Adult trail

DISCOVER THE

MASTERPIECES OF THE

ROYAL MUSEUMS OF

FINE ARTS OF BELGIUM

JACQ

UES

-LO

UIS

DAV

ID, T

he D

eath

of M

arat

, 179

3, o

il on

can

vas.

Roy

al M

useu

ms

of F

ine

Art

s of

Bel

gium

, Bru

ssel

s, in

v. 3

260

© R

MFA

B, B

russ

els

/ ph

oto:

J. G

eley

ns -

Ro S

can

2ROGIER VAN DER WEYDEN, Pietà, ca. 1441, oak. Royal Museums of Fine Arts of Belgium, Brussels, inv. 3515 ©

RMFAB, Brussels / photo: J. Geleyns - Ro Scan

On 4 March 1887, a methane or firedamp explosion at the La Boule coalmine in the Borinage (Hainaut, Belgium) took the lives of over 120 miners. Constantin Meunier drew the moment where a mother recognized her son among the victims. This bronze sculpture recreates the arched pose of the mother, her son’s emaciated body no longer wrapped in a sheet. Though we recognize the miner’s instruments at the base of the sculpture, it represents more than just a mining disaster. Meunier strove to represent universal human suffering.

Constantin MEUNIER,Fire Damp Explosion

Forum.brussels# 100masters

1

Rogier VAN DER WEYDEN, Pietà

OldMasters Museum, room 70.brussels# 100masters

2

Once again, a mother mourns her dead son. Christ has just been taken down from the cross. The painter shows the wounds to his hands, feet, side and head. Left, dressed in red, John watches over Mary. He places his left hand on her head while she lovingly embraces her son. On the right Mary Magdalene kneels, hands folded. We can recognize her because of the small white jug, which contains the balm she once rubbed Christ’s feet with. The landscape is arid and deserted, although light is showing on the horizon, announcing a new era: Christ’s death will redeem men from their sins. The skull in the foreground of the painting refers to the place where Adam is buried, having brought sin to the world by eating the forbidden fruit. Despite the suffering, this painting is one of hope.

3

This five episode story is told over two panels. At the top of the left panel, an empress confides in her husband that she was seduced by a local count. The middle ground shows the count being led to the scaffold in a white penitential robe while he utters his lasts words to his wife. In the foreground, she receives her husband’s head. On the right panel, the countess proves her husband’s innocence through the Ordeal by Fire; she holds the glowing red bar without hesitation. The emperor realizes that his wife falsely accused the count, leading him to condemn an innocent man. The background depicts the empress being burnt at the stake. This diptych used to hang in the courtroom of the City Hall of Leuven and was a warning to all judges: judgement over life and death is not to be taken lightly and should be carefully considered.

Dirk BOUTS, Justice of Emperor Otto. Beheading of the Innocent Count and Ordeal by Fire

OldMasters Museum, room 70.brussels

# 100masters

3

DIRK BOUTS, Justice of Emperor Otto. Beheading of the Innocent Count and Ordeal by Fire, ca. 1473-1475, oak. Royal Museums of Fine Arts of Belgium, Brussels, inv. 1447 & 1448 © RMFAB, Brussels / photo: J. Geleyns - Ro Scan

4

Hans MEMLING, The Martyrdom of St Sebastian

OldMasters Museum, room 69.brussels# 100masters

4

A man tied to a tree suffers a gruesome fate, archers piercing his body with their arrows. The half-naked figure is that of St Sebastian, who was martyred for defending Christians in the 3rd century. He bears his torture with serenity because he feels strengthened by God. Hans Memling put great elegance in the portrayal of this scene; the sumptuous garments on the grass in the foreground as well as the city in the background are depicted meticulously, in sharp contrast to the atrocities taking place.

A monumental red gown with numerous folds takes up over half of the frame. It is worn by Mary, mother of Christ, who is studying the word of God with her son. They are both quiet and subdued, surrounded by Gothic stone ornaments and the golden light of their halos. The relationship between mother and child transcends the here and now. This image shows how the Saviour is preparing for his difficult task, which explains why this painting exudes seriousness and concentration. Only the blue sky, visible through windows on the left and right edge of the picture, seem to belong to the ordinary world.

