DOI article:
Holland, Clive: Pictorial Photography in Belgium
DOI Page / Citation link:https://doi.org/10.11588/diglit.27086#0171
BELGIUM
beautiful and truly pictorial renderings of landscapes, more particu-
larly of those in which atmospheric effects and marked “ lighting ”
are noticeable. This quality of his work is well seen both in
“ Sunset,” reproduced in the present work, and in his well-known
picture, “ The Fortress,” a fine and almost Turneresque rendering
of a subject which in less capable hands would have yielded but
an ordinary result. The same quality both as regards atmosphere
and effective composition is present in “ By the Mill ” (also repro-
duced) where a misty sunlight is exceedingly well rendered.
M. Edouard Adelot is one of the most versatile of workers as he is
one of the most energetic and successful of exhibitors. Although
only represented herein by a clever contre-jour study called “ The
White Peacock” he has essayed successfully work of quite a different
character, and has done good marine work along the Belgian coast
similar in genre to that with which the names of Mr. J. C. Warburg
and Rudolph Eickemeyer have become identified. He is one of the
leading pictorialists in Belgium who appear to have been influenced
more strongly by English and French masters than by those of
Germany and Austria. Few of M. Adelot’s pictures are so suggestive
of gloom, by reason of their low tones, as are so many produced by
his confreres who have taken workers of what, for lack of a better
name, may be called the Hofmeister-Hamburg school for their
masters.
The pictures of M. Edouard Sacre have been well known for some
years as those of a singularly artistic and “ temperamental ” worker.
For a long time past an exhibitor at the leading exhibitions in
Belgium, France, and other parts of the Continent, and a prominent
member of L’Association Beige de Photographic, he has been
brought into contact with much that is best in foreign pictorial
work. He has made a special study of snow effects similar to his
fine picture “Winter in Flanders,” selected for reproduction in
the present volume. In M. Sacre Belgium possesses a worker of
great artistic feeling, and technical skill.
The name of M. Ch. Puttemans is familiar to many English
workers, not only as one of the moving and actuating spirits of
Belgian photography, but also as that of a prominent and successful
worker and exhibitor. Although M. Puttemans has devoted a
considerable amount of his time to architectural photography—
and in such a land as Belgium the photographer should need no
further encouragement than the opportunities for picture making
which exist in such profusion—he has won distinction with both
landscape and figure studies, and has been well represented by
B 3
beautiful and truly pictorial renderings of landscapes, more particu-
larly of those in which atmospheric effects and marked “ lighting ”
are noticeable. This quality of his work is well seen both in
“ Sunset,” reproduced in the present work, and in his well-known
picture, “ The Fortress,” a fine and almost Turneresque rendering
of a subject which in less capable hands would have yielded but
an ordinary result. The same quality both as regards atmosphere
and effective composition is present in “ By the Mill ” (also repro-
duced) where a misty sunlight is exceedingly well rendered.
M. Edouard Adelot is one of the most versatile of workers as he is
one of the most energetic and successful of exhibitors. Although
only represented herein by a clever contre-jour study called “ The
White Peacock” he has essayed successfully work of quite a different
character, and has done good marine work along the Belgian coast
similar in genre to that with which the names of Mr. J. C. Warburg
and Rudolph Eickemeyer have become identified. He is one of the
leading pictorialists in Belgium who appear to have been influenced
more strongly by English and French masters than by those of
Germany and Austria. Few of M. Adelot’s pictures are so suggestive
of gloom, by reason of their low tones, as are so many produced by
his confreres who have taken workers of what, for lack of a better
name, may be called the Hofmeister-Hamburg school for their
masters.
The pictures of M. Edouard Sacre have been well known for some
years as those of a singularly artistic and “ temperamental ” worker.
For a long time past an exhibitor at the leading exhibitions in
Belgium, France, and other parts of the Continent, and a prominent
member of L’Association Beige de Photographic, he has been
brought into contact with much that is best in foreign pictorial
work. He has made a special study of snow effects similar to his
fine picture “Winter in Flanders,” selected for reproduction in
the present volume. In M. Sacre Belgium possesses a worker of
great artistic feeling, and technical skill.
The name of M. Ch. Puttemans is familiar to many English
workers, not only as one of the moving and actuating spirits of
Belgian photography, but also as that of a prominent and successful
worker and exhibitor. Although M. Puttemans has devoted a
considerable amount of his time to architectural photography—
and in such a land as Belgium the photographer should need no
further encouragement than the opportunities for picture making
which exist in such profusion—he has won distinction with both
landscape and figure studies, and has been well represented by
B 3