
tained certain symbolist elements, but g r a d u a l -
ly evolved towards expressionism. His painting
The two Springs m a y be d e s c r i b e d as s y m b o l i s t
d u e to the p e r s o n i f i c a t i o n in the t w o f e m a l e
f i g u r e s o f the n a t u r a l c o u n t r y life o n the o n e
h a n d , a n d a r t i f i c i a l city life o n the o t h e r . H i s
l a t e r w o r k Gaston and his Sister is, in its a l i e n a -
tion, a t y p i c a l l y e x p r e s s i o n i s t p i e c e .
I n the s a m e w a y a s the a r t i s t s m e n t i o n e d
a b o v e w i t h d r e w t o the u n s p o i l e d b e a u t y o f
L a t e m , the o l d e r J a k o b S m i t s h a d a l r e a d y s p e n t
a d e c a d e i n the C a m p i n e w h e r e h e p a i n t e d his
r u s t i c i n t e r i o r s , p o r t r a i t s , l a n d s c a p e s a n d reli-
gious paintings. T h e m u s e u m possesses a com-
prehensive collection of 31 paintings and
n u m e r o u s d r a w i n g s b y this artist, w h i c h c l e a r l y
i l l u s t r a t e his c o n c e p t i o n o f light. I t w a s his
specific technique, consisting of thickly layered
and thoroughly worked paint, which imbued
w o r k s s u c h as The Train of the Magi w i t h their
u n u s u a l intensity of light.

RIK WOUTERS
Woman ironing
detail

GEORGE MINNE
Ghent 1 8 6 6 - Latem 1941
Design for the I 'oldersmonument (Solidarity), i8g8
Inv. 2687
P l a s t e r , 68 x 69 x 28 cm
Donated by Henry V a n de Velde, 1949
m o n u m e n t a l . The dying Man, p a i n t e d in 1 9 1 0
and purchased in 1989, recalls J a k o b Smits with
its fresh c o l o u r i n g , t w o - d i m e n s i o n a l c h a r a c t e r ,
the g r a i n y s u r f a c e a n d the l o c a t i o n o f the
subject in an e v e r y d a y interior. De S m e t
e v o l v e d f r o m his i m p r e s s i o n i s t i c d e b u t t o w a r d s
a fairly s t r i c t l y c o n s t r u c t e d b u t s e r e n e e x p r e s -
sionism. A n y sense of directness a n d spontanei-
ty is t i g h t l y c o n t r o l l e d in The Mussel Eaters. T h e
i n t i m a t e , d o m e s t i c s c e n e w i t h its s u b t l e t o n a l i -
ties, the c u b i s t , s y n t h e t i c s t y l e a n d the m a n n e r
in w h i c h s p a c e is r e d u c e d to a flat s u r f a c e , a r e
b r o u g h t t o g e t h e r to f o r m a s i n g l e h a r m o n i o u s
image.
Frits V a n den B e r g h e later b e c a m e more
i n t e r e s t e d in city life t h a n in the r u r a l e n v i r o n -
m e n t . T w o o f the w o r k s i n o u r c o l l e c t i o n
complement one another particularly well in
their i l l u s t r a t i o n o f the t w o s i d e s o f his art. I n
the r e c e n t l y a c q u i r e d Double Portrait of P.G. Van
Hecke and Norine, d a t i n g from 1 9 2 3 / 2 4 , we r e c o g -
nise the a r t i s t ' s w o r l d l y , i r o n i c a n d c r i t i c a l
characteristics, while the melancholy Life,
p a i n t e d i n the s a m e y e a r , h i g h l i g h t s the m o r a l -
i s i n g t e n d e n c y o f his p e r s o n a l i t y . B o t h w o r k s
w e r e p r o d u c e d d u r i n g his e x p r e s s i o n i s t p e r i o d .
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 a r t i s t i c life a s a w r i t e r , g a l l e r y o w n e r
and promotor of m o d e r n art. T h e rather s a r c a s -
tic V a n d e n B e r g h e w a s l a t e r d u b b e d the
s u r r e a 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 h e left the p u r e e x p r e s s i o n i s t fold
and turned increasingly towards p h a n t a s m a g o -
ria. T h e m u s e u m ' s c o l l e c t i o n i s p a r t i c u l a r l y
w e l l - e n d o w e d w i t h his w o r k from the 1 9 3 0 - 3 9
period.

