zuivere – -Translation – Keybot Dictionary

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Show textShow cached sourceOpen source URL	Zuivere Beelding 1919 - 1929 / interbellum
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Show textShow cached sourceOpen source URL	zuivere beelding 1919 - 1929 / interbellum (223)
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  Victor Servranckx | Abs...  

Show textShow cached sourceOpen source URL	La plastique pure. (Art constructif) – (art collectif) is een manifest dat als één van de laatste stuiptrekkingen van de Zuivere Beelding gezien kan worden. Het verschijnt in het tijdschrift La Nervie.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine abstractmodernisme.vlaamsekunstcollectie.be as primary domain	La plastique pure. (Art constructif)—(art collectif) is a manifesto that is one of the last death throes to be seen of the Pure Plasticism. It appears in the journal La Nervie.

  Georges Vantongerloo | ...  

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Strikt genomen behoort Vantongerloo niet tot de beweging van de Zuivere Beelding. Net als Marthe Donas start Vantongerloo zijn avant-gardistische periode in het buitenland. Hij begint als  beeldhouwer na een studie in Antwerpen en Brussel.

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Strictly speaking, Vantongerloo does not belong to the movement of the Pure Plasticism. Just as with Marthe Donas, Vantongerloo begins his avant-garde period abroad. He begins as a sculptor after studies in Antwerp and Brussels. Subsequently he moves to Holland during World War I and comes into contact with the artists of De Stijl, in which he shall play an important role. He settles in Menton (South France) and works in Paris along with Michel Seuphor on the group exhibition Cercle et Carré (1930). One year later he forms Abstraction-Création with Auguste Herbin. Vantongerloo is taken up in all important international exhibitions in the years 1930-40: Cubism and Abstract Art in the MoMa (1936), Abstracte Kunst in the Stedelijk Museum of Amsterdam and Konkrete Kunst in the Kunsthalle of Basel (1944).

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de fervente verdedigers van de ‘zuivere beelding’. In Brussel was er op dat ogenblik een andere groep abstracte kunstenaars actief, met onder meer Victor Servranckx, die al in 1917 niet-figuratief werk tentoonstelde in de Galerie Georges Giroux in Brussel.

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The abstract movement in Belgium began in Antwerp and in Brussels at the end of World War I. In Antwerp, the movement was concentrated around the essayist Michel Seuphor and the writer Paul Van Ostaijen, the fervent defenders of the ‘Zuivere beelding’ (Pure Plasticism). In Brussels, at that moment there was another group of abstract artists active, including Victor Servanckx, who already in 1917 exhibited non-figurative work in the Galerie Georges Giroux in Brussels. Servranckx remained true to his interpretations of visual arts his whole life and was undoubtedly the most interesting figure of the abstract trend in Belgium. Sometimes his work is based upon elements from the world of industry and machinery such as here in Harbour—Opus 2, though for the most part it is purely abstract.

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Na de Eerste Wereldoorlog vonden in 1918 in Antwerpen en in 1922 in Brussel de beginselen van de Zuivere Beelding ingang. Het was een regionale vorm van het constructivisme, een richting die in de naoorlogse jaren van het interbellum in de Europese kunst vorm kreeg.

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After the First World War, the guiding principles of the Pure Plasticism find an entrance into Antwerp in 1918 and in Brussels in 1922. It was a regional form of Constructivism, a tendency that gained a form in the post-war years in Europe between the two World Wars. With the painter Jozef Peeters, advocate and theoretician of Pure Plasticism and the Modern Art circle, Antwerp was a lively and important centre for the development and promotion of these artistic trends. Nonetheless, only just in the 1960’s and later did the KMSKA acquire abstract compositions by Jozef Peeters, Victor Servranckx, Edmond Van Dooren, Jos Léonard and Jan Kiemeneij, who partially or wholly, respond to the principles of Pure Plasticism.

  Victor Servranckx | Abs...  

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Bovendien wordt hij door grote internationale namen als Fernand Léger (1881 – 1955) en Marcel Duchamp (1887 – 1968) opgepikt. Als enige kunstenaar van de Zuivere Beelding wordt zijn werk in 1927 door de New Yorkse galerie Société Anonyme uitgekozen voor de International Exhibition of Modern Art.

