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from which he graduated in 1891 with the title of doctor of laws. He practised for a while as a lawyer at the
Brussels bar. He gave up his legal career in 1893 to devote himself to art. Before leaving Brussels to seek a teaching position to fund his new career as an artist, he studied briefly at the
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Combaz further designed book covers and postcards. Particularly well known are his postcards with designs of the four elements, scenes of the ocean and fishermen, expressions and proverbs. He further created a number of drawings that expressed the horror of the
Belgians at the atrocities committed
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Gisbert Combaz was a versatile personality who combined a variety of artistic pursuits with scholarly studies and academic education. He is mainly known for poster design and postcards and was active as a lithographer, illustrator, furniture designers and potter. He was talented painter whose works
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He was a prolific designer of posters. At the end of the 19th century, the poster was a successful new medium that reflected the aspirations of the bourgeoisie. Aside from encouraging consumption, it evoked moments of pleasure and lightness that were part of the leisure and entertainment of the
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In 1934 he founded in
Brussels the Belgian Society of Oriental Studies, of which he was the president. The stated aim of the Society was to overcome the shortcomings of official education in Orientalism. He also built a significant collection or Oriental artifacts including Chinese and Japanese
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artists. Despite his talents as a painter, he is now mainly known for his poster designs and postcards as well as his First World War drawings expressing his hatred for the German occupiers. His work showed a strong influence of his in-depth study of
Japanese and Chinese art.
412:. Characteristic of his posters is there use of a central theme, such as a boat, a tree, a peacock or an eagle. In addition, his posters are also characterized by a very bright color palette. Combaz mixes the Japanese print style with Art Nouveau elements such an
439:, Combaz succeeded like the Japanese masters to express the maximum with a minimum of resources. With the motif of the sailboat treated in a single flat color, his poster gains a great expressiveness equal to that of Japanese prints. Combaz wrote in the journal
171:, illustrator, poster artist, furniture designer, sculptor, art educator, art historian and lawyer. He originally trained and practised as a lawyer, but gave up his legal career to dedicate himself to art education and art. He was one of the leading Belgian
352:. When in 1929 the Institut belge des hautes Ă©tudes chinoises ('Belgian Institute of Advanced Chinese Studies') was founded in Brussels, the founders asked Combaz for his collaboration. He published several of scholarly works in the Institute's publication
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Gisbert Combaz was born in
Antwerp as the son of engineering major Paul Combaz and Marie-Amélie Vanden Eynde. His father was an active member of the Société royale d'archéologie de Bruxelles and after retiring as a major, a professor of construction at the
747:, Masters thesis submitted to the Faculty of Arts and Philosophy, Department of Art, Music and Theater Sciences of the University of Ghent to obtain the degree of Masters, Supervisor: prof. Dr. M. Sterckx. Universiteit Gent Academy Year 2011-2012
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In the 1930s, along with René Grousset, Henri
Maspero and Paul Pelliot, he published a number of publications on oriental art. He wrote among other things, several articles for the Annals of the Brussels Archeological Society.
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the quality of the
Japanese landscapes is their chromatic unity: in each print there is a dominant palette which, by simplifying the impression, makes it strong and confers to these pictures a character of powerful
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From the late 19th century he gradually developed an interest in the art of the Far East, of which he became an avid scholar. Combaz was first introduced to
Oriental art by the Belgian Indologist and scholar of
226:. He was appointed professor of art history at the Université Nouvelle (New University, later renamed 'Institut des Hautes Études de Belgique' (Institute of High Studies of Belgium)) in 1905 where he replaced
544:, Introduction à l'histoire de la peinture chinoise, Extrait des Mélanges chinois et bouddhiques, publiés par L'Institut belge des Hautes Études Chinoises, vol. VI. Imprimerie sainte Catherine, Bruges, 1939
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affluent and influential population. He designed many posters for exhibitions of the artist circle La Libre Esthétique. He developed a personal style which remains very recognizable. It is inspired by
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who also directed him towards religious subjects. His paintings have a decorative character and a great tenderness of tone. He was one of the principal protagonists of the
526:, in: 'Mélanges chinois et bouddhiques', vol. II, Brussels, 1932-1933, pp. 163–305, vol. III, 1934-1935, pp. 93–144, vol. IV, 1935-1936, pp. 1–125
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on 25 August 1914. Combaz depicted in very graphic detail the horrified people fleeing the town with flames visible in the background of the drawing.
