Jean Delville - Knowledge (XXG)

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matter, Nature and the Ideal, etc. These ideas are personified in this work in the duality between the androgynous Angel and the young androgynous youth who is ensnared in the natural or material realm. His lower torso is engulfed in serpents and surrounded by toads, spiders, butterflies and other life-forms of the natural world. The Angel, on the other hand is a vision of diaphanous gold, clothed in a dress that is more fluid than material, emanating a soft, but intense, light. Her face is of the exquisite beauty commonly seen in Renaissance portraiture, notably in the work of Leonardo, whom Delville admired. The bright aureole that surrounds her face beaming light in all directions is a common signifier of her spiritual nature. Her proportions are odd, by human standards, and they were criticised by his contemporaries, but Delville understood that to humanise the angel would be to contradict her symbolic function in this work. She remains a being who is physically of her own, transcendental, realm. She points upwards indicating the path to the Ideal realm of spirit and beauty while the youth reaches towards her in an attempted gesture to release himself from the material snares that envelop him from below. There is an obvious tension here, as it is not entirely clear whether the youth will make it, or sink back into the deadening material realm from which he is emerging. The first step on the path of initiation and transcendence is to overcome and control the limitations of the illusory material dimension, and specifically to control the passions and desires, in order to clear the path for the transcendence of the soul. This painting is a totem of that moment in the initiatory drama that Delville expressed in many of his paintings and poems at the time.

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dealers and only very seldom took on private commissions for portraits (a genre he would have excelled in). Most of his paintings were on a grand scale and he devised these mostly to be exhibited in public spaces, following his ideal of the social role of art. Thus, the poor reputation associated with Delville's art is in part probably related to the lack of any committed exposure and sustained marketing of his work, which was essential in forging the reputations of the early avant garde and afterwards. Delville also came from a working-class background which was a huge disadvantage in the contemporary bourgeois-dominated culture in Belgium. This would certainly have contributed to the erasure of his worth as an artist over time. Finally, Delville was fiercely independent in his approach to promoting his ideas and artistic ideals, seldom bending to the will of what was popular or acceptable in conservative bourgeois circles that controlled and dominated the art market during his formative years. Mainstream critics and peers generally shunned his art and ideals as a result. Despite his immense talent and vision, Delville remained a 'voice in the wilderness' during this time. This reputation persisted during the course of his life and afterwards as well.

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other words, light-bearers who guide humanity towards higher consciousness and deeper spiritual awareness during our earthly incarnation. Plato taught of the essential duality between the material and metaphysical dimensions; his gesture, pointing upwards and downwards, alludes to this duality between macrocosm and microcosm. Attainment of the Ideal realm and the expression of its truths in physical form was the key notion in Delville's aesthetic philosophy. He wrote often that the goal of art should aspire towards expressing Absolute, or Spiritual Beauty in physical form. He saw Classical art as the purest expression of this goal and he sought a revival of this idea in art, reworking it in a way that was appropriate for his contemporary cultural era. For Delville, moreover, the human body, was the purest expression of Ideal and Spiritual Beauty. He therefore often resorted to the depiction of nude male and female figures in his art as vehicles for the expression of this ideal, as is clearly seen in this work. Concerning the spiritual importance of the nude as a vehicle for the expression of a spiritual ideal, he wrote:

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female principles of human experience that results in spiritual androgyny. Male energy and female energy are united to form a state of wholeness and complete unity of Being. It is a cosmic conception of the goal of existence, beyond opposites, polarity and discord. This state signifies a return to the original state of perfection and integration of opposites that unites us to the Cosmic mind, beyond time and space and the duality of physical and material existence. This spiritual union gives birth to the transcendent being, the cosmic Christ within. Delville often wrote of the nature of duality and the forces of opposites, as well as the need to bring these into harmony, in other words achieving Equilibrium. In fact, he understood the experience of opposition in nature (human as well as in the natural world) as an underlying 'law' relating to what he termed the 'Equilibrium in the Universal Order', with regard to which, he wrote:

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which are beautifully reproduced, show the high quality and great versatility of modern Belgian art. Particularly notable is a picture of a Moorish cavalry charge, by Alfred Bastien, who since he came to this country has done some fine work for the Illustrated London News. Among many other well-known Belgian artists represented are Albert Baertsoen, Jean Delville, Emile Claus, Herman Richir, Comte Jacques de Lalaing, and Paul Dubois. A fine painting by Frank Brangwyn – Mater Dolorosa Belgica – forms a pictorial introduction", as the frontispiece. Maeterlinck contributes a eulogy of King Albert, and there are poems by Emile Verhaeren, Marcel Wyseur, and Jean Delville, who also writes an introduction. The volume is published by Colour (25, Victoria Street, S.W. at 5s. and (in cloth) 73. 6d., with a limited edition de luxe at £1. Both for itself and the cause it should command a wide sale.

900:(the original is lost, but a detailed study recently came up for auction). It depicts a naked female figure dragging a nude male beneath the water. Bright light appears above the male figure while dark sub-aquatic vegetation surrounds the base of the female. The initiatory theme here is self-evident in its depiction of the conflict between spirit (light) and matter (dark vegetation). The male aspires towards the light but is dragged down towards the bottom of the dark mass of water. The work establishes an essential duality between consciousness/unconsciousness, light/dark, as well as spirituality and materialism. In Delville's writings he emphasises this duality and its reconciliation, a theme that pervades much of Symbolist art and writings and was conspicuous amongst Romantic artists as well, especially the writings of Goethe. The theme dominates Delville's art. He wrote that: 2165:. Today, few details are available about the sitter, and even her first name goes unmentioned in the literature. The most extensive information on her identity is given by Delville's son Olivier in his biography of the painter. It is not a first-hand account, however, as Olivier was born at least ten years after the picture was executed. According to him, Stuart Merrill (a Symbolist poet who published his works in Paris and Brussels) had a house near to the Delvilles in Forest at that time. Olivier adds that "the young Mrs Merrill-Rion" was a Belgian, and that Delville was struck by her strange beauty and depicted her with a mediumistic character. It is likely that Delville painted other portraits of Mrs Stuart Merrill and the 1893 drawing 'Medusa', in the same media is undoubtedly one of these. 2272:

functions rather than the emasculating animal functions. The real male is he whose mind can dominate the body and who only responds to solicitations of the flesh as his will allows. … if the works of the Sar, a virile man if ever there was one, energetically banish sexual conflicts, that is, are a consistent plea in favour of chastity, it is because he has studied the ravages of carnal love, because he has understood that one has to beware of the feelings of the heart, a heart in love being a dangerous accomplice of instinct. … Unfortunately, for the most part, we remain stubbornly ignorant of the fact that real virginity develops highly the powers of the soul, and that, to those who dedicate themselves to it, it imparts faculties unknown to the rest of the human race.

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confrontational, but it was characteristic of him to stick to the courage of his convictions and to carry his projects through with relentless energy and determination. The aim of the Salons were couched in a short manifesto published before the opening of the first Salon. This is an early instance of a new avant-garde art movement supported by a manifesto, something that would be a commonplace in later Modernist movements and after. The salons were also accompanied by a series of lectures and musical soirées. Delville's salons were also significant for their inclusion of women artists, something almost unheard of in other contemporary avant-garde exhibition societies. The manifesto provides a valuable record of the Idealist movement founded by Delville:

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were allowed there. While working on their painting, the competitors had to change their clothes each time they entered their lodge, after having been visited by a specially appointed supervisor. These procedural requirements were the moral guarantee of this great contest in which these artists from the country took part…. As soon as they were selected, they entered into a lodge in order to produce, over three days, the sketch of the requisite painting, and they were given eighty days to complete it without receiving any visitors or advice from anyone – in order to ensure that the competitors were the unique and personal author of the work so that the jury, composed of the country’s most well-known artists, could cast a definitive judgement.

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a rather attractive figure, beguiling, powerful and seductive, dragging the hapless mass of men and woman to his undersea lair. Significantly the figures are not in a state of pain or agony, as is usually the case in Western depictions of Satan's underworld. Here they appear to be in a state of reverie and bliss, unconscious of their lives and the value of the spiritual reality of their existence, and succumbing, rather, entirely to the lure of gold and sensual pleasure; in other words, material greed and sensualism that Delville saw as a trap and a catastrophic diversion from humanity's true goal which is to spiritualize one's being and enter the higher realm of consciousness and spiritual bliss which he referred to as the 'Ideal'.

1455:(1895, Royal Museums of Fine Art, Brussels). The work had previously been on show at the Salon de Gand. The depiction of a satanic figure represented under water was unique in Western Art. Instead of wings he is represented with long octopus tentacles. His 'treasures' are the sleeping figures surrounded with jewels and gold coins, objects representing materialism and avarice. The figures show no sign of torment, but are rather represented in a state of somnolent bliss, as though they have succumbed to all that is 'satanic' in Delville's occult view: sensual pleasure and materialism. The work is an apotropaic icon against the snares of the lower passions and the world of matter and sensuality generally. 904:'Men have two very distinct trends in them. One of these two trends is physical, which must, of course, provide for his preservation by physical means, having the task of sustaining tangible life, sustaining the body. The other trend, which is not only immaterial but indefinable, is that which arises as a perpetual aspiration beyond the material, for which this world is not enough: it is this 'something else' that overcomes all distances or is, rather, unknowable. This is the very threshold of the occult world, in front of which all science, seized with unsteadiness, prostrates itself in the insuperable premonition of a world beyond!' 2554:, were largely founded on their participation at these societies, which promoted heavily their art through organised marketing campaigns, and by establishing a commercial network of dealers and collectors to invest in the art exhibited there. They were also very successful in making their art well known internationally. There was an overt commercial element associated with these societies in the way they created an aura about the art exhibited there as a desirable commodity. Delville shunned the commercialisation of art and the way it was manufactured as an elite commodity. Although he sold works at his own societies, such as 1356:, which came with a very generous bursary that also covered the costs for a lengthy sojourn in Italy. Delville won the 1895 competition, but his entry created a controversy amongst his peers given the 'Establishment' nature of the Prix that ran counter to the ideals of the avant-garde at the time. Delville was by then a fairly established figure in avant-garde circles and his association with the Prix de Rome appeared to be a betrayal of their cause. The Prix de Rome, however, also meant that Delville could spend a significant amount of time in Italy studying the Classical art of the Renaissance that he admired so much. 2605:. Moreover, a great number of his works are in private collections and their whereabouts still needs to be determined. This all means that access to his works is extremely limited and they remain out of the 'public eye', and hence the collective imagination generally. Reproductions of some of his paintings and drawings are available on the Internet, but are usually of poor quality which reduces their impact considerably. Finally, until very recently, there have been no major studies or monographs on the artist's work, which until now has left considerable gaps in the understanding of his life, art and ideas. 2210: 2007:

purest idea on an intellectual level, the most beautiful form within the artistic realm, and the most perfect technique in terms of execution. Without an idea, a work misses its intellectual mission, without form, it misses its natural mission and, without technique, it misses its goal of perfection. … The veritable character of the work of Idealist Art can be identified from the balance reigning over its accomplishment, meaning that it does not let the essential terms of idea, art or technique prevail one over the other, but more likely according to relations proportional to their respective powers.

2024:. For him, Classical art was the purest expression of the spiritual in material form. Delville sought to reinterpret the Classical idiom in a contemporary context – to suit, in other words, his specific Idealist style of art that he was formulating during the 1890s – not simply, in other words, to copy or imitate classical modes of art. The expression of harmony and equilibrium, which he saw as an essential aspect of Classical art, were fundamental in the expression of the spiritual in natural forms. There is a mystical aspect to Delville's aesthetic, and idea of Ideal Beauty, when he wrote that: 1972:

by the force of the idea reflected. The more elevated, pure and sublime a work is, the more the inner being, coming into contact with the ideal vibrations emanated from it, will be raised, purified, and made sublime. The artist who is not ideal, that is to say, artist who does not know that every form must be the result of an idea, and that every idea must have its form, the artist, in short, who does not know that Beauty is the luminous conception of equilibrium in forms, will never have any influence over the soul, because his works will be really without thought, that is, without life.

1946:(1900). Delville's Idealist theory is a syncretic formulation of traditional Idealist thinking (in the tradition of Plato, Schopenhauer and Hegel) and contemporary esoteric philosophy. In summary, Delville believed that art is the expression of the Ideal (or spiritual) in material form and is founded on the principle of Ideal Beauty, in other words Beauty that is the manifestation of the Ideal, or spiritual realm, in physical objects. Contemplating objects that manifest Ideal Beauty allows us to perceive, if only fleetingly, the spiritual dimension and we are transfigured as a result. 1567:, a journal devoted to Theosophical ideas in 1899, and published articles from leading Theosophists of the day, including Besant. Delville became the first General Secretary of the Belgian branch of the Theosophical Society in 1911. Delville's art flourished after 1900 and he produced some of his greatest works during this period up to the First World War. He worked with undiminished strength and imagination and his paintings revealed a visionary sense of the transcendental inspired by his involvement in the Theosophical movement, seen typically in works such as his monumental 2245:

material world is, in this world-view, seen merely an illusion that brings suffering and discontent. Our goal is to spiritualize our being and refine our material selves, which includes our desires and need for the fulfillment of material satisfaction. Without a spiritual context in mind, men and women simply become deadened materialistic entities always governed by their desires, passions, greed and ego-driven need for control and power over others. This is the realm of matter, or in Delville's cosmology, the realm of "Sathan" (spelled with an archaic

2487: 876:. It depicts a vast composition of intertwined figures floating through the nether regions of hell. The theme concerns lovers who have succumbed to their erotic passions. One of the main themes of initiation is to control one's lower passions in order to achieve spiritual transcendence. This painting of this work represents this idea in metaphoric form. This is an early major work by Delville sadly destroyed in the incendiary attack on Louvain in 1914. Despite its importance, it was not received with much enthusiasm in the contemporary press. 2566:, their purpose was mainly to create a forum for artists working in an idealist vein. Delville was mainly committed to using art as a force to transform society and to improve the lives of those around him. He wrote: 'there will be nothing to prevent art increasingly to become an educative force in society, conscious of its mission. It is time to penetrate society with art, with the ideal and with beauty. Today's society tends to fall increasingly into instinct. It is saturated with materialism, sensualism and ... commercialism'. 2503:

responsible for the production of Chaos? A huge mistake: The Great and the Small, the Strong and the Weak, the High and the Low, the Active and the Passive, the Full and the Empty, the Weighty and the Dense, Exterior and Interior, the Visible and the Invisible, the Beautiful and the Ugly, the Good and the Bad, Essence and Substance, Spirit and Matter are divergent forces which eternally constitute the great Equilibrium in the Universal Order. It is a Natural Law, and no philosophy, no dogma, no doctrine will ever prevail over It.

