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photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21169,"title":"• 0057 • Vibratie","dimensions":"92 x 73 cm","date_begin":"1959-01-01","material":"Oil paint and silver pigment on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Helmut Dudé Vibratie Vibrations","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u0026nbsp;(painted wood, gilded) (still present?)\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eSee also 451 ?\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":96,"permalink":"57-vibratie","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/425/medium_500/57_asset2.jpg?1555571445","cached_actor_names":"Axel Vervoordt, Galerie Bernard, Jef Verheyen, Sammlung Helmut Dudé","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/425/large/57_asset2.jpg?1555571445","poster_credits":"(c)Jef Verheyen, photo: ? - Private Collection, Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eThis series of works (we know of three similar works) is made by posing nylon onto the wet painted canvas, and after being dried up, the nylon has been teared of to obtain the vibrating effect of waves.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21161,"title":"• 0049 • Untitled","dimensions":"80 x 100 cm","date_begin":"1956-01-01","material":"Oil paint and mixed media on burlap and canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen G. Balansino Rescaldino","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nDate unsure, ca. 1956/1957\u003cbr /\u003e\r\nOriginal wooden frame, painted\u003cbr /\u003e\r\nNo signature or inscription by the artist.\u003cbr /\u003e\r\nInscribed on the reverse by Pagani\u003cbr /\u003e\r\nLabeled on the reverse by Pensotti (1) and Pagani (1)\u0026nbsp;\u003cbr /\u003e\r\nInscription Pagani states the work is from 1959, however documentation proves the work is from 1956/1957; see pictures of works from 1956-1957 by Frank Philippi\u0026nbsp;and G. Sinigaglia at the exhibition at Galleria Pater in 1958 in Milan.\u0026nbsp;\u003cbr /\u003e\r\n\u0026quot;General good condition\u0026quot;\u003cbr /\u003e\r\nThe work is accompanied by a certificate of authenticity issued by the Jef Verheyen Archive on 11 April 1996 (n. 29)\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nRegarding the exhibition history, the pictures of Frank Philippi and G. Sinigaglia, showing\u0026nbsp;works 1956-1957\u0026nbsp;at Galleria Pater in 1958,\u0026nbsp;further need to be examined.\u003c/p\u003e\r\n","date_end":"1957-01-01","reference":"","stream_count_app":44,"permalink":"49-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/402/medium_500/49_asset1.jpg?1555336714","cached_actor_names":"Galleria d'arte del Grattacielo, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/402/large/49_asset1.jpg?1555336714","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21143,"title":"• 0032 • Untitled","dimensions":"34 x 70 cm with frame","date_begin":"1956-01-01","material":"Oil paint on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Sustronck","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nThe work is made on the back side of a sketch by Dani Francq\u003cbr /\u003e\r\nCa. 1956. Previously dated 1957, but conflicting with exhibition history\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wood, 1 \u0026agrave; 2 cm)\u003cbr /\u003e\r\nSigned on the reverse, bottom right\u003cbr /\u003e\r\nDedicated on the reverse, bottom right\u003cbr /\u003e\r\nCustoms labels on the reverse referring to Antwerp South (2) and\u0026nbsp;Milan (1)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eTitled \u0026#39;Evenwicht\u0026#39; in the 1961 exhibition catalogue of\u0026nbsp;\u003cem\u003eKunst in Waregems Bezit\u003c/em\u003e\u0026nbsp;\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":32,"permalink":"32-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Deutsche Buchgemeinschaft, Roger Sustronck, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21145,"title":"• 0034 • Untitled","dimensions":"40 x 50 cm","date_begin":"1958-01-01","material":"Oil paint on masonite (wooden hardboard) ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Roberto Crippa Lucio Fontana Pietro Berti Jef Verheyen in Milan Gerard Valkier","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n\u0026quot;Dripping\u0026quot;, \u0026quot;scorches\u0026quot;\u003cbr /\u003e\r\nSigned on the reverse: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse: \u0026#39;58\u0026#39;\u003cbr /\u003e\r\nDedicated on the reverse: \u0026#39;A Berti avec beaucoup d\u0026#39;amiti\u0026eacute;s\u0026#39;\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":85,"permalink":"34-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/287/medium_500/34_1.jpg?1634299941","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/287/large/34_1.jpg?1634299941","poster_credits":"(c)Jef Verheyen, photo: Christie's Paris, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eDedicated to Pietro Berti\u003c/p\u003e\r\n\r\n\u003cp\u003eColonel Pietro Berti was a flight instructor of the Milano Aeroclub during the 1950s. During that time he was also teacher of the artist Roberto Crippa.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCa.1958\u0026nbsp;Pietro Berti has received the work directly from Jef Verheyen in the studio of Lucio Fontana, Milan, in presence of Roberto Crippa. The painting has been locked in a trunk for a long time.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eHistorical context\u003cbr /\u003e\r\n1957-1958 Roberto Crippa \u0026amp; Lucio Fontana\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\nJef Verheyen has met Lucio Fontana and Roberto Crippa in 1957, during an opening at Galleria Pater. One year later, in 1958,\u0026nbsp;Roberto Crippa is in Belgium for the World\u0026rsquo;s Fair (April). At Verheyen\u0026rsquo;s and Ivo Michiels\u0026rsquo; request, he places a sculpture in the Belgian pavilion. In 1959, the\u0026nbsp;Fifth Middelheim Biennial in Antwerp has included work by a.o. Lucio Fontana, Roberto Crippa and Olivier Strebelle.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eJef Verheyen\u0026#39;s letter to Jean F. Buyck, 17 March 1980\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e[...] Intussen werkte ik aan mijn schilderijen voor de tentoonstelling die bij Pater, Milaan zou plaats hebben op 6 November 1958. Er waren donkere schilderijen bij met een boog, waaruit einde 1958 mijn rode schilderijen ontstonden.\u0026nbsp;[...]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21152,"title":"• 0040 • Al Piccolo Luca","dimensions":"81 x 100 cm","date_begin":"1958-01-01","material":"Oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Galleria Pagani del Grattacielo Milan G. Balansino Rescaldino","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the front, top right\u003cbr /\u003e\r\nDated on the front, top right\u003cbr /\u003e\r\nTitled on the front, top right\u0026nbsp;\u003cbr /\u003e\r\nLabel on the reverse referring to\u0026nbsp;Collection Pensotti, Legnano, Italy\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003eAl Piccolo Luca\u0026nbsp;\u003c/em\u003erefers to Luca Pagani, the son of Enzo Pagani who owned Galleria Pagani del Grattacielo, Milan and Legnano, Italy\u003c/p\u003e\r\n\r\n\u003cp\u003eTherefore, we can assume the work has been shown at Galleria Pagani del Grattacielo in 1959 (solo exhibition) and/or in 1960 (group exhibition) (not confirmed)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":79,"permalink":"40-al-piccolo-luca","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/386/medium_500/40_asset1%28AV%29.jpg?1555058396","cached_actor_names":"Galleria d'arte del Grattacielo, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/386/large/40_asset1%28AV%29.jpg?1555058396","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21148,"title":"• 0037 • Untitled","dimensions":"59 x 69 cm, 63 x 73 cm with frame","date_begin":"1958-01-01","material":"Canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Milan Paul De Vree","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nOriginal gilded wooden frame\u003cbr /\u003e\r\nSigned on the reverse (paint)\u003cbr /\u003e\r\nInscribed on the reverse (paint): \u0026quot;Milano\u0026quot;\u003cbr /\u003e\r\n\u0026quot;Good condition\u0026quot;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":16,"permalink":"37-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21149,"title":"• 0038 • Untitled","dimensions":"36 x 28 cm","date_begin":null,"material":"Oil paint and ink (?) on paper, on wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1958?\u003cbr /\u003e\r\nSigned, dedicated and dated (?) on the reverse, on the lower right (ink)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":13,"permalink":"38-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21154,"title":"• 0042 • Untitled (Rode Abstractie)","dimensions":"60 x 70 cm","date_begin":"1957-01-01","material":"Oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Galleria Pagani del Grattacielo Rood Abstract G. Balansino Rescaldino","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1957-1958?\u0026nbsp;\u003cbr /\u003e\r\nInscribed on the reverse by Enzo Pagani: \u0026quot;Jef Verheyen Rue Rubens 14 Anversa\u0026quot;\u003cbr /\u003e\r\nLabel on the reverse referring to\u0026nbsp;Collection Pensotti (Galleria Pagani, bought in 1958), Legnano, Italy\u0026nbsp;\u003c/p\u003e\r\n","date_end":"1958-01-01","reference":"","stream_count_app":84,"permalink":"42-rode-abstractie","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/388/medium_500/42_asset1.jpg?1555070797","cached_actor_names":"Axel Vervoordt, Galleria d'arte del Grattacielo, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/388/large/42_asset1.jpg?1555070797","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21155,"title":"• 0043 • La Lumière Obscure","dimensions":"65 x 100 cm","date_begin":null,"material":"Oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Axel and May Vervoordt Foundation","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nTitled on the reverse\u003cbr /\u003e\r\nInscribed on the reverse: \u0026quot;40M\u0026quot; refers to dimensions?\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":47,"permalink":"43-la-lumiere-obscure","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/390/medium_500/43_asset1.jpg?1555076877","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/390/large/43_asset1.jpg?1555076877","poster_credits":"(c)Jef Verheyen, photo: Dries Van den Brande - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21157,"title":"• 0045 • Untitled","dimensions":" 105 x 95 cm","date_begin":"1958-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Cachemaille","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe work is accompanied by a letter to the artist from 1978\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","date_end":"1959-01-01","reference":"","stream_count_app":64,"permalink":"45-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/010/medium_500/45_asset4.jpg?1558001825","cached_actor_names":"Galerie Kasper, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/010/large/45_asset4.jpg?1558001825","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21158,"title":"• 0046 • Untitled","dimensions":"60,5 x 74,5 cm","date_begin":"1958-01-01","material":"Oil paint on cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Guy Vaes","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nDated 1958/1959\u003cbr /\u003e\r\nNo frame\u003c/p\u003e\r\n","date_end":"1959-01-01","reference":"","stream_count_app":40,"permalink":"46-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/396/medium_500/46_asset1.jpg?1555322471","cached_actor_names":"Guy Vaes, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/396/large/46_asset1.jpg?1555322471","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21159,"title":"• 0047 • Zomerherinneringen","dimensions":"65 x 90 cm, 66 x 91 cm with frame","date_begin":"1959-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Guy Vaes Zomer Summer","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (metal)\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nTitled on the reverse\u003cbr /\u003e\r\nDedicated on the reverse: \u0026#39;voor Guy en Lydie\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":72,"permalink":"47-zomerherinneringen-voor-guy-en-lydie","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/397/medium_500/47_asset1.jpg?1555322803","cached_actor_names":"Guy Vaes, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/397/large/47_asset1.jpg?1555322803","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive - Private Collection","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21162,"title":"• 0050 • Vibrations","dimensions":"100 x 81 cm, 108 x 90 cm with frame","date_begin":"1958-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Galleria Pagani del Grattacielo Vibrations","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1958-1959\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nTitled on the reverse \u0026#39;Vibrations\u0026#39;?\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nPhoto: Frank Philippi 6785-11A\u003c/p\u003e\r\n","date_end":"1959-01-01","reference":"","stream_count_app":42,"permalink":"50","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/406/medium_500/50_asset1.jpg?1555485987","cached_actor_names":"Galleria d'arte del Grattacielo, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/406/large/50_asset1.jpg?1555485987","poster_credits":"(c)Jef Verheyen, photo: Axel Vervoordt - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21163,"title":"• 0051 • Untitled","dimensions":"66 x 100 cm","date_begin":"1959-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Grijs","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nCa. 1959\u003c/p\u003e\r\n","date_end":"1961-01-01","reference":"","stream_count_app":64,"permalink":"51-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/407/medium_500/51_asset1.jpg?1555488956","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/407/large/51_asset1.jpg?1555488956","poster_credits":"(c)Jef Verheyen, photo: Axel Vervoordt - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21164,"title":"• 0052 • Untitled","dimensions":"60 x 130 cm","date_begin":"1959-01-01","material":"Oil paint and mixed media on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Galleria Pagani del Grattacielo G. Balansino Rescaldino","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nJanuary 1959\u003cbr /\u003e\r\nWooden stretcher\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nInscribed on the reverse: \u0026#39;Rue Rubens (1?) 4 Anvers\u0026#39;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAccompanied by a certificate of authenticity issued by the Jef Verheyen Archive, 11 April 1996, n. 28.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nRegarding the exhibition history, we can assume the work has been shown at Galleria Pagani del Grattacielo in 1959 (solo exhibition) and/or in 1960 (group exhibition) (not confirmed)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":69,"permalink":"52-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/410/medium_500/52_asset3.jpg?1555490467","cached_actor_names":"Axel Vervoordt, Galleria d'arte del Grattacielo, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/410/large/52_asset3.jpg?1555490467","poster_credits":"(c)Jef Verheyen, photo: Axel Vervoordt - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21166,"title":"• 0054 • Untitled","dimensions":"79,5 x 59,5 cm, 80,5 x 60,5 cm with frame","date_begin":"1959-01-01","material":"Oil paint and mixed media on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen G. Balansino Rescaldino","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nOriginal frame, unpainted\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\n\u0026quot;General damaged condition (scratches and dents)\u0026quot;\u003cbr /\u003e\r\nAccompanied by a certificate of authenticity issued by the Jef Verheyen Archive, 11 April 1997, n. 31.\u003c/p\u003e\r\n\r\n\u003cp\u003eRegarding the exhibition history, we can assume the work has been shown at Galleria Pagani del Grattacielo in 1959 (solo exhibition) and/or in 1960 (group exhibition) (not confirmed)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":40,"permalink":"54-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/412/medium_500/54_asset1.jpg?1555493124","cached_actor_names":"Axel Vervoordt, Galleria d'arte del Grattacielo, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/412/large/54_asset1.jpg?1555493124","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21189,"title":"• 0067 • Vlaams Landschap","dimensions":"100 x 80 cm","date_begin":"1960-01-01","material":"Oil paint on canvas ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nOriginal wooden frame\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nInscribed on the reverse: \u0026quot;Anvers\u0026quot;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nExhibition at Galleria Pater? Pagani?\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nPhoto dia n. 31 L\u0026eacute;onore Verheyen\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":27,"permalink":"67-vlaams-landschap","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/483/medium_500/67_asset1.jpg?1555679281","cached_actor_names":"Galerie Bernard, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/483/large/67_asset1.jpg?1555679281","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21190,"title":"• 0068 • Untitled","dimensions":"129 x 97 cm","date_begin":"1960-01-01","material":"Oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Guy Vaes","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nPainted in 1960 in artist\u0026#39;s studio in Lange Noordstraat 1 at Guy and Lydie Vaes\u003cbr /\u003e\r\nNo frame, original stretcher\u003cbr /\u003e\r\nSigned twice on the reverse (felt pen, on the horizontal bar of the stretcher)\u003cbr /\u003e\r\nCondition: painting has been restored by KIK IRPA (small hole, stain/spot on the burlap, water damage?)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":99,"permalink":"68-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/661/medium_500/68_1.jpg?1583306554","cached_actor_names":"Axel Vervoordt, Guy Vaes, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/661/large/68_1.jpg?1583306554","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Axel Vervoordt, Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21174,"title":"• 0062 • Untitled","dimensions":"81 x 100 cm","date_begin":"1960-01-01","material":"Oil paint and bronze pigment on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Zwarte Ruimte","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse?\u003cbr /\u003e\r\nDated on the reverse?\u003cbr /\u003e\r\nInscribed on the reverse:\u0026nbsp;\u0026quot;J\u0026#39;en suis tr\u0026egrave;s fier encore aujourd\u0026#39;hui\u0026quot;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":70,"permalink":"62-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/453/medium_500/62_asset7.jpg?1555591854","cached_actor_names":"Sammlung Helmut Dudé, Jef Verheyen, Galerie Bernard","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/453/large/62_asset7.jpg?1555591854","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21187,"title":"• 0065 • Studie Landschap","dimensions":"Ø 53,5 cm, 73 x 73 cm with frame","date_begin":"1960-01-01","material":"Matt lacquer on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Tondo","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nCircular painting in a wooden square frame\u003cbr /\u003e\r\nOriginal white frame\u003cbr /\u003e\r\nSigned on the reverse (paint/felt-tip pen)\u003cbr /\u003e\r\nDated on the reverse\u0026nbsp;(paint/felt-tip pen)\u003cbr /\u003e\r\n\u0026quot;Good condition\u0026quot;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":22,"permalink":"65-studie-landschap","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21186,"title":"• 0064 • Zwarte ruimte / Espace noir ","dimensions":"130 x 195 cm","date_begin":"1960-01-01","material":"Oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Zwarte ruimte Espace noir","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003c/p\u003e\r\n\r\n\u003cp\u003eThe work was given in depot / on loan to P.M.M.K. Oostende by Hans and K\u0026auml;thi Liechti around 1978.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":90,"permalink":"64-zwarte-ruimte","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/480/medium_500/64_asset3.jpg?1555674028","cached_actor_names":"Axel Vervoordt, Galerie Bernard, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/480/large/64_asset3.jpg?1555674028","poster_credits":"(c)Jef Verheyen, photo: Axel Vervoordt - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21168,"title":"• 0056 • Vibration","dimensions":"80 x 65 cm","date_begin":"1959-01-01","material":"Mixed media (silver paint, nylon, oil paint) on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nEspace. Vibration.\u0026nbsp;\u003cbr /\u003e\r\nSigned on the reverse: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nTitled on the reverse: \u0026#39;Vibration\u0026#39;\u003cbr /\u003e\r\nDated on the reverse: \u0026#39;59\u0026#39;\u003cbr /\u003e\r\nThe work is made by wetting nylon and paint, and after drying up, the nylon has been teared off\u003cbr /\u003e\r\nSigned on the reverse\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":67,"permalink":"56-vibratie","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/441/medium_500/56_asset2.jpg?1555580334","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/441/large/56_asset2.jpg?1555580334","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21150,"title":"• 0039 • Wit op Wit","dimensions":"81 x 100 cm","date_begin":"1958-01-01","material":"Collage, white paint on canvas","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Galerie Hubertus Schoeller Retrospectieve Jef Verheyen 1932-1984","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned\u0026nbsp;on the reverse\u003cbr\u003eDated on the reverse\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":85,"permalink":"39-wit-op-wit","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/383/medium_500/39_asset1.jpg?1557924884","cached_actor_names":"Jef Verheyen, Galerie Bernard, Galerie Schoeller","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/383/large/39_asset1.jpg?1557924884","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive - Private Collection","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21142,"title":"• 0031 • Aan Mechanische Goden","dimensions":"122 x 162 cm","date_begin":"1957-01-01","material":"oil paint on wooden panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Private Collection","cached_tag_list":"Jef Verheyen Guy Vaes Compositie Composition Black Zwart Bruin Brown Aan mechanische goden","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (metal)\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nTitled on the reverse: \u0026#39;Aan mechanische goden\u0026#39; ?\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":84,"permalink":"31-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/860/medium_500/31_10.jpg?1721047111","cached_actor_names":"Jef Verheyen, Guy Vaes","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/860/large/31_10.jpg?1721047111","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21137,"title":"• 0028 • Espace Découpé - Witte Ruimte","dimensions":"65 x 81 cm","date_begin":"1957-01-01","material":"Paper, glue and casein paint on burlap","short_description":"\u003cp\u003e\u003cstrong\u003e1958:\u0026nbsp;\u003c/strong\u003e\u003cbr\u003e\u003cbr\u003eIn February, Verheyen is first in Basel and then in Milan (letters from Jef Verheyen to Ivo Michiels and to Dani Francq mentioning, among other things, the work Verheyen sold to Lucio Fontana [20 February 1958], a blue painting).\u003cbr\u003eRoberto Crippa is in Belgium for the World’s Fair (April). At of Verheyen’s and Ivo Michiels’ request, he places a sculpture in the Belgian pavilion.\u003cbr\u003eIn Lausanne, Verheyen’s manifesto, \u003ci\u003eEssentialisme\u003c/i\u003e (Essentialism) is accepted for publication in \u003ci\u003eart actuel international\u003c/i\u003e, issue 1959 – 13.\u003cbr\u003eHaving played an active role in founding the G 58 group in Antwerp (in the Spring of 1958) and taken part in its first exhibitions, Verheyen breaks away from the group after the opening of his first show at the Hessenhuis.\u003cbr\u003eNovember 1958: first exhibition at the Hessenhuis. Lucio Fontana buys \u003ci\u003eL’air est plein de ta chaleur\u003c/i\u003e (The Air is Full of Your Warmth) shown there and in Milan, and gives him what Verheyen describes as a “splendid black-green painting”. In a letter (November) from Italy: “I’m leaving G 58”.\u003cbr\u003ePlans a major international exhibition with Guy Vandenbranden: they invite Piero Manzoni, Lucio Fontana, Yves Klein, Günther Uecker, Engelbert Van Anderlecht, Jozef Peeters and several others to take part.\u003cbr\u003eThe exhibition (“Vision in Motion”, March – May 1959) is eventually held at the Hessenhuis, though Verheyen, Piero Manzoni and Lucio Fontana do not take part. Verheyen has his first encounter with Günther Uecker there (“nailed balls”).\u003cbr\u003eVerheyen meets the writer Guy Vaes and moves into a larger studio in his house in Lange Noordstraat.\u003c/p\u003e\u003cp\u003eWorks in Milan, where he organises exhibitions with other Belgian artists (October, November, and mid-December 1958; see also Frank Philippi: photo reportage in Milan).\u003c/p\u003e","art_status_id":13,"legal_status_id":84,"category_id":181,"platform_id":1,"deleted":false,"asset_count":18,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Witte Ruimte Espace Découpé G58 Monochrome Middelheim Espace déchiré Private Collection JV","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cstrong\u003e1958\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJef Verheyen komt in dit cruciale jaar tot de eerste formuleringen van zijn concept omtrent het ‘Essentialisme’.\u0026nbsp;\u003c/p\u003e\u003cp\u003eStelt in augustus tentoon met Paul Bervoets (1931 – 2002), Vic Estercam (1920 – 1994) en Walter Van Ermen (1932 – 2002).\u0026nbsp;Hij exposeert een monochroom wit schilderij, waarvan de werking niet alleen aan de kleur ontleend wordt, maar ook aan het reliëf van de verf. Kort hierna verlaat hij dit reliëfmatig aspect.\u0026nbsp;\u003c/p\u003e\u003cp\u003eNa een ontmoeting met Lucio Fontana in Antwerpen creëert Verheyen zijn eerste reeks witte schilderijen op hout, vezelplaat en jute of doek. Het jaar daarop trekt hij met zijn eerste essentialistische (vlakke) doeken met de trein naar Milaan. Hij ontmoet er Fontana in de Galleria Pater.\u003c/p\u003e\u003cp\u003eIn november 1958 schrijft hij zijn eerste manifest met daarin de fundamenten van zijn oeuvre. Men ziet de invloed van Piero Manzoni, die met zijn ‘achrome’ doeken, net als Verheyen, dweept met de idee van oneindigheid. \u0026nbsp;(Bron:\u0026nbsp; \u003ca href=\"https://abstractmodernisme.vlaamsekunstcollectie.be/nl/kunstenaar/jef-verheyen\"\u003ehttps://abstractmodernisme.vlaamsekunstcollectie.be/nl/kunstenaar/jef-verheyen\u003c/a\u003e)\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eMet Walter Van Ermen wilden wij een ruimte achter het Rubenshuis inrichten voor jonge schilders en daaruit vloeide voort dat W.V.E. en ik de orangerie van het middelheim mochten gebruiken van de stad. Walter en ik hebben de boel opgekuist en daardoor kregen we dan het kasteel van het middelheim, dus hierbij een verzoek om de zaak rond te krijgen.\u003cbr\u003e\u003cbr\u003e[...]\u003cbr\u003e\u003cbr\u003e\u003ci\u003e(Ik maakte toen spacialistische schilderijen en in het perspaviljoen fluorescerende structuren. Ook enkele witte schilderijen waarvan er een in het Middelheim werd getoond.)