Full text of "Belgian art in exile; a representative gallery of modern Belgian art;"

BELG 

AKL EXILE 




CHARITIES. 




Presented to the 

LIBRARY of the 

UNIVERSITY OF TORONTO 

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COOPER & BEATTY, LTD. 



BELGIAN 
ART IN EXILE 




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BELGIAN 

ART IN EXILE 



A REPRESENTATIVE 

GALLERY OF MODERN 

BELGIAN ART 



Edited under the Distinguished Tatronage 

Of their Royal and Imperial Highnesses 

THE DUCHESS OF VENDOME AND THE PRINCESS NAPOLEON 
BY LA "LIGUE DBS ARTISTES BELGES" 

ISSUED BY "COLOUR" 

MCMXVI. 



This Book is sold for the Benefit of 

The Belgian Red Cross, 

Convalescent Home for Belgian Soldiers, 

British Gifts for Belgian Soldiers. 




BEMRG8E A SONS LTO. 



THE LEAGUE OF BELGIAN ARTISTS, which origi- 
nates and edits "Belgian Art in Exile," desires to 
express here all the gratitude it bears the different 
personalities c who have so generously given their valuable 
help tovjards the realisation of this good 'work. 

First, to Mr. A. Wilson Barrett, the Editor of 
the superb art magazine " Colour, " vjho, in the 
sentiment of artistic fraternity and sympathy, assumed 
for " Colour " responsibility for the production, and 
'who, in conjunction 'with M. Josse Van Kriekinge, the 
<well-knofvn Belgian architect, spared no trouble to bring 
it to a successful issue; to all the other members of 
the Comite d Edition Mr. Frank Brangvjyn, A.R.A.; 
M. Paul Lambotte, Directeur des Beaux Arts ; M, Albert 
Baertsoen, de I'Academie Roy ale de Belgique ; 
M. Emile Claus, de I'Academie Royale de Belgique; 
M. Jean Delvilte, Professeur a I'Academie Royale de 
Bruxelles ; M. Victor Horta, de I'Academie Royale de 
Belgique f M. Victor Rousseau, de I'Academie Royale 
de Belgique for their kind and valuable help ; particularly 
to Mr. Frank Brangvjyn, the great English artist, 'whose 
generosity equals his genius, 'who gave permission to 
reproduce one of his masterpieces as a frontispiece; 
to Mr. Frank Rutter, B.A., Curator of the Leeds Art 
Gallery, vjho 'was good enough to 'write the interesting 
article on the general atmosphere of Belgian art ; and to 
Miss G. M. Leeson and Mr. Kenneth Hare, B.A., for 
their excellent translations of the poems and articles by 
our authors. 

The League desires also to express its thanks to 
Messrs. Knighton & Cutts, and to render homage to 
the fidelity of their marvellous colour reproductions, 
which give an excellent idea of the 'work of our artists ; 
also to Messrs. Bemrose & Sons Ltd. for the admirable 
craftsmanship displayed in the artistic printing and 
"mise en page " of this album, vjhich makes it 'worthy 
of the ends in vievj Art and Charity. 

The League thanks also its devoted secretary, 
M. Edouard J. Cla.es, originator of this 'work, vjhose 
incessant activities have enabled it to surmount the 
numerous difficulties inherent to such a task. 

It vjould be presumption to thank all the Belgian 
artists, poets, sculptors, and painters, who have generously 
given their aid ; our unhappy brothers, 'whose misfortunes 
they have helped to alleviate, 'will do that. 

The League must not forget also to express its deep 
gratitude to those other numerous friends in every circle 
vjho have laboured so devotedly to collect orders for the 
book, and to assure its success, particularly* Sir W. H. 
Lever, Bart., Sir Herbert Cook, and the distinguished 
Ministers and Consuls of Belgium and all the members of 
the Belgian " Corps Diplomatique " throughout the vjorld, 
for their spontaneous and vjhole-hearted response to its 
request, 'which allovjed a universal diffusion. 



LA LIGUE DES ARTISTES BEIGES, MtaMce et 

editrice de "Belgian Art in Exile," desire exprimer a 
cette place toute sa gratitude aux diverses personnalites 
qui lui ont genereusement pretees leur precieux concours 
pour la realisation de cette ceuvre. 

Tout d'abord, a. Monsieur A. Wilson Barrett, le distingue 
Directeur de la superbe revue d'art " Colour, " qui dans un 
sentiment de fraternite artistique et de sympathie emue 
a bien voulu assumer pour " Colour " les responsabitites de 
I'entreprise et de concert avec M. Josse Van Kriekinge, 
I'architede beige bien connu, n'a epargne aucune peine 
pour mener b bien la publication du present ouvrage. La 
Ligue exprime aussi toute sa gratitude aux autres membres 
du Comite d'Edition : Mr. Frank Brangvjyn, A.R.A. ; 
M. Paul Lambotte, Directeur des Beaux Arts ; M. Albert 
Baertsoen, de I'Academie Royale de Belgique ; M. Emile 
Claus, de I'Academie Royale de Belgique f M. Jean Delville, 
Professeur a I'Academie Royale de Bruxelles ; M. Victor 
Horta, de I'Academie Royale de Belgique; M. Victor 
Rousseau, de I'Academie Royale de Belgique, pour leur aide 
bienveillante et predeuse et, particulierement, a Monsieur 
Frank Brangvjyn, le grand peintre anglais, dont la gene- 
rosite egale le talent, et qui a tenu a collaborer a I'initiative 
de ses confreres Beiges en exil par la reproduction, comme 
frontispice, de I'une de ses ozuvres les plus remarquables ; 
a Mr. Frank Rutter, B.A., Conservateur du Musee 
de Leeds, pour I'interessant article qu'il a bien voulu 
ecrire sur I'art Beige ; a Miss G. M. Leeson et Mr. K. 
Hare, B.A., pour leurs excellentes traductions des poemes 
et articles de nos collaborateurs ecrivains, 

La Ligue desire aussi remercier Messieurs Knighton et 
Cutts, et rendre hommage a I'exaditude des merveilleux 
cliches pour la reproduction en couleur qui permettent 
de se faire une idee exade des ozuvres de nos peintres, 
ainsi que la ftrme Bemrose et Sons Ltd., pour le 
travail artistique qu'elle a produit dans I'impression et la 
mise en page de ce recueilau point d'en avoir fait une ceuvre 
digne du but qu'elle poursuivait: "Art et Charite." 

Elle adresse egalement tous ses remerciements a. M. 
Edouard J. Claes, son devou'e secretaire, dont I'activite 
incessante a permis de surmonter les nombreuses difficultes 
inherentes a ce travail. 

Elle estime presomptueux de remercier tous les artistes 
Beiges, poetes, peintres, sculpteurs, qui lui ont genereuse- 
ment assure leur concours ; nos freres malheureux dont 
its ont aide a soulager I'infortune, aussi bien que la 
sympathie mondiale, feront cela. 

Elle ne veut cependant pas oublier de dire toute sa recon- 
naissance aux nombreuses personnes qui dans les differents 
milieux I'ont aidee avec un devouement constant a 
recueillir d'inombrables souscripttons et a assurer le succes 
de son ceuvre, particulierement Sir W. H. Lever, Bart., 
Sir Herbert Cook, Messieurs les Ministres et Consuls de 
Belgique, de meme que les distingues membres de noire 
Corps Diplomatique a I'Etranger, pour I'empressement et le 
devouement avec lequel Us ont repondu a notre appel 
facilitant ainsi une diffusion mondiale. 



L'ART BELGE EN EXIL. 



BELGIAN ART IN EXILE. 




diverses et multiples manifesta- 
tions publiques de philanthropic, 
inspirees par les circonstances les plus 
tragiques que 1'histoire europeenne 
ait connues, vient s'ajouter la presente edition 
de V Art Beige en Exit, initiative due a la 
" Ligue des Artistes Beiges," refugies a Londres, 
et dont la realisation a etc genereusement 
facilitee, en un cordial sentiment de solidarite, 
par Monsieur A. Wilson Barrett, le sympathique 
Directeur de la nouvelle et interessante revue 
d'art, Colour. D'autres ouvrages ayant un 
caractere a la fois artistique et litteraire, ont deja 
vu le jour en Angleterre, tels que King Albert's 
Book, The Book of Belgian Gratitude, The 
Glory of Belgium, ou des artistes sont repre- 
sentes isolement, en simples collaborateurs. 

L'Art Beige en Exil se distingue quelque 
peu de ces remarquables publications, en ce 
sens qu'elle est 1'initiative des artistes eux 
memes, groupant spontanement et volontaire- 
ment quelques unes de leurs ceuvres et offrant 
ainsi leur talent au profit d'organismes utiles, 
humanitaires, places sous de hauts Patronages. 

Mais en meme temps qu'ils ont voulu faire 
ceuvre patriotique de charite, ils ont, avec le 
plus large esprit d'eclectisme, sans distinctions 
d'ecoles ou de tendances, voulu faire ceuvre d'art 
avec les quelques simples elements dont ils dis- 
posaient, c'est a dire un peu au hasard des 
circonstances les plus defavorables. Certes, ils 
sont les premiers a savoir combien forcement 
incomplete apparait cette presentation quasi 
accidentelle de quelques ceuvres et a quel point, 
malgre 1'interet relatif quelle peut offrir pour 
ceux qui connaissent encore d'une maniere 
inparfaite notre art national, elle ne donne qu'une 
assez faible idee du mouvement artistique beige 
contemporain. Tant d'ceuvres, parmi les plus 
caracteristiques de nos meilleurs peintres et 
statuaires, sont restees la-bas, au pays occupe" 




HE greatest tragedy that European 
history has known, has evoked diverse 
and manifold public examples of 
philanthropy, and now this volume, 
Belgian Art in Exile, may be added to the 
list. Its inception was due to the " League of 
Belgian Artists," the members of which are 
refugees in London, and its realisation has been 
generously furthered by the cordial co-operation 
of Mr. A. Wilson Barrett, the sympathetic 
Editor of the new and interesting review of 
art, Colour. 

Other works of a character at once artistic and 
literary have already seen the light here in 
England, as for instance King Albert's Book, 
The Book of Belgian Gratitude, and the Glory 
of Belgium in which Belgian artists are repre- 
sented either by isolated examples of their work 
or in the guise of simple collaborators. Belgian 
Art in Exile differs from these noteworthy 
publications in the fact that it owes its incep- 
tion to the artists themselves, who voluntarily, 
and of their own initiative, made a collection of 
examples of their work, and offered their talent 
to be sold on behalf of various useful and 
humanitarian organisations carried on under the 
highest patronage. 

At the same time they have aimed at 
producing a work of charity which shall 
be characteristic of their country, and have 
exhibited the broadest spirit of eclecticism, ignor- 
ing all distinctions of schools and tendencies in 
their effort to produce a work of art with the 
materials at their disposal, which, of course, are 
to some degree affected by the very unfavour- 
able conditions. 

Certainly they would be the first to appreciate 
how incomplete this almost fortuitous presenta- 
tion of their works must appear, and, in spite of 
the relative interest which it can offer to those 
who have already some acquaintance with our 



I 



Belgian Art in Exile. 



par 1'envahisseur et dont il n'a pas etc possible 
d'obtenir les elements necessaires a leur repro- 
duction! Tant d'artistes aussi sont restes dans 
la patrie, subissant les souffrances provoquees 
par 1'ambiance teutonne, tandis que nous portons 
le poids de 1'exil, si allege qu'il soit par 1'hospi- 
talite anglaise! 

Quoiqu'il en soit, malgre que les membres de 
la famille artistique beige soient ainsi disperses, 
malgre que leur noble labeur d'art soit arrete 
1'art, on le sail, est le premier a souffrir de la 
guerre! nous aimons a asso^ier nos confreres, 
momentanement separes de nous, a la presente 
initiative, et par la pensee et par le cceur, 
certains tout au moins d'avoir leur entiere 
approbation d'avoir voulu meler les artistes 
beiges au splendide et reconfortant elan de 
generosite et de philanthropic qui restera la 
consolation de ces temps douloureux. Et 
ils nous approuveront d'autant mieux, pensons- 
nous, que, non contente de mettre la Belgique a 
feu et a sang par les fusils et les canons de son 
armee barbare, 1'Allemagne, par la plume 
imbecile et haineuse de quelques uns de ses plus 
obscurs criticulets et de ses plus ridicules 
pedants, par un surcroit de mechancete com- 
pliquee de basse jalousie, n'a pas eu honte de 
verser 1'outrage et la calomnie sur 1'art beige tout 
entier, en cherchant a le representer comme etant 
pornographique et ne se complaisant que dans 
des scenes de cruaute. Emanant d'une nation ou 
1'art, a de tres rares exceptions pres, est devenu, 
en ces dernieres annees surtout, synonyme de 
laideur, de mauvais gout, depourvu de tout sens 
de la mesure et du rythme, et ou les peintres et 
les sculpteurs semblent plutot peindre et sculpter 
avec le tranchant des bayonnettes et des 
sabres, de telles critiques sont grotesques et 
meprisables. Peut-on s'attendre d'ailleurs a 
trouver une culture esthetique rarfinee et 
harmonieuse, une sensibilite artistique reelle 
chez ces allemands d'aujourd'hui dont la 
grossierete' n'a d'egale que la turpitude et la 
basse criminalite de leur " Kultur " militaire ? 
L'Allemagne a surtout 1'esthetique de la durete, 
de la brutalite. Ses arts plastiques, quand ils ne 
s'attardent point en des pastiches alourdis du 



national art, how feeble a conception it conveys 
of the trend of Belgian Art at the present day. 

So much material, including the most 
characteristic examples of the work of our best 
painters and sculptors, has been left behind in 
that part of the country which is held by the 
invader, and of this it has not been possible to 
glean the essential elements for reproduction. 
Again, so many Belgian artists remain in their 
fatherland, enduring the miseries of the German 
occupation, while we bear the heavy load of 
exile, lightened though it may be by English 
hospitality. Yet in spite of the dispersion of 
the members of the Belgian artistic colony, and 
of the fact that their noble labour has been cut 
short and we know that in war-time nothing 
suffers sooner than art ! we delight to associate 
our brothers, parted from us for a while, with 
the present venture, and in heart and thought 
we can be sure at least of their entire concur- 
rence in our wish to gather together all Belgian 
artists in face of that munificent, reinvigorating, 
and enthusiastic generosity which will persist as 
the abiding consolation of this harsh and 
lamentable Epoch. And we shall have them 
with us none the less, we may think, since 
Germany, not content that the guns and cannons 
of her ruffianly army should fill Belgium with 
fire and blood, has not scrupled to outrage and 
calumniate Belgian art in its entirety through 
the imbecile writings of some of her obscurer 
criticasters and absurder pedants, whose access 
of spite is aggravated by the meanest jealousy. 
These persons seek to represent Belgian art 
as either pornographic or wholly concerned with 
scenes of bloodshed. This from a nation where 
art, with some few exceptions, has become, 
particularly of late years, a synonym for bad 
taste and ugliness, and empty of all feeling for 
measure and rhythm; where painters and 
sculptors seem not so much to paint and carve 
as to hack their work out with sword and 
bayonet. From such a source insults of this 
kind can well be treated with absolute contempt. 
From the German of to-day it is idle to expect 
any refinement or balance of aesthetic culture, 
or any real artistic sensibility: his grossness is 



Belgian Art in Exile. 



plus plat des conventionnalismes ou du plus 
pedant des classigismes, tombent dans un 
modernisme aussi extravaguant que hideux, 
melange de raffinement et de barbaric et ou 
s'atteste toute 1'incohe'rente psychologic d'un 
peuple devoye. De me'me que sa scienge, son 
histoire, sa philosophic, sa politique, 1'art de 
I'Allemagne manque d'equilibre, de mesure, de 
clarte", de logique, de subtilite. L'Allemagne a 
surtout le ge"nie de 1'absurde. C'est pourquoi 
elle confond la puissance avec la force brutale et 
qu'elle ne separe point la beaute de 1'enorme. 
En peinture, elle est depourvue du sens de 
la couleur. Elle n'a pas de grands coloristes, ni 
de grands dessinateurs de style, et ses sculp- 
teurs manquent du vrai sens de la forme. La 
psychologic de la race teutonne, avec ses ata- 
vismes obscurs de peuplades barbares les plus 
barbares d'entre les peuplades barbares du 
passe ne permet d'ailleurs point a ses artistes, 
en ge"ne"ral, d'avoir cette sensibilite superieure, 
cette intuition miraculeuse, creatrice des belles 
ceuvres d'art, qui sont la caracteristique des 
peuples vraiment civilises et dont la conception 
de la vie est oriente'e vers 1'harmonie morale du 
monde, c'est a dire vers la beaute morale du 
sentiment de la Liberte et du Droit. 

