Flemish artists of the XVII century. Belgian Painting XVII Century Pol Ledent

Who is at the helm of the Belgian Art Market? Yang Fabr, Luke Tyumans and Francis Alusy

In 2011, on the European Art Market with a modest share of 1.11%, Belgium took only the sixth place, skipping ahead not only the United Kingdom, France and Germany, but also to Sweden with Italy. However, the low position of the Belgian Art Market does not reflect that the success of Belgian artists has achieved at the international level. Four Belgians entered the Thor-30 modern European authors in 2011, which means that Belgium has become the third most widely represented country in this ranking after the UK and Germany.

Tor-10 auction results of modern Belgian artists in 2011

In 2011, among Belgian artists, Luk Tuymans was not only the best selling, but also the most generous. In fact, two of its three best results for the year were achieved at charitable auctions. His work "DEAL - NO DEAL" ("lucky - not lucky") was offered to buyers on September 22 on New York Birds Christie "S" Artists for Haiti "(revenue went to the aid of the victims of the 2010 earthquake). Picture of Tyumans bought for $ 956,500, much more expensive than an estimate of 600-800 thousand dollars. The work "Deal - No Deal" was created by Tuimans in Brugge. The author says that he was inspired by a lonely man who played an automatic in the corner of the night bar after midnight. On a large-scale (200 x 130) The Tuimans canvas player dwells in confusion and confusion.

Luke Tyuymans Deal - No Deal. 2011. Source: christies.com.

Luke Tyuymans Shore. 2011. Source: Arcadja.com.

A few weeks later, Takasi Murakami organized a charitable auction in favor of the victims of the earthquake in Japan, where the work of Tyumans "Beach" (2011) was sold for 260 thousand dollars. In this painting, the artist reworked his earlier silk screen of the "shore" of 2005, based on the photos of Polaroid with a night surge. In a new embodiment, the wave and night sky acquired shades of gray and white. In this work, the author expressed his personal attitude towards the tragedy of the country affected by the earthquake and the tsunami.

Another work of Tyumansa - "Easter" (2006) - in May was sold at the New York trades of Sotheby "S for 800 thousand dollars. The picture belongs to the series of works of Tuimans, exploring the influence of the Ordena of Jesuits on various decision-making systems (political, religious and Other). With these record results, the price of Tyumans almost returned to the peak level of 2005, when his retrospective was held in Teit Modern, and quite recently, the travel of the Mobile Exhibition Tyuimans, who visited Chicago, Columbus, Dallas and San Francisco.

Vim Delvo Models of truck and excavator Caterpillar 5C. 2004. Source: M.Sothebys.com.

Vim Delvo Models of truck and excavator Caterpillar 5C (fragment). 2004. Source: M.Sothebys.com.

The Belgian artist Vim Delvo (Wim Delvoye) takes the third line of the rating with its "Caterpillar 5C truck" models and excavator (2004) sold on the Sotheby London Bidding. S October 13 for 297.7 thousand dollars. Made in the sign for the artist style small truck And the excavator was the most expensive work of the Delvo sold out at open auction. Cut from steel with a laser Openwork gothic patterns are reminded of the Flemish roots of the artist. Delvo considered the "bad boy" of Belgian modern art for a long time - it was he who tried to fill the tattoos of pigs and invented the production apparatus The excrement of "Cloaca". Over the past year, in addition to scandalous fame, commercial success came to the artist: three of its works were sold more expensive than 150 thousand dollars - as much as for the previous four years.

Jan Fabre, as well as Delvo, cannot be counted for the angels, but the reputation of the provocateur did not prevent him from occupying four lines in the rating of the most prosperous Belgian authors. His best result of 2011 is in fifth place in a national standings. Farbri's secondary work market finally began to correspond to the level of international recognition, which the artist has achieved recently (Yang Fabr, for example, was a guest artist of the Belgian Pavilion in the Venetian Biennale). Bronze statue "Man measuring clouds" (1998) at the Christie bidding "S October 15 reached the price of a hammer of 252.4 thousand dollars - the best for the artist in 2011. Total Fabre made 8 blinds of this sculpture; one of them left in 2009 with The hammer is approximately 230 thousand dollars; and another already this year, February 16, was sold for 267 thousand, which last year's personal record of the artist updated and confirmed the price increase in its work market. In the current rating there are also a couple of sculptures Jan Fabra: " Man, giving fire "(233.6 thousand dollars, Christie" S, London) and "Anthropology of the Planet" (197.9 thousand dollars, Sotheby "s, Amsterdam). Interestingly, one of the most expensive works of Fabra in 2011 -" The Battle In The Hour Blue "(221.6 thousand dollars, Christie" S, London) - drawing, while all previous results of graphic work fabrics did not exceed 28 thousand dollars. Work is three deer beetles, fixed in the center of the sheet of paper, completely painted with a ballpoint handle. This is the oldest work of the rating - Fabre created it back in 1989.