\u003c/i\u003e\u003cbr\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003e(Hier dus dat fameus artikel van Marc Callewaert die schrijft over dat curieus monochroom schilderij; ‘in witten dat zijn ganse werking aan het reliëf van de verf en aan het licht ontleent’. \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Dus werd dat schilderij voor augustus 1958 gemaakt. \u0026nbsp;Ik schilderde een zekere tijd werken met een rol, thema was een halve boog op geprepareerde jute. Hugues Pernath was zeer beïndrukt door die dingen, misschien zijn er nog wel in Milaan te vinden.)\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eNa die tentoonstelling werd er door G58 het hessenhuis bezocht, we zouden dan beginnen met de opruiming van dat stampvol gebouw.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Intussen werkte ik aan mijn schilderijen voor de tentoonstelling die bij Pater, Milaan zou plaats hebben op 6 November 1958. Er waren donkere schilderijen bij met een boog, waaruit einde 1958 mijn rode schilderijen ontstonden.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Bij het nakijken van B. Kleins brieven vindt men het bewijs dat het in het Hessenhuis heeft gehangen; ‘L’air est plein de ta chaleur’ is gemaakt voor 1959, de brief van B. Klein is van 11 jan. 1959 en ik was toen in Milaan.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Het is op mijn opening 6 nov. 1958 dat Manzoni met kleine witte schilderijtjes onder zijn arm kwam. Wij hebben wel wat gepraat over monochroom en achroom, ik wist toen echt wel waarover het ging. Ook Fontana sprak over een vierde dimensie en wij hebben uitgemaakt dat hij in feite een nieuwe dimensie bracht.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Hij verkocht mijn mooie zwarte Diamant, zwart violet, aan Boschi en gaf me dat prachtig zwartgroen schilderij gemaakt in 1956/55. Waarschijnlijk is dat de eerste Fontana die in België terecht kwam.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ivo Michiels is mij in Milaan komen opzoeken tijdens de maand november en ik weet niet of hij toen Manzoni leerde kennen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ik heb in die periode mijn manifest ‘Essentialisme’ geschreven in het ‘Hotel Ideal’, Via San Spirito, U kan de schets of ontwerp ervan zien, het staat in een carnet einde 1958.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; De vertaalde tekst – verbeterde – is tegen januari gemaakt en Kasper nam het mee van Milaan naar Lausanne.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Frank Philippi heeft trouwens toen een wonderbare reportage gemaakt over Milaan.\u003c/p\u003e\u003cp\u003e\u003ci\u003e(Al deze schilderijen werden voor september geschilderd. Het transport was toen niet zo eenvoudig. Op deze opening kwam Manzoni met witte schilderijtjes onder zijn arm. Dat wit schilderij (Callewaert) hing reeds enige maanden voordien in G58 Middelheim.)\u003c/i\u003e\u003c/p\u003e\u003cp\u003e[...]\u003c/p\u003e\u003cp\u003e(Bron:\u0026nbsp;\u003ca href=\"https://www.dewitteraaf.be/artikel/detail/nl/3397\"\u003ehttps://www.dewitteraaf.be/artikel/detail/nl/3397\u003c/a\u003e)\u003c/p\u003e\u003cp\u003e__________\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e1958:\u0026nbsp;\u003c/strong\u003e\u003cbr\u003e\u003cbr\u003eIn February, Verheyen is first in Basel and then in Milan (letters from Jef Verheyen to Ivo Michiels and to Dani Francq mentioning, among other things, the work Verheyen sold to Lucio Fontana [20 February 1958], a blue painting).\u003cbr\u003eRoberto Crippa is in Belgium for the World’s Fair (April). At of Verheyen’s and Ivo Michiels’ request, he places a sculpture in the Belgian pavilion.\u003cbr\u003eIn Lausanne, Verheyen’s manifesto, \u003ci\u003eEssentialisme\u003c/i\u003e (Essentialism) is accepted for publication in \u003ci\u003eart actuel international\u003c/i\u003e, issue 1959 – 13.\u003cbr\u003eHaving played an active role in founding the G 58 group in Antwerp (in the Spring of 1958) and taken part in its first exhibitions, Verheyen breaks away from the group after the opening of his first show at the Hessenhuis.\u003cbr\u003eNovember 1958: first exhibition at the Hessenhuis. Lucio Fontana buys \u003ci\u003eL’air est plein de ta chaleur\u003c/i\u003e (The Air is Full of Your Warmth) shown there and in Milan, and gives him what Verheyen describes as a “splendid black-green painting”. In a letter (November) from Italy: “I’m leaving G 58”.\u003cbr\u003ePlans a major international exhibition with Guy Vandenbranden: they invite Piero Manzoni, Lucio Fontana, Yves Klein, Günther Uecker, Engelbert Van Anderlecht, Jozef Peeters and several others to take part.\u003cbr\u003eThe exhibition (“Vision in Motion”, March – May 1959) is eventually held at the Hessenhuis, though Verheyen, Piero Manzoni and Lucio Fontana do not take part. Verheyen has his first encounter with Günther Uecker there (“nailed balls”).\u003cbr\u003eVerheyen meets the writer Guy Vaes and moves into a larger studio in his house in Lange Noordstraat.\u003c/p\u003e\u003cp\u003eWorks in Milan, where he organises exhibitions with other Belgian artists (October, November, and mid-December 1958; see also Frank Philippi: photo reportage in Milan).\u003c/p\u003e\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eEspace Découpé. Vibration Plastique.\u0026nbsp;\u003c/p\u003e\u003cp\u003eAccording to the artist's notes, this work was his first monochrome (see linked item)\u003c/p\u003e\u003cp\u003eDated 'Dec 1958' in the artist's scrapbook / portfolio (see linked item)\u003c/p\u003e\u003cp\u003e\u003cbr\u003eExhibited at\u0026nbsp;Socle Du Monde Biennale 2017, HEART - Herning Museum of Contemporary Art, Herning, Denmark ??\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":195,"permalink":"28-witte-ruimte","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/019/medium_500/28_18.jpg?1721207233","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/017/large/28_18.jpg?1721207121","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eIn Milan Verheyen expands his international network. When he exhibits at the Galleria Pater in 1958, Piero Manzoni walks in carrying white paintings. Their encounter further stimulates Verheyen’s musings about monochromy and achromy. It is during this period that he writes his manifesto \u003ci\u003eEssentialisme\u0026nbsp;\u003c/i\u003e(Essentialism). His theories are closely related to those of artists such as Günther Uecker, Otto Piene, Hermann Goepfert, Lucio Fontana and Yves Klein. The latter, for example, initially works in achrome white before pursuing his famous blue pigment. In letters, Klein and Verheyen debate the invention and objectives of monochrome and achrome painting.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003eIn Milaan breidt Verheyen zijn internationale netwerk uit. Wanneer hij er in 1958 bij Galleria Pater tentoonstelt, wandelt Piero Manzoni er binnen met witte schilderijen onder z’n arm. Die gebeurtenis scherpt Verheyens denken aan over mono- en achromie. In deze periode schrijft hij dan ook zijn manifest \u003ci\u003eEssentialisme\u003c/i\u003e. Zijn opvattingen sluiten nauw aan bij die van kunstenaars zoals Günther Uecker, Otto Piene, Hermann Goepfert, Lucio Fontana en Yves Klein. Zo werkt Klein eerst in achroom wit voordat hij met zijn bekende blauwe pigment aan de slag gaat. In brieven debatteren Klein en Verheyen over de uitvinding en de doelstellingen van de mono- en achrome schilderkunst.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003eVerheyen étend son réseau international à Milan. Lorsqu'il expose à la Galleria Pater en 1958, Piero Manzoni entre avec des peintures blanches sous le bras. Cet événement aiguise la réflexion de Verheyen sur la mono- et l'achromie. Durant cette période, il rédige son manifeste Essentialisme. Ses opinions sont étroitement liées à celles d'artistes tels que Günther Uecker, Otto Piene, Hermann Goepfert, Lucio Fontana et Yves Klein. Par exemple, Klein travaille d'abord avec le blanc chromé avant de travailler avec son célèbre pigment bleu. Dans des lettres, Klein et Verheyen débattent de l'invention et des objectifs de la peinture mono et achrome.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":21160,"title":"• 0048 • Untitled","dimensions":"89 x 116 cm, 90 x 118 cm with frame","date_begin":"1959-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Galleria Pagani del Grattacielo G. Balansino Rescaldino","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s\u0026nbsp;frame (wood)\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse: mid 1959\u003cbr /\u003e\r\nInscribed on the reverse: \u0026quot;Rue Rubens 14 Anvers\u0026quot;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nRegarding the exhibition history, we can assume the work has been shown at Galleria Pagani del Grattacielo in 1959 (solo exhibition) and/or in 1960 (group exhibition) (not confirmed)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":65,"permalink":"48-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/401/medium_500/48_asset3.jpg?1555328435","cached_actor_names":"Jef Verheyen, Galleria d'arte del Grattacielo, Axel Vervoordt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/401/large/48_asset3.jpg?1555328435","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21147,"title":"• 0036 • Untitled (Saint-Paul-de-Vence)","dimensions":"37,5 x 45,5 cm","date_begin":"1958-01-01","material":"Oil and sand on panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Paul De Vree Saint Paul de Vence","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned on the reverse, lower right\u0026nbsp;(pencil)\u003cbr\u003eDated on the reverse:\u0026nbsp;September 1958\u003cbr\u003e\"Good condition\"\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":31,"permalink":"36-saint-paul-de-vence","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/694/medium_500/36_2.jpg?1718627242","cached_actor_names":"Jef Verheyen, Paul De Vree","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/694/large/36_2.jpg?1718627242","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21146,"title":"• 0035 • Untitled ","dimensions":"83 x 102 cm","date_begin":"1958-01-01","material":"Oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Jason Poirier dit Caulier Collection","cached_tag_list":"Jef Verheyen Rubensstraat Guy Vaes","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eMay 1958\u003cbr\u003eOriginal black frame\u003cbr\u003eSigned on the reverse\u003cbr\u003eDated on the reverse\u003cbr\u003ePainted on the reverse\u003cbr\u003eInscribed on the reverse: \"Rue Rubens 14, Anvers\"\u003cbr\u003e\"General good condition\"\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":54,"permalink":"35-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/090/136/medium_500/35_7.jpg?1686050704","cached_actor_names":"Jef Verheyen, Guy Vaes","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/090/136/large/35_7.jpg?1686050704","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21232,"title":"• 0100 • Vlaams Landschap","dimensions":"132 x 198 cm with frame","date_begin":"1967-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Sammlung Lenz, Schönberg, Austria","cached_tag_list":"Jef Verheyen Jan Van Eyck","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nInscribed on the reverse (pencil): \u0026quot;Jef Verheyen 67 Vlaams Landschap\u0026quot;\u003cbr /\u003e\r\nSigned by Anna Lenz on the reverse, on the stretcer\u003cbr /\u003e\r\nLabeled on the revese\u0026nbsp; by Galerie Ursula Lichter, Frankfurt am Main\u003c/p\u003e\r\n","date_end":null,"reference":"VER-07","stream_count_app":59,"permalink":"100-vlaams-landschap","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/650/medium_500/100_asset1.jpg?1677160788","cached_actor_names":"Sammlung Lenz, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/650/large/100_asset1.jpg?1677160788","poster_credits":"(c)Jef Verheyen, photo: Philipp Schönborn, München, VG Bild-Kunst - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21263,"title":"• 0127 • De Woestijn","dimensions":"110 x 110 cm","date_begin":"1983-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n\u003cem\u003eDe Woestijn\u0026nbsp;\u003c/em\u003eis the very last painting Verheyen made before he passed away in 1984. Dani has confirmed this in a letter to the first owner (see linked item).\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":53,"permalink":"127-de-woestijn","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/048/497/medium_500/127_asset2.jpg?1568118040","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/048/497/large/127_asset2.jpg?1568118040","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21231,"title":"• 0099 • Morgen","dimensions":"Ø?, 70 x 70 cm with frame","date_begin":"1966-01-01","material":"Matt lacquer on fibreboard, mounted in a wooden square box","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen tondo Roger Sustronck tondo","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wooden square box)\u003cbr /\u003e\r\nSigned on the back: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the back: \u0026#39;66\u0026#39;\u003cbr /\u003e\r\nTitled on the back: \u0026#39;Morgen\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":70,"permalink":"99-morgen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/670/medium_500/99_1.jpg?1647003829","cached_actor_names":"Galerie 't Kasteelke, Axel Vervoordt, Roger Sustronck, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/670/large/99_1.jpg?1647003829","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21236,"title":"• 0103 • Brazilië","dimensions":"150 x 150 cm with frame","date_begin":"1967-01-01","material":"Synthetic resin on canvas","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":181,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Sammlung Lenz, Schönberg, Austria","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nSigned on the reverse (blue black paint): \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse: \u0026#39;1967\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"VER-21","stream_count_app":61,"permalink":"103-brazilie","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/666/medium_500/103_asset1.jpg?1557216074","cached_actor_names":"Sammlung Lenz, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/666/large/103_asset1.jpg?1557216074","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21240,"title":"• 0106 • Lichtkolk","dimensions":"180 x 180 cm","date_begin":"1969-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Sammlung Lenz, Schönberg, Austria","cached_tag_list":"Jef Verheyen Lichtstroom Lichtwenteling","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nInscribed on the reverse, top left (black paint):\u0026nbsp; \u0026quot;Jef Verheyen [Algiz rune sign\u0026nbsp;\u0026quot;\u003cem\u003ez\u003c/em\u003e-rune\u0026quot;\u0026nbsp;ᛉ] Maast December 1969 Lichtkolk Antwerpen\u0026quot;\u003cbr /\u003e\r\nInscribed on the reverse, bottom left (black paint): \u0026quot;Veneti\u0026euml; Juni 1970\u0026quot;\u003cbr /\u003e\r\nInscribed on the reverse, top center: \u0026quot;Gerhard Lenz 1971\u0026quot;\u003cbr /\u003e\r\nInscribed on the reverse, on the stretcer, top center: \u0026quot;G. Lenz\u0026quot;; and next to this, in ballpoint pen; \u0026quot;Nuremberg/Konstructivisten 1969\u0026quot;\u003cbr /\u003e\r\nLabeled on the reverse reffering to the Biennial of Venice 1970, n. 545.\u003c/p\u003e\r\n","date_end":null,"reference":"VER-09","stream_count_app":55,"permalink":"106-lichtkolk","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/685/medium_500/106_asset1.jpg?1557221376","cached_actor_names":"Sammlung Lenz, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/685/large/106_asset1.jpg?1557221376","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21243,"title":"• 0107 • Monochroom Blauw - Morgen","dimensions":"80 x 80 cm","date_begin":"1969-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nTitled on the reverse\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":27,"permalink":"107-monochroom-blauw-morgen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/688/medium_500/107_asset1.jpg?1557224573","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/688/large/107_asset1.jpg?1557224573","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21226,"title":"• 0094 • Pluie ","dimensions":"100 x 100 cm, 103 x 103 cm with frame","date_begin":"1962-01-01","material":"Oil paint, synthetic resin (?) and silver pigment on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Sammlung Lenz, Schönberg, Austria","cached_tag_list":"Jef Verheyen Regen Pluie","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nInscribed on the reverse, top (ballpoint pen): \u0026quot;Jef Verheyen 62 je suis tr\u0026egrave;s fier de cette pluie 67\u0026quot;\u003cbr /\u003e\r\nSigned by Anna Lenz on the reverse, on the stretcher, top\u003c/p\u003e\r\n","date_end":null,"reference":"VER-13","stream_count_app":70,"permalink":"94-pluie","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/339/medium_500/94_asset3.jpg?1581945108","cached_actor_names":"Sammlung Lenz, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/339/large/94_asset3.jpg?1581945108","poster_credits":"(c)Jef Verheyen, photo: Philipp Schönborn, München - 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IIXX'.\u003cbr\u003e\u003cbr\u003ePhotographed by Gerald\u0026nbsp;Dauphin\u003cbr\u003e\u003cbr\u003eThe artist's concept of 'Le vide' was the key for the land art project (intervention) in Mullem in 1967.\u0026nbsp;\u003cbr\u003e\u003cbr\u003eThe prototype (57 x 36 x 7 cm) was made in 1965 by the artist's father-in-law, Leon Franque.\u003cbr\u003e\u003cbr\u003eVerheyen also conceived its counterpart; 'Le plein' as being the opposite\u0026nbsp;of 'Le vide'. However, 'Le plein' was only realised as protoype (65 x 41,5 x 7,5 cm).\u0026nbsp;\u003cbr\u003eBoth prototypes of 'Le vide' and 'Le plein' were exhibited during Verheyen's participation at the Biennial of Venice in 1970 (Belgian pavilion)\u003c/p\u003e\u003cp\u003eThe multiple was planned as an edition of 20, but it is unkown whether it was fully executed as such or not.\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":22,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Ruimte Vlaams Landschap Le vide le plein","publishing_process_id":1,"annotation":"","date_end":"1965-01-01","reference":"","stream_count_app":204,"permalink":"102-ruimte-vlaams-landschap-n-18","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eSculpture consisting of a window frame made of pleated aluminium (0,5 cm thickness), chromium-plated\u0026nbsp;afterwards, with a small base.\u003c/p\u003e\u003cp\u003eSigned and numbered (incised) on the bottom in roman numerals for example 'J.V. IIXX'.\u003cbr\u003e\u003cbr\u003ePhotographed by Gerald\u0026nbsp;Dauphin\u003cbr\u003e\u003cbr\u003eThe artist's concept of 'Le vide' was the key for the land art project (intervention) in Mullem in 1967.\u0026nbsp;\u003cbr\u003e\u003cbr\u003eThe prototype (57 x 36 x 7 cm) was made in 1965 by the artist's father-in-law, Leon Franque.\u003cbr\u003e\u003cbr\u003eVerheyen also conceived its counterpart; 'Le plein' as being the opposite\u0026nbsp;of 'Le vide'. However, 'Le plein' was only realised as protoype (65 x 41,5 x 7,5 cm).\u0026nbsp;\u003cbr\u003eBoth prototypes of 'Le vide' and 'Le plein' were exhibited during Verheyen's participation at the Biennial of Venice in 1970 (Belgian pavilion)\u003c/p\u003e\u003cp\u003eThe multiple was planned as an edition of 20, but it is unkown whether it was fully executed as such or not.\u003c/p\u003e","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/586/medium_500/21234.jpg?1717084093","cached_actor_names":"Jef Verheyen, Sammlung Lenz","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/586/large/21234.jpg?1717084093","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois / Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eLe Vide\u0026nbsp;\u003c/i\u003eis the ultimate window on infinity. It directs\u003c/p\u003e\u003cp\u003ethe gaze, to everything and to nothing. Looking\u003c/p\u003e\u003cp\u003ebecomes staring into emptiness. Art thus loses\u003c/p\u003e\u003cp\u003eits material form. In 1967, Verheyen and German\u003c/p\u003e\u003cp\u003eartist Günther Uecker hold a joint happening.\u003c/p\u003e\u003cp\u003eThey install\u0026nbsp;\u003ci\u003eLe Vide\u0026nbsp;\u003c/i\u003e– French for ‘emptiness’ or\u003c/p\u003e\u003cp\u003e‘the void’ – in a field, in Mullem, East Flanders.\u003c/p\u003e\u003cp\u003eThat open-air exhibition,\u0026nbsp;\u003ci\u003eVlaamse Landschappen\u0026nbsp;\u003c/i\u003e–\u003c/p\u003e\u003cp\u003eFlemish Landscapes – is a nod to Verheyen’s\u003c/p\u003e\u003cp\u003eidentity as a Flemish painter. His paintings are\u003c/p\u003e\u003cp\u003ealso voids, windows through which he explores\u003c/p\u003e\u003cp\u003ethe suggestion of infinite space.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003eLe Vide\u0026nbsp;\u003c/i\u003eis het ultieme venster op het oneindige.\u003c/p\u003e\u003cp\u003eHet richt de blik. Op alles en op niets. Kijken wordt\u003c/p\u003e\u003cp\u003estaren in de leegte. Zo verliest de kunst haar\u003c/p\u003e\u003cp\u003emateriële vorm. In 1967 voert Verheyen samen\u003c/p\u003e\u003cp\u003emet de Duitse kunstenaar Günther Uecker een\u003c/p\u003e\u003cp\u003e\u003ci\u003ehappening\u0026nbsp;\u003c/i\u003euit. Ze plaatsen\u0026nbsp;\u003ci\u003eLe Vide\u0026nbsp;\u003c/i\u003e– ‘leegte’ in het\u003c/p\u003e\u003cp\u003eFrans – in een Vlaams veld in Mullem.\u0026nbsp;\u003c/p\u003e\u003cp\u003eDie openluchttentoonstelling,\u003ci\u003eVlaamse Landschappen\u003c/i\u003e, is\u003c/p\u003e\u003cp\u003eeen knipoog naar Verheyens identiteit als Vlaamse\u003c/p\u003e\u003cp\u003eschilder. Ook zijn schilderijen zijn leegtes, vensters\u003c/p\u003e\u003cp\u003ewaarmee hij de suggestie van een onbegrensde\u003c/p\u003e\u003cp\u003eruimte onderzoekt.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":21267,"title":"• 0131 • Portret van Käthi Liechti","dimensions":"112 x 100 cm","date_begin":"1961-01-01","material":"Paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the front\u003cbr /\u003e\r\nNo date?\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":49,"permalink":"131-portret-van-kathi-liechti","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/765/medium_500/131_asset1.jpg?1557319810","cached_actor_names":"Jef Verheyen, Galerie Bernard","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/765/large/131_asset1.jpg?1557319810","poster_credits":"(c)Jef Verheyen, photo: Dominique Stroobant - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21275,"title":"• 0138 • Untitled","dimensions":"Ø 120 cm, 152 x 152 cm with box","date_begin":"1962-01-01","material":"Matt lacquer on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Tondo Piron Gilberte Jacobs","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned and dated on the reverse (paint)\u003cbr /\u003e\r\nNo original frame anymore (in 2010)\u003cbr /\u003e\r\nSquare wooden dark green box\u0026nbsp;\u003cbr /\u003e\r\nNo stretcher\u003cbr /\u003e\r\nCondition \u0026quot;intact\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eFormer collection of Guy Vandenbranden and afterwards, collection dr.\u0026nbsp;Piron.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e= 671\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":45,"permalink":"138-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/787/medium_500/138_asset5.jpg?1557387069","cached_actor_names":"Guy Vandenbranden, Herman Piron, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/787/large/138_asset5.jpg?1557387069","poster_credits":"(c)Jef Verheyen, photo: ? - Axel Vervoordt","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21276,"title":"• 0139 • Monochrome Bleu","dimensions":"100 x 81 cm","date_begin":"1962-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDedicated on the reverse: \u0026quot;A Stella\u0026quot;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":64,"permalink":"139-monochrome-bleu","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/047/785/medium_500/139_1.jpg?1648048363","cached_actor_names":"Galerie Smith, Axel Vervoordt, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/047/785/large/139_1.jpg?1648048363","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21280,"title":"• 0140 • Untitled","dimensions":"100 x 60 cm","date_begin":"1962-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Axel Vervoordt, Antwerp, Belgium","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nSigned and dated on the reverse\u003cbr /\u003e\r\nLabeled on the reverse (?)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":22,"permalink":"140-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/793/medium_500/140_asset1.jpg?1557404101","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/793/large/140_asset1.jpg?1557404101","poster_credits":"(c)Jef Verheyen, photo: ? - Axel Vervoordt","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21429,"title":"• 0145 • ISIS","dimensions":"87,5 x 87,5 cm","date_begin":"1982-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nSigned on the reverse (twice, with brush, in violet)\u003cbr /\u003e\r\nDated\u0026nbsp;on the reverse (twice, with brush, in violet)\u003cbr /\u003e\r\nTitled on the reverse (twice, with brush, in violet)\u003cbr /\u003e\r\nInscribed on the stretcher, illegible\u0026nbsp;(with brush, in violet)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":30,"permalink":"145-isis","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/452/medium_500/145_asset3.jpg?1559049030","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/452/large/145_asset3.jpg?1559049030","poster_credits":"(c)Jef Verheyen, photo: ? - Grisebach GmbH","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21167,"title":"• 0055 • Zwarte Ruimte - Bonjour Heraklithe","dimensions":"194.1 x 128.8 cm, 195.6 x 130.2 cm with frame","date_begin":"1959-01-01","material":"oil paint and pigment on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"KMSKA, Antwerp","cached_tag_list":"Jef Verheyen KMSKA Zwarte ruimte Espace noir Heraclite Heraclitus","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned on the back: 'Jef Verheyen'\u003cbr\u003eDated on the back: '1959'\u003cbr\u003eTitled on the back: 'Bonjour Heraclite'?\u003cbr\u003eCovered on the reverse\u003c/p\u003e\u003cp\u003eVerheyen wrote about Heraclite ('Bonjour Heraclite') in his notebook from 1962 (spread 60-61/90, see linked items).\u003c/p\u003e","date_end":null,"reference":"3182","stream_count_app":118,"permalink":"55-zwarte-ruimte","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/416/medium_500/55_asset1.jpeg?1555495583","cached_actor_names":"Jef Verheyen, Galerie Bernard, Koninklijk Museum voor Schone Kunsten Antwerpen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/416/large/55_asset1.jpeg?1555495583","poster_credits":"(c)Jef Verheyen, photo: KMSKA - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21430,"title":"• 0146 • La limite du rien","dimensions":"60 x 50 cm","date_begin":"1965-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1965/63\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nTitled on the reverse\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":16,"permalink":"146-la-limite-du-rien","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/454/medium_500/146_asset1.jpg?1559050557","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/454/large/146_asset1.jpg?1559050557","poster_credits":"(c)Jef Verheyen, photo: Annelien De Troij - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21449,"title":"• 0148 • Zonnebogen","dimensions":"45 x 45 cm each (4 x)","date_begin":"1962-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1962-1963\u003cbr /\u003e\r\nArtist\u0026#39;s frame?