Exposition Art Blog: Belgian painter
Showing posts with label Belgian painter. Show all posts
Showing posts with label Belgian painter. Show all posts

Painter and poet Jean Raine

"Jean Raine (1927-1986) has come to painting from the literary and cinema worlds. Essentially a poet, Raine’s paintings are an extension of his poetry. Intellectually he shares the sensibilities of the surrealists, although his paintings do not seem to reflect that interest. Raine’s visual sense is, rather, tempered by the european group of action painters who had organised as COBRA, although Raine matured as a painter after COBRA had already disbanded.
Raine’s affinity for the COBRA group is apparent in a similar feeling for a synthesis of the arts, as well as in the execution of his work, which is in the exuberant style so familiar from the work of COBRA painters. These are strong differences, however, between Raine’s work and that of other COBRA painters ; in contrast to Alechinsky, Raine’s work is more consistently tied to a readable imagery ; in contrast to Jorn, Raine’s imagery is more direct in presenting figures rather than simply suggestions of figures. Because of the references in the titles, of course, there is a somewhat blurred distinction between what we only see and what we already know.






Many of Raine’s paintings are actually ink on paper, regardless of size, executed in a quasi-calligraphic manner with strong oriental overtones. Indeed, after seeing a nomber of these works, one has the impression of their being drawings in various sizes rather than paintings. These works even suggest something like "reading" - that is, the inked images assume a written quality - particularly appropriate for a poet !
In the Museum’s painting, "Slowing Down of the tortoise’s flight", the images are rendered with an apparent clarity which is actually quite elusive : there is a visual conflict between images which seem either so groteque that they appear powerful and frightening, or so childish tht they suggest a moment of whimsy. 







There is a pervasive un easiness in the main fiel of the work, where a mutitude of limsb - rather scaley arms and legs - turn out to be body-less. The off-white background juxtaposed to the black ink and wash seems to absorb a great deal more color than is actually there, characteristic of calligraphy in its most extended forms.
The scale of this painting adds to its power, especially given its vertical organization. The "figures" loom from above, moving in a space of great height, and seeming to create a one-to-one relationship with the viewer.
In poetry the capacity for involving the reader rather than permitting him to remain aloof, is a major element in the sucess of a poem. It is probably this sense of involvement which enables Jean Raine the poet to succeed as Jean Raine the painter."( Auteur :Tom Freudenheim  jeanraine.org )





Magic Realism Jef van Tuerenhout

Jef van Tuerenhout (Mechelen, May 23, 1926 - Wenduine, March 4, 2006) was a Belgian painter, sculptor, ceramist, engraver and designer of jewelery. In his career evolved his style bitter miserabilisme, Flemish expressionism to a neo-expressionism. Finally, this led to a slightly erotic, sensual style on the border surrealism and magic realism. He is sometimes called the last surrealist Belgium.











Jan Cox

Jan Cox (27 August 1919 – 7 October 1980) was a painter who spent the largest part of his creative life in the United States and Belgium. He was born in The Hague.
In 1945 he was a founding member of the 'Jeune Peinture Belge' group. By the end of that decade he was briefly associated the CoBrA movement, publishing some of his art in the CoBrA magazine.
In 1950 he moved to New York. After a brief stay in Rome, he returned to the United States in 1956, becoming head of the Painting Department at the School of the Museum of Fine Arts.






 In 1974 he returned to Belgium, to live in Antwerp, and devote himself exclusively to painting.
Jan Cox was psychically hyper-sensitive and suffered from recurrent depression throughout his life, eventually leading to his suicide, in Antwerp, in 1980. He is buried in the Schoonselhof Cemetery in Antwerp.
Several of his paintings are abstract, though some of his major successes were with (partly) figurative work: for instance, the cycle based on the myth of Orpheus which he produced in Boston, the cycle based on Homer’s Iliad he produced after his return to Antwerp.
Jan Cox was convinced that the technical capabilities of a painter were of minor importance for the quality of the painting that resulted: in his view all technique a painter needed for the creation of paintings could be learnt in a few months, the rest depended on the painter's creativity.Wikipedia






Avant Garde Art Philippe Vandenberg

Philippe Vandenberg (Ghent, 1952 - Brussels, June 29, 2009) was a Belgian painter.
Philippe Vandenberg was born in 1952 in Ghent, where the contact with the works of Hieronymus Bosch and Gustave Van de Woestijne at the Museum of Fine Arts will arouse fascination for painting. In 1970 he began his studies of Arts and Philosophy and Art History at the University of Ghent he stops in 1972 to fully focus on his studies of painting. In 1976 he graduated in the direction of painting at the Royal Academy of Fine Arts in Ghent and two years later he leaves for the first time to New York where he met the space in the work of Pollock, Rothko and Kline and was struck by 'The battle of the rebel Angels' Ensor.





 A first visit to the Museo del Prado in 1980 developed his passion for Diego Velázquez, El Greco and Francisco Goya. Philippe Vandenberg remains fascinated by literature and met with Hugo Claus in 1985 resulting in the literary edition Proverbs, where the link is reinstated with the literature. Vandenberg then start his first sign books in which the drawing function allows the book. In 1994, he lives through Job and the Apocalypse, Augustine, Sophocles, Heiner Müller, San Juan de la Cruz and Emil Cioran. A year later he wrote the suite texts The state of things and the lamentations of the ship, which is published in dialogue with lithographs and book and he paints The Seventh Seal, composed a work of tiny, skimpy painted panels where besides oil also watercolor, gouache and blood may be used. Just as in the drawings begin to form the work ensembles.




 Between 1996 and 1999 he repeatedly Marseille, birthplace of Antonin Artaud and Rimbaud retreat and start his visit with pencil and watercolor Les Carnets, a kind of diary which consist of drawings, watercolors and notes. He is interested in Georg Trakl and Paul Celan and paints the portrait of Artaud and Ulrike Meinhof. In 1999, his retrospective exhibition at the Museum of Contemporary Art Antwerp follows and writes the text On the way is a cage is a man, his hands red, an intermediate reflection on his work. Les Carnets come increasingly to the fore and it is assessed a major selection of drawings for the first time shown in 2003 under the title Daily Drawings of Good & Vile 1997-2003. The presentation of Pilgrims Keel, a publication with text and drawings of Philippe Vandenberg to a graphic design Inge Ketelers, the same year takes place at the Museum Dr. Guislain. In 2004, the Exile Peintre is issued, a bibliophile edition with etchings and text Lettre au Nègre Philippe Vandenberg (Ergo Press, 2004). The work of Philippe Vandenberg get text and image more intense dialogue with each other and this edition is a symbiosis of this. In 2008 Vandenberg 'Artist in Residence' at the Ghent Museum of Fine Arts, where he was confronted with the famous old masters.Wikipedia