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145:, 14 October 1900) was a Belgian painter known for his genre scenes, history paintings, interiors and figure paintings. He was also active as an author, publisher and copyist He was also a watercolorist and an etcher. He participated in the monumentalist movement in Belgium and continued the tradition of the Belgian Romantic-historical school long after it had been abandoned in his country and abroad. He was the brother of the painter
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From the mid-1850s the
Belgian government began to promote monumental art in Belgium. It provided financial assistance to artists on various projects. The promotion of monumental art dealing with episodes from the Belgian national history was regarded by the government of the young Belgian state as
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also became painters. He and his siblings were initially trained by their father who conveyed his interest in
Flemish art and language to his children. From an early age he assisted his father in some of his decorative projects. From 1861 he exhibited some of his early works. In 1865 he moved to
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Albrecht De
Vriendt principal subject matter was the glorious Belgian and Flemish history from the 15th to 17th centuries. He thus continued the tradition of the Belgian Romantic-historical school who chose as the subject matter of their work important historical events in Belgium's history which
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After a brief return to Ghent
Albrecht moved to Brussels where he settled down. Here he married in 1880 Laure Fiévé. The couple had five children. With his brother Juliaan he made a number of journeys. In 1869 they visited Germany. In 1880 Albrecht traveled to Italy. That same year the brothers
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who had learned about the movement in
Germany. Albrecht de Vriendt and his brother Juliaan also participated in the monumental art movement. One of the projects they worked on was the decoration of the Gothic room in the town hall of Bruges, a work that after his death was completed by his son
325:) painted on the occasion of the 50th anniversary of the independence of Belgium. De Vriendt used an event from Belgium's glorious to help create the notion of a distinctive heritage and cultural identity for the young Belgian nation. In this work De Vriendt depicts a lavish court room in which
337:(1500–1558), who had been born in Ghent (De Vriendt's native town). Charles later became the most powerful ruler of Europe. De Vriendt demonstrates in this work his skill in the rendering of fabrics as well as a sensitivity in depicting the confused expression of the infant Charles.
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In the meantime
Albrecht's artistic reputation grew. The artist was a member of various academies and societies. He also received several honors. His works were acquired by museums in Belgium and abroad including the In 1894 he was made a commander of the
246:, helped launch the monumentalism movement in Belgium. They did this by introducing into Belgium new fresco techniques such as water glass painting, which they had studied abroad. The monumentalism movement was subsequently taken up by artists such as
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Albrecht De
Vriendt was the son of decorative painter Jan Bernard (Jean) de Vriendt (1809–1868) and Anna Rosalia Ghiert. His father was a decorative painter mainly known for landscapes and still lifes. Albrecht's two-year older brother
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Samuel De
Vriendt and his brother Juliaan. In his role as a member of the provincial commission of the Royal Commission of Monuments he also regularly advised on various projects for the renovation of monuments in Belgium.
226:. In 1894 he was appointed professor of the National Higher Institute for Fine Arts Antwerp which had been established in 1885 as a post-graduate program in arts. Albrecht dedicated himself to his academic functions.
315:, their work, though colourful, lacked true romantic zest and was quickly recuperated by the establishment which rewarded the artists with commissions and rewards. An example of his work in this genre is
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journeyed through Egypt and
Palestine. Numerous studies, watercolors and pastel drawings of all kinds and sizes, as well as a faithfully executed and a jointly executed panorama, entitled
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Albrecht De
Vriendt was a painter of genre scenes, religious subjects, history paintings, interiors and figure paintings. He was also a watercolorist and an etcher.
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and other minor figures who had typically trained in Paris where they had come into contact with the new Romantic movement. Unlike their French models such as
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Hugh Dunthorne, Michael Wintle, 'The Historical Imagination in Nineteenth-Century Britain and the Low Countries', Brill, 1 November 2012, p. 192-193
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Middeleeuwse muurschilderingen in de 19de eeuw: studie en inventaris van middeleeuwse muurschilderingen in Belgische kerken
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were regarded as key to the country's national identity. The movement had started in the 1830s with painters such as
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Philip I, the Handsome, Conferring the Order of the Golden Fleece on his Son Charles of Luxembourg
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When he died in 1900, his brother succeeded him in the position of director the Antwerp Academy.
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Antwerp where his brother was already living. Here he studied under the painter
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with whom he often collaborated on decorative projects. He was a director of the
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an important means of creating a national identity. The Belgian prime minister
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Philip I conferring the Order of the Golden Fleece on his son Charles
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Philip I conferring the Order of the Golden Fleece on his son Charles
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Belgian painter, author, publisher, copyist, watercolorist and etcher
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Jan Bernard (Jean) de Vriendt and Anna Rosalia Ghiert.
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421:References
248:Jan Swerts
112:(brother)
107:5 children
78:Occupation
57:1843-12-08
580:"Belgium"
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116:(sister)
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