Jules Schmalzigaug, Speed, Royal Museum of Fine Arts, Antwerp.

The evolution in the arts at the beginning of the 20th Century (Fauvism and Cubism in France, German Expressionism, and Dutch Neo-plasticism) experiences in Belgium a difficult arrival on the scene. Yet, the French Cubists are exhibited by the Cercle des Indépendants already in 1911 in Brussels. The Director and critic William Jelley brings together the work of Alexander Archipenko (1887 - 1964), Robert Delaunay (1885-1941), Albert Gleizes (1881 - 1953), Henri Le Fauconnier (1881 - 1945) and Fernand Léger (1881 - 1955), among others. Major reactions, however, are absent.

Under the influence of this same Jelley, Galerie Giroux brings a traveling exhibition on futuristic painting to Brussels. This is the result of the attention that Futurists receive in February of that year on the occasion of their ‘scandalous exhibition’ Exposition des peintres futurists in the Parisian gallery of Bernheim Jeune. With work by Umberto Boccioni (1882 - 1916), Carlo Carrà (1881 - 1966), Luigi Russolo (1885 - 1947) and Gino Severini (1883 - 1966), the exhibition serves as the starting point of the internationalising of Futurism. On the occasion of the exhibition in Brussels, Filippo Tommaso Marinetti (1876 - 1941) and Boccioni take part in a debate, which ensures for a mention in the newspaper.

It is telling that Jules Schmalzigaug, who grows to be the premier Belgian Futurist, is indeed present in Paris, but not in Brussels. Just as with other Belgian pioneers from the beginning, Georges Vantongerloo and Marthe Donas, shall earn their reputation abroad without having connections with their contemporaries in their own country. In addition to individual paths of life, the First World War shall also play a part in the break in contact and isolated evolution. During the German occupation, the first, hesitant contacts are made, such as with the Summer exhibition of the Brussels circle Doe Stil Voort, among which Felix De Boeck, Victor Servranckx and Jozef Peeters participate along with others. Because of the German occupation, the wave of innovation shall break through only at the end of the War (in 1917-1918). 

After the lectures of Theo Van Doesburg (1883 - 1931) in Antwerp (13 February) and Brussels (13 March) in 1920, everything seems to become accelerated. A first, important congregation of international and Belgian avant-gardes is organised by the enterprising promoters of the recently started newspaper annex gallery Sélection, P.G. Van Hecke (1887 - 1967) and André De Ridder (1888 - 1961). In Antwerp, the Royal Art Circle/Art Association presents the Salon der kubisten from 14 July to 12 August. The organisation is by the hands of Sélection. In addition to work by André Lhote (1885 - 1962) and Jean Metzinger (1883-1956) and others, work by Floris Jespers (1889 - 1965) is shown. In the atelier d’Art Contemporain Sélection in Brussels, they organise the exhibition Oeuvres des cubists et néo-cubistes français et belges from 18 September to 8 October. Works by Prosper De Troyer (1880 - 1961), Albert Counhaye (1884 – 1971), Floris Jespers, Paul Joostens and Jozef Peeters are shown in addition to work promoted by the Parisian art dealer Léonce Rosenberg from the Ecole de Paris with Georges Braque (1882 - 1963), Pablo Picasso (1881 - 1973), Juan Gris (1887 - 1927), Fernand Léger (1881 - 1955), André Derain (1880 - 1954), Lhote, Metzinger, Léopold Survage (1879 - 1968) and Severini. Moreover, there are pieces by Le Fauconnier, Raoul Dufy (1877 - 1953), Tsughouharu Foujita (1886-1968), Amedeo Modigliani (1884 - 1920), Valentine Prax (1899 - 1981) and Ossip Zadkine (1890 - 1967).

