Table Of Content

NATURE'S MIRROR Reality and Symbol in Belgian Landscape edited by Jeffery Howe McMullen Museum of Art, Boston College [ rjgj : J || 5 p jPg t n |T| §gp^f T*M fgw§l J| p^I - ^,»;^S Kfe^Lj j$ .. .■ •11 fghgj E®#lJ NATURE'S MIRROR Reality and Symbol in Belgian Landscape edited by Jeffery Howe McMullen Museum of Art, Boston College This publication is issued in conjunction with the exhibition Nature's Mirror: Reality and Symbol in Belgian Land' scape in the Daley Family Gallery at the McMullen Museum of Art, Boston College, September 10-December 10, 2017. Organized by the McMullen Museum, Nature's Mirror has been curated by Jeffery Howe and under' written by Boston College with major support from the Patrons of the McMullen Museum and Mary Ann and Vincent Q. Giffuni. Library of Congress Control Number: 2017943532 ISBN: 978' 1 '892850'29'4 Distributed by the University of Chicago Press Printed in the United States of America © 2017 The Trustees of Boston College Designer: John McCoy Copyeditor: Kate Shugert Cover: Fernand Khnopff (1858-1921), Memory of Bruges. Entrance to the Beguinage, 1904, Hearn Family Trust (plate 109). Endpapers: (front) detail of Hans Bol (1534-93), Winter, 1570, Hearn Family Trust (plate 17); (back) Leon Spilli' aert (1881-1946), Hofitraat in OStend, 1908, Hearn Family Trust (plate 119). Figure credits (see captions for additional information): Jeffery Howe (“Nature's Mirror”): 5, 18, 26; Alison Hokanson: KIK'IRPA: 1-3, 6-8; Lukas-Art in Flanders, H. Maertens: 4; Wikimedia Commons: 5; Cather' ine Labio: Science Museum/Science & Society Picture Library: 3; Jeffery Howe (“Fernand Khnopff s Land' scapes”): 6, 8,12,14,18, 20, 24, 26, 28; Dominique Marechal: H. Maertens: 2, 3, 7,13; J. Geleyns/Ro scan: 22; Foto RKD: 29; Anne Adriaens'Pannier: Guy Braeckman: 1; Luc Schrobiltgen: 2, 3, 6, 9,10; OFFA Gallery: 5. CONTENTS PREFACE.I HISTORICAL OUTLINE AND MAP.3 Jeffery Howe NATURE’S MIRROR: REALITY AND SYMBOL IN BELGIAN LANDSCAPE.5 Jeffery Howe HENRI DE BRAEKELEER AND BELGIAN LANDSCAPE PAINTING IN THE 1870s AND 1880s.43 Alison Hokanson “BELGIUM IS AN INDUSTRIALIST”: PRIDE AND EXPLOITATION IN THE BLACK COUNTRY, 1850-1900 .49 Catherine Labio FERNAND KHNOPFFS LANDSCAPES: NATURE AS MIRROR.63 Jeffery Howe “AND THE CLOUDS STAGNATE. ON THE WATER’S FACE”: BRUGES AS A CROSS¬ ROADS OF EUROPEAN SYMBOLISM.81 Dominique Marechal SERRES CHAUDESi INSIDE-OUTSIDE, OUTSIDE-INSIDE.95 Albert Alhadeff THE FOUR SEASONS OF LEON SPILLIAERT’S MIND.103 Anne Adriaens-Pannier PLATES.Ill CONTRIBUTORS. 235 For Charles Hack Founder of the Hearn Family Trust PREFACE T he idea for the exhibition Nature's Mirror arose from Jeffery Howe's lifelong study of Belgian symbolist art, which began with his dissertation and subsequent book in 1982 on one of the movement's most celebrated and mysterious artists, Fernand Khnopff. Throughout his distinguished career as a scholar and professor of art history at Boston College, Howe maintained a close relationship with an inspired, knowh edgeable, and gifted collector in the field, Charles Hack, who over the past forty years has built the premier assemblage of Belgian art in North America for the Hearn Family Trust. Charles Hack and Angella Hearn share a deep interest in Belgian art. In anticipation of his retirement from teaching in 2018, Howe proposed curating one more exhibition in his area of expertise, drawing principally on works in the unparalleled and, by now, extensive Hearn Trust collection. Hack generously agreed and the two set about reviewing the Hearn holdings to define a focus for the exhibition and a plan for the research to be presented by various scholars in this accompanying publication. At first, they proposed an examination of the symbolist landscape, but, as they dug deeper, they realized the collection had a larger story to tell about how and why landscape developed from the late Middle Ages to the early twentieth century in Belgium as a significant artistic genre. As research progressed, Howe identified works of art to be requested from museums and other private collections to realize the exhibition's narrative. Thus, it is to Jeffery Howe, an outstanding collaborator and colleague, that the McMullen owes its greatest debt of gratitude. He has approached this exhibition of broad chronological range with characteristic insight and enthusiasm to ask new questions and generate new knowledge. With no less appreciation the Museum extends thanks to Charles Hack for his contributions to the discovery process and for making the fruits of his research in assembling the collection over a lifetime available for study. We would also like to express appreci' ation to other lenders to the exhibition and those who aided with research and conservation: Jean and Howard LeVaux, Sura Levine, Paul Solman and Jan Freeman, Rachel Solman Viola, Ron Yourkowski, and other private lenders; Christian Dupont, Amy Braitsch, and Barbara Hebard (John J. Burns Library, Boston College); Dam iel H. Weiss, Lisa Cain, Emily Foss, and Yana van Dyke (Metropolitan Museum of Art); John W. Smith, Tara Emsley, and Maureen O'Brien (Museum of Art, Rhode Island School of Design). Special thanks are also due to Howe for editing this volume and to the Belgian and American scholars, who in addition to Howe, contributed essays from their research to this volume: Anne Adriaens^Pannier, Albert Alhadeff, Alison Hokanson, Catherine Labio, and Dominique Marechal. At the McMullen Museum, Assist tant Director