Quinten METSYS,Virgin and Child

OldMasters Museum, room 69.brussels# 100masters

5

QUINTEN METSYS, Virgin and Child, oak. Royal Museums of Fine Arts of Belgium, Brussels, inv. 1497 © RMFAB, Brussels / photo: J. Geleyns - Ro Scan

5

From a bright light, a swarm of monsters seems to come towards us, transforming into evil chimerical creatures. These are angels that are led in revolt against God by Lucifer. Angels in white robes who have stayed faithful to God are slaying the rebellious crowd. The Archangel Michael is at the centre, defeating the seven-headed monster. Pieter Bruegel uses this chaotic mob to illustrate discoveries made during his time: we recognize Indian feathers (from America), a sundial, and numerous species of fish and bird. However, the painting also refers to the political climate during the 16th century, when a bloody war between Catholics (the faithful ones) and Protestants (the renegades) was fought.

Pieter I BRUEGEL (the Elder), The Fall of the Rebel Angels

OldMasters Museum, room 68 (Bruegel).brussels# 100masters

6

crowd. The Archangel Michael is at the centre, defeating the seven-headed monster. Pieter Bruegel uses this chaotic mob to illustrate discoveries made during his time: we recognize Indian feathers (from America), a sundial, and numerous species of fish and bird. However, the painting also refers to the political climate during the 16th century, when a bloody war between Catholics (the faithful ones) and Protestants (the renegades) was fought.

PIETER I BRUEGEL, The Fall of the Rebel Angels, 1562, oak. Royal Museums of Fine Arts of Belgium, Brussels, inv. 584 © RMFAB, Brussels / photo: Grafisch Buro

Lefevre, Heule

6

This party is all over the canvas, all cheering and singing. The reason for so much revelry is the Epiphany feast, where the person who finds the bean in the cake is crowned king. The bearded King-for-a-day takes a large sip from his glass, setting the example for the rest

of the rowdy crowd. Jordaens paints people in their joyous, exuberant state, grasping every opportunity to let go of norms and rules. He submerges the spectator in libertine scenery, as if to pose a question: do we join in, or do we disapprove of such debaucheries?

Jacques JORDAENS, The King Drinks

OldMasters Museum, room 66 (Jordaens).brussels# 100masters

7

JACQUES JORDAENS, The King Drinks, canvas. Royal Museums of Fine Arts of Belgium, Brussels, inv. 3545 © RMFAB, Brussels / photo: J. Geleyns - Ro Scan

We witness Rubens’ sketching technique when drawing a posing model: in profile and three-quarter view, laughing and in all seriousness. This African man often recurs in the large altar pieces of Rubens, such as the “Adoration of the Magi” located in the Rubens room. This study panel served as an example for Rubens’ studio assistants. As he was incapable of completing all of his numerous commissions himself, he was responsible for designs that were subsequently executed on a large scale by his assistants. In contrast to his finished paintings, this sketch is composed with very loose brush-strokes, making it appear more modern than the large altar pieces.

Peter Paul RUBENS, Four Studies of the Head of a Moor

OldMasters Museum, room 60.brussels# 100masters

8

7

Under a grey cloudy sky, a procession led by soldiers are climbing a mountain. At the centre of this altar piece, we can recognize Christ succumbing to the weight of the cross and being helped by Simon. Veronica makes use of this brief pause to wipe the sweat from Christ’s face. Mary, in the blue coat, reaches out to her son and is supported by John. At the bottom, two prisoners are accompanied by soldiers. Rubens chose to use powerful figures in constant movement. Our gaze follows the diagonal trajectory of the climb. Only Christ seems still, looking directly at the viewer and making them part of his suffering.