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Victor Servranckx is, after Georges Vantongerloo, the most international and perhaps the most productive of the first generation of abstract artists in Belgium. His exhibition of 1924 in the Brussels Galerie Royale contained some 104 titles. Moreover, he was picked up by big international names such as Fernand Léger (1881 – 1955) and Marcel Duchamp (1887 – 1968). As the only artist from the Pure Plasticism, his work was chosen in 1927 by the New York gallery Société Anonyme for the International Exhibition of Modern Art. Servranckx belongs to the Brussels’ avant-garde movement. He writes contributions for the 7 Arts journal and in 1922, along with René Magritte, he writes the manifesto, L’art pur. Défense de l’esthétique. With the rediscovery of the historical avant-garde, Servranckx shall come up in the polemic over who is the first abstract artist in Belgium. Evidence for his pioneering work in 1917 is missing, but his geometric abstract works from 1923 and 1924 are without a doubt of superior quality.

  Mu.ZEE Oostende | Abstr...  

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Als pioniers van de ‘Zuivere Beelding’, tussen lokale en internationale erkenning in, hebben deze kunstenaars het pad geëffend voor een tweede schare aan abstracte kunstenaars die vooral in de jaren 1950 en 1960 succesvol waren.

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The first generation of abstract artists is represented in the collection with works from, among others: Felix De Boeck (1898 - 1995), Prosper De Troyer (1880 - 1961), Pierre-Louis Flouquet (1900 - 1967), Paul Joostens (1889 - 1960), Jos Léonard (1892 - 1957), Jozef Peeters (1895 - 1960), Jules Schmalzigaug (1882 - 1917), Georges Vantongerloo (1886 - 1965) and Victor Servranckx (1897 - 1965). As pioneers of the ‘Pure Plasticism’, between local and international recognition, these artist have paved the way for a second wave of abstract artists who were primarily successful in the 1950’s and 1960’s. The collection of Mu.ZEE in Ostend also houses abstract work from, among others: Jan Burssens (1925 - 2002), Jo Delahaut (1911 - 1992), Walter Leblanc (1932 - 1986), Luc Peire (1916 - 1994), Gilbert Swimberghe (1927 - 2015), Englebert Van Anderlecht (1918 - 1961), Paul Van Hoeydonck (1925) and Dan Van Severen (1927 - 2009).

  Construction dans la sp...  

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De schilders en beeldhouwers uit die kring zochten een zuivere, voorstellingsloze beeldtaal die als een soort universele taal in de moderne samenleving kon functioneren en het mysterie en de ordening van het universum weerspiegelde.

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During World War I, Vantongerloo remains in The Hague, where he participates in the activities of the group De Stijl, which was established by Theo van Doesburg and Piet Mondriaan in 1917 in order to propagate geometric-abstract design. The painters and sculptors from this circle sought a pure, representation-less language of image that could function as a sort of universal language in modern society and that mirrored the mystery and ordering of the universe. Already in 1917, Vantongerloo makes a few geometrical sculptures in which he gives form to the principles of pure image in three dimensions; one of these works is ‘Construction in the Sphere 2’ (‘Construction dans la sphère 2’).

  Karel Maes | Abstract M...  

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Hij doet dit in aanwezigheid van Van Doesburg, El Lissitzky (1890 – 1941), Max Burchartz (1887 – 1961) en Hans Richter (1888 – 1976). De kunstenaar is aanwezig op bijna alle grote avant-gardistische tentoonstellingen waar de Zuivere Beelding actief is (Antwerpen, Brugge, Genève, Brussel, Monza, enz.).

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Karel Maes is one of the few Belgian expressive artists at the beginning of the 1920’s who found a connection with the Netherlandish movement De Stijl. However less prominent than his colleagues Georges Vantongerloo and Huib Hoste, Maes gains recognition from the great frontman Theo Van Doesburg (1883 - 1931). For a while, Maes is even the Belgian ‘representative’ of Van Doesburg’s international movement. The highpoint is in 1922 with the signing of the manifesto of the Konstruktivistische Internationale Beeldende Arbeidsgemeenschap in Weimar. He does this in the presence of Van Doesburg, El Lissitzky (1890 - 1941), Max Burchartz (1887 - 1961) and Hans Richter (1888 - 1976). The artist is present at nearly all major avant-garde exhibitions where the Pure Plasticism is active (Antwerp, Bruges, Geneva, Brussels, Monza, etc.).