Dans le domaine des beaux-arts, I'Allemagne 
moderne n'a produit ni un Delacroix, ni un Puvis 
de Chavannes, ni un Rodin, comme la France ; 
ni un Turner, ni un Watts, ni un Biirne-Jones, 
ni un Whistler, comme 1'Angleterre ; ni un 
Wiertz, ni un Leys, ni un De Braeckeleer, ni 
un Jef Lambeaux, ni un Constantin Meunier, 
comme la Belgique, types d'artistes aux ten- 
dances differentes, mais dont 1'esthetique et la 
technique sont toujours faites d'une qualite 
superieure, que la rudesse, la raideur, la seche- 
resse ou la redondance, le pedantisme et 
1'incoherence de 1'art allemand ne peuvent que 
mettre de plus en plus en valeur. 

Cette qualite essentielle dans la vision reelle 
ou ideale des choses, ce don de faire chanter 
dans la couleur toute I'eternelle et changeante 
poe'sie de la nature, dans la forme tous les 
rythmes eternels et mouvants de la vie, appar- 
tient aux races superieurement constitutes dont 



only equalled by the inherent baseness and 
sordid criminality of his military " Kultur." 
Germany has, above all, the aesthetics of 
brutality. Her plastic art, where it is something 
more than a clumsy imitation of what is spirit- 
less and conventional, or the mere pedantry of 
classicism, takes upon itself a modernism as 
extravagant as it is hideous, an incongruous 
commingling of delicacy and brutality which 
protests the incoherence of a people with no 
determined road. What is true of her science, 
her history, her philosophy, and her politics, is 
also true of her art it lacks balance, per- 
spicacity, logic, subtlety. She has the genius of 
the absurd. Perhaps that is why she confounds 
strength with brute-force, and the colossal with 
the beautiful. In painting, true sense of colour 
is debarred her ; great colourists she has none, 
nor great designers. Her sculptors are wanting 
in the true sense of form. 

Teuton psychology, harking back to the times 
when these people were the most barbarous of 
nomad savages, cannot, except in the rarest 
instances, afford its artists that finer sensibility, 
those miraculous intuitions, which are the breath 
and being of the noblest works of art, and 
which are characteristic of those truly civilised 
peoples whose conception of life is bound up 
with the moral harmony of the world, with the 
conception, that is, of the moral beauty of the 
sentiments of Truth, Liberty, and Right. 

In the sphere of fine art, modern Germany 
can show nothing comparable with the work 
of the French masters Delacroix, Puvis de 
Chavaiines, or Rodin ; or the English Turner, 
Watts, Burne-Jones, Whistler; or with the 
Belgian Wiertz, Leys, De Braeckeleer, Con- 
stantin Meunier; typical artists who in their 
different fashions exhibit a quality of perception 
and technique which German art, with its dis- 
cordance and rigidity, either sterile or redundant, 
at once pedantic and incoherent, must serve as 
a foil to make ever more and more increasingly 
appreciated. 

This quality, essential to the real or ideal 
vision of things, this gift of making sing, in 
colour, all the eternal and changeable poetry of 



Belgian Art in Exile. 



i'entendement allie la logique supreme de la 
raison a la souveraine beaute du sentiment. 

Dans la production d'art des peuples le Beau 
apparait, en des aspects divers, lorsque leur ame 
s'est assouplie non point sous le martelement 
mecanique d'une methode artificielle, mais bien 
sous les souffles libres et rythmes des grandes 
et nobles idees d'amour ou d'honneur. 

La laideur morale n'engendre pas la Beaute. 
C'est pourquoi les nations criminelles dont 
1'ideal est souille par les vapeurs de sang qui 
montent des carnages ne peuvent produire 
qu'un art ou manquera toujours le sens divin de 
la proportion, de la couleur, de la ligne. 

L'Allemagne nous en offre la preuve. Par 
ses instincts guerriers, elle reste attardee aux 
barbaries primitives. Son art s'en ressent et 
ses artistes ne parviennent pas a se hausser a 
cette sensibilite d'ou sortent les ceuvres vraiment 
belles et irresistibles. 

L'ecole d'art beige est peut etre bien, comme 
on 1'a reconnu souvent, la plus riche de 1'Europe. 
A 1'eclatante et chaude sensibilite de leur ceil, 
ses artistes, capables a la fois de finesse et de 
puissance, de passion et de style, peuvent, avec 
un sens et un gout rares, s'elever a 1'intellect pur 
de la ligne, du dessin, de la forme, ou s'aban- 
donner a la plus luxuriante materialite de la 
couleur. Qu'ils soient realistes, impression- 
nistes ou idealistes, dans le portrait, dans le 
paysage, dans la figure et dans la composition 
decorative, les artistes beiges, grac.e a leurs dons 
natals de virtuosite et d'imagination, savent 
toujours glorifier la beaute de la nature, la 
beaute de la vie ou la beaute de 1'ideal dans la 
rayonnante splendeur des choses et des etres. 
Et cela, en effet, forme un contraste frappant 
avec le caractere morne et rebarbatif de 1'art 
allemand, qui se complait dans on ne sait quoi 
de trivial, de pompier, dans on ne sait quoi de 
putride et de veneneux. 

Les petits pions qui font de la critique d'art 
de 1'autre cote du Rhin et qui sont a la solde du 
Pangermanisme en delire, sont done bien mal 
venus, en verite, lorsqu'ils poussent leurs laches 
instincts de vandales a souiller 1'art d'une nation 
que la soldatesque barbare de 1'empire allemand 



nature, in form, all the eternal and moving 
rhythms of life, belong to superiorly-constituted 
races, whose understanding allies the supreme 
logic of reason with sovereign beauty of senti- 
ment. 

In the production of the art of nations, 
beauty appears under different aspects when 
their soul is made supple, not under the 
mechanical hammering of an artificial method, 
but under the free and rhythmical breath of the 
great and noble ideas of love or honour. 

Moral ugliness does not engender beauty. 
That is why criminal nations, whose ideal is 
soiled by the vapours of blood from slaughter 
mounting to their he^ads, can only produce an 
art which will lack ever the divine sense of pro- 
portion, of colour, of line. 

Germany gives proofs of this. With its 
warrior instincts it remains still in the days of 
primitive barbarians. Its art reflects this, and 
its artists do not arrive at raising themselves to 
the height of that sensibility whence proceeds 
work truly beautiful and irresistible. 

It has been suggested, and perhaps with 
truth, that the Belgian School of Art is second 
to none in Europe. With dramatic sensitivity 
its exponents, combining delicacy with power, 
and passion with style, can confine themselves 
within the limitations of the pure intellect of the 
line, conventional design, and form, or run riot 
in the rich sensuousness of colour. In portrait 
or in landscape, in figure or in decorative com- 
position, be they realists or idealists, the Belgian 
artists, thanks to their natural gifts of creative 
aestheticism, never fail to crown the beauty of 
life and nature, or of the ideal, in their rendering 
of all things animate and inanimate alike. 

And this stands in striking contrast with the 
morose and splenetic character of German art, 
which appears to glut itself upon the flippant 
and the bombastic, the unclean and the un- 
healthy. The little nobodies beyond the Rhine 
who make a parade of art criticism and who are 
under the thumb of delirious pan-Germanism, 
show themselves in their true light, indeed, when 
in the baseness of their vandalistic instincts they 
can stoop to besmirch the art of a nation at the 



Belgian Art in Exile, 



vient de mettre a sac et ou la " Kultur " s'est 
manifested dans 1'orgie sadique et le meurtre 
sauvage. II fallait bien, n'est ce pas, que 
pendant le pillage et le massacre, le vol et le viol, 
auquels se sont livres les modernes Huns du 
Kaiser, les plumitifs germains, brutalement, 
betement, envieusement, quand ils ne s'atta- 
quaient pas aux oeuvres de Beiges comme 
Maeterlinck et Verhaeren, les plus grands 
poetes d'aujourd'hui, cherchassent a salir et a 
amoindrir le mouvement artistique beige. Ainsi, 
1'ignominie allemande s'etale plus complete 
encore. L'Allemagne aura d'autant mieux 
mises a nu, en meme temps que la trivialite de 
ses moyens, la bassesse de son but. En agissant 
ainsi, elle ne fera qu'augmenter d'ailleurs le 
mepris que le monde civilise eprouve pour 
elle et etendra de plus en plus les courants de 
sympathie et d'admiration qui convergent vers 
la malheureuse et honnete Belgique. 

Et parmi la seve abondante des energies 
nationales beiges que la rapa^ite teutonne essaye 
d'etouffer sous ses griffes degouttantes de sang, 
il en est qu'elle ne pourra jamais atteindre dans 
leur beaute morale, ce sont: L'Honneur, 
1'Heroisme et le Genie de notre race! 

JEAN DELVILLE, 

Professeur d /' 'Academic Royale 
des Beaux-Arts de Bruxelles. 

President dt la Ligue des Artistes 
Beiges A Londres. 



very moment when that nation is suffering 
sackage at the hands of that German militarism 
whose " Kultur " is revealing itself in an orgie 
of sadism and savage murder. 

It was to be expected that while the Kaiser's 
Huns were giving themselves up to rape and 
riot, to spoliation and massacre, his gutter-press 
should be attacking brutally and abusively the 
works of Belgians such as Maeterlinck and 
Verhaeren, the greatest poets of the day ; or, 
growing weary with that, should go still further 
and attempt to calumniate and belittle the entire 
Belgian movement in art. But their methods 
stand revealed to all. And how despicable they 
are, how sordid the end they sought to compass ! 
Thus German ignominy achieves full measure. 
Well, she will but swell the contempt with which 
she inspires the civilised world, and extend 
those channels of sympathy and admiration 
which converge to-day towards ill-starred, un- 
suspecting Belgium. 

Germany, in her red-taloned rapacity, thought 
to crush the life from our national activities. 
She failed because she overlooked three moral 
qualities, in their nature indestructible- 
Honour, Heroism, and the Genius of our 
race. 

JEAN DELVILLE, 

Professor at the Royal Academy, Brussels. 
Chairman of la Ligue des Artistes Beiges a Londres. 
Translated by KENNETH HARE and M. E. HARK. 




LE ROI ALBERT 



KING ALBERT. 




tous les he"ros de cette enorme 
guerre qui survivront dans la memoire 
des hommes, 1'un des plus purs, 1'un 
de ceux qu'on ne saura jamais com- 
ment assez aimer, sera certainement le jeune et 
grand roi de ma petite patrie. II fut vraiment, 
a 1'heure decisive, 1'homme providentiel, celui 
qu'attendaient tous les cceurs. II sut incarner 
en beaute soudaine la volonte profonde de son 
peuple. II fut tout a coup toute la Belgique 
reVelee a elle-meme et aux autres. II cut cette 
admirable chance de prendre et de donner con- 
science dans 1'instant le plus tragique et le plus 
trouble ou les meilleures consciences perdent 
leur assurance. S'il n'avait pas etc la, les 
choses, sans nul doute, ne se fussent pas passees 
de la meme fa^on, et 1'histoire eut perdu une de 
ses belles et nobles pages. Assurement, la 
Belgique eut e"te loyalement fidele a sa parole, 
et le gouvernement qui aurait hesite eut etc" 
irresistiblement et impitoyablement balaye" par 
1'indignation d'un peuple qui, si haut qu'on 
remonte dans ses souvenirs, n'avait jamais trahi. 
Mais il y aurait eu je ne sais quelle confusion, 
quels flottements inevitables dans une foule 
foudroyee. II y aurait eu des bavardages 
inutiles, des fausses manoeuvres, des tatonne- 
ments legitimes mais irreparables ; et surtout, 
les paroles necessaires precises, inalterables 
n'auraient pas ete dites, les gestes qu'il est 
impossible d'imaginer plus fermes et plus beaux 
n'auraient pas ete faits a 1'heure qu'il fallait. 
Grace a lui, 1'acte eclate et se maintient sans 
retouches, sans defaillances, sans bavures ; la 
ligne heroi'que est droite, nette et magnifique, 
comme celle de Thermopyles indefiniment 
prolongees. 

Mais ce qu'il a souffert, ce qu'il souffre chaque 
jour, ceux-la seuls le comprennent qui eurent le 
bonheur d'approcher ce heros, le plus sensible et 
le plus doux des hommes, discret, silencieux, ne 
vibrant qu'en dedans, d'une timidite delicieuse 




F all the heroes of this gigantic war, 
figures who will survive in the 
memory of men, one of the purest, 
one we shall never learn to love 
enough, will certainly be the young and great 
King of my little native land. At the fateful 
hour he proved to be truly the -providential man, 
he whom all hearts awaited. His it was to 
incarnate in sudden splendour the deepest will 
of his people. In a moment he became Belgium 
Belgium in her entirety, revealed unto her- 
self and unto others. By wondrous good fortune 
it fell to his lot to receive clear vision and give 
it forth again, at the most tragic and darkest of 
moments, when the best were amazed. Had he 
not been there, events would doubtless not have 
taken the course they did, and History would 
have lost a grand and noble page. Assuredly 
Belgium would have loyally kept her word, and 
a wavering government would have been 
irresistibly and pitilessly swept away by the 
indignation of a people who, however far one 
looks back into its records, has never played 
the traitor. 

But some confusion there would have been, 
some inevitable fluctuation in a crowd thus over- 
whelmed. There would have been idle babble, 
ill-judged measures, blunders, justifiable but 
irreparable ; above all, the necessary, precise, 
unalterable words would have been left un- 
spoken, and the acts, which no imagination can 
endow with greater firmness or beauty, would 
not have been performed at the right hour. 