GUSTAVE VAN DE WOESTYNE

Ghent 1881 - Ukkel 1947

The two Springs, igio
Inv. 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
Woestyne 1923
Purchased in 1927
GUSTAVE VAN DE WOESTYNE

Ghent 1 8 8 1 - Ukkel 1947

Gaston and his Sister, 1923
Inv. 3 2 1 1
C a n v a s , 2 0 4 x 204 cm
Lower right: Gve V A N DE WOESTYNE 1923
Purchased in 1984
JAKOB SMITS
Rotterdam 1 8 5 5 - Achterbos (Mol) 1928
The Train of the Magi
Inv. 2 3 2 5
C a n v a s , 91 x 1 0 0 cm
D o n a t e d b y the late E . \ " a n d e n B o s c h . 1 9 3 6
 C o n s t a n t P e r m e k e , the p u r e s t e x p r e s s i o n i s t ,
portrayed m a n as crushed and deformed by
work, with broad, hard contours and monoch-
r o m e tints. H e p a i n t e d f a r m w o r k e r s a n d fisher-
men, large seascapes, imposing landscapes and
large female nudes in a rough and p r i m a r y
m a n n e r , but with a sense of e m p a t h y . H i s
O s t e n d Fisherwoman, r o b u s t , like a m a s s i v e
b l o c k b e a r i n g the m a r k o f life's t r a g e d y , sits a n d
waits. Permeke used a sombre range of colours
w i t h b l u i s h g r e y tones. H i s p r e f e r e n c e for m o n -
o c h r o m e i s e v e n m o r e s t r i k i n g i n the a n g u l a r
a n d l i n e a r Vespers o f 1 9 2 7 .
Hippolyte Daeye, Edgard Tytgat, J e a n Brus-
selmans and Leon Spilliaert - rather more
isolated figures w h o , nonetheless, h a d certain
points of contact with e x p r e s s i o n i s m - devel-
o p e d a new content a n d style through their o w n
particular temperaments. Hippolyte Daeye
s p e n t the p e r i o d b e t w e e n 1 9 1 4 a n d 1 9 2 0 i n
Britain, where he w a s in contact with G u s t a v e
V a n de Woestyne, Edgard Tytgat and Constant
P e r m e k e . I t w a s d u r i n g this p e r i o d t h a t h e w a s
introduced to other modernist tendencies in
E u r o p e a n a r t . H e w a s f a s c i n a t e d b y the w o r k o f
M o d i g l i a n i , as he w a s following a similar path
t o w a r d s s t r i p p i n g d o w n the p o r t r a i t g e n r e t o its
e s s e n c e . A p a r t from the o u t w a r d f o r m , h e a l s o
s o u g h t to c r e a t e the e x p e r i e n c e of s e e i n g .
Despite Daeye's apparently spontaneous
m e t h o d o f w o r k i n g , h e s t u d i e d the m o d e l for a
g r e a t d e a l of t i m e u n t i l a s y n t h e s i s b e g a n to

ALBERT SERVAES
Ghent 1 8 8 3 - Lucerne (Sw.) 1966
The dying Man, igio
GUSTAVE DE SMET Inv. 3 2 8 1
Ghent 1877 - Deurle 1943 C a n v a s , 99 x 88 cm
The Mussel Eaters P u r c h a s e d in 1988
Inv. 2 1 6 0
C a n v a s , 93 x 1 2 3 cm
D o n a t e d b y the G o v e r n m e n t 1 9 3 0
d e v e l o p , b r i n g i n g w i t h it a n e c e s s a r y d e g r e e of
d e f o r m a t i o n . Serenity is s i m p l e in c o n s t r u c t i o n
a n d h i g h l y refined i n its c o l o u r i n g . D a e y e ' s
p a l e t t e i s u n u s u a l l y i n t e n s e i n this w o r k , i n
w h i c h , as c u s t o m a r y , a single figure situated
a g a i n s t a n a b s t r a c t b a c k g r o u n d f i l l s the c a n -
vas.
A l t h o u g h l e a n i n g t o w a r d s e x p r e s s i o n i s m , the
paintings o f J e a n B r u s s e l m a n s are m o r e con-
t r o l l e d i n c h a r a c t e r . T h e s t r u c t u r e o f his c a n -
v a s e s i s p a r a m o u n t , a n d i t i s his i m p r e s s i o n s o f
n a t u r e w h i c h then h a v e t o y i e l d , thereby r e s u l t -
ing i n s t r i c t l y c o n s t r u c t e d c o m p o s i t i o n s . T h e y
are carefully ordered, but retain a playful qual-
ity t h r o u g h their l i v e l y c o l o u r i n g a n d r h y t h m a s
w e see i n Spring a n d Pajottenland. T h e m u s e u m
h a s t w e l v e p a i n t i n g s b y this h i g h l y i n d i v i d u a l
f i g u r e w i t h i n F l e m i s h e x p r e s s i o n i s m , three o f
w h i c h w e r e d o n a t e d b y the a r t i s t ' s son i n
1981.
ring w a t e r colours, g o u a c h e a n d coloured pen-
cils to oil p a i n t s . T h e a r t i s t ' s Self Portrait
reflected in a m i r r o r is e x e c u t e d in s y m b o l i c
light-dark water colours.
O s c a r J e s p e r s i s o n e o f the m o s t i m p o r t a n t
representatives of expressionist sculpture. He
m a d e his d e b u t a s a n i m p r e s s i o n i s t , b u t
c h a n g e d his v i e w s u n d e r the i n f l u e n c e o f s e v e r a l
revolutionary impulses. His works are simple
a n d p u r e i n f o r m . T h e h u m a n f i g u r e o f The
Hooded Cloak e x e c u t e d in taille directe is s t r i p p e d
d o w n to a s t r i c t l y c l o s e d f o r m .
FRITS VAN DEN BERGHE