Diana Larsen has designed the Daley Family Gallery to provide intimate spaces for viewing the various phases in which the exhibition's narrative unfolds. Assistant Director John McCoy designed this book and the exhibition's graphics to resonate with those popular among Belgian book designers of the symbolist period. Manager of Publications and Exhibitions Kate Shugert organized loans and copyedited this volume with exceptional care and judgment. With creativity, intelligence, and efficiency Rachel Chamberlain, Mam ager of Education, Outreach, and Digital Resources, has organized a wealth of public programs to engage audi' ences of all ages in dialogue with the exhibition. Other colleagues at Boston College also provided invaluable assistance: Christopher Soldt photographed with great skill many works in this catalogue, Anastos Chiavaras and Rose Breen from the Risk Management Office offered guidance regarding insurance, and the Office of University Advancement assisted with funding. We remain grateful for the following endowed funds that pro' vide crucial support for all our projects: Linda '64 and Adam Crescenzi Fund, Janet M. and C. Michael Daley '58 Fund, Gerard and Jane Gaughan Fund for Exhibitions, Hecksher Family Fund, Hightower Family Fund, John F. McCarthy and Gail M. Bayer Fund, Christopher J. Toomey 78 Fund, and Alison S. and William M. Vareika 74, P'09, '15 Fund. The McMullen Museum could not have undertaken this project but for the continued generosity of the administration of Boston College and the McMullen family. We especially thank Jacqueline McMullen, Pres^ ident William P. Leahy, SJ; Provost and Dean of Faculties David Quigley; Vice Provost for Faculties Billy Soo; Morrissey College of Arts and Sciences Dean Gregory Kalscheur, SJ; and Director of the Institute for Liberal Arts Mary Crane. This publication has been supported in part by a fund in memory of a beloved docent, Peggy Simons. Major support for the exhibition was provided by the Patrons of the McMullen Museum, chaired by C. Michael Daley, and Mary Ann and Vincent Q. Giffuni. Finally, we reiterate our appreciation to Charles Hack to whom we dedicate this book, and without whose vision for collecting and dedication to bringing the finest collection of Belgian art to American shores this investigation would not have been possible. Nancy Netzer, Director and Professor of Art History 2 HISTORICAL OUTLINE AND MAP Jeffery Howe 1302 The Battle of the Golden Spurs, Kortrijk (Courtrai). In this critical battle, French aristocratic knights were defeated by Flemish foot soldiers. Flanders remained independent of France, and an increase in the rights of the guilds and middle classes followed. 1348-49 The Black Death. The bubonic plague and other plagues recurred several times in the fourteenth century. Estimates suggest that Flanders lost one^sixth to one/quarter of its population in 1349. 1384 Flanders and Burgundy were united by Duke Philip the Bold. 1384-1482 The Burgundian period. 1430 Duke Philip the Good (r. 1419-67) united Brabant with his other territories. 1467-77 Charles the Bold ruled; after his death, his daughter Mary inherited the throne. When she mar/ ried Maximilian I of Austria, Belgium fell under Habsburg control. 1482-1555 The Netherlands were under the control of Holy Roman Emperors. Maximilian I of Austria was the first Habsburg ruler of Belgium; he was succeeded by Charles V, king of Spain, another Habsburg. 1555-85 Revolt of the Netherlands. Philip II of Spain ruled the region; his reign was characterized by vio^ lent repression of Reformation Protestants and independent cities. Pieter Bruegel reflected this violence in The Massacre of the Innocents. 1558-67 Revolt against Spanish rule; Protestant Holland became a separate republic, while the area that will become Belgium remains under Spanish control. 1568-73 The Duke of Alva was sent to crush the rebellion, causing great suffering in Brussels, Ghent, and Antwerp. 1579-1713 Spanish Netherlands. During this period, Belgium was Catholic, relatively peaceful, and largely independent. Peter Paul Rubens was the major artistic figure in this era. The Northern Nether ^ lands became a separate, Protestant country. 1713-94 Era of Austrian rule. 1794-1814 French rule; consequence of the French Revolution and Napoleonic era. 1815-30 The United Kingdom of the Netherlands; after the fall of Napoleon, Belgium was united with the Netherlands to keep it from French, German, and English control. 1830 Revolt against the Dutch, leading to Belgian independence. Cultural and religious differences separated the Dutch and Belgians; revolution broke out in 1830 and independence was declared. Leopold of Saxe/Coburg/Gotha, a German prince and an uncle of Britain's Queen Victoria, became King Leopold I in 1831. 1870 Franco'Prussian War; Belgian neutrality was respected. 1886 Widespread labor strikes. 1914—18 World War I; Belgium was the first country to be invaded in August 1914. Only a small sliver of the country remained unoccupied until the end of the war. 1939-45 World War II; Belgium was occupied between May 1940 and September 1944. Marken • Amsterdam The Hague • Delft • ^ Rotterdam \ Breda • Knokke'Heist • Bruges Antwerp • • • Ostend Temse Ghent ® Mechelen • • • ip£re s Ko•rtr ijk SintL'Mateamrte ns' MBac•rhue l9sens els# Tervuren Maa•st/r ic ht s ! Li^ll e Tou•rn ai Forest of Soignes Li•eg e Charleroi NaAm ur Spa • • Dinant • Chi•m ay Nafraiture Fo•ss et • • Bastogne V. LUXEMBOURG? 4