Thanks to him, the Deed bursts forth and 
stands free of all after-touch, blur, and blemish 
the heroic line runs straight, clear and magnifi- 
cent, as an indefinitely protracted Thermopylae. 
But what he has suffered, and what he yet 
suffers daily, those only can tell who have had 
the privilege of approaching this hero, the most 
sensitive, the most gentle of men ; reticent, 
silent, vibrating only within, delightfully and 



Belgian Art in Exile. 



et deconcertante, et qui aime son peuple moins 
comme un pere aime ses enfants que comme 
un fils aime une mere qui 1'adore. De tout 
ce cher royaume, son orgueil et sa joie, sa 
maison de bonheur, son foyer de confiance et 
d'amour, il ne reste plus que quelques villes 
intactes que menace a chaque instant 1'envahis- 
seur le plus immonde que la terre ait porte. 
Toutes les autres, si jolies ou si belles, si riantes, 
si tranquilles, si heureuses de vivre et d'etre 
inoffensives, joyaux de la couronne de la paix, 
modeles de 1'existence familiale droite et claire, 
se"jours de 1'activite loyale et consciencieuse, de 
la bonhomie cordiale et toujours souriante, du 
bon accueil sans phrases, des mains toujours 
tendues, des coeurs toujours ouverts, toutes les 
autres sont mortes, il n'en reste plus pierre sur 
pierre, et la campagne me'me aux verdures si 
tendres, une des plus belles de ce monde, n'est 
plus qu'un champ d'horreur. Des tresors ont 
pe"ri qui comptaient parmi les plus nobles, les 
plus touchants de Phumanite ; des temoignages 
ont disparu que rien ne pourra remplacer; la 
moitie" d'une nation entre toutes attachee a 
ses vieilles et simples habitudes, a ses 
humbles foyers, erre a present par les routes 
de 1'Europe; des milliers d'innocents ont 
e'te' massacres, et presque tout ce qui survit 
est voue" a la misere et a la faim. Mais 
ce qui survit n'a qu'une ame refugiee dans la 
grande a"me de son roi. Pas un murmure, pas 
un reproche. Hier, une ville de trente mille 
habitants rec.oit 1'ordre de quitter ses maisons 
blanches, ses eglises, ses places se"culaires ou la 
vie s'e"coulait industrieuse et debonnaire. Les 
trente mille habitants, femmes, enfants, vieil- 
lards, s'enfoncent dans la nuit pour chercher un 
asile incertain dans une cite" voisine presque 
aussi menace'e que la leur et qui, demain peut- 
e"tre, devra s'en aller a son tour, elle ne saura 
plus ou, car la patrie est si petite qu'on arrive 
tout de suite au bout de ses terres et qu'il ne reste 
plus d'abri. N'importe, ils obe"issent en silence, 
tous approuvent et benissent leur souverain. II 
a fait ce qu'il fallait faire, ce que tous a sa place 
auraient fait; et, si tous souffrent ce qu'aucun 
peuple n'a souffert depuis les invasions feroces 



disconcertingly shy, who loves his people less as 
a father loves his son than as a son loves a 
worshipping mother. Of all this cherished king- 
dom, his pride and joy, his house of happiness, 
his hearth of trust and love, only a few cities 
stand unscathed, menaced hourly by the most 
foul invader Earth ever bore. The rest, so 
charming or so beauteous, so smiling, so quiet, 
so full of the joy of being alive and harmless 
jewels in the crown of peace, models of home 
life, upright and unsullied, the abode of honest, 
conscientious activity, of cordial smiling friendli- 
ness, hands ever outstretched, hearts ever 
open the rest are dead ; of them not one stone 
is left upon another, and the land itself, clad 
in tender green, one of the fairest in the world, 
is now a field of horror. Treasures have 
been destroyed which were amongst the most 
noble and touching possessions of mankind ; 
witnesses of the past have vanished which can 
never be replaced; one-half of a nation, of all 
nations most attached to its old and homely 
customs, its humble hearths, now wanders along 
the highways of Europe; tEe innocent have 
been slaughtered by thousands, cold and hunger 
are the lot of nearly all the remainder. But this 
remainder has but one soul, which has taken 
refuge in the mighty soul of its King. There is 
no murmuring and no complaining. But yester- 
day, a township of thirty thousand souls receives 
the order to leave its white houses, its churches, 
its ancient squares where life flowed busy and 
kindly. The thirty thousand inhabitants, 
women, children, and old men, go forth into the 
night to -seek doubtful shelter with the ^olk of a 
neighbouring city, threatened as much as them- 
selves, and who, to-morrow perhaps, may also 
have to go, they no longer know where, for the 
Homeland is so small, its boundaries are soon 
reached, and there is no other place of refuge. 

No matter, silently they obey, at one with their 
sovereign, even blessing him. He has acted 
rightly, done what they all, in his place would 
have done; and if they all suffer as no other 
nation has ever suffered since the first fierce 
invasions of the early centuries, they know that 
his sufferings exceed all theirs, for in him all 



8 



Belgian Art in Exile. 



des premiers siecles, ils savent qu'il souffre plus 
qu'eux tous, car c'est en lui qu'aboutissent et que 
retentissent toutes leurs douleurs agrandies. Ils 
n'ont meme pas 1'idee qu'on cut pu agir 
autrement, qu'on cut pu les sauver en 
sacrifiant 1'honneur. Ils ne separent point le 
devoir du destin. Ce devoir, avec toutes ses 
epouvantables consequences, leur semble aussi 
inevitable qu'une force de la nature centre 
laquelle on ne songe meme pas a lutter tant elle 
est invincible. II y a la un example d'heroisme 
collectif, anonyme, ingenu et presque inconscient 
qui egale et, par moments, surpasse ce que nous 
avons de plus haut dans la legende et dans 
I'histoire, car, depuis les grands martyrs, on 
n'etait pas mort plus simplement pour une simple 
idee. Du reste, si parmi les angoisses ou nous 
nous debattons il etait permis de parler d'autre 
chose que de deuils et de larmes, on trouverait 
une magnifique consolation au spectacle de 
Theroisme inattendu qui, subitement, nous 
entoure de toutes parts. On peut affirmer qu'en 
aucun temps, depuis qu'existe la memoire des 
hommes, on n'a fait le sacrifice de sa vie avec 
une telle ardeur, une telle abnegation, un pareil 
enthousiasme, et que les vertus immortelles qui, 
jusqu'a ce jour, souleverent et sauverent les 
avant-gardes de 1'humanite n'eurent jamais plus 
d'elan, de jeunesse, de puissance et d'eclat. 

MAURICE MAETERLINCK. 



their own pangs concentrate and re-echo with 
greater intensity. Nor does it ever occur to them 
that aught else could have been done, that they 
might have been saved at the cost of honour. 
They make no distinction between Duty and 
Fate. And this duty, with all its awful conse- 
quences, seems to them as inevitable as one of 
the forces of nature, so invincible that there can 
be no thought of struggling against it. 

Here is an example of collective heroism, 
nameless, artless, unconscious almost, which 
reaches and occasionally rises above the highest 
water-mark of history and legend for none 
since the great martyrs have died more simply 
for a simple idea. Indeed, were it allowable in 
these days of strife and sorrows to speak of any- 
thing but mourning and tears, we should find 
glorious consolation in the sight of the un- 
expected heroism which suddenly surrounds us 
on all sides. It can be said that at no time 
within the memory of man has the sacrifice of 
life been made with such recklessness, such self- 
renunciation or a like enthusiasm ; and that the 
immortal virtues which up to this day have 
uplifted and saved the vanguard of humanity, 
have never possessed more fire and freshness, 
more power or greater brilliance. 

Translated from 

MAURICE MAETERLINCK. 





LES ANCETRES. 



THE ANCESTORS. 




HUBERT ET JEAN VAN EYCK. 

'OR migrateur qui passe ou s'exalte la 

force 

Avait choisi jadis, en son vol arrogant, 
Pour double colombier glorieux, Bruges 

et Gand 

Dont les beffrois dressaient, au grand soleil, leurs 
torses. 

Les deux cites dardaient un pouvoir inegal, 
Mais un egal orgueil vers 1'avenir splendide ; 
Comme les deux Van Eyck vastes cerveaux 
candides 

Dressaient d'un double effort leur art thologal. 

Ce dont Tame revait devant les tabernacles, 
Ce que la foi montrait de ciel aux yeux humains, 
Us 1'ordonnaient, patiemment, avec leurs mains, 

Pour que leur oeuvre fut comme un calme miracle. 

La claire vision des paradis nouveaux, 
Us l'e"voquaient en un tranquille paysage; 
Us le peuplaient de beaux et silennels visages 

Tourns vers la splendeur et la paix de 1'agneau. 

Les douces fleurs poussaient dans le tapis de Pherbe ; 
De petits bois montaient, naifs et recueillis : 
C'e'tait la Flandre, avec ses pr6s et ses taillis, 

Et son large horizon ceint de clochers superbes, 

Au milieu, sur un tertre ornemental, 1'autel. 
Le Dieu y repandait son sang dans un calice 
Et s'entourait des signes noirs de son supplice : 

Lance, colonne, croix et l'6ponge de fiel. 

Et vers ce deuil offert comme un banquet de fSte 
A la faim de 1'extase, a la soif de la foi, 
Les martyrs, les h6ros, les cent vierges, les rois, 

Les ermites, les paladins et les prophetes, 

Toute 1'humanite des temps chr6tiens marchait. 
Us arrivaient du fond miraculeux des ages, 
Ayant cueilli la palme aux chemins du voyage, 

Et sur leurs fronts brillaient les feux du Paraclet. 

Et tout en haut, regnaient dans 1'or du poliptyque, 
Dieu le Pere, Marie, et Jean le pr^curseur, 
Traqant, denotement, avec calme et douceur, 

De lents gestes sacre"s, puissants et asc6tiques. 




HUBERT AND JEAN VAN EYCK. 

| EALTH is a migrant, yet 'tis such a one 
As stoops her arrogant course to human 

might ; 
Twin eyries, Bruges and Gaunt, were her 

delight 
Whose giant-torso'd belfries front the sun. 

Those towns, unequally matched, stood yet alone, 

As anticipatory of great destinies; 

Like the Van Eycks his separate might each 

plies, 
The ingenuous great brains march in unison. 

The intimation at the altar caught 

What faith reveals of Heaven to mortal eye 
Their human fingers ordered patiently 

Until the tranquil miracle was wrought. 

Their ken took in the empyreal high abode 
Which they evoke in this calm countryside, 
Whose comely habitants turn solemn-eyed 

Toward the deep splendour and the peace of God. 

While clustered on a carpet of sweet flowers, 
The little woods upraise their guileless tops, 
And Flanders lies expansed with meadow, copse, 

And large horizon girt with lordly towers. 

But on that craft-raised tuft amidmost all 
Are altar, chalice, and God's free blood outpoured, 
With those grim symbols of our tortured Lord ; 

His column, His lance, His cross, the sponge of gall. 

While toward this proffered woe, as to a feast, 
The hunger of ecstasy and thirst of faith 
Draws hermit and virgin-martyr with bated breath, 

Hero, crusader, prophet, king and priest. 

Of Christian human kind the unnumbered host 
Draw nigh the ineffable goal, the ages' balm; 
And in long voyages they plucked the palm, 

Their grave brows lambent with the Holy Ghost. 

While from the polyptych" command and height 
The Father, Mary, and John the Harbinger 
Seem, in their sacred ease removed, to stir 

With majesty their calm ascetic might. 



10 



Belgian Art in Exile. 



Et les anges chantaient dans 1'air chaste et pieux, 
Tandis qu' Eve et qu' Adam, debout chacun dans 

1'ombre, 
Sentaient peser sur eux leur faute ardente et 

sombre, 
Dont le rachat se c616brait devant leurs yeux. 

Ainsi la claire et tendre et divine 16gende, 
Avec ses fleurs de sang, d'ardeur et de pie'te', 
D6roulait son humaine et divine beaut6 

Parmi les pres, les bois, les ravins et les landes. 

Comme un grand livre peint et largement ouvert, 
Elle enfermait en ses pages rouges ou blondes 
Et dans ses textes d'or quatre mille ans du monde : 

Tout le reve de 1'homme en proie a 1'univers. 

L'ceuvre dardait dans 1'art une clart^ supreme, 
Comme celle du Dante a Florence, la-bas, 
Mais cette fois deux noms flamands brillaient, au 
bas 

Du grandiose et pur et merveilleux poeme. 

EMILE VERHAEREN. 



The angelic strain rings loud through Heaven's pure 

blue, 

While Eve and Adam silent in the shade, 
Who viewed the dolorous world by them betrayed, 

Mark the Redeemer shape the world anew. 

And thus the legend, inspired of so sweet breath, 
With all her flowers of piety, passion, blood, 
Unwinds in tender beauty like a flood 

That glides through field, wood, valley, moor and 
heath. 

Like some illumined book laid open for state, 
Whose painted leaves and texts of gold recall 
Four thousand years of earth, the dream and all 

The struggle of man's soul at grips with fate. 

Their splendour one and peerless shone; even thus 
Dante's, but seek not here the Florentine; 
Flemish the men, and Flemish the divine 

Uplifted song and epic marvellous. 

EMILE VERHAEREN. 
Translated by KENNETH HARE. 



LES BEGUINES. 

THE "BEGUINES." 




DIXMUDE. 

5LLES ne savaient rien du monde, et le 

silence 
Et la priere avaient tisse's pour leur 

douceur 

Toujours gale et blanche, un voile d'innocence, 
Et les plis de ce voile pur couvraient leur cceur. 

Les jours suivaient les jours dans la mSme ordon- 

nance, 

Aujourd'hui, c'6tait hier, et c'^tait le labeur 
Harmonieux du jour suivant, connu d'avance, 
C'e"tait 1'omce, et les fuseaux, et le bonheur. 

C'itait la maison propre et nette, et le manage 
Frugal, c'6taient les soins a 1'enclos qui fleurit, 
Et 1'ouvroir, antichambre d'or du paradis; 

C'e'tait la vie heureuse, et bonne, et claire, et sage . . . 

Mais la mort a penche sur elles son visage 

Et le rive d'antan n'est plus qu'un peu d'oubli . . . 

MARCEL WYSEUR. 



DIXMUDE. 




|HEY knew not of the world beyond their 

pale 
On peace and prayer and meditation 

bent, 

With innocence to shroud them like a veil 
Of fair white linen, seemly, reverent; 

Their days harmonious toil knew no betrayal 
Of rule and order, past and future blent 

In one sweet sequence time could not assail ; 

The chant and the quick bobbin, heart's content, 



The narrow chamber's clean propriety, 

The frugal meal, the flow'ry close addressed 
With labour sweet preluding Paradise; 

Of that calm dream of tranquil piety 
Forgetfulness remains, and that is best, 
For death has turned on them his sightless eyes. 

MARCEL WYSEUR. 
Translated by KENNETH HARE. 



L'APPEL SACRE, 



THE SACRED CALL (English Adaptation]. 




|ES clairons lancent clair dans 1'air 1'appel 

strident. 
C'est le reveil subit et les soudaines 

luttes. 

Les hordes d'Attila, dans leur marche de brutes, 
Vers nos calmes cites s'avancent lourdement. 

Va, va, fils d'une race aux reves droits et pacifiques, 
Qui regardait les yeux plonges vers 1'avenir, 
Sans voir que le Barbare immonde allait venir, 
Comme il etait venu vers nous, jadis, aux temps 
antiques. 

Ecoute les rumeurs qui viennent de la-bas, 
La-bas, c'est la patrie ou se tient notre armee, 
C'est le sol devast6, c'est notre terre aimee! 
Ecoute la clameur qui monte des combats ! 

Ces cris, ce sont les voix epiques, seculaires, 

De ceux qui vont mourir et vont vaincre pour toi, 

Nos soldats enivres de courage et de foi, 

Ceux dont un meme espoir confond les ames claires. 

Entends-tu dans leur marche ou dans leurs fiers 

galops, 

Le rhythme impetueux des sanglantes batailles 
Qui fait battre leur coeur et bondir leurs entrailles, 
Comme la vaste mer ou se ruent les flots ? 

