New-York tribune., 1919-10-25
Art
A Group Of Modem Belgian
Painters at the American
Art Galleries
BY Royal Cortissoz

4
1t was suggested in The Tribune
that somethil & should be done
ABOUT the organization Of Belgian
exhibition IN the United States. 4 COL
lection of works by representative
modern figures would be of decided
puoilc interest and, on being shown
not only IN New York, but in various
other American cities, it would un-
doubte ~ result in benefits to the Bel
gan artist. The comprehensive exhibi-
ton we have wanted to see here still
remains to be developed, but in the
mean time q pleasant little substitute
nas been arranged at the American Art
Galleries under the auspices of the
Belgian Military Mission and several
other official bodies. Though it Is to
be on view for only few days, closing
on the 2Sth, it will serve to suggest
the importance Of such larger demon
stration as we have urged.
The Belgian school, at the time Of
its revival in the nineteenth century.
was Influenced by two or three men of
very different gifts. Baron Legs, who
won much deserved fame as a painter
OIL episodes in the nations history, was
good craftsman and WAS skillful
IN Characterization. He emulated to
some extent the simple narrative style
oi the early Flemish Primitives. In 80
tar as he aided his contemporaries in
tne studios 1t was Is a master of a
rather immobile type of realism. Jan
Van Beers, Parisianized painter, was
enormously clever, but led his country
men into cosmopolitan paths, too
sophisticated, too artificial The best
OF Belglum's artistic guides in the last
century--and one Of the most brilliant
or modern painters anywhere---was AL
t1ed Stevens, who produced sentimcn-
tai illustrations of fashionable life and.
III spite of his subjects, achieved some
glorious work. If he has been called
the modern Yer Nicer it has been be-
cause he had technique justifyinc
the phrase. In his golden period he
manipulated pigment with the touch of
master. He had while he lived no
equals and no one in Belgium has re-
captured his authority. But his effect
upon the school was decisive, nevertbe-
less. lie did much to direct his juniors
toward proper understanding of the
painters art. In his work and in a
book of maxims which is perhaps the
most useful contribution ever made hv
modern to the literature Of tech
nlque, he affirmed the transcendent i'm
portance Of the artists knowing his
trade, being good workman, giving
paint as paint it's full value on canvas
The respect for his craft and medium
which he assiduousy preached has
been sufficiently characteristic Of the
Belgian school to give that school a
really honorable status in European
art.
Belgian lifc is closely mirrored in
belgian painting. Local manners and
customs are wildly reflected in the
canvases of such men AS Baes, Claus.
Laermans, De Bruycker Struys, Baert-
soon and Frederic. Some of these ar
lists have strongly marked tempera-
mental qualities or have given them
selves to the Interpretation of special
themes. Thus Laermans in his realis-
tic studies is almost as mystical "a
Maeterlinck, Struys is devoted to the
life of the humble, and Frederic is the
spokesman Of labor. But they are all
united by one fine trait, rcsolute
solicitude for the truth. This is the
trait which the painters in the present
exhibition exemplify. Most conspicu-
Gus among them, as it happens, is an
artist who has visited this country and
has put his talent to the test imposed
by new ard unfamiliar themes. This
is M. &. Flasschoen, OF Brussels, who
is known in his own country as "the
master of movement" He bears tho
title we'll as an illustrator of our West
ern prairie life, depicting cowboys on
their mounts and very much in action.
His method is swift and accurate.
These Impressions Of his have a de-
llghtful spontaneity. They are good in
color, too, and in atmosphere. In his
totally different world he is worthy of
the Stevens tradition, painter who
has complete control of his instru-
ments. His cowboy sketches are re-
markable chiefly for their actuality. In
his European scenes he has charm The
Dutch pictures, particularly the cam
srerdam" and the Return of the Fish
ers,' are good specimens Of the simple
sincerity which enducs natural pic
lure aqueness With finer beauty
There is a Dutch strain in some Bel
gian painting which is not TO be at
tributed to the matter of subject alone.
NJ. Flnsschoen, painting in Holland,
tacitly confesses also to the influence
Of the Dutch school, recalling it's
breadth of manner and its quietude in
respect to tone. A kindred siscepti-
bility is to be observed in thc water
colors of another Brussels artist. NJ.
Maurice Hagemans. His "Sheep's
Herd" is graceful tribute to Mauvc.
III his picture of "The Old Fisherman"
the sylvan setting given to the single
ngure is full Of the damp atmosphe ric
quality which the modern Dutchmen
have SO we'll exploited NJ. Paul Hare-
mans, also landscape painter, has the