W a s Spilliaert an expressionist, a symbolist Ghent 1883 - 1939

o r a s u r r e a l i s t ? M o s t o f his w o r k s h a v e s o m e - Double Portrait of P.G. van Hecke and his Wife Norine
Inv. 3268
t h i n g of a s u r r e a l a t m o s p h e r e , w i t h every t h i n g
Canvas. 1 6 1 x 1 2 1 cm
bound up synthetically, and he w a s able to
Purchased in 1987
c o n v e y the e s s e n c e of his s u b j e c t w ith s p a r i n g
u s e o f m a t e r i a l s . H e d i d not w o r k after n a t u r e , FRITS VAN DEN BERGHE

but r a t h e r s u g g e s t s a m e m o r y o f r e a l i t y , p r e f e r - Ghent 1883 - 1939

Life
Inv. 2527
Canvas, 1 3 1 x 141 cm
Purchased in 1942
CONSTANT PERMEKE

A n t w e r p 1 8 8 6 - Ostend 1 9 5 2
Fishtruoman. 1920
Inv. 2 1 7 9
Panel. 1 0 0 x 1 2 4 cm
L o w e r r i g h t : Permeke 1 9 2 0 Oosiende
Donated b> F. Franck 1 9 3 0
CONSTANT P E R M E K E
Antwerp 1 8 8 6 - O s t e n d 1952
Vespers, ig2y
Inv. 2779
Panel, 1 2 8 x 1 4 9 cm
L o w e r c e n t r e : P e r m e k e ; l o w e r left: 1 9 2 7
Purchased in 1 9 5 3
 LEON SPILLIAERT

Ostend 1 8 8 1 - Brussels 1946

Self Portrait
Inv. 3 1 0 7
W a t e r c o l o u r on p a p e r , 6 x 50 cm
Purchased in 1 9 7 2

HIPPOLYTE DAEYE

Ghent 1873 - Antwerp 1952

Serenity
Inv. 2229
C a n v a s , 91 x 74.5 cm
L o w e r right: D a e y e
Purchased in 1 9 3 2

OSCAR JESPERS

Borgerhout 1887 - Sint-Lambrechts-Woluwe 1970

The hooded Cloak
Inv. 2066
W h i t e stone, 89 x 31 cm
Reverse: Osc. Jespers
D o n a t e d b y the F r i e n d s o f M o d e r n A r t i n 1 9 2 6
JEAN BRUSSELMANS