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the artists adhered to a few common rules of composition: using the same horizon line, using the same scale for the figures, and adhering to a limited palette of related colours. The specific theme to the left of the arcade is that of Belgium at peace. Works by Fabry, Vloors and Montald represent respectively material life, intellectual life and moral life. The specific theme to the right represents heroic Belgium, with works by Delville, Ciamberlani and Dierickx representing respectively victory, a tribute to heroes and war.

1861:). Characteristically they became more pared-down in their articulation of form and colour: shapes became more stylised and geometric and his colours were more pallid, or 'pastel' in tone, lacking the energy, vibrant contrasts and rich tonalities that was characteristic of his work until then. His treatment of figures also became more stylised and he often articulated their facial features with characteristically 'almond'-shaped eyes, giving his figures an otherworldly appearance. Typical examples of this period include his 3131: 1339: 1492:, in private collections. At the time Delville was in Italy on his prescribed sojourn there after winning the coveted Prix de Rome. The show received largely positive reviews in the press and Delville's Salons were becoming more widely accepted, despite his aggressive polemics in the months prior to their establishment which hackled his contemporaries. What was noted as a feature of this Idealist art was its intellectual nature and the proclivity towards the expression of ideas. 455:. Delville was the leading exponent of the Belgian Idealist movement in art during the 1890s. He held, throughout his life, the belief that art should be the expression of a higher spiritual truth and that it should be based on the principle of Ideal, or spiritual Beauty. He executed a great number of paintings during his active career from 1887 to the end of the second World War (many now lost or destroyed) expressing his Idealist aesthetic. Delville was trained at the 3145: 135: 2450:, which was frequently hostile towards Delville and his art, praised his work in the following: 'Jean Delville ... has created a Work! A superb work of art: The School of Plato, to which he refers as "an essay in Fresco" – Go and see it! It is of a calm, a serene, a grand and delicious Beauty ... Ideal, yes, truly ideal. The programme shows his worth and it is magnificent.... It is beautiful, beautiful, beautiful! 1376:

his career and brought to focus his ideal to synthesise the classical tendency in art with his interest in esoteric philosophy which was the defining attribute of his Idealist aesthetic form then onwards. Delville produced several remarkable paintings during his time in Rome that reflect a dramatic evolution in his art towards a more refined expression of this Idealist aesthetic. These included his outstanding

25: 1623: 1711:(completed in 1924), depicting two vast celestial armies confronting each other. The forces of light, represented on the right, are led by a Christ-like figure seated on a horse and a torch-bearing winged figure leading an army of angels into the fray against a battalion of dark forces streaming in from the left. The work is on open display in the Palais de Justice in the vast 1889: 885:(Royal Museums of Fine Art, Brussels, 1887). The work is inspired by Wagner's eponymous opera and deals with the relationship between love and death and the idea of transcendence that can be achieved through both. It is an early work that reveals themes closely related to the initiatory tradition which is fully discussed in Brendan Cole's recent book on Delville. 2459:

stars and souls resplendent and makes space vibrate, which beats in substance as in essence, which rules and moves the Universe, the beings and the objects, mortal or immortal, in the infinite rhythm and the mystery of Eternity, divine macrocosm and human microcosm where Universal Beauty, made of Love, Wisdom and Light, shines and is reflected forever.

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in the nineteenth century. Several Belgian and English art historians, working in collaboration with Delville's heirs and estate, are also taking a renewed interest in Delville's work, revealing detailed aspects of his life and work for the first time through detailed studies and monographs on aspects of Delville's life and art (see 'Sources').

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future. In order for the artist to become aware of this, it is necessary for him to purify and elevate himself. ... The role of modern idealism will be to draw the artistic temperament away from the deadly epidemics of materialism ... and finally to guide him towards the purified regions of an art that is the harbinger of future spirituality.'

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with the curse, her clenched hands lift the bed cover over her belly in an unconscious reflex of modesty ... abominable vision ....! and poor women!' This subject, rarely depicted in art, was seen to be shocking and contrary to bourgeois taste. It does however signal an aspect of Delville's art to depict ideas that are vivid and provocative.

971:. Their first exhibition took place in November 1892 and the works displayed were executed in either an Impressionist or Symbolist idiom. Delville designed the poster for the first exhibition depicting a long-necked sphinx – a key symbol of the period – cupping a flaming chalice in her hands. Delville's main work of that year was his 1857:(1940, 298 × 231 cm, Antwerp: Royal Museum of Fine Art). He was still able to sustain a power of expression and a highly articulate finish to his works in his later years that was there from the very start. However, a change in his style took place amongst some of his works in the 1930s, (especially while he was resident in 2073:

used to express vividly his Idealist technique and ideas. The various ways he articulates the human form is key to understanding his artistic programme that he unveiled in his paintings throughout his career. This is especially the case in the rendering of lithe and supple male and female figures in his

2002:. Delville goes further to map his threefold conception of beauty onto his esoteric conception of the threefold nature of reality, consisting of the natural, human and divine realms, as well as the threefold nature of man as body (senses), soul (feeling) and mind (thought and spirituality). He writes: 2520:

In his biography, Delville's son Olivier tells us that his father, determined to pass his ideals on to the world, was continually painting and writing. He supplemented this unreliable income by teaching art, but his busy professional life did not prevent him from applying his strongly held beliefs to

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The setting of this work is important. Delville places the figures in an indeterminate, cosmic setting, suggesting that they are not figures that have human substance, but are rather symbols of the transcendent spiritual nature of man and woman. The ribbons of colour surrounding them suggests a fluid

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The nude has the high quality of being synthetic and universal. … in evoking Mankind, it evokes Humanity and all the beauty of Life, not life as we modern beings understand it, comprising nerves, morbid fevers and agitation, but the great universal life, which enriches the spirit and the earth, makes

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Delville was immersed in studying the esoteric tradition and the hidden philosophies that were popular at the time. This was a tradition that extolled the virtues of self-improvement and spiritual progress through initiation. Edouard Schuré already identified Plato as one of the 'Great Initiates', in

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that is rarely preserved in translation), who controls and governs our lower state of being. Without a spiritual goal in life, we are merely slaves to Satan and are completely submissive to his power; we become his 'treasure' as is implied in the title of this painting. Here Delville depicts Satan as

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into three categories: I) spiritual beauty: the source of beauty in physical objects, ii) formal beauty: the physical articulation of beauty in works of art, and iii) technical beauty: the specific execution of line, colour, light and shade, and composition to express Ideal beauty in physical objects

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Delville remained a committed and passionate Theosophist until his death in 1953 and he maintained in one of his biographies that this always formed the foundation to this moral and artistic perspective throughout his later life. Regarding this important aspect of his intellectual and spiritual life,

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on the theme of 'Justice through the Ages'. These works, monumental in conception and scale and no doubt amongst his finest, were unfortunately destroyed during the second World War as a result of German bombing of the Palais de Justice on 3 September 1944. The irony of this action in relation to the

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is to give rise to an aesthetic Renaissance in Belgium. They bring together, in one annual grouping, all the scattered elements of artistic idealism, that is to say, works with the same leanings towards beauty. Wishing in this way to react against the decadence, against the confusion of the so-called

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Another great disadvantage related to Delville's reputation relates to the limited exposure of his major works in public museums, and the relative paucity of published material (until recently) concerning Delville's art and career. The Museum of Fine Art in Brussels houses by far more works than any

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Delville painted this work in tempera, where pigments are mixed with egg white to create a luminous finish and a highly durable work of art. He was highly influenced by the artists of the Italian Renaissance who often used tempera in their works, and which, to this day, retain their purity of colour

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The hot colours which surround Mrs. Merrill's head appear to allude to the earthly fires of passion and sensuality. On the other hand, the book on which she rests her chin and long, almost spectral hands is inscribed with an upwards-pointing triangle. This represents Delville's idea of perfect human

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Delville very seldom painted landscapes, still life or portraits for their own sake, but often incorporated these in his figure paintings. Almost all of Delville's paintings focus on the human form as the bearer of the drama of his works. He was a master of the articulation of human anatomy which he

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And yet these vibrations, though invisible to the greater part of mankind, are able to exercise an astounding influence over the mentality of human beings, and thus assist in their evolution. Before works of genius the human consciousness receives mental and spiritual vibrations, which are generated

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Belgian Art in Exile is the title of a very attractive album of reproductions, mostly in colour, of paintings by exiled Belgian artists, with photographs of works by Belgian sculptors, which has been issued in aid of the Belgian Red Cross and other Belgian charitable institutions. The colour-plates,

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were exclusively devoted to exhibiting artwork of an Idealist nature. Delville signalled his programme in a series of polemical articles during the course of the months preceding the opening of the first Salon, which created some controversy amongst his contemporaries. Delville's ideas were bold and

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which he founded in 1895 and opened to the public in 1896. By 1896, Delville began severing formal ties with Péladan, which cleared the way for his move towards Theosophy later that decade. Delville records his association with Péladan in his autobiography: '... my personality as an idealist painter

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dimensions. His paintings and finished drawings are an expression of a highly sensitive visionary imagination articulated through precisely observed forms drawn from nature. He also had a brilliant gift for colour and composition and excelled in the representation of human anatomy. Many of his major

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Despite this, a resurgence of interest in his work and ideas appears to be taking place, notably with the recent important retrospective exhibition in Namur that brought together many important paintings and drawings, many of which have not been seen before in public since they were first exhibited

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This is undoubtedly one of Delville's most subtly articulated and beautiful images of the period. Delville depicts the union of souls, male and female, in a cosmic setting. This painting suggests a theme important to Delville and his contemporaries regarding the return to unity in the dual male and

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The men in this painting are conceived in an idealised androgynous form: a concept that Delville, following Péladan, developed to express the ideal of a non-erotic perfection of the human state that synthesises the male and female principle in an idea of wholeness and perfection, which emulates the

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Delville developed a distinct style in his painting, which is unmistakable. His finished drawing and paintings are highly articulate and precise in the way he renders forms. However, his works are not overbearingly detailed, as is often found in realist art, but he manages to capture the essence of

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Where there is no thought, there is no life, no creation. The modern western world has become unconscious of this tremendous power of the Ideal, and Art inevitably has thus become degraded. This ignorance of the creative forces of thought has, nevertheless, obscured and diverted towards materialism

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he wrote: 'If the purpose of Art, socially speaking, is not to spiritualise the weighted thinking of the public, then one has the right to ask oneself, what is truly its usefulness, or more precisely, its purpose'. Although he had already created several large artistic schemes that decorated public

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From an early point in his career Delville was interested in producing art that would be displayed in public spaces for the edification of all. For him, art was a means of uplifting the public, and to this end he despised art that was produced for an elite clique, sold by dealers for the benefit of

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in London. His two oldest sons, Elie and Raphaël Delville, were conscripted into the Belgian war effort (both survived the conflict). Delville played an active role in London through his writings, art and public addresses (he was a gifted orator) in support of the Belgians in exile and the conflict

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champion the following as eternal principles of perfection in a work of art: thought, style, and technique. The only thing they recognize as free, within aesthetics, is the creative personality of the artist, and maintain, in the name of harmony, that no work is susceptible to true art unless it is

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The rules of the competition were stringent. Competitors were isolated in small studios in the Academy of Fine Arts in Antwerp which ran the competition and were expected to produce a finished drawing of their composition before setting to work on the final painting. A strict time-limit was imposed

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are almost life-size. The style of the painting is inspired by the Italian frescoes by Raphael and Michelangelo that Delville would have seen while in Rome, characterised by bold articuation of forms with a matte (as opposed to a glossy) finish. The painting was first exhibited at Delville's final

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The scale of the painting is impressive, measuring 2.60 metres high by 6.05 metres long, and Delville certainly had in mind large-scale academic history paintings which were the preserve of erudite artistic subjects painted in the Classical tradition, which he sought to renew. The figures depicted

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Erotic fever has sterilized most minds. One ordinarily thinks of himself as virile because he satisfies a woman’s unquenched bestial desires. Well, that’s where the great shame of the cerebral degeneration of our time starts. The poet, the artist, the scientist are mostly attached to the spiritual

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where he emphasises the expressive value of Idealist art, in other words, that it is not merely a question of engaging passively with the image, but it is also about feeling the 'energy' that it radiates, which uplifts and transforms the consciousness of the viewer, in a spiritual way. Idealism in

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Each artist prepared six individual works (cartoons) that were then adapted to the final mosaics which were three metres high and aligned to the top part of the wall. The total distance of all the mosaics was 120 metres. An overall harmony of all the individual panels was achieved by ensuring that

