Category:Artists from Brussels
Pages in category "Artists from Brussels"
The following 43 pages are in this category, out of 43 total, this list may not reflect recent changes (learn more).
The following 43 pages are in this category, out of 43 total, this list may not reflect recent changes (learn more).
1. Chantal Akerman – Chantal Anne Akerman was a Belgian film director, artist and professor of film at the City College of New York. Her best-known film is Jeanne Dielman,23 quai du Commerce,1080 Bruxelles, according to film scholar Gwendolyn Audrey Foster, Akermans influence on feminist filmmaking and avant-garde cinema has been substantial. Akerman was born in Brussels, Belgium to Holocaust survivors from Poland and she was the oldest of two children, with only a younger sister, Sylviane Akerman. Her mother Natalia had survived years at Auschwitz, where her own parents had died, from a young age, Akerman and her mother were exceptionally close, and she encouraged her daughter to pursue a career rather than marry young. At age 18, Akerman entered the Institut National Supérieur des Arts du Spectacle et des Techniques de Diffusion, Akerman dropped out during her first term to make the film Saute ma ville, subsidizing the films costs by trading diamond shares on the Antwerp stock exchange. Akerman had a close relationship with her mother, captured in some of her films. In 1976 News From Home, Akerman mother’s letters outlining mundane family activities serve as a soundtrack throughout the film, the 2015 No Home Movie centers on mother-daughter relationships, largely situated in the kitchen, and is a response to her mother’s death. The film explores issues of metempsychosis, the last shot of the acting as a memento mori of the mother’s apartment. Akerman acknowledged that her mother was at the center of her work, the maternal imagery can be found throughout all of Akerman’s films, as an homage and an attempt to reconstitute the image and voice of the mother. In Family In Brussels, Akerman narrates the story, interchanging her own voice with her mother’s, Akerman claimed that, at the age of 15, after viewing Jean-Luc Godards Pierrot le fou, she decided, that same night, to make movies. In 1971, Akermans first film Saute ma ville premiered at the Oberhausen short-film festival and that year, she moved to New York City, where she remained until 1972. At Anthology Film Archives in New York, Akerman was impressed with the work of Stan Brakhage, Jonas Mekas, Michael Snow, Yvonne Rainer and she stated that Snows La Région Centrale introduced her to the relations among film, time and energy. Her feature Hotel Monterey and shorts La Chambre 1 and La Chambre 2 reveal the influence of structural filmmaking through these films usage of long takes and these protracted shots serve to oscillate images between abstraction and figuration. In 1973, Akerman returned to Belgium and in 1974 received critical recognition for her feature I, You, He, Akermans most significant film, Jeanne Dielman,23 Quai du Commerce,1080 Bruxelles was released in 1975. Often considered one of the great feminist films, the film makes a hypnotic, real-time study of a middle-aged widow’s stifling routine of domestic chores, upon the films release, The New York Times called Jeanne Dielman the first masterpiece of the feminine in the history of the cinema. Chantal Akerman scholar Ivone Margulies says the picture is a paradigm for uniting feminism and anti-illusionism. The film was named the 19th-greatest film of the 20th century by J. Hoberman of the Village Voice, Akerman has acknowledged that her cinematic approach can be explained through the writings of Gilles Deleuze and Felix Guattari. Deleuze and Guattari write about the concept of literature as being characterized by the following things,1
2. Charles Baugniet – Charles-Louis Baugniet 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 he was born in Brussels and attended the Académie Royale des Beaux-Arts in Brussels during 1827–29, where he studied under Joseph Paelinck and Florent Willems. His first attempts lithography date from 1827, and his reputation grew steadily with the appearance of his first portraits in the magazine LArtiste in 1833 and he collaborated with Louis Huard from 1835 until 1842 in producing a series of portraits of the Belgian House of Representatives. Louis Huard finished only 6 portraits, Baugniet doing the remainder and this was followed in 1836 by a series of 30 portraits of contemporary artists—Les Artistes Contemporains. Included were portraits of Louis Jéhotte, Louis Gallait, Nicaise De Keyser, Jean-Baptiste Madou, Eugène Simonis, Charles-Louis Verboeckhoven, Horace Vernet, Paul Delaroche and Hippolyte Bellangé. He was commissioned to do portraits of the Belgian Royal Family, in 1843 he moved to London where he became a leading society portrait