Meeting at the beach - a photo on Flickriver

            BLACK is an important color in the Kunstmuseum this autumn. In an expanding series of exhibitions on Belgian art, attention is focused on work that can hardly tolerate daylight. The amount of lux to which the drawings and watercolors of Léon Spilliaert may be exposed is limited, but fortunately, our retina also has receptors to see in low light. Those who sleep badly and often rummage through a dark house are familiar with it. In that case, color is of little importance, but the spectrum between black and white shows a velvety range of shades and gradations. Moonlit nights, the flickering candle, the distant fire: a point of light in the darkness appeals to the imagination.

THE KUNSTMUSEUM combines Spilliaert's nocturnal dream images with the photographic work of Dirk Braeckman, which also cannot tolerate full daylight. Museums routinely adjust their lighting accordingly. Even with weaker, well-dosed spotlights, the human eye sees more than enough. Planning the exhibition, curator Thijs de Raedt foresaw painting the walls dark grey. That sounds strange – even less light? – but a darkly tinted work of art can lose its fine details on snow-white walls. How do you coordinate image and context? Specialized experts know everything about lux and retina. Especially with old art, white walls are not self-evident. The Rijksmuseum and the Mauritshuis regularly paint their walls in matching shades if the art stands out better.

SYMBOLISM
With Léon Spilliaert (1881-1946), we go back more than a century in time. When he was born, artificial light was still a form of luxury. Workers had to make do with an oil lamp and went to bed with the chickens. This does not apply to Spilliaert. He is the son of a successful perfumer who also left his mark on local politics. This businessman has no time for godless socialism, but he is progressive enough to advocate for ‘Catholic’ unions.

THE YOUNG LÉON sees the light of day in Ostend, where art is searching for a new form in changing groups, and the self-righteous James Ensor (1860-1949) plays a leading role. Spilliaert does not fit into this noisy art world. From an early age, he is rather unworldly. Agonizing pains in the intestines keep him awake. Long walks in deserted places are the only remedy. He likes to draw but barely lasts three months at the art academy and gradually develops as an autodidact. He shuns public discourse. He prefers to work in silence. The art direction he feels related to is symbolism, which always hints at secrets and revelations.

TO BE CONTINUED
(Part of my pre-publication in Den Haag Centraal)

Taken in: Holland / South Holland / Scheveningen / Zorgvliet (show map)

Taken on: October 20, 2024

Tags:

Dike and beach

(1907)

washed Indian ink

night scene

exhibition

Kunstmuseum

The Hague

Netherlands

Nikon D7200

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Sets appears in: • Facing art

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Camera: Nikon D7200, f/3.5, 1/30 sec, 18mm (=27mm), ISO 2200 (more info) (hide info)

Camera:	Nikon D7200
Lens:	18-140mm f/3.5-5.6
Aperture:	f/3.5
Exposure Time:	0.033 sec (1/30)
Focal Length:	18mm (35mm equivalent: 27mm)
ISO:	2200
Exposure Bias:	0 EV
Flash:	Off, Did not fire
Exposure Program:	Program AE
Exposure Mode:	Auto
Metering Mode:	Multi-segment
White Balance:	Auto
Gain Control:	High gain up
Color Space:	sRGB
Software:	DxO PhotoLab 7.3.0
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