Peter Paul RUBENS,The Road to Calvary

OldMasters Museum, room 53 (Rubens).brussels# 100masters

9

PETER PAUL RUBENS, Four Studies of the Head of a Moor, oil on canvas. Royal Museums of Fine Arts of Belgium, Brussels, inv. 3176 © RMFAB, Brussels / photo:

J. Geleyns - Ro Scan

8

On 13 July 1793, the revolutionary Jean-Paul Marat was murdered by Charlotte Corday in Paris. This act of political revenge was immortalised by Jacques-Louis David in this martyr portrait. Marat draws his final breath while holding a letter from Corday in his hand. Her murder weapon lies on the ground. His weapon is the pen he wrote the note with, still visible on the crate next to him. The note stipulates that his money should be given to a poor widow and her five children, although himself was not a rich man, shown by the patched blanket draped in the bath tub. Marat suffered from a severe skin condition that was only tolerable when bathing. David presents a philanthropic hero of the revolution. The fact that Marat sentenced people to death with his powerful pen, degenerating the revolution into a state of terror and prompting Corday to kill him, is not represented in the image. David shows us the moment after the murder. The simple background, the sophisticated composition and the nuanced lighting infuse harmony and timelessness. The painter was convinced Marat deserved to be remembered for eternity.

Jacques-Louis DAVID, The Death of Marat

OldMasters Museum, room 55.brussels# 100masters

10

JACQUES-LOUIS DAVID, The Death of Marat, 1793, oil on canvas. Royal Museums of Fine Arts of Belgium, Brussels, inv. 3260 © RMFAB, Brussels / photo: J. Geleyns - Ro Scan

9

The Gaze Within is a permanent installation made by Jan Fabre in 2009, commissioned by the Museum. This staircase, still preserved in its original state, was originally reserved for use by the royal family. From what appear at first sight like blue monochrome surfaces, four pairs of eyes light up: those of a woman, an owl, a butterfly and a beetle. When we look more closely, we can see how the blue areas are built up with thousands of lines drawn on photographs. This installation is part of the cycle The Hour Blue, referring to the moment right before sunrise or after sunset when the sky colours a deep blue and undergoes a total metamorphosis.

Jan FABRE, The Gaze Within (The Hour Blue)

Modern Museum, Gresham, royal staircase.brussels# 100masters

11

Opus 47 sets the eye in motion. We do not simply see circles and undulating lines, we are immediately reminded of ball bearings and levers. Are we in the lower deck of a steamship? Is this the cosmos pictured as a well-oiled machine? The composition of shapes in cool colours is very suggestive despite its abstract character. The term “opus”, meaning “composition”, is a designation that used in music, where rhythm, tone and feel are more important than story. The title Adoration of the Machinery was added later and pushes the work in a more figurative direction.

Victor SERVRANCKX, Opus 47. Adoration of the Machinery

Modern Museum, patio level 0.brussels# 100masters

12

VICTOR SERVRANCKX, Opus 47. Adoration of the Machinery, 1923, oil on canvas. Royal Museums of Fine Arts of Belgium, Brussels, inv. 6859 © SABAM, Belgium / photo: J. Geleyns / Ro scan

10

A naked man stands face to face with daunting procession. A horse and four elephants with elongated legs carry a naked woman, an obelisk, a palace and a tower on their backs. Dali illustrates the old tale of the Egyptian monk Antonius who withdrew in the desert to meditate unhindered and to become one with God. Instead, he is constantly distracted by strange thoughts that reveal his deepest and most obscure desires. Will he be capable to fight these temptations? Dali was part of a group of artists calling themselves the Surrealists. They were convinced that our consciousness was only a layer of varnish on top of countless deep, insatiable cravings. No man is safe from the power of the subconscious, no matter where he tries to hide.

Salvador DALI, The Temptation of St. Anthony

Modern Museum, patio level 0.brussels# 100masters

13

The title refers to the myth of the Greek sculptor Pygmalion and his quest for the ideal woman. Unable to find her in the real world, he created her in marble. His love for the sculpted woman was so overwhelming that the goddess Venus brought her to life. Painter Paul Delvaux turns the story around: the artist himself is the marble statue, and he is awakened by a naked beauty. The woman as a metaphor for life is also represented in the botanic female figure on the right. The gentleman in bowler hat simply walks past her. Unlike the artist, he doesn’t seem to notice her life-creating powers. On the far left, we can observe how a man liberates himself from a certain substance: rebirth through art.

