Master Painting

Jul 14

‘Beet Harvest’ of Emile Claus | Annelies Van Damme

Embracing Tradition and Innovation

The 9th Biennial of Painting, held along the Lys River at Museum Dhondt-Dhaenens, Roger Raveel Museum, and the Museum of Deinze and the Lys Region (Mudel), showcases a dynamic fusion of past and present in visual arts. Celebrating the rich painting tradition of the region, three uniquely curated exhibition juxtapose pieces from the museums’ collections with contemporary work by Belgian and international artists. At Mudel, the focus is on Emile Claus, an influential Belgian Impressionist renowned for his mastery of light and landscape. The exhibition “Master Painting” explores the theme of mastery, bridging the gap between old and new through a mutual respect for art history and craftsmanship.

Emile Claus (1849-1924, BE), educated at the Royal Academy of Fine Arts in Antwerp, significantly influenced the art world with his major works, such as ‘Cock Fight’, ‘Flaxweeding in Flanders’, ‘Beet Harvest’ and ‘The Skaters’. During his career, Claus occasionally took on young apprentices. At that time, it was rare for female apprentices to actually pursue careers in the art world. Their training was more seen as a way to develop their burgeoning talents. Additionally, female artists were not easily welcomed in the art world. Despite these challenges, at least three female apprentices - Anna De Weert, Jenny Montigny and Yvonne Serruys - managed to succeed and create their own signature style.

The works of these apprentices form the starting point of the exhibition ‘Mastery’. These women defied societal expectations of their time and proved that female artists can indeed have their own voice expressed through art. This sets the tone for the entire exhibition. Curator Wim Lammertijn has thoughtfully selected a mix of both emerging and established artists, all influenced by the techniques and traditions of their ‘masters’. Yet, each artist developed a distinct identity, offering a unique critique or insight into society.

For some of the new voices in figurative painting, the exploration of identity takes on a literal sense. Artists like Katie Heck (1979, DE), Ilke Cop (1988, BE), and Thomas Decuypere (BE, 2000) often cast themselves as the protagonists in their works. Katie Heck’s monumental canvases feature hyperrealistic, life-sized characters intertwined with absurd elements. Her art offers a compelling social vision while remaining deeply personal, depicting herself, her surroundings and characters from her immediate circle. This approach evokes a range of emotions within the visitors, from discomfort to empathy.

Ilke Cop’s figurative art seeks to liberate itself from its patriarchal history. The female figure is a direct representation of the artist herself, the artist becomes the muse and vice versa. This character is not confined to traditional beauty standards but instead portrayed as a strong and confident protagonist. Thomas Decuypere’s art practice blends reinterpretations of video game aesthetics with traditional art forms, paying homage to classic landscapes or Greek mythology. In a series of self-portraits, he depicts himself as a Greek god, reflecting a deep understanding of mythic narratives and exploring his own human experience within a broader context. By fusing modern themes with ancient tales, Decuypere’s work invites the viewers to explore the boundaries of imagination and question the concept of time.

Most of the artists featured in ‘Master Painting’ exhibit a subtle rebellion through their art. Their paintings are visually captivating, yet challenge traditional expectations or offer an escape into an alternative universe. Nikki Maloof (1985, US) explores the hidden recesses of the mind with her still lives. Her paintings unveil the world hidden within the mind, expressing existential loneliness softened by humor and and a richly saturated color palette. Dittmar Viaene (1998, BE) crafts detailed pieces with a slightly surreal appeal, constructing imaginative worlds for himself. His fascination for nature, wildlife, and history fuels his self-created landscapes, which he would like to discover in reality.

In contrast, Dees De Bruyne (1940-1998, BE) and Annelies Van Damme (1998, BE) leave no room for dreaming or escape. Their work forces the viewer to confront societal issues head-on, leaving no option to look away. Dees De Bruyne’s ‘De Kindervrienden’ (Friends of the Children), displayed as a replica since the original is missing since 1974, condemns child abuse within the church and other institutions. It also serves as a political statement agains the exploitation of children during wartime - a message that tragically remains relevant even today.

Annelies Van Damme challenges viewers to face discomfort and pain. Drawing inspiration from hardcore pornography, violence, and horror movies, her wall-sized canvases are intense and thought-provoking. Van Damme does not aim to provoke extreme reactions or serve as a healing tool. She aims for viewer to reflect on the distorted power dynamics prevalent in our society. She believes in the importance of acknowledging and exposing pain rather than to conceal harsh reality behind superficial images. The scale of her work not only demands attention but also signifies her way of claiming her place as a young woman in the art world.

“Master Painting” at Mudel exemplifies how contemporary artists blend traditional techniques with innovative approaches, redefining the art of painting. Each piece in the exhibition sparks dialogue and evokes emotions, ensuring that no one leaves this exhibition unaffected.