Brussels 1 8 8 1 - Dilbeek 1 9 5 3
Spring, 1935
I n v . 2967
Canvas, 1 5 1 x 1 5 1 cm
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 collection features 1 0 9 w o r k s b y
R i k W o u t e r s , t h a n k s in p a r t to the r e c e n t
donation of 58 works by L u d o van Bogaert-
S h e i d . W o u t e r s , the m o s t i n t e r e s t i n g o f the
B r a b a n t f a u v i s t s , w a s a w a r e o f the n e w p o s s i b i l -
ities o f e x p r e s s i o n offered b y c o l o u r . B r a b a n t
f a u v i s m is a t e r m a p p l i e d to the w o r k of a
n u m b e r o f p a i n t e r s a c t i v e i n the B r u s s e l s r e g i o n
(the p r o v i n c e o f B r a b a n t ) i n the p e r i o d a r o u n d
1 9 1 0 - 2 3 , w h o are related to French fauvism.
T h e artists w e r e friends w h o exhibited together,
b u t d i d not r e a l l y f o r m a c o h e r e n t g r o u p . S o m e
o f t h e m o n l y a d h e r e d t o f a u v i s m for p a r t o f their
c a r e e r . T h e h o m e o f A u g u s t e Oleffe w a s a
m e e t i n g 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 -
mans, Anne-Pierre de K a t and Rik Wouters,
the s t a r o f the g r o u p .
Wouters painted sun-drenched landscapes,
brilliant portraits with b r o a d green a n d blue
strokes, a n d sunny rooms filled with vibrant
light. H i s u n u s u a l v i t a l i t y i s a p p a r e n t from the
fact that he c o m p l e t e d this c e u v r e in a p e r i o d of
less t h a n ten y e a r s . H e d r e w , p a i n t e d a n d
m o d e l l e d 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 o f B o s v o o r d e , c h i l d r e n a n d still lifes.
H e r a r e l y d e v i a t e d i n his p a i n t i n g s from his
RIK WOUTERS
Mechelen 1882 -
Amsterdam 1 9 1 6
Woman ironing
Inv. 1 9 3 2
C a n v a s . 107 x 1 2 3 cm
Purchased in 1 9 2 3
o b s e r v e d feasts o f c o l o u r . T h e c h a o t i c f e e l i n g s
a n d p r o b l e m s o f the w a r p e r i o d a r e barely-
d e t e c t a b l e in his w o r k . Woman ironing is o n e of
m a n y paintings inspired by Nel at work. She
l o o k s up in s u r p r i s e in a b r i g h t r o o m filled w i t h
shimmering sunlight. T h e colours are muted to
f o r m s u b t l e v a r i a t i o n s o f soft y e l l o w , p a l e p i n k
a n d w a t e r y g r e e n a c r o s s the e n t i r e s u r f a c e o f the
c a n v a s . T h i s p a i n t i n g w h i c h d a t e 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 t o b e p u r c h a s e d b y
the m u s e u m i n 1 9 2 3 . W o u t e r s p a i n t e d h i m s e l f
d u r i n g his i l l n e s s in Rik with a black Eye Patch,
which followed a second operation 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 r g e p a t c h e s o f c o l o u r :
the d e e p r e d o f the c u r t a i n , the m e l a n c h o l y b l u e
o f his p y j a m a s a n d the b l u e - b l a c k a r m c h a i r .
D e s p i t e all his t r o u b l e s , W o u t e r s c o n t i n u e d t o
w o r k w i t h a n u n f o r g e t t a b l e i n t e n s i t y u n t i l the
very end.
W o u t e r s a l s o m a n a g e d t o i m b u e his s c u l p -
t u r e s w i t h the s a m e i m p r e s s i o n i s t i c t o u c h a s his
p a i n t i n g s . N e l w a s o n c e a g a i n his m o d e l for
Reverie, a u n i q u e , s l i g h t l y l a r g e r t h a n life-size
w o r k . T h e m a t u r i t y o f the f i g u r e i s a c c e n t u a t e d
b y the a l m o s t c l o s e d c o m p o s i t i o n , a n d a g r e a t
deal of e m p h a s i s is p l a c e d upon a c h i e v i n g a
plastic, round representation of volume. T w o
s c u l p t u r e s a r e p a r t i c u l a r l y e y e - c a t c h i n g : Mad
RIK W O U T E R S

Mechelen 1882 - Amsterdam 1 9 1 6

Rik with a black Eye Patch
Inv. 3297
C a n v a s , 102 x 85 cm
D o n a t e d b y L u d o v a n B o g a e r t - S h e i d i n 1989
Force a n d Household Cares, b o t h on l o a n to the
Middelheim Open Air Museum in Antwerp.
T h e latter represents a m o m e n t of reflection,
w h i l e the f o r m e r s h o w s the letting g o o f all
control. W o u t e r s ' progressive attitudes are
reflected in the r e t u r n to the c l a s s i c a l , b r e a k i n g
w i t h p a t h o s a n d r o m a n t i c i s m . H e tries t o c a p -
ture n a t u r e i n its o u t w a r d a p p e a r a n c e a n d
c o n c e n t r a t e s o n its v o l u m e i n s p a c e , the m o v e -
m e n t o f this s i n g l e f i g u r e , a n d the c o n s t r u c t i o n
o f the h u m a n b o d y .

GEORGES ROUAULT

Paris 1 8 7 1 - 1958
Newspaper Vendor, igog
Inv. 2792
P a p e r and w o o d , 50 x 40 cm
L o w e r right: G. Rouault 1909
Purchased in 1 9 5 3

