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K 29612:[a,1,11], Collectie Stad Antwerpen, Erfgoedbibliotheek Hendrik Conscience
Title | EHC_K29612_A_1_11_2019_0081.tif |
Category | uit de bibliotheekcollecties van Erfgoedbibliotheek Hendrik Conscience |
Asset identification [ID] | https://dams.antwerpen.be/asset/NXKZjYKUmKHiFmcQIGM3cmky#id |
Full text | ART IN BELGIUM AND HOLLAND. Ixxv ings by Bendemann, Veit, Steinle, Hiibner, and other German artista th at were hailed with acclamation and around which cluster- development of a Belgian school of mural style. As a matter of fact a number of at- oe Godefroid Guin (482 23-1901) and n particular embellished churches in Ant- he Hotel de V i, the Cloth Hall of this ‘kind, which brought them though they are almost forgotten today. i le that a composition like Courbet’s ‘Stone- 1ould have remained without influence on the younger generation that had already combined themselves in the indepen- dent Académie de St. Luc and a little later (1868) established the Libre des Eee Arts. Among the founders of the latter note Groux and Meunier (already named); Félicien Rops; Alfred Verwée (18 38-95 ), the vigorous painter of browsing cattle; Louis Dubois (4830-80), whose portraits, animal pie landscapes, and studies of still-lif equal vigour of brush-work and uty of tone; the distinguished marine painter Louis Artan ( d srs, Courbet’s vigorous touch is, as it of dogs by Joseph the work of the I - tempts in this Jan Swerts ( erp and St. N at Ypres, et ay honours and -UQ) turned his hand to historical com- from Palestine, combat 3 ; in the often trivially 39); and in the stri )), who ranks with the el (1821-80) among the very Somewhat ay J Joseph’s broth posi ous othe Jan Sto Agnee able-scenes by by Edouard gant and profound y best portrait-painters stands Alfred Stevens who, after a brief period devoted (1823-1906) to scenes of humble sought his subjects in the boudoirs of fashionable Parisian lad and revealed such mastery in the re- production of drapery and material ace ries, such magic in his effects of light and colour, that his pictur are to this day the de- light of connois Félicien Rops (1833-98), still more distin- guished an er, chose a route of his own in his illustrations of the ysses of human é 2. ‘Daybreak in the capital’ (p. 121) by Charles Hermans (b. 1839), an obtrusive ‘picture with a pur- pose’, though showing at skill in execution, has happily found no imitators. The influence of Courbet, Troyon, Rosa Bonheur and other French artists on the figure-painters finds its parallel in the effect of the Barbizon school on the Belgian landscape painters, anon whom Théodore Fourmois, J. P. F. Lamorinitre, Edmond hampheleer, and others had already distinguished themselves. Its most enthusiastic disciple was the short-lived Hippolyte Bou- lenger (1837-74), whose che irming works betray an affinity some- |
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Acknowledgements | K 29612:[a,1,11], Collectie Stad Antwerpen, Erfgoedbibliotheek Hendrik Conscience |
Source listing | Baedeker, Karl, Belgium and Holland, including the Grand-Duchy of Luxembourg: handbook for travellers, K 29612:[a,1,11], Collectie Stad Antwerpen, Erfgoedbibliotheek Hendrik Conscience |