painter, creating a portrait of Prince Albert in 1851. Later he often returned to London to do portraits of such as Charles Dickens. Baugniet also designed the first Belgian postage stamp brought into circulation on 1 July 1849, the stamp depicted Leopold I of Belgium after a painting by Liéven De Winne. Baugniet settled in Paris in 1860, almost overnight the invention and development of photography strangled the traditional market of lithographic portraits, forcing many of Baugniets colleagues to become professional photographers. Baugniet however concentrated on producing paintings and portraits which displayed the elegance of the Second French Empire. He died in Sèvres in 1886, thieme-Becker, Allgemeines Lexikon der Bildenden Künstler von der Antike bis zur Gegenwart, vol. Benezit E. Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs, Paris, Librairie Gründ,1976, rouir Eugène,150 ans de gravure en Belgique, Bruxelles, C. G. E. R. /Meddens,1980, p.8. Berko P. & V. Dictionnaire des peintres belges nés entre 1750 &1875, Bruxelles, Laconti,1981, p.34
3. Ignace Brice – Ignace Brice was a Belgian painter. His father Antoine and his paternal grandfather Pierre-François were both painters, Pierre-François was born in the French village of Saint-Venant, but left to settle in Brussels and become a painter at the court of Prince Charles-Alexandre of Lorraine. He followed his father as a professor at the Academy, and he also exhibited in Ghent, Antwerp and Amsterdam, and was one of the founders of the Société des Beaux-Arts de Bruxelles. He was a painter and portraitist, and had a great talent for drawing. His style was sober and classical and, besides Davids influence, the Magician, oil on canvas,120 x 108 cm. Portrait of Adrien Joseph Eugène Oorlof, portrait of Hortense Poelaert, wife of Eugène van Dievoet,1840, oil on canvas,71 x 85 cm. Portrait of Jean-Louis van Dievoet, secretary to the Parquet de la Cour de Cassation,61 x 70 cm, influenced by Jacques-Louis David. ]The cook and the poultry merchant, painting by Ignace Brice, exhibited at the Brussels salon in 1827, now at the Rijksmuseum in Amsterdam The Holy Family surrounded by angels, oils,1818. Paul De Zuttere, Les Brice, peintres à Bruxelles aux XVIIIe et XIXe siècles, in LIntermédiaire des Généalogistes, Bruxelles, n°190,1977, p. 258-265. Paul De Zuttere, Contribution à lœuvre des peintres Antoine et Ignace Brice, in LIntermédiaire des Généalogistes, Bruxelles, n°345,2003, published by P. F. de Goesin-Verhaeghe,1879, page 469, Ignace Brice
4. Jan Brueghel the Elder – Jan Brueghel the Elder was a Flemish painter and draughtsman. He was the son of the eminent Flemish Renaissance painter Pieter Brueghel the Elder, a close friend of, and regular collaborator with, Rubens, the two artists were the leading Flemish painters in the first three decades of the 17th century. He was an important innovator who created new types of such as flower garland paintings, paradise landscapes. He further created genre paintings that were imitations, pastiches and reworkings of his fathers works and he was court painter of the Archduke and Duchess Albrecht and Isabella, the governors of the Southern Netherlands. The artist was nicknamed Velvet Brueghel, Flower Brueghel, and Paradise Brueghel, the first is believed to have been given him because of his mastery in the rendering of fabrics. The second nickname is a reference to his specialization in flower still lifes and these paintings have now been reattributed to Jan Brueghel the Elder. Jan Brueghel the Elder was born in Brussels as the son of Pieter Brueghel the Elder and his mother was the daughter of prominent Flemish Renaissance artist Pieter Coecke van Aelst and Mayken Verhulst. His father died about a year after Jans birth in 1569, Mayken Verhulst was an artist in her own right. The early Flemish biographer Karel van Mander wrote in his Schilder-boeck published in 1604 that Mayken was the first art teacher of her two grandsons and she taught them drawing and watercolor painting of miniatures. Jan and his brother may also have trained with local artists in Brussels who were active as tapestry designers, Jan and his brother Pieter were then sent to Antwerp to study oil painting. According to Karel van Mander he studied under Peter Goetkint, an important dealer with a collection of paintings in his shop. Goetkint died on 15 July 1583 not very long after Jan had started his training and it is possible that Jan continued his studies in this shop, which was taken over by Goetkints widow as no other master is recorded. It was common for Flemish painters of that time to travel to Italy to complete their studies, Jan Brueghel left for Italy, first traveling to Cologne where his sister Marie and her family lived. He later visited Frankenthal, an important cultural centre where a number of Flemish landscape artists were