  Jozef Peeters | Abstrac...  

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Langzamerhand krijgen zijn stadsbeelden een sterk abstraherend karakter. Het ‘animeren van het vlak’ was van dan af het beeldend principe van Jozef Peeters’ Zuivere Beelding, de Belgische variant van de Nederlandse Nieuwe Beelding.

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Jozef Peeters is one of the pioneers of Abstract Art in Belgium. Just as with Piet Mondriaan (1872 - 1944), Peeters evolves from Post-Impressionism to a symbolism that is heavily influenced by Theosophy. Gradually, his city images take on a strong, abstract character. The ‘animation of the surface’ was then the illustrative principle of Jozef Peeters’ Pure Plasticism, the Belgian variant of the Netherlandish Neo Plasticism. In his paintings, Peeters allows for a dynamic experiment of form along with an extensive colour palette. He distinguishes himself here from the strict horizontal-vertical compositions of the artists of De Stijl such as Mondriaan. In addition to being an artist, Peeters was also active as a promoter and organiser. Primarily his ideas and theories on Community art were influential. Abstraction was for Peeters not only a new language of images, but also a new ethical stance that must serve the community.

  Felix De Boeck | Abstra...  

Show textShow cached sourceOpen source URL	Hij neemt deel aan de zomertentoonstelling in het ‘Museum der Hedendaagsche schilderijen’ in Brussel, waar hij fauvistisch werk toont. De Boeck komt in contact met De Troyer, die hem verder introduceert in de moderne kunst, met name het futurisme. De Boeck evolueert in de richting van de Zuivere Beelding.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine abstractmodernisme.vlaamsekunstcollectie.be as primary domain	The populating of animals and insects in his abstract landscapes is the starting point from what shall later be called the Genesis series. On 24 May 1924, De Boeck marries Marieke Van Breetwater. The couple lose four children.

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Na de Eerste Wereldoorlog vonden in 1918 in Antwerpen en in 1922 in Brussel de beginselen van de Zuivere Beelding ingang. Het was een regionale vorm van het constructivisme, een richting die in de naoorlogse jaren van het interbellum in de Europese kunst vorm kreeg.

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After the First World War, the guiding principles of the Pure Plasticism find an entrance into Antwerp in 1918 and in Brussels in 1922. It was a regional form of Constructivism, a tendency that gained a form in the post-war years in Europe between the two World Wars. With the painter Jozef Peeters, advocate and theoretician of Pure Plasticism and the Modern Art circle, Antwerp was a lively and important centre for the development and promotion of these artistic trends. Nonetheless, only just in the 1960’s and later did the KMSKA acquire abstract compositions by Jozef Peeters, Victor Servranckx, Edmond Van Dooren, Jos Léonard and Jan Kiemeneij, who partially or wholly, respond to the principles of Pure Plasticism.

  Construction dans la sp...  

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De schilders en beeldhouwers uit die kring zochten een zuivere, voorstellingsloze beeldtaal die als een soort universele taal in de moderne samenleving kon functioneren en het mysterie en de ordening van het universum weerspiegelde.

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During World War I, Vantongerloo remains in The Hague, where he participates in the activities of the group De Stijl, which was established by Theo van Doesburg and Piet Mondriaan in 1917 in order to propagate geometric-abstract design. The painters and sculptors from this circle sought a pure, representation-less language of image that could function as a sort of universal language in modern society and that mirrored the mystery and ordering of the universe. Already in 1917, Vantongerloo makes a few geometrical sculptures in which he gives form to the principles of pure image in three dimensions; one of these works is ‘Construction in the Sphere 2’ (‘Construction dans la sphère 2’).

  Wat is abstract moderni...  