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The overall theme of this major cycle of works was a patriotic commemoration of 'The Glorification of Belgium' following the Great War through allegorical images relating to war and peace. In 1924 Delville expressed his idea for the cycle as a 'vision of a frieze in mosaic unfurling its rhythm of

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in 1900. His tenure there was highly successful, and the works of the students he trained were celebrated at the annual exhibitions in London. When Delville returned to Brussels in 1907, many of his British students followed him to further their training under his tutelage in his private studio in

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During his stay Delville was expected to paint original works reflecting his studies of classical art as well as to make copies after the old masters. He was also expected to send regular reports back to the Antwerp Academy relating to his work there. The experience proved to be a turning point in

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group took place in January 1894. Significantly the society also included the applied, or decorative arts, which were become widely popular at the time and a particular feature of Art Nouveau. Tapestries, book-bindings, and wrought-iron work were displayed alongside the paintings. The influence of

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Delville depicts a fallen figure curled up on his side in a barren landscape, asleep, or perhaps even dead. However, during the period 1888–1889 his artistic interests started developing in a more non-realist direction and began to move towards Idealism, which dominated his work from then on. This

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depicting a woman in labour. A contemporary review described it in the following: 'On a huge bed with purple sheets ... a dishevelled standing woman displays her nudity as she writhes in spasmodic movements, bending under the pains of childbirth. Her face is contorted, her gnashing teeth alternate

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The rules were demanding … At that time the six selected competitors for the final exam had to paint their work in a secluded lodge, after leaving the original preliminary drawing in a hallway of the Antwerp Academy. It was strictly forbidden to bring any drawings into the lodge, only live models

2028:

The Beautiful, taken in its classical sense, is not an illusion. The Beautiful is the True manifested by the Idea in form. This is the highest goal that the artist must seek to attain … When the artist causes light to spring forth from darkness, beauty from ugliness, the pure from the impure, he

2006:

The work of Idealist Art is therefore that which will harmonise in itself the three great Words of Life: the Natural, the Human and the Divine. To attain this degree of aesthetic balance, – which, I am happy to concede, is not within the reach of just anyone! – one must find within the work the

1351:

Delville lived as an indigent artist in St Gilles in Brussels during the course of his early career. By the middle of the 1890s he was married and had a growing family which he struggled to support as an artist. On the advice of his close friend, the sculptor Victor Rousseau, he was motivated to

2571:

Delville believed, rather, that a respiritulaisation of society would be a redeeming path to rescue it from the morbidity of materialism. Elsewhere he wrote: 'Idealism ... has a universalizing educational and social impact ... Idealism sees humanity in terms of the immense vitality of his ideal

2502:

In spite of a contrary appearance, all the forces, all the manifestations of nature influence each other with currents of negative polarity and positive polarity, undeniable astral influences. … The great contrasts of life, however, are responsible for all the misery, all the hardship; are they

2191:

This is undoubtedly one of Delville's most visionary images of the early 1890s. The work refers to Delville's interests in the idea of initiation and the spiritualisation of the soul. As seen in many of his works, Delville often plays on the tension between opposites: light and dark, spirit and

1200:

and some drawings. Under his influence, I went to live in Paris where I stayed on the Quai Bourbon among some Rosicrucian friends, disciples of Péladan. I stayed there for several months occupying my time not only with the organization of the Péladanesque salons, but also in painting the set of

2575:

Delville remained desperately poor during the early part of his career and his condition was only occasionally relieved by the stipend associated with the Prix de Rome that he won as well as his employment at the Glasgow School of Art, and later the Ecole des beaux-arts. Delville never sold to

1903:

En réalité, la philosophie occulte occupe le fond de ma pensée depuis bien des années ! Je pense avoir lu à peu près tout ce qui fut publié d’important sur les problèmes de l’invisible. ... Depuis, j’ai beaucoup cherché, étudié sur la nature des phénomènes psychiques. L’Etude des sciences

561:

Delville's artistic style is strongly influenced by the Classical tradition. He was a lifelong advocate of the value of the Classical training taught in the Academies. He believed that the discipline acquired as a result of this training was not an end in itself, but rather a valuable means of

2244:

On the whole, Delville's works generally deal with the theme of the duality between nature (human or otherwise) and the transcendental world. Delville was an Idealist, in other words, he believed in the reality of a transcendental or spiritual dimension as the basis of reality. Our perceptual

2045:

he outlines the figures using long, curvaceous contours, and their anatomy is only lightly suggested using gentle contrasts in light and shade; the effect is the expression of great beauty without being overbearingly sensual: a technique often seen in Renaissance frescos. Delville had a great

550:(1942), represent dozens of figures intertwined in complex arrangements and painted with highly detailed anatomical accuracy. He was an astonishingly skilled draughtsman and painter capable of producing highly expressive works on a grand scale, many of which can be seen in public buildings in 2253:

The theme of exercising control over one's lower nature–erotic temptation and indulgence–was believed by Delville and his esoteric contemporaries (especially Joséph Péladan) to represent the first stage on the path of initiation. This was first suggested in Edouard Schuré's influential work

1804:

Working towards the public good and alleviating the suffering of mankind was also a principle ideal of the Theosophists, an ideal to which Delville's subscribed throughout his life. Delville's Theosophical-socialist views were articulated in two articles his published before the war:

1188:

emerged more and more. I made the acquaintance of Péladan and became interested in and started participating in the esoteric movement in Paris and Brussels. I exhibited at the Rosicrucian Salon where only idealist art was allowed. Péladan exhibited several of my works there, notably

2151:. As a number of authors have pointed out, the painting, with its references to occultism and wisdom seems to hint at initiation. If so, the woman's red aura might refer to her sensual side, which will become more spiritualised as she moves into a different stage of development. 2512:

and luminosity to a high degree. The close-up details reveal his technique of applying the paint in small strokes; rather than blending the colours on the palette, they are blended by the eye. To achieve this effect one has to be highly skilled as a draughtsman.

1521:, a text in which he outlined his views on occultism and esoteric philosophy. Brendan Cole discusses this text in detail his book on Delville, pointing out that, though the Dialogue reflects the ideas of a number of occultists, it also reveals a new interest in 1956:

art is, he writes, 'the introduction of Spirituality into Art'. For Delville, the Idea is an expression of the Ideal realm, and it is a living force within human experience that dwells within the transpersonal realm of human experience. He writes further that:

2529:

Delville is still not nearly as well known as some of his contemporaries of the Symbolist era. There are historical reasons for this. For instance, he never exhibited at the main exhibition societies in Brussels during the early part of his career, such as

2134:

Though Delville frequently wrote about his ideas, he almost never discussed his paintings. He left the interpretations to the viewer, and as a result his best pictures have an air of mystery and intrigue. One of the most mysterious is his portrait of Mrs.

1439:

composed of the three absolute terms, namely: spiritual beauty, plastic beauty and technical beauty. Similar, if not identical, to the Parisian Rose & Croix Salons created by Sâr Joséphin Péladan and to the Pre-Raphaelite movement in London, the

2168:

The painting was not bought by the Merrills, and remained with the Delvilles until it was sold to a Californian private collector in the late 1960s. In 1998, it was acquired by the Brussels Museum of Fine Arts, and is now on display to the public.

562:

acquiring a solid drawing and painting technique to allow artists freely to develop their personal artistic style, without inhibiting their individual creative personality. Delville was a respected Academic art teacher. He was employed at the

1100:, two figures pensively leaning on their elbows, of which the first of the two has a great nobility. These works are monochrome, or nearly so. Their expression is accurate, fine, subtle, refined, not too explicit, and all the more eloquent. 2429:

In this important painting, Delville invokes the serene beauty of the Classical world and its aesthetic and philosophical principles. Delville painted this work while he was in Italy on his artistic sojourn there after winning the coveted

2139:. This drawing, executed in chalks in 1892, is strikingly otherworldly. In it Delville depicts the young woman as a medium in trance, with her eyes turned upwards. Her radiating red-orange hair combines with the fluid light of her aura. 2580:

public collection, but few of these are on public display. This is also the case in other centres in Belgium (Bruges and Antwerp, for example). Few of his works are to be seen in major museums outside Belgium, with the exception of his

739:. Delville was a precocious talent and at age 17 won many of the major prizes at the Academy including 'drawing after nature', 'painting after nature', 'historical composition' (with high distinction), 'drawing after the antique', and ‘ 701:

by his adoptive grandfather, François Delville, while still a young boy. Delville recalls that this was 'the first artist I had ever seen, and for me, as a child, still unaware of my vocation, this was an enchanting experience.'

526:

towards a higher spiritual purpose. Specifically they deal with themes symbolising Ideal love, death and transfiguration as well as representations of Initiates ('light bringers'), and the relationship between the material and

2508:

energy field upon which they are buoyed, an idea that Delville and his contemporaries often referred to as 'astral light' – an energy-force that animates living entities, much like the idea of 'the field' in quantum physics.

1670:, the sale of which raised money for Belgian charities in England. The work contains a great number of representative paintings and other works of art by contemporary Belgian artists. The volume was generally well received. 1830:, and his election as a member of the prestigious Belgian Royal Academy of sciences and letters in 1924, he seemed to have been drawn much closer into the Belgian establishment during these years. He maintained his post as 1039:

group, in view of his talent and astonishing fecundity, is Jean Delville, who is also a writer and a poet; with a powerful imagination that is funereal and tormented. These epithets are equally suited to his large painting

4085:, v. 7, April- June 1907, p. 39. Quoted in Brendan Cole 'Jean Delville and the Belgian avant-garde: Anti-materialist polemics in support of "un art annonciateur des spiritualités futures"’, in Rosina Neginsky (ed.), 2586:

in the Musée d'Orsay in Paris. Many of his smaller works have long since disappeared or have been destroyed, which leaves conspicuous lacunae in his catalogue of extant works. The loss of major paintings like his

2058:

he captures the effect of iridescent, diaphanous gold in the angel's drapery contrasting distinctly with the heavy earthiness of the natural details (animals, spiders, vegetation) at bottom right hand side. His

1739:

buildings, notably his panels for the Palais de Justice, his ambition formally to pursue this aim was finally realised in 1920 when he collaborated with several leading painters of his generation to create the

1825:

From the 1920s onwards, Delville experienced a much more settled and successful career than ever before. With the highly successful completion of the two major public projects in the Palais de Justice and the

1507:(1898, Musée D'Orsay), which marked the culmination of his Idealist programme and widely celebrated amongst his contemporary critics, even those who were previously hostile to his art and aesthetic programme. 2154:

Whatever its interpretation, this very unusual portrait has had a strong effect on viewers. It can be seen as eerie and supernatural (Bade, Femme Fatale, 1979), or as "a positively magical vision" (Jullian,

1732:

collectors who saw in art no more than an investment opportunity. Delville's ideals were strongly aligned to the idea of a social purpose for art, about which he wrote extensively during his career. In his

2029:

reveals Truth to humanity, he reveals God. The Beautiful, the True, the Good are synonyms. It is the glory of Art to be able to make perceptible to human eyes the three mysteries which form a single one!

4246: 680:

family. He bore his mother's name until she married a functionary working in Louvain, Victor Delville (1840–1918). Victor adopted Jean who, until then, was known as Jean Libert. The family moved to

4102:. No. 21, 21 May 1899, pp. 176–177. See Brendan Cole 'Jean Delville and the Belgian avant-garde: Anti-materialist polemics in support of "un art annonciateur des spiritualités futures"’, pp. 135ff. 1584:

theme of this cycle of paintings cannot be overlooked. Small-scale replacements were installed during the reconstruction of the Palais after the War. The gigantic original central painting, titled

1960:

The Idea, in the metaphysical or esoteric sense, is Force, the universal and divine force which moves worlds, and its movement is the supreme rhythm whence springs the harmonious working of Life.

2258:

and outlined in a passage reconstructing the Egyptian initiatory trials. He recounts how the final trial is set to resist erotic temptation personified in the form of an alluring female figure.

1745:(Society for Monumental Art). The aim of the group was to bring together painters, artists and architects who would draw attention to the need for art specifically created for public buildings. 1175:

Delville shared Péladan's concept of creating a forum that showcased art of an exclusively Idealist persuasion. Delville sought to bring Idealist art into the public eye in Belgium through the

1172:

salons. At this time Delville was closely allied to Péladan and his ideals. Delville probably met Péladan in Paris when he accompanied one of the touring exhibitions of L'Essor, around 1888.

1772:. The last two were friends of Delville's since his days at the academy and had collaborated on many project before. Most of these artists had also exhibited in Delville's Idealist forums, 1643:

When war broke out, Delville, amongst many Belgians, was welcomed in Britain as exiles. He moved there with his entire family, including his wife and four younger children and settled in

2235:) at the Salon de Gand in September 1895 while he was working on his entry for the Belgian Prix de Rome. It was then exhibited in Brussels for the first time in 1896 at Delville's first 1839:

His ambition to create large-scale Idealist works of art was sustained right up to the end of his painting career after the Second World War, notable examples amongst which include his

1134:(1894, Royal Museums of Fine Art, Brussels), was Delville's main work of that show. Although not widely praised it stands, according to Brendan Cole, as one of his initiatory paintings 1635:

rue Morris. At that time, Delville fulfilled his ambition to teach at the Brussels Academy and was appointed Professor of Life Studies, a post he held until his retirement in 1937.

4290:

Originally printed in the May – June 2002 issue of Quest magazine. Citation: Harris, Lynda. "Jean Delville: Painting, Spirituality, and the Esoteric." Quest 90.3 (MAY – JUNE 2002).

