Henry Cleenewerck (1818-1901) stands as a fascinating, if somewhat under-documented, figure in the annals of 19th-century art. A Belgian by birth, his artistic journey led him across the Atlantic, first to the American South and then to the vibrant landscapes of Cuba. His work, primarily focused on landscape painting, reflects the confluence of European artistic traditions and the burgeoning visual culture of the New World. While not as widely celebrated as some of his contemporaries, Cleenewerck's oeuvre offers valuable insights into the artistic exchanges and evolving aesthetics of his time, particularly in his depictions of tropical environments.
Early Life and Artistic Formation in Belgium
Born in Watou, a municipality in West Flanders, Belgium, in 1818, Henry Cleenewerck's early artistic inclinations were nurtured in his homeland. He pursued formal art education at the academies in Poperinge and subsequently in Leper (now Ypres). These institutions, like many European art academies of the period, would have provided a solid grounding in drawing, perspective, and the classical traditions of painting. The artistic environment in Belgium during the mid-19th century was rich and varied. While Romanticism still held sway, with artists like Gustave Wappers and Nicaise de Keyser producing grand historical and allegorical works, a growing interest in Realism and landscape painting was also emerging, influenced partly by the French Barbizon School.
Painters such as Théodore Fourmois were already establishing a Belgian tradition of landscape art, focusing on the local scenery with a sensitivity to light and atmosphere. It is within this context that Cleenewerck would have developed his foundational skills. The emphasis on direct observation of nature, a hallmark of landscape painting, would have been part of his training, even if tempered by academic conventions. His early works, though not extensively documented, likely reflected these prevailing European styles, possibly leaning towards a detailed, naturalistic portrayal of his surroundings.
The American Sojourn: Savannah and the South
Around the year 1860, a pivotal moment in American history as the nation teetered on the brink of Civil War, Henry Cleenewerck made the significant decision to emigrate to the United States. He settled in Savannah, Georgia, a city known for its picturesque squares and Southern charm. This move marked a new chapter in his artistic career, exposing him to a different cultural milieu and, crucially, a new range of landscapes. The American South, with its distinctive flora, humid atmosphere, and unique light, offered fresh subjects for a landscape painter.
During this period, American landscape painting was flourishing, largely dominated by the Hudson River School. Artists like Asher B. Durand, Frederic Edwin Church, and Albert Bierstadt were celebrated for their majestic and often romanticized depictions of the American wilderness. While Cleenewerck's direct interaction with these figures is not clearly recorded, he would undoubtedly have been aware of this dominant artistic movement. His own work in the South likely absorbed some of these influences, blending his European training with an appreciation for the specific character of the American landscape.
An intriguing aspect of Cleenewerck's time in the American South, as noted in some accounts, was his involvement in the design of independent flags. As Southern states began to secede from the Union in 1860 and 1861, there was a surge in the creation of new state and regimental flags. If Cleenewerck contributed to this area, it would represent a unique intersection of his artistic skills with the potent political currents of the era, though detailed records of these specific designs are scarce. His primary focus, however, remained on painting.
The Cuban Period: Capturing the Tropical Exuberance
Approximately five years after his arrival in America, around 1865, Henry Cleenewerck relocated once again, this time to Havana, Cuba. This move proved to be exceptionally fruitful for his artistic output. Cuba, with its lush tropical vegetation, dramatic coastal scenery, and vibrant cultural life, provided an entirely new palette and set of motifs for the artist. It was here that Cleenewerck produced many of his most characteristic and recognized works.
His Cuban landscapes are noted for their detailed observation and their attempt to capture the unique quality of tropical light and atmosphere. He painted the island's distinctive ceiba trees, royal palms, sugar plantations, and coastal views. One of his notable works from this period is "La Ceiba," which exemplifies his ability to render the specific textures and forms of the Cuban environment with a sense of tranquility and harmony. These paintings often convey a serene, almost idyllic vision of the island, reflecting a common 19th-century European and American fascination with "exotic" locales.
In Cuba, Cleenewerck was part of a developing local art scene. While European academic traditions were influential, Cuban artists were also beginning to forge their own distinct visual language. Painters like the Cuban Esteban Chartrand (1840-1884), a near contemporary, were also known for their romantic and detailed depictions of the Cuban countryside. Spanish artists like Valentín Sanz Carta also contributed to the landscape tradition in Cuba during this period. Cleenewerck's work can be seen as part of this broader effort to define and represent the Cuban landscape, contributing a European-trained perspective to this evolving artistic identity. His paintings from this era are considered significant contributions to 19th-century Cuban landscape art.
Artistic Style, Influences, and Contemporaries
Henry Cleenewerck's artistic style is primarily characterized by a detailed naturalism, typical of much 19th-century landscape painting. He demonstrated a keen eye for botanical accuracy and a sensitivity to the effects of light and atmosphere. His compositions are generally well-balanced, often imbued with a sense of calm and order. While his early training in Belgium would have provided a foundation in European academic principles, his subsequent experiences in America and Cuba clearly shaped his thematic concerns and, to some extent, his stylistic approach.