RIK WOUTERS

Mechelen 1882 - Amsterdam 1 9 1 6

Reverie
Inv. 2056
Bronze, 1 9 3 x 50 cm
L o w e r left s i d e : R i k W o u t e r s
D o n a t e d b y E . M i s t i e r t h r o u g h the i n t e r m e d i a r y o f
Artibus Patriae in 1 9 2 7
Modern International Masters
A l t h o u g h they c a n n o t b e s u m m e d u p u n d e r a
single heading, we certainly cannot ignore a
series of i m p r e s s i v e n a m e s - a r t i s t s of i n t e r n a -
t i o n a l s t a t u r e w h o h e l p e d d e t e r m i n e the c h a r a c -
ter of the 2 0 t h c e n t u r y a r t i s t i c s c e n e . A n u m b e r
o f f o r e i g n m a s t e r s a r e r e p r e s e n t e d i n the
m u s e u m ' s collection, thanks in particular to
p u r c h a s e s s t i m u l a t e d b y the ' F r i e n d s o f M o d e r n
Art', and a variety of donations. L o v i s Corinth
w a s o n e o f the l e a d e r s o f G e r m a n i m p r e s s i o n -
i s m . H e p a i n t e d the e x p r e s s i o n i s t i c p o r t r a i t o f
Georg Brandes, the D a n i s h c r i t i c , in 1 9 2 5 , the
y e a r of B r a n d e s ' d e a t h . 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 p a r t i c u l a r l y i n t e r e s t e d i n p e o p l e o n the
RAOUL DUFY
Le H a v r e (Fr.) 1877 - Forcalquier (Fr.) 1 9 5 3
Anemones
Inv. 2286
W a t e r c o l o u r , 65 x 49 cm
L o w e r left: R a o u l D u f y
Purchased in 1 9 3 4
fringes of s o c i e t y , is f a u v i s t in c h a r a c t e r .
A n o t h e r F r e n c h m a n , R a o u l D u f y , e x e c u t e d his
w a t e r c o l o u r Anemones w i t h b r i g h t , j o y f u l c o l o u r -
ing of typical fauvist sumptuousness. A m e d e o
M o d i g l i a n i , a n I t a l i a n a r t i s t from a r o u n d the
t u r n o f the c e n t u r y , w h o w o r k e d i n P a r i s , w a s a
leading sculptor and painter. His monumental
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 , meanwhile, w a s a quiet modernist w h o
l i v e d i n a u n i v e r s e all o f his o w n . H i s s e n s e o f
c o l o u r is e v i d e n t from At the Window, w h i c h is
dated around 1927-28. Like Henri Matisse and
Maurice De Vlaminck, Kees van Dongen was
o n e o f the f o u n d e r s o f f a u v i s m . H e p a i n t e d 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 p e a k , a n d h e d e d i c a t e d
himself to portraits of figures from w o r l d l y and
LOVIS CORINTH
T a p i a u (East Prussia) 1858 - Zandvoort 1 9 2 5
Georg Brandes, 1925
Inv. 2452
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
Purchased in 1 9 3 9
official c i r c l e s w i t h a c e r t a i n e l e m e n t of l i g h t -
h e a r t e d m o c k e r y . 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 a m o u s a u c t i o n
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 is 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 h a s a l s o a c q u i r e d three s c u l p t u r e s
i n different m a t e r i a l s b y O s s i p Z a d k i n e , o n e o f
the m o s t i m p o r t a n t s c u l p t o r s o f the 2 0 t h cen-
t u r y . T h e e a r l i e s t of these, The Suffering of Job,
e x e c u t e d 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
artist himself, is a s t y l i s e d , e x p r e s s i o n i s t w o r k .

MARC CHAGALL

Vitebsk (Ru.) 1887 - Saint-Paul-de-Vence 1985

At the Window
Inv. 2280
P a p e r and o p a q u e water colour, 65 x 50 cm
L o w e r right: C h a g a l l M a r c
D o n a t e d b y the F r i e n d s o f M o d e r n A r t 1 9 3 2

AMEDEO MODIGLIANI

Livorno 1 8 8 4 - Paris 1920

Sitting Nude
Inv. 2060
Canvas, 1 1 4 x 74 cm
U p p e r right: Modigliani
D o n a t e d b y the G o v e r n m e n t i n 1 9 2 7
 GEORG GROSZ

Berlin 1893 - 1959

Portrait of Walter Mehring
Inv. 2454
C a n v a s , 90 x 80 cm
Purchased in 1 9 3 9

OSSIP Z A D K I N E

Smolensk (Ru.) 1890 - Neuilly-sur-Seine (Paris) 1967

The Suffering of Job, 1914
Inv. 2338
E l m wood, 1 2 3 x 84 cm
Front right: Zadkine 1 9 1 4
D o n a t e d b y the artist i n 1 9 3 6