\u003cbr /\u003e\r\nSigned on the reverse (on each of the 4 works)\u0026nbsp;\u003cbr /\u003e\r\nDated on the reverse\u0026nbsp;(on each of the 4 works)\u0026nbsp;\u003c/p\u003e\r\n","date_end":"1963-01-01","reference":"","stream_count_app":79,"permalink":"148-untitled-zonnebogen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/572/medium_500/148_11.jpg?1648039121","cached_actor_names":"Axel Vervoordt, Jef Verheyen, Galerie Bernard","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/572/large/148_11.jpg?1648039121","poster_credits":"(c)Jef Verheyen, photo: Beurret Bailly Widmer Auktionen, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21454,"title":"• 0149 • Untitled (Arc-en-Ciel)","dimensions":"73 x 73 cm","date_begin":null,"material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Galerie Carrefour Orora Aurora","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArc-en-Ciel series? \u0026quot;Arc-en-Ciel violet-lila-aurora pink-bleu (fond) Bleu de sup. gauche \u0026agrave; inf. droite\u0026quot;\u003cbr /\u003e\r\nArtist\u0026#39;s frame, gilded\u003cbr /\u003e\r\nUnsigned\u003cbr /\u003e\r\nUndated, \u003cstrong\u003eprobably 1962-1963 or ca. 1963\u0026nbsp;\u003c/strong\u003ebecause of the work being exhibited at\u0026nbsp;Galerie Carrefour (Marcel Stal) in Brussels\u003cbr /\u003e\r\nInscribed on the reverse (pencil, almost invisible):\u0026nbsp;Algiz rune sign\u0026nbsp;\u0026quot;\u003cem\u003ez\u003c/em\u003e-rune\u0026quot;\u0026nbsp;ᛉ\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003cbr /\u003e\r\nLabeled on the reverse (unclear)\u003cbr /\u003e\r\nAccompanied by a certificate of authenticity issued by the Jef Verheyen Archive\u0026nbsp;(n. 16, 24/01/1991)\u003cbr /\u003e\r\nCondition: \u0026quot;Cracks in canvas. Canvas has been detached from the original stretcher and restretched on a new stretcher quiet badly. Paint layer has been redone? Overall good condition.\u0026quot;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":31,"permalink":"149-untitled-arc-en-ciel","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/829/medium_500/149_asset3Artnet.jpg?1559724221","cached_actor_names":"Erker Galerie, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/829/large/149_asset3Artnet.jpg?1559724221","poster_credits":"(c)Jef Verheyen, photo: ? - Sotheby's Amsterdam","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21459,"title":"• 0151 • Untitled (Charlottelei)","dimensions":"66,5 x 46 cm","date_begin":"1963-01-01","material":"Canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Helmut Dudé Hans Liechti Galerie Bernard Charlottelei","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nAlthough the work is untitled, it was titled\u0026nbsp;\u0026quot;\u003cem\u003eCharlottelei\u0026quot;\u0026nbsp;\u003c/em\u003eby Helmut Dud\u0026eacute; at the the time of the exhibition\u0026nbsp;\u003cem\u003eZERO und Paris\u0026nbsp;\u003c/em\u003e\u003cbr /\u003e\r\nSigned on the reverse (canvas, blue paint)\u003cbr /\u003e\r\nDated on the reverse (canvas, blue paint)\u003cbr /\u003e\r\nLabeled on the reverse referring to the travelling ZERO exhibition (1998) at Mus\u0026eacute;e d\u0026#39;Art Moderne et d\u0026#39;Art Contemporain Nice (coll. Sammlung Helmut Dud\u0026eacute;)\u003cbr /\u003e\r\nInscribed on this label: 1963 Charlottelei (bien-clair)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":46,"permalink":"151-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/856/medium_500/151_asset1AV.jpg?1559738114","cached_actor_names":"Galerie Bernard, Axel Vervoordt, Jef Verheyen, Sammlung Helmut Dudé","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/856/large/151_asset1AV.jpg?1559738114","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21460,"title":"• 0152 • Maanbogen","dimensions":"44 x 44 cm each part, 88,5 x 88,5 cm, 98,5 x 98,5 cm with frame","date_begin":null,"material":"Matt lacquer on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Arc-en-Ciel Arc-en-Soleil Maanboog","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n= 511?\u003cbr /\u003e\r\nGreen-blue\u003cbr /\u003e\r\nUndated, ca. 1963-1964 see provenance Marcel Stal / Galerie Carrefour\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nInscribed on the reverse (stretcher): \u0026quot;Av. Louise 17 Brussel\u0026quot;\u003cbr /\u003e\r\nLabeled on the reverse (see transcription) referring to the exhibition in Geneva (1980)\u0026nbsp;and Belgische Staat (Ministerie) (coll. Macken)\u003cbr /\u003e\r\nCondition \u0026quot;ok\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":45,"permalink":"152-maanbogen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/874/medium_500/152_asset3av.jpg?1559741613","cached_actor_names":"Jef Verheyen, Galerie Carrefour, Axel Vervoordt, Jos Macken","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/874/large/152_asset3av.jpg?1559741613","poster_credits":"(c)Jef Verheyen, photo: ? - Axel Vervoordt","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21462,"title":"• 0153 • Untitled","dimensions":"116 x 144 x 30 cm","date_begin":"1963-01-01","material":"Oil on perforated canvas, aluminium strips, angle irons, steel springs","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":79,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Hermann Goepfert Estate, Frankfurt am Main, Germany","cached_tag_list":"Jef Verheyen Lucio Fontana Hermann Goepfert","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nInscribed on the reverse, including an Italian text by Jef Verheyen: \u0026quot;[...] di Fontana mal executi parma\u0026quot;\u003cbr /\u003e\r\nCondition \u0026quot;good\u0026quot;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":52,"permalink":"153-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/881/medium_500/153_asset2.jpg?1559810049","cached_actor_names":"Jef Verheyen, Lucio Fontana, Hermann Goepfert","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/881/large/153_asset2.jpg?1559810049","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21471,"title":"• 0154 • Untitled","dimensions":"99 cm Ø","date_begin":"1963-01-01","material":"Oil paint on wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Hermann Goepfert Estate, Frankfurt am Main, Germany","cached_tag_list":"Jef Verheyen Hermann Goepfert Tondo","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned and dated on the reverse: \u0026quot;Jef Verheyen \u0026#39;63\u0026quot;\u003cbr /\u003e\r\nDedicated in 1971 on the reverse: \u0026quot;F\u0026uuml;r meinen Freund Hermann Goepfert Frankfurt am Main 1971\u0026quot;\u003cbr /\u003e\r\nCondition \u0026quot;good\u0026quot; \u0026quot;spots\u0026quot;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":36,"permalink":"154-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/993/medium_500/154_asset1.jpg?1578317428","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/993/large/154_asset1.jpg?1578317428","poster_credits":"(c)Jef Verheyen, photo: Hermann Goepfert Estate - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21472,"title":"• 0155 • Studie Bevel (Itegem)","dimensions":"40 x 30 cm","date_begin":"1963-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Bevel Itegem Onzea Govaerts","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1963/1964\u003cbr /\u003e\r\nArtist\u0026#39;s frame, gilded (Schleiper)\u0026nbsp;\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nSee letter March 1982\u003c/p\u003e\r\n","date_end":"1964-01-01","reference":"","stream_count_app":46,"permalink":"155-studie-bevel-itegem","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/998/medium_500/155_asset1.jpg?1560347669","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/998/large/155_asset1.jpg?1560347669","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21477,"title":"• 0159 • Zomer I","dimensions":"90 x 100 cm, 91 x 128 cm with frame","date_begin":"1966-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Summer Zomer Onzea","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nFrame Schleiper? (unpainted wood)\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nLabeled on the reverse, labels referring to customs Zaventem, and art Belge USA (Mr. Eeckman?)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":22,"permalink":"159-zomer-i","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/024/medium_500/159_asset1.jpg?1560511556","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/024/large/159_asset1.jpg?1560511556","poster_credits":"(c)Jef Verheyen, photo: Lieve Onzea - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21478,"title":"• 0160 • Zonneboog - Bevel","dimensions":"90 x 90 cm each","date_begin":"1965-01-01","material":"Matt lacquer ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Atelier Scheldestraat 53","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nPair of two paintings\u003cbr /\u003e\r\nSigned and dated on the reverse\u003cbr /\u003e\r\nTitled on the reverse\u003cbr /\u003e\r\nInscribed on the reverse of \u003cem\u003eZonneboog \u003c/em\u003e(left part): \u0026quot;Scheldestraat 53 Antwerpen\u0026quot;\u003cbr /\u003e\r\nProvenance references labeled on the reverse\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":29,"permalink":"160-zonneboog-pair","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/029/medium_500/160_asset1.jpg?1560515154","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/029/large/160_asset1.jpg?1560515154","poster_credits":"(c)Jef Verheyen, photo: ? - Axel Vervoordt","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21479,"title":"• 0161 • Energie Aurora Pink","dimensions":"131 x 131 cm with frame","date_begin":"1968-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Orora Pink Aurora Pink Piron","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (pink painted wood)\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nSigned and dated on the reverse (on the canvas, painted): \u0026quot;1968/1969 Jef Verheyen\u0026quot;\u003cbr /\u003e\r\nTitled on the reverse (on the canvas, painted): \u0026quot;Energie Orora [Aurora] Pink\u0026quot;\u003cbr /\u003e\r\nInscribed on the reverse (on the canvas, painted):\u0026nbsp;Algiz rune sign\u0026nbsp;\u0026quot;\u003cem\u003ez\u003c/em\u003e-rune\u0026quot;\u0026nbsp;ᛉ\u0026nbsp;\u0026nbsp;\u003cbr /\u003e\r\nCondition \u0026quot;intact\u0026quot;\u003c/p\u003e\r\n","date_end":"1969-01-01","reference":"","stream_count_app":35,"permalink":"161-energie-aurora-pink","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/032/medium_500/161_asset1.jpg?1560516878","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/032/large/161_asset1.jpg?1560516878","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen 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(ᛉ)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":25,"permalink":"171-bevel","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/069/medium_500/171_asset1.jpg?1560779953","cached_actor_names":"Axel Vervoordt, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/069/large/171_asset1.jpg?1560779953","poster_credits":"(c)Jef Verheyen, photo: ? - Axel 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painting\u0026quot;,\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":19,"permalink":"178-morgen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/116/medium_500/179_asset2.jpg?1560944653","cached_actor_names":"Jef Verheyen, Axel Vervoordt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/116/large/179_asset2.jpg?1560944653","poster_credits":"(c)Jef Verheyen, photo: ? - Axel 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25.1.95\"\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":32,"permalink":"166-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/093/medium_500/166_1.jpg?1722860895","cached_actor_names":"Jef Verheyen, Axel Vervoordt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/093/large/166_1.jpg?1722860895","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of Axel Vervoordt 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stretcher (felt pen)\u003cbr\u003eTitled on the reverse, on the stretcher (felt pen)\u003cbr\u003eInscribed on the reverse, on the canvas (brown felt pen): \"Anvers\"\u003cbr\u003eLabeled on the reverse (5) referring to Europalia '80 (Axel Vervoordt); Etat Belge (Dr. Macken); Profile II exhibition (Banque de Paris et Pays-Bas), Galerie\u0026nbsp;Ad Libitum, Ministry of Cultural Affairs (Axel Vervoordt)\u003c/p\u003e","date_end":null,"reference":"AM 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Liégeois - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21473,"title":"• 0156 • Night and Day","dimensions":"186 x 88 cm each, 194 x 192 cm with frame, diptyque / paravent","date_begin":"1964-01-01","material":"matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private Collection, France","cached_tag_list":"Jef Verheyen Boek 40 Night Day Paravent","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003e1964/1965\u003cbr\u003eArtist's frame (wooden 'box', grey and red lacquered on the back)\u003cbr\u003eSigned on the reverse? Back side of the canvas not visibile because of box frame\u003cbr\u003eCondition \"ok\"\u003cbr\u003e\u003cbr\u003ePublished:\u0026nbsp;\u003cbr\u003eM. Gardner \u0026amp; A. Vervoordt, 'Licht en Ruimte' / 'Living with Light'\u003c/p\u003e","date_end":"1965-01-01","reference":"","stream_count_app":88,"permalink":"156-night-day","description_ru":"","description_de":"\u003cp\u003eVerheyen war ein Verfechter der Dialektik. Diese Form des Argumentierens geht von Gegensätzlichkeiten aus, um zu Einsichten zu gelangen. Verheyen philosophierte über das Leere und das Volle, über Schwarz und Weiß, Dunkel und Licht, Lokales und Universelles, Tag und Nacht, … Diese Paravent symbolisiert seine Art zu Denken. Im ewigen Rhythmus von Tag und Nacht sieht Verheyen gleichsam den\u003cstrong\u003e ‚\u003c/strong\u003eAtem des Lebens‘, das wahre Sein.\u0026nbsp;\u003c/p\u003e\u003cp\u003e(KMSKA, 2024)\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/094/medium_500/156_10.jpg?1722861190","cached_actor_names":"Jef Verheyen, Axel Vervoordt, Galerie Carrefour","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/094/large/156_10.jpg?1722861190","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of Axel Vervoordt Gallery","translations":[{"locale":"en","description":"\u003cp\u003eVerheyen was an adherent of dialectics, a form of reasoning that uses argument and counter-argument to arrive at insight. He philosophised, for example, about the empty and the full, black and white, dark and light, local and universal, day and night...\u003c/p\u003e\u003cp\u003eThis screen represents his thought strategy. Verheyen compares the eternal rhythm of day and night to the 'breath of life'.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eVerheyen was een aanhanger van de dialectiek. Deze manier van redeneren vertrekt van tegenstellingen om tot inzichten te komen. Zo filosofeerde Verheyen over het lege en het volle, zwart en wit, donker en licht, lokaal en universeel, dag en nacht, ...\u0026nbsp;\u003c/p\u003e\u003cp\u003eDit kamerscherm verbeeldt zijn denkstrategie. Het eeuwige ritme van dag en nacht beschouwt Verheyen als de ‘ademhaling van het leven’, als het ware zijn.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eJef Verheyen était un adepte de la dialectique. Cette méthode de raisonnement part de contradictions pour aboutir à des idées. Jef Verheyen philosophait ainsi sur le vide et le plein, le noir et le blanc, le clair et l’obscur, le local et l’universel, le jour et la nuit...\u0026nbsp;\u003cbr\u003eCe paravent illustre sa stratégie de réflexion. Pour Jef Verheyen, l’éternelle alternance du jour et de la nuit est «\u0026nbsp;la respiration de la vie\u0026nbsp;», l’essence véritable.\u003c/p\u003e\u003cp\u003e(source: KMSKA, 2024)\u003c/p\u003e"}]},{"id":33753,"title":"Poems on Jef Verheyen, Yves Klein and Paul De Vree","dimensions":"3 p.","date_begin":null,"material":"ink on paper, typoscript","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Gedichten","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_02_84","stream_count_app":23,"permalink":"poems-on-jef-verheyen-yves-klein-and-paul-de-vree","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/268/medium_500/JV_02_84_a.jpg?1666854719","cached_actor_names":"Jef Verheyen, Yves Klein, Paul De Vree, Freddy De Vree","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/268/large/JV_02_84_a.jpg?1666854719","poster_credits":"(c)scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21537,"title":"Lichtkathedralen","dimensions":"70,1 x 45,4 cm","date_begin":"1967-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Galerie Carrefour","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_52_12","stream_count_app":25,"permalink":"affiche-lichtkathedralen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/253/medium_500/ID_3281_asset1.jpg?1562054110","cached_actor_names":"Galerie Carrefour, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/253/large/ID_3281_asset1.jpg?1562054110","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21527,"title":"• 0205 • F. 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I\u0026quot;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":9,"permalink":"190-pan-i","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21513,"title":"• 0191 • Lichtwenteling","dimensions":"61 x 61 cm","date_begin":"1968-01-01","material":"Matt lacquer on 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/\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":38,"permalink":"191-lichtwenteling","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/052/121/medium_500/176_44_136_Jef_Verheyen_A.jpg?1584359319","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/052/121/large/176_44_136_Jef_Verheyen_A.jpg?1584359319","poster_credits":"(c)Jef Verheyen, photo: De Vuyst - Jef Verheyen Archive ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21514,"title":"• 0192 • Mexico","dimensions":"105 x 105 cm","date_begin":"1967-01-01","material":"Matt lacquer? on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1967-1968?\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wood, painted grey)\u003cbr /\u003e\r\nSigned on the reverse?\u003cbr /\u003e\r\nDated on the reverse?\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe work was painted right after the artist\u0026#39;s travels to Mexico\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":18,"permalink":"192-mexico","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21515,"title":"• 0193 • Le Pommier (d'après Dani)","dimensions":"95 x 95 cm, 103 x 103 cm with frame","date_begin":"1963-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":181,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Onzea","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (gilded)\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\n1963-1964, 1976\u003c/p\u003e\r\n","date_end":"1976-01-01","reference":"","stream_count_app":72,"permalink":"193-le-pommier-d-apres-dani","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/168/medium_500/193_asset2.jpg?1561619372","cached_actor_names":"Jos Macken, Jef Verheyen, Axel Vervoordt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/168/large/193_asset2.jpg?1561619372","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21516,"title":"• 0194 • L'air est plane","dimensions":"180 x 180 cm","date_begin":"1968-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1958/1968?\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nProbably 1968: see Brasil and Mexico series\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":30,"permalink":"194-l-air-est-plane","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/173/medium_500/194_asset1.jpg?1561620667","cached_actor_names":"Jos Macken, Jef Verheyen, Axel Vervoordt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/173/large/194_asset1.jpg?1561620667","poster_credits":"(c)Jef Verheyen, photo: ? - Axel Vervoordt","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21517,"title":"• 0195 • Lichtwenteling II","dimensions":"180 x 180 cm with frame","date_begin":"1968-01-01","material":"Synthetic resin on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Gerhard and Anna Lenz, Lenz Schönberg Collection, Schönberg, Germany","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1968/1969\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nInscribed on the reverse\u003c/p\u003e\r\n","date_end":"1969-01-01","reference":"VER-36 (titled 'Lichtstrom')","stream_count_app":32,"permalink":"195-lichtwenteling-ii","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/182/medium_500/195_asset1.jpg?1561626309","cached_actor_names":"Sammlung Lenz, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/182/large/195_asset1.jpg?1561626309","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21523,"title":"• 0201 • Rose Carrée - Morgen Avond ","dimensions":"95 x 95 cm","date_begin":"1983-01-01","material":"?","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"201-morgen-avond-rose-carree","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen, Galerie Bernard","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21474,"title":"157 Jef Verheyen 40 (ed. 220)","dimensions":"43 x 43 x 4 cm box, 40 x 40 cm each serigraph","date_begin":"1972-01-01","material":"Book multiple containing 4 serigrpahs, 180 pages book with texts, photographs and colour illustrations. Package: white cardboard box inside chromed aluminium box finished with a printed tricolour laser, bookmultiple ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Gerhard and Anna Lenz, Lenz Schönberg Collection, Schönberg, Austria","cached_tag_list":"Jef Verheyen book multiple","publishing_process_id":1,"annotation":"\u003cp\u003eIn presale, an edition was priced 14.9000 frank (approx. 3725 euros), after the launch the price was 28.000 frank (approx. 700 euros).\u0026nbsp;\u003cbr /\u003e\r\nA part of the edition was destroyed on the occasion of the bankruptcy\u0026nbsp;of Multi-Art in 1986.\u003c/p\u003e\r\n","date_end":null,"reference":"VER-19","stream_count_app":86,"permalink":"157-40","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/491/medium_500/157_asset5.png?1572951743","cached_actor_names":"Sammlung Lenz, Multi-Art Gallery, Frank Philippi, Liliane Emma Staal, Ivo Michiels, Multi-Art Press International, Jef Verheyen, Paul Ibou","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eWhite cardboard box inside chromed aluminium box (chromium-plated metal sheet) finished with a printed tricolour laser.\u003c/p\u003e\r\n\r\n\u003cp\u003eInside the box, a linen slipcase includes 4 light bow serigraphs by Jef Verheyen,\u0026nbsp;two of them with a laser. They are numbered from A to D, signed and labeled on the reverse.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe serigraphs are followed by Ivo Michiels\u0026#39;s text \u0026#39;Jef Verheyen, schilder. Ook een verhaal\u0026#39;; a double-paged photograph by Frank Philippi of a landscape; and a book with a historical overview.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003ePublished on the occasion of Jef Verheyen\u0026#39;s 40th birthday on\u0026nbsp;7 July 1972.\u003c/p\u003e\r\n\r\n\u003cp\u003eEdited by Liliane E. Staal and designed by Paul Ibou\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nPublished by Multi-Art Press International, 1972.\u0026nbsp; The book was presented in the Museum Plantin-Moretus, Antwerp, on 7 July 1972.\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition of 220 + extra copies numbered with roman numerals.\u003c/p\u003e\r\n\r\n\u003cp\u003eAll four lithographs are numbered, signed and dated: \u0026quot;A\u0026quot; to \u0026quot;D\u0026quot;, \u0026quot;/220\u0026quot;, \u0026quot;Jef Verheyen 72\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21529,"title":"• 0207 • Venice by Night","dimensions":"210 x 120 each, 210 x 620 cm paravent","date_begin":"1965-01-01","material":"Paint on silk/mousseline (2) and canvas (3), 5 parts, folding screen","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":181,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Venice Night Paravent Private Collection JV","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned and dated on the reverse\u003c/p\u003e\u003cp\u003ePublished in Ivo Michiels,\u0026nbsp;\u003ci\u003eJef Verheyen, schilder. Ook een verhaal,\u0026nbsp;\u003c/i\u003e1972\u003c/p\u003e","date_end":"1966-01-01","reference":"","stream_count_app":141,"permalink":"207-venice-by-night","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/083/medium_500/207_13.jpg?1722857119","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/083/large/207_13.jpg?1722857119","poster_credits":"Photo: Christine Clinckx / M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21534,"title":"• 0210 • Lichtkathedralen","dimensions":"207 x 161.5 cm (triptych)","date_begin":"1967-01-01","material":"matt lacquer and oil-painted plywood on hardboard, panels joined by hinges","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private Caspar H. Schübbe, Switzerland","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned and dated on the reverse (right panel): 'Jef Verheyen 67' ???\u003cbr\u003eInscribed on the reverse: 'Van Schoonbekestr. 56 Antw'\u003cbr\u003eTitled on the reverse (right panel)???\u003cbr\u003eCondition: \"minor traces of age\"\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eFilip Tas has made a portrait of Jef Verheyen standing in front of this work:\u0026nbsp;B/2007/2187/7\u0026nbsp; (5996) Collection FoMu\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eAbout the meaning of \u003ci\u003eLichtkathedralen \u003c/i\u003e(Cathedrals of Light), the artist wrote in his notebook in 1961:\u003c/p\u003e\u003cp\u003e\u003ci\u003eL’art flamand est un art sacrale. Al wat onze voorvaderen schilderden, diende om de kathedralen te versieren. Mijn schilderijen zijn ook sacraal of zij zijn kathedralen van licht of zouden in de kathedraal van het licht moeten zijn.\u003c/i\u003e\u003cbr\u003e\u003ci\u003eKathedraal van licht is Kosmos.\u003c/i\u003e\u003cbr\u003e\u003ci\u003eHet huist van het licht.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003ePeintures fait pour la cathédrale de la lumière.\u003c/i\u003e\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":45,"permalink":"210-lichtkathedralen-triptych","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/244/medium_500/210_asset2.jpg?1561989904","cached_actor_names":"Jef Verheyen, Galerie Carrefour","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/244/large/210_asset2.jpg?1561989904","poster_credits":"(c)Jef Verheyen, photo: ? - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21530,"title":"Jef Verheyen, schilder. Ook een verhaal","dimensions":"4 p.","date_begin":"1966-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":25,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Ivo Michiels Boek 40 Elf uit Vlaanderen","publishing_process_id":1,"annotation":"\u003cp\u003eOriginally published in:\u0026nbsp;\u003cbr\u003e\u003cbr\u003eGaston Burssens, Ivo Michiels, Gust Gils, Paul de Wispelaere, Hugo Claus, Hugo Raes, weverbergh, Hugues C. Pernath, C.C. Krijgelmans, Astère Michel Dhondt, Marc Andries,\u0026nbsp;\u003ci\u003eElf uit Vlaanderen,\u0026nbsp;\u003c/i\u003eAmsterdam/Antwerpen: De Bezige Bij/Contact, 1966: 19-22.\u003cbr\u003e\u003cbr\u003e\u003cbr\u003eRepublished in:\u0026nbsp;\u003cbr\u003e\u003cbr\u003e\u003ci\u003eBoek 40,\u0026nbsp;\u003c/i\u003emultiple, 1972\u003cbr\u003e\u003cbr\u003eNieuw Vlaams Tijdschrift Vol. 30 (1977) Nr. 3\u0026nbsp;\u003cbr\u003e\u003cbr\u003eIvo Michiels,\u0026nbsp;\u003ci\u003eLuister hoe dit beeld hoe die lijn hoe die kleur hoe dit vlak luister,\u0026nbsp;\u003c/i\u003eAntwerp: Soethoudt, 1979 (a collection of the artist's writings about art)\u003c/p\u003e","date_end":null,"reference":"JV_10_03","stream_count_app":58,"permalink":"jef-verheyen-schilder-ook-een-verhaal","description_ru":"","description_de":"\u003cp\u003eOriginally published in:\u0026nbsp;\u003cbr\u003e- Gaston Burssens, Ivo Michiels, Gust Gils, Paul de Wispelaere, Hugo Claus, Hugo Raes, weverbergh, Hugues C. Pernath, C.C. Krijgelmans, Astère Michel Dhondt, Marc Andries,\u0026nbsp;\u003ci\u003eElf uit Vlaanderen,\u0026nbsp;\u003c/i\u003eAmsterdam/Antwerpen: De Bezige Bij/Contact, 1966: 19-22.