The influence of the American Hudson River School, with its emphasis on meticulous detail and the portrayal of nature's grandeur, can be discerned in his work. Artists like Sanford Robinson Gifford, known for his Luminist qualities and atmospheric effects, or Martin Johnson Heade, who also painted tropical scenes (though often with a focus on orchids and hummingbirds), represent parallel artistic currents in America. Cleenewerck's work shares with these artists a commitment to capturing the specific character of a place.
It is also plausible that Cleenewerck was aware of the Barbizon School in France, whose members, such as Jean-Baptiste-Camille Corot and Théodore Rousseau, advocated for painting directly from nature (en plein air) and sought a more truthful, less idealized representation of the rural landscape. While Cleenewerck's finish is often quite polished, the Barbizon emphasis on naturalism likely resonated with his own artistic inclinations.
His Cuban works, in particular, are described as developing a "unique tropical style" built upon European prototypes. This suggests an adaptation of his learned techniques to the specific challenges and opportunities presented by the tropical environment – the intense light, the vibrant colors, and the dense vegetation. He was not alone in being captivated by such scenery; Frederic Edwin Church, for instance, had famously traveled to South America to paint its dramatic landscapes, bringing a similar combination of detailed realism and romantic sensibility to his subjects.
Cleenewerck's contribution is sometimes framed as introducing elements of the American landscape style to Belgium. This likely means that upon his return or through exhibitions of his work, he brought a perspective enriched by his New World experiences, potentially showcasing a different approach to landscape than what was then prevalent in his homeland. He can be seen as a conduit, absorbing influences from different artistic environments and synthesizing them in his own practice. Other European landscape painters of the era, such as the German Andreas Achenbach or the Russian marine painter Ivan Aivazovsky, though working in different specific styles, shared the 19th-century preoccupation with capturing the power and beauty of the natural world, often with a Romantic or Realist inflection.
Representative Works and Thematic Focus
While a comprehensive catalogue raisonné of Henry Cleenewerck's work is not readily available, several paintings and thematic concerns stand out. His Cuban landscapes form the most distinctive part of his oeuvre. "La Ceiba," depicting the iconic silk-cotton tree, is frequently cited as a representative piece. These works often feature:
Lush Tropical Vegetation: Detailed renderings of palm trees, ferns, and other tropical plants.
Rural Scenes: Depictions of plantations, quiet countryside paths, and tranquil rivers.
Coastal Views: The Cuban coastline, with its characteristic light and atmosphere.
Atmospheric Effects: A concern for capturing the quality of light, particularly the soft, diffused light of the tropics or the clear light of a sunny day.
His American works, though perhaps less documented, would have focused on the landscapes of the Georgia region. These might have included scenes of the Lowcountry, with its marshes, live oaks draped in Spanish moss, and riverine environments.
The claim that he was an important figure in designing independent flags in the American South suggests a versatility beyond easel painting, though this aspect of his career requires further research to fully appreciate its scope and impact. His primary legacy, however, rests on his landscape paintings, which offer a window into the natural beauty of the regions where he lived and worked.
Legacy and Historical Context
Henry Cleenewerck's career spanned a period of significant artistic and social change. He began his training when Romanticism was still a powerful force and witnessed the rise of Realism, the development of distinct national schools of landscape painting, and eventually the stirrings of Impressionism (though his own style remained rooted in earlier traditions). His transatlantic movements place him in a unique position, experiencing firsthand the artistic climates of both Europe and the Americas.
In Belgium, he is noted by some as a figure who helped introduce American landscape painting styles, suggesting his work may have offered a fresh perspective to his compatriots. In the United States, his time in Savannah coincided with a period of intense national turmoil and artistic growth. In Cuba, he contributed to the burgeoning tradition of landscape painting, capturing the island's unique character at a time when it was still a Spanish colony but developing its own cultural identity.
Compared to giants of landscape painting like J.M.W. Turner in England, whose expressive and atmospheric works pushed the boundaries of the genre, or Gustave Courbet in France, whose robust Realism challenged academic conventions, Cleenewerck was a more modest figure. His contribution lies not in radical innovation but in the consistent quality of his observations and his ability to convey the specific charm and beauty of the landscapes he encountered. He shares with artists like the Belgian Hippolyte Boulenger, a key figure in the School of Tervuren (a Belgian offshoot of Barbizon ideas), a dedication to the truthful depiction of nature.
The relative obscurity of Cleenewerck today, compared to some of his more famous contemporaries, may be due to various factors, including the dispersal of his works, the lack of extensive monographic studies, or perhaps his peripatetic career, which might have prevented him from becoming deeply entrenched in a single national school. However, his paintings remain valuable historical and artistic documents. They reflect the 19th-century fascination with landscape, the spirit of exploration and travel that characterized the era, and the cross-cultural artistic exchanges that enriched the art of both the Old and New Worlds.
His work serves as a reminder that the history of art is composed not only of its most famous protagonists but also of many other talented individuals who contributed to the rich tapestry of their time. Henry Cleenewerck, through his dedicated portrayal of the Belgian, American, and Cuban landscapes, carved out his own niche, leaving behind a body of work that merits appreciation for its quiet beauty and historical resonance. His paintings invite us to see these diverse environments through the eyes of a 19th-century artist who found inspiration in the natural world, wherever his journey took him. The continued study of such artists helps to provide a more nuanced and complete understanding of the global art historical narrative.