From November 2004 to May 2008, Francis Alyus (Francis Alys) left the hammer more than 150 thousand dollars. From June 2008 to May 2011, only one work has reached the result of over 80 thousand dollars. The crisis has influenced the development of the works of aloxa: in the period 2008-2010, prices for its work fell by 37 percent. In 2011, Tate Modern held one of the most exhaustive exhibitions of Belgian - "The History of Deception". Now the demand for the work of the aloxa rose again: in 2011, only 21 percent of his work remained without buyers, while in 2009 this indicator was 40 percent. Therefore, it is not surprising that two of them fell into the current rating. Starting as an architect, Francis Alus in his works explores the interaction of a person and space with the help of a variety of techniques - from painting to the performance. At the already mentioned charitable auction "Artists for Haiti", a great deal of aloxa oil "Le Juif Errant" ("Eternal Ja") and several preparatory drawings went to her for 248 thousand dollars. The picture reflects the topic of migration from the point of view of mythology. Another excellent result brought the work "Untitled" ("Male / Woman with heads on the head"): With a rather bold estimate 100-150 thousand dollars (if you consider the last sale of this work in 2004 for 70 thousand dollars), the work was twice as expensive - For 200 thousand dollars.

So far, Belgian artists earn their best auction results at home. Nevertheless, Belgium is responsible for a quarter from all the lots sold by these four authors, which corresponds to 11 percent of the total revenue for their work at auctions.

Material prepared Maria Onuchina,AI

About Belgian artists, see also:
Yang Fabr is an artist and an entomologist;
Third Moscow Biennale of Contemporary Art. Luke Tyumans;
Top-10 Newsweek. Francis Alyus: Art as a comment on existential.

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Among them, you can also see the portrait of one of the most famous masters of Flanders of that era of Adrian Bruera (1606-1632) , whose paintings collect Rubens himself (in his meeting there were seventeen pieces). Each work of brower-pearl painting. The artist was endowed with a huge colorful talent. The theme of his creativity, he chose the daily life of the Flemish poor people - peasants, beggars, vagrants, and his wetness, with her poor entertainment, sometimes broken out the outbreak of wild animal passions. Brower continued in the art of the tradition of Bosch and Bruegel as an active rejection of the poverty and the ugliness of life, stupidity and animal lowland of human nature and at the same time a sharp interest in uniquely characteristic. He does not aim to deploy a wide vision of social life in front of the viewer. His force in the image of concrete genre situations. He especially owns the ability to express various affects of feelings and sensations experienced by a person in the facial. In contrast to Rubens, Wang Deiq and even Jordan, he does not think about any ideals and noble passions. He sarcastically observes a person as it is. In the museum you can see his picture "Supports", a wonderful gentle bright flavor, strikingly transmitting lighting and atmospheric state. The poor urban landscape near the serf tree, along with the players, the wanders causes a degraded heart to the longing. This is the mood of the artist himself, speaking a stupid hopelessness of existence, is definitely deeply dramatic.

France Hals.

The Dutch Painting Department is relatively small, but it has a canvas of Rembrandt, Yakoba Reydalea, Small Dutch, landscape masters, still life, genre scenes. Curious portrait of a merchant Villem Haythheissen, the work of the Great Dutch artist of France Hals (1581/85-1666) . Haythheussen was rich, but not far and extremely vain man. Praised by nature, he sought to resemble the noble aristocrats with elegance, which would seem to be allowed to acquire his wealth. Hals are funny and alien to the claims of this attachment. Therefore, so persistently, with a certain fraction of sarcasm, he makes a dual portrait image. First we notice the relaxed posture of Haythheissen, his rich elegant costume, a hat with shoe polished fields, and then - an inexpressive, pale, already a middle-aged face with a dull look. Prose the essence of this person awakes, despite all the tricks to hide it. The internal contradiction and instability of the image reveals most of the original portrait composition. Haythheussen with a whip in his hand, as if after the riding walk, sits on a chair, which he swaying. This posture suggests a quick fixation by the artist of the model status in a short period of time. And the same Pose gives the image of a shade of some inner relaxation and lethargy. Something pitiful is in this man trying to hide the inevitable wiping, the vigor of desires and the inner emptiness.

Lucas Cranium

In the section of the German painting of the Brussels Museum draws attention to the brilliant work of Lucas Kranah senior (1472-1553) . This is a portrait of Dr. Johann Shering, dated 1529. The image of a volitional, strong person is typical for the art of German revival. But the cranes every time catches the individual qualities of the mind and character and reveals them in sharply captured by its unique physical appearance of the model. In the harsh glance of Shering, some cold obsession, rigidity and disadvantage feels in his face. His image would be just unpleasant if a huge inner force did not cause sense of respect for the peculiar character of this person. I am striking the virtuosity of the artist's graphic skill, so acutely transmitted ugly large traits of the face and a lot of small details of the portrait.

Italian and french collections

The collection of paintings of Italian artists can cause the interest of visitors to the museum, since it contains the works of Tintoretto, the Great Painter, the last titanium of Italian revival. "The execution of St. Mark "- a canvas of the cycle dedicated to the life of the saint. The picture is permeated with turbulent drama, passionate patter. Not only people, but also the sky in the torn clouds and the raging sea seemed to mourn the death of a person.

The masterpieces of the French collection are the portrait of a young man Mathieu Lenin and the landscape of Claude Lorrene.