With the contribution of Marthe Donas, under the pseudonym of Tour-Donas, in the Sélection exposition of the Cubist-orientated group La Section d’Or (4-17 December) the indigenous and expatriated working Belgian artists came together for the first time. This will happen internationally later that year in Geneva with the Exposition Internationale d’Art Moderne, Genève (26.12.1920 - 25.1.1921). The two constructivist centres of Belgium are strongly represented at these outspoken avant-garde exhibitions in the Palais electoral in Geneva. Albert Daenens (1883 - 1952), Felix De Boeck, René Magritte and Karel Maes are sent from the Centre d’Art in Brussels. For Antwerp, the entourage of Jozef Peeters with Jan Cockx (1891 - 1976) as well as Edmond Van Dooren (1896 - 1965) and Prosper De Troyer (1880 - 1961) are present. Donas and Vantongerloo both belong to the Belgian delegation without, however, associating themselves with either of the two groups.

 

Sergio Servellón

 

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Artist group description

After the chiefly Brussels’ Art Abstrait and Espace in 1952 and later Formes in 1956 gave new momentum to the abstract as the first post-War groups, in Antwerp, the G58 (Group 1958) shall take up the torch. The immediate cause is the nearly complete lack of official support of modern art and the anticipation of the world exhibition Expo ’58. From the avant-garde rings centred around the publications Gard-Sivik and Het Cahier, the need grows for a platform, where in addition to visual art, music, film and poetry also can seek out new artistic horizons. 

After G58 first organises a series of solo exhibitions in the Middelheim castle, it then receives an opportunity from the city management to establish a location in the centre. The Hessenhuis, on the corner of the Hessenplein and the Falconrui, is fixed up by the participating artists and thus becomes the new home for the second wave of abstract art. Along with Vic Gentils, Walter Leblanc, Paul Van Hoeydonck, Jef Verheyen and others, as well as being enhanced by the critic Marc Callewaert, a strong generation is there for the offering. From previous initiatives, such as Raaklijn in Bruges, on the one hand, they are able to learn how to bridge the gap with the first generation of the Pure Plasticism. It is no coincidence that both Jozef Peeters and René Guiette receive the honorary chairmanship of the Antwerp group G58. Beyond the important exhibition The First Abstracts in Belgium: Homage to the Pioneers in 1959, the group honours both chairmen with retrospective exhibitions.  With this G58, which evolved from the abstract art to the new informal art, connects the 1920’s (with Peeters) and the 1940’s (with Guiette) with the imminent 1960’s. On the other hand, the international trajectory of La jeune peinture Belge shows them the path to follow. In addition to France and Germany, the Italian contacts primarily ensure for ground-breaking projects. Aside from Anti-Peinture, primarily Vision in motion-Motion in vision and Zero shall prove to be historic exhibitions with contributions from Piero Manzoni and Jean Tinguely, among others. In 1960, a dissident group, the Nieuwe Vlaamse School, already appears, helmed by Jef Verheyen and Paul De Vree (chief editor of De Tafelronde). 

G58 shall for all intents and purposes only exist for four years. However, in addition to the many (international) individual exhibitions and group exhibitions, G58 shall provide an impetus to the various avant-garde initiatives. They could be both polemical, with for example the historic televised debate Figuratieve of Abstracte Kunst? (November 1960) as well as activist, such as De Vree’s Modernistisch Centrum and the Filmgroep ’58

 

Sergio Servellón 

 

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Artist group description

In the period around the end of WWI, an atmosphere of fraternity emerges and a belief in the future grows, which is made patent with the term ‘humanitarian expressionism’. Artists are enthusiastic and have the impression that this is a pivotal moment, a new time, and that they are the harbingers of the art of the future, disillusioned by a ‘damaging’ history. Wassily Kandinsky (1866 - 1944) shall already point the way for artists in 1912 with his book Du spiritual dans l’art et dans la peinture en particulier towards this ‘tabula rasa’. In Antwerp as well as Brussels initiatives emerge in the context of this initiative.

Just before the end of the war, the group Kring Moderne Kunst (Modern Art Circle) is established in Antwerp. Antwerp artists assemble themselves to better embrace the social needs. Other groups such as Clarté and Lumière follow suit, but the Kring Moderne Kunst distinguishes itself by way of an outspoken evolution towards Abstract Art and Constructivism. The manifesto of the Moderne Kunst circle is published in Vlaamsch Leven on 20 Octobert 1918. In addition to Jozef Peeters as the secretary, other founding members are Edmond Van Dooren, Jos Leonard and Jan Cockx. An important show of force is inviting De Stijl frontman Theo Van Doesburg to deliver various lectures. These lectures shall accelerate the development of Abstract Art in Belgium.