La force est un elan de sagesse exalte, 
Lorsqu'elle fait tenir en nos viriles mains 
L'arme rougie au feu des grands devoirs humains, 
Et qu'elle est la justice ardente et r6volt6e. 

Elle est alors le verbe angelique fait chair; 
Elle est 1'esprit luttant; elle est la flamme leste, 
Et fait de l'homme un dieu plein du pouvoir celeste, 
Qui 1'emporte aux combats divins, tel un eclair. 

Elle est, lorsqu'on la veut par la bonte rgie, 
Tout le geste fervent de notre ame qui croit, 
Tout le farouche orgueil de 1'etre pour le droit; 
Elle est le vouloir pur et la sainte energie. 

Saisis le fer sacre des supremes efforts ! 
Sois celui dont 1'amour est semblable a la haine, 
Et qu'un frisson nouveau te secoue et t'entraine 
Dans 1'ivresse et 1'ardeur glorieuses des forts. 




SUDDEN clarion and a shrilling cry 
Rouses a people who had filled the view 
With azure dreamings of the peaceful 

blue 

Of future summers, when the nations lie 
Like flowers opening into one sweet sky, 
Serene in harmony. 

So dear the vision, that we did not hear 
Barbarian hordes that ever drew more near 
Till they are on us, and the awful call 
" To arms ! To arms ! " wakes in the heart of all. 

My son, my poet-soldier, do you stay ? 
Forth, forth, my loved one, to the awful fray. 
The country of our hopes, our tears, our breath, 
Our sacred mother-country calls to-day. 
Hearken : already from the wild melee 
Come cries of ecstasy in deathless death, 
Our brothers' voices with a note sublime 
Of epic glory, sounding into time. 
And now, in the hurling of charge on charge, 
Do you hear the rush of the rhythmic sea ? 
Does your galloping heart beat wildly to time 
As the flying hoofs carry you far from me? 

My poet, let there be no faint dismaying 

Of doubt in the valour of your awful slaying; 

For this violent might of nature's sinewed springs 

Is right, my brave one, when to you it brings 

A weapon reddened in the great forge-fire 

Of human duty hammered by desire 

Of outraged justice till it glows white-hot. 

When this is so, my soldier, fear it not. 

When like a flame it leaps into the soul, 

Fusing man's mortal weakness to a whole 

Of godlike gleaming, terrible, divine, 

Cleaving the battle with the awful shine 

Of lightning white from the Great Throne on High, 

Fear it not then, my loved one. 

Come more nigh; 

Kneel with uncovered head and lowered eye. 
What is it then, this Holy Energy, 
This pure desire consuming for the Right ? 
It is the Incarnate Word made might. 



II 



12 



Belgian Art in Exile. 



Leve-toi, doux reveur, quand un peuple se leve ! 
O fier poete, 6cris ton ceuvre avec ton sang ! 
Regarde a 1'horizon, de son bras fremissant, 
La muse qui te tend la poignee d'un glaive ! 

Vois ! Sa lame flamboye et vibre de fureur; 
Sur son acier brulant la colere etincelle ; 
On dirait que 1'esprit d'un archange est en elle. 
Le verbe s'est fait glaive au nom de la douleur. 

Tes mains, tes poings, ton corps et ton cceur et ton 

ame, 

Les forces de tes nerfs, celles de ton esprit, 
Tu les dois projeter vers le gouffre maudit 
Ou le monstre germain darde son ceuvre infame ! 

Sois le juste vengeur; sois toi-meme la loi; 
Repousse le fle'au, frappe la bete immonde, 
Comme si la justice immanente du monde 
D'un coup, terriblement, s'e'tait dress6e en toi ! 

II faut pour que la vie en la lumiere vibre, 
Pour que le drapeau blanc de la paix soit plante, 
Des hommes pleins de force et d'humaine beaute, 
II faut sur les fronts clairs une pensee libre. 

Les forces dont les chocs font la ruine et la mort, 
Dont le pouvoir mauvais et lache perpetue 
Tout ce qui fait le mal, ce qui souille et qui tue, 
Et met toute raison dans le poing du plus fort, 

Ce sont el les qu'il faut que du bras tu refoules 
Jusques au fond impur des ombres du passe, 
Ann que le droit seul a jamais soit fixe 
Dans 1'ame encore obscure et mouvante des foules. 

Pour que le sang divin fasse germer des fleurs 
Sur Pabime grondant de la terre asservie, 
Donnes, immens^ment, les souffles de ta vie 
Ou 1'on doit voir vibrer 1'aube des temps meilleurs. 

Donnes toi tout entier ! Que 1'ceuvre s'accomplisse ! 
Si Peffort est puissant, la victoire est au bout. 
Aux flancs du monstre noir, qu'on te trouves,_debout, 
Dans la rouge splendeur de ton grand sacrifice. 

Car lorsque les combats et les luttes sont tels, 
Que c'est Pide sainte et morale qui guide, 
Miraculeusement, dans leur presence fluide, 
Les anges et les dieux se melent aux mortels. 

Saint Georges, Saint Michel, supremes Egr6gores, 
Venant alors du fond des horizons vermeils, 
Reluisent, tout a coup, comme les beaux soleils 
Dans la pourpre et les ors de soudaines aurores. 

Et ils viennent a nous, au jour providentiel, 
Guerriers 6blouissants de nos causes sublimes, 
Quand des rois orgueilleux se grisent de leurs crimes, 
Quand le sang des martyrs crie vengeance au ciel. 



But the power that leaves behind nought but woe, 
That owns no allegiance to love, has no glow 
From the anvil of right, but from a world below 
Of cruelty, dripping-mouthed, of coal-black shame, 
Perfidious slippings, crimes without a name, 
Draws all its impulse this might, then, my son, 
Hurl it to the utmost past. 

Let it be done 

By thee, in all the glory of the strong, 
Whose love of good is fierce as hate of wrong. 
Yea, more than mortal strength bears thee along, 
For all the justice immanent in the world 
In the hearts of the nations widest hurled, 
Shall come to thee, and clasp thee by the soul, 
Possess thee, terribly erect, a frenzied whole, 
And ride thee like a Fury on the flank 
Of that obscene black monster, till his breath 
Shall be choked out. See ! his vast flanks grow lank 
And coldly drip with the great sweats of death. 
My little soldier, yes, your blood runs down, 
But it shall wrap you in a royal gown, 
The purple vestment suited to your crown. 

When shall the world lie quiet in the light 
Of peace, the moon-robed peace, the bannered-white. 
First in the dim soul of the multitude 
Must righteousness be fixed, a giant Rood 
Among the moving crowd so deep imbued 
With changing restlessness the one thing still, 
The one thing constant in the flux of will 
And then we seem to see through present tears 
Men, as the godlike statues of old years, 
Clothed with the beauty of humanity, 
With guileless hearts to which alone may be 
Entrusted, without fear, sweet liberty. 

But now, my soldier, in these fateful days, 
My poet, may we sing dear future lays? 
Nay, for beyond the battle's darkened strand, 
On the horizon grim, see Poetry stand, 
A terrible weapon in her upraised hand, 
The wrath of God gleams naked in her sword, 
Proclaiming in its Awful Light, the Word. 

And when It comes in our fierce fight to blend, 
Behold ! the Heavenly Warriors, too, descend. 
See sudden dawnings mighty suns unrolled, 
Vermilions blazing 'midst their ruddy gold. 
St. Michael and St. George ride out to-day 
With cloudy streaming from the bars of heaven, 
With standards gleaming with a message given. 
Mystic, august, divine, they sweep their way, 
Until triumphant sounds our battle roar, 
And then these Presences are seen no more. 






Belgian Art in Exile. 



Et ceux qui les ont vu dans leur ardent mystere 
Surgir, puis disparaitre au fond de Pinconnu, 
Savent bien, quand 1'instant du triomphe est venu, 
Qu'une puissance auguste a passe" sur la terre. 

C'est qu'une force occulte et divine est en eux; 
Qu'ils sont les grands destins inflexibles et sages, 
Et que leurs gestes blancs sont d'e"tranges messages 
Qui brillent dans la nuit des temps mysterieux. 

Ces temps sont revenus, car tout se renouvelle. 
Ceux qui savent tenir le glaive dans leur main 
Seront les enfants purs des meres de demain 
Qui renaitront au jour d'une vie nouvelle. 

Le he"ros est celui qui partage et fait siens 
Les douloureux espoirs des peuples qu'on oppresse. 
Et c'est pourquoi toujours et, tout droit, il se dresse, 
Tel qu'on le voit sculpte dans les marbres anciens. 

Et c'est lui qui revit, et c'est lui qu'on imite, 
Quand nos fils courageux, fermes et sans effrois, 
Aux torrents dechaines du Barbare aux abois, 
Font de leurs corps vainqueurs une rude limite. 

Cherche la mort parmi tous ces jeunes guerriers, 
Comme on cherche 1'amour, 1'esperance et la gloire, 
La source elise'enne ou les heros vont boire 
Le vin des immortels, a 1'ombre des lauriers ! 

Marche done, le front haut ! L'aurore purpurine 
Est pleine des frissons d'un pur soleil levant. 
Marche, libre et fort, et, le torse en avant, 
Tu sentiras le monde et Dieu dans ta poitrine ! 

JEAN DELVILLE. 



In the days to come, when the times are new, 
Who will our heroes be then ? Ah, Dieu ! 
Even those who in days of yore 
Raised the oppressed and cared for the poor. 
Yet they are the same as our heroes now, 
They are all 'neath the same compassionate vow 
That never shall cease the battle thunder 
Till the tyrant's flesh is rent asunder. 
Thus hoary with age, yet fresher with dew 
Than ever before, do dawn the " things new." 

And when through our land the peace music runs, 

We shall think of our beautiful living sons, 

Their pale forms strewn in heap on heap 

O'er the battlefield of mortal sleep. 

It was death they sought with the fierce desire 

That lovers' lips seek the red-rose fire. 

Death was their kiss of ecstasy, 

Their clasp of immortality, 

While glory like a gold mandorla set 

A frame about them though the eyes be wet 

And dimmed that gaze, the hearts shall not forget. 

Then forth, my soldier, my son, 

A sweet new dawn has begun, 

For a heavenly zest shall possess thy heart 

Till the strife be won. 

Then forth, my poet, my son, 

A sweet new dawn has begun. 

Adaptation by MISS G. M. LEESON. 




MODERN BELGIAN ART. 



L'ART BELGE MODERNE. 




[ODERN painting is largely an 
international affair, that is to say, there 
are far greater differences between 
the paintings of rival schools in the 
same country than between the official art of the 
various European states. In every country you 
will find men and women too capable of 
executing a good portrait, a pleasant landscape, 
a classical or historical subject, and without fore- 
knowledge it is almost impossible to detect in 
the case of any one of them the land of the 
author's origin. The art of the academies is much 
the same all over Europe, and in America as well. 

And yet below the surface of this academic 
sameness we feel there are real, if subtle, differ- 
ences distinguishing the art of one country from 
another. We feel that when all similarities have 
been recognised and admitted, there remains a 
residuum of national divergence, and that if only 
we could push our analysis deep enough, we 
could prove that there are such things, for 
example, as Spanish painting, Italian painting, 
Russian painting, and that these are distinct and 
not the same. 

A great Belgian artist, Alfred Stevens, has 
told us that " a painter must be the child of his 
own time, and must yield to the influence of the 
sun, and of the land of his birth and early educa- 
tion." Notwithstanding the greater facilities for 
travel and international communication that now 
exist, the law still holds good in our own days. 
Our first enquiry, then, should take the form of 
an endeavour to disentangle the prevailing 
characteristic of modern Belgian paintings. 

Anybody who looks carefully through the 
series of reproductions which embellish this book 
is likely to be impressed by one fact which no 
variety of subject and treatment can altogether 
conceal. That fact is the intense love which 
these Belgian artists in exile have for their own 
country. It is this dominating emotion, far 
more than any kinship in technique, which 




S tendances de la peinture moderne 
constituent un mouvement inter- 
national, c'est a dire qu'il existe de 
bien plus grandes differences entre 
la peinture d'ecoles rivalles dans un meme 
pays qu'entre 1'art officiel de tout les pays 
d'Europe. Dans chaque pays on trouve des 
hommes des femmes aussi capables de faire 
un bon portrait, un paysage agreable, ou de 
trailer proprement un sujet classique ou histori- 
que ; sans avertissement prealable il est presque 
impossible de discerner la difference de nationa- 
lite de leurs auteurs. L'art academique est 
semblable aussi bien dans toute 1'Europe qu'en 
Amerique. Et cependant sous cette meme 
ecorge d'academisme nous sentons une difference 
reelle quoique subtile distinguant 1'art d'un pays 
de celui d'un autre. Apres avoir constate toute 
ces similitudes, il reste une part de divergences 
nationales et en poussant un peu plus loin 
1'analyse on pourrait prouver 1'existence d'une 
peinture Espagnole, Italienne, Russe, distinctes 
1'une de 1'autre. 

Un grand artiste beige Alfred Stevens a dit : 
r artiste doit tre de son epoque il est en quelqve 
sorte la synthese, I'dme de son pays natal, le 
produit de ses sensations premieres, et malgre 
les grandes facilites des communications inter- 
nationales actuelles, sa pensee reste vraie. Notre 
premier objet sera done de chercher a demeler 
la caracteristique predominante de la peinture 
Beige moderne. Si on parcourt soigneuse- 
ment la serie des belles reproductions qui con- 
stituent 1'interet de cet album on est surpris par 
un fait que ni la variete des sujets ni la diffe"r- 
ence de technique ne peut cacher, c'est 1'amour 
ardent des artistes Beiges pour leur pays et 
cette emotion dominante bien plus que n'importe 
quelles qualites de metier les relie a leurs 
ancetres du 1 7 me siecle ; on peut dire des pein- 
tres beiges modernes comme des petits maitres 
flamands de cette epoque que I'amour de leur pays 



Belgian Art in Exile. 



relates them to their ancestors of the seventeenth 
century ; and of the modern Belgians, as of the 
Little Masters of Old Flanders, we may truly 
say that love of country and contentment in 
peaceful domesticity have made them pre- 
eminent as painters of the homeland and the 
hearthside. Since it would be invidious to 
single out one among the many talented living 
artists working in this genre, let me content 
myself with citing Alfred Stevens as a supreme 
example of an interpreter in exquisite colour 
of the domestic beauty of the hearth. Rightly 
indeed was this modern master styled the Ter- 
borch of the nineteenth century. 

Belgian artists, then, have lovingly confessed 
their joy in the homeland through a series of 
paintings which re-convey the charm of their 
picturesque cities as well as of the countryside, 
but a great many of them and these by no means 
the least distinguished have also " yielded to 
the influence of the sun." Towards the end of the 
nineteenth century landscape painting became 
almost an act of sun-worship, and Belgian artists 
were among the devotees. At least two of them 
MM. Emile Claus and Theo. Van Ryssel- 
berghe will certainly be reckoned among the 
high priests by future generations. True the 
impulse came to Belgium from France, as pre- 
viously it had come to France partly from our 
English Turner; but if Belgian artists with 
one great exception I shall mention later have 
been chary of experiment and innovation, they 
have yet known how to absorb the good of the 
new without losing the best of the older tradi- 
tion. 