2521:

his personal life. Olivier describes his father as a person of courage, perseverance, probity and intellect, as well as an upright family man who was strict with his six children.

1801:

This monumental creation was a vindication of Idealist trends in art presented in a public space and gave his artistic perspective a wider visibility amongst the general public.

4409: 1798:

The project was conceived between 1922 and 1926 and completed in 1932. The mosaics themselves were executed by Jean Lahaye and Emile Van Asbroeck of the company A Godchol.

1687:

and was involved in La Loge Albert 1er that reunited Belgian Freemasons in exile living in Britain. His time in exile also inspired several important paintings, including:

459:

in Brussels and proved to be a highly precocious student, winning most of the prestigious competition prizes at the Academy while still a young student. He later won the

3537:, Archives d’Art contemporaine Belgique (AACB), 23792/1-4 5–8.' p. 2. Delville is probably referring to the Salon Rose+Croix of 1893 – the year Péladan staged his play 3381:

Brendan Cole, 'Jean Delville and the Belgian Avant-Garde : Anti-Materialist Polemics for 'un art annonciateur des spiritualités futures', in Rosina Neginsky (ed.),

4429: 585:(1922). He authored more than a dozen books and pamphlets relating to art and esoteric subjects. The most important of his published books include his esoteric works, 977:

which can be considered one of the major images of the period. The new group received a largely positive press during the time. The group was closely associated with

735:(1818–1895). Portaels objected to Delville's youth, but he excelled in the entrance examination and was unconditionally admitted to study painting under Portaels and 573:

He was also a prolific and talented author. He published a very great number of journal articles during his lifetime as well as four volumes of poetry, including his

778:, even if they were seen to be eclectic and derivative of the works of older established artists. These included works inspired by Baudelaire's poetry including his 473:(1898), which stands as a visual summary of his Idealist aesthetic which he promoted during the 1890s in his writings, poetry and exhibitions societies, notably the 4424: 1836:

at the Academy of Fine Art in Brussels until 1937 and continued to paint until crippling arthritis in his right hand forced him to give up the brush in 1947.

4327: 1360:

on competitors to finish the work. The competition opened in June 1895 and the winner was announced in October. The theme of the competition that year was

469: 4419: 4399: 1654:

and wrote several articles and poems virulently condemning German aggression. He was an active member of the philanthropic society for Belgian refugees,

2434:. Delville was then, at last, able to study the classical works of the Renaissance and the ancient world that profoundly influenced his artistic ideas. 1579:(1907, Free University Brussels). His most striking achievement, however, is his series of five vast canvases that decorated the Cour d'Assises in the 2097:

displaying the suffering and distress of the human condition; or in the highly muscular, Titanesque rendering of anatomy in his heroic figures in his

1705:(1918), a modern pieta depicting a female figure with the corpse of a bleeding dead soldier at her feet. His most notable work of this period is his 762:

from 1887 to 1891. His early works were largely depictions of working-class and peasant life executed in a contemporary realist style influenced by

4384: 1561:

that year. It is probably from this point onwards that Delville became actively involved in the Theosophical Movements as such. Delville founded

1076:, he draws together, rather bizarrely, esoteric attributes in a figure derived from da Vinci. But we are able only to express praise in front of 4237: 709:

in Brussels. His interest in art developed around this time and he received his father's permission to enroll in evening drawing classes at the

4404: 4389: 1002:

Delville and Péladan was evident in the predominance of idealist works of art influenced by late fifteenth-century Florentine art, the work of

697:

Delville took an early interest in drawing, even though his initial career ambitions were to become a Doctor. He was introduced to the artist

4306: 2907: 2819: 2799: 2779: 2736: 2680: 2643: 1445:

claim to wish to continue, through modern developments, the great tradition of idealist art, from the ancient masters to present-day masters.

3244:, Ledeberg-Gand, Imprimerie Jules de Vreese, 1926 (Extrait du Bulletin Des Commissions Royales d’Art & d’Archéologie LXV e Année, 1926). 603:(1900). He also created and edited several contemporary journals and newspapers during the 1890s promoting his Idealist aesthetic including 937:

became one of the noted avant-garde exhibition societies on Brussels at the time. The leading avant-garde exhibition forum at the time was

725:(after torso and face). Soon after he gave up his schooling at the Athénée to study full-time at the Académie. In 1883, he enrolled in the 1029:(1892, Royal Museums of Fine Art, Brussels). His work was enthusiastically praised in the press. The leading critic Ernest Verlant wrote: 4374: 4227:

Book showcasing Belgian Artists to raise money for the Belgian War effort during World War I, edited with an introduction by Delville.

2241:. This was one of Delville's first 'breakthrough' paintings and one of his most important works from his artistic period up to 1895. 1630:

Delville hoped to secure a teaching place at the Academy in Brussels, but was offered instead a teaching position at the flourishing

4258: 2046:

imagination for colour and its use for expressive purposes. His colours are often vivid, almost visionary, most clearly seen in his

1940:

Delville wrote prolifically throughout his life outlining his Idealist aesthetic. His first main publication on the subject was his

108: 3824:. Translated by Francis Colmer, with an introduction by Cliffor Bax and Edouard Schuré. London: Francis Griffiths, 1910, pp 11–12. 2444:

in Brussels in 1898. The work was universally praised as a masterpiece by his contemporaries. The leading avant-garde art journal

4394: 2065:

is a paradigm of serenity in his use of muted, cool colours and pastel shades to emphasise the intellectual idyll of Plato's

46: 42: 89: 2209: 4177: 4081: 61: 3719: 1787:

The project went ahead under the patronage of King Albert I, and was paid for through a scheme of national subscription.

4414: 4369: 1923: 636:

in the 1920s which was responsible for the decoration of public buildings including the mosaics in the hemicycle of the

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who inherited the leadership of the Theosophical movement. Besant gave a series of lectures in Brussels in 1899 titled

618:

Delville was an energetic artistic entrepreneur, creating several influential artistic exhibition societies, including

4379: 4252: 2871: 1748:

An important realisation of this aim was the decoration of the walls in the colonnades of the hemicycles flanking the

1580: 888:

A further important work dealing with non-realist, or Idealist, subject matter was exhibited by Delville at the final

658:. He was born illegitimate into a working class household. His mother was Barbe Libert (1833–1905), the daughter of a 4125: 2039:

the forms he articulates using the simplest means possible. This is especially so in his approach to figures. In his

68: 518:. The main underlying theme of his paintings, especially during his early career, has to do with initiation and the 4151: 3257:

La Création d’un Conseil Supérieur des Beaux-Arts. Voeu de la Classe de Beaux-Arts de l’Académie Royale de Belgique

2846:(1900), tempera and oil on canvas, 268 x 150 cm. Brussels: Musée communal des beaux-arts d'Ixelles, inv. 1942. 2464:

original state of human perfection that precedes our split, dual experience of reality in our earthly incarnation.

1650: 879:

Another work that display Delville's growing interest in non-realist ideas during the 1880s is his more well-known

519: 482:

Characteristically, Delville's paintings are idea-based, expressing philosophical ideals derived from contemporary

1116:. This was the year when he began preparing the formation of his own exclusively Idealist exhibition society, the 35: 3451:

Quoted in Armand Eggermont, 'Jean Delville. Peintre de la Figure et de l’Idée', 19 janvier 1867-19 janvier 1953,

3361: 3225:

Discours prononcé par M. Jean Delville, Professeur, à l’occasion de la Distribution des Prix de l’Année 1921–1922

982: 766:. Delville's early efforts exhibited in 1887 were largely favourably reviewed in the contemporary press, notably 732: 3130: 1749: 1010:

and the tendency towards large-scale figure compositions. The show was enthusiastically received by the press.

75: 1128:

salons were well-established, successful and enthusiastically supported by the contemporary press. Delville's

503: 1088:, a long and supple female body appearing under the spurting and cascading waters of a fountain; in front of 3520:

According to Michel Draguet; see Draguet, Idée, Idea, Idéalisme: Figure du Mythe', in Michel Draguet (ed.),

1827: 1522: 507: 4261:

Essay (in French) on the influence of esoteric currents in contemporary Belgian culture on Delville's work.

3337: 3228:, Ville de Bruxelles:Académie Royale des Beaux-Arts et Ecole des Arts Décoratifs (Brussels: E Guyot, 1923). 2016:

Delville believed that the purest expression of Idealist art was to be found in the Classical tradition of

2486: 2431: 1353: 555: 460: 57: 3309:

2015. Stone Bell House, City Art Gallery, Prague. Exhibition drawing on works exhibited in Namur in 2014.

978: 955:

invited international artists as well, several of whom became well known in Symbolist circles, including

499: 463:

which allowed him to travel to Rome and Florence and study at first hand the works of the artists of the

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Delville, 'Comment est né le project de la décoration de l'Hémicycle de l'Arcade du Cinquantenaire', in

1631: 563: 1674:

ran a supportive editorial in their January edition and gave informative information about the volume:

847:, 1888). Here he focussed on themes of poverty, despair and hopelessness. In an undated drawing titled 698: 1693:(1916), depicting a sword-wielding allegorical female figure holding off an attacking Germanic eagle, 1338: 797:

The following year his works were singled out as among the most outstanding of the 1888 exhibitors at

763: 490:

traditions. At the start of his career, his esoteric perspective was mostly influenced by the work of

4364: 4359: 3351: 1968:

ideas and thoughts vibrate, and how these vibrations impinge on the consciousness of the individual.

1526: 774: 4340: 4293: 2654:(1888), charcoal, 44 x 57 cm. Private collection (Portrait of his grandmother on her death bed) 4264: 3747:, (1971–1973), pp. 228ff and 236ff, concerning the highly positive public reception of these works. 1699:(1919), depicting a group of mourning mothers surrounded by dead corpses of their fallen sons, and 487: 2130:

Pencil, pastel and coloured pencil on paper, 40 x 32.1 cm, Brussels: Royal Museum of Fine Art

986:

in Paris, and Péladan was frequently invited to lecture in Brussels at the time by members of the

1769: 1007: 3144: 2482:

Tempera and oil on canvas, 268 x 150 cm. Brussels: Musée communal des beaux-arts d'Ixelles.

2159:, 1974). It is sometimes referred to as the Mona Lisa of the 1890s, and is also given the title 3326: 2091:, or the highly expressive drawn, sinewy, almost emaciated forms in the lower part of his epic 1501:

took place in March 1898 and was marked by the exhibition of Delville's great masterpiece, his

4171: 2017: 1530: 960: 495: 3212:. Conférence Faite à la Branche Centrale Belge de la Société Théosophique (Brussels: c.1905). 2790:(1894), oil on canvas, 222 x 247 cm. Antwerp: Academy of Fine Arts (Prix de Rome entry). 2721:(1891), pencil, ink and mixed media, 15.2 x 35.6 cm. Chicago: Chicago Institute of Art. 2021: 1753: 768: 736: 655: 511: 168: 4335: 4317: 1602:(both 4 by 3 metres). The two remaining panels represents Justice of the past and present: 1110:

show took place in January 1895. Delville also participated for the last time in Péladan's

134: 82: 4322: 1046:, a crimson vision of apocalyptic murder, similar to his vast composition from last year, 964: 803:. This was the year in which he exhibited his highly controversial study for his painting 740: 4221: 3100:(1940), oil on canvas, 298 x 231.1 cm. Antwerp: Royal museum of Fine Art, inv. 2607. 3078:(1938), oil on canvas, 114 x 95 cm. Mons: Musée de Beaux-arts de Belgique, inv. 285. 688:. The Delville family later moved to St Gilles where Delville began his schooling at the 411:

Member: l'Académie royal des sciences et des letters et des beaux-arts de Belgique (1924)

1394:

to universal praise. In 1895, Delville published his first book on esoteric philosophy,

2547: 2136: 1003: 956: 814: 756:

Delville first exhibited in a public context at the moderate exhibition society called

673: 637: 441: 3958:

Jean Delville, 'Conférence sur "Comment on Devient Mage" du Sar Mérodack J. Péladan',

3481:

Jean Delville, 'Conférence sur 'Comment on Devient Mage" du Sar Mérodack J. Péladan',

3409:

Donald Flanell Friedman, « L’évocation du Liebestod par Jean Delville », in

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for the first four years of their existence (1892–1895), which coincided with his own

413:

President: Fédération Nationale des Artistes Peintres et Sculpteurs de Belgique (1926)

4353: 4208: 4199: 3803:

For a detailed discussion of Delville's theory of art and Beauty, see: Brendan Cole,

2276:

There are also frequent references to "Sathan" in Delville's 1897 anthology of poems

1858: 1644: 1459: 2735:, pastel, (1892), pencil and coloured pastel on paper, 40 x 32.1 cm. Brussels: 1765: 3346: 3322: 2628:(1887), charcoal on paper, 33 x 34.5 cm. Brussels: Musée d'Ixelles, inv. CL240 2261:

Delville expressed these ideas in an article published in the contemporary journal

1761: 1648:

against the Germans. He contributed to the Belgian expatriate newspaper in London,

1546: 1382:(1896), a key initiatory work, as well as his great masterpiece of the period, his 913:

Delville's growing interest in Idealist art led him to instigate a succession from

685: 668:

as an adult. Delville never knew his father Joachim Thibault who was a lecturer in

515: 491: 4312: 2862:(1907), oil on canvas, 500 x 250 cm. Brussels: Université Libre de Bruxelles. 4284: 3730:

See Emile Berger, ' Jean Delville et l'enjeu du monumental', in Laoureux, et al.