KEES VAN DONGEN

Delfshaven 1877 - Monte C a r l o 1968

Mgr. Gerassimos Messarra, Metropolitan of Beirut
Inv. 2 3 5 1
Canvas, 2 1 8 x 1 2 5 cm
L o w e r right: V a n Dongen
Purchased in 1 9 3 7
Before ig45
T h e first g e n e r a t i o n o f a b s t r a c t a r t i s t s a c t i v e i n
B e l g i u m d u r i n g a n d after the F i r s t W o r l d W a r
included J o z e f Peeters, G e o r g e s v a n Tongerloo,
Jules Schmalzigaug, Victor Servranckx and 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 r e p r e s e n t e d i n
the m u s e u m . J o z e f P e e t e r s w a s A n t w e r p ' s
d e f e n d e r o f the c o n s t r u c t i v i s t i d e a l , w h i c h w a s
based u p o n form, geometry and surface struc-
ture. Composition, d a t i n g from 1 9 2 1 , i s his
painted manifesto. It is brightly coloured with
o v e r l a p p i n g surfaces, with m o v e m e n t a n d dis-
t a n c e c r e a t e d b y the p r o p e r t i e s o f the c o l o u r s .
B e f o r e P e e t e r s w i t h d r e w from the a v a n t - g a r d e
f r a y i n 1 9 2 7 h e w a s a f o u n d e r o f the M o d e r n A r t
group, he organised conferences and exhibitions
and contributed to magazines. V i c t o r Serv-
r a n c k x a l s o h a d t o d e f e n d a b s t r a c t art b y m e a n s
o f a r t i c l e s a n d a d d r e s s e s b e c a u s e o f the r e s i s -
t a n c e w h i c h i t a r o u s e d . T h e t w o e x t r e m e s o f this
p i o n e e r i n g a r t i s t ' s w o r k a r e p r e s e n t i n the
museum. His paintings are sometimes w a r m l y
lyrical, with a suggestion of m o v e m e n t a n d
chaos, a n d sometimes strictly constructive with
JOZEF PEETERS
A n t w e r p 1895 - i960
Composition, 1921
Inv. 2924
C a n v a s , 150 x 150 cm
L o w e r left: J . P . / 2 2 - 1 0 - 2 1 /
Purchased in 1961
c o m p l e x compositions. His resolute message is
c o n v e y e d by b o t h the g e o m e t r i c a l Opus 20 of
1 9 2 2 , a n d The Domain of the Water, a c o s m i c w o r k
i n w h i c h h e u s e s the s t r u c t u r e o f the b a s e
m a t e r i a l , a t r i p l e x sheet, t o s u g g e s t w a v e m o v e -
m e n t 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
c o r r e s p o n d e n t o f the f u t u r i s t s , J u l e s S c h m a l z i -
g a u g w a s a l s o p a r t i c u l a r l y a t t r a c t e d t o futurist
a r t . H e i s the o n l y B e l g i a n futurist, a n d h i s w o r k
consists primarily of w a t e r colours a n d d r a w -
i n g s , w i t h a total of o n l y t h i r t y oil p a i n t i n g s .
S e v e n o f h i s w o r k s w e r e d o n a t e d t o the m u s e u m
b y the a r t i s t ' s f a m i l y , i n c l u d i n g the r e v o l u t i o n a -
ry Impression of a Dance Hall d a t i n g from 1 9 1 4 .
' T h e G e n e r a t i o n of 1 9 0 0 ' , a collective n a m e
g i v e n to artists born a r o u n d 1 9 0 0 , can be
b r o a d l y split into t w o t r e n d s . O n the o n e h a n d
t h e r e w e r e a n i m i 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 through a process of
internalisation to achieve an intimate realism,
w h i l e o n the o t h e r t h e r e w e r e the s u r r e a l i s t s
Paul Delvaux, Rene Magritte and E . L . T . Mes-
ens, who created alien worlds with concrete and
f a m i l i a r d e t a i l s . P a u l D e l v a u x p a i n t e d his Pink
Snares i n a n a l m o s t f r u g a l s t y l e . T h e t h e a t r i c a l
VICTOR SERVRANCKX
Diegem 1897 - Vilvoorde 1965
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
Purchased in 1 9 7 5
VICTOR SERVRANCKX

Diegem 1897 - Vilvoorde 1965

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
P u r c h a s e d in 1 9 6 8

d e c o r a n d the a n t i q u e b u i l d i n g s f o r m a s p a c e for
a group of naked women w h o have just stepped
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 i n f l u e n c e u p o n the d e v e l o p m e n t o f
i n t e r n a t i o n a l c o n t e m p o r a r y a r t . I n 1 9 8 5 , the
museum purchased the sculpture Madame
Recamier by this m a r v e l o u s t r a n s f o r m e r of
o b j e c t s , w h o c r e a t e d s u r p r i s i n g effects b y link-
ing hitherto unconnected items. H i s w o r k s a r e
not e x p l a i n e d b y their p o e t i c titles. O n the
contrary, even greater mystery is aroused
t h r o u g h the l i n k i n g o f w o r d a n d i m a g e , a s i n
Vengeance.
 RENE MAGRITTE

Lessines 1898 - Brussels 1967

Vengeance
Inv. 2569
W a t e r colour, 47 x 35 cm
U p p e r right: Magritte
Purchased in 1 9 3 9