Peeters and the members of the Kring Moderne Kunst organise three important conferences in 1920 and 1922. Above all, the 2nd Conference for Modern Art in Antwerp is a radical event for the Belgian, modernistic art scene. It is the first occasion whereby the Belgian avant-garde exhibits within an international context. The international participation is impressive with the delegation from the group affiliated with the publication Der Sturm, with Alexander Archipenko (1887 - 1964), Paul Klee (1879 - 1940) and Kurt Schwitters (1887 - 1948), among others, as well as the Italian Futurist Giacomo Balla (1871 - 1958).

In Brussels as well, shortly after the Armistice Day, a similar evolution comes about. The group and publication Le Geste announces the opening of Le Centre d’Art in December of 1919. This ambitiously engaged initiative consists of all of the necessary elements to serve as a platform: a lecture and exhibition hall, printer, publisher and bookstore. On 20 December 1919, the activities begin with an exhibition of posters by Pierre-Louis Flouquet and René Magritte, among others. Under the impulse of the brothers Pierre and Victor Bourgeois and the critic Maurice Casteels, Theo Van Doesburg is invited for a lecture, just as Peeters had done in Antwerp. After this event, the activity of the Centre d’Art stops, but the initiative is continued within the group and publication of 7 Arts. Important initiatives such as the booth of L’Equerre-7 Arts in the Salon de La Lanterne Sourde in 1923 gain momentum. In addition, entrepreneurs such as Flouquet and Victor Bourgeois ensure for international links with de Exposition Internationale d’Art Moderne in Geneva (1920), Exposition Internationale des Arts décoratifs in Monza (1925) and contributions to group exhibitions in the Musée de Grenoble (1927), inter alia.

 

Sergio Servellón

 

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Artist group description

Roughly, the end of the historical avant-garde can be situated around 1929, at the moment when the financial markets crashed because of worldwide speculation. The production from the 1930’s was characterised by eclecticism along with an attitude of returning to traditional figurative art. This lasted for some twenty years before abstract art appears again on the Belgian art scene. The re-discovery of the abstract language happens rather haltingly, as the influence from abroad slowly made its way into Belgium. The movement of La Jeune Peinture Belge plays an important role in this.

In 1944, in the prolonged annual salon Apports in the Apollo gallery, Robert Delevoy organises an exhibition whereby the new trends in Belgium are shown. Along with the energetic advocate René Lust, Delevoy establishes the non-profit organisation La Jeune Peinture Belge in 1945 for the support of a new generation of artists. In addition to James Ensor (1860 - 1949) as honorary chairman, art patrons and collectors thrown in their support for thirteen artists, including Jan Cox, Anne Bonnet, Gaston Bertrand, Rik Slabbinick (1914 - 1991) and Louis Van Lint, among others. After the death of René Lust in 1948, the organisation ceases to exist. Within a short period of time, the movement left its impression on the post-war resurrection of Belgian art. Thanks to a large array of international exhibitions (in Paris in 1946, in the Svensk-Franska Konstgallerie in Stockholm and in Zürich in 1947, inter alia), a new generation comes into contact with the most recent developments.

The great variety of artists makes it difficult to place La Jeune Peinture Belge under one stylistic rubric. As such, the work of Roger Somville (1923 - 2014), Edmond Dubrunfaut (1920 - 2007) and Louis Deltour (1927 - 1998) evolves towards Realism. Yet, a new connection with a mild form of Modernism begins to distinguish itself, whereby abstract painting sometimes emphasises a freer approach, such as in the lyric work of Jean Milo (1906 - 1993) and Mig Quinet (1906 - 2001). Ultimately it is Jo Delahaut, who in 1947 exhibits the only true abstract painting during the overview exhibition of the group in the Palace of Fine Arts in Brussels. After his passage in La Jeune Peinture, Delahaut shall become the main impetus for the return to geometric abstract art in Belgium with the groups Art Abstrait and Formes.

 

Sergio Servellón

 

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