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Aan het begin van de twintigste eeuw wordt de historische avant-garde relatief miskend, maar  de abstracte kunst in de periode na de Tweede Werldoorlog groeit uit tot een dominante kunstvorm. Ook in België moet de eerste generatie, die van de Zuivere Beelding, met mensen als Marthe Donas, Georges Vantongerloo en Jozef Peeters, het stellen zonder de erkenning die ze verdient.

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At the beginning of the Twentieth Century, the historical avant-garde is relatively undervalued, but the Abstract Art in the period after the Second World War grows into a dominant art form. Also in Belgium the first generation, that of the Pure Plasticism, with people such as Marthe Donas, Georges Vantonglerloo and Jozef Peeters, must proceed without the recognition that they deserve. Only with the uprising of a next generation does Abstract Modernsim receive any recognition in Belgium. Jo Delahaut, Maurice Wyckaert and many others receive the support that the first generation, languishing between Flemish Expressionism and Surrealism, lacked.

  Georges Vantongerloo | ...  

Show textShow cached sourceOpen source URL	Ze krijgen haast onmiddellijk een iconische status dankzij de verspreiding door Van Doesburg. Vantongerloo leidt Van Doesburgs lezing Classique-Baroque-moderne in Antwerpen in (19 februari 1920). Het is het startschot van de Zuivere Beelding in Vlaanderen.
Compare text pagesCompare HTM pagesOpen source URLOpen target URLDefine abstractmodernisme.vlaamsekunstcollectie.be as primary domain	In December 1919, De Stijl publishes two works by Vantongerloo, Construction des rapports des volumes. They quickly obtain an iconic status thanks to the distribution by Van Doesburg. Vantongerloo introduces Van Doesburg’s lecture Classique-Baroque-moderne in Antwerp (19 February 1920). It is the beginning of the Pure Plasticism in Flanders.

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Na de Eerste Wereldoorlog vonden in 1918 in Antwerpen en in 1922 in Brussel de beginselen van de Zuivere Beelding ingang. Het was een regionale vorm van het constructivisme, een richting die in de naoorlogse jaren van het interbellum in de Europese kunst vorm kreeg.

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After the First World War, the guiding principles of the Pure Plasticism find an entrance into Antwerp in 1918 and in Brussels in 1922. It was a regional form of Constructivism, a tendency that gained a form in the post-war years in Europe between the two World Wars. With the painter Jozef Peeters, advocate and theoretician of Pure Plasticism and the Modern Art circle, Antwerp was a lively and important centre for the development and promotion of these artistic trends. Nonetheless, only just in the 1960’s and later did the KMSKA acquire abstract compositions by Jozef Peeters, Victor Servranckx, Edmond Van Dooren, Jos Léonard and Jan Kiemeneij, who partially or wholly, respond to the principles of Pure Plasticism.

  G 58 | Abstract Moderni...  

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Met o.a. Vic Gentils, Walter Leblanc, Paul Van Hoeydonck en Jef Verheyen, versterkt door criticus Marc Callewaert, bood zich een sterke generatie aan. Van eerdere initiatieven, zoals Raaklijn in Brugge, leren ze enerzijds om een brug te maken naar de eerste generatie van de Zuivere Beelding.

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After G58 first organises a series of solo exhibitions in the Middelheim castle, it then receives an opportunity from the city management to establish a location in the centre. The Hessenhuis, on the corner of the Hessenplein and the Falconrui, is fixed up by the participating artists and thus becomes the new home for the second wave of abstract art. Along with Vic Gentils, Walter Leblanc, Paul Van Hoeydonck, Jef Verheyen and others, as well as being enhanced by the critic Marc Callewaert, a strong generation is there for the offering. From previous initiatives, such as Raaklijn in Bruges, on the one hand, they are able to learn how to bridge the gap with the first generation of the Pure Plasticism. It is no coincidence that both Jozef Peeters and René Guiette receive the honorary chairmanship of the Antwerp group G58. Beyond the important exhibition The First Abstracts in Belgium: Homage to the Pioneers in 1959, the group honours both chairmen with retrospective exhibitions.  With this G58, which evolved from the abstract art to the new informal art, connects the 1920’s (with Peeters) and the 1940’s (with Guiette) with the imminent 1960’s. On the other hand, the international trajectory of La jeune peinture Belge shows them the path to follow. In addition to France and Germany, the Italian contacts primarily ensure for ground-breaking projects. Aside from Anti-Peinture, primarily Vision in motion-Motion in vision and Zero shall prove to be historic exhibitions with contributions from Piero Manzoni and Jean Tinguely, among others. In 1960, a dissident group, the Nieuwe Vlaamse School, already appears, helmed by Jef Verheyen and Paul De Vree (chief editor of De Tafelronde).