Nothing less than a revolution in painting was 
effected by the impressionist painters of the 
eighties, who revealed the prismatic splendour 
of sunlight with a truth and brilliance never pre- 
viously approached in painting. They taught 
painters, and even some amateurs, to see colour 
in shadows as well as in the lights ; to realise that 
the important thing about a blue, for example, 
was not merely whether it was light or dark, but 
whether it inclined towards blue-green or violet. 
They opened the eyes of mankind and purified 
our vision of colour, and having enlarged the 



et de la paix domestique en font les poetes emus 
de la patrie et du foyer. Pour ne pas sortir 
des generalites, je citerai feu Alfred Stevens 
comme un exemple de cette interpretation 
(combien exquise de couleur) de la beaute 
familiale du foyer et c'est bien exactement que 
ce maitre fut appele le Terborck du 19* 
siecle. 

Les artistes Beiges ont amoureusement con- 
fesse leur amour pour leur pays en une serie de 
peintures evoquant le charme de leurs cites 
pittoresques, de leur campagnes fecondes. Une 
grande partie, d'entre eux et parmi les plus 
renommes ont subi 1'influence ardente de la 
lumiere; vers la fin du I9 me siecle la peinture 
du paysage devint en quelque sorte un hymne 
d'amour au soleil, les artistes Beiges furent de 
ses plus fervents poetes et deux d'entr'eux cer- 
tainement Emile Claus et Theo. Van Ryssel- 
berghe seront reveres comme les grands prStres 
de ce culte lumineux par les generations futures. 
Le mouvement vint de France il est vrai comme 
il etait d'ailleurs venu en France en grande 
partie sous 1'egide de peintre anglais Turner; 
mais si les artistes Beiges, a part une grande 
exception que j'indiquerai plus loin, ont etc 
sobres de recherches et d'innovations, ils ont 
su s'approprier ce que le principe avait de bon 
sans perdre leurs merveilleuses qualites tradi- 
tionelles. Les peintres impressionistes vers 
1800 creerent une veritable revolution en 
revelant la splendeur prismatique de la lumiere 
avec une verite, une puissance qui n'avait jamais 
etc atteintes. Ils enseignerent aux peintres, aux 
amateurs meme a voir de la couleur dans les 
ombres comme dans les lumieres, a comprendre 
que par exemple a propos d'un bleu, la chose 
importante, est de savoir si c'est un bleu 
vert, ou un bleu violet plutot qu un bleu 
sombre ou clair ils ouvrirent les yeux de 
I'humanite et purifierent notre vision de la 
couleur, elargissant le cercle de la peinture a ce 
point de vue et cela seul les rendra immortels. 
Mais dans leur preoccupation majeure de la 
Lumiere : le personnage principal de tout 
tableau comme certains 1'affirment, dans leurs 
efforts pour rendre ses effets passagers, ces 



i6 



Belgian Art in Exile. 



boundaries of painting where colour is con- peintres Frangais, certains d'entre eux tout au 



cerned, for this alone they are immortal. 

But in their pre-occupation with light the 
principal personage in any picture, as one of 
their number affirmed in their concentration on 
recording fleeting colour effects, these French 
painters, certain of them at all events, were apt 
to be careless in the construction of their compo- 
sition. Hence came the violent reaction in 
France in favour of more simplified and heavily 
emphasised design. In Belgium the reaction 
was not needed 

Our own Stevenson asserts in one of his 
essays, " The motive and end of any art what- 
ever is to make a pattern." The Belgian 
impressionists never forgot this truth, and this is 
where they differ from the majority of French 
impressionists. In the domain of impressionism 
or luminism, the culminating technical achieve- 
ment in art of the nineteenth century, it may be 
said with sufficient justice that this is the special 
contribution of Belgium, that to the truth and 
beauty of prismatic colour it added the distinc- 
tion of well-thought-out design. 

The justice of this contention is borne out by 
more than one of the paintings reproduced in 
this book. Even where the painter's almost 
furious analysis of colour is self-evident, you will 
never find him neglectful of the pattern, the web 
that contains not only colour, but also line and 
masses. 

But important and valuable as this may be, 
it is not the sum of Belgium's contribution to 
modern art. "A painter must be the child of 
his own time," and what is more vitally typical of 
our time than our vast industrial system? Bel- 
gium has been and, please God, will be again 
a great industrial country, and it was a Belgian 
artist who first saw and recorded the artistic 
interest in industrial life. Constantin Meunier, 
painter and sculptor, one of the very greatest 
artists of modern times, has had a profound 
influence on art far beyond the bounds of his 
native Belgium. Our own Mr. Brangwyn is 
indebted to Meunier, the first great artist to show 
us the epic grandeur of toil in the mines and the 



moins, negligerent le dessin et la composition de 
leurs tableaux. De la vint en France une 
violente reaction en faveur d'un dessin plus 
formel d'une simplicite plus grande. En Bel- 
gique cette reaction fut inutile. FAnglais 
Stevenson dans un de ses essais dit: Le motif 
et la fin de tout art est de creer un canon; les 
impressionistes beiges n'oublierent jamais cette 
verite et c'est ce qui les differencient de la 
majorite des impressionistes Francais. Dans le 
domaine de l'impressionisme, du luminisme, la 
plus grande decouvetre technique en art du I9 me 
siecle, on peut dire avec justice que c'est la 
la contribution directe de la Belgique. A la 
verite, a 1'exactitude, a la beaute de 1'effet pris- 
matique de la couleur ils ajouterent la distinction 
d'un dessin savant et senti. La verite de cette 
constatation est prouvee par plus d'une des 
reproductions de ce livre. Meme lorsque 
1'analyse de la couleur est poussee a son point 
extreme on ne trouvera jamais de negligence 
dans la forme, la composition est interessante 
aussi bien par la ligne et les masses que par la 
couleur. Mais quelqu'important que cela 
puisse etre ce n'est pas la la somme des apports 
de la Belgique a 1'art contemporain, un peintre 
doit ttre de son tpoque, et qu'y a t'il de plus 
puisemment caracteristique de 1'epoque que notre 
vaste systeme industriel. La Belgique a etc et 
sera, plaise a dieu, un grand pays industriel et ce 
fut un artiste beige qui le premier percut et 
realisa la beaute, la grandeur de la vie indus- 
trielle. Constantin Meunier, peintre et sculpteur, 
un des plus grands artistes des temps presents 
cut en art une influence profonde qui s'etendit 
bien au dela des limites de sa Belgique natale ; le 
grand Brangwyn en est un exemple. Meunier, 
est le premier grand artiste qui sut montrer la 
grandeur epique du labeur des mines ou des 
metallurgies, il est le Millet de 1'industrialisme ; 
peintre, sculpteur, poete aussi ne nous en 
montrant pas seulement un des aspect mais 



1 *-* <-fewi~s v<\^ v 411U1O 

He is the Millet of industrialism, nous en donnant une vision complete, enorme, 



Belgian Art in Exile. 



painter, sculptor and poet also, showing us not 
only a part of it, but the whole, its nobility, 
its pathos, its exhilaration, its tragedy. Had 
Belgium done nothing but produce Constantin 
Meunier, her glory in art would be endless. But, 
as we may see in these pages, she has produced 
artists in many styles sculptors, etchers and 
painters, realists, romanticists, impressionists 
and symbolists. Their work speaks for them, 
and one may be confident in silence. Excepting 
France, the parent of us all in pictorial and 
plastic art, Belgium can show as goodly an array 
of talent as any country in Europe, and honour- 
able and considerable as her achievements in 
modern art already are, we may confidently 
expect them to be even greater in the early 
future. 

All great art springs from great emotion, and 
just as the wonderful artistic activity in the 
Netherlands during the seventeenth century was 
inspired by the wave of patriotism that broke the 
Spaniard's yoke, so in the twentieth century, 
when the Germans have been swept out of the 
fair land they have fouled and defiled, the heroic 
emotions which have inspired acts of unforget- 
able valour and self-sacrifice on the battlefield 
will surely beget equally immortal and glorious 
works of art among Belgian artists on Belgian 
soil. 

FRANK RUTTER, B.A., 

Curator of tkt Leeds Art Gallery- 



profonde avec ses noblesses, son pathos, ses 
joies, ses tragedies quotidiennes. Si la Belgiquc 
n'avait produit que Meunier sa gloire artistique 
serait immortelle. Mais comme nous le voyons 
en ces pages elle a produit des artistes nom- 
breux et divers, sculpteurs, peintres, graveurs, 
realistes, romantiques, impressionistes, sym- 
bolistes: leurs oeuvres parlent pour eux. A 
part la France maitresse en tout les arts, la 
Belgique peut montrer une pleiade d'artistes 
egale a celle de n'importe quel pays et les 
resultats merveilleux de son ecole moderne nous 
font augurer en confiance de sa grandeur dans 
1'avenir. L 'emotion est la source de tout grand 
art, et, ainsi qu'au i7 me siecle la merveflleuse 
efflorescence artistique dans les Pays-Bas 
trempa ses racines dans la vague de patriotisme 
qui renversa la domination espagnole, ainsi 
au 2O me siecle. quand les allemands auront etc 
balayes de ce beau pays qu'ils souillent de leur 
ignominie, les sentiments heroiques qui ont 
inspires les actes inoubliables de valeur et 
d'abnegation engendres dans ITiorreur des 
champs de bataille, creeront des oeu\Tes d'art 
glorieuses et immortelles par des artistes Beiges 
sur un sol Beige. 

FRANK RUTTER, B.A., 

Canserrateur dtt Huset de Leeds. 

Traduction d'EcocARD J. CLAES. 




NOTE CURSIVE SUR LA PEINTURE 

EN BELGIQUE. 

SHORT NOTES ON BELGIAN PAINTING. 




ARM I les peintres vivants qui 
caracterisent le mieux 1'art en 
Belgique, deux courants d'opinions 
contraires s'affirment. L'un des deux 
groupes a etc erronement denomme mystique. 
On y compte comme principaux representants, 
Delville, puis Khnopff, Montald, Ciamberlani, 
Fabry, Mellery, Leveque. 

Ces peintres ne meritent pas cette epithete, 
d'ailleurs fort denaturee. 

Certes, 1'art n'est point un metier de luxe. 
L'art plastique a pour but unique de faire la 
grande image, 1'image de la vie, avec la chaleur 
de son sang, sa respiration douloureuse, ses 
efforts penibles dans les nuages de la souffrance. 
Dans la vie il n'y a que la vie meme, dans 
rhomme, le peintre ne peut voir que l'homme. 
C'est pourquoi Rembrandt demeure le plus 
tragiquement vrai et le plus pur des peintres. 

Au lieu de peintres mystiques, on cut pu dire 
peintres qui pensent et qui composent et Jean 
Delville en serait alors le modele. II est de la 
grande lignee. Ce que Delville cree repond aux 
lois de 1'architecture decorative, c'est a dire que 
tout est compose, pense, execute selon 1'esprit 
des monuments decores. II est a la fois Grec 
et Florentin, mais avec une pensee directrice 
moderne. Fabry a orne des edifices publics, 
sur des fonds pales, divises par des nuages ou 
par des couronnes d'arbres, il dresse de grandes 
figures nues, cuivrees, presque rousses. Ciam- 
berlani dans ses hymnes au travail ou a la 
femme, fait apparaitre plus de relief, ses figures 
respirent a la fois le calme et la fierte ; ses 
couleurs sont amorties et fines. 

Pendant longtemps, Delville, Khnopff, Fabry 
et Ciamberlani furent consideres comme des 
idealistes. Le premier se montre tel dans ses 
tres beaux decors du Palais de Justice de 




JMONGST the living painters whose 
work is most typical of Belgian art, 
two currents of thought can be traced. 
One of these two groups has been 
erroneously called the Mystics. The foremost 
representative of this school is Delville, then 
come Khnopff, Montald, Ciamberlani, Fabry, 
Mellery, Leveque. 

The term does not apply to these painters, 
moreover some violence has been done to its 
original meaning. Art certainly does not deal 
in luxuries. The sole aim of plastic art is to 
give the one great picture the picture of Life, 
warm-blooded, labouring for breath, struggling 
painfully in a cloud of suffering. In life there 
is but life itself, and in man the painter can see 
but man, this is why Rembrandt will always 
remain the most tragically deep and true of 
painters. 

Instead of mystics, these painters might have 
been called the thinkers, thinking in terms of 
the space they have to cover. Then Jean Del- 
ville would have served as the type of this 
school. He belongs to the race of great 
painters. Whatever Delville creates follows the 
laws of decorative architecture, that is to say, 
that composition, thought and execution are 
according to the spirit of monumental art. He 
is at the same time Greek and Florentine, yet 
in thought he is modern. Fabry has decorated 
public buildings: on a light background, 
divided by clouds or by tree-tops, he places great 
nude bronzed figures, almost copper-coloured. 
Ciamberlani in his paeans on work or on women 
shows more relief. His figures breathe a spirit 
of restfulness and pride ; his colouring is subdued 
and delicate. 

For a long time Delville, Khnopff, Fabry and 
Ciamberlani were looked upon as idealists. The 



18 



Belgian Art in Exile. 



Bruxelles, ou de grandes et severes figures, 
incorporant des idees universelles sur la justice, 
se dressent, parmi la vaste architecture de 
marbres noirs et verts, en harmonies d'or et de 
pourpre. C'est un penseur et un dessinateur 
incomparable. Le second, Fernand Khnopff, est 
tres connu parmi les derniers admirateurs de 
Biirne- Jones. Generalement, il nous montre 
une seule figure grave et dessinee avec sobriete 
et une simplification qui eloignent d'elle les 
esprits un peu superficiels. Tous ces peintres 
sont d'excellents techniciens et des artistes 
originaux. 

L'autre groupe de peintres, n'est pas moins 
riche en bons techniciens. Le peintre beige, en 
effet, est un ouvrier splendide. 

Laermans, parmi ceux de ce groupe, qui est 
realiste, a senti I'homme un peu de la meme 
fagon que Dostoiesvski le decouvrit. Le long 
d'un mur blanc, aux rayons d'un soleil impitoy- 
able, marchent quelques pauvres, ils sont 
las, quelques-uns sont aveugles, les vieilles 
nippes qu'ils portent font partie de leur corps. 
Ils marchent, douloureusement resignes, 1'ceil 
decu et froid sous un beau ciel bleu ou de petits 
nuages blancs s'avancent. Leon Frederic, 
Mertens, Thomas et quelques autres se rangent 
dans ce meme groupe. 

A cote de figuristes tels que Khnopff et Del- 
ville, Frederic, Laermans, Van Rysselberghe, 
1'impressionniste de style, il y a des paysagistes. 
Les paysages constituent la plus abondante part 
de la production picturale de la Belgique. 

Des efforts des paysagistes et de 1'impression- 
nisme sont sortis les peintres Claus, Baertsoen, 
Franz Courtens, Victor Gilsoul, et quelques 
autres, tels que Binard, Saedeleer, Paulus, etc. 
La fraicheur des ceuvres de Claus participe de 
celle des plantes aquatiques. L'air circule dans 
ses paysages jusque sous les feuilles des arbres. 
L'ombre des nuages scintillants y passe sur des 
prairies humides ou des vaches mangent de 
hautes herbes. Baertsoen vit au bord des 
canaux de Gand. Sa vision est plus sombre, 
plus encombree de maisons, de digues, de 
chalands. La melancolie lourde des soirs 
embues plane sur toutes ses scenes. Claus et 



first of this group shows himself as such in his 
very beautiful decorations of the Palais de 
Justice at Brussels, in which noble and severe 
figures, representing universal ideas of justice, 
appear amongst the black and green marble of 
that gigantic pile, in harmonies of gold and 
purple. He is an incomparable thinker and 
draughtsman. The second, Fernand Khnopff, 
is well known among the more recent admirers of 
Burne-Jones. He usually shows us one solitary 
serious figure, drawn with a restraint and sim- 
plicity which estranges the more superficial. 
All these painters display great technical skill, 
and possess decided originality. 

