Seeing the light

Ghent celebrates the master of Belgian Impressionism

When we think of Impressionism, our minds naturally wander to Monet, Renoir and Pissarro... the frontrunners of this suggestive and often delicate art movement. But, although it originated in France, we don’t have to cross the border to witness one prime example: Belgium’s own Emile Claus was a master Impressionist in his own right.

Born in 1849 West Flanders, Claus started out painting portraits and realistic genre pieces, but, after encountering the work of Claude Monet on a trip to Paris, his style changed from naturalistic realism to his own interpretation of Impressionism. His new approach wasn’t just a turning point in his own career but also in history: he became the leader of Luminism, a style in which natural light is emphasised by using breaks and shadows that create an authentic and vibrant atmosphere.

The Fine Arts Museum in Ghent is housing the spectacular exhibition Emile Claus and Rural Life that mainly focuses on Claus’ interpretations of his own countryside. You’ll find not just the painter’s best work, ranging from sketches to oil paintings, but also an exceptionally clear overview highlighting the central themes of his oeuvre, plus an accompanying collection of other Belgian artists of his day, including expressionist sculpture and painter Constant Permeke, painter Valerius De Saedeleer and painter and architect Henry van de Velde. Experiencing them all side-by-side sheds light on the artistic and social influences on Belgium during the late 19th century.

Claus occasionally made portraits of family and friends, works that are clear representatives of his early and more classic style. But his enduring fame rests on the landscapes.

The paintings from Astene, on the banks of the river Lys, where Claus moved in 1882, establish nature as a primary element in his work. Represented with soft watercolours, nature itself is almost romantic. Cities didn’t really catch his fancy with the remarkable exception of a series of views of the Thames that he painted in London as a refugee during the First World War. Here especially, Monet’s influence is visible.

Rural society is also predominant, and his fascination with the ordinary man is illustrated in countless representations of farm labourers and villagers. Hard labour wasn’t the focus of Claus’ paintings, but rather the farmers’ harmonious presence in nature. He often contrasts this lower social class with the gentry by isolating certain figures and depicting their hardships or pleasantries in great detail.

Later, he evolved to more general pieces where man becomes subordinate to the overall lustre of the landscape, which was enhanced by stunning light effects. These effects become the soul of his work and make paintings like “Cows wading the River Lys” literally come to life. Fragile light breaks and a unique use of shadow make the waves almost tangible.

Another highlight is his most famous painting, “The Skaters”, in which he refers to the old Flemish and Dutch tradition of winter landscapes. This particular landscape may be bare, but look closer and you’ll find a symphony of light and colour that perfectly captures the authenticity of a cold winter day.

The exhibition ends with Claus’ pure landscapes, a mixture of Impressionism and the then revolutionary Pointillism. Although his technique was evolving, his passion for atmosphere still prevailed – a passion that, combined with Luminism, became the essence of Emile Claus.

Flanders Today May 13 2009