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De reden voor het niet verwerven van stukken tijdens de opkomst en bloei van de Zuivere Beelding, was wellicht tweeledig. Het museum verwierf enkel actuele kunst die werd tentoongesteld op de Driejaarlijkse tentoonstellingen van Antwerpen en geselecteerd door een speciaal daartoe opgerichtte commissie.

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The reason for the non-acquisition of pieces during the uprising and growth of Pure Plasticism was probably twofold. The museum only acquired modern art that was exhibited at the Triennial exhibitions of Antwerp and selected by a specially organised committee for this purpose. From this principle, the museum did not deviate from post-World War Two. As such, Pure Plasticism did not gain access to the official institutions. As a consequence, the exhibition, in the context of the Second Congress for Modern Art in Antwerp, and organised by the eponymous Antwerp Circle, through the collective protest of the professors of the Academy of Antwerp, does not take place in the main hall of the museum. When the writer, exhibitions’ creator and journalist Jozef Muls (1882 - 1961), who was Chairman in 1920 of the First Congress for Modern Art, becomes appointed Adjunct-Conservator of the museum in 1926, Pure Plasticism has already passed its zenith. As the editor of the publication Vlaamsche Arbeid, Muls primarily admits the texts of lectures on modern literature.

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De reden voor het niet verwerven van stukken tijdens de opkomst en bloei van de Zuivere Beelding, was wellicht tweeledig. Het museum verwierf enkel actuele kunst die werd tentoongesteld op de Driejaarlijkse tentoonstellingen van Antwerpen en geselecteerd door een speciaal daartoe opgerichtte commissie.

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The reason for the non-acquisition of pieces during the uprising and growth of Pure Plasticism was probably twofold. The museum only acquired modern art that was exhibited at the Triennial exhibitions of Antwerp and selected by a specially organised committee for this purpose. From this principle, the museum did not deviate from post-World War Two. As such, Pure Plasticism did not gain access to the official institutions. As a consequence, the exhibition, in the context of the Second Congress for Modern Art in Antwerp, and organised by the eponymous Antwerp Circle, through the collective protest of the professors of the Academy of Antwerp, does not take place in the main hall of the museum. When the writer, exhibitions’ creator and journalist Jozef Muls (1882 - 1961), who was Chairman in 1920 of the First Congress for Modern Art, becomes appointed Adjunct-Conservator of the museum in 1926, Pure Plasticism has already passed its zenith. As the editor of the publication Vlaamsche Arbeid, Muls primarily admits the texts of lectures on modern literature.

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De reden voor het niet verwerven van stukken tijdens de opkomst en bloei van de Zuivere Beelding, was wellicht tweeledig. Het museum verwierf enkel actuele kunst die werd tentoongesteld op de Driejaarlijkse tentoonstellingen van Antwerpen en geselecteerd door een speciaal daartoe opgerichtte commissie.

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The reason for the non-acquisition of pieces during the uprising and growth of Pure Plasticism was probably twofold. The museum only acquired modern art that was exhibited at the Triennial exhibitions of Antwerp and selected by a specially organised committee for this purpose. From this principle, the museum did not deviate from post-World War Two. As such, Pure Plasticism did not gain access to the official institutions. As a consequence, the exhibition, in the context of the Second Congress for Modern Art in Antwerp, and organised by the eponymous Antwerp Circle, through the collective protest of the professors of the Academy of Antwerp, does not take place in the main hall of the museum. When the writer, exhibitions’ creator and journalist Jozef Muls (1882 - 1961), who was Chairman in 1920 of the First Congress for Modern Art, becomes appointed Adjunct-Conservator of the museum in 1926, Pure Plasticism has already passed its zenith. As the editor of the publication Vlaamsche Arbeid, Muls primarily admits the texts of lectures on modern literature.