The next group of painters is in no wise 
inferior as regards technique the Belgian 
painter is a splendid craftsman. Laermans, 
amongst painters of this realistic school, sees 
man much as Dostoiesvski beheld him. Along 
a white wall, under the pitiless sun, walk a few 
poverty-stricken wretches. The old rags that 
they wear have become part and parcel of their 
bodies, they trudge on, in resigned misery, 
with cold, disappointed eyes, under a deep blue 
sky in which are sailing little white clouds. 
Leon Frederick, Mertens, Thomas, and some 
others belong also to this group. 

By the side of figure painters such as Khnopff 
and Delville, Frederick, Laermans, Van Ryssel- 
berghe, the impressionist of great style, there are 
the landscape painters. Landscapes make up 
the greater part of the pictorial production of 
Belgium. The combined schools of landscape 
painting and impressionism have produced such 
landscape painters as Claus, Baertsoen, Franz 
Courtens, Victor Gilsoul, and some others such 
as Binard, Saedeleer, Paulus, etc. Claus' work 
has in it something of the freshness of water 
plants, you can feel the air stirring in his 
pictures, beneath the very foliage of his trees ; 
sunlit clouds cast their shadows over the damp 
meadows where the cows pasture in the long 
grass. Baertsoen lives by the side of the canals 
of Ghent. His outlook is darker, more cum- 
bered with houses and dykes and barges. The 
oppressive sadness of misty evenings lies heavy 



2O 



Belgian Art in Exile. 



Baertsoen representent les deux poles de 
1'inspiration des paysagistes beiges; la joie 
optimiste du soleil, et la detresse des villes 
mortes. 

II est difficile de donner, sous la forme d'une 
courte note, une idee exacte de 1'importance de 
1'ecole beige. Nous avons done fait pressentir 
qu'on peut grouper les peintres beiges de valeur 
sous deux bannieres ; les idealistes (decorateurs, 
presque tous), et les realistes, et, si Ton veut, 
sous une troisieme, les paysagistes. Nous 
avons nomme les chefs et les doyens des deux 
ou des trois groupes dont, du reste, les qualites 
de puissance et de variete sont representees 
dans la presente publication, a cote des repro- 
ductions nombreuses d'oeuvres des artistes 
interessants dont le manque de place ne 
nous a permis que de citer les noms, mais 
qui se recommandent par leurs qualites de 
maitre, notamment celles de Dclaunois, H. 
Richir, Verhaeren, Bastien, Wagemans, Blieck, 
Ensor, Debruycker, Jefferys, Ed. J. Claes, 
Motte, Marcette, J. Smits, Ad. Hamesse, 
Firmin Baes, A. Lynen, M. H. Meunier, etc. 

JEAN DE BOSCHERE. 



on all his scenes. O-MS and Baertsoen repre- 
sent the two poles in the spirit of Belgian 
landscape painters, the optimistic joy of the sun 
and the anguish of dead cities. 

It is difficult to convey in a short note an 
accurate impression of the importance of the 
Belgian school. We have therefore suggested 
that the greater Belgian painters can be divided 
into two camps the idealists (mostly decora- 
tors) and the realists, with, maybe, a third 
group the landscape painters. We have 
named the leaders and veterans of these groups, 
the strength and versatility of which are repre- 
sented in the present publication, together with 
many reproductions of paintings of interesting 
artists whose names we cannot do more than 
mention, owing to lack of space, but whose 
sterling qualities will well repay study, such as 
Delaunois, H. Richir, Verhaeren, Bastien, 
Wagemans, Blieck, Ensor, Debruycker, Jefferys, 
Ed. J. Claes, Motte, Marcette, J. Smits, Ad. 
Hamesse, Firmin Baes, A. Lynen, M. H. 
Meunier, etc. 

Translated from 

JEAN DE BOSCHERE. 




INDEX ALPHABETIQUE 
BIOGRAPHIQUE. 

ALPHABETICAL BIOGRAPHICAL INDEX. 



ET 



PEINTRES. 



PAINTERS. 



ALBERT BAERTSOEN (Gand). 

DK L'ACADEMIE ROYALE DE BELGIQUE. Le peintre 
puissant des vielles cites flamandes, il en fait sentir tout le 
charme contemplatif. Aquafortiste et lithographe d'un grand 
talent. II est un des artistes les plus apprejie de notre ecole 
Beige moderne. 

ALFRED BASTIEN (Bruxelles). 

Le plus divers de nos peintres a plante son chevalet sous 
toutes les latitudes. Son puissant talent de coloriste a su rendre 
merveilleusement la splendeur de 1'Orient ou 1'ombre des forets 
brabanconnes. 

MAURICE BLIECK (Bruxelles). 

Peintre talentueux des ports et des grandes cites maritimes 
et figuriste au coloris opulent. 

JULIEN CELOS (Anvers). 

S'est specialise dans la peinture des villes de Flandre 
helas aujourd'hui detruites ; aquafortiste habile. 

ALBERT GELS (Bruxelles). 

Portraitiste delicat et subtil, plein de distinction. 

CIAMBERLANI (Bruxelles). 

Un de nos grands decorateurs de style. 

EDOUARD J. CLAES (Bruxelles). 

Portraitiste ; peintre de figure. Evoque avec gr&9e la souplesse 
des silhouettes feminines. Aquafortiste au talent plein d'acuite. 

EMILE GLAUS (Astene, Flandre). 

DE L'ACADBMIB ROYALE DE BELGIQUE. Le peintre de la 
lumiere. La magie de son pinceau a su rendre le charme fugitif 
et divers du soleil; nul mieux que lui n'a chante la merveille 
des campagnes flamandes. Un des majtres de 1'ecole Beige 
moderne. 

ANDRE CLUYSENAER (Bruxelles). 
Portraitiste distingue et interessant. 

AUG. DANSE (MODS). 

EX-PROFESSEUR A L'ACADEMIE DE MONS. Graveur et 
aquafortiste puissant. Son ceuvres trfis etendue comprend des 
planches remarquables telles : " Le depart pour Cythfire " de 
Watteau et la " Kermesse flamande " de Rubens. 

HIPPOLYTE DAYE (Anvers). 

Peintre talentueux des joies maternelles et des graces deli- 
cates de la prime enfance. 

G. DE BOSCHERE (Bruxelles). 

Illustrateur curieux et precieux d'un charme etrange et 
symbolique. Auteur d'ouvrages remarquables, trs goutes des 
litterateurs et des artistes. 



OF THE ROYAL ACADEMY OF BELGIUM. A powerful painter 
of old Flemish cities, he makes their quiet charm deeply felt. 
Etcher and lithographer of great talent. He is one of Belgium's 
most appreciated painters. 



This most versatile of our painters has set up his easel 
in every latitude. His great gift for colour has enabled him 
to express equally admirably the splendour of the East and 
the quiet shadows of Brabanconne forests. 



Talented painter of seaports and great maritime cities. 
Figure painter also ; rich colouring. 



Specialises in the painting of Flemish towns to-day, alas, 
destroyed; also interesting etcher. 



Painter of delicate and subtle portraits, full of distinction. 



One of our great decorative artists of mark. 



Portrait and figure painter. Expresses with much charm 
the suppleness of feminine silhouettes. Etcher also, full of 
skill and acuteness. 



OF THE ROYAL ACADEMY OF BELGIUM. The painter of 
light. The magic of his brush expresses the fugitive and varied 
charm of sunlight ; no one better than he has celebrated the 
marvels of the Flemish countryside. One of the masters of the 
modern Belgian school. 



Distinguished and skilful portrait painter. 



EX-PROFESSOR OF THE ACADEMY OF MONS. Engraver and 
etcher of power. His numerous works comprise such remarkable 
plates as Watteau's " Departure for Cytheria," and " The 
Flemish Fair " by Rubens. 



Talented painter of maternal joys and the delicate charm 
of infancy. 



Illustrator, curious and precious, of weird and symbolic 
charm. Author of remarkable works, much appreciated by 
litterateurs and artists. 



21 



22 



Index. 



JULES DEBRUYCKER (Gand). 
Aquafortiste vigoureux ; interprete avec une intensite caus- 
tique le sens caricatural des vielles cites de Flandre et de leur 
grouillante population. 

JAN DECLERCK (Ostende). 

Peintre tres moderniste au colons vigoureux et atmosph6- 
rique. 

DE LA MONTAGNE (Anvcrs). 
Portraitiste a 1'oeuvre deja nombreuse. 



Vigorous etcher ; interprets with caustic intensity the 
" caricatural side " of the old cities of Flanders, with their 
swarming populations. 



A. DELAUNOIS (Louvain). 
A peint avec ferveur les vielles eglises enveloppees 



de 



lumiere que tamise les riches verrieres gothiques et/de larges 
paysages monastiques aux cieux tourmentes. 

ALBERT DELSTANCHE (Bruxelles). 

Un de nos meilleurs aquafortistes et graveur sur bois. Illus- 
trateur de nombreux ouvrages artistiques. 

JEAN DELVILLE (Bruxelles). 

PROFESSEUR A L'ACADEMIE ROYALE DE BRUXELLES. 
D6corateur au style puissant et symbolique plein de grandeur 
et de pensee ; & decore le Palais de Justice a Bruxelles et le 
Musee du Luxembourg a Paris ; s'enorgueillit de posseder son 
ficole de Platon. Jean Delville est egalement un nos poetes 
des plus distingues. Auteur de nombreux ouvrages notamment 
" La Mission de I 1 Art," traduit en anglais, et edite par la maison 
Francis Griffith de Londres. 

VALERIUS DE SAEDELEER (Gand). 

Interprete le paysage avec toute la ferveur et 1'emotion 
d'un gothique. 

LEON DE SMET (Gand). 

Eleve de Claus et comme lui peintre des effets lumineux 
et varies. Paysagiste portraitiste et figuriste d'un egal talent. 

M M B. M. J. DESTREE-DANSE (Mons). 

Aquafortiste originale ; possedant comme lui de fortes 
qualites. filfive de son pere le graveur Danse. 

AUGUSTE DONNAY (Liege). 

Peintre de la vallee Mosane ; illustrateur des bords de 
1'Ourthe ; a decorfe dans un style tres moderne 1'eglise d'Hastiere. 

JAMES ENSOR (Ostende). 

Peintre et aquafortiste ; fantasque au talent tres caracteris- 
tique. Son ceuvre peinte d'une recherche de coloris a la fois 
exquise et riche sont aussi diverses que nombreuses. 

EMILE FABRY. 

PROFESSEUR A L'ACADEMIE DE BRUXELLES. Grand decora- 
teur ; a cree des formes harmonieuses se mouvant dans des 
paysages de reve ; a decore le theatre de la Monnaie a Bruxelles 
et 1'Hotel de Ville de St. Josse. 

LEON FREDERIC (Bruxelles). 

A peint avec une intensite faite de realisme et de charme 
local la Wallonie avec ses campagnes pittoresques et ses habi- 
tants jeunes et vieux ; a decore la salle des Milijes a 1'Hotel 
de Ville de Bruxelles. 

W. GEETS (Malines). 

Ex-DlRECTEUR DE L'ACADEMIE DE MALINES. De 1'eCOle 

des Devriendt ; a peint des scenes historiques d'un style moyen- 
ageux. 

VICTOR GILSOUL (Bruxelles). 

A peint d'opulents paysages aux tons lourds et puissants. 
(Un accident ayant brise les cliches nous regrettons de ne pas 
reproduire son ceuvre en couleur.) 



Painter, ultra-modern ; 
atmospheric effects. 



vigorous colourist ; painter of 



Portrait painter of numerous works. 

Paints, with much warmth of feeling, old churches lit with 
the glow from rich Gothic windows, and large monastic land- 
scapes beneath storm-clouded skies. 



One of our best etchers and wood engravers. Has illustrated 
many artistic books. 



PROFESSOR OF THE ROYAL ACADEMY OF BRUSSELS. Power- 
ful and symbolic decorative artist, full of grandeur and feeling; 
decorated the Palais de Justice, Brussels, and the Luxemburg 
Museum, Paris ; is proud of possessing a " School of Plato " 
of his own. Jean Delville is also one of our most distinguished 
poets. Author of " The New Mission of Art," with introductory 
notes by Edouard Schure and Clifford Barr ; edited by Francis 
Griffiths, Maiden Lane, Strand, London. 



Interprets, the countryside with all the fervour and emotion 
of the Gothic 



Pupil of Claus, and, like him, a painter of luminous and 
varied effects. Equally talented as portrait, figure, and 
landscape artist. 

Very original etcher ; full of strong qualities. Pupil of her 
father, the engraver Danse. 



Painter of the Mosanne Valley ; illustrator of the banks of 
the Ourth ; has decorated, in very modern style, the church 
at Hastiere. 



Painter and etcher ; fantastic and very original talent. 
His works, of a studied refinement in colour, equally exquisite 
and rich, are as varied as numerous. 



PROFESSOR OF THE ROYAL ACADEMY OF BRUSSELS. Great 
decorative artist ; has created harmonious forms moving in 
dreamland. Decorated the Grand Theatre, Brussels, and the 
Hotel de Ville, St. Josse. 



Has painted, with much realism and charm, Walloon, with 
its picturesque countryside and its inhabitants old and young. 
Decorated the Military Hall, Hotel de Ville, Brussels. 



EX-DlRECTOR OF THE ACADEMY, MALINES. Of the School 

of Devriendt ; painter of historical scenes in mediaeval style. 



Painter of rich and broadly painted landscapes. (An accident 
having happened to the blocks, we regret not being able to re- 
produce any of his work in colour.) 



Index. 



ADOLPHE HAMESSE (Bruxelles). 

Paysagiste; excelle a rendre le charme melancolique de DOS 
forets. 

FRANS HENS (Anvers). 

Mariniste de style ; ivoque en un colons merveilleux la magie 
des grands ciels mouilles de 1'embouchure de 1'Escaut. 

A. J. HEYMANS. 

Peintre de la Campine, dont il a su rendre toute 1'atmosphere 
vibrante. Luministe plein de grandeur et de charme. 

CHARLES HOUBEN (Verviers). 

Peintre Wallon; a chante les coins pleins de poesie de sa 
terre natale. 

MARCEL JEFFERYS (Bruxelles). 

Impressioniste. Son pinceau nerveux sait rendre avec charme 
et exactitude les jeux de la lumiere avec toute la fratcheur de 
1'Impression. 

FERNAND KHNOPFF (Bruxelles). 

MEMBRE DU CORPS ACADEMIQUE DK L'INSTITUT ROYAL DES 
BEAUX ARTS, ANVERS. Peintre au talent misterieux d'nn 
symbolisms, plein d'harmonie et de distinction ; a decore 1'Hotel 
de Ville de St. Gilles. 

EUGENE LAERMANS (Bruxelles). 

Chantre eloquent des misereux et des tragiques paysages de 
la banlieue des villes ; sa vision synthetique est tres impression- 
nante. 

ALEXANDRE MARCETTE (Bruxelles). 

Aquarellists habile universellement connu. Son pinceau 
a illustre toute la Flandre cotiere. 