In his section of the old art, there are currently more than a thousand hundred artistic works, of which many are able to deliver a deep aesthetic pleasure to the viewer.

Jacques Louis David.

The second part of the Royal Museum of Fine Arts - Collections of Art of the XIX and XX centuries. They mainly contain Belgian masters. The most prominent work of the French school stored in the museum is the "death of Marata" Jacques Louis David (1748-1825) .

David is the famous artist of France, the head of revolutionary classicism, whose historical canvases played a huge role in the awakening of the civil mind of his contemporaries during the years preceding the French bourgeois revolution. Most pre-revolutionary artist paintings were written on the plots from the history of ancient Greece and Rome, but the revolutionary reality made David appeal to modernity and find a hero in it worthy to be ideal.

"Marata - David. Year of the second "is such a concise inscription in the picture. It is perceived as an epitaph. Marat - one of the leaders of the French revolution - was killed in 1793 (according to revolutionary calculation in the second year) pianoist Charlotte Cord. "Friend of the people" is depicted at the time of death, immediately followed by a strike. The bloody knife was thrown near the healing bath, where he worked, despite the physical suffering. The harsh silence fills the picture, which sounds like a requiem the fallen hero. His figure is powerfully sealed with light and amused statue. The head thrown and the fallen hand frozen in the eternal solemn rest. The composition strikes the selection of objects and the clarity of linear rhythms. Marat's death perceived by David as the heroic drama of the fate of the great citizen.

David's student who lived in the last years of life in exile and Brussels, became Belgian Francois Joseph (1787-1863) . Until the end of the life, the tradition created by his teacher was left, especially in the portrait, although he made some romantic image interpretation in this genre. One of the famous works of the artist "Portrait of the Empinn family" was written in 1816. The viewer involuntarily passes that the young and beautiful chet unites the feelings of love and happiness. If the image of a woman is full of calm joy, then the male is in itself some romantic mystery and a light shade of sadness.

Belgian painting XIX XX centuries

In the halls of the museum you can see the works of the largest Belgian painters of the XIX century: Henri Leila, Joseph Stevens, and Gippolita Bled. Yan Stobbarts is represented by one of the best paintings "Farm in Creigning", truthfully drawing peasant labor in Belgium. Although the artist was self-taught, the picture is magnificently composed and has a high quality of pictorial execution. Her topic may be inspired by the picture of Rubens "The Return of the Produal Son." Stobbarts was one of the first painters of the XIX century, proclaimed the principles of realism.

The beginning of his artistic career was difficult. The Antwerp public accustomed to the romantic concept of the artistic image rejected his truthful paintings with indignation. This antagonism was so strong that Stobbarts was forced to eventually move to Brussels.

The museum has twenty seven canvases of the famous Belgian artist Henri De Parlerar (1840-1888) which was a nephew and a student of A. Leisa, an outstanding historical painter. Increased interest in the National History of Belgium, its traditions, everyday life, the culture was united by De Prameler with some strange sense of love, full of easy regret and longing about the past. His genre scenes are permeated with the memories of the last, his heroes resemble people of the past centuries, being surrounded by old things and objects. In the work of De Parlerar, there is an undoubtedly the moment of stylization. In particular, his picture "Geographer" resembles the work of the Dutch masters of the XVII century Metsu and N. Masa. In the picture we see the old man sitting on the velvet stool of the XVII century and immersed in contemplation of the ancient painted satin.

Picture of James Ensor (1860-1949) "Lady in Blue" (1881) Carries the traces of the strong influence of French impressionism. The picturesque gamma consists of blue, bluish gray and green tones. Live and free smear transfers vibration and air movement.

The picturesque interpretation of the picture turns a daisy motive in the poetic scene. The aggravated picturesque perception of the artist, a tendency to fantasy, the constant desire to transform seen into something unusual affects it in its brilliant still lifes, the most successful example of which the Brussels "Skat" can serve as the most successful example. The sea fish is repellent beautifully beautiful with its sharp pink color and as if blossoming in the eyes of the form, and there is something unpleasant and worrying in her fascinatingly shrill look as dire direct on the viewer.

Enerza lived a long life, but the activity of his work falls for the period from 1879 to 1893. The irony of the Ensor, the rejection of the ugly features of human nature with merciless sarcasm manifest itself in numerous paintings with the image of carnival masks, which can also be seen in the Brussels Museum. The continuity of the Esor with the art of Bosch and Bruegel is undoubted.

The most beautiful colorist and gifted sculptor who died in the First World War, Rick Wauters (1882-1916) Presented at the museum as picturesque and sculptural works. The artist experienced the strongest influence of Cesanna, jumped to the flow of the so-called "Brabant Formism", but nevertheless became a deep original master. His temperamental art is permeated with hot love for life. In the "lady with a yellow necklace" we learn to his wife Nal, which makes it in a chair. The festive sound of yellow curtain, red - checkered blanket, green garlands on the wallpaper, blue - the dress causes a sense of the joy of being, breathtaking the whole soul.

Museum stores several works of an outstanding Belgian painter Permek (1886-1952) .

