Frits Van den Berghe stands as a significant figure in Belgian art history, a painter whose career navigated the turbulent currents of early 20th-century modernism. Born in Ghent, Belgium, in 1883, he became a pivotal force within Flemish Expressionism before forging a unique path into Surrealism. His work is characterized by a potent blend of fantasy, symbolism, and a profound exploration of human vulnerability and struggle. Van den Berghe passed away in 1939 at the age of 56, leaving behind a legacy that continues to be studied and admired, particularly within Belgium and Europe.
Early Life and Artistic Beginnings
Frits Van den Berghe's artistic journey commenced in his birthplace of Ghent. Initially, his work aligned with the Impressionist style prevalent at the turn of the century. However, the burgeoning artistic shifts across Europe soon influenced his direction. He moved away from the lighter touches of Impressionism, drawn towards the more emotionally charged and subjectively intense approach of Expressionism. This transition marked the beginning of his development into one of the key representatives of the Flemish Expressionist movement.
The Latem School and Flemish Expressionism
Van den Berghe became closely associated with the second group of artists based in the village of Sint-Martens-Latem (Laethem-Saint-Martin), a rural artists' colony near Ghent that became a crucible for Flemish modernism. Here, he formed crucial relationships with fellow artists, most notably Gustave De Smet and Constant Permeke. These three figures became central pillars of Flemish Expressionism, living and working in close proximity, sharing artistic ideas, and exhibiting together. Their time in the Latem region is considered a vital period in their respective artistic developments.
The collaboration extended beyond shared geography. Van den Berghe, De Smet, and Permeke actively shaped the direction of Belgian modern art. They were involved in drafting manifestos, including one opposing the 'Creolist' tendencies they perceived elsewhere, thereby solidifying the identity of their Expressionist approach. Their collective energy helped define a distinctly Flemish take on Expressionism, often characterized by robust forms, earthy palettes, and themes rooted in local life and landscape, albeit filtered through a lens of intense emotion and subjective experience.
The First World War significantly impacted the group. While Van den Berghe remained in Belgium or nearby, his close friends Constant Permeke and Gustave De Smet sought refuge in the Netherlands. Despite the separation, they maintained contact. This period of turmoil and exile is believed to have deepened their bonds and potentially influenced their later work, perhaps sharpening their focus on themes of struggle, displacement, and the human condition in the face of societal upheaval.
Collaboration and Promotion
The post-war years saw a concerted effort to promote Belgian modern art, and Van den Berghe was actively involved. He collaborated closely with the influential critic, poet, and gallery owner Paul-Gustave Van Hecke. Together with artists like De Smet and Permeke, they utilized platforms such as Van Hecke's Brussels gallery 'Le Centaure' and various salons and publications to bring Flemish Expressionism to a wider audience, both nationally and internationally. Van den Berghe's participation in exhibitions at 'Le Centaure' in 1923, for instance, was part of this broader push to establish the movement.
Van den Berghe was also known for his engagement within the art community. He participated in social and artistic gatherings, such as exhibitions held at the Villa Malpertuis in Afsnee, a location he shared with Constant Permeke for a time, which became a meeting point for the artistic elite. These interactions fostered a dynamic environment of exchange and mutual influence among the leading artists of the day.
Transition to Surrealism
While deeply rooted in Expressionism, Van den Berghe's artistic vision continued to evolve throughout the 1920s. He developed a growing interest in natural science, psychology (particularly psychoanalysis), mythology, and literature. These intellectual pursuits began to permeate his art, leading him away from purely Expressionist concerns towards a more fantastical and dreamlike realm. This marked his transition into a unique form of Surrealism, distinct yet clearly informed by his Expressionist foundations.
His works from the mid-1920s onwards increasingly featured bizarre juxtapositions, strange hybrid figures, anthropomorphized plants and animals, and distorted human forms. These elements reflected his exploration of the subconscious, the irrational, and the absurdity he perceived in the world. His Surrealism wasn't merely an adoption of the Parisian trend but a personal synthesis, blending Flemish Expressionist gravity with a new, often unsettling, imaginative freedom.
Experimental Techniques
Van den Berghe was not only innovative in theme but also in technique. He experimented with materials and methods to achieve unique textural and visual effects. Notably, he incorporated natural elements directly into his work, using materials like leaves and wood fragments, often combined with ink or paint, to create complex surfaces and patterns. This experimental approach is evident in works exploring themes of nature and creation, adding a tangible, almost primal quality to his fantastical visions. These techniques enhanced the dreamlike or nightmarish atmosphere of his compositions.
Key Themes and Motifs
Throughout his mature period, Van den Berghe's work consistently grappled with profound themes. The isolation and struggle of the individual within the natural world and society are recurrent motifs. He explored human vulnerability, dependency, and the often-tragic aspects of existence. His canvases are populated by figures caught in states of metamorphosis, anxiety, or bewildered contemplation, reflecting a deep engagement with the psychological turmoil of modern life.
Nature itself is a powerful, often ambiguous force in his art. It can be a source of wonder and creation but also appears menacing or grotesque, mirroring the internal landscapes of his subjects. The fusion of human, animal, and vegetal forms underscores a sense of primal connection and chaotic transformation, blurring the lines between reality, dream, and nightmare. The absurd and the fantastical serve not as escapism, but as potent metaphors for the human condition.
