Valerius de Saleler [4] [5] ( August 4, 1867 - September 16, 1941 ) is a Belgian landscape painter whose works were popular with the Symbolists, who painted in the traditions of 16th-century Flemish painting. He was one of the main figures in the so-called first Latin school , which in the first decade of the 20th century contributed to the development of modernist trends in Belgian painting and sculpture. [6]
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Content
Biography
Start
Valerius de Saleler was born in Alst, Belgium . His father, a small businessman in a soda and soap factory. As a result of conflicts with parents and problems at school, he dropped out of school at the age of fifteen and was forced to study a profession. He was identified as a student in the weaving workshop in Ghent and sent to study at an industrial school in Ghent . He then entered the Academy of Fine Arts in Ghent, where he met Theo Van Risselbirge and George Minnie . [5] [7]
Wanderings
Being dissatisfied with academic teaching at the Ghent Academy, he moved to Brussels , where he studied for four years with the artist, impressionist landscape painter Franz Kurten. Then he began to work as an independent artist. In his early work, the artist painted in the style of his teacher Kurten and was also influenced by Emil Klaus .
On November 14, 1889, the young artist married in Alst to Clementine Limpès (1867–1930), the daughter of a grocer from Yerembodegem, near the town of Alst. [5] They had five daughters, of whom the second, Elizabeth de Saleler (1902–1972), became an artist [8] . Sadeler’s father-in-law gave his daughter a large sum as a dowry. Young spouses spent this money on creating a grocery in Blankenberg . Soon the store went bankrupt, which quickly led the couple to a destitute existence.
The couple lived for a short time in Blankenberg, Wendwain, Damme and Ghent. [5] In 1892, the couple lived in Afsnee, near Ghent , where the artist met Albina Van den Abele. [7] It was the city clerk of Sint Maarten Latema and an amateur artist. He helped the spouses to rent cheap housing for artists in Sint Maarten Lath, and thereby supported one of the most important artistic trends in Belgium at the beginning of the 20th century. [6] From April to October 1893, the couple lived in Sint Martens Lath. Here the artist met with his friend George Minne and met with the budding poet Karel Van de Uustiyn . From 1895 to 1898, Sadeler and his wife lived in Lisseweg, where hens were raised. [five]
Maturity
In 1898, Sadeler moved back to Sint Martens Latham. There he gathered a team of artists with Gustav Van de Uustiyn (brother of Karel Van de Uustiina) - George and Minnie. [7] This group of artists was later named the first Latin school. The First Lettish School consisted mainly of artists who moved to the countryside in search of close contact with nature in order to live in a world not spoiled by modern civilization. There they hoped to find values such as integrity, spontaneity and simplicity. In their quest for purity in art, they studied the art of old masters. Artists were influenced by symbolism, sought to combine reality with eternal values. They were also inspired by the Christian attitude, bordering on the mystical. [6] Artists moved away from the then popular Luminism style of Emil Klaus and his followers and turned to the art of medieval Flemish painting. [8] In 1905, part of other artists moved to Sint Martens Lath. These artists, the most notable of which were Constant Permeke , Albert Servas and Gustav de Smet, were called the second Latin school. They started as impressionists , but then moved on to expressionists - in response to experiences during the years of the First World War. [6]
Despite the success of the first exhibition in 1901 in Alst, de Sadeler struggled to live solely on the income from his art. In 1903, he exhibited landscapes in the salon of Paris, where he was impressed by the work of Emile-Rene Minard. In the same year he converted to Christianity . In the years 1904-1905, Sadeler found his own style in painting. He painted inanimate nature as part of a landscape that was almost always limited to a low horizon. The surface of his canvases was smooth, he also used a soft harmony of colors. In his landscapes of this time there are sublime, almost unrealistic sensations of space. Often he painted winter landscapes. [eight]
Sadeler's works were exhibited in 1904 at exhibitions in Berlin , Munich and Vienna , at several exhibitions in Belgium. Collectors began to buy his work. By 1907, he became one of Latem's most successful painters. He was well received in German-speaking countries, where the influence of Eugene Larmans on his work was not noted. [7] In 1907, he made an exhibition in Ghent along with Gustav Maurits van de Uustiin. [eight]
Years later
In 1908, Sadaler moved to Teigem. Life in this more hilly area of Flanders was reflected in its landscapes. Basically it was a flat view of Leieu with landscapes of hilly landscapes. He continued to be a successful artist and in 1909, the Ghent Museum of Fine Arts and Alst acquired several of his works. [7] In 1911, the Belgian royal family bought his work Smidse de Winter (The Forge in Winter) and the Snowy Landscape. [7] In 1912 and 1914 he exhibited at exhibitions and was one of the founders of La Jeune Peinture Belge in 1924. [8] In 1913, his old friend from Latham, Gustav Van de Uustiin, came to him in Tiegem. [eight]
Since 1914, Saleler and his family lived in Wales as refugees of the First World War . Together with his family and the family of his friend George Minnie, he lived for several years in Smistvis. Gustav Van de Uustiin, Gerg Ming and their families lived in Wales during the war. The families of de Saleler and other Belgian artists also moved to Wales.
De Sadeler remained in Wales until 1920, then moved to Yetikh. In 1933, he became an honorary citizen of the city of Alst. In 1937 he moved to Leupegem . [7] De Sadeler’s works are gradually becoming more decorative with bizarre calligraphy. His compositions often included a number of trees in the foreground, in the Japanese style - an effect with which he had already experimented before the war. He was also an experienced colorist. [eight]
Impact
De Saleler’s work has influenced next-generation Belgian landscape painters such as Albert Claire and Albert Saveris. [eight]
In recent years, there have been retrospective exhibitions of the artist’s works in Alst in 1967, in Oudenaard in 1998, again in Alst in 2000, [8] and in Danes in 2006.
Notes
- ↑ 1 2 BNF identifier : Open Data Platform 2011.
- ↑ Valerius De Saedeleer
- ↑ https://rkd.nl/explore/artists/20976
- ↑ Sources varyingly use "de" or "De".
- ↑ 1 2 3 4 5 Valerius de Saedeleer Archived October 3, 2015 at Wayback Machine at Aalst city website (Dutch)
- ↑ 1 2 3 4 Willem Elias, 'De' school 'van Latem' , 21 November 2008 (Dutch)
- ↑ 1 2 3 4 5 6 7 Boyens, Piet. Valerius De Saedeleer // Sint-Martens-Latem : [] . - Lannoo, 1998 .-- ISBN 9789020934977 .
- ↑ 1 2 3 4 5 6 7 8 9 De Smet, Johan. Valerius De Saedeleer // Sint-Martens-Latem en de Kunst aan de Leie : [] . - Lannoo, 2000 .-- ISBN 9789020941531 .
Literature
- FC. Legrand, Het Symbolisme in België, Brussel 1971, p. 103 (Dutch)
- P. Boyens, 'Het symbolisme en de schilderkunst in België', Vlaanderen 53 (2004), p. 21 (Dutch)
- M. Draguet, Het Symbolisme in België, Brussel 2004, p. 305 (Dutch)
Links
Media files related to Valerius de Saedeleer on Wikimedia Commons