\u003cbr\u003e\u003cbr\u003eRepublished in:\u0026nbsp;\u003cbr\u003e- \u003ci\u003eBoek 40,\u0026nbsp;\u003c/i\u003emultiple, 1972\u003cbr\u003e- Nieuw Vlaams Tijdschrift Vol. 30 (1977) Nr. 3\u0026nbsp;\u003cbr\u003e- Ivo Michiels,\u0026nbsp;\u003ci\u003eLuister hoe dit beeld hoe die lijn hoe die kleur hoe dit vlak luister,\u0026nbsp;\u003c/i\u003eAntwerp: Soethoudt, 1979 (a collection of the artist's writings about art)\u003c/p\u003e\u003chr\u003e\u003cp\u003e[Transkript]\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJef Verheyen, schilder. Ook een verhaal\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHij stond, de kraag van zijn overjas hoog opgeslagen, van het perron naar me op te kijken: berooid, triest, dapper. Ik had het coupéraam opengeschoven en riep nog wat. Hij knikte: een paar korte snokken met de vooruitgestoken kin. Hij stond tussen de weinige mensen op het perron als een klein vierkant zwart blok, de ellebogen tegen het lichaam geperst en de handen diep in de zakken gedoken. Hij leek kleiner dan ooit, machtiger en machtelozer dan ooit. Toen de trein zich in beweging zette was er nog eens dat snokken van zijn kin, twee drie keer, en even kwam een hand uit zijn zak, niet ver, tot een beetje boven de heup. Hij deed nog een paar stappen met de trein mee en bleef dan staan, onbeweeglijk, stilaan kleiner wordend. Misschien huilde hij toen zelfs (al die jaren heb ik er hem van verdacht dat hij zelfs huilde, die avond op het Milanese perron). Ik heb het hem later nooit gevraagd, ik begreep ook toen nog niet veel van het in toom gehouden geweld in hem, de kracht van zijn triestheid soms, zijn twijfel soms, zijn koppigheid. Ook zijn uitbarstingen begreep ik nog niet. Ik begreep in die tijd niet veel meer dan zijn schilderijen. En ik wist dat hij die avond in Milaan mee terug naar huis had gewild, gewoon. Het huis, de vrouw, de verf. Ik was hem vanuit Antwerpen nagereisd, was een paar dagen bij hem in Milaan gebleven, reed nu het eerst weer terug, hem achterlatend met het restant van wat schamele lires. Maar hij bleef. Omdat het moest. Ergens moest het. Hij bleef om morgen misschien toch nog een schilderij te verkopen, iemand te ontmoeten die geld gaf, of niet eens geld, iemand die een weg openmaakte. De Weg. Wie weet? Daarom bleef hij en daarom was hij weggegaan: om het wie-weet? Daarom deed hij het telkens opnieuw (zoals die andere keer toen ik hem te Antwerpen met zijn schilderijen op de trein voor Zwitserland zette en hij midden in de salle-des-pas-perdus plots bleef staan en riep: waarom godverdomme? Godverdomme godverdomme! En toch vertrok, rustig, met dat korte snokken van zijn kin).\u003c/p\u003e\u003cp\u003eMaar het was dat niet wat ik wilde vertellen. Of ook dat. Of dit eerst: het station in Milaan, die winter van 57-58 toen ik vanuit de trein weer op het perron had willen springen en hij van op het perron mee de trein in. Ik heb het ene niet gedaan en hij het andere niet en dat was perfect zo, dat weten we nu wel. Ik wilde vertellen wat ik wist sedert die middag, een paar uur voordat de trein vertrok. Van zijn verzworen ogen. Hij werd geboren met verzworen ogen, in een dorp in de Kempen, tussen de dennen en de verf. Ze zagen wel dat er iets mis was met zijn ogen. Ze werden nog net op tijd behandeld - ook dat is een verhaal, een ander - en ze genazen. Dit wil zeggen: het zweren hield op, hij slaagde erin zijn ogen open te houden en te zien. Maar hij zag niets. Er lag als een waas over zijn blik. Niemand merkte er wat van, voor hemzelf zal het wel geleken hebben of het zo hoorde en iedereen was al blij dat zijn ogen openbleven en niet langer zweerden, en dat ze reageerden op licht en donker en zo. Thuis hielden ze een drogisterij open, zijn vader - een wonderbaar man die zowel Dostojewski las (en leest) als ‘De brooddraagster’ en zakelijk ten onder ging aan zijn weemoed en zijn dromen - zijn vader was een meester-huisschilder. Zijn moeder stopte hem vaders verfpotten in de hand als speelgoed. Het eerste wat hij echt zag - en at - was verf. Hij liep met de verf de tuin in die voor hem niet eens een tuin was, alleen maar buiten, een niet-binnen. In de tuin stonden de bomen die hij niet zag, niet echt, niet als bomen. Dan kroop hij met zijn verfpotten tot bij een boom en schilderde de stam. Blauw. Schilderde stam na stam, tot op kindhoogte. Schilderde alle stammen blauw en ontdekte ineens dat de tuin een tuin was, met bomen, en dat de bomen boom waren. Ontdekte de wereld die geen wereld was zonder verf erop. Voor hem niet, vanwege zijn ogen.\u003c/p\u003e\u003cp\u003eDat was het wat ik wilde vertellen. Dat was het waaraan ik ook toen aldoor heb moeten denken, die dag in het Paleis voor Schone Kunsten te Brussel - precies tien jaar na zijn eerste bescheiden expositietje in een boekenzaak te Antwerpen en acht jaar na zijn eerste tentoonstelling in Italië - die dag in 1966 toen Verheyen eindelijk de triomf vierde van zijn verzworen ogen, van het kille perron die avond in Milaan, van het waarom en wie-weet en het godverdomme. In de zalen van het Paleis hingen grote ovalen, cirkels, ruiten, en er stonden tochtschermen waarin panelen die authentieke schilderijen waren, afwisselden met panelen van donkere paarse tulle of zijde. Het was de triomf van het zien, van het doordringen in de ruimte, in de stilte; een nauwelijks te verwerken aanwezigheid van kleur in onvermoede nuances, een chromatiek van verfijning en raffinement, slechts te vatten voor een geoefend en gevoelig oog. Voor een verzworen oog dat ziet wat niemand ziet, of ziet wat iedereen ziet en toch meer ziet, meer weet en meer hoort. Regen- en zonnebogen ziet, nacht en dag, maan en aarde, zomer en avond, Venetië en Panarea. Zie: ergens een verborgen licht dat opdoemt uit het duister, of een donker dat aarzelend zijn schaduw vooruit werpt; diepe paarsen en blauwen naast de freelste gelen en groenen, soms de vlam van een oranje daartussen, het schilderij afwisselend zwoel, smeulend, etherisch; en het oppervlak eerder bewasemd dan geschilderd. Van Eyck, Turner, Permeke, Mondriaan. En Itegem, het geboortedorp: de tuin die geen tuin is, de boom die geen boom is, de wereld die geen wereld is, tot de kleur komt.\u003c/p\u003e\u003cp\u003e‘Rêve de Möbius’ is een licht, morgenlijk-blauw schilderij. Het ontstond in samenwerking met de Argentijns-Italiaanse schilder Fontana. Het geboorteblauw van Verheyen heeft Fontana met gaten doorprikt: een gestileerde agressie, iedere prik een doorboren van de geboorte tot leven. De zevenenzestigjarige Fontana die twaalfhonderd kilometer aflegt om het schilderij van de vierendertigjarige Verheyen te doorboren, beschroomd voor het doek staat, uren aarzelt, een dag lang aarzelt, 's nachts opstaat en in het donker met de hand de curve zoekt die de prik zal moeten beschrijven, straks, wanneer hij zich op het schilderij stort om het zegel te leggen van de vriendschap, de waardering, de gemeenschappelijkheid. En zodus nogeens de triomf van die avond op het perron, van het wie-weet en van alles en alles.\u003c/p\u003e\u003cp\u003eUit zijn kindertijd herinnert Verheyen zich niet zoveel meer, weinig mensen, weinig gezichten. De verfpotten, ja. Voor het overige vooral tafelkleden. De boerentafelkleden uit de Kempen: blauwe vierkanten en witte vierkanten, witte vierkanten en rode vierkanten. Vlakken en vlekken. Kleur.\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/117/medium_500/ID_21530_1.jpg?1580888286","cached_actor_names":"Ivo Michiels, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/117/large/ID_21530_1.jpg?1580888286","poster_credits":"(c)scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eOriginally published in:\u0026nbsp;\u003cbr\u003e- Gaston Burssens, Ivo Michiels, Gust Gils, Paul de Wispelaere, Hugo Claus, Hugo Raes, weverbergh, Hugues C. Pernath, C.C. Krijgelmans, Astère Michel Dhondt, Marc Andries,\u0026nbsp;\u003ci\u003eElf uit Vlaanderen,\u0026nbsp;\u003c/i\u003eAmsterdam/Antwerpen: De Bezige Bij/Contact, 1966: 19-22.\u003cbr\u003e\u003cbr\u003eRepublished in:\u0026nbsp;\u003cbr\u003e- \u003ci\u003eBoek 40,\u0026nbsp;\u003c/i\u003emultiple, 1972\u003cbr\u003e- Nieuw Vlaams Tijdschrift Vol. 30 (1977) Nr. 3\u0026nbsp;\u003cbr\u003e- Ivo Michiels,\u0026nbsp;\u003ci\u003eLuister hoe dit beeld hoe die lijn hoe die kleur hoe dit vlak luister,\u0026nbsp;\u003c/i\u003eAntwerp: Soethoudt, 1979 (a collection of the artist's writings about art)\u003c/p\u003e\u003chr\u003e\u003cp\u003e[transcript]\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJef Verheyen, schilder. Ook een verhaal\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHij stond, de kraag van zijn overjas hoog opgeslagen, van het perron naar me op te kijken: berooid, triest, dapper. Ik had het coupéraam opengeschoven en riep nog wat. Hij knikte: een paar korte snokken met de vooruitgestoken kin. Hij stond tussen de weinige mensen op het perron als een klein vierkant zwart blok, de ellebogen tegen het lichaam geperst en de handen diep in de zakken gedoken. Hij leek kleiner dan ooit, machtiger en machtelozer dan ooit. Toen de trein zich in beweging zette was er nog eens dat snokken van zijn kin, twee drie keer, en even kwam een hand uit zijn zak, niet ver, tot een beetje boven de heup. Hij deed nog een paar stappen met de trein mee en bleef dan staan, onbeweeglijk, stilaan kleiner wordend. Misschien huilde hij toen zelfs (al die jaren heb ik er hem van verdacht dat hij zelfs huilde, die avond op het Milanese perron). Ik heb het hem later nooit gevraagd, ik begreep ook toen nog niet veel van het in toom gehouden geweld in hem, de kracht van zijn triestheid soms, zijn twijfel soms, zijn koppigheid. Ook zijn uitbarstingen begreep ik nog niet. Ik begreep in die tijd niet veel meer dan zijn schilderijen. En ik wist dat hij die avond in Milaan mee terug naar huis had gewild, gewoon. Het huis, de vrouw, de verf. Ik was hem vanuit Antwerpen nagereisd, was een paar dagen bij hem in Milaan gebleven, reed nu het eerst weer terug, hem achterlatend met het restant van wat schamele lires. Maar hij bleef. Omdat het moest. Ergens moest het. Hij bleef om morgen misschien toch nog een schilderij te verkopen, iemand te ontmoeten die geld gaf, of niet eens geld, iemand die een weg openmaakte. De Weg. Wie weet? Daarom bleef hij en daarom was hij weggegaan: om het wie-weet? Daarom deed hij het telkens opnieuw (zoals die andere keer toen ik hem te Antwerpen met zijn schilderijen op de trein voor Zwitserland zette en hij midden in de salle-des-pas-perdus plots bleef staan en riep: waarom godverdomme? Godverdomme godverdomme! En toch vertrok, rustig, met dat korte snokken van zijn kin).\u003c/p\u003e\u003cp\u003eMaar het was dat niet wat ik wilde vertellen. Of ook dat. Of dit eerst: het station in Milaan, die winter van 57-58 toen ik vanuit de trein weer op het perron had willen springen en hij van op het perron mee de trein in. Ik heb het ene niet gedaan en hij het andere niet en dat was perfect zo, dat weten we nu wel. Ik wilde vertellen wat ik wist sedert die middag, een paar uur voordat de trein vertrok. Van zijn verzworen ogen. Hij werd geboren met verzworen ogen, in een dorp in de Kempen, tussen de dennen en de verf. Ze zagen wel dat er iets mis was met zijn ogen. Ze werden nog net op tijd behandeld - ook dat is een verhaal, een ander - en ze genazen. Dit wil zeggen: het zweren hield op, hij slaagde erin zijn ogen open te houden en te zien. Maar hij zag niets. Er lag als een waas over zijn blik. Niemand merkte er wat van, voor hemzelf zal het wel geleken hebben of het zo hoorde en iedereen was al blij dat zijn ogen openbleven en niet langer zweerden, en dat ze reageerden op licht en donker en zo. Thuis hielden ze een drogisterij open, zijn vader - een wonderbaar man die zowel Dostojewski las (en leest) als ‘De brooddraagster’ en zakelijk ten onder ging aan zijn weemoed en zijn dromen - zijn vader was een meester-huisschilder. Zijn moeder stopte hem vaders verfpotten in de hand als speelgoed. Het eerste wat hij echt zag - en at - was verf. Hij liep met de verf de tuin in die voor hem niet eens een tuin was, alleen maar buiten, een niet-binnen. In de tuin stonden de bomen die hij niet zag, niet echt, niet als bomen. Dan kroop hij met zijn verfpotten tot bij een boom en schilderde de stam. Blauw. Schilderde stam na stam, tot op kindhoogte. Schilderde alle stammen blauw en ontdekte ineens dat de tuin een tuin was, met bomen, en dat de bomen boom waren. Ontdekte de wereld die geen wereld was zonder verf erop. Voor hem niet, vanwege zijn ogen.\u003c/p\u003e\u003cp\u003eDat was het wat ik wilde vertellen. Dat was het waaraan ik ook toen aldoor heb moeten denken, die dag in het Paleis voor Schone Kunsten te Brussel - precies tien jaar na zijn eerste bescheiden expositietje in een boekenzaak te Antwerpen en acht jaar na zijn eerste tentoonstelling in Italië - die dag in 1966 toen Verheyen eindelijk de triomf vierde van zijn verzworen ogen, van het kille perron die avond in Milaan, van het waarom en wie-weet en het godverdomme. In de zalen van het Paleis hingen grote ovalen, cirkels, ruiten, en er stonden tochtschermen waarin panelen die authentieke schilderijen waren, afwisselden met panelen van donkere paarse tulle of zijde. Het was de triomf van het zien, van het doordringen in de ruimte, in de stilte; een nauwelijks te verwerken aanwezigheid van kleur in onvermoede nuances, een chromatiek van verfijning en raffinement, slechts te vatten voor een geoefend en gevoelig oog. Voor een verzworen oog dat ziet wat niemand ziet, of ziet wat iedereen ziet en toch meer ziet, meer weet en meer hoort. Regen- en zonnebogen ziet, nacht en dag, maan en aarde, zomer en avond, Venetië en Panarea. Zie: ergens een verborgen licht dat opdoemt uit het duister, of een donker dat aarzelend zijn schaduw vooruit werpt; diepe paarsen en blauwen naast de freelste gelen en groenen, soms de vlam van een oranje daartussen, het schilderij afwisselend zwoel, smeulend, etherisch; en het oppervlak eerder bewasemd dan geschilderd. Van Eyck, Turner, Permeke, Mondriaan. En Itegem, het geboortedorp: de tuin die geen tuin is, de boom die geen boom is, de wereld die geen wereld is, tot de kleur komt.\u003c/p\u003e\u003cp\u003e‘Rêve de Möbius’ is een licht, morgenlijk-blauw schilderij. Het ontstond in samenwerking met de Argentijns-Italiaanse schilder Fontana. Het geboorteblauw van Verheyen heeft Fontana met gaten doorprikt: een gestileerde agressie, iedere prik een doorboren van de geboorte tot leven. De zevenenzestigjarige Fontana die twaalfhonderd kilometer aflegt om het schilderij van de vierendertigjarige Verheyen te doorboren, beschroomd voor het doek staat, uren aarzelt, een dag lang aarzelt, 's nachts opstaat en in het donker met de hand de curve zoekt die de prik zal moeten beschrijven, straks, wanneer hij zich op het schilderij stort om het zegel te leggen van de vriendschap, de waardering, de gemeenschappelijkheid. En zodus nogeens de triomf van die avond op het perron, van het wie-weet en van alles en alles.\u003c/p\u003e\u003cp\u003eUit zijn kindertijd herinnert Verheyen zich niet zoveel meer, weinig mensen, weinig gezichten. De verfpotten, ja. Voor het overige vooral tafelkleden. De boerentafelkleden uit de Kempen: blauwe vierkanten en witte vierkanten, witte vierkanten en rode vierkanten. Vlakken en vlekken. Kleur.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eOriginally published in:\u0026nbsp;\u003cbr\u003e- Gaston Burssens, Ivo Michiels, Gust Gils, Paul de Wispelaere, Hugo Claus, Hugo Raes, weverbergh, Hugues C. Pernath, C.C. Krijgelmans, Astère Michel Dhondt, Marc Andries,\u0026nbsp;\u003ci\u003eElf uit Vlaanderen,\u0026nbsp;\u003c/i\u003eAmsterdam/Antwerpen: De Bezige Bij/Contact, 1966: 19-22.\u003cbr\u003e\u003cbr\u003eRepublished in:\u0026nbsp;\u003cbr\u003e- \u003ci\u003eBoek 40,\u0026nbsp;\u003c/i\u003emultiple, 1972\u003cbr\u003e- Nieuw Vlaams Tijdschrift Vol. 30 (1977) Nr. 3\u0026nbsp;\u003cbr\u003e- Ivo Michiels,\u0026nbsp;\u003ci\u003eLuister hoe dit beeld hoe die lijn hoe die kleur hoe dit vlak luister,\u0026nbsp;\u003c/i\u003eAntwerp: Soethoudt, 1979 (a collection of the artist's writings about art)\u003c/p\u003e\u003chr\u003e\u003cp\u003e[transcriptie]\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJef Verheyen, schilder. Ook een verhaal\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHij stond, de kraag van zijn overjas hoog opgeslagen, van het perron naar me op te kijken: berooid, triest, dapper. Ik had het coupéraam opengeschoven en riep nog wat. Hij knikte: een paar korte snokken met de vooruitgestoken kin. Hij stond tussen de weinige mensen op het perron als een klein vierkant zwart blok, de ellebogen tegen het lichaam geperst en de handen diep in de zakken gedoken. Hij leek kleiner dan ooit, machtiger en machtelozer dan ooit. Toen de trein zich in beweging zette was er nog eens dat snokken van zijn kin, twee drie keer, en even kwam een hand uit zijn zak, niet ver, tot een beetje boven de heup. Hij deed nog een paar stappen met de trein mee en bleef dan staan, onbeweeglijk, stilaan kleiner wordend. Misschien huilde hij toen zelfs (al die jaren heb ik er hem van verdacht dat hij zelfs huilde, die avond op het Milanese perron). Ik heb het hem later nooit gevraagd, ik begreep ook toen nog niet veel van het in toom gehouden geweld in hem, de kracht van zijn triestheid soms, zijn twijfel soms, zijn koppigheid. Ook zijn uitbarstingen begreep ik nog niet. Ik begreep in die tijd niet veel meer dan zijn schilderijen. En ik wist dat hij die avond in Milaan mee terug naar huis had gewild, gewoon. Het huis, de vrouw, de verf. Ik was hem vanuit Antwerpen nagereisd, was een paar dagen bij hem in Milaan gebleven, reed nu het eerst weer terug, hem achterlatend met het restant van wat schamele lires. Maar hij bleef. Omdat het moest. Ergens moest het. Hij bleef om morgen misschien toch nog een schilderij te verkopen, iemand te ontmoeten die geld gaf, of niet eens geld, iemand die een weg openmaakte. De Weg. Wie weet? Daarom bleef hij en daarom was hij weggegaan: om het wie-weet? Daarom deed hij het telkens opnieuw (zoals die andere keer toen ik hem te Antwerpen met zijn schilderijen op de trein voor Zwitserland zette en hij midden in de salle-des-pas-perdus plots bleef staan en riep: waarom godverdomme? Godverdomme godverdomme! En toch vertrok, rustig, met dat korte snokken van zijn kin).\u003c/p\u003e\u003cp\u003eMaar het was dat niet wat ik wilde vertellen. Of ook dat. Of dit eerst: het station in Milaan, die winter van 57-58 toen ik vanuit de trein weer op het perron had willen springen en hij van op het perron mee de trein in. Ik heb het ene niet gedaan en hij het andere niet en dat was perfect zo, dat weten we nu wel. Ik wilde vertellen wat ik wist sedert die middag, een paar uur voordat de trein vertrok. Van zijn verzworen ogen. Hij werd geboren met verzworen ogen, in een dorp in de Kempen, tussen de dennen en de verf. Ze zagen wel dat er iets mis was met zijn ogen. Ze werden nog net op tijd behandeld - ook dat is een verhaal, een ander - en ze genazen. Dit wil zeggen: het zweren hield op, hij slaagde erin zijn ogen open te houden en te zien. Maar hij zag niets. Er lag als een waas over zijn blik. Niemand merkte er wat van, voor hemzelf zal het wel geleken hebben of het zo hoorde en iedereen was al blij dat zijn ogen openbleven en niet langer zweerden, en dat ze reageerden op licht en donker en zo. Thuis hielden ze een drogisterij open, zijn vader - een wonderbaar man die zowel Dostojewski las (en leest) als ‘De brooddraagster’ en zakelijk ten onder ging aan zijn weemoed en zijn dromen - zijn vader was een meester-huisschilder. Zijn moeder stopte hem vaders verfpotten in de hand als speelgoed. Het eerste wat hij echt zag - en at - was verf. Hij liep met de verf de tuin in die voor hem niet eens een tuin was, alleen maar buiten, een niet-binnen. In de tuin stonden de bomen die hij niet zag, niet echt, niet als bomen. Dan kroop hij met zijn verfpotten tot bij een boom en schilderde de stam. Blauw. Schilderde stam na stam, tot op kindhoogte. Schilderde alle stammen blauw en ontdekte ineens dat de tuin een tuin was, met bomen, en dat de bomen boom waren. Ontdekte de wereld die geen wereld was zonder verf erop. Voor hem niet, vanwege zijn ogen.\u003c/p\u003e\u003cp\u003eDat was het wat ik wilde vertellen. Dat was het waaraan ik ook toen aldoor heb moeten denken, die dag in het Paleis voor Schone Kunsten te Brussel - precies tien jaar na zijn eerste bescheiden expositietje in een boekenzaak te Antwerpen en acht jaar na zijn eerste tentoonstelling in Italië - die dag in 1966 toen Verheyen eindelijk de triomf vierde van zijn verzworen ogen, van het kille perron die avond in Milaan, van het waarom en wie-weet en het godverdomme. In de zalen van het Paleis hingen grote ovalen, cirkels, ruiten, en er stonden tochtschermen waarin panelen die authentieke schilderijen waren, afwisselden met panelen van donkere paarse tulle of zijde. Het was de triomf van het zien, van het doordringen in de ruimte, in de stilte; een nauwelijks te verwerken aanwezigheid van kleur in onvermoede nuances, een chromatiek van verfijning en raffinement, slechts te vatten voor een geoefend en gevoelig oog. Voor een verzworen oog dat ziet wat niemand ziet, of ziet wat iedereen ziet en toch meer ziet, meer weet en meer hoort. Regen- en zonnebogen ziet, nacht en dag, maan en aarde, zomer en avond, Venetië en Panarea. Zie: ergens een verborgen licht dat opdoemt uit het duister, of een donker dat aarzelend zijn schaduw vooruit werpt; diepe paarsen en blauwen naast de freelste gelen en groenen, soms de vlam van een oranje daartussen, het schilderij afwisselend zwoel, smeulend, etherisch; en het oppervlak eerder bewasemd dan geschilderd. Van Eyck, Turner, Permeke, Mondriaan. En Itegem, het geboortedorp: de tuin die geen tuin is, de boom die geen boom is, de wereld die geen wereld is, tot de kleur komt.\u003c/p\u003e\u003cp\u003e‘Rêve de Möbius’ is een licht, morgenlijk-blauw schilderij. Het ontstond in samenwerking met de Argentijns-Italiaanse schilder Fontana. Het geboorteblauw van Verheyen heeft Fontana met gaten doorprikt: een gestileerde agressie, iedere prik een doorboren van de geboorte tot leven. De zevenenzestigjarige Fontana die twaalfhonderd kilometer aflegt om het schilderij van de vierendertigjarige Verheyen te doorboren, beschroomd voor het doek staat, uren aarzelt, een dag lang aarzelt, 's nachts opstaat en in het donker met de hand de curve zoekt die de prik zal moeten beschrijven, straks, wanneer hij zich op het schilderij stort om het zegel te leggen van de vriendschap, de waardering, de gemeenschappelijkheid. En zodus nogeens de triomf van die avond op het perron, van het wie-weet en van alles en alles.\u003c/p\u003e\u003cp\u003eUit zijn kindertijd herinnert Verheyen zich niet zoveel meer, weinig mensen, weinig gezichten. De verfpotten, ja. Voor het overige vooral tafelkleden. De boerentafelkleden uit de Kempen: blauwe vierkanten en witte vierkanten, witte vierkanten en rode vierkanten. Vlakken en vlekken. Kleur.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eOriginally published in:\u0026nbsp;\u003cbr\u003e- Gaston Burssens, Ivo Michiels, Gust Gils, Paul de Wispelaere, Hugo Claus, Hugo Raes, weverbergh, Hugues C. Pernath, C.C. Krijgelmans, Astère Michel Dhondt, Marc Andries,\u0026nbsp;\u003ci\u003eElf uit Vlaanderen,\u0026nbsp;\u003c/i\u003eAmsterdam/Antwerpen: De Bezige Bij/Contact, 1966: 19-22.\u003cbr\u003e\u003cbr\u003eRepublished in:\u0026nbsp;\u003cbr\u003e- \u003ci\u003eBoek 40,\u0026nbsp;\u003c/i\u003emultiple, 1972\u003cbr\u003e- Nieuw Vlaams Tijdschrift Vol. 30 (1977) Nr. 3\u0026nbsp;\u003cbr\u003e- Ivo Michiels,\u0026nbsp;\u003ci\u003eLuister hoe dit beeld hoe die lijn hoe die kleur hoe dit vlak luister,\u0026nbsp;\u003c/i\u003eAntwerp: Soethoudt, 1979 (a collection of the artist's writings about art)\u003c/p\u003e\u003chr\u003e\u003cp\u003e[transcription]\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJef Verheyen, schilder. Ook een verhaal\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHij stond, de kraag van zijn overjas hoog opgeslagen, van het perron naar me op te kijken: berooid, triest, dapper. Ik had het coupéraam opengeschoven en riep nog wat. Hij knikte: een paar korte snokken met de vooruitgestoken kin. Hij stond tussen de weinige mensen op het perron als een klein vierkant zwart blok, de ellebogen tegen het lichaam geperst en de handen diep in de zakken gedoken. Hij leek kleiner dan ooit, machtiger en machtelozer dan ooit. Toen de trein zich in beweging zette was er nog eens dat snokken van zijn kin, twee drie keer, en even kwam een hand uit zijn zak, niet ver, tot een beetje boven de heup. Hij deed nog een paar stappen met de trein mee en bleef dan staan, onbeweeglijk, stilaan kleiner wordend. Misschien huilde hij toen zelfs (al die jaren heb ik er hem van verdacht dat hij zelfs huilde, die avond op het Milanese perron). Ik heb het hem later nooit gevraagd, ik begreep ook toen nog niet veel van het in toom gehouden geweld in hem, de kracht van zijn triestheid soms, zijn twijfel soms, zijn koppigheid. Ook zijn uitbarstingen begreep ik nog niet. Ik begreep in die tijd niet veel meer dan zijn schilderijen. En ik wist dat hij die avond in Milaan mee terug naar huis had gewild, gewoon. Het huis, de vrouw, de verf. Ik was hem vanuit Antwerpen nagereisd, was een paar dagen bij hem in Milaan gebleven, reed nu het eerst weer terug, hem achterlatend met het restant van wat schamele lires. Maar hij bleef. Omdat het moest. Ergens moest het. Hij bleef om morgen misschien toch nog een schilderij te verkopen, iemand te ontmoeten die geld gaf, of niet eens geld, iemand die een weg openmaakte. De Weg. Wie weet? Daarom bleef hij en daarom was hij weggegaan: om het wie-weet? Daarom deed hij het telkens opnieuw (zoals die andere keer toen ik hem te Antwerpen met zijn schilderijen op de trein voor Zwitserland zette en hij midden in de salle-des-pas-perdus plots bleef staan en riep: waarom godverdomme? Godverdomme godverdomme! En toch vertrok, rustig, met dat korte snokken van zijn kin).\u003c/p\u003e\u003cp\u003eMaar het was dat niet wat ik wilde vertellen. Of ook dat. Of dit eerst: het station in Milaan, die winter van 57-58 toen ik vanuit de trein weer op het perron had willen springen en hij van op het perron mee de trein in. Ik heb het ene niet gedaan en hij het andere niet en dat was perfect zo, dat weten we nu wel. Ik wilde vertellen wat ik wist sedert die middag, een paar uur voordat de trein vertrok. Van zijn verzworen ogen. Hij werd geboren met verzworen ogen, in een dorp in de Kempen, tussen de dennen en de verf. Ze zagen wel dat er iets mis was met zijn ogen. Ze werden nog net op tijd behandeld - ook dat is een verhaal, een ander - en ze genazen. Dit wil zeggen: het zweren hield op, hij slaagde erin zijn ogen open te houden en te zien. Maar hij zag niets. Er lag als een waas over zijn blik. Niemand merkte er wat van, voor hemzelf zal het wel geleken hebben of het zo hoorde en iedereen was al blij dat zijn ogen openbleven en niet langer zweerden, en dat ze reageerden op licht en donker en zo. Thuis hielden ze een drogisterij open, zijn vader - een wonderbaar man die zowel Dostojewski las (en leest) als ‘De brooddraagster’ en zakelijk ten onder ging aan zijn weemoed en zijn dromen - zijn vader was een meester-huisschilder. Zijn moeder stopte hem vaders verfpotten in de hand als speelgoed. Het eerste wat hij echt zag - en at - was verf. Hij liep met de verf de tuin in die voor hem niet eens een tuin was, alleen maar buiten, een niet-binnen. In de tuin stonden de bomen die hij niet zag, niet echt, niet als bomen. Dan kroop hij met zijn verfpotten tot bij een boom en schilderde de stam. Blauw. Schilderde stam na stam, tot op kindhoogte. Schilderde alle stammen blauw en ontdekte ineens dat de tuin een tuin was, met bomen, en dat de bomen boom waren. Ontdekte de wereld die geen wereld was zonder verf erop. Voor hem niet, vanwege zijn ogen.