Representative Works
Several key works exemplify Frits Van den Berghe's artistic evolution and thematic concerns:
Vissers aan de Leie (Fishermen on the Leie) (1923): Likely representing his Expressionist phase, this work, created during his active period with the Latem group, would focus on local themes rendered with emotional intensity.
Dimanche (Sunday) (1924): Part of his "Marbrés" (Marbled) series, this piece showcases his move towards Surrealism. It reflects an observation of the absurdities of life, rendered in his developing fantastical style.
Man in the Clouds (De man in de wolken) (1927): Considered a crucial transitional work, this painting masterfully balances Expressionist weight with emerging Surrealist fantasy. It symbolically portrays human existence within an illusory or dreamlike world, highlighting themes of isolation and introspection.
Evolution-Création (Evolution-Creation) (1927): This work is notable for its experimental technique, employing leaves and ink. It directly addresses themes of natural processes and creation, viewed through Van den Berghe's increasingly Surrealist lens, exploring the links between the natural and the fantastical. This work was published in Brussels, indicating its significance.
Continuité (Continuity) (1929): A later work (50.5 x 53 cm), Continuité demonstrates the increasing complexity of his abstraction and his sophisticated use of color, pushing further into his personal surreal vision.
Les Compagnons (The Companions) (1932): This significant painting features nude figures, often interpreted as representing humanity struggling amidst chaos and disorientation. Its style has been compared to frescoes, suggesting a monumental, timeless quality despite the turmoil depicted. It was exhibited internationally in cities like Gothenburg, Stockholm, and Brussels.
De l’ange cruel (The Cruel Angel) (1932): Measuring 75 x 66 cm, this painting is characteristic of his mature Surrealist style. It features strange human figures and animal transformations, rendered with rich color and powerful imagery, embodying the unsettling beauty of his imagination. This work was featured in major retrospectives, including at the PMMK in Ostend in 1999.
Paper Ink Experiments (1919): An early publication from Brussels, this likely documented his initial forays into experimental techniques with ink and paper, foreshadowing the innovative methods used in later works like Evolution-Création.
Sun Painter (1921): The inclusion of this work in exhibitions focused on Flemish Expressionism underscores its importance within that movement, likely showcasing the vibrant energy and bold style characteristic of his earlier Expressionist output.
Exhibitions and Recognition
Frits Van den Berghe's work was recognized through numerous exhibitions during his lifetime and posthumously. Key showings included:
Galerie Le Centaure, Brussels (1923)
Bonnefonden Museum, Maastricht (1954)
Latem Artkring exhibition, Laethem-Saint-Martin (1976)
PMMK (Provincial Museum of Modern Art, now Mu.ZEE), Ostend (Retrospectives, including 1996 and 1999)
His paintings were also included in significant group shows dedicated to Flemish Expressionism and Belgian modern art. The international exhibition of works like Les Compagnons further cemented his reputation beyond Belgium's borders. His contributions were also documented in publications like the 1931 book Sélection. Chronique de la vie artistique, dedicated to his career.
Contemporaries and Wider Context
Van den Berghe's career unfolded amidst a vibrant European art scene. His most immediate artistic circle included his close collaborators in Flemish Expressionism:
Gustave De Smet (1877-1943): Fellow Latem School painter, known for his stylized depictions of rural life.
Constant Permeke (1886-1952): A leading figure of Flemish Expressionism, renowned for his powerful, monumental portrayals of fishermen and farmers.
Beyond his immediate circle, Van den Berghe's work resonates with broader Expressionist and Surrealist currents. The provided texts mention connections or comparisons to:
Edvard Munch (1863-1944): The Norwegian pioneer of Expressionism, whose work explored psychological angst and existential themes.
Egon Schiele (1890-1918): The Austrian Expressionist known for his intense self-portraits and raw depictions of the human body.
While operating within a Belgian context, Van den Berghe's engagement with Expressionism and Surrealism places him within the larger narrative of European modern art, alongside these influential figures.
Later Life and Legacy
Frits Van den Berghe continued to paint until his death in Ghent in 1939. His later works maintained their complex blend of abstraction, figuration, and rich color, solidifying his unique artistic language. He left behind a significant body of work that bridges the gap between the earthy power of Flemish Expressionism and the introspective, fantastical explorations of Surrealism.
His influence extended to subsequent generations of artists. The text mentions Jozef Mees as an artist who inherited the vitality of Van den Berghe's Expressionism, channeling it into abstract forms. Van den Berghe's willingness to experiment with technique and delve into psychological and mythological themes provided a rich source of inspiration. Today, his works are held in major Belgian museums and private collections and continue to be subjects of art historical study, valued for their unique vision and technical innovation.
Conclusion
Frits Van den Berghe remains a crucial figure in understanding the development of modern art in Belgium. From his foundational role in Flemish Expressionism alongside De Smet and Permeke to his highly personal and imaginative foray into Surrealism, his career was one of constant evolution and deep artistic inquiry. His exploration of the human condition, his technical experimentation, and his creation of a unique visual world filled with strange beauty and profound unease secure his place as a distinctive and enduring voice in 20th-century European art. His legacy lies in his powerful imagery and his successful synthesis of major artistic currents into a deeply personal and resonant style.
