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exhibited works of art. Spilliaert stayed with Deman until
January 1904. He had an affair with the 17-year old daughter of Deman which ended in a painful breakup which sent Spilliaert into a depression. At the end of January 1904, Spilliaert left Brussels for Paris to try his luck with a publisher or printer of art books. Deman gave him a letter addressed to the writer Emile Verhaeren asking him to offer Spilliaert all the help he needed. In February 1904 Spilliaert met Verhaeren, who lived in Saint-Cloud, in Paris. A great friendship quickly developed between the two men. Verhaeren bought some of his works and introduced him to his friends and art dealers. One of them was Clovis Sagot, who at the time was exhibiting works by Pablo Picasso.
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198:, the oldest of seven children of Léonard-Hubert Spilliaert, a perfumer, and his wife Léonie (née Jonckheere). From childhood, he displayed an interest in art and drawing. A prolific doodler and autodidact, he was predominantly a self-taught artist. Sickly and reclusive, he spent most of his youth sketching scenes of ordinary life and the Belgian countryside.
313:(c. 1909), the colonnade and arcades of the façade of the Kursaal ballroom on the seawall in Ostend served Spilliaert as a basis for the composition of an urban landscape. In this pastel painting, he catches the eerie transformation of the architecture at night and the strangeness that comes from artificial lighting. With its cosmic, metaphysical traits
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In 1899, at the age of 18, he entered the Bruges
Academy of Art as a pupil of Pieter Raoux. Among his classmates were Léon Slabbinck and Cornelis Leegenhoek. However, he soon became disappointed and left the academy in January 1900. For this lack of formal artistic training, Spilliaert is considered
306:(1908), the painter removes any naturalistic characteristics of the landscape depicted in the image and creates a stylization in which the location, that serves as a template, is redesigned to become the mirror of a state of mind. Solitude, mystery, and hallucination are suggested by the landscape.
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This text fully copied and surprisingly only signed by Anne
Adriaens-Pannier on the coverbook: Anne Adriaens-Pannier & Alain Jacobs(author of text) : "Léon Spilliaert : de verzameling van de Koninklijke Bibliotheek van België = la collection de la Bibliothèque Royale de Belgique",
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In 1916 he married Rachel
Vergison. They settled in Brussels, where their daughter was born. After the First World War, he collaborates with the Sélection group, which exhibits his work for many years. In 1922, the first exhibition entirely dedicated to his paintings takes place at the Brussels
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Léon
Spilliaert: Leven en werk : doorheen de verzameling van het Museum voor Schone Kunsten Oostende = vie et œuvre : à travers la collection du Musée de Beaux-Arts d'Oostende = life and work : through the collection of the Museum of Fine Arts in Oostende = Leben und Werk :
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for Edmond Deman, a publisher of the works of symbolist writers, for which
Spilliaert was to design illustrations. Deman introduced Léon Spilliaert to the art scene in Brussels. It was also there that he discovered the work of the old masters and contemporary painters through reproductions and
186:, forest views, portraits, still lifes, airships, dolls and genre scenes. He was a prolific illustrator of contemporary and historical literary works. His style is characterized by tenebrism and simplicity of form, and the bitter and mysterious expression of his characters and landscapes.
269:—often in combination—were the means by which he produced many of his best works, among which are a number of monochrome self-portraits executed in the early years of the twentieth century. Spilliaert's expressive use of black finds parallels in the work of
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Between 1907 and 1913, Léon
Spilliaert exhibited his work at various events: Salon de Printemps de Jean De Mot, Salon des Indépendants de Bruxelles, the salon of the Brussels Doe Stil Voort and the exhibition Les Bleus de la G.G.G. in Brussels.
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Antwerpen : Pandora
Publishers NV , 2018. This edition accompanies the exhibition "Léon Spilliaert. De verzameling van de Koninklijke Bibliotheek van België" in The Venetiaanse Gaanderijen van 30 juni tot 30 September 2018.
334:) is a dramatic self-presentation with ghostly apparitions in the background and a wry face in three-quarter pose. This image may be regarded as a prototype for the three-quarter-portraits Spilliaert created later.
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gallery
Centaure. From 1925 to 1931, his work hangs in the Kursaal in Ostend. In 1937, he joined the Compagnons de l'Art. In 1922 he was made a Knight of the
273:, who was a significant influence. Frequently depicting a lone figure in a dreamlike space, Spilliaert's paintings convey a sense of melancholy and silence.
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Léon
Spilliaert dans les collections de la Bibliothèque royale de Belgique=in de verzamelingen van de Koninklijk Bibliotheek van België
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In the period 1902–1909, Spilliaert concentrated on creating complex, profound self-portraits of an introspective nature. His 1903
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His later work shows a concentration on seascapes. Among the best-known works of Léon Spilliaert are the images
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draughtsman, illustrator, lithographer and painter. In his early career, he contributed to the development of
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were the best known members. His work was inspired by visual and literary works by
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Führung durch die Sammlung des Museum voor Schone Kunsten Oostende
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His subject matter was wide-ranging and included self-portraits,
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16:"Spilliaert" redirects here. For the water polo player, see
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reveals the influence of Van Gogh, and is reminiscent of
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371:References and notes
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492:. Universal Edition
468:"Léon Spilliaert –
448:Moonlight and Light
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