Category: history

huariqueje: Viewmasters    –    Hans Vandekerc…


Viewmasters    –    Hans Vandekerckhove, 2003.

Belgian b.1957-

Oil on canvas,190 x 190 cm.

Hans Vandekerckhove (Kortrijk, 12 October 1957) is a Flemish visual artist living in Ghent.

He focuses on motifs with deep-rooted tradition from Western visual arts: the Rückenfigur, the gardener, the garden and the horticulture, greenhouses, bridges and related architectural motifs, the Hieronymus motif, the girl figure, the romantic landscape, the totem animal, the sacra conversation and announcement motive. He is a romantic and individualist who in his work evolved from a neo-expressionist style (early 1980s) to an almost abstract image inspired by alchemical motifs (1990s) and then, from 1998, to return to the figurative and substantive themes, namely. of the pictorial relationship between motif and background and people and environment. Vandekerckhove’s paintings are contemplative, ascetic works that cause a certain unrest and at the same time are attractive, without falling into the alienation of surrealism. As a person and as an artist, he has a strong relationship with nature and tries to tell a story about it as a visual poet.
In June 2007 the first book with paintings from the period 1998-2006 was published by publishing house Ludion (ISBN 978 90 5544 666 7). The author is Dieter Roelstraete, art philosopher and curator at the MuHka.

The book is titled My head is my only home, an indirect reference to a song by Captain Beefheart.

Picture Palace will be published by Lannoo Publishers in 2009 (ISBN 978 90 209 8362 3). The authors are artist Pjeroo Roobjee and Paul Depondt.

The experimental film and video filmmaker Svend Thomsen, founder of Artcinema OFFOFF, turns Picture Palace into a documentary.

dentelledeperle: Willem Bartsius (Circa 1612 -…


Willem Bartsius (Circa 1612 – Circa 1639)

Joueur de luth

Willem Bartsius (1612, Enkhuizen – 1657, Enkhuizen), was a Dutch Golden Age painter.

According to Houbraken, who mentioned his sister as Paulus Potter’s mother, his father was Paulus Bertius, the city secretary of Enkhuizen, and his mother was descended from the House of Egmont.

According to the RKD he became a member of the Alkmaar Guild of St. Luke in 1634 where he took on the pupil Abraham Meyndertsz, but in 1636 he moved to Amsterdam and little is known of him after 1639. He is known for both landscapes and portraits, including a schutterstuk in Alkmaar.

Florent Joseph Marie Willems (8 January 1823 –…

Florent Joseph Marie Willems (8 January 1823 – 23 October 1905) was a Belgian painter.

Willems was born at Liège. He had no regular tuition in painting, but learnt by copying and restoring old pictures at Mechelen, where he lived from 1832. He made his debut at the Brussels Salon in 1842 with A Music Party and an Interior of a 17th-century Guard-room in the style of Gerard ter Borch and Gabriel Metsu. Soon afterwards he settled in Paris, where his pictures enjoyed considerable popularity under the Second French Empire. Among his most famous works may be mentioned The Wedding Dress (Brussels Gallery), La Fete des grands-parents (Brussels Gallery), Le Baise-main (Mme. Cardon’s collection, Brussels), Farewell (Willems coll., Brussels), The Arches of the Peace (Delahaye Collection, Antwerp) and The Widow (engraved by David Joseph Desvachez, 1822-1902). He died at Neuilly-sur-Seine.

He is well known in the United States, good examples of his works being in the Metropolitan Museum (New York), the Art Institute of Chicago, and other public and private collections. His favorite subjects are taken from the seventeenth century.

Eugène Joseph Verboeckhoven – Self-portrait – …

Eugène Joseph Verboeckhoven – Self-portrait – 1854

Eugène Joseph Verboeckhoven (9 June 1798 – 19 January 1881), a Belgian painter, was born at Warneton in West Flanders. He was a painter, a sculptor, an etcher, an engraver, and a lithographer of animals, animated landscapes, and portraits.

Eugène Verboeckhoven studied under his father, Barthélemy Verboeckhoven, a sculptor. In 1816 he worked under Voituron in Ghent. In the first half of the 19th century, the salons were a home for burgeoning art. Verboeckhoven was a regular participant at the Ghent (1820 and 1824) and Brussels Salons (1827–1860). He visited the Ardennes, France, Great Britain (1826), Germany (1828) and Italy (1841). He was held in high repute and elaborated on the works of artists such as De Jonghe, De Noter, Koekkoek, Daiwaille, Kheelhof, Verheyden, and his pupils Louis-Pierre Verwee and the Tschaggeny brothers. He was a member of the academies of Brussels, Ghent, Antwerp, St. Petersburg and Amsterdam.