active and he then went to Naples after probably spending time in Venice. In Naples he produced after June 1590 a number of drawings and he worked for Don Francesco Caracciolo, a prominent nobleman and priest and founder of the Clerics Regular Minor. Jan produced small-scale decorative work for Don Francesco, Brueghel left Naples for Rome where he resided from 1592 to 1594. Paul Bril was a landscape specialist from Antwerp who had moved to Rome at the end of the 16th century, together with his brother Mathijs Bril, he created atmospheric landscapes for many Roman residences. Brueghel took inspiration from Brils lively drawings and small-scale landscapes of the mid-1590s, during his time in Rome Jan Brueghel became acquainted with Hans Rottenhammer, a German painter of small highly finished cabinet paintings on copper
5. Joannes van der Brugghen – Joannes van der Brugghen, known in France as Jean vander Bruggen, was a Flemish painter, engraver, art dealer and publisher who was active in Antwerp and Paris. Joannes van der Brugghen engraved a self-portrait in 1689, the print states that he was born in 1639 in Brussels. It is not clear with whom he trained but he is registered as a master in the Antwerp Guild of St. Luke in 1679, in 1689 he moved to Paris, where he was active as an engraver, dealer and publisher. The artist was a friend and great admirer of Raymond Lafage and this admiration is expressed in a poem at the bottom of his engraved self-portrait of 1839. The poem was written by the famous French author Jean de La Fontaine, the self-portrait was made after a painting by Nicolas de Largillière. It was part of a set of prints after designs by Lafage that van der Brugghen published that year in memory of Lafage and sold from his house in Paris. The title of the work was Recueil des meilleurs desseins de Raimond La Fage gravé par cinq des plus habiles graveurs and it is not known when or where the artist died. The time of his death is estimated to be some time between 1730 and 1750, media related to Joannes van der Brugghen at Wikimedia Commons
6. Antoine Cardon – Antoine-Alexandre-Joseph Cardon, also known as Cardon the elder to distinguish him from his son Anthony Cardon, was a Belgian painter, portraitist and engraver. He was born in Brussels, then in the Austrian Netherlands and he lived for a long time on rue de Persil in the city, which also passed through French and Dutch hands during his lifetime, and shone in the arts under the Austrian, French and Dutch regimes. He was a student of Hyacinthe de La Peyne, painter to empress Maria Theresa, the sovereign of the Austrian Netherlands, and once followed his teacher to Vienna. Recalled to Brussels by Cobenzl, he became a professor at the Royal Academy of Fine Arts and it was there in 1810 that he and Antoine Brice founded an association of professional and amateur artists. In 1822 Cardon was named a member of the Royal Institute of the Netherlands by William II of the Netherlands. Engraved portrait of the musician Ignace Vitzthumb Antoine Cardon was the father of the engraver Antoine Cardon the Younger who set up as an engraver in England in 1793 and died in London
7. Lodewijk de Vadder – Lodewijk de Vadder was a Flemish Baroque landscape painter, draughtsman, engraver and tapestry designer. He came from a family of painters, his father and brothers were painters and his brother Philippe de Vadder was likely his teacher. He became a master of the Brussels Guild of St. Luke in 1628, in 1644 he obtained from the Brussels city authorities a privilege to make tapestry cartoons. He made cartoons principally for the Brussels weaving workshops of Jan Cordijs and his pupils were Ignatius van der Stock and possibly also Lucas Achtschellinck. It was originally believed that he only produced small-scale works marked with the monogram LDV and it has been demonstrated that he was responsible for a number of large-scale works that were formerly attributed to his contemporary Jacques dArthois. Like Arthois, de Vadder painted the landscapes with woods and rural areas around Brussels with a preference for sunken paths, de Vadders style is freer in composition and, with its loose, broad brushwork and intense colours, reminiscent of Rubens’ style. De Vadder, his presumed pupil Lucas Achtschellinck and Arthois are usually referred to collectively as The Sonian Forest Painters and he also drew cartoons for various tapestry manufacturers in Brussels. He was a draughtsman and some of his drawings were engraved and printed. Media related to Lodewijk de Vadder at Wikimedia Commons