Konsen Permek is widely known as the head of Belgian expressionism. Belgium was the second after Germany, where it was a lot of influence in the artistic environment. Permeke's heroes, mostly people from the people, are depicted with deliberate wedge, which, in the idea of \u200b\u200bthe author, should reveal their natural strength and power. Permeke resorts to deformation, simplified coloristic gamut. Nevertheless, in his "engaged", a peculiar monument is felt, let the primitive images, the desire to disclose the nature and relationship between the sailor and his girlfriend.

Among the masters of the realistic direction of the XX century, Isidore Ossor and Pierre Pole are allocated. First known as a wonderful portraitist ("Portrait of Jules Destre"), the second is as an artist who dedicated his work, like K. More, the image of the difficult life of Belgian miners. The halls of the museum also presents the work of Belgian artists belonging to other areas in contemporary art, mainly surrealism and abstractionism.

Emile Claus (Notherl. Emile Claus, born. September 27, 1849, Waregem - mind. June 14, 1924, Daeneza) - Belgian artist, one of the main representatives of impressionistic painting in Belgium and the founder of Linency.

E. Klaus was born in a large family of a rural bench. Learn drawing began at the local art school. According to the advice of the composer Petaire, Benua, Klaus in 1869 enters the Antwerp Academy of Fine Arts, where he studies portrait, historical and landscape painting. In 1874, he finishes studies at the Academy. In 1875, the artist successfully exposes his work in Gent, and in 1876 - in Brussels.

In the ranken of his work, E. Klaus is mainly engaged in portrait and genre painting. He writes in a realistic manner, mainly in dark colors and uses social topics (for example, the canvas wealth and poverty (1880)). In 1879 the artist commits a trip to Spain, Morocco and Algeria. In 1882, his debut took place at the Paris Salon, where Klaus represents his picture of Petukhov's battle in Flanders (1882). From this point on, he spends a lot of time in Paris - stainlessly in winter, and falls under the creative influence of the French artist Bastien-Lepage, also writing on social topics in a realistic manner.

With the arrival of financial wealth in 1883, the artist buys in his homeland Zonneschijn (solar radiance). In 1886 he marries Charlotte Dufo, the notary daughter from the neighboring Densee. During this period, Klaus draws mainly landscapes of native nature, weathered in realistic style. During life in the countryside, he supports friendly relations and leads a lively correspondence with the artist Albin Van Den Abel, the sculptor Konstantinic, writers Siril Bizzle and Emil Verkoren. Through them, as well as through the artist Henri Le Cydan, Claus discovers such a phenomenon as French impressionism. Acquaintance with the works of Impressionists also change the painting of E. Claus himself - his paints are brighter and more warm: it pays more attention to the interaction of light and shadow, thanks to which formal questions retreat to the background (kingfisher (1891)). Among French impressionists, Claude Monet was a special influence on painting E. Claus. In the works of both artists similar is not only a color scheme, but even almost the same selection of plots for their webs (in the London period). A constant search for new forms of expression and light experiments made E. Claus with the immediate predecessor of this course in the painting of Belgium as Luinism. In Paris, Claus is also friendly with famous cultural figures, among which writers Emil Zol and Maurice Meterlink.

Up to the beginning of the First World War, the artist prepared a lot of students, among them were Anna de Vert, Robert Hatton Monsik, Toradziro Codisima, Georges Morrande, Leon de Smith and others. In November 1893, he joins the Union Artistique art group. Its goal was - as with similar groups of French Impressionists - organization of exhibitions and sale of paintings. In addition, the works of Claus appear at the exhibitions of the Brussels Union of Artists La Libre Esthétique in 1896 and on Berlin Sérestsion. In 1904, E. Claus creates, together with the painter George Bössa, the group Vie et Lumière, in which the artists are later entering, as James Enerzor, William Duguer de Núchwe and Adrian Haymans.

Introduce to the very First World War E. Klaus travels a lot - he repeatedly visits Paris, the Netherlands: in 1907, he commits a trip to the United States, in 1914 - to the Côte d'Azur France. Before the jurisdiction of German troops in 1914 in his hometown, the artist has time to emigrate to England. Here he lives in London, in the house on the banks of the Thames. The main topic for the work of the master during the years of exile was this London River. The paintings of E. Claus with landscapes of Thames, written in a post-per-pre-use manner, enjoyed great success both in London and in Brussels after the war.

After the end of the host, E. Klaus returns to his villa in Asten. Here he died in 1924 and was buried in his garden. On the grave of the master was installed marble monument to George Minne.

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N. Stepann (Fine Arts); O. Schvidkovsky, S. Khan-Magomedov (Architecture)

Already in the last decade of 19 century. In the art of Belgium, the first signs of waste from democratic, folk fundamentals that have formed the work of the largest Belgian artist Constant Liea. The life force and the greatness of the images of less were not available to his younger contemporaries. In the future, the fate of the art of Belgium are largely contradictory and dramatically.