Verboeckhoven was an excellent painter of animals and, together with his pupils, appears to have been the last link to a secular tradition with its roots deep in the 17th century, which linked observation of nature, studied composition, and idealized reproduction of reality. Like the Old Masters, he obtained the colour blue for his skies by grinding down lapis lazuli. He was a prolific artist and very meticulous in his preparation: hundreds of sketches and studies were produced on the spot, assembling different elements like pieces of a jigsaw puzzle. Such was his dexterity that many artists called upon him to enrich their works with some of his animals and figures. Between 1841 and 1842, he visited Italy, Switzerland, and Scotland. His inspiration remained the same and his technique unaltered, but his notebooks were now filled with sketches of different landscapes.

The beauty that emanates from his paintings occasionally hides Verboeckhoven’s fundamental talent for drawing. Attention should first be drawn to his preparatory works: his sketches, lithographs, and engravings. His portraits, historical subjects, and sculptures also merit attention.

A man of his time, he played an important role in the Belgian Revolution of 1830 and was appointed Director General of the Brussels Museums of Fine Arts by the temporary government. Until the end of his life, he was a member of the Committee of the Royal Museums of Fine Arts and when King Leopold I created the category of Fine Arts at the Academy in 1848, he was on the advisory board. Verboeckhoven was also involved in local politics. From 1861 to 1867, he was the Deputy Mayor for the Schaerbeek Council, Brussels.

Like many of his colleagues, Verboeckhoven was a freemason. He joined the Brussels Lodge in 1834 with his brother Charles-Louis, a well-known marine painter, and his initiation took place on 25 February 1834. Shortly after joining, he suggested founding a Freemason museum. He was very attached to his philosophical convictions and from 1834 onwards and systematically after 1850 added the triangle of three Masonic points to his signature. Eugène Verboeckhoven died in Schaerbeek, Brussels, in 1881. His works are held in museums worldwide.

Louis Pierre Verwee – The bull – 

Louis Pierre Verwee – The bull – 

Louis-Pierre Verwee or Louis Pierre Verwée (Kortrijk, 19 March 1807 – Brussels, November 1877) was a Belgian painter known for his rural landscapes with cattle and winter landscapes. He is the principal representative of the Romantic school in Belgian landscape painting characterised by a return to nature.

Louis-Pierre Verwee was born in Kortrijk. He abandoned school prematurely to become a student at the Academy of Fine Arts of Kortrijk. Here his instructors included prominent landscape and animal painter Jan Baptiste de Jonghe (1785–1844). He later studied with the landscape and animal painter Eugène Verboeckhoven in Ghent. He established a lifelong friendship with Verboeckhoven and the two artists regularly created artworks together. He followed Verboeckhoven to Brussels.

Later in his life he traveled through Germany, France and the Netherlands and stayed in London from 1867 to 1868. He was a friend of Constant Troyon and Gustave Courbet.

He married Claire van der Smissen, with whom he had one daughter and three sons, two of whom became painters: Alfred Verwee became an internationally renowned animal painter and Louis-Charles Verwee was a genre and portrait painter.

Charles Baugniet – Portrait of Jan Baptiste de…

Charles Baugniet – Portrait of Jan Baptiste de Jonghe – ca. 1836

Charles-Louis Baugniet (27 February 1814 – 5 July 1886) was a Belgian painter, lithographer and aquarellist. His name remains attached to the lithographing of portraits of famous and lesser-known figures from Belgium, France and England. They are politicians, senior officials, prominent clergy, both from the Roman Catholic and Anglican Church, industrialists, professors, artists, musicians, actors, and people from the vaudeville world.

Jan Baptiste de Jonghe or Jean-Baptiste de Jonghe (Kortrijk, 8 January 1785 – Schaerbeek, 14 October 1844) was a Belgian painter, draughtsman, etcher and lithographer. He is known for his Romantic landscapes with people, herds and ruins. In his graphic work he also made views of cities in the area of what is now Belgium and the Netherlands. He was an art professor at the Academy of Kortrijk and the Antwerp Academy of Fine Arts.

Jean-Baptiste de Jonghe was born in Kortrijk as the son of a wealthy businessman who was mayor of Kortrijk from 1805 to 1817. He received his first training at the Academie van Kortrijk, where he studied for two years. His drawing instructor was the sculptor Pieter Van Reable. He then went to study at the Antwerp Academy of Fine Arts. Here one of his professors was the renowned animal and landscape painter Balthasar Paul Ommeganck. Ommeganck is believed to have set de Jonghe on the path of landscape and animal painting. When in 1812 he won the prize for landscape painting at a competition organized by the drawing academy of Ghent, he started to fully concentrate on this subject matter.

