DOI issue:
No. 110 (May, 1902)
DOI article:Monypenny, Emma L.: The art of Edmond Theodore van Hove
DOI Page / Citation link:https://doi.org/10.11588/diglit.19875#0281
E. T. Van Hove
One of Van Hove's most important works was in that old Church - loving city, more mediaeval
next produced—an altar-piece for the Church of and more Catholic than Rome itself, desire the
St. Giles, Bruges. Owing, however, to the want patronage of the Church—and henceforth we
of light in the church, the beauty and refinement find Van Hove's fame growing through a series of
of the work are scarcely perceptible, but viewing it lovely Madonnas—Mater Amabilis, Mater Admira-
in the studio as well as in the church has helped bilis, Mater Salvatoris—and throwing off the
the writer to the appreciation of its great merit. refined but sombre tones of greys, browns and
What could be more lovely than the exquisite greens, we find him bursting into the most glorious
grace of line of the Gothic saints occupying each bright colour, vibrating with air and warmth
of the side panels, while the arrangement of the two and atmosphere, yet losing none of that perfect
central panels, The Last Supper and Christ appearing truth, delicacy and harmony so characteristic of
to St. Thomas and the other Disciples, is singularly his productions. True to the old Masters, he gives
original, owing, no doubt, to the panels having to us these sacred subjects in open-air or in an interior,
be upright. The perfect " subordination to the with open window, showing a clear landscape,
form of the thing decorated" in this masterly Take for instance the triptych, The Awakening
treatment of The Last Sipper is very notable. of Jesus—now in the possession of the Princess de
The change to ecclesiastical subjects was a great Tour et Taxis—glinting with sunshine and gentle
benefit to the young artist himself. Most aspirants with the pure air of summer. The view is from
the ramparts of this old city of
many fortunes. Rising amidst
the leafy green, the red roofs,
the cathedral tower, the great
belfry, one could almost think
they hear the glorious bells,
on Easter . Morning — bell
- answering to bell all day
in never - ending song, one
more perfect, more musical,
than the other. With what
quietness and confidence the
Madonna gazes on Divine Love
—the Holy Child! How natural
the pose, the expression, and
the tone of delicate colouring !
In the veiled drapery, as in that
also of the Mater Amabilis, we
have a sample of the artist's
most perfect skill and refinement
of work. On the wings are St.
Luke and St. John. In St.
Luke there is no weakness, but
strong individuality of character
and culture in the penetrating,
all-knowing face; while in St.
John the Divine, who seems as-
if he expressed the reflection of
his Master, we read spirituality,
grace, gentleness, deep thought
and memories of the one perfect
life. He appears as if, having
seen God, he saw God in all
things; as if, though human,
he was permitted to gaze into
john "—wing panel of a triptych by e. t. van hove unfathomableness.
266
One of Van Hove's most important works was in that old Church - loving city, more mediaeval
next produced—an altar-piece for the Church of and more Catholic than Rome itself, desire the
St. Giles, Bruges. Owing, however, to the want patronage of the Church—and henceforth we
of light in the church, the beauty and refinement find Van Hove's fame growing through a series of
of the work are scarcely perceptible, but viewing it lovely Madonnas—Mater Amabilis, Mater Admira-
in the studio as well as in the church has helped bilis, Mater Salvatoris—and throwing off the
the writer to the appreciation of its great merit. refined but sombre tones of greys, browns and
What could be more lovely than the exquisite greens, we find him bursting into the most glorious
grace of line of the Gothic saints occupying each bright colour, vibrating with air and warmth
of the side panels, while the arrangement of the two and atmosphere, yet losing none of that perfect
central panels, The Last Supper and Christ appearing truth, delicacy and harmony so characteristic of
to St. Thomas and the other Disciples, is singularly his productions. True to the old Masters, he gives
original, owing, no doubt, to the panels having to us these sacred subjects in open-air or in an interior,
be upright. The perfect " subordination to the with open window, showing a clear landscape,
form of the thing decorated" in this masterly Take for instance the triptych, The Awakening
treatment of The Last Sipper is very notable. of Jesus—now in the possession of the Princess de
The change to ecclesiastical subjects was a great Tour et Taxis—glinting with sunshine and gentle
benefit to the young artist himself. Most aspirants with the pure air of summer. The view is from
the ramparts of this old city of
many fortunes. Rising amidst
the leafy green, the red roofs,
the cathedral tower, the great
belfry, one could almost think
they hear the glorious bells,
on Easter . Morning — bell
- answering to bell all day
in never - ending song, one
more perfect, more musical,
than the other. With what
quietness and confidence the
Madonna gazes on Divine Love
—the Holy Child! How natural
the pose, the expression, and
the tone of delicate colouring !
In the veiled drapery, as in that
also of the Mater Amabilis, we
have a sample of the artist's
most perfect skill and refinement
of work. On the wings are St.
Luke and St. John. In St.
Luke there is no weakness, but
strong individuality of character
and culture in the penetrating,
all-knowing face; while in St.
John the Divine, who seems as-
if he expressed the reflection of
his Master, we read spirituality,
grace, gentleness, deep thought
and memories of the one perfect
life. He appears as if, having
seen God, he saw God in all
things; as if, though human,
he was permitted to gaze into
john "—wing panel of a triptych by e. t. van hove unfathomableness.
266