\u003c/p\u003e\u003cp\u003eDat was het wat ik wilde vertellen. Dat was het waaraan ik ook toen aldoor heb moeten denken, die dag in het Paleis voor Schone Kunsten te Brussel - precies tien jaar na zijn eerste bescheiden expositietje in een boekenzaak te Antwerpen en acht jaar na zijn eerste tentoonstelling in Italië - die dag in 1966 toen Verheyen eindelijk de triomf vierde van zijn verzworen ogen, van het kille perron die avond in Milaan, van het waarom en wie-weet en het godverdomme. In de zalen van het Paleis hingen grote ovalen, cirkels, ruiten, en er stonden tochtschermen waarin panelen die authentieke schilderijen waren, afwisselden met panelen van donkere paarse tulle of zijde. Het was de triomf van het zien, van het doordringen in de ruimte, in de stilte; een nauwelijks te verwerken aanwezigheid van kleur in onvermoede nuances, een chromatiek van verfijning en raffinement, slechts te vatten voor een geoefend en gevoelig oog. Voor een verzworen oog dat ziet wat niemand ziet, of ziet wat iedereen ziet en toch meer ziet, meer weet en meer hoort. Regen- en zonnebogen ziet, nacht en dag, maan en aarde, zomer en avond, Venetië en Panarea. Zie: ergens een verborgen licht dat opdoemt uit het duister, of een donker dat aarzelend zijn schaduw vooruit werpt; diepe paarsen en blauwen naast de freelste gelen en groenen, soms de vlam van een oranje daartussen, het schilderij afwisselend zwoel, smeulend, etherisch; en het oppervlak eerder bewasemd dan geschilderd. Van Eyck, Turner, Permeke, Mondriaan. En Itegem, het geboortedorp: de tuin die geen tuin is, de boom die geen boom is, de wereld die geen wereld is, tot de kleur komt.\u003c/p\u003e\u003cp\u003e‘Rêve de Möbius’ is een licht, morgenlijk-blauw schilderij. Het ontstond in samenwerking met de Argentijns-Italiaanse schilder Fontana. Het geboorteblauw van Verheyen heeft Fontana met gaten doorprikt: een gestileerde agressie, iedere prik een doorboren van de geboorte tot leven. De zevenenzestigjarige Fontana die twaalfhonderd kilometer aflegt om het schilderij van de vierendertigjarige Verheyen te doorboren, beschroomd voor het doek staat, uren aarzelt, een dag lang aarzelt, 's nachts opstaat en in het donker met de hand de curve zoekt die de prik zal moeten beschrijven, straks, wanneer hij zich op het schilderij stort om het zegel te leggen van de vriendschap, de waardering, de gemeenschappelijkheid. En zodus nogeens de triomf van die avond op het perron, van het wie-weet en van alles en alles.\u003c/p\u003e\u003cp\u003eUit zijn kindertijd herinnert Verheyen zich niet zoveel meer, weinig mensen, weinig gezichten. De verfpotten, ja. Voor het overige vooral tafelkleden. De boerentafelkleden uit de Kempen: blauwe vierkanten en witte vierkanten, witte vierkanten en rode vierkanten. Vlakken en vlekken. Kleur.\u003c/p\u003e"}]},{"id":21526,"title":"• 0204 • Variatie","dimensions":"130,5 x 130,5 cm","date_begin":"1968-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"KMSKA, Antwerp","cached_tag_list":"Jef Verheyen Variatie K.M.S.K.A.","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eDate unsure, acquired by the Royal Museum of Fine Arts Antwerp (KMSKA) in 1968/1969 (see invoice and\u0026nbsp;\u003ca href=\"http://www.ethesis.net/antwerpen_museum/antwerpen_museum.htm\"\u003ehttp://www.ethesis.net/antwerpen_museum/antwerpen_museum.htm\u003c/a\u003e)\u0026nbsp;\u003c/p\u003e","date_end":null,"reference":"3063","stream_count_app":83,"permalink":"204-nieuwe-morgen-le-matin","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/771/medium_500/204_1.jpg?1583764339","cached_actor_names":"Jef Verheyen, Koninklijk Museum voor Schone Kunsten Antwerpen, Galerie Ursula Lichter","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/771/large/204_1.jpg?1583764339","poster_credits":"(c)Jef Verheyen, photo: Hugo Maertens, SABAM - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21520,"title":"• 0198 • Gouden Rook - I x I = I","dimensions":"130 x 95 cm","date_begin":"1960-01-01","material":"oil paint and gold pigment on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Gouden Rook I x I = I Private Collection JV","publishing_process_id":1,"annotation":"\u003cp\u003eIn a letter from Verheyen to Englebert Van Anderlecht from 8 February 1961, Verheyen describes as following:\u0026nbsp;\u003c/p\u003e\u003cp\u003e“Je moet dat schilderij zien, het doet me aan een gouden regen denken, heel het schilderij is lucht van onder naar boven, ik maakte nooit daarvoor iets waaruit het licht zo naar buiten straalt.”\u003c/p\u003e","date_end":"1961-01-01","reference":"","stream_count_app":106,"permalink":"198-i-x-i-i-gouden-rook","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/192/medium_500/198_asset1.jpg?1561630857","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/192/large/198_asset1.jpg?1561630857","poster_credits":"(c)Jef Verheyen, scan: CKV, 2019 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eAfter a few years of experimentation with ceramics, in 1956 Verheyen again begins to paint. New abstract work in warm colours and translucent tints. Gradually, the informal composition of planes makes way for a monochrome continuum with subtle differences of tone. Not an evocation of a landscape; instead, more comparable to a moment in a philosophical investigation into the essence of things. At once sensitive and mysterious, like the misty twilight so often evoked by painters and poets from our clime as consonant expression of human shortcomings.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eNa enkele jaren experimenteren met keramiek gaat Verheyen in 1956 weer schilderen. Nieuw abstract werk in warme kleuren en doorschijnende tinten. Gaandeweg maakt de informele opbouw van vlakken plaats voor een monochroom continuüm met subtiele toonverschillen. Geen evocatie van een landschap, maar veeleer te vergelijken met een moment in een wijsgerige zoektocht naar de kern der dingen. Tegelijk gevoelig en mysterieus zoals de mistige schemering waarmee schilders en dichters uit ons klimaat zo vaak het menselijk tekort hebben opgeroepen.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":21518,"title":"• 0196 • Zwarte Zomer","dimensions":"195 x 195 cm, 198 x 198 cm with frame","date_begin":"1965-01-01","material":"matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Private Collection JV","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned and dated on the reverse (canvas): \"jef Verheyen 65\"\u003cbr\u003eTitled on the reverse (canvas)\u003cbr\u003eLabel on the reverse referring to the exhibition\u0026nbsp;\u003ci\u003eGrosse Kunstausstellung München. Sonderausstellung: Kunst aus den Benelux-Ländern\u003c/i\u003e\u003cbr\u003eCustoms label / art Belge removed?\u0026nbsp;\u003c/p\u003e\u003cp\u003eCited from 'Jef Verheyen 40' (ed. 220), on the silkscreen \u003ci\u003eItegem:\u0026nbsp;de ingetogen volle ledigheid van Vlaanderen is mijn zwarte zomer.\u003c/i\u003e\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":79,"permalink":"196-zwarte-zomer","description_ru":"","description_de":"\u003cp\u003eIn Gemälden wie \u003ci\u003eZwarte Zomer\u003c/i\u003e (Schwarzer Sommer) oder\u003ci\u003e\u0026nbsp;Permeke\u003c/i\u003e malt Verheyen seine Vorstellung von einer flämischen Atmosphäre, die eher dunkel anmutet. In den späten 1960er Jahren reist er nach Brasilien, Mexiko, Tunesien, Spanien, Italien und Frankreich. Auf der Suche nach dem Licht, das überall anders ist.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eEin Nordländer auf der Suche nach dem Licht des Südens: Vincent van Gogh ging ihm voran. In einem Brief aus dem Jahr 1889 schrieb er aus der Provence an seinen Bruder über das Licht des Südens:\u0026nbsp;\u003c/p\u003e\u003cp\u003e„Zu einem späteren Zeitpunkt wird meine Reise in den Süden wohl doch Früchte tragen, denn der Unterschied des stärkeren Lichtes, des blauen Himmels, lehrt einen zu schauen, und dann vor allem und auch nur, wenn man lange hinsieht. (…) zuerst muss man die Augen allmählich an das andere Licht gewöhnen.“\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eAuch Verheyen schreibt in seinen Briefen über das verzauberte Licht, das ihm auf seinen Reisen begegnet. „Hier funkelt alles!“ Die Essenz dieser Eindrücke versucht er, auf die Leinwand zu übertragen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e(KMSKA, 2024)\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/183/medium_500/196_asset1.jpg?1561627308","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/183/large/196_asset1.jpg?1561627308","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Axel Vervoordt, Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eIn paintings such as \u003ci\u003eZwarte Zomer\u003c/i\u003e (Black Summer) and\u003ci\u003e Permeke\u003c/i\u003e, Verheyen paints his perception of the Flemish atmosphere, which is rather dark. Later in the 1960s, he travels to Brazil, Mexico, Tunisia, Spain, Italy and France in search of light, which is everywhere different.\u003c/p\u003e\u003cp\u003eA northerner in search of southern light: Vincent van Gogh went on the same quest before him. In a letter written in Provence in 1889, Van Gogh says to his brother about the southern light:\u003c/p\u003e\u003cp\u003e‘…\u0026nbsp;perhaps my journey into the south will bear fruit, however, because the difference of the stronger light, the blue sky, teaches one to see, but especially and only if one looks at it for a long time. (…)\u0026nbsp;one must first and gradually\u0026nbsp;accustom one’s eyes\u0026nbsp;to the different light.’\u003c/p\u003e\u003cp\u003eDuring his travels, Verheyen also writes in his letters about the enchantment of the light. ‘Everything shimmers here!’ He tries to render the essence of those impressions on canvas.\u0026nbsp;\u003c/p\u003e\u003cp\u003e(source: KMSKA, 2024)\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn schilderijen als \u003ci\u003eZwarte Zomer\u003c/i\u003e of\u003ci\u003e Permeke\u003c/i\u003e schildert Verheyen zijn idee van de Vlaamse atmosfeer, die eerder donker is. Later in de jaren 1960 trekt hij naar Brazilië, Mexico, Tunesië, Spanje, Italië en Frankrijk. Hij speurt er naar het licht dat overal anders is.\u003c/p\u003e\u003cp\u003eEen noorderling op zoek naar het zuiderse licht: Vincent van Gogh deed het hem voor. In een brief uit 1889 schrijft Van Gogh vanuit de Provence aan zijn broer over het zuiderse licht:\u0026nbsp;\u003c/p\u003e\u003cp\u003e“Later zal mijn reis naar het Zuiden wellicht toch nog vruchten afwerpen, want door het verschil van het sterkere licht, de blauwe lucht, leer je kijken, en dan vooral en zelfs alleen als je er lang naar kijkt. (…) eerst moet je je ogen geleidelijk aan het andere licht laten wennen.”\u003c/p\u003e\u003cp\u003eOok Verheyen schrijft in zijn brieven over de betovering van het licht tijdens zijn reizen. “Hier tintelt alles!” De essentie van die impressies probeert hij over te brengen op doek.\u0026nbsp;\u003c/p\u003e\u003cp\u003e(bron: KMSKA, 2024)\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eDans des tableaux tels que \u003ci\u003eZwarte Zomer\u003c/i\u003e (L’été noir) ou\u003ci\u003e Permeke\u003c/i\u003e, Jef Verheyen peint ce qu’il considère comme l’atmosphère flamande, qui est plutôt sombre. Plus tard dans les années 1960, il se rend au Brésil, au Mexique, en Tunisie, en Espagne, en Italie et en France. Il y cherche la lumière, partout différente.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eUn peintre du nord en quête de lumière du sud\u0026nbsp;: Vincent van Gogh l’avait précédé dans cette quête. Dans une lettre écrite en Provence et adressée à son frère en 1889, Van Gogh écrit ces lignes à propos de la lumière du Midi\u0026nbsp;:\u0026nbsp;\u003c/p\u003e\u003cp\u003e«\u0026nbsp;Mon voyage dans le midi portera des fruits, car la différence de la lumière plus forte, du ciel bleu, cela apprend à voir et alors surtout et seulement même quand on voit cela longtemps. (…) il faut se faire les yeux d’abord et graduellement à l’autre lumière.\u0026nbsp;»\u003c/p\u003e\u003cp\u003eJef Verheyen, lui aussi, parle dans ses lettres de la magie de la lumière au cours de ses voyages. «\u0026nbsp;Ici, tout scintille\u0026nbsp;!\u0026nbsp;» Il tente de reproduire sur toile l’essence de ces impressions.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e(source: KMSKA, 2024)\u003c/p\u003e"}]},{"id":21564,"title":"List of 11 DIA paintings made in Provence 07/07/1974 - 01/1975","dimensions":"A4","date_begin":"1974-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Jef Verheyen in Provence Dia series Jef Verheyen inventories","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s inventory 1974-1975,\u0026nbsp;\u003ci\u003eDia\u0026nbsp;\u003c/i\u003eseries painted in Provence since 7 July 1974, all inspired on same theme, all shown in November 1974 at Vlaeykensgang, Antwerp (Axel Vervoordt), finished in January 1975.\u003c/p\u003e\r\n","date_end":"1975-01-01","reference":"JV_08_21","stream_count_app":50,"permalink":"11-schilderijen-gemaakt-in-provence-vanaf-7-juli-1974-tot-januari-1975","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/340/medium_500/JV_Notebook_1974_1984_3%2821564%29.jpg?1584517737","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21576,"title":"Ölbilder und Goachen","dimensions":"","date_begin":"1990-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":218,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":32,"permalink":"invitation-olbilder-und-goachen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/376/medium_500/uitn_%282%29.jpg?1563358474","cached_actor_names":"Jef Verheyen, Galerie Schoeller","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/376/large/uitn_%282%29.jpg?1563358474","poster_credits":"(c) Scan: CKV, 2019 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21542,"title":"• 0212 • Blauwe Lichtstroom","dimensions":"176 x 176 cm, 200 x 200 cm with frame","date_begin":"1970-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist frame (wood, white lacquered)\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nSigned and dated on the reverse (felt pen): \u0026quot;Jef Verheyen 1970\u0026quot;\u003cbr /\u003e\r\nTitled on the reverse (on label)\u003cbr /\u003e\r\nInscribed on the reverse: \u0026quot;D [...]\u0026nbsp; 5M/6M 70\u0026quot;\u0026nbsp;\u003cbr /\u003e\r\nLabeled on the reverse referring to exhibitions and Antonio Von Hoerde (?)\u0026nbsp;\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":108,"permalink":"212-blauwe-lichtstroom","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/277/medium_500/212_asset2.jpg?1562315559","cached_actor_names":"The Antwerp Gallery , Jef Verheyen, Axel Vervoordt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/277/large/212_asset2.jpg?1562315559","poster_credits":"(c)Jef Verheyen, photo: Axel Vervoordt - Private collection, Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21556,"title":"• 0217 • T I V B III Aqua del Cielo par Thomas","dimensions":"100 x 100 cm, 113 x 113 cm with frame","date_begin":"1972-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Blue Blauw Aqua Corazon","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (painted with blue satin lacquer)\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nSigned and dated on the reverse: \u0026quot;Jef Verheyen 72\u0026quot;\u003cbr /\u003e\r\nInscribed on the reverse: \u0026quot;la vida es un\u0026nbsp;sue\u0026ntilde;o mas sue\u0026ntilde;o son los illusiones de mi corazon\u0026quot;\u003cbr /\u003e\r\n\u0026quot;Good condition\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\nThe artist\u0026#39;s writings in his notebook of 1962 (see linked item, spread 39/90):\u0026nbsp;\u003cem\u003eTomas, de oude visser, de zee, alles in ik, l\u0026rsquo;aqua del cielo dat nooit komt \u0026ndash; il rio \u0026ndash; il pesca\u0026nbsp; al die dingen worden in mij \u0026ndash; ontragelijk groot \u0026ndash; la terra \u0026ndash; la pietra \u0026ndash; de steen \u0026ndash; niets als steen blijft er over. Petrus wil ik worden \u0026ndash; zoon van het licht.\u003c/em\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":22,"permalink":"217-t-i-v-b-iii-aqua-del-cielo-par-thomas","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21591,"title":"• 0249 • Eon T III","dimensions":"65 x 65 cm","date_begin":"1972-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Musée d'Art Abstrait / Musée Renée Magritte","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nTitled on the reverse\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":41,"permalink":"249-eo-n-t-iii","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/449/medium_500/249_asset1.jpg?1578562152","cached_actor_names":"André Garitte Foundation, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/449/large/249_asset1.jpg?1578562152","poster_credits":"(c)Jef Verheyen, photo: (rr) - André Garitte Foundation","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21613,"title":"• 0262 • L’Or – Aarde – Permeke (Gold – Earth – Permeke)","dimensions":"130 x 130 cm","date_begin":"1976-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Private collection, Belgium","cached_tag_list":"Jef Verheyen Provence Or Aarde Terre Bruin Groen Green Brown Marcel Van Hool Permeke","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eArtist's frame (by Schleiper)\u003cbr\u003eSigned on the reverse (black felt pen)\u003cbr\u003eDated on the reverse (black felt pen): '44' [44 = 1932 + 44 = 1976]\u003cbr\u003eOriginally titled: 'L'Or II - Aarde II Thema I - Permeke'\u003cbr\u003eTitled on the reverse (black felt pen):\u0026nbsp; 'L'or II'\u0026nbsp;[IV?]\u003cbr\u003eInscribed on the reverse: 'Provence' [?],\u0026nbsp; 'aarde II thema I'\u003cbr\u003eInscribed on the reverse, on the stretcher (pencil): [colours?]\u0026nbsp;\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":108,"permalink":"262-l-or-ii-aarde-ii-thema-i","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/723/medium_500/262_12.jpg?1718699237","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/723/large/262_12.jpg?1718699237","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of Axel Vervoordt Gallery","translations":[{"locale":"en","description":"\u003cp\u003eIn paintings such as \u003ci\u003eZwarte Zomer\u0026nbsp;\u003c/i\u003e(Black\u003c/p\u003e\u003cp\u003eSummer) and \u003ci\u003ePermeke\u003c/i\u003e, Jef Verheyen paints his\u003c/p\u003e\u003cp\u003eperception of the Flemish atmosphere, which is\u003c/p\u003e\u003cp\u003erather dark. Later in the 1960s, he travels to Brazil,\u003c/p\u003e\u003cp\u003eMexico, Tunisia, Spain, Italy and France in search\u003c/p\u003e\u003cp\u003eof light, which is everywhere different.\u003c/p\u003e\u003cp\u003eA northerner in search of southern light: Vincent\u003c/p\u003e\u003cp\u003evan Gogh went on the same quest before him.\u003c/p\u003e\u003cp\u003eIn a letter written in Provence in 1889, Van Gogh\u003c/p\u003e\u003cp\u003ewrites to his brother about the southern light:\u003c/p\u003e\u003cp\u003e‘Perhaps my journey into the south will bear\u003c/p\u003e\u003cp\u003efruit, however, because the difference of the\u003c/p\u003e\u003cp\u003estronger light, the blue sky, teaches one to see,\u003c/p\u003e\u003cp\u003ebut especially and only if one looks at it for a long\u003c/p\u003e\u003cp\u003etime. (…) one must first and gradually accustom\u003c/p\u003e\u003cp\u003eone’s eyes to the different light.’\u003c/p\u003e\u003cp\u003eDuring his travels, Verheyen also writes in\u003c/p\u003e\u003cp\u003ehis letters about the enchantment of the light.\u003c/p\u003e\u003cp\u003e‘Everything shimmers here!’ He tries to render\u003c/p\u003e\u003cp\u003ethe essence of those impressions on canvas.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn schilderijen als \u003ci\u003eZwarte Zomer\u0026nbsp;\u003c/i\u003eof \u003ci\u003ePermeke\u003c/i\u003e\u003c/p\u003e\u003cp\u003eschildert Jef Verheyen zijn idee van de Vlaamse\u003c/p\u003e\u003cp\u003eatmosfeer, die eerder donker is. Later in de jaren\u003c/p\u003e\u003cp\u003e1960 trekt hij naar Brazilië, Mexico, Tunesië,\u003c/p\u003e\u003cp\u003eSpanje, Italië en Frankrijk. Hij speurt er naar het\u003c/p\u003e\u003cp\u003elicht dat overal anders is.\u003c/p\u003e\u003cp\u003eEen noorderling op zoek naar het zuiderse\u003c/p\u003e\u003cp\u003elicht: Vincent van Gogh deed het hem voor.\u003c/p\u003e\u003cp\u003eIn een brief uit 1889 schrijft Van Gogh vanuit de\u003c/p\u003e\u003cp\u003eProvence aan zijn broer over het zuiderse licht:\u003c/p\u003e\u003cp\u003e“Later zal mijn reis naar het Zuiden wellicht\u003c/p\u003e\u003cp\u003etoch nog vruchten afwerpen, want door het\u003c/p\u003e\u003cp\u003everschil van het sterkere licht, de blauwe lucht,\u003c/p\u003e\u003cp\u003eleer je kijken, en dan vooral en zelfs alleen als je\u003c/p\u003e\u003cp\u003eer lang naar kijkt. (…) eerst moet je je ogen\u003c/p\u003e\u003cp\u003egeleidelijk aan het andere licht laten wennen.”\u003c/p\u003e\u003cp\u003eOok Verheyen schrijft in zijn brieven over de\u003c/p\u003e\u003cp\u003ebetovering van het licht tijdens zijn reizen. “Hier\u003c/p\u003e\u003cp\u003etintelt alles!” De essentie van die impressies\u003c/p\u003e\u003cp\u003eprobeert hij over te brengen op doek.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":21772,"title":"List of works made in 1977 ","dimensions":"A4","date_begin":"1977-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s inventory entitled\u0026nbsp;\u003cem\u003e1977 Na operatie -\u0026nbsp;Februari einde \u003c/em\u003econsisting of works made in 1977, after his operation end of February same year.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"JV_08_21","stream_count_app":50,"permalink":"list-1977-na-operatie-februari-einde","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/052/256/medium_500/JV_Notebook_1974_1984_10%2821772%29.jpg?1584516361","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21749,"title":"• 0265 • L'air et les songes - L'air vide","dimensions":"160 x 160 cm","date_begin":"1958-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Air Vide Marcel Van Hool Bachelard","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nDated 1958 (first version) and 1976 (second and final version). The work was first conceived in 1958, and has been repainted in 1976\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wood, painted white)\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nSigned on the reverse (blue-black felt pen)\u003cbr /\u003e\r\nDated on the reverse (only 1976?)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDescribed by the artist: \u0026quot;L\u0026#39;air vide - zeer mooi\u0026quot; [SOURCE]\u003c/p\u003e\r\n","date_end":"1976-01-01","reference":"","stream_count_app":38,"permalink":"265-l-air-et-le-songe-l-air-vide","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/962/medium_500/265_asset1.jpg?1565179481","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/046/962/large/265_asset1.jpg?1565179481","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21775,"title":"List of works made in 1978","dimensions":"A4","date_begin":"1978-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Jef Verheyen inventories","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s inventory of works made in 1978 (2 pages)\u003c/p\u003e\r\n","date_end":null,"reference":"JV_08_21","stream_count_app":83,"permalink":"list-1978","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/052/263/medium_500/JV_Notebook_1974_1984_11%2821775%29.jpg?1584516165","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21893,"title":"List of works 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[Herman Theo]\u0026nbsp;Piron in zijn psychoanalytische interpretatie van Hi\u0026euml;ronymus Bosch zegt Kenneth Clark over het verschijnen van het vuur: \u0026lsquo;\u003cstrong\u003eThe emotional effect of Flaming light, or actual Flames, seems to have been discovered in 1490\u003c/strong\u003e\u0026rsquo;. Wat in de 16\u0026deg; eeuw nog ontdekt werd en in gebruik kwam was de betekenis Flaming afgeleid van het Latijnse\u0026nbsp; Flamma en het nog vroegere Flagsma. De juiste betekenis van het woord Vlaming \u0026ndash; ook in een Franstalig ethymologisch woordenboek \u0026ndash; is: oiseau couleur de flamme.\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22519,"title":"List of works made in 1982","dimensions":"A4","date_begin":"1982-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s inventory of 17 works made in 1982 (1 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/\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nTitled on the reverse\u003c/p\u003e\r\n\r\n\u003cp\u003eThis work was a commission.\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe work was painted in France, but damaged in Belgium, and then restored in Heist-op-den-Berg.\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":83,"permalink":"316-grand-ile-nocturne","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/201/medium_500/1602747253_521855.jpeg?1602840000","cached_actor_names":"Jef 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Talons\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":24,"permalink":"301","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22521,"title":"• 0306 • ISIS","dimensions":"110 x 110 cm","date_begin":"1981-01-01","material":"Matt lacquer on 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reverse?\u0026nbsp;\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"","stream_count_app":22,"permalink":"306-nieuw-thema-omgekeerd-isis","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22520,"title":"• 0305 • Vendemmia Eterna - Magie du Vin","dimensions":"130 x 130 cm, 133 x 133 cm with 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Oogst\u0026#39;, \u0026#39;Magie vu Vin\u0026#39;\u003cbr /\u003e\r\nTitled on the reverse (top left) but crossed out: \u0026#39; \u0026quot;le grand oeuvre\u0026quot; \u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse (bottom right): 130 x 130\u0026nbsp;\u003cbr /\u003e\r\nLabeled on the reverse referring to\u0026nbsp;the\u0026nbsp;\u003cem\u003eRetrospectieve Jef Verheyen 1932-1984\u0026nbsp;\u003c/em\u003eat P.M.M.K., Ostend, 1994\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1981, the artist made the work \u003cem\u003eGrand Oeuvre\u003c/em\u003e, signed, dated and titled it on the reverse (366) This work has been reconceived and repainted by the artist in 1981, with a new title and 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- Axel Vervoordt, Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22531,"title":"• 0314 • Apollo III","dimensions":"100 x 130 cm with frame","date_begin":"1980-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":182,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wood, painted blue en gilded)\u003cbr /\u003e\r\nSigned on the reverse (purple paint)\u003cbr /\u003e\r\nDated on the reverse\u0026nbsp;(purple paint)\u003cbr /\u003e\r\nTitled on the reverse\u0026nbsp;(purple paint)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":19,"permalink":"314-apollo-iii","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/057/medium_500/314_asset1.jpg?1570626376","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/057/large/314_asset1.jpg?1570626376","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen 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Essentialisme = 0 + 1\u003cbr\u003e14.