He participated in various other art competitions in Northern France and Belgium and was successful in Douai, Brussels and Bruges. He travelled in The Netherlands, France and England.

In 1823-1824 he was one of the lithographers who made lithographs and provided drawings for the publication Collection des principales vues des Pays-Bas (‘Collection of principal views of the Netherlands’) published by Dewasme.

In 1825 the Academy of Antwerp admitted de Jonghe as a member. The next year he was appointed professor at the Academy of drawing and architecture in Kortrijk. In 1828 he was admitted as associate member of the Academy of Amsterdam. In 1836 the Belgian government appointed him to the jury tasked to choose the artwork to be acquired by the Belgian state at that year’s salon. In 1840, Belgian King Leopold I commissioned from the artist six landscape paintings of sites in the Ardennes.

In 1841 de Jonghe was appointed professor of landscape and animal painting at the Academy of Antwerp. He only served in that role for a brief period as he had to resign for family reasons in 1843. After this he was occupied with various commissions in Brussels.

De Jonghe also played an important role as a teacher at the Academy of Kortrijk, where he trained a new generation of painters between 1826 and 1841, including Jean Baptiste Daveloose and Louis-Pierre Verwee. Other pupils of de Jonghe include Louis de Winter, Louis Robbe and Hendrik Frans Schaefels. Gustave Léonard de Jonghe, the son of the artist and his wife Maria Theresia Commeijne, received his first training from his father and became a society portrait and genre painter who worked in Paris for a fashionable clientele.

The artist died in Schaerbeek in 1844 after a brief illness.

Arnold Houbraken’s Schouburg from 1721 -…

Arnold Houbraken’s Schouburg from 1721 – Plate C p64 7 Jan Asselyn, 8 Heyman Dullaart, 9 Jan van Pée, 10 Melch. de Hondekoeter. Illustration from Part 3 of Arnold Houbraken’s Schouburg from 1721.

Jan van Pee portrait shown in upper right corner in Arnold Houbraken’s Schouburg, Volume III, 1721.

Arnold Houbraken (28 March 1660 – 14 October 1719) was a Dutch painter and writer from Dordrecht, now remembered mainly as a biographer of artists from the Dutch Golden Age.

Jan van Pee (1630, Amsterdam – 1710, Antwerp), was a Dutch Golden Age art dealer and genre painter.

According to Houbraken he was the son of the Amsterdam art dealer Emanuel van Pee, a man with a title of lower nobility, whose father Justus van Pee of Brussels had been the private secretary of Margaret of Parma. Justus van Pee had been trained as a painter but was too nearsighted for the work. As a private secretary he astonished everyone by being able to read letters in the dark better than anyone else, despite his near-sightedness. Though his father had earned a title, there was little inheritance left for Emanuel when he died, so Emanuel started an art dealership to make a living, and moved to Amsterdam, where Jan van Pee was born and where he starting working for his father at a young age making copies of small cabinet paintings (“Dozynwerk”, or “works of a dozen”). When Jan came of age, he got married to Hendrika Matthysdr in 1657 in Leiden and they had children, but he regretted that he never visited Antwerp to admire the paintings there. His wife would never allow him.

He was urged to make a trip by his acquaintance, a pupil of Evert van Aelst called De Nys. Jan van Pee decided to go, but needed money for the trip. Since he was only allowed the key to the money safe if he went shopping, he told his wife to put the water to boil for a fish and that he was going to the fish market to buy one. He took ten ducats and a few clean shirts and he and De Nys promptly took the trekschuit to Haarlem, where he wrote a letter to his wife that on his way to market he was offered work in Haarlem, but on arrival in Haarlem, his patron requested that he make the commission in the style of P.P. Rubens and requested him to go to Antwerp. Then he and De Nys travelled via Leiden and Rotterdam to Antwerp, where they went to all of the churches and monasteries to admire the work of Rubens, Jordaens, and Van Dijk. When they saw that one could sell paintings for ready cash on the Friday market, they bought paint, brushes and supplies and made two paintings. Pee hired a beggar to sit for an allegorical painting of Saint Peter, while De Nys bought some dead birds to make a hunting still life. They both sold and financed their trip this way, Pee earning 16 ducats and De Nys 18 ducats. Van Pee again sent a letter to his wife requesting her to move the household to Antwerp, but she refused and claimed the art dealership was doing fine and she preferred to stay with her children in Amsterdam, where she had no need of him at all. Van Pee finally returned North after eight months time, and when he arrived in Amsterdam he first bought a fish at the market to take to his wife.