8. Henry de Groux – Henry de Groux was a Belgian Symbolist painter, sculptor and lithographer. His 1889 painting Christ aux Outrages, widely described as his masterwork, later in life, he produced many works depicting the horrors of the First World War. De Groux was the son of the engraver Charles de Groux and, like his father, Henry was elected a member of les XX in 1886, but was expelled in 1890 when he refused to have his works displayed in the same gallery as Vincent van Gogh. He subsequently moved to Paris, where he befriended Émile Zola, during the social unrest resulting from the Dreyfus affair, de Groux acted as one of Zolas bodyguards. As well, de Groux was a fervent diarist, beginning in 1892, he produced 18 volumes detailing the life of a European artist in the late 19th and early 20th centuries. In 2002, his descendants donated these volumes to the Institut national dhistoire de lart, Henry de Groux 1866-1930 - journal - Henry De Groux, Rodolphe Rapetti, Pierre Wat - Editions Kimé at www. dessinoriginal. com. Apollinaire writes of De Grouxs exhibition in Paris at the Salon dAutomne 1911, praising with. gives one the impression of an immense labor, media related to Henry de Groux at Wikimedia Commons
9. Pieter van der Plas I – Pieter van der Plas was a painter active in Brussels in the first part of the 17th century. He is known for his individual and group portraits and genre paintings, little is known about the life of Pieter van der Plas. He is believed to have born in Brussels or Haarlem. It is known he was active in Brussels between 1610 and 1650, where he was a master of the local guild and he is believed to have died in that city between 1650 an 1661. Pieter van der Plas has sometimes confused with the artist referred to as P. V. This artist was active in Brussels in the period 1630 to 1650, Plas was a still life painter who worked in the Flemish style. Pieter van der Plas painted portraits of individuals as well as portraits for the local guilds in Brussels. A painting depicting falconers has been part of the collection of the National Gallery, media related to Pieter van der Plas I at Wikimedia Commons
10. Vrancke van der Stockt – Vrancke van der Stockt was an early Netherlandish painter. He is most notable as an heir and popularizer of Rogier van der Weyden. In 1445 Vrancke van der Stockt became a master in the Brussels Guild of St. Luke and inherited the workshop of his father, Jan van der Stockt, who had recently died. He obtained considerable recognition for his work, becoming the official painter after the death of Rogier van der Weyden in 1464. He was also served as councilor in 1465,1472. With his wife Catherine de Moeyen he had two sons, Bernaert van der Stockt and Michiel van der Stockt, who were both painters, Van der Stockts work was heavily influenced by Rogier van der Weyden, with whom he may have collaborated. Compared to Weyden, his work is more gently drawn, although his figures have slender, elegant, and mannered silhouettes, he was unable to endow them with the same elegant movement and profound drama of his masters figures. His Pietà is likewise modelled on van der Weydens Pietà, although he was primarily a painter, Van der Stockt also completed cartoons for embroideries and tapestries and designs for woodcuts. The Redemption triptych itself was not attributed to Van der Stockt until the 1920s, campbell, Lorne & Van der Stock, Jan
11. Michiel Sweerts – Michiel Sweerts or Michael Sweerts was a Flemish painter and printmaker of the Baroque period, who is known for his allegorical and genre paintings, portraits and tronies. The artist led an itinerant life and worked in Rome, Brussels, Amsterdam, while in Rome Sweerts became linked to the group of Dutch and Flemish painters of low-life scenes known as the Bamboccianti. Sweerts contributions to the Bamboccianti genre display generally greater stylistic mastery, while he was successful during his lifetime, Sweerts and his work fell into oblivion until he was rediscovered in the 20th century as one of the most intriguing and enigmatic artists of his time. Michiel Sweerts was born in Brussels where he was baptized on 29 September 1618 in the St. Nicholas Church as the son of David Sweerts, a linen merchant, little is known about the artists early life and nothing about his training. He arrived in Rome in 1646 where he remained active until 1656, in Rome he became soon linked to the circle of Flemish and Dutch painters associated with Pieter van Laer, who is considered the founder of the Bamboccianti. By the time Sweerts arrived in Rome van Laer himself had left the city. The Bamboccianti brought existing traditions of depicting peasant subjects from sixteenth-century Netherlandish art with them to Italy and they created small cabinet paintings or etchings of the everyday life of the lower classes in Rome and its countryside. He resided near Santa Maria del Popolo, in 1647, Sweerts became an associate of the Accademia di San Luca, a prestigious association of leading artists in Rome. Sweerts is also recorded as having connections with members of the Congregazione Artistica dei Virtuosi al