CHARLES MERTENS (Anvers). 

Portraitiste, paysagiste, peintre d'interieurs, toujours avec 
n egal souci de la valeur et de 1'atmosphere. 

MARC HENRI MEUNIER (Bruxelles). 

Aquafortists au mitier subtil et vigoureux ; excelle a rendre 
la grandeur draraatique des larges horiions et des cieux 
tourmentes. 

JOHN MICHAUX (NIeuport). 

Mariniste au colons riche et puissant. 



JENNY MONTIGNY (Gand). 

Eleve de E. Claus; a herite de son mattre un colons riche 
et vibrant. 



EMILE MOTTE. 

DIRECTEUR DE L'AcADEMiE DE MoNs. Portraitiste 
talent. Le Musee du Luxembourg a Paris possede de lui 
interessant portrait autopsychique. 



de 
un 



ISIDORE OPSOMER (Anvers). 

PROFESSEUR A L'ACADEMIE DE LIERRE. Peintre robuste. 
Le charme des vielles masures, des tranquilles cites recueillics 
rerit dans--ses tableaux. Aquafortiste et lithographe. 

H. OTTEVAERE (Bruxelles). 

DIRECTEUR DE L'ACADEMIE COMMUNALE DE ST. JOSSE. 
S'est socialise dans le portrait et les paysages d'imagination. 

PIERRE PAULUS (ChStelineau). 

Le peintre du pays noir et des cites industrielles. 

ALBERT PINOT (Bruxelles). 

Portraitiste de talent; a peint le portrait de S.A.R. le Prince 
Leopold de Belgique. 



Landscape artist ; excels in rendering the melancholy 
charm of our forests. 



Marine painter ; expresses in marvellous colours the magic 
of the broad, moist skies overhanging the estuary of 1'Escaut. 



Painter of the " Campine," whose tremulous atmosphere he 
knows so well how to render. Painter of light effects, full of 
grandeur and charm. 

Walloon artist ; has celebrated the nooks and corners full 
of poetry of his native land. 



Impressionist. His vigorous brush renders with preciseness 
and charm the play of light with the brilliancy of the 
" Impression." 



MEMBER OF THE ACADEMICAL CORPS OF THE R.I.B.A., 
ANTWERP. Painter of mystery ; symbolist, full of harmony 
and distinction. Decorated the Hotel de Ville, St. Gilles. 



Eloquent depictor of beggars and of scenes in the outskirts 
of large towns. His synthetic vision is very moving. 



Skilful water-colour artist ; universally known. His brush 
has pictured all the Flanders coast. 



Portrait painter, landscape artist, painter of interiors, all 
with equal care for values and atmosphere. 



Etcher ; subtle and powerful. Excels in rendering the 
dramatic grandeur of broad and storm-clouded skies over large 
horizons. 



Marine painter ; rich and powerful colouring. 



Pupil of E. Claus. Has inherited from the master a sense 
of rich and vibrating colour. 



DIRECTOR OF THE ACADEMY OF MONS. Portrait painter of 
talent. The Luxemburg Museum, Paris, possesses an interesting 

autopsy chical portrait of him. 



PROFESSOR OF THE ACADEMY OF LIERRE. Robust painter. 
The charm of old tumble-down cottages in tranquil cities comes 
to life again in his pictures. Etcher and lithographer. 



DIRECTOR OF THE ACADEMY, ST. JOSSE. Specialises in 
portraits and landscapes of the imagination. 



The painter of the Black Country and industrial cities. 



Portrait painter of talent ; painted the portrait of S.A.R. 
the Prince Leopold of Belgium. 



Index. 



ARMAND RASSENFOSSE (Liege). 

de Rops. Peintre de figure et aquafortiste an 
metier remarquable. 

LOUIS RECKELBUS (Bruges). 
Paysagiste a la couleur vibrante. 

HERMAN RICHIR (Bruxelles). 

Ex-DlRBCTEUR DE L'ACADEMIB RoYALE DE BRUXELLES. 

Portraitiste. Son oeuvre nombreuse constitue une iconographie 
des personalites marquantes de Belgique. A peint le portrait 
de LL. MM. le Roi et la Reine des Beiges. 

MLLE. ALICE RONNER (Bruxelles). 

A su rendre admirablement le charme et la matiere des 
bibelots precieux, des riches tentures avec une vision delicate 
et une virtuosite remarquable. 

JEAN G. ROSIER (Malines). 

DIRECTEUR DE L'ACADEMIE DE MALINES. Portraitiste de 
talent et peintre delicat de scenes de genre. 

FRANS SMEERS (Bruxelles). 

Portraitiste; paysagiste de grande envergure au talent 
souple et original. 

MICHEL STERCKMANS (Bruxelles). 
Moderniste interessant a la couleur pleine de distinction. 

VICTOR UYTTERSCHAUT (Bruxelles). 

Aquarelliste au metier habile et charmeur. Son ceuvre 
nombreuse embrasse tout les aspects du paysage. 

MARTEN VAN DER LOO (Anvers). 

Aquafortiste; epris des vielles ruelles des maisons viellottes, 
au charme d'aieules. 

VAN DE WOESTYNE. 

Figuriste. Sa vision bien flamande et tres speciale 1'apparente 
aux gothiques dont il a 1'acuite dans le dessin avec un sens 
moderne de la couleur. 

FRANZ VAN HOLDER (Bruxelles). 

Portraitiste de grand talent. Les circonstances nous 
emoSchent de donner toute sa valeur. 

JOSSE VAN KRIEKINGE (Bruxelles). 

MEMBRE DE LA COMMISSION ADMINISTRATIVE DE L'ECOLE 
INDUSTRIELLE, SCHAERBEEK. Auteur de nombreux dessins de 
reconstitution et de projets architecturaux interessants; a 
dessin6 la page d'en tete de ce volume. 

THEO. VAN RYSSELBERGHE. 

Impressioniste de style. Sa palette prismatique a produit 
une oeuvre nombreuse qui est uh hymne merveilleux au soleil. 

FERNAND VERHAEGEN. 

Un jeune artiste Wallon qui a illustr& les coutumes bien 
spejiales de sa contree natale. 

A. VERHAEREN (Bruxelles). 

Le peintre opulent des interieurs et des choses. 

EM. VIERIN (Gand). 

Paysagiste; a evoque avec charme la poe'sie puissante des 
villages flamands. 

MAURICE WAGEMANS (Bruxelles). 

Un des bons peintres de notre ecole moderne. Son pinceau 
habile au coloris delicat nous a donne de nombreux morceaux 
interessants ; nus, portraits, scenes de genre, etc. 



Pupil of Rops. Figure painter and etcher of remarkable 
skill. 



Landscape painter ; bright and vigorous colourist. 



EX-DlRECTOR OF THE ROYAL ACADEMY OF BRUSSELS. 

Portrait painter. His numerous works form an iconography 
of remarkable Belgian personalities. Has painted the portraits 
of their Majesties the King and Queen of Belgium. 



Has rendered admirably the charm and composition of 
precious objects of art and rich tapestries, with delicate vision 
and remarkable skill. 



DIRECTOR OF THE ACADEMY, MALINES. Talented painter 
of portraits and of delicate scenes of " genre." 



Portrait painter ; landscape artist of much talent and 
great sense of the decorative. 



Modernist ; very interesting ; distinguished sense of colour. 



Water-colourist of skill and charm. His works, which are 
numerous, embrace every aspect of landscape. 



Etcher ; fascinated by old alleys with tumbling houses. 



Figure painter. His true Flemish and very personal vision 
traces back to the Gothics, whose acuteness in drawing he 
possesses, together with a modern sense of colour. 



Portrait painter of great talent. Circumstances unfortunately 
prevent us from showing here the best examples of his talent. 



MEMBER OF THE MANAGING COMMISSION OF THE SCHOOL OF 
INDUSTRY, SCHAERBEEK. Author of numerous reconstitutive 
drawings and interesting architectural projects ; has drawn the 
title-page of this volume. 



Impressionist of mark. His prismatic palette has produced 
numerous works which form a marvellous sort of hymn in praise 
of sunlight. 

A young Walloon artist who has depicted the customs 
peculiar of his native land. 



Rich colourist ; painter of interiors and still-life. 



Landscape painter ; has pictured with much charm all 
the essential poetry of the villages of Flanders. 



One of the best painters of our modern school. His brush, 
skilful at delicate colouring, has produced numerous works: 
nudes, portraits, etc. Very interesting and strong. 



Index. 



SCULPTEURS. 



BONNETAIN (Bruxelles). 

Un de nos meilleurs medaillistes, plein d'originalite et de 
puissance. 



SCULPTORS. 



One of our best medallists, full of originality and force. 



PIERRE BRAECKE (Bruxelles). 

Sculpteur au talent sobre et impressionnant. Son groupe 
"Les Femmes de PScheurs" que nous reproduisons i9i est une 
oeuvre pleine de tragique grandeur. 



Sculptor of sober and impressive talent. His group, " The 
Fishermen's Wives," which we reproduce here, is a work full 
of tragic grandeur. 



EUGENE CANNEEL (Bruxelles). 

A sculpte 1'enfance sous tous ses aspects en donnant tout 
le charme delicat, tout 1'imprevu des attitudes. 



Has sculptured childhood in its every aspect, giving all its 
delicate charm, all the unexpected in its attitudes. 



JEAN CANNEEL-DEPAEPE (Bruxelles). 
Un jeune eteve de Rousseau; plein de promesses. 



A young pupil of Rousseau ; full of promise. 



OSCAR DECLERCK (Ostende). 

Sa vision tres moderne est fort interessante et pleine de 
belles promesses. 



His very modern outlook is most interesting and full of 
promise. 



FLORIS DE CUYPER (Anvers). 

Portraitiste, plein de charme et de virtuosite. 



Portraitist, full of charm and skill. 



COMTE JACQUES DE LALAING. 

EX-PRESIDENT DE LA SECTION DES ARTS DE L'ACADEMIE 

ROVALE DE BELGIQUE. Sculpteur et peintre d'un grand renom- 
Auteur du celebre memorial aux soldats Anglais morts en 
1815 cimetiSre de Bruxelles. 



EX-PRESIDENT OF THE ART SECTION OF THE ROYAL 
ACADEMY OF BELGIUM. Sculptor and painter of much renown. 
To his genius is due the memorial to the English soldiers killed 
in 1815, in the cemetery, Brussels. 



GODEFROID DE VREESE (Bruxelles). 

Medailliste de reputation mondiale ; a grave dans le cuivre 
les personnalites et les sujets allegoriques les plus divers. Auteur 
des pieces de monnaie Beiges. 



Medallist of world-wide reputation ; has engraved on copper 
the most varied personalities and allegorical subjects. Author 
of the designs for the Belgian coinage. 



PAUL DUBOIS. 

PROFESSEUR A L'ACADEMIE ROYALE DE BRUXELLES. Son 
talent renomme est plein de delicatesse et de charme. 



PROFESSOR OF THE ROYAL ACADEMY OF BRUSSELS. His 
renowned talent is full of delicacy and charm. 



JOSUE DUPON (Anvers). 

PROFESSEUR A L'ACADEMIE D' ANVERS. Animalier de talent 
sait rendre avec intensite toute la souplesse tendue des felins. 

J. CASPAR. 

Son ebauchoir habile s'est consacre a rendre le cote fugitif 
des animaux en mouvement avec une grande intensite d'expres- 
sion. 

JEAN HERAIN (Bruxelles). 

Statuaire de talent; a des ceuvres dans divers monuments 
publics. 



PROFESSOR OF THE ACADEMY, ANTWERP. Clever animal 
sculptor. His talent depicts to perfection the delicate supple- 
ness of the feline race. 



His skilful chisel has been devoted to the expression of the 
fleeting aspects of animals in motion, accomplished with much 
vigour. 



Sculptor of talent ; has work in various public buildings. 



JULES LAGAE. 

Portraitiste de grand talent ; a execute dans le marbre et le 
bronze des bustes et des groupes pleins d'intensite. II est 
1'auteur du fameux monument de 1'Independance a Buenos 
Ayres. 



Portraitist of very great talent ; has executed in marble 
and bronze busts and groups of much intensity of feeling. 
Author of the famous Independence Memorial at Buenos Ayres. 



GEORGES MINNE (Gand). 

Son talent varie et puissant a embrass6 avec une egale 
mattrise toutes les modalites de la plastique. 



His varied and powerful talent has covered with an equal 
mastery all the range of possibilities in the plastic art. 



26 



Index. 



AUGUSTE PUTTEMANS (Bruxelles). 

A nne oeuvre importante empreinte d'un souci decoratif et 
d'un sentiment tres profond. Auteur du monument a Ferrer 

a Bruxelles. 



Important work sculptured with decorative care and 
profound feeling. Sculptor of the monument to Ferrer at 
Brussels. 



EGIDE ROMBEAUX (Bruxelles). 

Un des plus grands sculpteurs de la Belgique et de 1'epoque 
moderne ; son talent merveilleux, d'une envolee et d'une puis- 
sance remarquable 1'apparen te aux grands maltres de la statuaire. 
Les artistes Anglais ont rendu d'ailleurs un grand hommage a 
son talent en acquerant par souscription 1'oeuvre que nous 
reproduisons ici et qui compte parmi ses plus belles, pour en 
faire don a la Tate Gallery a Londres ou nous 1'avons photo- 
graphiee. 

VICTOR ROUSSEAUX. 

DE L'ACADEMIE ROYALE DE BELGIQUE. Penseur, plein de 
delicatesse et de charme. Ses oeuvres se distinguent par un style 
exquis et gra^ile tres prenant. A des oeuvres dans de nombreux 
muses d'Europe. Auteur des busies de LL. MM. le Roi et la 
Reine des Beiges et la Princesse Royale Marie Jose. 

STRYMANS (Anvers). 
Statuaire, montrant d'excellentes qualites de plastique. 



One of the greatest sculptors of Belgium and of modern 
times ; his marvellous talent, of a remarkable flight and force, 
classes him with the great masters of sculpture. The artists 
of England rendered great homage to his talent by acquiring, 
by subscription, the work which we reproduce here which 
counts amongst his finest for presentation to the Tate Gallery, 
London, where we had it specially photographed for this book. 



ROYAL ACADEMY OF BELGIUM. Thinker; full of delicacy 
and charm. His works are distinguished by their exquisite and 
graceful manner. Has works in numerous European museums. 
Author of the busts of their Royal Highnesses the King and 
Queen of Belgium and the Princess Royal Marie Jose. 



Sculptor, showing fine qualities of the plastic art. 



KERCKHOVE (Bruxelles). 

Sculpteur habile, au talent varie. L'oeuvre que nous repro- 
duisons ici est un hommage de reconnaissance des refugies 
Beiges au Maire de Tunbridge Wells, buste qu'il a execute 
avec mattrise. 

THOMAS VINCOTTE (Bruxelles). 

DE L'ACADEMIE ROYALE DE BELGIQUE. Portraitiste de 
grande allure. Ses bustes, ses bas-reliefs, ses statues et ses 
groupes denotent un sens grandiose de la statuaire decorative. 
II a portraiture les hommes celebres de sa generation. Le buste 
de LL. MM. Leopold II. et la Reine Marie Henriette au Musee 
de Bruxelles sont parmis ses meilleurs. A decore le Palais Royale 
de Bruxelles et le Musee Royal d'Art Ancien de cette ville. 

WISEART (Bruxelles). 

Medailliste. Son oeuvres, deja nombreuse, comprend nombre 
de pieces fort interessantes. 