The realistic direction that emerged in the Belgian painting 19 V is evolved by such masters like Leon Frederick (1856-1940), Eugene Larman (1864-1940) and others. Simple people, their weekdays are the theme of the works of these masters, but in its interpretation they depart from the heroic monumentality, activity and integrity, so characteristic sculpture and picturesque canvas K. less. People on the canvas L. Frederick appear in much more ordinary, everyday life. Mystical tendencies are combined in Belgian art with elements of naturalism, photographic accuracy in the transfer of the landscape, type, with special ugliness, bringing the viewer to the thought of visibility of the tragic hopelessness of the world order. Even such a significant work on its topic, as the "evening of strikes" E. Larmans (1894), not to mention the film "Death" (1904; both - Brussels, the Museum of Contemporary Art), is distinguished by the mood of despair and the aimless action.

The most characteristic of the development of Belgian art creativity James Ensor (1860-1949). From genre realistic webs, the ener is gradually coming to symbolism. Fantastic, spherical images of this artist, his thrust for the allegories, the image of masks and skeletons, to a bright, almost shrieking color were undoubtedly a kind of protest against the bourgeois world's bourgeois world. However, Satira Esor is deprived of a specific social content, it seems to be satir for human genus, and in these properties of his art it is impossible not to see the embryo of further formalistic deviations in the art of Belgium.

J. Enerzor occupies a special place in the Belgian chart. Its original, the complete nervous energy of the etchings are very expressive, the atmosphere of internal excitement and anxiety is transmitted. Particularly dramatic landscapes "Type of Mariakherka" (1887) and "Cathedral" (1886; both in the office of the Royal Library Engraving in Brussels), built on the acute and paradoxical contrast of the majestic creation of a person and a depleting, as an alarmed anthill, the crowd at the foot of the Gothic Temple. The combination of satire with a fantasy is the national tradition of Belgian art, ascending to I. Bosch, - finds new and acute refraction here.

The literary symbolism associated with the name of Maurice Meterlinka, the appearance of new stylistic phenomenon in the architect and applied art of Belgium related to the direction of modern (architect A. Van de Veld and others), played a considerable role in the pictorial arts of Belgium. Under their impact in 1898-1899. "1st Latema Group" was formed (artists settled, where artists settled, - the village of Lathe-Saint-Martin near the Genta). At the head of this group stood sculptor J. Minna, it included G. Wang de Westein, V. De Sader and others. The basis of their creativity was the idea of \u200b\u200bthe priority of the "highest" spiritual world over reality. Overcoming impressionistic trends, these masters tried to move away from the surface of the phenomena, "to express the spiritual beauty of things." "Laters" appealed to national visual traditions, to Dutch primitives of 14-16 centuries., But in their work, the most fully expressed ideas of symbolism and then developed under the sign of increasing expressionism, they were essentially very far from those traditions, which they referred to. II in strict, beautiful landscapes of Valerius de Sader (1867-1914) and in the minced work of the younger member of the group - Gustav Van de Universaine (1881-1947) - there is no room for a person's image.

Pretty strong development receives at the beginning of the century and Pointelism, the bright representative of which the Teo Wang Reiselberg (1862-1926) becomes in Belgium (1862-1926).

At the beginning of the 20s. The "2nd Latema Group" was created under the influence of expressionism, although expressionism itself in Belgium related to the tragic events of the First World War, takes a special color. The head of this direction was Konsen Permek (1886-1952). In large, widely written canvases of this master, the scenes are familiar to Belgian art - earth, sea, images of peasants - painted in the tone of tragedy and deep spiritual confusion. Through all the deliberation of deformation, the emphasis of the spiritual limitations and rudeness of peasant images of the Permek, his sympathy makes his sympathy and sympathy for people who allowed the artist to create emotionally impressive images. The gloomy, deaf color, the inadvertence of the action, the immobility of human characters transfers the mood of mournful premonitions and despair ("collapsed", 1923; Brussels, Museum of Contemporary Art).

Gustave de Smith (1877-1943), Jean Brusselmans (1884-1953) recycled the principles of expressionism, the first - simplifying forms, giving great importance to the compositional harness of its paintings, the second - increasing, bringing to the piercing force the color system of his landscapes. Interest in color as a carrier of emotional impact in painting tied Brusselsselmans with a group of "Brabant Fovists", to which R. Vautsrsh, E. Tiatgat, F. Cox. Of particular value is the art of Rica Wauters (1882-1916). The passion for the bright "decorativeness of color combinations does not obscure the psychological qualities of his models for this artist; In contrast to French fovists, Wauters is looking for plastic, the volume of things is such a lesson (1912; Brussels, the Museum of Fine Arts), painted by drama of the late "Self-portrait with a black bandage" (1915; Antwerp, the meeting of L. Van Bogart), "Nela in Red "(1915; Private Assembly).

Starting from the 30s. Surrealism develops in Belgium, two representatives of which are becoming widely known - this is R. Magritte (r. 1898) and P. Delvo (p. 1897). There are a compound for these masters with a purely salon beauty with a sick fantasy in the combination of individual parts of the composition, the obsessive ideas of the erotic plan, etc. At the same time, artists "INTIMISTS" -Albert Van Duck (1902-1951), Jacques Mas (r. 1905 ), limiting its work by the framework of the narrow-sensible landscape and genre painting. Initially, the painters L. Wang Lint (r. 1909), R. Webink (R. 1914) were connected with "Intimista" (R. 1914), R. Webink (r. 1914), which turned into post-war and especially in the 50s. By abstract painting, which received widespread and recognition in Belgium.