3430:

Francine-Claire Legrand, 'Jean Delville peintre Idéaliste', in Olivier Delville,

2838:, (1898), oil on canvas, 260 x 605 cm. Paris: Musée d'Orsay, inv. RF1979-34. 3984:, p 310. Cole gives a highly detailed analysis and discussion of this work; see 3342: 2551: 2306:". This last vividly evokes the motif that runs throughout Delville's writings: 2148: 1684: 968: 677: 528: 483: 464: 452: 24: 4309:

A blog/website on the work of Delville with detailed reproductions of his work.

1622: 1529:. He was probably introduced to Theosophy directly through his friendship with 1216:(which was reproduced in the catalogue to the first exhibition) as well as his 731:(class in painting after nature) under the direction of the celebrated teacher 3356: 3193:

Le Mystère de l’Évolution ou de la Généalogie de l’Homme d’après la Théosophie

448: 2890:(1914/18), oil on canvas, 460 x 350 cm (?). Brussels: Palais de Justice. 2807:

Portrait du grand maître de la Rose-Croix, Joséphin Péladan en habit de chœur

2762:(1887), oil on canvas, 80x100 cm. Private collection (recently rediscovered). 3624:

Delville, 'A propos de la Sagesse Antique. Conference de Mme Annie Besant',

2926:(1919), oil on canvas, 112 x 144 cm. Dinant: City collection, inv. 203. 2662:(1888), pencil on paper, 48.2 x 66.2 cm. Tournai: Musée des beaux-arts. 444: 3312:

2014. Small, but important, exhibition of representative works by Delville.

2670:(1890), pencil on paper, 8.7 x 10.7 cm. Tournai: Musée des Beaux-arts. 1975:

The Idea is the emotion of the Spirit as Emotion is the reflex of the Soul.

1888: 1324:. Many of these works would be displayed in Brussels as well in Delville's 1312:. In 1895 Delville exhibited four works including his portrait of Péladan: 1590:, measured 11 metres by 4.5 metres. This worked was flanked by two works, 654:

Delville was born on 19 January 1867 at 2:00 a.m., rue des Dominicains in

3641:. Unpublished Master's thesis, Tours: University François-Rabelais, 2012. 3054:(1937), oil on canvas, 240 x 146 cm. Brussels: Conservatoire Royale. 2942:(1924), oil on canvas, 500 x 800 cm. Brussels: Palais de la Justice. 2144: 1070:, he pushes the intensity of expression to its extreme. Elsewhere, as in 681: 551: 187: 4296:

Details of Delville's activities in the Theosophical Society in Belgium.

2982:(1931), oil on canvas, 110 x 140 cm. Tournai: Musée des Beaux-arts. 1791:

lines and its harmony of colours between the columns of the hemicycle'.

4055:

Dialogue Entre Nous. Argumentation Kabbalistique, Occultiste, Idéaliste

3745:

Memoire et Publications des Société des Arts et des Lettres de Hainault

3177:

Dialogue Entre Nous. Argumentation Kabbalistique, Occultiste, Idéaliste

3022:(1933), triptych, oil on canvas, 133 x 298 cm. Private collection. 2543: 2052:

which is bathed in an atmosphere of luminous golds and yellows. In his

1892:

Memorial bust of Jean Delville, Avenue Sept Bonniers, Brussels, Belgium

1432:

realist, impressionist or libriste schools (degenerate art forms), the

1082:, a dead head floating between the shafts of a large lyre; in front of 2918:(1918), oil on canvas, 305 x 205. Brussels, Royal Academy of Fine Art. 3464:

Miriam Delville, 'Jean Delville, mon grand-père' in Laoureux, et al.

3388:

Miriam Delville, 'Jean Delville, mon grand-père' in Laoureux, et al.

2810:, 1894, oil on canvas, 242 x 112 cm. Nîmes: musée des Beaux-arts 2642:(1887), pencil and charcoal on paper, 44.3 x 75.4 cm. Brussels: 2532: 2143:

knowledge, achieved (as he says in his Dialogue), through magic, the

1980: 939: 3615:, pp. 115ff for a detailed discussion of Delville's Idealist Salons. 2854:, (1903), oil on canvas, 500 x 500 cm. Bruges: Groeningemuseum. 1666:

that was responsible for the creation of the successful publication

3743:

See Clovis Piérard, 'Jean Delville, Peintre, Poète, Esthéticien',

3385:, Newcastle: Cambridge Scholars Publishing, 2010, pp. 129–146. 3217:

Le Christ Reviendra, Le Christ en Face de l’Eglise et de la Science

646:, which provided affordable art materials for artists at the time. 4274: 3143: 3129: 2485: 2208: 1887: 1621: 669: 659: 401:

General Secretary: Belgian Section, Theosophical Society (1911–14)

3778:

For a complete discussion of the relationship between Delville's

3524:

Liège: Musée de l’Art wallon, du 17 octobre décembre 1997, p. 61.

3233:

La Grande Hiérarchie Occulte et la Venue d’un Instructeur Mondial

3092:(1940), oil on canvas, 135 x 194 cm, Brussels: Galerie Uzal. 2958:(1929), oil on canvas, 180 x 153 cm. Taiwan: Chi Mei Museum. 2713:(1891), pencil on paper, 98.5 x 56.5 cm. Private collection. 2705:(1890), charcoal on paper, 70.7 x 56 cm. Private collection. 2634:

pencil and charcoal on paper, 41.7 x 43.1 cm. Private Collection.

1984:

and works of art. In French Delville referred to these terms as:

467:. During his time in Italy he created his celebrated masterpiece 2966:(1929), oil on canvas, 205.5 x 93.5 cm. Private collection. 1052:, and of several before that. … Here and there, for example, in 523: 4249:

Essay on Delville's conflict with the contemporary avant garde.

4027:, Brussels: Georges Balat, 1900, pp. 62–3, translated in Cole, 2187:

Oil in canvas, 127 x 146 cm, Brussels: Museum of Fine Art.

1539:. Schuré wrote the preface to Delville's work on Idealist Art, 4346:

Catalogue of the 2015 exhibition in French (well illustrated).

2221:

Oil on canvas, 258 x 268 cm, Brussels: Museum of Fine Art

1013:

Delville's main works exhibited that year were his celebrated

713:

in the rue du Midi in 1879. He entered the course for drawing

18: 3522:

Splendeurs de l’Idéal. Rops, Khnopff, Delville et leur temps.

3404:

Splendeurs de l’Idéal. Rops, Khnopff, Delville et leur temps.

3108:(1942), oil on canvas, 150 x 330 cm. Private collection. 3046:(1936), oil on canvas, 180 x 250 cm. Private collection. 3038:(1934), oil on canvas, 210 x 280 cm. Private collection. 3030:(1933), oil on canvas, 200 x 215 cm. Private collection. 3006:(1932), oil on canvas, 187 x 103 cm. Private collection. 2990:(1931), oil on canvas, 135 x 195 cm. Private collection. 2950:(1928), oil on canvas, 205 x 135 cm. Private collection. 2882:(1913), oil on canvas, 169 x 146 cm. Private collection. 2830:(1896), oil on canvas, 118 x 170 cm. Private collection. 4089:(Cambridge: Cambridge Scholars Publishing), 2010, pp. 135ff. 3541:

in Paris, in April during the Rose+Croix Salon of that year)

3413:, n° 17–18. Bruxelles: Le Cri Édition, 2000, pp. 79–84. 3188:. Préface d’Edouard Schuré (Bruxelles: Georges Balat, 1900). 3116:(1947), oil on canvas, 100 x 120 cm, private collection 3070:(1938), oil on canvas, 112 x 56 cm. Private collection. 2998:(1931), oil on canvas, 450 x 300 cm. Private collection 2309: 1315:

Portrait du Grand Maître de la Rose+Croix en habit de choeur

1194:

which he placed at the centre of the exhibition, along with

423:

open-air bust on plinth: avenue des Sept Bonniers, Brussels

3563:

See Miriam Delville, 'Jean Delville, mon grand-père', p. 21

3209:

Dieu en Nous. Essai Théosophique d’Emancipation Spirituelle

2898:(1916), oil on canvas, 177 x 127 cm. Location unknown. 2375:

its harmful rays of light into the heart of the unbeliever.

1752:. Five artists collaborated with Delville on this project: 1449:

Delville's main work exhibited that year was his visionary

719:(after the classical head) and in 1882 classes for drawing 3406:

Liège: Musée de l’Art wallon, du 17 octobre décembre 1997.

1904:

occultes est à la base de ma vie intellectuelle et morale.

403:

Member: Commission Royale des Monuments de Belgique (1919)

3997:'Geste 3e des Salons d’Art idéaliste a la Maison d’Art', 2599:, amongst others also diminishes the impact of his known 1555:. Delville reviewed her talks in an article published in 1366:. Delville recorded his experience in his autobiography: 931:

followed him which led to the dissolution of that group.

4158:(in French). Archived from the original on 19 April 2014 860:(now lost) displayed at L'Essor in 1889. The final work 4287:

Jean Delville: Painting, Spirituality, and the Esoteric

4205:

Delville's work on Idealist aesthetics from Archive.org

4126:"Akce a kultura | Kulturní přehled a vstupenky | GoOut" 3932:

For a very detailed discussion of this work, see Cole,

2398:

for the limpid blood of Christ is the soul of the sun!

1979:

Delville goes further by dividing his understanding of

1717:

and is grand in scale, measuring 5 metres by 8 metres.

1468:. Delville's contributions were small and included his 352:

Marie Delville (née Lesseine; married: 29 October 1893)

3014:(1932), oil on canvas, 159 x 53.5. Private collection. 2778:(1893), oil on canvas, 79.3 x 99.2 cm. Brussels: 2542:. The reputations of many of his contemporaries, like 2425:

Oil on canvas, 260 x 605 cm, Paris: Musée D'Orsay

1626:

Poster advertising Delville's private atelier, c. 1906

872:

the following year (1890) and was inspired by Dante's

4259:

Jean Delville and the contemporary esoteric tradition

3392:, Paris: Somogy éditions d'art, 2014, pp. 14–36. 3355:(1991). The painting is also quoted and described in 3062:(1937), oil on canvas, 168 x 127. Private collection. 566:

from 1900 to 1906 and as Professor of drawing at the

4255:

Essay (in French) on Delville's writings and poetry.

2818:, 1895, oil on canvas, 258 x 268 cm. Brussels: 2798:(1894), oil on canvas, 127 x 146 cm. Brussels: 1545:(1900). Delville also came into close alliance with 1122:, which opened the following year. By this time the 1019:(1893, Royal Museums of Fine Art, Brussels) and his 597:(1913) as well as his seminal work on Idealist art, 4243:

detailed analysis of Delville's aesthetic writings.

3805:

Jean Delville, Art between Nature and the Absolute.

