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167:, most painters from Sint-Martens-Latem fled Belgium: Gustaaf Van de Woestijne, LĂ©on de Smet and others lived in London, where they continued working in a late Impressionistic style. Permeke also lived in England but already painted in a monumental, dark expressionism. Gustave De Smet and Frits Van den Berghe lived in the Netherlands, where in about 1916 they changed their style from a melancholy Impressionism to the new Expressionism, influenced by Dutch painters like
50:. Contrary to the more rebellious and erotic nature of many German Expressionist works, the Flemish art of the School of Latem was more oriented towards the farming life, and was expressed in earthy colours and vigorous brushwork. It was also in general more oriented towards France and Brussels than to Germany, and incorporated elements of Fauvism and Cubism, for example the interest in "primitive" art, of both the ethnic and
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who also lived in the
Netherlands during the war. This version of Flemish Expressionism, influenced by constructivism, futurism and cubism, continued after the war in the short-lived art colony in
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developed his
Expressionist style rather later than the others. Concentrating on story telling, he presented a somewhat satirical view of mankind, especially in his paintings of men and women.
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traditions. Flemish
Expressionists like Spilliaert were more influenced by Ensor and Symbolism, or like Wouters were closer to the vibrant colours used by the
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of the previous generation of
Flemish artists towards a darker palette and a mystical tension. From 1911 on, his influence became visible in the work of
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After the war, most artists went to live in and around Sint-Martens-Latem, establishing what has been called the second school of Latem.
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which became closely associated with the evolving
Flemish Expressionist scene. By 1930, Van den Berghe had been attracted by
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in particular was attracted by the
Fauvists but he died in 1916 after suffering from a serious illness.
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Flemish
Expressionism has been called "Belgium's most important contribution to modern art".
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114:. Permeke had studied art in Ghent, together with Gustave de Smet and Frits Van den Berghe.
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The Oxford
Critical and Cultural History of Modernist Magazines: Europe 1880 - 1940
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229:(1860-1949) (more a precursor and influence than a real member of the movement)
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In the 1920s, while
Permeke, De Smet and Van den Berghe painted in
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42:. Influenced by artists like James Ensor and the early works of
38:, was one of the dominant art styles in Flanders during the
140:, Gustave De Smet and Constant Permeke were inspired by
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had influenced the work of De Smet. On the other hand,
86:. From 1905 Servaes' art gradually moved away from the
510:(in Dutch). Aspecten van de Belgische kunst na '45
148:, emulating the bright Impressionist approach of
106:, an idyllic village on the banks of the river
554:, Ons Erfdeel. Jaargang 33(1990), pp. 438-439
551:Het Vlaams expressionisme in Europese context
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183:, where van den Berghe and De Smet joined
136:, emerging Belgian Expressionists such as
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78:The movement originated with the painter
485:. Oxford University Press. p. 354.
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46:, it was a distinct contemporary of
434:, 1922, Museum of Fine Arts, Ghent
418:, 1928, Museum of Fine Arts, Ghent
402:, 1915, Museum of Fine Arts, Ghent
367:, 1925, Museum of Fine Arts, Ghent
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460:Cygelman, Adele (December 1986).
506:Elias, Willen (5 October 2012).
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567:Art of the 20th Century, Part 1
197:, at the European level it was
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263:and Expressionism in his art
538:. Elsevier. pp. 84–87.
508:"Het Vlaams expressionisme"
400:Woman sitting at the window
58:. The main proponents were
676:
619:Dutch Art: An Encyclopedia
616:Muller, Sheila D. (2013).
127:Museum of Fine Arts, Ghent
26:Museum of Fine Arts, Ghent
622:. Routledge. p. 41.
383:, 1926, Mu.ZEE in Ostend
361:Gustave Van de Woestijne
267:Gustave Van de Woestijne
175:, and the French cubist
595:"Vlaams-Expressionisme"
570:. Taschen. p. 65.
564:Ruhrberg, Karl (2000).
534:Peeters, Guido (1979).
479:Brooker, Peter (2013).
462:"Flemish Expressionism"
381:Landscape with red roof
110:in East Flanders, near
414:Frits Van den Berghe,
144:and to some extent by
129:
34:, also referred to as
28:
22:The idiot by the river
20:Frits Van den Berghe,
655:Belgian art movements
466:Orange Coast Magazine
154:Théo van Rysselberghe
120:
36:Belgian Expressionism
32:Flemish Expressionism
19:
597:(in Dutch). Kunstbus
549:Hector Waterschoot,
285:Frits Van den Berghe
138:Frits Van den Berghe
68:Frits Van den Berghe
48:German Expressionism
536:Kunst in Vlaanderen
259:(1881-1946), mixed
177:Henri Le Fauconnier
173:Heinrich Campendonk
130:
104:Sint-Martens-Latem
29:
416:Sitting Pink Nude
379:LĂ©on Spilliaert,
251:Prosper de Troyer
121:Gustave De Smet,
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303:Constant Permeke
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64:Constant Permeke
44:Vincent van Gogh
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123:The Good House
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650:Expressionism
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512:. Retrieved
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339:Jozef Cantré
273:LĂ©on De Smet
215:
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185:Jozef Cantré
169:Jan Sluyters
162:
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84:Latem School
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60:Gust De Smet
35:
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660:Flemish art
432:The Painter
396:Rik Wouters
341:(1890-1957)
335:(1889-1972)
329:(1889-1965)
323:(1887-1947)
317:(1887-1970)
311:(1886-1964)
305:(1886-1952)
299:(1884-1953)
293:(1883-1966)
287:(1883-1939)
281:(1882-1916)
279:Rik Wouters
275:(1881-1966)
269:(1881-1947)
253:(1880-1961)
247:(1879-1957)
241:(1877-1943)
235:(1873-1952)
227:James Ensor
165:World War I
158:Rik Wouters
150:Émile Claus
132:Before the
74:Development
40:interbellum
644:Categories
203:Surrealism
100:art colony
261:Symbolism
601:30 March
514:30 March
199:Brussels
181:Blaricum
125:, 1926,
92:luminism
56:Fauvists
24:, 1926,
430:Ramah,
347:Gallery
220:Artists
207:Realism
163:During
142:Fauvism
626:
574:
489:
205:while
146:Cubism
440:Notes
321:Ramah
195:Ghent
112:Ghent
624:ISBN
603:2018
572:ISBN
516:2018
487:ISBN
365:Fuga
152:and
90:and
66:and
52:folk
108:Lys
102:in
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586:^
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448:^
398:,
363:,
187:.
156:.
70:.
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