MARCEL WOLFERS (Bruxelles). 
Un jeune sculpteur d'avenir ayant deja produit quelques 
oeuvres profondement pensees et toujours empreintes d'un vrai 
oaractere sculptural. 

RIK WOUTERS (Mallnes). 

Peintre et sculpteur d'une originality et d'un modernisms 
curieux et tres interessant. 



Very skilful sculptor, of versatile talent. The work which 
we reproduce here is a homage of gratitude from the Belgian 
refugees to the Mayor of Tunbridge Wells, a bust executed 
in masterly fashion. 



ROYAL ACADEMY OF BELGIUM. Portraitist of great charm. 
His busts, statues, bas-reliefs and groups denote an imposing 
sense of decorative statuary. He has portrayed the celebrated 
men of his generation. The busts of their Majesties Leopold II. 
and Queen Henriette are amongst his best works. Has decorated 
the Palais Royal, Brussels, and the old Museum of Art of that 
town. 



Medallist. His works, already numerous, comprise some 
very interesting pieces. 



A young sculptor who has already produced work profoundly 
thoughtful and always stamped with the characteristics of true 
sculpture. 



Painter and sculptor of much originality and of curious and 
very interesting modernity. 



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"NU." 




A. J. HEYMANS. 

"UALLEE DE BOULEAUX. 
"BIRCH AVENUE." 



BY KINO PERMISSION OF 
MR. SAM WILSON. LEEDS. 




GEORGES MINNE. 

"PAYSAN FLAMAND." 
"FLEMISH PEASANT.' 




RIK. WOUTERS, 

PORTRAIT DE JAMES ENSOR. 




VICTOR GILSOUL. 

"CANAL EN FLANDRE ' 
"A CANAL IN FLANDERS." 





VALERIUS DE SAEDELEER. 



HIVER " 
"WINTER. 




J. DEBRUYCKER. 
"YPRESV 




JEAN HERAIN. 

"AGRICULTURE." 
MUSEE DE BRUXELLES. 




JEAN DELVILLE. 

PORTRAIT DE MISS R. 




JEAN CASPAR. 

"SANGLIER BLESSE." 
"WOUNDED WILD BOAR. 




AUGUSTE PUTTEMANS. 
11 L ESPOIR." 
"HOPE." 




ALBERT DELSTANCHE. 

-JARDIN EN MAI." 
"GARDEN IN MAY.' 







VICTOR ROUSSE/ 

"MATURITE." 
"MATURITY." 




PIERRE PAULUS. 

"LA TAMISE (LONDRES)." 
"THE THAMES (LONDON)." 




EDOUARD J. CLAES. 

"LA DAME EN BRUN." 
"THE LADY IN BROWN. 




EUGENE LAERMANS. 

"DERNIERS RAYONS." 
"DYING RAYS." 




A. DELAUNOIS. 

"CHAPELLES DE L'EGLISE ST. PIERRE. LOUVAIN." 

"CHAPELS OF THE CHURCH OF ST. PETER, LOUVAIN" (DESTROYED). 







VIERIN. 



-VILLAGE ZELANDAIS." 
"VILLAGE OF ZEELAND." 







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HIPPOLYTE DAYE. 

"ENFANT AU CHIEN." 
THE WATCH DOG." 




ADOLPHE HAMESSE. 

"SOUS BOIS." 




LEON FREDERIC. 

"PAYSAGE." 
"LANDSCAPE." 








G. VAN DE WOESTYNE. 

"HIVER, 1914. EN FLANDRE.' 
"WINTER. 1914. IN FLANDERS. 





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JOSUE DUPON. 

"SAMSON ET LE LION. 




FERNAND KHNOPFF. 
MEDUSE." 




EMILE MOTTE. 

"All TEMPS DES AIEUX." 




PAUL VAN DE KERCKHOVE. 
W. EMSON, Esa.. J.P. 
MAYOR OF TUNBRIDQE WELLS. 




MARTEN VAN DER LOO. 

"LIERRE LE BEGUINAGE." 








AUGUSTE DANSE. 

"SARAH BERNHARDT." 



MEDAILLONS. 




WYSAERT. 






J. CANNEEL DEPAEPE. 




THOMAS VINCOTTE 

"TORSE DE TRITON" (CHATEAU ROYAL D'ARDENNE). 
"TORSO OF A TRITON" (ROYAL CASTLE OF ARDENNE). 




JAMES ENSOR. 

"SALON BOURGEOIS." 
"THE SITTING ROOM. 








JENNY MONTIGNY. 

"MERE ET ENFANT." 
"MOTHER AND CHILD." 




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CHARLES MERTENS. 

PORTRAIT DE MR. RUSSELL BURDON." 




W. GEETS. 

"ATTENDANT AUDIENCE." 
"AWAITING AN AUDIENCE. 1 



BY KIND PERMISSION OF THE 
WALKER ART GALLERY. LIVERPOOL. 




ALBERT GELS. 

PORTRAIT OF THE HON. LADY HERBERT COOK, 






A. RASSENFOSSE. 

"ETUDE. FEMME BRUNE." 
"STUDY. DARK HAIRED WOMAN. 




HERMAN RICHIR. 

EN BLANC. 
IN WHITE. 



BY KIND PERMISSION OF THE 
WALKER ART QALLERY. LIVERPOOL 





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M. STERCKMANS. 
PORTRAIT. 



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L. RECKELBUS. 

"VILLAGE FLAMAND." 
"PIFMISH VILLAGE." 




COMTE JACQUES DE LALAING. 

"SOUVENIR DE FLORENCE." 




PAUL DUBOIS 




M. H. MEUNIER. 

"LE FRONT A PERVYSE." 




F. VAN HOLDER. 

"MAISON DE CAMPAGNE. 
"COUNTRY HOUSE." 




MME. M. J. DESTREE. 

"LA VIERGE FOLLE" (CATHEDRALE DE RHEIMS) 
"THE FOOLISH VIRGIN." 




ANDRE CLUYSENAER. 

PORTRAIT DE M. EM. VANDERVELDE. 
"MINISTRE D'ETAT." 




EM. DE LA MONTAGNE. 

FILLETTE A LA POUPEE " 
"GIRL WITH A DOLL." 




HENRI OTTEVAERE. 

PORTRAIT DE MISS SYBIL A. HUTCHINS. 




JEAN DE BOSCHERE. 

ILLUSTRATION POUR "SAINTE SOPHIE PERDUE.' 




PIERRE BRAECKE. 

"FEMMES DE PECHEURS." 
"THE FISHERMEN'S WIVES.' 




THEO. VAN RYSSELBERGHE. 

"L'HEURE DU BAIN." 
"BATH TIME." 




JEAN G. ROSIER. 

PORTRAIT OF MR. A. W. MACONOCHIE 

AND HIS LITTLE DAUGHTER. 

JEAN CONSTANCE MACONOCHIE. 







EMILE FABRY. 

LES ETAPES ET LES GESTES." 

"THE STAGES OF LIFE AND ITS ACHIEVEMENTS. 




JULIEN CELOS. 

"NIEUPORT." 




LEON DE SMET. 
PORTRAIT. 









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MAURICE BLIECK. 

"ENTREPOTS SUR LA TAMISE." 
"THAMES WHARF." 




VICTOR UYTTERSCHAUT. 

"FERME A LA PANNE." 
"FARM AT LA PANNE." 




JULES LAGAE. 

"LE STATUAIRE JULIEN DILENS." 




CH. HOUBEN. 




FR. SMEERS. 

PARIS-PLACE DU CAROUSSEL. 




EUGENE CANNEEL. 

"JOIE DU PRINTEMPS." 
"SPRINGTIME." 




OSCAR DECLERCK. 

"TYPE ANGLAIS." 
"ENGLISH TYPE." 




JEAN G. ROSIER. 

PORTRAIT OF W. H. BONHAM-CARTER, Esa. 




JEF STRYMANS. 

"DESESPOIR. 
"DESPAIR." 




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G. DEVREESE. 




A. BONNETAIN. 




J. MICHAUX. 

LE CHENAL, N1EUPORT. 




EDOUARD J. CLAES. 

"LA FUITE DE BELGIQUE. 1914." 
"THE FLIGHT FROM BELGIUM, 1914.'" 




MARCEL WOLFERS. 

-POSSIDERE. " 



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EMILE CLAUS. 

"UNE RUE DE VILLAGE EN FLANDRE ' 
-VILLAGE STREET IN FLANDERS" 




LEON FREDERIC. 

"LA VIELLE" 

THE OLD WOMAN" 




FLORIS DE CUYPER. 

"FLEUR DES CHAMPS." 
"FIELD FLOWER." 




A. PINOT. 

ESQUISSE POUR UN PORTRAIT. 







F. VERHAEGEN 

"LES GILLES DE BINCHE." 
"THE GILLES, BINCHE." 




LEON DE SMET. 

PORTRAIT OF JOHN GALSWORTHY. 



AU LECTEUR 

TO OUR READERS. 



EN feullletant ce volume, en etudiant les 
nombreuses reproductions qu'il contient 
le lecteur, 1'amateur d'art aura pu se 
faire une idee assez complete du mouve- 
ment artistique Beige moderne ; il y aura retrouve 
les brillantes qualites de coloristes qui ont 
toujours etc 1'apanage de nos peintres, la grande 
comprehension de la forme caracteristique de notre 
ecole de sculpture, une des plus belles du monde. 
Parmi les artistes representes dans ce volume, 
la plupart sont exiles de leur pays et ont trouve 
un refuge sur le sol de la libre Angleterre, d'autres 
sont prisoniers en Allemagne apres avoir vailla- 
ment defendu notre drapeau, d'autres encore 
sont au front, ayant depuis quinze mois echange 
la palette ou 1'ebauchoir pour le fusil et subissant 
sans defaillances les attaques de 1'envahisseur ; 
ils ont fait taire toutes autres aspirations devant 
ce seul but, reconquerir la patrie perdue. 
Le coeur plein de 1 'inalterable espoir de la 
restauration de nos droits, de nos libertes, ils 
puisent au milieu d'une vie epouvantable, dans 
le spectacle de la tragedie quotidienne dont ils 
sont les acteurs et les temoins, d'innombrables 
inspirations qui promettent pour 1'avenir une 
efflorescence artistique merveilleuse. 

La plupart des oeuvres reproduites dans cet 
ouvrage, se trouvent en ce moment en Angleterre 
oil elles ont rencontres dans les nombreuses 
expositions : a la Royal Academy, Liverpool, 
Brighton, Cheltenham, Cardiff, Malvern, Glascow, 
Birmingham, etc., un brillant et legitime succes 
et nombreuses sont les productions artistiques 
Beiges qui ont etc acquises en Angleterre depuis 
le debut de la guerre. 

En general, les oeuvres reproduites dans notre 
volume sont a vendre, " Belgian Art in Exile" 
en dehors de tout esprit de speculation sera 
heureux d'etre entre 1'artiste et 1'acheteur eventuel, 
un intermediaire autorise ; tout renseignement 
et prix seront remis avec plaisir sur demande 
adressee au Secretaire general, Office " COLOUR," 
25, Victoria Street, Londres, S.W. 



IN turning over the leaves of this volume, 
in studying the numerous reproductions it 
contains, the reader, the amateur of art, 
will have arrived at a sufficiently complete 
idea of Belgian modern art ; he will have found 
there the brilliant quality of colour which has 
always been an appanage of our painters, 
the great comprehension of form, characteristic 
of our school of sculpture, one of the finest in 
the world. 

Of the artists represented, the most part 
are exiles and have found a hospitable refuge 
in generous England. Others are prisoners in 
Germany after having valiantly defended our 
flag. Others, still, are at the front, having for 
fifteen months exchanged palette and chisel for 
a rifle, and are resisting without faltering the 
attack of the invader, having subordinated their 
aspirations to this single end, the re-conquest 
of their lost, ruined country. Their hearts full 
of the unalterable hope of the restoration of 
our rights and liberty, they cherish, in the 
midst of a fearful existence before the spectacle 
of the daily tragedy, unforgettable dreams 
which promise in the future a wonderful artistic 
renaissance. 

The greater part of the works here produced 
are to be found at this moment in England, 
where they have achieved at numerous exhibi- 
tions at the Royal Academy, at Liverpool, 
Brighton, Cheltenham, Cardiff, Malvern, Glasgow, 
Birmingham, etc. a brilliant success, and numer- 
ous are the productions of Belgian artists which 
have been purchased in England since the 
commencement of the war. 

In general the works here reproduced are 
for sale. " Belgian Art in Exile," without 
any idea of speculation, will be happy to 
be the intermediary between the artists and 
any would-be purchaser. All information relative 
to size and price will be given with pleasure 
on demand, by the General Secretary, Office of 
"COLOUR," 25, Victoria Street, London, S.W. 



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to use it in half an hour, and with a little practice write on it 
speedily and well. 

MANY DIFFERENT TYPES CAN BE USED ON 
THE SAME MACHINE AND CHANGED FROM ONE 
TO THE OTHER AT WILL AND INSTANTLY 

Roman, italic, and script type in various styles and faces; Greek, 
Hebrew, and many Oriental characters can all be used on the same 
machine, changing from one to the other so easily so quickly 
that you are absolutely amazed. Authors, ministers, and all 
litterateurs find this convenience of type-changing most advan- 
tageous, especially in writing phrases and sentences in foreign 
languages. 

A WEEK'S FREE TRIAL AT YOUR OWN HOME 

A week's free trial is yours for the asking. A machine will be sent 
you, carriage paid to any part of the United Kingdom, on receipt 
of request. Write to-day for List i ^E, which tells all about the 
Blick and how to operate it ; also for a free trial in the privacy 
of your own home or office, to The Blick Typewriter Co., Ltd., 
9 and 10, Cheapside, London, E.G. West End Branch, 369, Oxford 
Street. 'Phones, 5446 and 5447 Bank. Blick Typewriters 
possess a reputation of over twenty years' standing. Made in 
America, they are marketed throughout the British Empire by 
an ALL-BRITISH Firm employing All-British capital and staff. 




Portable Aluminium BHck and leather case i 
stationery compartments. 



A dverlisements 



ORIENT LINE 



BETWEEN 



LONDON AND AUSTRALIA 




THE ORIENT LINE 



is under contract with the Commonwealth 
Government of Australia for a fortnightly Mail 
Service between England and Australia. 

THE ROUTE 

followed is by way of Gibraltar, South of 
France, Naples, Egypt and Ceylon ; the ports in 
Australia visited being Fremantle, Adelaide, 
Melbourne, Sydney and Brisbane. 



THE PASSENGER ACCOMMODATION 



includes cabins de luxe, bedstead state rooms 
and single berth cabins. There are luxurious 
lounges, mujtic saloons, electric elevators and 
laundries. The steamers are fitted with wireless 
telegraphy. 

THE STEAMERS * j 

are amongst the finest and largest running 
East of Suez. 



Managers : 

F. GREEN & Co. 

ANDERSON, ANDERSON & Co. 



Head O.fices FENCHURCH AVENUE, LONDON, B.C. 
West End Branch Office 28, GOGKSPUR STREET, S.W. 
Telephone Number: CITY 3000. Cable Address: " ANDERSONS, LONDON.' 

Telegrams, Inland: "ANDERSONS, TELEW, LONDON." 



OS 









IMUKD BY 





THE MOST FASCINATING . . 
MONTHLY SHILUNQ MAGAZINE 
26, VICTORIA ST., LONDON, 8.W.