1149: 417: 384: 356: 348: 340: 332: 219: 211: 203: 195: 176: 150: 125: 49:. Unsourced material may be challenged and removed. 4068:Jean Delville, Art Between Nature and the Absolute 4066:For a detailed discussion of this work, see Cole, 3982:Jean Delville. Art Between Nature and the Absolute 3917:Jean Delville. Art Between Nature and the Absolute 3822:The New Mission of Art. A Study of Idealism in Art 3807:, especially the detailed chapter four, pp. 150ff. 3552:Jean Delville. Art Between Nature and the Absolute 3496:Jean Delville, Art between Nature and the Absolute 3470:Jean Delville. Art Between Nature and the Absolute 3376:Jean Delville, Art between Nature and the Absolute 3349:also used it for the cover of their second album, 1851:(1931, 450 × 300 cm, private collection) and 857:Fragment d’une composition: Le cycle de la passion 705:At the age of twelve, Delville entered the famous 3378:, Newcastle: Cambridge Scholars Publishing, 2015. 3185:La Mission de l’Art. Etude d’Esthétique Idéaliste 2354:vous êtes la nuit froide et la morne impuissance, 2349:c'est le mensonge haineux et la lourde ignorance. 1949:Delville outlines this in a vivid passage in his 1618:Professor at the Glasgow School of Art, 1900–1906 1222:. In 1893 he exhibited eight works including his 813:During the 1880s, Delville's work tended towards 640:in Brussels. He also founded the very successful 3769:Royal Decree of H.M. King Albert I on 14.11.1919 3649: 3647: 3299:(Brussels: à l’enseigne de l’oiseau bleu, 1927). 2874:; destroyed by German bombing at the end of WWII 2356:car le sang clair du Christ est l'âme du soleil! 2340:et pour faire jaillir sur tous ceux qui sont nés 1964:all modern judgement. Materialism does not know 1910:Delville died on his birthday, 19 January 1953. 817:. This included images of workers and peasants ( 684:in 1870 and settled in Boulevard Waterloo near 4079:Jean Delville, 'Le Principe Social de l’Art', 3790:: Hegelian Echoes in fin-de-siècle Idealism', 3760:, manuscript: fonds Eggermont, PA/AACB/2009-20 2934:(1919), 142 x 179 cm. Private collection. 2396:you are but frigid night and dismal impotence, 2391:against the Beautiful, Love, Heaven and Truth. 1639:The First World War: Exile in London 1914–1918 1270:. In 1894 he exhibited seven works, including 4277:article (in French) on aspects of Delville's 2369:From the deepest hell of evil and nothingness 1845:(1924, 55 × 800 cm, Palais de Justice), 1458:The second Salon took place in March 1897 at 8: 4275:L'évocation du 'Liebestod' par Jean Delville 3330: 3294: 3286: 3278: 3270: 3255: 3247: 3239: 3231: 3223: 3220:(Paris : Editions Théosophiques, 1913). 3215: 3207: 3199: 3191: 3183: 3175: 3167: 3159: 3149: 3135: 3111: 3103: 3095: 3087: 3081: 3073: 3065: 3057: 3049: 3041: 3033: 3025: 3017: 3009: 3001: 2993: 2985: 2977: 2969: 2961: 2953: 2945: 2937: 2929: 2921: 2913: 2901: 2893: 2885: 2877: 2865: 2857: 2849: 2841: 2833: 2825: 2813: 2805: 2793: 2785: 2773: 2765: 2757: 2749: 2730: 2724: 2716: 2708: 2700: 2692: 2686: 2674: 2665: 2657: 2649: 2637: 2623: 2600: 2594: 2588: 2581: 2561: 2555: 2537: 2472: 2445: 2439: 2415: 2352:O! vieil astre de mort, effroyable appareil, 2347:contre le Beau, l'Amour, le Ciel, la Vérité, 2329:l'on voit le noir éclat de l'astre satanique 2325: 2315: 2301: 2295: 2289: 2283: 2277: 2262: 2236: 2226: 2200: 2177: 2160: 2104: 2098: 2092: 2086: 2080: 2074: 2060: 2053: 2047: 2040: 1997: 1991: 1985: 1950: 1941: 1901: 1880: 1874: 1868: 1862: 1852: 1846: 1840: 1831: 1812: 1806: 1779: 1773: 1740: 1733: 1722: 1712: 1706: 1700: 1694: 1688: 1661: 1655: 1609: 1603: 1597: 1591: 1585: 1574: 1568: 1562: 1556: 1550: 1540: 1534: 1533:, the author of the widely influential book 1516: 1502: 1496: 1487: 1481: 1475: 1469: 1463: 1450: 1440: 1433: 1426: 1415: 1405: 1395: 1389: 1383: 1377: 1361: 1342: 1325: 1319: 1313: 1307: 1301: 1289: 1283: 1277: 1271: 1265: 1259: 1253: 1247: 1241: 1235: 1229: 1223: 1217: 1211: 1202: 1195: 1189: 1182: 1176: 1167: 1161: 1151: 1141: 1135: 1129: 1123: 1117: 1111: 1105: 1095: 1089: 1083: 1077: 1071: 1065: 1059: 1053: 1047: 1041: 1034: 1027:Portrait of Mrs Stuart Madame Stuart Merrill 1020: 1014: 996: 987: 972: 950: 944: 932: 926: 920: 914: 895: 889: 880: 867: 861: 855: 848: 842: 836: 830: 824: 818: 804: 798: 794:of which a detailed drawing still survives. 789: 783: 757: 726: 720: 714: 689: 663: 641: 631: 625: 619: 610: 604: 598: 592: 586: 580: 574: 545: 539: 533: 474: 394: 371: 363: 323: 316: 309: 302: 295: 288: 281: 274: 267: 260: 253: 246: 239: 232: 225: 140: 4410:Royal Academy of Fine Arts, Brussels alumni 4318:Boston College information page on Delville 4307:Jean Delville: Initiate of Spiritual Beauty 4087:Symbolism, Its Origins and Its Consequences 3418:Jean Delville (1867–1953) Maitre de l'idéal 3383:Symbolism. Its Origins and Its Consequences 3249:Krishnamurti, Révélateur des Temps Nouveaux 3148:Cover of Delville's third poetry anthology 2767:La Symbolisation de la Chair et de l'Esprit 2389:of lies full of hatred and heavy ignorance, 2378:Sathan burns this dark fire of evil sorcery 2371:one sees the dark glare of the satanic star 1295: 1237:La symbolisation de la chair et de l’esprit 1213:La symbolisation de la chair et de l’esprit 897:La Symbolisation de la chair et de l'ésprit 440:(19 January 1867 – 19 January 1953), was a 399:: Academie des beaux-arts, Brussels (1907) 241:La Symbolisation de la Chair et de l'Esprit 3902:The work is discussed in detail in, Cole, 3720:Arcade et hémicycle Parc du Cinquantenaire 3639:Jean Delville et l'occulture fin de siècle 3455:, IVe série, no. 4 (1 April 1953), p. 152. 3434:, Brussels: Laconti, 1984, pp. 62–94. 2384:the infernal chaos of conniving darkness. 2338:pour fasciner les yeux coupables et damnés 2331:darder sinistrement, comme en une panique, 866:(9 × 6 metres) was displayed at 255:Mysteriosa. Portrait de Mme Stuart Merrill 133: 122: 4247:Jean Delville and the Belgian Avant Garde 4098:Delville, 'L’Esthétique Idéaliste'. (II) 4057:(Bruges: Daveluy Frères, 1895), pp. 77–8. 2382:and to spurt upon all those that are born 2342:le chaos infernal des ténèbres complices. 2333:ses néfastes rayons au coeur du mécréant. 1683:At that time Delville was also an active 1525:. In the late 1890s, Delville joined the 1160:Delville exhibited at Joséphin Péladan's 919:to start a new exhibition society called 109:Learn how and when to remove this message 3889:, 14 (July 1898), p. 2. Quoted in Cole, 2336:Sathan brûle ce feu sombre des maléfices 2327:Du plus profond enfer du mal et du néant 2172: 1337: 139:Jean Delville in his studio in front of 4430:Members of the Royal Academy of Belgium 3949:, Paris, Perrin, reprint, 1921, p. 135. 3444: 3236:(Bruxelles: Les Presses Tilbury, 1925). 2394:O! old star of death, device of horror, 1388:(1898), which he exhibited at the 1898 1334:Prix de Rome and sojourn in Italy, 1895 676:at a local college and who came from a 4425:Academics of the Glasgow School of Art 4169: 3971:See Cole, ibid., p. 223, 226 and note. 3786:, see: Brendan Cole 'Jean Delville's 3252:(Brussels: Office de Publicité, 1928). 2380:to enthral every damned and guilty eye 2345:Mêlant son despotisme à son absurdité, 1573:(1903, Brughes: Groeninge Museum) and 16:Occultist, painter, writer (1867–1953) 3420:. Paris: Somogy éditions d'art, 2014. 2908:Royal Museums of Fine Arts of Belgium 2820:Royal Museums of Fine Arts of Belgium 2800:Royal Museums of Fine Arts of Belgium 2780:Royal Museums of Fine Arts of Belgium 2737:Royal Museums of Fine Arts of Belgium 2681:Royal Museums of Fine Arts of Belgium 2644:Royal Museums of Fine Arts of Belgium 1403: 1181:salons, but more specifically in the 829:, 1888); of beggars and destitution ( 7: 4336:Art Renewal Centre entry on Delville 4082:La Belgique Artistique et Littéraire 3683:, Brussels: Laconti, 1984, pp. 32–4. 2410: 2387:Mixing his despotism with absurdity, 1750:Arcade of the Parc du Cinquantenaire 1033:One of the principal members of the 407:Grand Officier de l'Ordre de Léopold 376:; Universal exhibition, Milan (1906) 368:; Universal Exhibition, Paris (1900) 215:Painting, poetry, essayist, teaching 47:adding citations to reliable sources 4323:ArtCyclopedia listings for Delville 3628:, nr 9, 1 September 1899, pp. 65–6. 2467: 2123:The Portrait of Mrs. Stuart Merrill 570:in Brussels thereafter until 1937. 4328:Musee d'Orsay entry on Delville's 4214:English translation of Delville's 3885:Delville, 'Autre Pensée'. I-XIII, 2787:Le Christ glorifié par les enfants 2373:sinisterly shining, as in a panic, 1657:La Ligue des Patriotes de Belgique 1363:Le Christ glorifié par les enfants 14: 4420:20th-century Belgian male artists 4400:19th-century Belgian male artists 4313:Recent research on Delville's art 4301:Websites featuring Delville's art 4271:(1893), Chicago Institute of Art. 3681:Jean Delville, peintre, 1867–1953 3602:, nr. 23 (4 December 1895), p. 6. 3432:Jean Delville, peintre, 1867–1953 3397:Jean Delville, peintre, 1867–1953 3291:(Brussels: Oscar Lamberty, 1922). 2903:Portrait de la femme de l'artiste 2726:Portrait de Madame Stuart Merrill 1720: 925:. Many of the younger artists of 4343:Jean Delville: Maïtré de L'Idéal 3863:, pp.35–36. Translated in Cole, 3732:Jean Delville, Maître de l'idéal 3466:Jean Delville, Maître de l'idéal 3390:Jean Delville, Maître de l'idéal 3241:Considérations Sur L’Art Moderne 3196:(Bruxelles: H. Lamertin, (1905). 841:,1887) and ultimately of death ( 728:cours de peinture d’après nature 662:worker who earned a living as a 23: 3962:, 45 (8 December 1893), p. 358. 3485:, 45 (8 Décembre 1893), p. 357. 3411:La Peinture (d)écrite, Textyles 3180:(Bruges: Daveluy Frères, 1895). 1515:In 1895 Delville published his 1210:In 1892 Delville exhibited his 1207:which was an overall success'. 416: 34:needs additional citations for 4385:Prix de Rome (Belgium) winners 3468:, pp. 14ff; and Brendan Cole. 3134:Title page of Jean Delville's 2931:Dante buvant les eaux de Léthé 2697:), (1890). Private collection. 1587:La Justice, la Loi et la Pitié 751: 207:Ecole des Beaux-arts, Brussels 1: 4405:20th-century Belgian painters 4390:19th-century Belgian painters 4253:The Writings of Jean Delville 3655:Jean Delville, mon grand-père 3335:for the cover of their album 3283:(Brussels: H Lamertin, 1897). 2867:La Justice à travers les âges 2596:La Justice à travers les âges 995:The second exhibition of the 788:(now lost) and his main work 304:La Justice à travers les âges 4001:, 12 (20 March 1898), p. 93. 