Paul DELVAUX, Pygmalion

Modern Museum, patio level 0.brussels# 100masters

14

PAUL DELVAUX, Pygmalion, 1939, oil on wood. Royal Museums of Fine Arts of Belgium, Brussels, inv. 7544 © Paul Delvaux Foundation - SABAM Belgium / photo: J. Geleyns - Ro scan

11

This casserole dish with mussel shells looks simultaneously familiar and strange. We prepare mussels in a cooking pot, however these mussels seem to gather their forces and lift the lid as if they no longer indulge their iron straitjacket. Their shells are open. The French word for mussel, moule, does not only refer to the mollusc, but also means a mould used to give shape to something. Broodthaers plays with the notions of limits and “being locked up”, partly in the literal sense but mainly in a figurative way. This pan of mussels becomes artwork because it is presented as one: it’s situated in a museum, on a pedestal, under plexiglass, accompanied by a nameplate. These circumstances mould our perspective of this object.

Marcel BROODTHAERS, Red Mussels in a Cooking Pot

Modern Musée, patio level 0.brussels# 100masters

15

Starting from a postcard of Velazquez’s famous portrait of Pope Innocentius X, Francis Bacon painted a series of unconventional variations. In Pope with Owls, the ecclesiastic authority figure loses his confident radiance and shrinks to a shadow version of himself, fearful and lost in a black infinity and at the same time imprisoned

in a cage of lines. The ornaments on his throne are replaced by two owls who gaze in the same

direction as him. The owl is not only a symbol of wisdom, but also of impending doom. In some way Bacon gives the impression of an x-ray: past the appearance of dominance and certainty lie sinister and abyssal powers.

Francis BACON, Pope with Owls

Modern Museum, patio level 0.brussels# 100masters

16

FRANCIS BACON, Pope with Owls, 1958, oil on canvas. Royal Museums of Fine Arts of Belgium,

Brussels, inv. 7355 © SABAM, Belgium / DACS, London / photo: J. Geleyns / Ro scan

12

Six disguised and masked characters strike a pose for a group portrait. Their dark shoes are in stark contrast with their colourful costumes. They smoke and drink. Someone is lying down next to a violin, another one is holding up a candle. In the middle, two are balancing a red figurine on their index fingers. The figurine resembles one of the marching soldiers we can see through the window on the left. Are they also part of the masquerade, or are the six masked characters hiding from what is unfolding in the outside world? Accompanying the piece, in a picture taken around 1891 we can see Ensor wearing a bearskin hat. By the end of the 19th century, this personage will become the alter ego of the sensitive artist, he who feels completely disconnected from the superficial and bourgeois society.

James ENSOR, Strange Masks

Fin-de-Siècle Museum, level –6 (Ensor).brussels# 100masters

17

JAMES ENSOR, Strange Masks, 1892, oil on canvas. Royal Museums of Fine Arts of Belgium, Brussels, inv. 4194 © RMFAB, Brussels / photo: Vincent Everarts Photographie, Brussels

13

New times ask for new solutions. Seurat immersed himself in modern theories about light and colour, reality and perception. When our eye observes from afar a gathering of small, colourful dots, it doesn’t analyse them separately but sees them as one tone. This led Seurat to conclude that he could create colour fields by placing pure, unmixed colours in dots close to one another. This technique makes the colour vibrate, comparable to the reflection of light on objects. Moreover, pure colours maintain their luminosity better in comparison to mixed tones that lose some of their brightness. The shadow on the trees is formed by little blue and red vertical stripes, which we perceive as purple from a distance. Pay attention to the water next to the tree trunk that takes on a darker shade of blue compared to the left, where more white horizontal stripes were added. This increases the contrast and the “readability” of the work. Seurat also drew a dotted frame around the image. Finally, notice how he signed his name on the bottom right.