JULES SCHMALZIGAUG

A n t w e r p 1 8 8 6 - Delft 1 9 1 7
Impression of a Dance Hall, 1914
I n v . 2 1 0 0 bis
C a n v a s , 53 x 65 cm
L o w e r right: Schmalzigaug 1 9 1 4
D o n a t e d b y the a r t i s t ' s f a m i l y , 1 9 2 8

PAUL DELVAUX

Antheit 1897
Pink Snares, ig^y
Inv. 2850
C a n v a s , 1 2 1 . 5 x 160 cm
L o w e r right: P. Delvaux 2-37
P u r c h a s e d .in 1 9 5 7
 After ig45

JAN СОХ
Abstract art, which began in Belgium before
T h e Hague 1 9 1 9 - Antwerp 1980 1920, flourished after 1945. The two main
My Father in Coma, igyj trends - the g e o m e t r i c w i t h J o Delahaut, Luc
Inv. 3 1 3 1 P e i r e a n d G u y V a n d e n b r a n d e n , a n d the e x p r e s -
C a n v a s , 243 x 1 2 7 cm
sionistic or more lyrical abstract of Antoine
R e v e r s e : ' M y father i n c o m a ' J a n C o x 1 9 7 3
Mortier, Louis Van Lint and Englebert van
Purchased in 1 9 7 4
Anderlecht - are represented i n the m u s e u m ' s
collection.
T h e artists' m o v e m e n t ' J e u n e Peinture B e i g e '
w a s founded in 1 9 4 5 , and w a s joined by Pierre
Alechinsky, Jan Cox, Louis Van Lint and
A n t o i n e M o r t i e r , a l t h o u g h it did not give birth
to a uniform style. Jan Cox, a painter of
pictorially rich portraits a n d figures, has been
dubbed a classical modernist because of his
subjects, which are often colourful, ethereal
fragments based upon Antique and Christian
civilisation, together with visions and dream
images. Like Cox, Louis V a n L i n t w a s inter-
ested-in the C o b r a m o v e m e n t . H i s e x p e r i m e n t s
led him to the creation of lyrically abstract
c a n v a s e s . T h e s t r u c t u r e o f h i s Chartres ( 1 9 5 0 ) i s
determined by a powerful rhythm applied on