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408:, published in 1815 and composed of 15 volumes. From 1897 Combaz designs different posters for the annual exhibitions of the artistic group
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From 1898 to 1940, he taught decorative arts at the École des arts industriels et décoratifs (School of
Industrial and Decorative Arts) of
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He also tried his hand at sculpture and exhibited sculptures of a lion and a peacock at the
Triannual Salon of Brussels in 1919.
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starting from 1897 and designed many of the exhibition posters of the group. He also participated in group exhibitions of
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as member of the Steering Committee. On 1 October 1912 he was appointed professor of ornamental composition at the
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Poster for the 1895 Expositions Peinture, Sculpture, Architecture, Arts Appliques at La Maison d’art, Brussels
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Poster for the 1895 Expositions Peinture, Sculpture, Architecture, Arts Appliqués at La Maison d’art, Brussels
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On 16 April 1895, Gisbert Combaz married Marthe Verhas, a daughter of the prominent Realist painter
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in: Bulletin de la Classe des Beaux-Arts, Académie Royale de Belgique, Volume XIV, 2003, pp 47-69
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Brussel Bedrukt Affiches voor de tentoonstellingen van Brusselse kunstenaarsverenigingen 1880-1914
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Combaz was very effective in transposing the Japanese wood block print style known as
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ceramics. This inspired him to experimenting himself with artisanal pottery at home.
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He was influenced by the work of the Belgian artistic and literary group known as
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Poster for the First International Congress of Lawyers in Brussels in August 1897
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in Brussels. He found his first teaching position at the Institute Agricole in
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The artist died in Brussels not long after the start of the Second World War.
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were an inspiration for his compositions. The reference work was clearly the
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and Japanese prints. The iconographic repertoire of Japanese artists such as
711:, Volume 26, Brussels, Établissements Emile Bruylant, 1936-1958 pp. 637–638
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Combaz' work further shows the influence of contemporary movements such as
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448:. These characteristics were clearly transposed by Combaz to his posters.
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by the German occupiers during the First World War. One of his drawings
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Le japonisme en Belgique. L’affiche Art nouveau et l’estampe ukiyo-e
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and Art Nouveau. Combaz exhibited with the group's successor,
167:(23 September 1869 – 18 January 1941), was a Belgian painter,
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Henri Lavachery, "Combaz, Gisbert Corneille-Henri-Paul"
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650:Mayhem and Madness: the War Art of Gisbert Combaz
621:Gisbert Combaz, 1869-1941: fin de siècle artist
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482:burning down of their town by German soldiers
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605:Illustration 'Villain! This is your work!'
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189:in Brussels. Gisbert studied law at the
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435:to the medium of posters. In his
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518:Les Temples impériaux de la Chine
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709:Biographie Nationale de Belgique
686:Biographie Nationale de Belgique
512:Les Palais impériaux de la Chine
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899:20th-century Belgian educators
894:19th-century Belgian educators
884:20th-century Belgian sculptors
879:19th-century Belgian sculptors
780:Art Nouveau: A Recurring Theme
232:Académie Royale des Beaux-Arts
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191:Université libre de Bruxelles
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530:L'Inde et l'Orient classique
577:at Stephen Ongpin Fine Arts
327:Orchids and an Emperor Moth
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795:Masques et Dragons en Asie
536:Masques et Dragons en Asie
524:Évolution du Stùpa en Asie
514:, Brussels, Vro-mant, 1909
338:Louis de La Vallée-Poussin
157:Belgian artist (1869–1941)
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508:, Brussels, Vromant, 1907
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633:Gisbert Combaz biography
575:Gisbert Combaz biography
380:show the inspiration of
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864:Belgian poster artists
743:Hadewych Hernalsteen,
607:at the British Library
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410:La Libre Esthétique
356:and gave lectures.
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261:La Libre Esthétique
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68:(1941-01-18)
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767:(in French)
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713:(in French)
691:(in French)
457:pointillism
453:cloisonnism
446:homogeneity
394:calligraphy
386:Art Nouveau
305:Willy Finch
289:Marie Danse
228:Paul Janson
173:Art Nouveau
140:Jean Combaz
102:Pointillism
98:Cloisonnism
94:Art Nouveau
828:Categories
749:(in Dutch)
704:Jan Verhas
594:(in Dutch)
414:arabesques
217:Jan Verhas
47:1869-09-23
402:Hiroshige
265:L'Estampe
257:Symbolism
76:, Belgium
57:, Belgium
200:Gembloux
135:Children
90:Movement
589:at the
477:Louvain
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432:ukiyo-e
398:Hokusai
224:Ixelles
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253:Les XX
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