Few of the masters of Belgian painting remain in 20 century. In realistic positions. The most significant of them is Isididor Obcommer (r. 1878), author of sharp, vital and deep on psychological outlines of portraits ("Portrait of K. Gyuismans", 1927; Antwerp, Royal Museum of Fine Arts). Obcomer created a number of still lifes, very picturesque, fresh and bright color.

Social topics, the themes of the struggle of the Belgian people for their rights, sound in the works of Pierre Poles (R. 1881) and Kurt Paire (1887-1962), and especially the young progressive artist Roger Somosil (r. 1923), working also in the field of monumental painting, stained glass and carpet art. Large thematic paintings on the topics of the struggle of the Belgian people are created by E. Dubrenefo, L. Deltrome, R. Somville, these artists work closely with architects.

For modern Belgian graphics school, a bold statement of new topics and new stylistic problems is characterized. In addition to the already named D. Estor, the largest lord of Belgium was Jules de Breaker (1870-1945). His sheets are devoted to the life of urban slums, social contrasts of the modern capitalist world. The brainer's piercing look sees the tragicomic sides of life, and, despite the analytical nature of his works, they are heated with deep compassion for people. In this sense, many of the Sheets of Breaker ("Death Parcel over Flanders", 1916) are associated with the folk traditions of Belgian art.

The most striking representative of modern Belgian graphics is France Maza Rail (r. 1889), who also worked in the field of monumental and easel painting. The creative activity of Masel is inextricably linked with the interests of the advanced circles not only by Belgian, but French and German intelligentsia. Starting from the First World War, when Masel made a series of sharp antimilyaristic newspaper drawings, he claims itself as a master, entirely dedicated his work to the struggle of mankind for high humanistic ideals. During this period, Masel was closely associated with advanced journalists and artists, friendly with Romain Rollyn; At the same time, his activities began as an illustrator, the first xylographic series were created ("The Cross Way of Man", 1918; "MY HOTEL", 1919, and others) - in these series, as in a mute chronicle, pass the life path of a modern person, His struggle, the growth of his consciousness, his joy and grief. The sharpness of contrasts, the brevity and expressiveness of the visual means is often brought to the engravings of the Masel to the poster.

Along with the largest masters of modern European culture, F. Masel is committed to the organic development of the traditions of a democratic culture of the 19th century, the traditions of realism and humanism, highly effective personism. At the same time, solving in the art of indigenous social problems of our time, Masel constantly sought to expand the funds of realistic art, creating a new realistic fine language consonant with modern worldview.

Language Masel engravings is characterized by a brevity, meaningful, saturated with deep associations metaphoricity. Masel sheets possess subtext, with all the expressive catch, they unfold their content gradually. The depth of the copyright is lighted not only in each sheet, but also in the ratio of sheets of each thematic series, in their order, in their plot and emotional difference and ideological and artistic unity. The contrast language, characteristic of the engraving, in the hands of Masel becomes flexible weapons of social characteristics, serves as the subtlety lyrical experiences and direct campaign.

Magnifying a series of engravings dedicated to the modern city ("City", 1925). The expressiveness of the drawing and the entire composition never goes into excessive deformation, the language of the Masel is understandable. Even resorting to symbolism ("Siren", 1932), the artist does not depart from the visual concreteness, he consciously strives for clarity, to the opportunity to speak with people with his art. Notes of optimism are particularly strong in the last works of Masel, his series "from black to white" (1939), "Youth" (1948), in the picturesque works of the artist. Exposing the vices of a modern bourgeois society, Masel never loses a clear social criterion, he believes in progressive forces, believes in the final victory and greatness of man. The deep folk creativity of Masel is imbued with the idea of \u200b\u200bstruggle for peace, Masel is an example of a fighter artist who serves as its art of high ideals of justice. "I'm not enough Estet to be only an artist," said Masel.

A somewhat mansion in the Belgian chart is L. Spelliart (1881-1946), which almost did not experience the influence of expressionism, a master of lyrical, restrained watercolor color ("Gust of the Wind", 1904; "White Clothing", 1912).

The most significant figure in the sculpture of Belgium 20 V.- George Minna (1866-1941). Roden's student, Minne is little associated with the creative principles of his teacher, friendship with meterlink was a much greater influence on the formation of his individuality. Based on the abstract, general ideas Minne gives a few abstract spirituality to their work. This is a master of fine and accurate gesture; The constant striving for the expression of concepts, and not specific manifestations of human feelings, leads the sculptor to some controversy of images, distortion of plastic shape. These are his "mother, mourning his child" (1886, Bronze; Brussels, Museum of Contemporary Art), "Young man on the lap" (1898, Marble; Essen, Folkwang Museum). In 1908-1912 Minne appeals to modernity, his portraits of the Belgian workers are based on a thorough observation of nature and continue the traditions of the 19th sculpture. At the end of life, in drawings on religious plots, symbolic and mystical features, characteristic of the work of Minne, are shown again.