Pantheon, the Congregazione was a corporation of artists who organised annual exhibitions of their own paintings on the metal railings in front of the Pantheon. There is no evidence that Sweerts became himself a member of the Virtuosi, Sweerts lived from 1646 to 1651 in the Via Margutta where many foreign artists resided. While in Rome, Sweerts was the teacher of Willem Reuter, another Flemish painter from Brussels who spent time in Rome where he was influenced by the Bamboccianti and he is said to have painted a portrait of Camillo Pamphilj. Sweerts also painted theatrical decors for Camillo Pamphilj and acted as his agent in purchasing art and it is likely that his patron Prince Camillo Pamphilj involved Sweerts in the organization of an art academy in Rome. At the instigation of Camillo, the pope bestowed upon Sweerts the papal title of Cavaliere di Cristo and it is during his time in Rome that Sweerts developed a lifelong relationship with the Deutz family, who were one of the most prominent trading families of Amsterdam. In 1651 Jean Deutz gave Sweerts a power of attorney to act on his behalf in a sale of silk, the Deutz brothers also purchased paintings of Sweerts through the art market in Italy. Sweerts further acted for the Deutzes as an agent on the Italian art market and it is believed that the Portrait of Man with a Red Cloak is in fact a portrait of Jean Deutz who was likely then in Rome on his grand tour. Despite enjoying the patronage of the highest echelons in Rome, Sweerts left Rome for unknown reasons sometime between 1652 and 1654 and he is recorded in Brussels in July 1656 at the baptism of a child of his sister. In Brussels he joined the local Guild of Saint Luke in 1659 and he opened an academy in Brussels where his students could work after live models and the Antique. He also created a series of prints of various human expressions, Sweerts joined around this time the Missions Étrangères, a Catholic missionary organization, who were followers of Vincent de Paul and committed to proselytizing in the East
12. Jan Vermeyen – Jan Vermeyen was a goldsmith of the Renaissance Mannerism. Jan Vermeyen was born in Brussels, the son of a Flemish painter Jan Cornelisz Vermeyen in Brussels and he was educated in goldsmithery and started his career in Antwerp between 1580 -1590. From 1600 he lived and worked in Prague, Lesser Town and he was one of the favorite artists of Emperor Rudolph II. According to inventories he made more than 10 masterworks, usually dishes from exotic organic materials mounted in gold, today some of them are exhibited in Kunsthistorisches Museum in Vienna. His most famous work is the crown of the emperor. Rudolf DISTELBERGER, Die Kunstkammerstücke, in, Prag um 1600, katalog der Ausstellung in Essen und Wien, Freren 1988, pp.449 -452. Dana STEHLÍKOVÁ, Encyklopedie českého zlatnictví, stříbrnictví a klenotnictví, Prague Libri 2003, p.526, ISBN 80-85983-90-7
13. Louis Volders – Louis Volders was a Flemish or Dutch painter, who worked from about 1690 to 1713 at Henry Casimir II and John William Frisos Stadhouderlijk Hof in Leeuwarden. There is uncertainty if Louis Volders and Lancelot Volders are distinct individuals, most paintings attributed to Louis are signed L Volders on the back, though in one case he used his full name, Louis Volders. Incorrect reading of his signature attributed some of the paintings even to Jan Volders in older literature and it has been suggested that Lancelot and Louis were father and son, while others argue that Lancelot and Louis were the same person. At any rate, an origin is Brussels is likely, portraits by Volders remain in the collections of his German and Dutch descendants of the Dutch kings and of the Friesian Stadhouders. The Rijksmuseum in Amsterdam own examples of his miniature portraits and his works are in the collections of Eysinga and Sminia. Louis Volders in the RKD databases
14. Juliette Wytsman – Juliette Wytsman was a Belgian impressionist painter. She was married to painter Rodolphe Wytsman and her paintings are in the collections of several museums in Belgium. Wytsman was born as Juliette Trullemans on 14 July 1866 in Brussels in Belgium and she first studied under Henri Hendrickx at the Bischoffsheim Institute in Brussels. She later worked in the workshop of Jean Capeinick in Ghent, at Capeinicks workshop, she met painter Rodolphe Wytsman. He was a member of Les XX and introduced her to this circle of avant-garde artists. They married in 1886 and moved to Linkebeek, near Brussels, during World War I, they fled Belgium and lived in Rotterdam in the Netherlands. Wytsman died on 8 March 1925, at the age of 58, Wytsman was an impressionist painter of landscapes and gardens. The Royal Museum of Fine Arts in Antwerp, the Royal Museums of Fine Arts of Belgium in Brussels, media related to Juliette Wytsman at Wikimedia Commons