Charles Verlat stands as a significant figure in 19th-century Belgian art, a painter whose dedication to realism, mastery in animal depiction, and influential role as an educator left an indelible mark on the Antwerp art scene and beyond. Born in Antwerp in 1824 into a family with industrial pursuits, Verlat's artistic inclinations were recognized and nurtured from a young age, setting him on a path that would see him become a respected, if sometimes controversial, bastion of academic tradition in an era of burgeoning modernism.
Early Life and Artistic Awakening
Michel Marie Charles Verlat, known as Charles, was born on November 25, 1824, in Antwerp. His father was an entrepreneur, managing a business involved in oils, soaps, and paper manufacturing. This practical, industrial background might seem at odds with a future in the fine arts, but young Charles displayed a precocious talent for drawing. His mother was his first guide, providing him with foundational instruction in the rudiments of art.
Recognizing the need for formal training to cultivate his burgeoning skills, Verlat was enrolled at the prestigious Royal Academy of Fine Arts in Antwerp. Here, he came under the tutelage of Nicaise De Keyser, a leading figure in Belgian Romanticism and historical painting. De Keyser's studio was a crucible for many aspiring artists, and under his guidance, Verlat honed his technical abilities, particularly in draughtsmanship and composition. De Keyser's influence likely instilled in Verlat a respect for historical subjects and a meticulous approach to painting, traits that would characterize much of Verlat's later work. He also studied for a time with Ary Scheffer, a Dutch-French Romantic painter, further broadening his early artistic influences.
The Rise of a Realist Painter
Verlat's artistic journey led him to Paris, the epicenter of the art world in the mid-19th century. This period was crucial for his development. In Paris, he encountered the burgeoning Realist movement, most powerfully championed by Gustave Courbet. Courbet's unvarnished depictions of everyday life and his rejection of idealized academic subjects were revolutionary. Verlat, while perhaps not as radical as Courbet, absorbed the tenets of Realism, particularly its emphasis on direct observation and truthful representation.
His style evolved to embrace a robust realism, characterized by precise detail, a keen understanding of anatomy (especially in his animal paintings), and a nuanced handling of light and shadow. While he engaged with various genres, including historical scenes and still lifes, it was in the realm of animal painting that Verlat truly excelled and gained widespread recognition. His ability to capture not just the physical likeness of animals but also their character and vitality set him apart. He was also drawn to the earthy tones and dramatic lighting found in Spanish painting, influences that further enriched his realistic approach.
Masterpieces and Thematic Concerns
Charles Verlat's oeuvre is diverse, yet certain themes and works stand out, defining his contribution to Belgian art. His animal paintings, in particular, garnered significant acclaim.
Animal Paintings: A Defining Genre
Verlat possessed an extraordinary ability to depict animals with both anatomical accuracy and a sense of their inner life. He was a frequent visitor to zoos, where he would meticulously sketch and study various creatures. This dedication to direct observation is evident in the power and authenticity of his animal subjects. Works like Buffalo and Lion Fighting (1878) showcase his skill in portraying dramatic, almost primal, encounters in the animal kingdom, capturing the raw energy and tension of such moments.
His painting Cart and Horses (1857) became a significant acquisition for the Royal Museum of Fine Arts Antwerp, testament to its quality and importance. This work likely demonstrated his mastery in rendering the musculature and patient strength of working animals, a common sight in the 19th century. He also created works that used animals for allegorical or satirical purposes, such as contrasting lazy pigs with diligent donkeys, or depicting monkeys with human-like characteristics, subtly commenting on human nature. His painting Chimpanzee (1873) is another example of his focused study of individual animals.
Historical and Religious Subjects
While renowned for his animal art, Verlat also tackled historical and religious themes, often on a grand scale. His training under Nicaise De Keyser had prepared him well for the demands of historical painting, which required strong compositional skills and an ability to convey narrative. One of his notable religious works is Madonna and Child with the Evangelist (1873).
A significant undertaking in his later career was a series of large canvases depicting scenes from the life of Christ, intended for the Antwerp Cathedral. For this project, Verlat traveled to Palestine in 1875-1876. This journey was part of a broader 19th-century trend among artists seeking authentic settings and local color for their biblical and Orientalist scenes, a practice also seen in the works of artists like Jean-Léon Gérôme or David Roberts. Verlat aimed to ground his religious narratives in a tangible reality, collecting numerous sketches of people and landscapes. His painting Vox Dei (The Voice of God), also known as The Tomb of Christ (1877), emerged from this period and reflects his attempt to infuse religious subjects with a heightened sense of realism derived from his travels.
He also participated in the popular 19th-century phenomenon of panorama painting. Alongside his student Henri Houben, Verlat worked on a massive Battle of Waterloo panorama, a project that would have demanded immense skill in perspective and large-scale composition. He also created a panorama depicting the Battle of Rezonville. These grand public spectacles were a significant form of popular entertainment and artistic expression before the advent of cinema.
Verlat the Educator: A Conservative Force at the Academy
In 1877, Charles Verlat was appointed a professor at the Royal Academy of Fine Arts in Antwerp, and in 1885, he became its director, succeeding his former mentor Nicaise De Keyser. This position solidified his status as a leading figure in the Belgian art establishment. As an educator, Verlat was known for his emphasis on traditional painting techniques, rigorous draughtsmanship, and the academic curriculum.
His teaching philosophy was fundamentally conservative. He held a deep respect for the masters of the past and believed in the importance of a solid technical foundation. However, this also meant he was often resistant to the artistic innovations that were beginning to sweep across Europe. He was notably critical of Impressionism and other emerging avant-garde movements, viewing them as a departure from sound artistic principles. His studio at the Academy became a bastion of traditionalism, where students were expected to master the fundamentals before exploring more personal styles.