In general, the modern Belgian sculpture develops under the sign of naturalistic and formalistic search, the exception is the work of S. Sidle (R. 1903), creating emotional, beautiful portrait busts and sculptural compositions, and O. Esperse (r. 1887) - Masters, consciously imitating Negro Primitives.

Great development gets in Belgium traditional medical art for this country. The modern Belgian decorative ceramics (workshop in the Dura), a decorative sculpture (Master P. Kai; r. 1912), painted decorative vessels with its characteristic modern applied art, the desire for decorative brightness, naturalness of forms and decor, organic communication with modern architectural interior.

In the late 19th early 20 century. In Belgium, the rapid growth of industrial and shopping cities based on the intensive development of the country's natural resources (iron ore and stone coal) and the predatory exploitation of extensive African colonies. EFFECTIVE INDUSTRY, Private property on Earth and Characteristic of Belgium administrative independence of suburbs (communes) prevented the normal development and growth of large cities, reconstructive work in which were mainly limited to the landscaping of the Center and the development of urban transport. The aggravation of the housing crisis caused various forms of housing construction of "cheap" residential buildings for workers: joint-stock, cooperative and charitable societies.

During this period, the cities of Belgium launched a wide construction of new types of industrial, business and public buildings, reflecting both the development of the economy and the emergence of a new customer, in particular, and such as a working class organized in trade unions - construction at the cooperative basis of the so-called folk houses (For example, in Brussels on the project of architect V. Orta in 1896-1899), where trading, cultural and educational and office premises were united in the same building.

In the early 1890s. Belgium becomes one of the main (in the European architecture) of the centers of combating the canons of classicism and eclectics (including so-called national romanticism). The origin of the new "style" - the European Modern was faced by Belgian architects A. Van de Veld, V. Orta, P. Ankar, for whose creativity during this period are characterized by the rejection of the style eclecticism of the 19th architecture. And persistent attempts to find a modern style based on the use of the possibilities of new materials, designs and accounting for new functional requirements for buildings.

Henri Wang de Velda (1863-1957) was one of the largest representatives and ideologues of the European Modern. He spoke against the canons of the classics and "Facudicity", fought for the bulk composition, for a new approach to the creation of the interior and household item. At the same time, he was against the introduction of the construction of buildings and the manufacture of household materials of industrial production methods themselves, defended the handicraft methods for the production of household products and performed for the individuality of each project.

The second largest supporter of Modern Victor Orta (1861-1947) was the architect, who not only for the first time in practice applied the creative principles of modernity (mansion on the string of the Tyrus in Brussels, 1892-1893), but largely determined the direction of searches for the architectural decor of this " Style. At the turn of 1880-1890s. For several years, he was engaged in intense laboratory formal-aesthetic search for a new decor and the first applied an elastic shocking line "Bich's Bich" (line of Orta), which then became one of the characteristic signs of all decorative art of modernity and the widest possible distribution in almost all European countries of the late 1890 The beginning of the 1900s.

On the development of the creative directions of the Belgian architecture of the 20-30s. The fact that before the war Belgium was one of the main modest development centers, and such large architects, like Van de Veld and Orta, continued to work intensively in the post-war years, and although they moved away from orthodox modern, but Were very far in their work from radical innovation. True, Van de Veld tried during this period to develop the rationalistic parties to modern. However, he actually worried about the stage in his work, in general, already passed by the rationalistic directions of European architecture in the pre-war years. Orta, under the influence of American architecture (he was in the United States in 1916-1919), he tried to spread neoclassicism in the Belgian architecture using a simplified, deprived of decorative elements of the order (the Palace of Fine Arts in Brussels, 1922-1928).

Rationalistic direction in the architecture of Belgium 20-30s. First of all, it was associated primarily with the work of young architects, the main field of activity of which was the so-called "social" construction of cheap housing, conducted by municipalities and cooperatives using state loans. This construction due to the extreme limitations of funds released on it required from architects of application in their projects of new efficient building materials and structures, creating rational planning of apartments. The construction of cheap houses was actually the creative laboratory, where architects, in a tough economy, seeking to create for workers relatively well-maintained housing, tried to use the principles of typing and achieving applied sciences (for example, the requirement of insolation, that is, lighting with direct sunshine), introduced into mass housing Modern sanitary and technical equipment, central heating, electricity, garbage disposal and built-in furniture, and also sought to connect the architectural image of the building with its new functional-structural basis.

One of the first modern residential complexes is not only in Belgium, but also in Europe was built on the project Viktor Bourgeois (1897-1962) near Brussels in 1922-1925. Village Sita Modern (modern city). Here, new planning techniques for those years were applied: in blocks there are special landscaped places for recreation, sites are arranged for children, houses are raised taking into account the most profitable orientation. Moreover, the bourgeois was so consistent in conducting the principle of the most profitable orientation of apartments, which a number of houses that could not be put in the direction of the North - South for reasons of the overall composition of the settlement of the village (for example, to create a closed space of the Central Square), he designed with ledge (saws in Plan). Apartments in the houses of the village were designed with end-to-end ventilation and with mandatory lighting of all rooms by daylight. In the appearance of houses, there was a reflection of the features characteristic for reinforced concrete, like a flat roof, angular and laying windows, light visors above the entrances.

fig. 166.

fig. 166.