1814:Du Principe sociale de l'Art 1663:La Ligue des Artistes belges 1486:, which are now, apart from 630:in the 1890s and later, the 388:Member of the Jury: Belgian 344:Idealist art (Symbolist art) 4232:Essays relating to Delville 4152:"Jean Delville (1867-1953)" 3260:(Brussels: Lamertin, 1935). 3204:(Brussels: "En Art", 1905). 3201:Problèmes de la Vie Moderne 2872:Palais de Justice, Brussels 2113:Practise: idealist artworks 1742:Société de l'Art Monumental 1724:Société de l'Art Monumental 1660:, and was the president of 908: 854:was first indicated in his 633:Société de l'Art Monumental 4446: 4375:Belgian Symbolist painters 3598:'Salons d’Art Idéaliste', 3399:, Brussels: Laconti, 1984. 2974:(1930). Private collection 2971:Le dieu vaincu par l'amour 894:exhibition in 1891 titled 4176:: CS1 maint: unfit URL ( 3794:10/2007; 11(3–4):330–372. 3425:Le Symbolisme en Belgique 3423:Francine-Claire Legrand, 3365:(issue three of twelve). 3362:Providence (Avatar Press) 3296:Les Chants dans la Clarté 2963:Les ténebrès à la lumière 2770:(1890), location unknown. 2316: 2302: 2296: 2290: 2284: 1163:Salons de la Rose + Croix 1153:Salons de la Rose + Croix 1113:Salons de la Rose + Croix 983:Salons de la Rose + Croix 747:Artistic career 1887–1900 627:Salons de l'Art Idéaliste 522:of the inner life of the 427: 380: 132: 3670:, 5 January 1916, p. IV. 3427:Brussels: Laconti, 1971. 3416:Denis Laoureux, et al., 3288:Les Splendeurs Méconnues 3151:Les Splendeurs Méconnues 2947:Hélène, le fille du Cyne 2915:Sur l'autel de la patrie 2710:L'Idole de la perversité 2364:"The Dark Star" (trans.) 1702:Sur l'Autel de la patrie 1219:l’Idole de la Perversité 974:L'Idole de la Perversité 722:après le torse et figure 650:Early years and training 582:Les Splendeurs Méconnues 248:L'Idole de la perversité 3960:Le Mouvement Littéraire 3637:See Flaurette Gautier, 3483:Le Mouvement Littéraire 3341:(1988), while American 2895:La Belgique indomptable 2285:Les Murmures de l’Ombre 2264:Le Mouvement Littéraire 2225:Delville exhibited his 2012:The Classical tradition 1922: : Officer of the 1690:La Belgique indomptable 1150:Delville and Péladan's 711:Académie des Beaux-arts 568:Académie des Beaux-arts 532:paintings, such as his 457:Académie des Beaux-arts 447:painter, author, poet, 4267:Article on Delville's 4211:The New Mission of Art 3709:November 1924, p. 256. 3679:See Olivier Delville, 3402:Michel Draguet (ed.), 3331: 3295: 3287: 3279: 3271: 3256: 3248: 3240: 3232: 3224: 3216: 3208: 3200: 3192: 3184: 3176: 3168: 3160: 3155: 3150: 3141: 3136: 3112: 3104: 3096: 3088: 3082: 3074: 3066: 3058: 3050: 3042: 3034: 3026: 3018: 3010: 3002: 2994: 2986: 2978: 2970: 2962: 2954: 2946: 2938: 2930: 2922: 2914: 2902: 2894: 2886: 2878: 2866: 2858: 2850: 2842: 2834: 2826: 2814: 2806: 2794: 2786: 2774: 2766: 2758: 2750: 2731: 2725: 2717: 2709: 2701: 2693: 2687: 2675: 2666: 2658: 2650: 2638: 2624: 2601: 2595: 2589: 2582: 2562: 2556: 2538: 2505: 2494: 2473: 2461: 2446: 2440: 2416: 2326: 2278: 2274: 2263: 2237: 2227: 2217: 2201: 2178: 2174:The Angel of Splendour 2161: 2105: 2099: 2093: 2087: 2081: 2075: 2061: 2054: 2048: 2041: 2031: 2009: 1998: 1992: 1986: 1977: 1951: 1942: 1908: 1902: 1893: 1881: 1875: 1869: 1863: 1853: 1847: 1841: 1832: 1813: 1807: 1781:Salons d'Art Idéaliste 1780: 1774: 1741: 1734: 1723: 1713: 1707: 1701: 1695: 1689: 1681: 1662: 1656: 1627: 1610: 1605:La Justice d'autrefois 1604: 1598: 1592: 1586: 1575: 1569: 1563: 1557: 1551: 1541: 1535: 1517: 1503: 1497: 1488: 1482: 1476: 1470: 1464: 1451: 1447: 1442:Salons d’Art Idéaliste 1441: 1435:Salons d’Art Idéaliste 1434: 1428:Salons d’Art Idéaliste 1427: 1417:Salons D'Art Idéaliste 1416: 1407:Salons d'Art Idéaliste 1406: 1396: 1390: 1384: 1378: 1373: 1362: 1352:enter the prestigious 1348: 1343: 1326: 1320: 1314: 1308: 1302: 1296: 1290: 1284: 1278: 1272: 1266: 1260: 1254: 1248: 1242: 1236: 1230: 1224: 1218: 1212: 1203: 1196: 1190: 1183: 1177: 1168: 1162: 1152: 1142: 1136: 1130: 1124: 1119:Salons d'Art Idéaliste 1118: 1112: 1106: 1102: 1096: 1090: 1084: 1078: 1072: 1066: 1060: 1054: 1048: 1042: 1035: 1021: 1015: 997: 988: 973: 951: 945: 933: 927: 921: 915: 906: 896: 890: 881: 868: 862: 856: 849: 843: 837: 831: 825: 819: 805: 799: 790: 784: 758: 733:Jean-François Portaels 727: 721: 715: 690: 664: 643:Coopérative artistique 642: 632: 626: 620: 611: 605: 599: 593: 587: 581: 575: 546: 540: 534: 476:Salons d'Art Idéaliste 475: 395: 372: 364: 324: 317: 310: 307:(1911–1914; destroyed) 303: 296: 289: 282: 275: 268: 261: 254: 247: 240: 233: 226: 141: 4395:Belgian male painters 3792:Religion and the Arts 3338:A Tribute to Insanity 3332:Les Trésors de Sathan 3147: 3133: 3051:Le Dieu de la Musique 3003:Seraphitus-Sepraphita 2987:Le Secret de la Tombe 2795:L'Ange des Splendeurs 2676:Le Cycle des passions 2625:L'Agonie de Cachaprès 2613:Selected works of art 2563:Salons d'Art Idéaiste 2500: 2489: 2456: 2441:Salon d'Art Idéaliste 2269: 2238:Salon d'Art Idéaliste 2212: 2202:Les Trésors de Sathan 2179:L'Ange des Splendeurs 2157:Dreamers of Decadence 2076:Les Trésors de Sathan 2055:L'Ange des Splendeurs 2026: 2004: 1987:La Beauté spirituelle 1958: 1899: 1891: 1876:Le Dieu de la Musique 1676: 1632:Glasgow School of Art 1625: 1599:La Justice chrétienne 1498:Salon d'Art Idéaliste 1425:The intention of the 1423: 1368: 1347:by Jean Delville 1898 1341: 1321:L’Ange des splendeurs 1184:Salons d'Art Idéalist 1131:L'Ange des splendeurs 1031: 902: 716:après la tête antique 564:Glasgow School of Art 535:Les Trésors de Sathan 504:Saint-Yves d'Alveydre 276:Les Trésors de Sathan 269:L'Ange des splendeurs 4224:Belgian Art in Exile 3945:See Edouard Schuré, 3352:Blessed Are the Sick 3280:Le Frisson du Sphinx 3113:La vision de la Paix 2995:Les dernières idoles 2979:Les Femmes d'Eleusis 2906:, (1916). Brussels: 2879:L'Oubli des passions 2815:Les Trésors de Satan 2688:Allégorie de l'enfer 2679:, (1890), Brussels: 2432:Belgian Prix de Rome 2106:Les Dernières Idoles 1931:Theory and technique 1864:Seraphitus-Seraphita 1848:Les Dernières Idoles 1808:Socialisme de demain 1668:Belgian Art in Exile 1651:L'Indépendence Belge 1527:Theosophical Society 1391:Salon d'Art Idéalist 1197:La chair et l’esprit 909:Pour L'Art 1892–1895 835:, 1885); of hunger ( 775:Journal de Bruxelles 576:Le Frisson du Sphinx 461:Belgian Prix de Rome 318:Les dernières idoles 43:improve this article 4415:Writers from Leuven 4370:Artists from Leuven 4300: 4216:La Mission de l'Art 4202:La Mission de l'Art 4156:Musée Félicien Rops 4025:La Mission de l'Art 3947:Les Grandes Initiés 3887:La Ligue Artistique 3861:La Mission de L'Art 3835:La Mission de l'Art 3818:La Mission de L'Art 3788:La Mission de l'Art 3694:La Mission de L'Art 3600:La Ligue Artistique 3272:Les Horizons Hantés 3169:L’Idéal Messianique 3137:La Mission de L'Art 3067:Les quatres Kumaras 3059:Le voile de la nuit 2632:Orphée Mort (1893), 2618:Prints and drawings 2539:La Libre Esthétique 2412:The School of Plato 2282:, for example his " 2256:The Great Initiates 1999:La Beauté technique 1993:La Beauté plastique 1952:La Mission de l'Art 1714:cour des pas perdus 1593:La Justice de Moïse 1542:La Mission de l'Art 1536:Les Grandes Initiés 1518:Dialogue entre nous 1397:Dialogue entre Nous 863:Le Cycle passionnel 600:La Mission de l'Art 594:Le Christ Reviendra 588:Dialogue entre Nous 506:, and later by the 360:Prix de Rome (1895) 234:Le Cycle passionnel 4380:Belgian occultists 4341:Online catalogue: 3980:See Brendan Cole, 3936:., pp. 215 to 244. 3550:See Brendan Cole, 3395:Olivier Delville, 3329:used the painting 3304:Recent exhibitions 3265:Poetry anthologies 3156: 3142: 3027:Le Christ en Deuil 3019:Le rêve de l'amour 2955:L'Ecole du Silence 2887:Le Génie vainqueur 2651:Le Dernier Sommeil 2495: 2218: 1924:Order of the Crown 1897:he wrote in 1944: 1894: 1833:Premier Professeur 1784:during the 1890s. 1770:Albert Ciamberlani 1628: 1611:La Justice moderne 1552:La Sagesse Antique 1349: 1249:Le Murmure profane 1008:Puvis de Chavannes 979:Joséphin Péladan's 844:Le Dernier Sommeil 752:L'Essor, 1887–1891 396:Premier professeur 336:Classical idealist 4279:Tristan et Yseult 4194:Works by Delville 3784:Hegelian Idealism 3653:Miriam Delville, 3275:(Brussels: 1892). 3161:Le Sens de la Vie 3105:Les ames errantes 3011:L'Extase de Danté 2835:L'École de Platon 2827:L'Oracle à Dodone 2775:La Morte d'Orphée 2751:La Coulée d'acier 2659:Mendiants à Paris 2639:Tristan et Yseult 2583:l'Ecole de Platon 2491:The Love of Souls 2469:The Love of Souls 2417:L'Ecole de Platon 2407: 2406: 2279:Frisson du Sphinx 2233:Satan's Treasures 2228:Trésors de Sathan 2214:Satan's Treasures 2197:Satan’s Treasures 2088:L'Ecole de Platon 2049:Trésors de Sathan 2018:ancient Greek art 1581:Palais de Justice 1504:l'Ecole de Platon 1483:L’Oracle à Dodone 1471:Orphée aux Enfers 1452:Trésors de Sathan 1385:L'Ecole de Platon 1379:Orphée aux enfers 1344:L'Ecole de Platon 1279:La Fin d’un règne 1267:L’Homme de Glaive 1055:L’homme du glaive 882:Tristan et Yseult 556:Palais de Justice 547:Les Ames errantes 470:L'Ecole de Platon 431: 430: 373:L'Ecole de Platon 283:L'Ecole de Platon 262:La Morte d'Orphée 237:(1890; destroyed) 227:Tristan et Yseult 142:Orphée aux enfers 119: 118: 111: 93: 4437: 4240:La Mission d'Art 4218:from Archive.org 4182: 4181: 4175: 4167: 4165: 4163: 4148: 4142: 4141: 4139: 4137: 4122: 4116: 4109: 4103: 4096: 4090: 4077: 4071: 4064: 4058: 4051: 4045: 4038: 4032: 4021: 4015: 4008: 4002: 3995: 3989: 3978: 3972: 3969: 3963: 3956: 3950: 3943: 3937: 3930: 3924: 3913: 3907: 3900: 3894: 3883: 3877: 3876:Cole, pp. 191ff. 3874: 3868: 3857: 3851: 3844: 3838: 3833:see Delville's, 3831: 3825: 3814: 3808: 3801: 3795: 3780:Mission de l'Art 3776: 3770: 3767: 3761: 3754: 3748: 3741: 3735: 3728: 3722: 3716: 3710: 3703: 3697: 3690: 3684: 3677: 3671: 3666:'Woman’s Ways', 3664: 3658: 3651: 3642: 3635: 3629: 3622: 3616: 3609: 3603: 3596: 3590: 3583: 3577: 3570: 3564: 3561: 3555: 3548: 3542: 3531: 3525: 3518: 3512: 3505: 3499: 3494:Quoted in Cole, 3492: 3486: 3479: 3473: 3462: 3456: 3449: 3334: 3298: 3290: 3282: 3274: 3259: 3251: 3243: 3235: 3227: 3219: 3211: 3203: 3195: 3187: 3179: 3171: 3163: 3153: 3139: 3115: 3107: 3099: 3097:La Roue du monde 3091: 3085: 3077: 3069: 3061: 3053: 3045: 3037: 3029: 3021: 3013: 3005: 2997: 2989: 2981: 2973: 2965: 2957: 2949: 2941: 2933: 2925: 2917: 2905: 2897: 2889: 2881: 2869: 2861: 2853: 2845: 2843:L'Amour des âmes 2837: 2829: 2817: 2809: 2797: 2789: 2777: 2769: 2761: 2753: 2734: 2728: 2720: 2712: 2704: 2696: 2690: 2678: 2669: 2661: 2653: 2641: 2627: 2604: 2598: 2592: 2590:Cycle passionnel 2585: 2565: 2559: 2541: 2476: 2474:L'Amour des Ames 2449: 2443: 2419: 2358: 2319: 2318: 2310: 2305: 2304: 2299: 2298: 2293: 2292: 2287: 2286: 2281: 2266: 2240: 2230: 2204: 2181: 2164: 2108: 