DOI Artikel:
Holland, Clive: Pictorial Photography in Belgium
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.27086#0170
BELGIUM
examples which have come under our immediate notice at various
times by means of exhibitions and reproductions are concerned, so
marked as one would naturally have anticipated. Rather has the
influence of the German and Austrian schools been traceable. In
much of the work we refer to there has been an inclination to heavi-
ness of handling, solidity of composition, and lack of sentiment, and
of the lighter and brighter atmosphere, which features distinguish
also the work of quite a number of German and Austrian pictorialists.
To M. Chas. Puttemans, a Vice-President of the Association Beige
de Photographie, MM. E. Adelot, A. Bourgeois, Ch. Boone, Ch.
Masson, Ed. Sacre, M. Vanderkindere, R. Ickx, Leonard Misonne,
G. Marissiaux, G. Oury, Maurice Hanssens, Albert Guggenheim,
Romdenne, Albert Dietz, L. Claeys, Ferdinand Leys, and Mile. Alida
Daenen, the pictorial movement in Belgium owes much of its
success. Most, if not all, of them are known outside their own
country for excellent work in various branches of photography, and
not a few are frequently represented at the French Salon and other
Exhibitions on the Continent in which pictorial work is made a
strong feature.
Of the workers just mentioned not represented herein by reproduc-
tions of their pictures M. L. Claeys has scored several successes
with pictures of peasant life, and genre of the nature of his “ Sortie
de l’Eglise.” Mile. Alida Daenen has from time to time shown
some excellent portraits as well as figures similar to her “ Les
Dentellieres,” hung in the French Salon last Spring. M. Maurice
Hanssens has become favourably known for his landscapes, figure
studies, and forest scenes. M. Romdenne’s exhibited work shows
considerable pictorial quality, especially his portraits and figure
studies of the genre of the “ Au Miroir ” and “ Etude de Tete ”
shown last year at the Paris Salon. Ferdinand Leys, in his “ Reflets
Venitiens” and “Dans la Montagne ” in the same Exhibition,
showed not only a mastery of the technique of his craft, but also
artistic appreciation and judgment in the use of his materials.
There are, of course, others who might be mentioned in detail did
space permit, tp whom those who have watched the evolution of
the pictorial idea in Belgian photographic work may well look
for its future advancement—workers gifted with much technical
skill, to which has been happily wedded the artistic sense and ap-
preciation of the beautiful and suggestive in Nature without which
success in pictorial work is scarcely to be looked for.
M. Leonard Misonne, one of the leading workers in “gum,” has
gained an enviable position amongst his Belgian confreres by his
B 2
examples which have come under our immediate notice at various
times by means of exhibitions and reproductions are concerned, so
marked as one would naturally have anticipated. Rather has the
influence of the German and Austrian schools been traceable. In
much of the work we refer to there has been an inclination to heavi-
ness of handling, solidity of composition, and lack of sentiment, and
of the lighter and brighter atmosphere, which features distinguish
also the work of quite a number of German and Austrian pictorialists.
To M. Chas. Puttemans, a Vice-President of the Association Beige
de Photographie, MM. E. Adelot, A. Bourgeois, Ch. Boone, Ch.
Masson, Ed. Sacre, M. Vanderkindere, R. Ickx, Leonard Misonne,
G. Marissiaux, G. Oury, Maurice Hanssens, Albert Guggenheim,
Romdenne, Albert Dietz, L. Claeys, Ferdinand Leys, and Mile. Alida
Daenen, the pictorial movement in Belgium owes much of its
success. Most, if not all, of them are known outside their own
country for excellent work in various branches of photography, and
not a few are frequently represented at the French Salon and other
Exhibitions on the Continent in which pictorial work is made a
strong feature.
Of the workers just mentioned not represented herein by reproduc-
tions of their pictures M. L. Claeys has scored several successes
with pictures of peasant life, and genre of the nature of his “ Sortie
de l’Eglise.” Mile. Alida Daenen has from time to time shown
some excellent portraits as well as figures similar to her “ Les
Dentellieres,” hung in the French Salon last Spring. M. Maurice
Hanssens has become favourably known for his landscapes, figure
studies, and forest scenes. M. Romdenne’s exhibited work shows
considerable pictorial quality, especially his portraits and figure
studies of the genre of the “ Au Miroir ” and “ Etude de Tete ”
shown last year at the Paris Salon. Ferdinand Leys, in his “ Reflets
Venitiens” and “Dans la Montagne ” in the same Exhibition,
showed not only a mastery of the technique of his craft, but also
artistic appreciation and judgment in the use of his materials.
There are, of course, others who might be mentioned in detail did
space permit, tp whom those who have watched the evolution of
the pictorial idea in Belgian photographic work may well look
for its future advancement—workers gifted with much technical
skill, to which has been happily wedded the artistic sense and ap-
preciation of the beautiful and suggestive in Nature without which
success in pictorial work is scarcely to be looked for.
M. Leonard Misonne, one of the leading workers in “gum,” has
gained an enviable position amongst his Belgian confreres by his
B 2