Tuesday, October 20, 2009


THIS SECTION covers the 19th century and is closer to the contemporary collection both in position and period. It is an informed introduction to the cutting-edge displays nearby. The works along the yellow route vary greatly in style and subject matter, from Romanticism, exemplified by David, and Neo-Classicism, to Realism and Symbolism. There are, as in the other sections, examples of work by artists from outside Belgium, including Pierre Bonnard’s Nude against the Light (1907), Edouard Vuillard’s Two Schoolchildren (1894) and Monet’s Sunset at Etretat (1885), but once again most emphasis is on Belgian artists.

Social realist artist Constantin Meunier (1831–1905) is represented by many of his sculptures, including Firedamp (1888). Much of the work of James Ensor (1890–1949) remains in his native city Ostend, but many of his macabre works are displayed here, such as Scandalized Masks (1883) and Two Skeletons Fighting over a Pickled Herring (1891). This section also offers the chance to see pictures by artists who are less well known outside Belgium, such as Henri Evenepoel (1872–99) whose lively Arab scene Orange Market at Blidah (1898) provides a contrast to the stark works of painters such as Ensor. The work of Impressionist Emile Claus is of value to followers of the movement. Of local interest is the landscape of Brussels by van Moer, painted in 1868, which clearly shows the River Senne before it was covered over for hygiene reasons. Moving from the passion of Romanticism to grim industrial realism and gentle Impressionism, this survey is definitive.