\u0026nbsp;VAN A = A TOT PANTA RHEI\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22619,"title":"• 0323 • Megaron Metaponte","dimensions":"110 x 110 cm","date_begin":"1982-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Josef Albers Museum Quadrat, Bottrop, Germany","cached_tag_list":"Jef Verheyen Megaron","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eArtist's frame\u003cbr\u003eSigned on the reverse: 'Jef Verheyen'\u003cbr\u003eDated on the reverse: '82'\u003cbr\u003eTitled on the reverse: 'megaron metaponte'\u003c/p\u003e","date_end":null,"reference":"9/151","stream_count_app":67,"permalink":"323-megaron-metaponte","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/696/medium_500/323_12.jpg?1718629570","cached_actor_names":"Jef Verheyen, Josef Albers Museum Quadrat Bottrop, Ulrich Schumacher","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/696/large/323_12.jpg?1718629570","poster_credits":"SABAM Belgium, 2024, Josef Albers Museum Quadrat Bottrop","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22757,"title":"375 Grand Oeuvre - Ivo Michiels 10 Texte / Jef Verheyen 10 Variationen zu Dia (ed. 92)","dimensions":"68 x 52 cm portfolio, 65 x 50 cm each lithograph (20)","date_begin":"1981-01-01","material":"Portfolio with 10 lithographs and 10 texts (lithographs), Rives France paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Gerhard and Anna Lenz, Lenz Schönberg Collection, Schönberg, Austria","cached_tag_list":"Jef Verheyen Grand Oeuvre Dia Ivo Michiels","publishing_process_id":1,"annotation":"","date_end":null,"reference":"VER-47","stream_count_app":46,"permalink":"375-grand-oeuvre-ivo-michiels-10-texte-jef-verheyen-10-variationen-zu-dia","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/429/medium_500/375_asset1.jpg?1572447665","cached_actor_names":"Sammlung Lenz, Jef Verheyen, Ivo Michiels, Erker Galerie, Erker Press","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eThe portfolio\u0026nbsp;\u003cem\u003eGrand Oeuvre - Ivo Michiels 10 Texte / Jef Verheyen 10 Variationen zu Dia \u003c/em\u003econsists of ten original lithographs by Jef Verheyen,\u0026nbsp;and ten\u0026nbsp;texts by Ivo Michiels, also lithographs.\u0026nbsp;They are all drawn and written on the stone\u0026nbsp;directly and personally.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe individual sheets are\u0026nbsp;Rives deckle-edge paper, printed directly from the stone.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe cover is white and entitled in large green letters: \u0026#39;Grand Oeuvre\u0026#39;.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe colophon page is entitled in large green letters: \u0026#39;Ivo Michiels 10 Texte / Jef Verheyen 10 Variationen zu Dia\u0026#39;. Below Erker Press.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe portfolio shows alternately a sheet of text by Michiels and a lithograph showing a \u0026#39;Dia\u0026#39; by Jef Verheyen:\u003c/p\u003e\r\n\r\n\u003cp\u003e1. square\u003cbr /\u003e\r\n2. trapezium\u003cbr /\u003e\r\n3. diabolo\u003cbr /\u003e\r\n4. megaron (Z-shaped)\u003cbr /\u003e\r\n5. diabolo\u003cbr /\u003e\r\n6. turned pyramid\u003cbr /\u003e\r\n7. megaron (turned N-shape)\u003cbr /\u003e\r\n8. megaron\u003cbr /\u003e\r\n9. triple square\u003cbr /\u003e\r\n10. megaron\u003c/p\u003e\r\n\r\n\u003cp\u003eVerheyen\u0026#39;s drawings are grisailles.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe texts are red in the beginning, and then evolve from purple to blue.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eVerheyen\u0026#39;s lithographs are numbered on the bottom left (/92), numbered on the center (/10) and\u0026nbsp;signed on the bottom right, all with pencil.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nPublished by Erker 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Talons\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":30,"permalink":"371-megaron","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/403/medium_500/371_asset1.jpg?1572429237","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/403/large/371_asset1.jpg?1572429237","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen 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Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23127,"title":"• 0462 • Untitled","dimensions":"130 x 130 cm","date_begin":"1965-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"(ex) Sammlung Lenz, Schönberg, Austria","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nSigned and dated on the reverse, top right (black paint): \u0026#39;Jef Verheyen 65\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse (ballpoint pen): \u0026#39;6.9. - 05/06/7....\u0026#39;\u003cbr /\u003e\r\nLabeled on the reverse (light green label) referring to the 42nd Venice Biennial of 1986: \u0026#39;Venezia 86, Nr 230\u0026#39; ?\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"VER-37","stream_count_app":61,"permalink":"462-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/596/medium_500/462_asset1.jpg?1578993045","cached_actor_names":"Sammlung Lenz, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/596/large/462_asset1.jpg?1578993045","poster_credits":"(c)Jef Verheyen, photo: Philipp Schönborn, München - Sammlung Lenz and Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23131,"title":"• 0464 • Lichtstroom","dimensions":"75 x 75 cm","date_begin":"1969-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Lichtstroom","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the back\u003cbr /\u003e\r\nDated on the back?\u003cbr /\u003e\r\nTitled on the back?\u003cbr /\u003e\r\nDedicated on the back: ?\u003c/p\u003e\r\n","date_end":"1969-01-01","reference":"","stream_count_app":45,"permalink":"464-lichtstroom","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/239/medium_500/464_5.jpg?1646304566","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/239/large/464_5.jpg?1646304566","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23133,"title":"• 0466 • Lumière limitée","dimensions":"90 x 90 cm","date_begin":"1970-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen lumière limitée Mexico","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nTitled on the reverse?\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":43,"permalink":"466-lumiere-limitee","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/627/medium_500/466_asset2.jpg?1579084122","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/627/large/466_asset2.jpg?1579084122","poster_credits":"(c)Jef Verheyen, scan: CKV, 2019 - Private collection, Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23134,"title":"• 0467 • Ruimtelijke Begrenzing","dimensions":"130 x 130 cm","date_begin":"1970-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Begrenzing Dani","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nTitled on the reverse: \u0026#39;Ruimtelijke Begrenzing\u0026#39; \u0026#39;T I 70 VII\u0026#39;\u003cbr /\u003e\r\nDedicated on the reverse: \u0026#39;voor dani 1971 7 aug\u0026#39;\u003c/p\u003e\r\n","date_end":"1971-01-01","reference":"","stream_count_app":59,"permalink":"467-ruimtelijke-begrenzing","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/991/medium_500/467_1.jpg?1593694395","cached_actor_names":"Dani Franque, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/991/large/467_1.jpg?1593694395","poster_credits":"(c)Jef Verheyen, scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23135,"title":"• 0468 • Laser","dimensions":"180 x 180 cm, 184 x 184 cm with frame","date_begin":"1971-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Mu.ZEE, Ostend","cached_tag_list":"Jef Verheyen Laser Eon","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (aluminium)\u003cbr /\u003e\r\nSigned on the reverse, top right: \u0026#39;jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse, top right: \u0026#39;1971\u0026#39;\u003cbr /\u003e\r\nTitled on the reverse, top right: \u0026#39;Laser\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse, on the stretcher, top right: \u0026#39;geel wit groen [?] wit oranje wit\u0026#39;\u003cbr /\u003e\r\nLabeled on the reverse by:\u003cbr /\u003e\r\n-Belgische Staat Ministerie van Nationale Opvoeding/Etat Belge Ministere de l\u0026#39;Education Nationale, on the occasion of the exhibition in\u003cem\u003e\u0026nbsp;\u003c/em\u003eMarseille, 1972, mentioning the then owner\u003c/p\u003e\r\n\r\n\u003cp\u003eThis work, alongside others, is described in the periodical OKV Vol. 28 (1990) Nr. 1, titled\u0026nbsp;\u003cem\u003eHet Provinciaal Museum voor Moderne Kunst in Oostende,\u0026nbsp;\u003c/em\u003eby Willy Van den Bussche and Bert Popelier: p. 14 (see linked items)\u003c/p\u003e\r\n","date_end":null,"reference":"K000749","stream_count_app":82,"permalink":"468-laser","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/616/medium_500/468_11.jpg?1623319625","cached_actor_names":"Mu.ZEE, Galerie Carrefour, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/616/large/468_11.jpg?1623319625","poster_credits":"(c)Jef Verheyen, photo: Mu.Zee - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23130,"title":"• 0463 • Metaponte","dimensions":"95 x 95 cm, Ø 97 cm ","date_begin":"1966-01-01","material":"matt lacquer on fibreboard, mounted in a wooden square box","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private Collection, Belgium","cached_tag_list":"Jef Verheyen Tondo Metaponte","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":46,"permalink":"463-metaponte","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/004/medium_500/463_1.jpg?1675259085","cached_actor_names":"Jef Verheyen, Axel Vervoordt, Jos Macken","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/004/large/463_1.jpg?1675259085","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23126,"title":"• 0461 • Biennale de la critique A/B = B/C","dimensions":"130 x 130 cm","date_begin":"1962-01-01","material":"matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"A/B = B/C AB = BC Biennale de la critique Jef Verheyen Janssen Pharmaceutica Zonnebogen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eCa. 1962\u003cbr\u003eSigned on the reverse?\u003cbr\u003eDated on the reverse?\u003cbr\u003eTitled on the reverse?\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":94,"permalink":"461-biennale-de-la-critique-a-b-b-c","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/201/medium_500/461_10.JPG?1646216033","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/201/large/461_10.JPG?1646216033","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive, 2021","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23187,"title":"• 0478 • Urbino – Espace Idéal (Urbino – Ideal Space)","dimensions":"110 x 177 cm","date_begin":"1978-01-01","material":"matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Axel and May Vervoordt Foundation","cached_tag_list":"Jef Verheyen Urbino Espace idéal Ideale ruimte Bruin Landschap Brown Claire Bataille","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned on the reverse\u003cbr\u003eDated on the reverse\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":79,"permalink":"478-urbino-espace-ideal","description_ru":"","description_de":"\u003cp\u003eVerheyen ist von der Idee des idealen Raumes fasziniert, einem Raum mit perfekten Proportionen. Das seinerzeit Piero della Francesca zugeschriebene Renaissance-Gemälde der idealen Stadt war für Verheyen eine wichtige Inspirationsquelle. Er nannte es „einen der stärksten Eindrücke, die ich je hatte, eines der wichtigsten Gemälde. Die ideale Stadt ist nach den Prinzipien der Renaissance-Perspektive gebaut. Man braucht einen ganz besondere Auffassungsgabe, um die Struktur dieses Werkes begreifen zu können.“ Das Gemälde inspirierte Verheyen zu seinem eigenen Porträt der italienischen Stadt Urbino als einem idealen Ort. Seit der Renaissance gilt die Stadt als \u003ci\u003ela città ideale\u003c/i\u003e.\u003c/p\u003e\u003cp\u003e(KMSKA, 2024)\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/717/medium_500/478_11.jpg?1718632252","cached_actor_names":"Jef Verheyen, Axel Vervoordt, Claire \u0026 Paul Bataille - Ibens","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/717/large/478_11.jpg?1718632252","poster_credits":"SABAM Belgium, 2024, Jan Liégeois on behalf of Axel Vervoordt Gallery","translations":[{"locale":"en","description":"\u003cp\u003eVerheyen is fascinated by the idea of an ideal space, a space with perfect proportions. The Renaissance painting of the ideal city – attributed at the time to Piero della Francesca – was a great source of inspiration for Verheyen. He described it as ‘one of the strongest impressions ever made on me, one of the most important paintings. The Ideal City is built on the principles of the Renaissance perspective. One has to have a very special mind to grasp the structure of this work’. The painting inspires Verheyen’s own visualisation of the Italian city of Urbino as an ideal space. Urbino has been renowned as \u003ci\u003ela città ideale\u003c/i\u003e since the Renaissance.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eVerheyen is gefascineerd door het idee van een ideale ruimte. Een ruimte met perfecte proporties. Het indertijd aan Piero della Francesca toegeschreven renaissanceschilderij van de ideale stad was voor Verheyen een belangrijke inspiratiebron. Hij omschreef het als “één van de sterkste indrukken die ik ooit kreeg, één van de belangrijkste schilderijen. De Ideale Stad is gebouwd op de principes van het renaissanceperspectief. Men heeft een zeer speciale geest nodig om de structuur van dit werk te kunnen vatten.” Het schilderij inspireerde Verheyen tot zijn eigen portret van de Italiaanse stad Urbino als een ideale ruimte. Al sinds de renaissance staat de stad bekend als \u003ci\u003ela città ideale\u003c/i\u003e.\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eJef Verheyen est fasciné par l’idée d’un espace idéal. Un espace aux proportions parfaites. Le tableau Renaissance de la ville idéale, attribué à l’époque à Piero della Francesca, était pour Verheyen une importante source d’inspiration. Il le décrivait comme «\u0026nbsp;une des plus fortes impressions que j’aie jamais ressentie, un tableau appartenant aux œuvres majeures. La Ville idéale repose sur les principes de la perspective de la Renaissance. Il faut avoir un esprit très particulier pour pouvoir comprendre la structure de cette œuvre\u0026nbsp;». Ce tableau a inspiré à Jef Verheyen sa propre interprétation de la ville italienne d’Urbino, l’espace idéal. Déjà à la Renaissance, cette ville avait la réputation d’être \u003ci\u003ela città ideale\u003c/i\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003e(source: KMSKA, 2024)\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":23124,"title":"• 0459 • Le Voile du Mystère","dimensions":"81 x 100 cm ","date_begin":"1958-01-01","material":"oil paint on burlap, varnished","short_description":"\u003cp\u003e\u003ci\u003e\u003cstrong\u003e“Pour lever ce voile du mystère qui me cache ma propre valeur, il me faut le plus grand silence.” \u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e- Jef Verheyen, February 1959\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eThis key work marks a turning point in Verheyen's oeuvre. Like American artist Mark Rothko, he discovers a meditative vision of abstract art. When Verheyen is working on this canvas, he writes: \u003ci\u003e‘I no longer feel form, only vibrating spaces, my canvas is space itself and I do not feel attached in any way to the surface on which I am working. ... It is therefore logical that I no longer have any notion of the surface, that I feel as if I am the centre of that space. I alone faced by that space. I alone faced by that void.’\u003c/i\u003e\u003c/p\u003e\u003cp\u003eThe work invites stillness, meditation... How does this indeterminate, black space make you feel?\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Rothko Veil Spiegel Colour field","publishing_process_id":1,"annotation":"\u003chr\u003e\u003cp\u003eArtist's frame\u003cbr\u003eFramed in Plexi box on the occasion of the exhibition in Lyon\u003cbr\u003eSigned on the reverse: 'Jef Verheyen'\u003cbr\u003eDated on the reverse: 'S58-A59'\u003cbr\u003eTitled on the reverse: 'le voile du mistère'\u003cbr\u003eInscribed on the reverse: 'Anvers'\u003c/p\u003e\u003cp\u003ePhotographed by Frank Philippi\u0026nbsp;(6785-1A, see linked items)\u0026nbsp;According to the artist's notes on this photograph (twice) as well as in the scrapbook, the work once belonged to the collection of Ivo Michiels (also credited under 'Coll. M. Anvers'). However, the work was (still/again) in the artist's own collection in later years, as he included it in his list of works stored in hier atelier Ten Bosch,\u0026nbsp;\u003cbr\u003e\u003cbr\u003eLabeled on the reverse referring to transport (Farin) and the exhibition\u003ci\u003e\u0026nbsp;Lux est Lex,\u0026nbsp;\u003c/i\u003eAxel Vervoordt Kanaal, Wijnegem,\u0026nbsp;2004\u003cbr\u003e\u003cbr\u003eThe work was held in depot for years by the Musée Saint Pierre Art Contemporain in agreement with Dani Franque, and was later recollected by the latter.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn his notebook of 1958-1960 (see linked item), Verheyen wrote about Taoism, Eastern and Western thinking, and the 'mysterious veil' (p 20/43). May be a reference tor this painting's title.\u0026nbsp;\u003c/p\u003e","date_end":"1959-01-01","reference":"","stream_count_app":92,"permalink":"459-le-voile-du-mystere","description_ru":"","description_de":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003e\u003cstrong\u003e“Pour lever ce voile du mystère qui me cache ma propre valeur, il me faut le plus grand silence.” \u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e- Jef Verheyen, Februar 1959\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"\u003cp\u003e\u003ci\u003e\u003cstrong\u003ePour lever ce voile du mystère qui me cache ma propre valeur, il me faut le plus grand silence. \u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e- Jef Verheyen, Februari 1959\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eDit sleutelwerk markeert een kantelpunt in Verheyens oeuvre.\u0026nbsp;Net als de Amerikaanse kunstenaar\u0026nbsp;Mark Rothko ontdekt hij een meditatieve visie op abstracte kunst. Wanneer Verheyen aan het doek werkt, schrijft hij: \u003ci\u003e“Ik voel geen vorm meer, enkel vibrerende ruimten, m’n doek is de ruimte zelf en ik voel me helemaal niet gebonden aan het vlak waarop ik werk. … ’t Is zodus logisch dat ik geen notie meer heb van het vlak, dat ik me als het middelpunt van die ruimte voel, ik alleen tegenover die ruimte, alleen tegenover dat niets.”\u003c/i\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eHet werk nodigt uit tot verstilling. Wat voel jij bij deze onbestemde, zwarte ruimte?\u0026nbsp;\u003c/p\u003e","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/573/medium_500/459_1.jpg?1594288110","cached_actor_names":"Jef Verheyen, Ivo Michiels","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/573/large/459_1.jpg?1594288110","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eAround 1958, after a period of 'labyrinth-geometric' works, Verheyen starts exploring the monochrome colour and the simplified form. They may appeal to or\u0026nbsp;evoke Rothko's color fields. These\u0026nbsp;estranged\u0026nbsp;works in toned-down colours carry titles as 'Le voile dy mystère', throwing a veil.\u003c/p\u003e\u003cp\u003eVerheyen wrote about this painting in his notebook of 1962\u0026nbsp;(JV_08_33):\u003cbr\u003e\u003cbr\u003e\u003ci\u003eVroeger reeds kreeg ik bewijzen die zo duidelijk aantoonden wat zij wilden dat ik er onmogelijk naast kon kijken. Vier jaar geleden maakte ik een zwart schilderij dat ik Le Voile du Mystère [459] noemte zonder feitelijk te beseffen wat die enorme verborgen wereld in zich droeg aan bewijzen, wegen en rustplaatsen. Het nam me meer dan 4 maanden vooraleer ik in de staat was die muur te doorbreken en een brug over dat schilderij te bouwen, langzaam sukkelde ik verder over de weg die steeds smaller en smaller werd tot me nog een haarfijn draadje bleef dat over de zwarte afgrond was gespannen en waarin ik meermalen viel, dikwijls alles brak wat rond mij in het duister te vinden was, maar elke maal vond ik het begin van de draad terug tot ik eindelijk een goed equilibrist werd.\u003c/i\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eAround 1958, after a period of 'labyrinth-geometric' works, Verheyen starts exploring the monochrome colour and the simplified form. They may appeal to or\u0026nbsp;evoke Rothko's color fields. These\u0026nbsp;estranged\u0026nbsp;works in toned-down colours carry titles as 'Le voile dy mystère', throwing a veil.\u003c/p\u003e\u003cp\u003eVerheyen wrote about this painting in his notebook of 1962\u0026nbsp;(JV_08_33):\u003cbr\u003e\u003cbr\u003e\u003ci\u003eVroeger reeds kreeg ik bewijzen die zo duidelijk aantoonden wat zij wilden dat ik er onmogelijk naast kon kijken. Vier jaar geleden maakte ik een zwart schilderij dat ik Le Voile du Mystère [459] noemte zonder feitelijk te beseffen wat die enorme verborgen wereld in zich droeg aan bewijzen, wegen en rustplaatsen. Het nam me meer dan 4 maanden vooraleer ik in de staat was die muur te doorbreken en een brug over dat schilderij te bouwen, langzaam sukkelde ik verder over de weg die steeds smaller en smaller werd tot me nog een haarfijn draadje bleef dat over de zwarte afgrond was gespannen en waarin ik meermalen viel, dikwijls alles brak wat rond mij in het duister te vinden was, maar elke maal vond ik het begin van de draad terug tot ik eindelijk een goed equilibrist werd.\u003c/i\u003e\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003e\u003cstrong\u003e“Pour lever ce voile du mystère qui me cache ma propre valeur, il me faut le plus grand silence.” \u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e- Jef Verheyen, Février 1959\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":23125,"title":"• 0460 • Untitled (Un des premiers argents)","dimensions":"80 x 100 cm","date_begin":"1959-01-01","material":"Oil paint and silver pigment (back) on burlap, plexi frame","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Sammlung Lenz Schönberg, Schönberg, Austria","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eDoublesided painting: red oil paint on front, grey oil paint and silver pigment on back\u003cbr\u003eArtist's frame\u003cbr\u003eSigned on the back, on the silver pigment: 'Jef Verheyen' (twice)\u003cbr\u003eDated on the back, on the silver pigment: '60', 'peint en 1959'\u003cbr\u003eNoted on the back, on the silver pigment: \u0026nbsp;'van Noordstraat, un des premiers argent'\u003cbr\u003eCustoms label\u003cbr\u003e\u003cbr\u003eAccompanied by a certificate of authenticity issued by the Jef Verheyen Archive, 1990, n. 14\u003c/p\u003e","date_end":"1960-01-01","reference":"VER-44","stream_count_app":71,"permalink":"460-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/647/medium_500/460_11.jpg?1718190239","cached_actor_names":"Jef Verheyen, Galerie Schoeller, Sammlung Lenz","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/647/large/460_11.jpg?1718190239","poster_credits":"© SABAM Belgium, 2024, Archiv Lenz Schönberg","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23202,"title":"• 0491 • Zwarte Schelde","dimensions":"81 x 100 cm","date_begin":"1959-01-01","material":"Oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Schelde Zwart","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nFramed in Plexi box on the occasion of the exhibition in Lyon\u003cbr /\u003e\r\nSigned on the reverse: \u0026#39;jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse: \u0026#39;1959 sept\u0026#39; \u0026#39;60\u0026#39;\u003cbr /\u003e\r\nTitled on the reverse: \u0026#39;Zwarte Schelde\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse: \u0026#39;A 60\u0026#39; [Antwerp, 1960]\u0026nbsp;\u0026#39;Tempelierenhof Weert\u0026#39;\u003cbr /\u003e\r\nLabeled on the reverse referring to:\u003cbr /\u003e\r\n-Europalia 80 Belgique/Belgi\u0026euml; 150\u003cbr /\u003e\r\n-Galerie Smith, Brussels\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nFollowing the artist\u0026#39;s notes, Verheyen bought back this work from the first owner\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe work was held in depot for years by the Mus\u0026eacute;e Saint Pierre Art Contemporain in agreement with Dani Franque, and was later recollected by the latter.\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":78,"permalink":"491-zwarte-schelde","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/955/medium_500/491_asset1.jpg?1580216033","cached_actor_names":"Galerie Smith, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/955/large/491_asset1.jpg?1580216033","poster_credits":"(c)Jef Verheyen, photo: Dries Van den Brande - Private collection, Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23196,"title":"• 0485 • Untitled","dimensions":"79 x 110 cm","date_begin":"1953-01-01","material":"Oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen atelier Sint-Antoniusstraat","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wood, painted black)\u003cbr /\u003e\r\nSigned on front: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the front: \u0026#39;1953\u0026#39;\u003cbr /\u003e\r\nDated on\u0026nbsp;the reverse: \u0026#39;Dec. 53\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse, top stretcher: \u0026#39;ST. ANTONIUSSTRAAT\u0026#39;\u003cbr /\u003e\r\nLabeled on the reverse referring to the exhibition history\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":39,"permalink":"485-zonder-titel","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/057/900/medium_500/485_1.jpg?1591697090","cached_actor_names":"Jef 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canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Vlaamse Ruimte Weert Jardin des Templiers La couleur seule","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wood, painted black)\u003cbr /\u003e\r\nFramed in Plexi box on the occasion of the exhibition in Lyon\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse: \u0026#39;1958-1959\u0026#39;\u003cbr /\u003e\r\nTitled on the reverse: \u0026#39;Vlaamse Ruimte\u0026#39; \u0026#39;Weert\u0026#39; \u0026#39;Figure\u0026#39; \u0026#39;Le jardin des Templiers\u0026#39;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe work was held in depot for years by the Mus\u0026eacute;e Saint Pierre Art Contemporain in agreement with Dani Franque, and was later recollected by the latter.\u0026nbsp;\u003c/p\u003e\r\n","date_end":"1959-01-01","reference":"","stream_count_app":50,"permalink":"489-vlaamse-ruimte-weert","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/192/medium_500/489_1.jpg?1594200061","cached_actor_names":"Galleria d'arte del Grattacielo, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/192/large/489_1.jpg?1594200061","poster_credits":"(c)Jef Verheyen, scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23190,"title":"• 0481 • Abyssus","dimensions":"180,5 x 290 cm, 182,5 x 293,5 cm with frame","date_begin":"1978-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":17,"stream_count":0,"collection":"Mu.ZEE, Ostend","cached_tag_list":"Jef Verheyen PMMK Abysses Ten Bosch","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned\u0026nbsp;on the reverse, center left: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse, center left: \u0026#39;1978\u0026#39;\u003cbr /\u003e\r\n​​​​​Titled on the reverse, center left: \u0026#39;Abyssus\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse, center left: \u0026#39;Zomer \u0026quot;Ten Bosch\u0026quot;\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"K000738","stream_count_app":119,"permalink":"481-zomer","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/701/medium_500/481_asset1.jpg?1579698186","cached_actor_names":"Mu.ZEE, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/701/large/481_asset1.jpg?1579698186","poster_credits":"(c)Jef Verheyen, photo: Mu.ZEE - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23194,"title":"• 0483 • Megaron","dimensions":"110 x 110 cm","date_begin":"1981-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen 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reverse: \u0026#39;Le sang obscur des Flamants\u0026#39; ?\u003cbr /\u003e\r\nInscribed on the reverse: \u0026#39;Ten Bosch\u0026#39; ?