LOUIS VAN LINT

Sint-Joost-ten-Node 1 9 0 9 - Brussels 1980

Chartres, ipjo
Inv. 2707
cm
Canvas, 1 5 1 x 106.5
L o w e r left: L . V a n L i n t 5 0
Purchased in 1950
t o p o f the c o l o u r like n e r v o u s h a n d w r i t i n g . T h e
lyrical abstraction of Antoine Mortier is more
passionate, and it is Mortier w h o m a y be
v i e w e d as B e l g i u m ' s 'action painter'. His spon-
t a n e o u s g e s t u r e s a r e like a r e l e a s e , l e a v i n g
d y n a m i c t r a c e s b e h i n d o n the c a n v a s . I n 1 9 6 6 ,
r a w a n d e m o t i o n a l , he p a i n t e d The third Pair,
with powerful stripes, a true u n b u r d e n i n g . We
find a similar tendency towards expressionism
i n the C o b r a m o v e m e n t - a n i n t e r n a t i o n a l
g r o u p i n g of poets and artists such as K a r e l
A p p e l a n d Pierre A l e c h i n s k y w h i c h w a s fasci-
n a t e d b y the m a t e r i a l s , c o l o u r , w r i t i n g a n d
i m a g e s i t f o u n d i n the w o r l d o f p r i m i t i v e
p e o p l e s , c h i l d r e n a n d the m e n t a l l y ill. I n h i s
Flying Man d a t i n g from 1 9 5 8 , K a r e l A p p e l
combined bright colours and raw, passionate
forms to p r o d u c e a d i s p l a y of action painting.
The last Day ( 1 9 6 4 ) is a m o n u m e n t a l oil p a i n t i n g
w h i c h is v i e w e d as a h i s t o r i c p e a k in the
evolution of Alechinsky's C o b r a adventure.
A c c o r d i n g to the artist, the title of the w o r k
refers t o the i d e a o f d e a t h . I n the m i d s t o f
prevailing chaos we discover strange creatures
in a c o l o u r f u l w h i r l w i n d .
ANTOINE MORTIER
'Sint-Gillis (Brussels) 1908
The third Pair, ig66
Inv. 3047
C a n v a s , 1 9 5 x 146 cm
L o w e r r i g h t : M o r t i e r 9-66
Purchased in 1968
T h e years 1960-70 saw a great deal of experi-
m e n t a t i o n . T h e a i m o f the i n t e r n a t i o n a l a v a n t -
garde group called ' Z e r o ' w a s to find a symbio-
sis b e t w e e n n a t u r e , a r t a n d t e c h n o l o g y . A m a j o r
exhibition entitled ' Z e r o International 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 l e d to a n u m b e r of p u r c h a s e s . Concetto
Spaziale, w i t h its r a z o r c u t s , by the s p i r i t u a l
f a t h e r 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
b o u g h t , as w e r e Big Sun a n d the s e r i a l Nail
Object b y O t t o P i e n s a n d G t i n t h e r U e c k e r
r e s p e c t i v e l y , b o t h o f w h o m b e l o n g e d t o the
G e r m a n c o r e o f the m o v e m e n t . T h e k e y f i g u r e
a s f a r a s the Z e r o m o v e m e n t i n B e l g i u m w a s
c o n c e r n e d , w a s J e f V e r h e y e n w i t h his m o n o c h -
r o m e paintings. P u r e m o n o c h r o m e is u s e d in his
w o r k to s u g g e s t infinite s p a c e . Variation is o n e of
h i s w e l l - k n o w n " r a i n b o w tint p a i n t i n g s ' , from
w h i c h a r a d i a n t light i s c o n j u r e d . I t w a s
t h r o u g h the p e r s o n o f J e f V e r h e y e n that the
internationally oriented g r o u p 'G 58 - Hessen-
h u i s ' c a m e into c o n t a c t w i t h 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 artistic KAREL APPEL
Amsterdam 1921
m e e t i n g p l a c e i n A n t w e r p for d e m o n s t r a t i o n s
Firing Man. igj8
and exhibitions, and boasted honorary mem-
Inv. 2897
Canvas, 145 x 1 1 4 cm
L o w e r right: K. Appel 58
Purchased in 1 9 5 9
bers like R e n e Guiette and J o z e f Peeters, and
members including V i c Gentils, Paul V a n
H o e y d o n c k a n d W a l t e r L e b l a n c . 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-
w o o d , furniture legs and hat blocks, w h i c h he
scorched with a blow l a m p or sandblasted.
T h e s e heterogenous objects were combined to
form b a r o q u e figures, charged with irony a n d /
or humour. Homage to Permeke developed into a
pure sculpture, while Sun Explosion is a lively
relief m a d e from piano keys and h a m m e r s , and
felt. After setting out with abstract, monoch-
rome c a n v a s e s , Paul V a n H o e y d o n c k discov-
ered an entirely new figuration: his w o r k is
associated with space travel and the planets. He
gives concrete form to the new mythology which
has g r o w n up around j o u r n e y s of exploration in
space, by means of assembled astronauts, cos-
monauts and mutants. H i s Spacemen are put
together using all kinds of materials, including
little wheels, machine parts and rags, w h i c h he
sprays white in order to indicate the infinity of
the universe.
T h e sculptor Roel D ' H a e s e 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
d r a m a t i c manifesto, in which he views the worst
enemy of mankind as mankind itself. D ' H a e s e
occupies a leading position in p o s t - w a r Belgian
sculpture.
LUCIO FONTANA

Rosario de Santa 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
Purchased in 1980

PIERRE ALECHINSKY

Brussels 1927
The last Day
Inv. 3 0 3 9
C a n v a s , 330 x 500 cm
L o w e r right: Alechinsky
P u r c h a s e d in 1 9 6 8
OTTO PIENE

Laasplu (Ger.) 1928

Big Sun, ig6j
Inv. 3 1 9 6
C a n v a s , 2 0 0 x 2 0 0 cm
On reverse: Piene 65
P u r c h a s e d in 1 9 8 0

GUNTHER UECKER

Wendsdorf (Ger.) 1 9 3 0
Nail Object
Inv. 3202
Panel, 1 5 0 x 1 5 0 cm
Purchased in 1981
J E F VERHEYEN

Izegem 1932 -
Saint-Saturnin D'Apt 1984
Variation
Inv. 3063
C a n v a s , 1 3 0 . 5 x 1 3 0 . 5 cm
Purchased in 1968

VIC GENTILS

Ilfracombe (Eng.) 1 9 1 9
Homage to Permeke
Inv. 3070
W o o d , 75 x 60 cm
Reverse: H o m m a g e a Permeke 1964 V i c Gentils
L o a n e d b y the M i n i s t r y o f the F l e m i s h C o m m u n i t y
PAUL VAN HOEYDONCK
Antwerp 1925
Spaceman, ig6y
Inv. 3045
Mixed media, 2 1 1 x 1 1 2 cm
R e v e r s e r i g h t : P . V . H o e y d o n c k oct. 6 7
Purchased in 1968
ROEL D'HAESE

Geraardsbergen 1921 •
The Song of Evil, 1Ф4
Inv. 3038
B r o n z e , 2 2 7 x 87 cm
Side right: Roel D ' H a e s e 1964
P u r c h a s e d in 1968