In 1659 he lived in Amsterdam. Van Pee was specialized as a copyist of Italian paintings and worked for Gerrit van Uylenburgh. when Gerard de Lairesse arrived in 1667. Van Pee also made genre scenes of his own invention, and he is known to have created a number of well-painted oil studies of animals, usually closely grouped on a buff coloured ground.

Van Pee was the teacher of his son Theodor or Dirck van Pee, born in 1669 and the grandfather of the miniature painter Henriëtta van Pee. From 1684 he is registered in the Antwerp Guild of St. Luke with many pupils.

Peter Jacob Horemans – Elegant figures dining …

Peter Jacob Horemans – Elegant figures dining in a landscape – 1745

Peter Jacob Horemans or Peter Jakob Horemans (October 26, 1700 – August 3, 1776) was a Flemish painter of genre scenes, portraits, conversation pieces, still lifes and city views. After training in Antwerp he was active in Germany where he became court painter. He was a versatile artist who worked in many genres and for a variety of aristocratic, religious and private patrons.

Horemans was born in Antwerp as the son of a notary. He was listed from 1716 until 1724 in the records (liggeren} of the Antwerp Guild of Saint Luke as the pupil of his older brother Jan Josef Horemans, a genre painter.

View of Munich from the home of Johann Kaspar Basselet von La Rosée
In 1725 he moved to Munich. He became in 1727 court painter to prince-elector of Bavaria Charles Albrecht, the Emperor Charles VII, Holy Roman Emperor from 1740 to 1745. He made decorations in the prince-elector’s Nymphenburg Palace and the hunting lodge Amalienburg.

His nephew François Charles (Franz Karl) Horemans worked after 1725 in his workshop in Munich. On 4 June 1730 he got married to Justina Magdalena Resch, daughter of the table decker of the prince-elector. His artist friends the court sculptors Guillielmus de Grof (or Willem de Grof) and Gilles Fareslitz attended the wedding. In 1759 he became court painter to Maximilian III Joseph, the subsequent Elector of Bavaria. In 1765 he qualified as a master in Munich.

The Nuremberg painter Magnus Prasch was his pupil.

In his final years his eyesight deteriorated to the point that he could no longer paint. Horemans died in Munich.

Jan Josef Horemans the Elder – A Painter&rsquo…

Jan Josef Horemans the Elder – A Painter’s Studio  –

Jan Josef Horemans the Elder (1682–1759) was a Flemish painter of the 18th-century. He was mainly known for his genre scenes but he also painted portraits and historical allegories.

He was born in Antwerp and became the pupil of the painters Jan van Pee and Michiel Frans van der Voort.

In 1706 he became master in the Antwerp Guild of St. Luke as a pupil of Michiel Frans van der Voort]. The next year he married his teacher’s daughter Maria-Francisca. Their son Jan Josef Horemans the Younger also became a painter.

He was the teacher of his younger brother Peter Jacob and his son Jan Josef. He died in Antwerp.

Jan Josef Horemans (II) – The Marriage Contrac…

Jan Josef Horemans (II) – The Marriage Contract – 1768

Jan Josef Horemans the Younger (baptised 15 January 1714 – 9 February 1792) was an 18th-century Flemish painter. He is mainly known for his genre scenes but also painted harbor views, equestrian paintings, portraits and still lifes.

Jan Josef Horemans the Younger was born in Antwerp as the son of Jan Josef Horemans the Elder and Maria-Fransisca van der Voort. He was likely a pupil of his father, a prolific genre painter.

Jan Josef Horemans became a master of the Guild of St Luke in Antwerp on 10 February 1767 and was dean of the Guild on two occasions (1768–9 and 1775–6). He was also a member of the Antwerp Academy.

In 1788 he was the co-founder of a society of artists known as the Genootschap ter aanmoediging der Schoone Kunsten (“Society for the encouragement of the fine arts’), known under its short form as the Konstmaatschappij (the ‘Art Society’). Other founders included Hendrik Frans de Cort, Pieter Faes, Miss Herry, Balthasar Paul Ommeganck, Ferdinand Verhoeven, Hendrik Aarnout Myin, Frans Balthasar Solvyns, Mattheus Ignatius van Bree, Maria Jacoba Ommeganck, Marten Waefelaerts and many others. The society’s goal was to provide opportunities for the promotion and appreciation of the artworks of its various members in an informal setting. The first exhibition of the society was held in Antwerp in 1789. Horemans resigned as a member on 10 October 1791.

He was the teacher of Johan Herman Faber. He died in Antwerp.