\u003cbr /\u003e\r\nDedicated on the reverse: \u0026#39;Axel + May\u0026#39; ?\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":34,"permalink":"643-le-sang-obscur-des-flamants","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/055/944/medium_500/643_1.jpg?1588231262","cached_actor_names":"Axel Vervoordt, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/055/944/large/643_1.jpg?1588231262","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":25517,"title":"• 0646 • Liturgie Colorée - Agression Spatiale ","dimensions":"95 x 95 cm each, diptyque","date_begin":"1975-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Dubbel Goud Rood Blauw Von Hoerde Dia Diptiek","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse on the left panel: \u0026#39;Jef Verheyen Peintre Flamant\u0026#39;\u003cbr /\u003e\r\nSigned on the reverse of the right panel: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse, twice: \u0026#39;43\u0026#39; [1932+43=1975]\u003cbr /\u003e\r\nNoted on the reverse, twice: \u0026#39;Provence\u0026#39;, \u0026#39;Version II\u0026#39;\u003cbr /\u003e\r\nTitled on the reverse of the left panel: \u0026#39;Liturgie color\u0026eacute;e agression spaciale\u0026#39;\u003cbr /\u003e\r\nNoted on the reverse of the left panel: \u0026#39;links\u0026#39;\u003cbr /\u003e\r\nNoted on the reverse of the right panel: \u0026#39;rechts\u0026#39;\u003cbr /\u003e\r\nNoted in the artist\u0026#39;s list:\u0026nbsp;\u003cem\u003eRood Blauw - Blauw Rood\u0026nbsp; Dubbelgoud\u0026nbsp;\u003c/em\u003e(see linked item)\u003cbr /\u003e\r\nLabeled on the reverse referring to Lempertz auction\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e(1) Er staat ook vermelding van een gouden kader, en ik vermoed uit andere notities dat er ooit een gouden kader rond heeft gezeten, analoog met de grotere maar bijna identieke diptiek \u003cem\u003eLux est Lex\u003c/em\u003e.\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":66,"permalink":"646-dubbelgoud-rood-blauw","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/100/medium_500/646_6.jpg?1666165596","cached_actor_names":"Axel Vervoordt, The Antwerp Gallery , Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/100/large/646_6.jpg?1666165596","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLiturgie Color\u0026eacute;e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eJef Verheyen verwees doorheen de jaren veel naar de concepten van monochromie, panchromie, achromie\u0026hellip; Verheyen was er van overtuigd dat het niet Yves Klein was die de monochromie of achromie heeft ge\u0026iuml;ntroduceerd maar Paul Klee reeds 25 jaar eerder, met zijn concept \u003cem\u003eSchwarz Darstellen. \u003c/em\u003e\u0026nbsp;Het archief zit vol met kleurtheorie\u0026euml;n en notities over kleurcontrasten, en hun \u0026ldquo;emotionele schokken\u0026rdquo;. De titel \u003cem\u003eLiturgie Color\u0026eacute;e - Agression Spatiale\u003c/em\u003e is bijzonder en\u0026nbsp;vervat veel.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe diptiek is gemaakt in de Provence aan het begin van 1975 en werd dat jaar tweemaal tentoongesteld. Het was eerst te zien op de solotentoonstelling in Galerie m\u0026eacute;dia in Neuch\u0026acirc;tel, maart-april 1975. Naar aanleiding van deze maakte Verheyen voorbereidende notities, en een deel ervan zijn zelfs gepubliceerd in de tentoonstellingscatalogus \u003cem\u003e7 Peintures\u0026nbsp;\u003c/em\u003e(zie linked items). Interessant\u0026nbsp;is op de laatste pagina Verheyens tekst \u003cstrong\u003e\u003cem\u003eUne liturgie de la couleur?\u003c/em\u003e\u003c/strong\u003e die met deze titel letterlijk verwijst naar de diptiek. Op de voorlaatste pagina zijn\u0026nbsp;dezelfde kleuren van \u0026lsquo;orora pink\u0026rsquo;, donker magenta, lichtblauw en donkerblauw uit de diptiek herkenbaar, merk ook het bijschrift dat deze schets\u0026nbsp;\u0026ldquo;ook omgekeerd kan worden\u0026rdquo;, wat Verheyen effectief uitwerkte in de diptiek. (1)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLiturgie Color\u0026eacute;e,\u0026nbsp;\u003c/em\u003emaar ook \u003cem\u003eLux est Lex \u003c/em\u003e(223) gaan over het kleur- maar ook betekeniscontrast tussen blauw en rood -- tussen nacht en dag -- tussen water en vuur -- tussen hemel en aarde -- tussen koud en warm -- tussen rust en agressie -- tussen afnemen en toenemen (van licht). Een kleurtechnische vergelijking (onder andere tussen het rood en het blauw) werkte hij uit in zijn vroeg manifest \u003cem\u003ePour une peinture non plastique.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDe kunsthistorische symboliek van de kleurenleer kan hier nog verder uitgediept worden, maar die schok tussen het aardse en het bovenaardse is ook iets waar Jean Fouquet op alludeerde in de rode en blauwe engelen van zijn\u003cem\u003e Madonna omringd door serafijnen en cherubijnen \u003c/em\u003e(ca. 1450) en we weten dat dit werk belangrijk was voor Verheyen, daar\u0026nbsp;een reproductie ervan in zijn atelier aan de muur hing.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLiturgie Color\u0026eacute;e \u003c/em\u003ewerd in juli-augustus1 975 ook door\u0026nbsp;The Antwerp Gallery getoond in \u003cem\u003eLux est Lex, \u003c/em\u003eAbbaye Saint-Michel de Frigolet, Tarascon. In zijn notities ter voorbereiding hiervan schreef Verheyen over zijn voortschrijdend inzicht, het isolement en de verlichting die hij haast als liturgisch ervaarde. Hij schreef\u0026nbsp;letterlijk:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eMa peinture est devenu une liturgie\u003c/em\u003e\u003c/strong\u003e (see linked item\u0026nbsp;\u003cem\u003eNotebook \u0026#39;Opgedragen in herinnering aan meester Carlo Van Den Bosch\u0026#39;\u003c/em\u003e)\u003c/p\u003e\r\n\r\n\u003cp\u003eEr zitten in het archief veel kleurschetsen en ongepubliceerde notities,\u0026nbsp;ook de schets van \u003cem\u003eLux est Lex\u003c/em\u003e uit de Vlaeykensgang catalogus van 1974.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet tweede deel van de titel, \u003cem\u003eAgression Spatiale\u003c/em\u003e, lijkt te appelleren aan het Spatialisme van Fontana, of de veel eerdere \u0026lsquo;spatiale kunst\u0026rsquo; van Malevitch (die met deze term kwam aanzetten).\u0026nbsp;Verheyen schreef in zijn essay \u003cem\u003eVan A = A tot Panta Rei\u003c/em\u003e (1962): \u003cem\u003eFontana en zijn spatialisme boorde door de dimensies, de ontzaglijke ruimten werden bewust. Zijn vijfde dimensie brak de grenzen, hij opende de weg naar de oneindigheid. Het bewuste \u0026ldquo;de mens als leegte in het volle\u0026rdquo; werd door Fontana tot synthese. Het verlies der zwaartekracht, het later(n) opheffen der kontrasten, het terugbrengen van de schilderkunst tot haar essentieel verschijnsel, brachten de nieuwe dimensie: de \u003cstrong\u003ekleurkracht\u003c/strong\u003e.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eHet essay \u003cem\u003eBij een kleurtest\u003c/em\u003e (1965) begint met het citaat van Maurice Merleau-Ponty. Verheyen nam hiervoor binnen zijn netwerk talrijke enqu\u0026ecirc;tes af over de associaties van monochrome kleuren.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e[ENG versie tbc]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eLiturgie Color\u0026eacute;e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eJef Verheyen verwees doorheen de jaren veel naar de concepten van monochromie, panchromie, achromie\u0026hellip; Verheyen was er van overtuigd dat het niet Yves Klein was die de monochromie of achromie heeft ge\u0026iuml;ntroduceerd maar Paul Klee reeds 25 jaar eerder, met zijn concept \u003cem\u003eSchwarz Darstellen. \u003c/em\u003e\u0026nbsp;Het archief zit vol met kleurtheorie\u0026euml;n en notities over kleurcontrasten, en hun \u0026ldquo;emotionele schokken\u0026rdquo;. De titel \u003cem\u003eLiturgie Color\u0026eacute;e - Agression Spatiale\u003c/em\u003e is bijzonder en\u0026nbsp;vervat veel.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe diptiek is gemaakt in de Provence aan het begin van 1975 en werd dat jaar tweemaal tentoongesteld. Het was eerst te zien op de solotentoonstelling in Galerie m\u0026eacute;dia in Neuch\u0026acirc;tel, maart-april 1975. Naar aanleiding van deze maakte Verheyen voorbereidende notities, en een deel ervan zijn zelfs gepubliceerd in de tentoonstellingscatalogus \u003cem\u003e7 Peintures\u0026nbsp;\u003c/em\u003e(zie linked items). Interessant\u0026nbsp;is op de laatste pagina Verheyens tekst \u003cstrong\u003e\u003cem\u003eUne liturgie de la couleur?\u003c/em\u003e\u003c/strong\u003e die met deze titel letterlijk verwijst naar de diptiek. Op de voorlaatste pagina zijn\u0026nbsp;dezelfde kleuren van \u0026lsquo;orora pink\u0026rsquo;, donker magenta, lichtblauw en donkerblauw uit de diptiek herkenbaar, merk ook het bijschrift dat deze schets\u0026nbsp;\u0026ldquo;ook omgekeerd kan worden\u0026rdquo;, wat Verheyen effectief uitwerkte in de diptiek. (1)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLiturgie Color\u0026eacute;e,\u0026nbsp;\u003c/em\u003emaar ook \u003cem\u003eLux est Lex \u003c/em\u003e(223) gaan over het kleur- maar ook betekeniscontrast tussen blauw en rood -- tussen nacht en dag -- tussen water en vuur -- tussen hemel en aarde -- tussen koud en warm -- tussen rust en agressie -- tussen afnemen en toenemen (van licht). Een kleurtechnische vergelijking (onder andere tussen het rood en het blauw) werkte hij uit in zijn vroeg manifest \u003cem\u003ePour une peinture non plastique.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDe kunsthistorische symboliek van de kleurenleer kan hier nog verder uitgediept worden, maar die schok tussen het aardse en het bovenaardse is ook iets waar Jean Fouquet op alludeerde in de rode en blauwe engelen van zijn\u003cem\u003e Madonna omringd door serafijnen en cherubijnen \u003c/em\u003e(ca. 1450) en we weten dat dit werk belangrijk was voor Verheyen, daar\u0026nbsp;een reproductie ervan in zijn atelier aan de muur hing.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLiturgie Color\u0026eacute;e \u003c/em\u003ewerd in juli-augustus1 975 ook door\u0026nbsp;The Antwerp Gallery getoond in \u003cem\u003eLux est Lex, \u003c/em\u003eAbbaye Saint-Michel de Frigolet, Tarascon. In zijn notities ter voorbereiding hiervan schreef Verheyen over zijn voortschrijdend inzicht, het isolement en de verlichting die hij haast als liturgisch ervaarde. Hij schreef\u0026nbsp;letterlijk:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eMa peinture est devenu une liturgie\u003c/em\u003e\u003c/strong\u003e (see linked item\u0026nbsp;\u003cem\u003eNotebook \u0026#39;Opgedragen in herinnering aan meester Carlo Van Den Bosch\u0026#39;\u003c/em\u003e)\u003c/p\u003e\r\n\r\n\u003cp\u003eEr zitten in het archief veel kleurschetsen en ongepubliceerde notities,\u0026nbsp;ook de schets van \u003cem\u003eLux est Lex\u003c/em\u003e uit de Vlaeykensgang catalogus van 1974.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet tweede deel van de titel, \u003cem\u003eAgression Spatiale\u003c/em\u003e, lijkt te appelleren aan het Spatialisme van Fontana, of de veel eerdere \u0026lsquo;spatiale kunst\u0026rsquo; van Malevitch (die met deze term kwam aanzetten).\u0026nbsp;Verheyen schreef in zijn essay \u003cem\u003eVan A = A tot Panta Rei\u003c/em\u003e (1962): \u003cem\u003eFontana en zijn spatialisme boorde door de dimensies, de ontzaglijke ruimten werden bewust. Zijn vijfde dimensie brak de grenzen, hij opende de weg naar de oneindigheid. Het bewuste \u0026ldquo;de mens als leegte in het volle\u0026rdquo; werd door Fontana tot synthese. Het verlies der zwaartekracht, het later(n) opheffen der kontrasten, het terugbrengen van de schilderkunst tot haar essentieel verschijnsel, brachten de nieuwe dimensie: de \u003cstrong\u003ekleurkracht\u003c/strong\u003e.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eHet essay \u003cem\u003eBij een kleurtest\u003c/em\u003e (1965) begint met het citaat van Maurice Merleau-Ponty. Verheyen nam hiervoor binnen zijn netwerk talrijke enqu\u0026ecirc;tes af over de associaties van monochrome kleuren.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e[ENG versie tbc]\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":25499,"title":"• 0645 • Kwadraten","dimensions":"180 x 180 cm","date_begin":"1971-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Jacques Von Hoerde Quadraten 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canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Rood Red Dia Van Hoerde","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"647-rood","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"The Antwerp Gallery , Jef 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Verheyen participated in the\u003cbr\u003efifth group exhibition together with Vic Estercam,\u003cbr\u003ePaul Bervoets and Walter Vanermen. He exhibited\u003cbr\u003ehis first monochrome and achrome experiments.\u003cbr\u003eCallewaert described them in a review, “And my\u003cbr\u003epreference always goes out to these spontaneous,\u003cbr\u003esometimes very poetic sketches, where the\u003cbr\u003einspiration is not killed by endless finessing,\u003cbr\u003eand which sometimes contain a floating feeling\u003cbr\u003eand a diffused light. 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Verheyen neemt\u003cbr\u003esamen met Vic Estercam, Paul Bervoets en\u003cbr\u003eWalter Vanermen deel aan de vijfde groepstentoonstelling.\u003cbr\u003eHier stelt hij zijn eerste mono- en\u003cbr\u003eachrome experimenten tentoon. Callewaert\u003cbr\u003ebeschrijft ze in een recensie als volgt: “En mijn\u003cbr\u003evoorkeur gaat altijd naar deze spontane, soms\u003cbr\u003ezeer poëtische schetsen, waar de inspiratie niet\u003cbr\u003egedood wordt door het raffinement, en waar soms\u003cbr\u003eeen zwevend gevoel en een diffuus licht in zijn.\u003cbr\u003eNaast zeer uiteenlopende variaties op eenzelfde\u003cbr\u003ethema – een halve cirkel, een slappe boog, drijvend\u003cbr\u003eof gedrapeerd in de ruimte – toont Verheyen\u003cbr\u003eeen kurieus [sic] monochroom schilderij in witten,\u003cbr\u003edat zijn ganse werking aan het reliëf van de verf\u003cbr\u003een aan het licht ontleent.”\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":25739,"title":"• 0662 • Itegem","dimensions":"50 x 95 cm","date_begin":"1959-01-01","material":"Pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Itegem","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nCa. 1959\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":14,"permalink":"662-itegem","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/056/962/large/662_1.jpeg?1589880334","poster_credits":"(c)Jef Verheyen, scan: CKV, 2019 - 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Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26183,"title":"• 0674 • Untitled","dimensions":"48 x 33 cm","date_begin":"1958-01-01","material":"Oil paint on board","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Jan Christiaens","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nUnoriginal frame has been removed\u003cbr /\u003e\r\nSigned on the front (varnished): \u0026#39;jef verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the front (varnished): \u0026#39;58\u0026#39;\u003c/p\u003e\r\n","date_end":"1958-01-01","reference":"","stream_count_app":67,"permalink":"674-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/165/medium_500/674_1.jpg?1592304327","cached_actor_names":"Axel Vervoordt, Jan Christiaens, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/165/large/674_1.jpg?1592304327","poster_credits":"(c)Jef Verheyen, photo: Sotheby's Paris 2020 - 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Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eAdvertising cardboard by Stelatex (Levis) onto wich Jef Verheyen has his name printed in capitals, along the announcement of his solo exhibition at the Palais des Beaux-Arts / Paleis voor Schone Kunsten, Brussels. The backside of the cardboard is marked by a tax stamp by the city of Vilvoorde, Levis' headquarters at that time.\u003c/p\u003e\u003cp\u003eEdition of 25, numbered and signed.\u003c/p\u003e\u003cp\u003eThe production of this edition was probably managed by the artist himself.\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26369,"title":"Biennale di Venezia 1970","dimensions":"23,9 x 21 cm","date_begin":"1970-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen La Biennale di Venezia Venice Biennial","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_19_02","stream_count_app":40,"permalink":"biennale-di-venezia-1970","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/089/medium_500/img15062021_0029.jpg?1666860433","cached_actor_names":"Paul Delmotte, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/089/large/img15062021_0029.jpg?1666860433","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eJef Verheyen (XXXV Biennale di Venezia - Belgio) / Biënnale van Venetië, Venetië, Italië. - s.l. : s.n., 1970. - : ill. ; 23.9 x 21 cm\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26344,"title":"678 Le Plein","dimensions":"65 x 41,5 x 7,5 cm","date_begin":"1967-01-01","material":"High-grade steel, polished","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Le Plein Le Vide","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":47,"permalink":"678-le-plein","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/898/medium_500/678_1.jpg?1593604662","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eVerheyen conceived the counterpart \u0026#39;Le plein\u0026#39; as being the opposite\u0026nbsp;of the multiple\u0026nbsp;\u0026#39;Le vide\u0026#39; (102). However, \u0026#39;Le plein\u0026#39; was only realised as protoype (65 x 41,5 x 7,5 cm).\u0026nbsp;\u003cbr /\u003e\r\nBoth prototypes of \u0026#39;Le vide\u0026#39; and \u0026#39;Le plein\u0026#39; were exhibited during Verheyen\u0026#39;s participation at the Biennial of Venice in 1970 (Belgian pavilion) and in the group exhibition\u0026nbsp;\u003cem\u003eLa couleur seule,\u0026nbsp;\u003c/em\u003eMus\u0026eacute;e Saint Pierre Art Contemporain Lyon in 1988.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26347,"title":"• 0679 • Construction Lyrique","dimensions":"85 x 130 cm","date_begin":"1956-01-01","material":"Oil paint on fibreboard (linex)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Rubensstraat","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wood, unpainted)\u003cbr /\u003e\r\nDated on the reverse: \u0026#39;1956-1957\u0026#39;?\u003cbr /\u003e\r\nInscribed on the reverse: \u0026#39;Rubensstraat\u0026#39;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe work is titled \u003cem\u003eConstruction lyrique \u003c/em\u003eand dated 1958 in the catalogue of\u0026nbsp;\u003cem\u003eDe Jonge Vlaamse Schilderkunst.\u0026nbsp;\u003c/em\u003e\u003cbr /\u003e\r\nThis exhibition would fit as the Antwerp contribution to the Expo 58 in Brussels. Subsequently, G58 (Group 58) would start up.\u003c/p\u003e\r\n","date_end":"1958-01-01","reference":"","stream_count_app":40,"permalink":"679-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/936/medium_500/679_3.jpg?1593612417","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/936/large/679_3.jpg?1593612417","poster_credits":"(c)Jef Verheyen, photo: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26371,"title":"• 0683 • Hommage à Monet (unfinished)","dimensions":"180 x 180 cm","date_begin":"1971-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Hommage à Monet Hommage aan Monet Monet","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (metal)\u003cbr /\u003e\r\nUnsigned\u003cbr /\u003e\r\nUndated\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAccording to the archive\u0026#39;s notes (LV) this work has been overpainted and was left unfinished by the artist.\u0026nbsp;\u003cbr /\u003e\r\nAlso according to the archive\u0026#39;s notes, there were four paintings of this kind. Three similar works were acquired by Sammlung Lenz (1) and by Paul Ibou (2).\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":19,"permalink":"683-hommage-a-monet","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/092/medium_500/683_1.jpg?1594038738","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/092/large/683_1.jpg?1594038738","poster_credits":"(c)Jef Verheyen, photo: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26349,"title":"• 0681 • Laser","dimensions":"110 x 110 cm","date_begin":"1972-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Laser","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nTitled on the reverse: \u0026#39;Laser 3i\u0026egrave;me Lys?\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":16,"permalink":"681-laser","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/968/medium_500/681_1.jpg?1593688932","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/968/large/681_1.jpg?1593688932","poster_credits":"(c)Jef Verheyen, scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26348,"title":"• 0680 • Grand Oeuvre - Parsifal Canaãn","dimensions":"110 x 110 cm","date_begin":"1980-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Grand Oeuvre Parsifal Canaan","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wooden, unpainted)\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nUndated on the reverse\u003cbr /\u003e\r\nTitled on the reverse: \u0026#39;I Le Grand Oeuvre\u0026#39; \u0026#39;Parsifal\u0026#39; \u0026#39;Cana\u0026atilde;n\u0026#39;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe work was dated in the artist\u0026#39;s notes (see linked items)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":30,"permalink":"680-grand-oeuvre-parsifal-canaan","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/958/medium_500/680_1.jpg?1593682280","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/058/958/large/680_1.jpg?1593682280","poster_credits":"(c)Jef Verheyen, scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26350,"title":"• 0682 • Blauwe Lichtstroom","dimensions":"180 x 180 cm","date_begin":"1970-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Blauwe Lichtstroom Blauwe Glijbaan Venice Venetië","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eArtist's frame (aluminium)\u003cbr\u003eSigned on the reverse\u003cbr\u003eDated on the reverse\u003cbr\u003eUntitled on the reverse\u003c/p\u003e\u003cp\u003eTitled in the artist's notes (see linked item)\u0026nbsp;\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":55,"permalink":"682-blauwe-lichtstroom","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/010/medium_500/682_1.jpg?1593698777","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/010/large/682_1.jpg?1593698777","poster_credits":"(c)Jef Verheyen, photo: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26481,"title":"687 Untitled","dimensions":"35 x 50 cm","date_begin":null,"material":"Oil paint on wooden panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Blauw","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nUndated\u003cbr /\u003e\r\nUntitled\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":13,"permalink":"687-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/438/medium_500/687_1.jpg?1594716692","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26496,"title":"• 0693 • Untitled (Keramisch Verliefden)","dimensions":"72 x 61 cm","date_begin":"1956-01-01","material":"Oil paint on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Atelier Rubensstraat Rubensstraat","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1956?\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wood)\u003cbr /\u003e\r\nSigned on the front\u003cbr /\u003e\r\nDated on the front: \u0026#39;mei 56?\u0026#39;\u003cbr /\u003e\r\nInscribed by Dani Franque in October 1988 at Les Talons: \u0026#39;Sign\u0026eacute; devant en bas \u0026agrave; droite Jef Verheyen mai 1950 Fait \u0026agrave; Anvers Rubensstraat. Les Talons oct 1988\u003cbr /\u003e\r\nStamped on the reverse referring to customs\u003cbr /\u003e\r\nPhotographed by Sinigaglia (Milan) n. 4760 26/02/1958\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThis work is described as \u0026#39;Keramisch Verliefden\u0026#39; (\u0026#39;Ceramic Lovers\u0026#39;) in a letter to Dani Franque from 16 February 1958, and the work has been assigned to her in 1958 by Verheyen.\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":59,"permalink":"693-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/883/medium_500/693_8.jpg?1638438913","cached_actor_names":"Galleria Pater, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/883/large/693_8.jpg?1638438913","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive, 2021","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26483,"title":"• 0688 • Signes de l'infini d'oré","dimensions":"50 x 60 cm","date_begin":"1957-01-01","material":"Oil paint on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the front: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the front: \u0026#39;mei 1957\u0026#39;\u0026nbsp;\u0026nbsp;\u003cbr /\u003e\r\nTitled on the back of the photograph (see linked item): \u0026#39;Signes de l\u0026#39;infini d\u0026#39;or\u0026eacute;\u0026#39;\u003cbr /\u003e\r\nDated on the back of the photograph (see linked item): \u0026#39;1956\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":23,"permalink":"688-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/442/medium_500/688_1.jpg?1594717751","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/442/large/688_1.jpg?1594717751","poster_credits":"(c)Jef Verheyen, scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26488,"title":"• 0690 • Untitled (Paravent)","dimensions":"81 x 20 cm (left and right panel), 81 x 40 cm (center panel)","date_begin":"1966-01-01","material":"Matt lacquer on silk (left and right panel) and on fibreboard (center panel)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Drieluik Triptiek Triptych Scherm Paravent Folding screen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse: \u0026#39;1966\u0026#39;\u003cbr /\u003e\r\nDedicated on the reverse: \u0026#39;drieluik voor mama\u0026#39;\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":53,"permalink":"690-drieluik","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/466/medium_500/690_1.jpg?1594720217","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/466/large/690_1.jpg?1594720217","poster_credits":"(c)Jef Verheyen, scan: CKV, 2020 - 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Collectie FOMU, Fotomuseum Antwerpen, Frank Philippi","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27669,"title":"• 0697 • Lente","dimensions":"128 x 128 cm","date_begin":"1976-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Lente Provence Jef Verheyen in Provence","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nSigned on the reverse, top left, on the canvas: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse, top left, on the canvas: \u0026#39;1976\u0026#39;, \u0026#39;44\u0026#39; [44 = 1932 + 44 = 1976\u0026#39;\u003cbr /\u003e\r\nTitled on the reverse, top left, on the canvas: \u0026#39;Lente\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse, top left, on the canvas: \u0026#39;Provence\u0026#39; \u0026#39;thema O\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":37,"permalink":"697-lente","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/668/medium_500/697_6.jpg?1647003279","cached_actor_names":"Axel Vervoordt, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/668/large/697_6.jpg?1647003279","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27749,"title":"• 0698 • T I V IV","dimensions":"180 x 180 cm","date_begin":"1971-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen T I V IV VECU V.E.C.U. Breugelmans","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nSigned on the reverse, top left: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse, top left: \u0026#39;1971\u0026#39; (?)