Of great interest in terms of the development of rationalistic directions in the post-war furniture architecture presents school construction, where the search for the functional solution of the plan and the volume-spatial composition of the building, taking into account the new requirements of the educational process, was carried out in the same way as in the construction of cheap dwellings, in the conditions of strictest savings.

New trends in the field of architecture, although with difficulty, but still pierced their way and in the construction of unique public buildings. The original exhibition of 1935 in Brussels, the traditional appearance of many pavilions whose traditional appearance of many pavilions was hiding their modern design basis in Brussels. Such, for example, built on the project of the architect Jean Van Peka, a large palace of century. The bold design of the overlapping of his huge hall (the reinforced concrete arches of the parabolic outline) was not detected in the appearance of the building, the facade of which represents a stepped composition stylized in the spirit of neoclassicism. However, already at this exhibition in a number of pavilions (truth, not the main), new materials and structures (glass, reinforced concrete) were boldly used in creating the appearance of a modern building.

The destruction caused by the Second World War, demanded large restoration work. Moreover, in contrast to restoration construction after the First World War, when the desire to restore a lot to restore in the same form prevailed, in the new conditions, the restoration was combined with reconstructive work, especially in old areas of cities, where the confusing layout and narrow streets caused transport difficulties. Broadcasting urban planning plans, in large numbers created in post-war Belgium, ended up to specific activities on the interchange of traffic in the central region of Brussels, dedicated to the organization in Brussels of the International Exhibition 1958. In order to unload the transport network of the central part of the city from the transit transportation of passengers between the two dead-up railway stations, Brussels, a through connection of their tunnel tunnel was carried out with a device in the center of the underground station.

Significant interest is housing construction in post-war Belgium. Here we can note the overcoming traditions of the buildings of cities with single-sided houses with "vertical" apartments, which are located in several floors, and a decisive transition to the construction of modern types of apartment buildings (sectional, gallery, tower), combined in residential complexes, including a number of public buildings. (mostly communal household and shopping). Such residential complexes are usually located on unresolved areas: Kiel complexes in Antwerp (Architects R. Bram, R. Mas and V. MARMANS, 1950-1955), on the square of maneuvers in Liege (project of architects of the group EGAU, 1956) and others. Residential complexes are built up, as a rule, houses of several types, and to increase the area of \u200b\u200bunanoxided territory, many homes are put on supports of a often V-shaped form, which gives the composition of new Belgian residential complexes. Spatiality, known formal severity and originality.

fig. 168.

fig. 168.

In tightly built up old areas of cities, where there are houses of various epochs along the streets of solid rows, new houses have to embed in this "puff pastry". Moreover, the Belgian architects do not strive in these cases for fake to the appearance of neighboring houses, and boldly introduce a modern building of concrete and glass in a row of houses, which gives a special flavor to the entire development. These new buildings are usually available houses, when designing which architects have to show truly virtuoso skills and ingenuity, since the narrow section makes it possible to arrange window openings only on the house (towards the street and to the courtyard).

Starting from the second half of the 50s. In the Belgian architecture, the influence of the American variety of functionalism - the School of the Mig van der Roe is increased. First of all, this applies to the construction of office buildings, one of which is built in 1958 on the project of the architect Gogo Van Köyka. Social security building in Brussels. Successfully located on one of the high points of the city, this building is a flat high glass prism with a rectangular base, as if growing from a wider stylobate. The building closes the perspective of one of the main highways of the city and is a composite center of a complex, but an expressive ensemble, including the surrounding build-up and located in front of the building a picturesquely melted shady square in which numerous MSNS sculptures are placed outdoors. These realistic sculptures are sharply contrasted with the modern appearance of the building, the urban character of which is further emphasized by the stream of cars, rapidly carrying along the modern highway, which near the building goes to the tunnel.

One of the most famous and undoubtedly one of the best works of the Belgian architecture of the post-war period is the building of the New Brussels airport, built in connection with the 1958 exhibition on the project of the architect M. Bunfo. The layout and volume and spatial composition of this building successfully solved both purely utilitarian and artistic tasks. The most impression is the interior of the main operating room. The hall is blocked with console aluminum farms with a length of 50 m based on ^--like supports. One of the longitudinal walls of the hall is turned into a huge glass screen, facing the summer field.

fig. 169.

fig. 169.

A significant event in the architectural life of Belgium was the International Brussels Exhibition of 1958. Belgian architects were directly involved in creating many exhibition pavilions and other buildings whose construction was associated with its discovery. Among these buildings, such peculiar structures as "atomium" can be noted (engineer A. Waterkeyn, architects A. and J. Polak), which can be attributed to the category of symbolic monuments; Pavilion "Reinforced concrete arrow" - with a removal of 80 m (Engineer A. Paduar, Architect J. Wang Dorsselar), which demonstrated the constructive features of reinforced concrete, and also built in the center of Brussels Pavilion of the Information Center, the overlap of which is relying on two reinforced concrete supports Sadlose shell In the form of a hyperbolic paraboloid made of a wooden three-layer glued slab (architects L. J. Boshe, J. P. Blondez and O. F. Filippon, Engineer R. SARZHA).