2102: 2096: 2090: 2084: 2082:L'Amour des Ames 2078: 2064: 2057: 2051: 2044: 2042:l'Amour des Ames 2022:High Renaissance 2001: 1995: 1989: 1954: 1945: 1943:Mission de l'Art 1906: 1884: 1878: 1872: 1866: 1856: 1854:La Roue du Monde 1850: 1844: 1835: 1816: 1810: 1783: 1777: 1754:Constant Montald 1744: 1737: 1735:Mission de l'Art 1726: 1716: 1710: 1704: 1698: 1692: 1665: 1659: 1613: 1607: 1601: 1595: 1589: 1578: 1572: 1566: 1560: 1554: 1544: 1538: 1520: 1506: 1500: 1491: 1485: 1479: 1473: 1467: 1454: 1444: 1437: 1430: 1419: 1409: 1399: 1393: 1387: 1381: 1365: 1346: 1329: 1323: 1317: 1311: 1305: 1299: 1293: 1287: 1281: 1275: 1273:La Mort d’Orphée 1269: 1263: 1257: 1251: 1245: 1239: 1233: 1227: 1221: 1215: 1206: 1199: 1193: 1191:La Mort d’Orphée 1186: 1180: 1171: 1165: 1155: 1145: 1139: 1133: 1127: 1121: 1115: 1109: 1099: 1093: 1087: 1081: 1075: 1069: 1063: 1057: 1051: 1045: 1038: 1024: 1018: 1016:La Mort d'Orphée 1000: 991: 976: 954: 948: 936: 930: 924: 918: 899: 893: 884: 871: 865: 859: 852: 846: 840: 834: 828: 822: 808: 802: 793: 787: 764:Constant Meunier 761: 737:Joseph Stallaert 730: 724: 718: 694:in rue du Fort. 693: 667: 645: 635: 629: 623: 614: 608: 602: 596: 590: 584: 578: 554:, including the 549: 543: 537: 512:Helena Blavatsky 500:Joséphin Péladan 478: 420: 398: 375: 367: 365:L'Amour des Ames 327: 325:La Roue du monde 320: 313: 306: 299: 292: 285: 278: 271: 264: 257: 250: 243: 236: 229: 222: 183: 164: 162: 144: 137: 123: 114: 107: 103: 100: 94: 92: 51: 27: 19: 4445: 4444: 4440: 4439: 4438: 4436: 4435: 4434: 4350: 4349: 4330:School of Plato 4303: 4234: 4222:Jean Delville. 4209:Jean Delville. 4200:Jean Delville. 4196: 4191: 4186: 4185: 4168: 4161: 4159: 4150: 4149: 4145: 4135: 4133: 4124: 4123: 4119: 4110: 4106: 4097: 4093: 4078: 4074: 4065: 4061: 4052: 4048: 4039: 4035: 4022: 4018: 4009: 4005: 3996: 3992: 3979: 3975: 3970: 3966: 3957: 3953: 3944: 3940: 3931: 3927: 3914: 3910: 3901: 3897: 3884: 3880: 3875: 3871: 3858: 3854: 3845: 3841: 3832: 3828: 3816:Jean Delville, 3815: 3811: 3802: 3798: 3777: 3773: 3768: 3764: 3756:Jean Delville, 3755: 3751: 3742: 3738: 3729: 3725: 3717: 3713: 3707:Gand Artistique 3704: 3700: 3691: 3687: 3678: 3674: 3665: 3661: 3652: 3645: 3636: 3632: 3623: 3619: 3610: 3606: 3597: 3593: 3584: 3580: 3571: 3567: 3562: 3558: 3549: 3545: 3532: 3528: 3519: 3515: 3506: 3502: 3493: 3489: 3480: 3476: 3463: 3459: 3450: 3446: 3441: 3371: 3319: 3317:Popular culture 3306: 3267: 3128: 3123: 3121:Published works 2746: 2667:Les Las d'Aller 2620: 2615: 2527: 2518: 2479: 2422: 2408: 2400: 2397: 2395: 2393: 2392: 2390: 2388: 2386: 2385: 2383: 2381: 2379: 2377: 2376: 2374: 2372: 2370: 2365: 2360: 2355: 2353: 2351: 2350: 2348: 2346: 2344: 2343: 2341: 2339: 2337: 2335: 2334: 2332: 2330: 2328: 2321: 2207: 2184: 2127: 2115: 2062:Ecole de Platon 2036: 2014: 1938: 1936:Idealist theory 1933: 1916: 1823: 1729: 1641: 1620: 1513: 1465:la Maison d'Art 1462:'s arts venue, 1412: 1336: 1158: 1061:Murmure profane 965:Charles Filiger 911: 754: 749: 741:figure painting 691:Ecole Communale 652: 606:L'Art Idéaliste 520:transfiguration 451:, teacher, and 418: 412: 410: 404: 402: 400: 393: 369: 361: 322: 315: 308: 301: 294: 287: 280: 273: 266: 259: 252: 245: 238: 231: 220: 191: 185: 181: 180:19 January 1953 172: 166: 165:19 January 1867 160: 158: 157: 156: 146: 128: 115: 104: 98: 95: 58:"Jean Delville" 52: 50: 40: 28: 17: 12: 11: 5: 4443: 4441: 4433: 4432: 4427: 4422: 4417: 4412: 4407: 4402: 4397: 4392: 4387: 4382: 4377: 4372: 4367: 4362: 4352: 4351: 4348: 4347: 4338: 4333: 4325: 4320: 4315: 4310: 4302: 4299: 4298: 4297: 4291: 4282: 4272: 4262: 4256: 4250: 4244: 4233: 4230: 4229: 4228: 4219: 4206: 4195: 4192: 4190: 4189:External links 4187: 4184: 4183: 4143: 4117: 4104: 4091: 4072: 4059: 4046: 4033: 4016: 4003: 3990: 3973: 3964: 3951: 3938: 3925: 3908: 3906:., pp 280–292. 3895: 3878: 3869: 3852: 3850:, pp. 335–336. 3839: 3826: 3820:translated as 3809: 3796: 3771: 3762: 3758:Autobiographie 3749: 3736: 3723: 3711: 3698: 3696:, 1900, p. 23. 3685: 3672: 3659: 3643: 3630: 3617: 3604: 3591: 3578: 3565: 3556: 3543: 3535:Autobiographie 3526: 3513: 3500: 3487: 3474: 3457: 3443: 3442: 3440: 3437: 3436: 3435: 3428: 3421: 3414: 3407: 3400: 3393: 3386: 3379: 3374:Brendan Cole, 3370: 3367: 3318: 3315: 3314: 3313: 3310: 3305: 3302: 3301: 3300: 3292: 3284: 3276: 3266: 3263: 3262: 3261: 3253: 3245: 3237: 3229: 3221: 3213: 3205: 3197: 3189: 3181: 3173: 3165: 3127: 3124: 3122: 3119: 3118: 3117: 3109: 3101: 3093: 3079: 3071: 3063: 3055: 3047: 3039: 3031: 3023: 3015: 3007: 2999: 2991: 2983: 2975: 2967: 2959: 2951: 2943: 2935: 2927: 2919: 2911: 2899: 2891: 2883: 2875: 2870:, (1911–1914) 2863: 2855: 2847: 2839: 2831: 2823: 2811: 2803: 2791: 2783: 2771: 2763: 2755: 2745: 2742: 2741: 2740: 2722: 2714: 2706: 2698: 2684: 2671: 2663: 2655: 2647: 2635: 2629: 2619: 2616: 2614: 2611: 2526: 2523: 2517: 2514: 2478: 2466: 2421: 2409: 2405: 2404: 2367: 2361: 2323: 2317:L'ÉTOILE NOIRE 2308: 2303:l’Etoile Noire 2206: 2194: 2183: 2171: 2137:Stuart Merrill 2126: 2116: 2114: 2111: 2035: 2032: 2013: 2010: 1937: 1934: 1932: 1929: 1928: 1927: 1915: 1912: 1828:Cinquantenaire 1822: 1819: 1728: 1719: 1640: 1637: 1619: 1616: 1531:Edouard Schuré 1512: 1509: 1411: 1402: 1335: 1332: 1303:Etude féminine 1285:Le Geste d’Ame 1261:Vers l’Inconnu 1243:L’Annonciateur 1157: 1148: 1140:of Delville's 1137:par excellence 1049:Vers l’inconnu 1004:Gustave Moreau 961:Alexandre Séon 957:Carlos Schwabe 910: 907: 850:Le las d’Aller 815:social realism 753: 750: 748: 745: 651: 648: 638:Cinquantenaire 496:Edouard Schuré 429: 428: 425: 424: 421: 415: 414: 386: 382: 381: 378: 377: 362:Silver medal: 358: 354: 353: 350: 346: 345: 342: 338: 337: 334: 330: 329: 223: 217: 216: 213: 212:Known for 209: 208: 205: 201: 200: 197: 193: 192: 186: 184:(aged 86) 178: 174: 173: 167: 154: 152: 148: 147: 138: 130: 129: 126: 117: 116: 31: 29: 22: 15: 13: 10: 9: 6: 4: 3: 2: 4442: 4431: 4428: 4426: 4423: 4421: 4418: 4416: 4413: 4411: 4408: 4406: 4403: 4401: 4398: 4396: 4393: 4391: 4388: 4386: 4383: 4381: 4378: 4376: 4373: 4371: 4368: 4366: 4363: 4361: 4358: 4357: 4355: 4345: 4344: 4339: 4337: 4334: 4332: 4331: 4326: 4324: 4321: 4319: 4316: 4314: 4311: 4308: 4305: 4304: 4295: 4294:'Theosopedia' 4292: 4289: 4288: 4285:Lynda Harris 4283: 4280: 4276: 4273: 4270: 4266: 4263: 4260: 4257: 4254: 4251: 4248: 4245: 4242: 4241: 4236: 4235: 4231: 4226: 4225: 4220: 4217: 4213: 4212: 4207: 4204: 4203: 4198: 4197: 4193: 4188: 4179: 4173: 4157: 4153: 4147: 4144: 4131: 4127: 4121: 4118: 4114: 4108: 4105: 4101: 4100:L’Art Moderne 4095: 4092: 4088: 4084: 4083: 4076: 4073: 4070:, pp. 293–306 4069: 4063: 4060: 4056: 4050: 4047: 4044:., pp. 334ff. 4043: 4037: 4034: 4030: 4026: 4020: 4017: 4014:., pp. 339ff. 4013: 4007: 4004: 4000: 3999:L’Art Moderne 3994: 3991: 3987: 3983: 3977: 3974: 3968: 3965: 3961: 3955: 3952: 3948: 3942: 3939: 3935: 3929: 3926: 3922: 3918: 3912: 3909: 3905: 3899: 3896: 3892: 3891:Jean Delville 3888: 3882: 3879: 3873: 3870: 3866: 3865:Jean Delville 3862: 3856: 3853: 3849: 3848:Jean Delville 3843: 3840: 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GC179. 2801: 2796: 2792: 2788: 2784: 2782:, inv. 12209. 2781: 2776: 2772: 2768: 2764: 2760: 2756: 2752: 2748: 2747: 2743: 2739:, inv. 12029. 2738: 2733: 2727: 2723: 2719: 2715: 2711: 2707: 2703: 2699: 2695: 2689: 2685: 2682: 2677: 2672: 2668: 2664: 2660: 2656: 2652: 2648: 2645: 2640: 2636: 2633: 2630: 2626: 2622: 2621: 2617: 2612: 2610: 2606: 2603: 2597: 2591: 2584: 2577: 2573: 2569: 2568: 2564: 2558: 2553: 2549: 2545: 2540: 2535: 2534: 2524: 2522: 2515: 2513: 2509: 2504: 2499: 2492: 2488: 2484: 2483: 2475: 2470: 2465: 2460: 2455: 2451: 2448: 2447:L'Art Moderne 2442: 2435: 2433: 2427: 2426: 2418: 2413: 2403: 2399: 2366: 2362: 2359: 2357: 2322: 2312: 2311: 2307: 2280: 2273: 2268: 2265: 2259: 2257: 2251: 2248: 2242: 2239: 2234: 2229: 2223: 2222: 2215: 2211: 2203: 2198: 2195: 2193: 2189: 2188: 2180: 2175: 2170: 2166: 2163: 2162:La Mysteriosa 2158: 2152: 2150: 2146: 2140: 2138: 2132: 2131: 2124: 2120: 2117: 2112: 2110: 2107: 2101: 2095: 2089: 2083: 2077: 2070: 2068: 2063: 2056: 2050: 2043: 2033: 2030: 2025: 2023: 2019: 2011: 2008: 2003: 2000: 1994: 1988: 1982: 1976: 1973: 1969: 1967: 1961: 1957: 1953: 1947: 1944: 1935: 1930: 1925: 1921: 1918: 1917: 1913: 1911: 1907: 1905: 1898: 1890: 1886: 1883: 1877: 1871: 1865: 1860: 1855: 1849: 1843: 1837: 1834: 1829: 1820: 1818: 1815: 1809: 1802: 1799: 1796: 1792: 1788: 1785: 1782: 1776: 1771: 1767: 1763: 1762:Omer Dierickx 1759: 1755: 1751: 1746: 1743: 1736: 1725: 1718: 1715: 1709: 1703: 1697: 1691: 1686: 1680: 1675: 1673: 1669: 1664: 1658: 1653: 1652: 1646: 1645:Golders Green 1638: 1636: 1633: 1624: 1617: 1615: 1612: 1606: 1600: 1594: 1588: 1582: 1577: 1571: 1565: 1559: 1553: 1548: 1543: 1537: 1532: 1528: 1524: 1519: 1510: 1508: 1505: 1499: 1493: 1490: 1484: 1478: 1472: 1466: 1461: 1460:Edmond Picard 1456: 1453: 1446: 1443: 1436: 1429: 1422: 1418: 1408: 1401: 1398: 1392: 1386: 1380: 1372: 1367: 1364: 1357: 1355: 1345: 1340: 1333: 1331: 1330:exhibitions. 1328: 1322: 1316: 1310: 1309:La Tranquille 1304: 1298: 1292: 1286: 1280: 1274: 1268: 1262: 1256: 1250: 1244: 1238: 1232: 1226: 1220: 1214: 1208: 1205: 1198: 1192: 1185: 1179: 1173: 1170: 1164: 1154: 1147: 1144: 1138: 1132: 1126: 1120: 1114: 1108: 1101: 1098: 1092: 1086: 1080: 1074: 1068: 1062: 1056: 1050: 1044: 1037: 1030: 1028: 1023: 1017: 1011: 1009: 1005: 999: 993: 990: 985: 984: 980: 975: 970: 966: 962: 958: 953: 947: 942: 941: 935: 929: 923: 917: 905: 901: 898: 892: 886: 883: 877: 875: 874:Divine Comedy 870: 864: 858: 851: 845: 839: 833: 832:Asile de nuit 827: 821: 816: 811: 807: 801: 795: 792: 786: 781: 777: 776: 771: 770: 769:L'Art Moderne 765: 760: 746: 744: 742: 738: 734: 729: 723: 717: 712: 708: 707:Athénée Royal 703: 700: 695: 692: 687: 683: 679: 675: 671: 666: 661: 657: 649: 647: 644: 639: 634: 628: 622: 616: 613: 607: 601: 595: 589: 583: 577: 571: 569: 565: 559: 557: 553: 548: 542: 536: 530: 525: 521: 517: 513: 509: 505: 501: 497: 493: 489: 485: 480: 477: 472: 471: 466: 462: 458: 454: 450: 446: 443: 439: 435: 434:Jean Delville 426: 422: 408: 397: 391: 387: 383: 379: 374: 366: 359: 355: 351: 347: 343: 339: 335: 331: 326: 319: 312: 305: 298: 291: 284: 277: 270: 263: 256: 249: 242: 235: 228: 224: 218: 214: 210: 206: 202: 198: 194: 189: 179: 175: 170: 153: 149: 143: 136: 131: 127:Jean Delville 124: 121: 113: 110: 102: 91: 88: 84: 81: 77: 74: 70: 67: 63: 60: – 59: 55: 54:Find sources: 48: 44: 38: 37: 32:This article 30: 26: 21: 20: 4342: 4329: 4286: 4278: 4268: 4239: 4223: 4215: 4210: 4201: 4160:. 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