Georges SEURAT, The river Seine at La Grande-Jatte

Fin-de-Siècle Museum, level –6 (neo-impressionism).brussels# 100masters

18.brussels

# 100masters

18

GEORGES SEURAT, The River Seine at La Grande-Jatte, 1888, oil on canvas. Royal Museums of Fine Arts of Belgium, Brussels, inv. 5091 © RMFAB, Brussels / photo: J. Geleyns - Ro Scan

14

Seven women stand on a lawn enclosed by a hedge. They look past, rather than at, each other. Six of them are wearing hats. The hatless one is supporting her head with her hand. The adjective “heavy-headed” can be a synonym for drowsy, even melancholic. The woman in white isolates herself, lost deep in thought. The other women are holding tennis rackets. The active, modern life (tennis) is thus contrasted with timeless, contemplative life (reflection). Khnopff based this painting on photographs of his sister Marguerite, whom he made pose in all the stances depicted here. This pastel drawing is basically a collage of separate poses. The seven women in the landscape do not refer to simultaneity but rather to separate fragments from the past. The contemplative woman is perhaps the one who collects those fragments as memories.

Fernand KHNOPFF, Memories (Lawn Tennis)

Fin-de-Siècle Museum, level –7 (Khnopff ).brussels# 100masters

19.brussels

# 100masters

19

This gilded bronze bust was designed by Mucha for the Parisian jewellery store Fouquet. The

facial features are said to be inspired by Sarah Bernhardt, who also figures on plenty of Mucha’s

posters. Cléo de Mérode is another possible model. This sculpture is a beautiful example of the feminine ideal during the 1900s. The wavy hair framing the face and flowing into the base gives the statue a swirling effect. The closed eyes, symmetrical execution of the face and body and the monumental

jewels emphasize the dignified majesty of this appearance.

Alphonse MUCHA, The Nature

Fin-de-Siècle Museum, level –8 (Gillion-Crowet).brussels# 100masters

20

ALPHONSE MUCHA, The Nature, 1899-1900, bust, golden bronze, ornaments in malachite. Royal Museums of Fine

Arts of Belgium, Brussels, inv. GC 122 © Région Brussels-Capitale, dation d’Anne-Marie et Roland Gillion Crowet, 2006.

Entrusted to the RMFAB / photo: J. Geleyns - Ro Scan

15

A house stands in the shadow of a tree and the light of a lantern. The water on the foreground reflects this play of light and shadow. This barely-lit place hardly seems to interfere with the radiant, cloudy sky at the top of the picture plane. Two autonomous worlds co-exist next to each other. Both, however, are reigned by light. Magritte contrasts the abundant sunlight – which leaves nothing to the imagination – with the confined lantern light which leaves room for the suggestive and the invisible. In almost all of his compositions, the artist looked for ways to make the familiar attractive and mysterious again. The sparse lantern light suggests more mystery than the unambiguous sunlight.

René MAGRITTE, The Dominion of Light

Magritte Museum, level 1 (The enchanted domain).brussels# 100masters

22

On the edge of a monumental staircase sits a young woman. Although she is still, her gaze is absorbed by the movements of the water. The arabesque lines fascinate and charm her. She is only a step away from becoming one with infinity. The artist unites the forms of the bather and the water surface by giving them similar curves. Spilliaert distils this ordinary scene into an almost abstract play of shapes. Lines, surfaces and colours eliminate the anecdote and turn this image into an icon: man on the edge between solid and fluid.

Léon SPILLIAERT, The Bather

Fin-de-Siècle Museum, level –8 (Spilliaert/Minne).brussels# 100masters

21

LÉON SPILLIAERT, The Bather, 1910, Chinese ink, brush, pastel on paper. Royal Museums of Fine Arts of Belgium, Brussels, inv. 6622 © SABAM Belgium / photo: J. Geleyns - Ro Scan

16

Colophon

Layout: Floriane BelleflammeTranslation: The Royal Museums of Fine Arts of Belgium© Brussels Museums - 2016