Despite his conservative stance, Verlat's influence as a teacher was profound. He mentored a generation of artists, many of whom went on to achieve significant recognition. His students included:
Léon Brunin (or Bruneau): Verlat was a strong supporter of Brunin, who developed a distinctive style and became an important figure in his own right.
Walter Osborne: The Irish painter studied under Verlat in Antwerp. Osborne absorbed the "Antwerp School" style, characterized by its careful observation and tonal subtleties, which he later integrated into his own unique approach to plein-air painting and depictions of Irish life.
Henri Houben: As mentioned, Houben collaborated with Verlat on the Battle of Waterloo panorama and became a respected painter.
Edward Potthast: The American Impressionist painter spent time studying in Antwerp, where he would have encountered Verlat's teaching or influence.
Henry van de Velde: Before becoming a pioneering figure in Art Nouveau architecture and design, van de Velde briefly studied painting under Verlat. Though van de Velde would later embrace modernism, his early academic training provided a foundation.
Evert Pieters: A Dutch painter known for his genre scenes and interiors.
Frans Hens: A Belgian painter known for his Congo landscapes.
The Van Gogh Connection: A Brief Encounter
One of the most intriguing, albeit brief, interactions in Verlat's teaching career involved Vincent van Gogh. In late 1885, Van Gogh enrolled at the Antwerp Academy, hoping to refine his skills, particularly in figure drawing. He attended drawing classes from plaster casts and also, for a short period, a painting class that was likely overseen or influenced by Verlat, who was by then a dominant figure at the Academy.
The encounter was not a harmonious one. Van Gogh, with his burgeoning expressive style and impatience with rigid academic exercises, clashed with the traditional methods espoused by the Academy's instructors, including Verlat. Van Gogh found the emphasis on drawing from antique casts stifling and preferred working from live models, often with a raw, emotional intensity that was at odds with the polished finish favored by the academic tradition. There are accounts of Verlat (or other instructors reflecting his views) criticizing Van Gogh's unconventional approach and his use of color. Van Gogh, in turn, was critical of the Academy's conservative atmosphere. He left Antwerp after only a few months, in early 1886, heading to Paris to join his brother Theo.
While Verlat and Van Gogh represented almost opposing artistic philosophies, this brief intersection highlights the tensions between established academic art and the emerging forces of modernism in the late 19th century. Verlat's adherence to tradition, while providing a strong foundation for many, was seen as restrictive by a fiercely individualistic artist like Van Gogh.
Artistic Philosophy and Critical Reception
Charles Verlat's artistic philosophy was rooted in the academic tradition, emphasizing skill, craftsmanship, and the faithful representation of nature and historical subjects. He believed in the hierarchy of genres, with historical and religious painting often considered the highest forms, though his own popular success was significantly driven by his animal paintings.
His commitment to realism was unwavering, but it was a realism filtered through academic training rather than the more radical, socially-conscious realism of Courbet or Jean-François Millet. While his travels to Palestine were intended to bring greater authenticity to his religious works, some critics noted that his handling of landscape elements in these paintings could sometimes appear "crude" or less refined compared to his figure and animal depictions. This suggests his primary strengths lay in capturing the animate, whether human or animal, rather than in the subtleties of landscape painting in the vein of the Barbizon School painters or the Impressionists like Claude Monet or Camille Pissarro.
His opposition to artistic innovation, particularly Impressionism, positioned him as a conservative figure. In an era that saw artists like Edgar Degas, Berthe Morisot, and Auguste Renoir revolutionizing painting with their focus on light, color, and fleeting moments, Verlat remained a staunch defender of established methods. This conservatism, while ensuring the continuation of traditional skills, also meant that the Antwerp Academy under his directorship was not at the forefront of avant-garde developments.
Nevertheless, his technical prowess, particularly in animal painting, was widely acknowledged. Artists like Edwin Landseer in Britain had achieved great fame as animal painters, and Verlat occupied a similar esteemed position in Belgium. His works were exhibited, collected, and he received honors for his contributions, such as an award at the Brussels Salon in 1880 for one of his panoramas.
Later Years, Death, and Lasting Legacy
Charles Verlat remained an active and influential figure in the Antwerp art world until his death. He continued to teach and paint, upholding the academic traditions he cherished. His dedication to his craft and his role as an educator shaped the artistic landscape of Antwerp for decades.
He passed away in Antwerp on October 23, 1890, at the age of 65. His standing in the city was such that his funeral was organized and funded by the Antwerp city government, a significant honor reflecting the esteem in which he was held. In a lasting tribute, a street in Antwerp was named Charles Verlatstraat in his memory, ensuring his name would remain part of the city's fabric.
Charles Verlat's legacy is multifaceted. He was a master of animal painting, bringing a level of realism and vitality to the genre that few could match. His historical and religious works, while perhaps more conventional, demonstrated his skill in composition and narrative. As an educator, he instilled a rigorous technical foundation in countless students, even if his conservative views sometimes clashed with the changing artistic tides.
While the art world would eventually move decisively towards modernism, the contributions of academic painters like Verlat remain important. They maintained and transmitted artistic skills, provided a standard against which new movements reacted, and created works that captured the tastes and values of their time. Verlat's influence can be seen in the work of his students, who, even if they later diverged from his style, benefited from the discipline and knowledge he imparted. His paintings continue to be appreciated in collections, particularly at the Royal Museum of Fine Arts Antwerp, offering a window into the rich artistic traditions of 19th-century Belgium. He remains a key figure for understanding the complexities of an art world in transition, a bridge between the established order and the stirrings of a new age.