\u003cbr /\u003e\r\nTitled on the reverse, top right: \u0026#39;T I V IV\u0026#39;\u003c/p\u003e\r\n\r\n\u003cp\u003eThis work was part of the private collection of Mr. Breugelmans, diamond dealer and chairman of the private club V.E.C.U. in Antwerp during the 1970s.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":26,"permalink":"698-t-i-v-iv","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/232/medium_500/698_1.jpg?1602850098","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/232/large/698_1.jpg?1602850098","poster_credits":"(c)Jef Verheyen, photo: Bernaerts, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27770,"title":"Notebook","dimensions":"","date_begin":"1978-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":18,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Notebooks Notes list of works Concorde Druiden Provence Vlaanderen Italië Fiesole","publishing_process_id":1,"annotation":"\u003cp\u003eNotebook containing texts, sketches and list of works\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eTranscription\u003c/strong\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eSommige schilderijen krijgen plots een innerlijk licht en ik kwam er tot nu nog niet achter waarom dat soort licht ontstaat.\u003cbr /\u003e\r\nAls schilder kan men slechts hopen dat die soort toestand ontstaat op het doek, zodat het platte vlak tot een oneindige diepte wordt.\u003cbr /\u003e\r\nEr is iets van de mysterieuze verbinding met het wezen van de natuurlijke dingen die mij in staat stelt soms zulke schilderijen te maken.\u003cbr /\u003e\r\nDeze vaststelling doet mij ook inzien hoe weinig belang of zin \u0026ldquo;het bezitten\u0026rdquo; in zich heeft.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMisschien is dat de werkelijke weldaad van de woestijn. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; einde 1978 woensdag\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMisschien is het daar waar de kleur ophoudt, iets blauw \u0026ndash; rood of groen te zijn, dat zij levend begint te worden.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u003cem\u003een moi, celui qui peint n\u0026rsquo;est pas l\u0026rsquo;homme qu\u0026rsquo;on voit\u003cbr /\u003e\r\n[?] bien ici je ne suis que peintre.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHet is wel erg moeilijk zonder kultureel kontakt te leven, of is het moeilijk omdat ik nog niet autonoom genoeg ben. Waarschijnlijk moet ik toch eens kiezen tussen hier en ginder maar doet de tijd dat niet als uit zichzelf?\u003cbr /\u003e\r\nSoms zit ik hier als een oude vrijster die haar verloren liefde [niet kon?] vergeten.\u003cbr /\u003e\r\nMet Vlaanderen en ik is dat ook zoiets, of wil ik gewoonweg mijn vergaande herinneringen niet prijs geven?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eItali\u0026euml; ben ik langzaam aan \u0026rsquo;t kwijt spelen, of is het Itali\u0026euml; dat mij verliest.\u003cbr /\u003e\r\nIk had nooit gedacht dat ik eens genoeg zou krijgen van Itali\u0026euml;, ik moet wel erg veranderd zijn de laatste jaren.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIn \u0026ldquo;Ten Bosch\u0026rdquo; werken valt wel mee maar ginder is alles naar binnen gekeerd, er komt zeer weinig van buiten uit en men moet er alles \u0026ldquo;in zichzelf\u0026rdquo; zoeken.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHier [lees: Provence] komt de stimulans van buiten door de harmonische kracht die men overal aanwezig weet, alle zintuigen zijn ingeschakeld en concorderen onder elkaar. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eIn samenwerking met alles leven is zeker de kracht die andere dimensies opent.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u003cem\u003eLangzaam voel ik alles veranderen en met dat gevoel mee kunnen leven is me ruimschoots genoeg.\u003cbr /\u003e\r\nDe geweldige harmonie van het kosmisch gebeuren doet het heelal trillen en tintelend pinkelen de sterren.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026nbsp;\u0026ldquo;le gui\u0026rdquo; of de gewijde plant der Druiden was (of is) het bewijs van de uitzonderlijke kracht die de Druiden bezaten. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eZij deden door het samenbundelen van hun innerlijke kracht die plant (groeien) ontstaan en groeien, en na een zekere tijd werd de marentak als bewijs van uitzonderlijke kracht ceremonieel verwijderd. De oefening met het zaad dat men moet doen groeien, in een kortere tijdsspanne dan de normale groeiperiode, is een dergelijke praktijk.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe tekening of het symbool van de vijfhoek dat op het bolletje te zien is heeft misschien niet rechtstreeks met deze oefening te doen. Maar het is wel een bewijs dat wij deel uit maken van een geheel, of dat wij met alle dingen samen verbonden zijn in een ontzaglijk systeem.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMisschien is het samenbundelen van tijd, het versnellen (van) of vergroten van de intensiteit verhoogde levenskracht\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eWaarschijnlijk is er een overlevering in alles, een gedeelte dat men kan aanvoelen en misschien begrijpen. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMen wordt naar de voedingsbodem terug geroepen zoals een magneet metalen aantrekt. De heimwee naar de oorsprong of het verlangen naar de triomfantelijke aanwezigheid van de schoonheid doet me steeds terug naar Itali\u0026euml; keren.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe aanwezigheid van de hoge, donkere rechte cipressen rond het theater van Fiesole, maken mij zo wak dat ik van weemoed zou willen verdwijnen, gewoonweg opgelost worden in een wervelwind van donkergroen smaragd licht. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHet is wel de invloed van zekere kleuren onder elkaar die me bezig houdt verder te werken.\u003cbr /\u003e\r\nDe relatie\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMisschien is het kunnen schilderen een weldaad. De tegenpool of de andere kant van de medaille is dat men zo weinig terugkrijgt van \u0026ldquo;de vrienden\u0026rdquo;. T.t.z. van de vroegere vrienden die de evolutie, en een grotere vorm van succes niet kunnen waarderen omdat zij stil blijven staan, of beter gezegd niet kunnen evolueren.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nDit is misschien het groot voordeel van met niets aan te vangen, en ik bedoel dat niet op materieel vlak. De verbijstering van de eerlijke jonge schilder is zeer groot, dit soort eenzaamheid kennen slechts zijn geestesgenoten en in de maatschappij heeft hij geen plaats of zin, vermits hij nog die zin aan zijn werk moet geven.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTerwijl de andere jongeren door hun ouders geholpen worden, of door die hulp op een plaats in de samenleving geplaatst worden, leeft de jonge schilder aan de rand van de samenleving.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nZijn productie heeft geen een re\u0026euml;le waarde, alles wat hij maakt is onvolledig omdat zijn persoonlijkheid nog veel te gespleten is, en zijn bezigheid door de burgerij echt niet \u0026ldquo;au serieux\u0026rdquo; genomen. Af en toe wordt hij toch wel geholpen, door andere marginalen, en zo zijn geloof groot genoeg is, ziet hij wel eens een \u0026ldquo;een engel\u0026rdquo; verschijnen. Vermits Engelen \u0026rsquo;s nachts op tocht zijn, leeft de jonge schilder ook in het donker. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eIn feite is het ongelofelijk hoe sterk de aantrekkingskracht van de maatschappij werkt. Alles, maar ook alles, is ingesteld om al het andere mee te sleuren in de ronde dans der doden en moet niet uit een uitzonderlijk (speciale) stof gemaakt zijn om niet opgelost te worden in die wervelwind.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eVijfentwintig jaar geleden konden wij Dani en ik het Antwerpse stadhuis verlaten, zonder getrouwd te zijn, en met al hun maatschappelijke zever zijn ze nog niet bekwaam wat meer menswaardigheidszijn te doen ontstaan in hun vieze troep.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHoogstwaarschijnlijk is mijn Retrospectieve in Brussel, Paleis voor Schone Kunsten, het bewijs dat de schilderkunst sterker is dan de maatschappij.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u003cem\u003e5 oktober 1979\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; St. Saturnin d\u0026rsquo; Apt\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eWaarom ik zo vroeg aangetrokken werd door schilderen en schilderijen heb ik nog niet helemaal kunnen achterhalen.\u003cbr /\u003e\r\nWanneer men over re\u0026iuml;ncarnatie spreekt en zo meer zie ik nog altijd niet het verband met mijn grote drang naar schilderen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eNatuurlijk is het schilderen een middel om al het andere te vergeten of te doen verdwijnen of om in een weldoende sfeer te zijn. Ook in de Lierse schildersklas [1946] voelde ik mij \u0026ldquo;als op mijn plaats\u0026rdquo;. Ik verloor mij volledig en daardoor is het me meermalen gebeurd dat ik een sigaret met het brandend gedeelte in mijn mond stak, enfin, het lavend gevoel ergens thuis te zijn, in een huis waar het feest is en goed ruikt naar gebak, appelen en peren, en zondag en zaterdag, zon en sneeuw, vlinders en prisma\u0026rsquo;s, geslepen waaiers met koperen lijsteren, spiegels met sierlijke woorden in diamant geschreven, regenbogen van woorden, ieder schrijver mag daar jaloers op zijn.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHet tegenovergestelde ervan is \u0026ldquo;het zwart water\u0026rdquo;, schrikkelijke draaikolk van het onbewuste die soms zuigt en trekt wanneer men niet uit de verf geraakt, het zwarte drijfzand waaruit men niet weg geraakt tot men het middel terug vindt, het lijf van de engel voelt.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eZich door de engelen geholpen weten is een geweldige ervaring.\u003cbr /\u003e\r\nMen mag gerust over geluk spreken wanneer men door de muur van onbeweeglijkheid geraakt. Wat voor een kracht me steeds voort stuurde kan ik niet zeggen, waarom ik steeds \u0026ldquo;ergens\u0026rdquo; heen moest is niet eenvoudig te bepalen, in ieder geval was het een verzet, een niet willen aannemen van een zekere omstandigheid en een weigering van de trivialiteit. Een vluchten was het ook niet omdat ik steeds naar iets toe werd gedreven.\u003cbr /\u003e\r\nDe verwachting van \u0026ldquo;dat andere\u0026rdquo; deed me bewegen tot in me verenigd voelde met het gemeenschappelijke, iets dat men herkent als een weldoend iets, een samenzijn met dezelfde soort.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHet is zeer eigenaardig dat ik steeds die drang in mij voelde en dat ik immer de disponibiliteit van zekere mensen kan herkennen, of dat ik leerde zekere verborgen kwaliteiten te zien. Ergens verwacht men steeds iets en in die verwachting leven loont al de moeite. Dat er veel energie verloren gaat is zeer spijtig maar daaraan kan ik niets veranderen Het contact met anderen is toch altijd het resultaat van verschillend interesses, bewuste of onbewuste verlangens naar positieve ervaringen\u003cbr /\u003e\r\nhet ondernemen van ontdekkingsreizen in het andere wezen. Het is een soort spel waar men de inzet steeds moet vergelijken met wat men terug [bekomt?] Soms stelt men vast dat anderen meer om de inzet van anderen bekommerd zijn dan om hun eigen gedrag tegenover de anderen. Sommigen hebben zo weinig te bieden dat zijn eerst iets moeten ontvangen voordat ze iets kunnen geven, in de talloze contacten die ik had met anderen stelde ik dat dikwijls vast. Mijn leven was echt een spannende geschiedenis, vol van verschillende situaties, omdat ik me steeds verplaatste van milieu, moest ik altijd met andere maatstaven meten en meestal in een andere taal de juiste waarde van \u0026ldquo;de zin\u0026rdquo; trachten aan te voeleln. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;La substitution\u0026rdquo; is een ongelofelijke weerspiegelende waarde die uitsluitend door gevoelige mensen wordt gebruikt en voor mij is dat een maatstaf voor hun belangstelling [het?] anderen tegenover.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHet eigenbeeld terug willen vinden is een stupide bezigheid en het bewijs dat men nog niet veel begreep van de verborgen zin der menselijke handelingen. Men kan veel beter spreken over een aanvullende waarde, een waarde die meer veronderstelt en dus zelf niet bezit. Het langzaam veroveren van andere waarden of het verruimen van de persoonlijke mogelijkheden maakt waarschijnlijk de aanbiedingskracht groter en zodanig ook de aantrekkingskracht, la fascination, die men uitoefent in een milieu. Het is ongelofelijk in welke situatie men kan terecht komen, te midden van nonnen leven is ook de moeite.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHerr Direktoer Plfuger, waar zou ik dat anders beleefd hebben en daar alles een kwestie is van intense gevoeligheid, het bezit nemen van de ongekende dimensies me voila devant le faite que je suis devenu quelque chose qui vit hors du commun.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;Le dialogue avec l\u0026rsquo;invisible\u0026rdquo; is voor mij de samenspraak met zeer duidelijk zichtbare zaken en wezens. Hun aanwezigheid is meestal sterker dan de dingen der driedimensionale (profane) realiteiten.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHet is zeer eigenaardig dat l\u0026rsquo;invisible me meer aanspreekt en ik dus meer versta [van (hen)?] dan het triviaal gezeur omtrent een voetbalmatch bv.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe ervaring van de ruimte is versmolten met/in de modulatie van de gevoeligheid.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe geluiden van de wind \u0026nbsp;en het sterker zachter vervullen dat wat ik bedoel.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n- Module en modulatie -\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe dynamische wereld van de schilderkunst is iets voor specialisten. In hoeverre dat met intelligentie iets gemeen heeft weet ik niet. In alle geval bepaalt de graad van belangstelling het gedeelte dat iemand kan ervaren bij het bekijken van een schilderstuk.\u003c/em\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eZacht lila violet met zilveren waas\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; - oranje\u003cbr /\u003e\r\n\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; - goudachtig\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; alle tinten doorzichtig\u003c/em\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eIk vraag me af wanneer er eens een volledig uitstekend schilderij zal ontstaan (in mijn atelier)\u003cbr /\u003e\r\nSoms moet ik alles door elkaar vegen om enig licht in de verf te krijgen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eSchilderen is echt zeer moeilijk, en ik ben het echt beu dat de gemeenschap alles over \u0026eacute;\u0026eacute;n kam scheert. Het geknutsel van een oud wijf, het debiel gedoe van een psychopaat, het geplak van de vetlappen, dat alles heet men schilderen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eIk ga mijn schilderstukken aan dat (?) onttrekken en af en toe, hier en daar en stuk plaatsen. Ik hoop daar echt in te lukken.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u003cem\u003eSchilderen is een persoonlijk avontuur dat men eenzaam beleeft.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e[sketch]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003enog uit te voeren\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ela nuit d\u0026rsquo; Ulysse \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026nbsp;[sketches]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEen mandje met rijpe noten waarvan de schil losging toen ik ze vastnam.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eIets gemeenzaam met een vogelnest vol eieren.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eonder blauw \u0026ndash; licht blauw\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eoranje over blauw \u0026nbsp;\u0026nbsp;\u0026ndash; \u0026nbsp;\u0026nbsp;\u0026nbsp; licht blauw\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003egrijs \u0026ndash; groen \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; geel oranje\u003cbr /\u003e\r\nlicht\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u003cem\u003e-blauw rood\u003cbr /\u003e\r\n-mooi blauw\u003cbr /\u003e\r\n-zone violet\u003cbr /\u003e\r\n-geel\u003cbr /\u003e\r\n-groenachtig\u003cbr /\u003e\r\n-oranje\u003cbr /\u003e\r\n-oker\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e[sketch]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e1978 tot 1981\u003c/em\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026nbsp;[List of works, 1980, Edith Wahlandt, 22 schilderijen, tbc]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026nbsp;[List of works, Blue Pythagoras, Heraklithe, Sable et or, Edith Wahlandt, tbc]\u003c/em\u003e\u003c/p\u003e\r\n","date_end":"1981-01-01","reference":"JV_08_02","stream_count_app":120,"permalink":"notebook-with-texts-sketches-and-list-of-works","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/361/medium_500/img06102020_0012.jpg?1603190984","cached_actor_names":"Jef Verheyen, Galerie Edith Wahlandt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/361/large/img06102020_0012.jpg?1603190984","poster_credits":"(c) Scan: CKV, 2020 - 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Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27865,"title":"Notebook","dimensions":"A4","date_begin":"1979-01-01","material":"Pencil on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":15,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Notebooks Notes list of works inventory","publishing_process_id":1,"annotation":"","date_end":"1982-01-01","reference":"JV_08_05","stream_count_app":82,"permalink":"notebook-5986d622-f469-46dd-a640-bd69ba45fee2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/615/medium_500/img06102020_0001.jpg?1603439629","cached_actor_names":"Jef Verheyen, Galerie Edith Wahlandt, Erker Galerie, Stichting Veranneman","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/615/large/img06102020_0001.jpg?1603439629","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27869,"title":"Notebook 'Hommage aan Leonardo da Vinci'","dimensions":"A4","date_begin":"1974-01-01","material":"Pencil on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Notebooks Notes Leonardo da Vinci Provence","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nDated \u0026nbsp;\u0026#39;42 - 13 - 8\u0026#39;\u0026nbsp; [=\u0026nbsp; 1934 + 42 = 1974 =18 August 1974]\u003c/p\u003e\r\n","date_end":null,"reference":"JV_08_06","stream_count_app":61,"permalink":"notebook-hommage-aan-leonardo-da-vinci-provence-19999","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/658/medium_500/img06102020_0001.jpg?1603447055","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/658/large/img06102020_0001.jpg?1603447055","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27877,"title":"Notebook 'La doute est ma seule vérité'","dimensions":"A4","date_begin":"1975-01-01","material":"Pencil on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Notebooks Notes","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_08_07","stream_count_app":62,"permalink":"notebook-la-doute-est-ma-seule-verite","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/700/medium_500/img06102020_0007.jpg?1603455541","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/700/large/img06102020_0007.jpg?1603455541","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27881,"title":"Notebook","dimensions":"A4","date_begin":"1975-01-01","material":"Pencil on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Notebooks Notes","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nDated\u0026nbsp;2 nov 43 [43 = 1932 + 43 = 1975]\u003c/p\u003e\r\n","date_end":null,"reference":"JV_08_08","stream_count_app":59,"permalink":"notebook-4-nov-43","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/711/medium_500/img06102020_0008.jpg?1603460420","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/711/large/img06102020_0008.jpg?1603460420","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":28188,"title":"Notebook 'Opgedragen in herinnering aan meester Carlo Van Den Bosch'","dimensions":"A4","date_begin":"1974-01-01","material":"Pencil on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":31,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Carlo Van Den Bosch Liturgie Lithurgie","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nPreparation for catalogue Frigolet?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMa peinture est devenue une liturgie.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eI sometimes see the geometric that arises in the mind connected with the phenomena. Square and circle etc. are now drawn in the light of the sun. I\u0026rsquo;ve never seen so clearly before. I will probably discover the real connection in the structure of the sunlight. Lux est Lex has become reality. - Jef Verheyen in his diary November 1974\u003c/em\u003e\u003c/p\u003e\r\n","date_end":"1975-01-01","reference":"JV_08_09","stream_count_app":145,"permalink":"notebook-opgedragen-in-herinnering-aan-meester-carlo-van-den-bosch","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/064/360/medium_500/img06102020_0025.jpg?1603968489","cached_actor_names":"Jef Verheyen, Carlo Van den Bossche","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/064/360/large/img06102020_0025.jpg?1603968489","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eTranscription\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003esep 42\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eWaarschijnlijk is het een groot geluk in een enorme ruimte te mogen leven. L\u0026rsquo;enchantement is zo sterk dat ik het door mijn lijk voel zinderen. Onmogelijk kan ik zeggen hoe sterk de indrukken zijn die me dagelijks overweldigen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe snede van het zwaard is veel scherper dan vroeger geworden. Soms zie ik het zo duidelijk en glanzend als het zonlicht.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eNietsche etc. kregen ook, niet ver van hier, het verblindende licht der goden in zijn ogen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cstrong\u003eMa peinture est devenue une liturgie.\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eSinds mijn paard hier is werd de eenzaamheid normaal. In feite werd ik het sneller gewoon dan ik dacht. Zelfs de Post ligt stil, wat de verwachting naar brieven van vrienden vervaagde.\u003cbr /\u003e\r\nZo alleen zitten, in feite te midden van het ongekende, is een zeer merkwaardige ervaring. De psychische spanningen zijn groter of intenser maar ik kanaliseer het eigenlijk gemakkelijker. Ook de esoterische waarden vergroten of worden duidelijker.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eVerschijnselen die ik vroeger wel waarnam maar die tussen al de andere indrukken verloren liepen, hanteer is gemakkelijker of leer ik beter kennen. De verandering die in mij plaats heeft is waarschijnlijk niet meer te stoppen. Ik word eer en meer onafhankelijk van de vroegere waardebepalingen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHet geometrische dat in de geest ontstaat zie ik soms met de fenomenen verbonden. Vierkant en cirkel enz. staan nu getekend in het licht van de zon. Zo duidelijk zag ik vroeger nooit. Waarschijnlijk ontdek ik nog wel het werkelijk verband in de structuur van het zonnelicht.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLux est Lex is werkelijkheid geworden.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003enov 42\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eTranscription\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003esep 42\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarschijnlijk is het een groot geluk in een enorme ruimte te mogen leven. L\u0026rsquo;enchantement is zo sterk dat ik het door mijn lijk voel zinderen. Onmogelijk kan ik zeggen hoe sterk de indrukken zijn die me dagelijks overweldigen.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe snede van het zwaard is veel scherper dan vroeger geworden. 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Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21281,"title":"• 0141 • Untitled","dimensions":"40 x 40 cm","date_begin":null,"material":"Matt lacquer on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nWooden white frame, artist\u0026#39;s frame?\u003cbr /\u003e\r\nNo signature, dating or annotation on the front or reverse side\u003cbr /\u003e\r\n\u0026quot;Good\u0026quot; condition\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":42,"permalink":"141-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/795/medium_500/141_asset1.jpg?1557409187","cached_actor_names":"Callewaert Vanlangendonck Gallery, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/795/large/141_asset1.jpg?1557409187","poster_credits":"(c)Jef Verheyen, photo: M HKA - Courtesy Callewaert-Vanlangendonck Gallery - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30569,"title":"• 0702 • Untitled (Lichtstroom)","dimensions":"70 x 70 cm","date_begin":"1968-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Lichtstroom Lichtwenteling","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nUndated, most likely made between 1968 and 1970\u003cbr /\u003e\r\nSigned on the reverse: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nUntitled\u003c/p\u003e\r\n","date_end":"1970-01-01","reference":"","stream_count_app":34,"permalink":"702-zonder-titel-lichtstroom","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/815/medium_500/179_163_645.jpg?1623928204","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/815/large/179_163_645.jpg?1623928204","poster_credits":"(c)Jef Verheyen, photo: De Vuyst, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30574,"title":"• 0705 • Untitled (Study for Integratie 64)","dimensions":"29,8 x 74,2 cm","date_begin":"1964-01-01","material":"Paint on wooden panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Hans Jochen Kirchberg Jochen Kirchberg Joachim Kirchberg Integratie 64 Frankfurt","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nStudy painting, probably made for Jochen Kirchberg. Kirchberg and Jef Verheyen worked closely together in 1964 on the occasion of the exhibition \u0026#39;Integratie 64\u0026#39; that took place in Belgium, as well as in Frankfurt. Verheyen made a wall painting for the Bethanienkrankenhaus hospital and\u0026nbsp;the playground of the Liebig Schule in\u0026nbsp;Frankfurt and Kirchberg designed a light tower for a staircase of a gymnasion. We assume that this collaboration and friendship between Kirchberg and Verheyen resulted in two paintings on wooden panel\u0026nbsp;for Mr. Joachim (or Jochen) Kirchberg for their architectural projects.\u003cbr /\u003e\r\nUnsigned?\u0026nbsp;\u003cbr /\u003e\r\nUndated?\u0026nbsp;\u003cbr /\u003e\r\nUntitled?\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":40,"permalink":"705-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/831/medium_500/705_1.jpg?1624262954","cached_actor_names":"Jochen Kirchberg, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/831/large/705_1.jpg?1624262954","poster_credits":"(c)Jef Verheyen, photo: Auktionshaus Döbritz, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30575,"title":"• 0706 • Untitled (Study for Integratie 64)","dimensions":"30 x 117 cm","date_begin":"1964-01-01","material":"Paint on wooden panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Hans Jochen Kirchberg Jochen Kirchberg Joachim Kirchberg Integratie 64 Frankfurt","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nStudy painting, probably made for Jochen Kirchberg. Kirchberg and Jef Verheyen worked closely together in 1964 on the occasion of the exhibition \u0026#39;Integratie 64\u0026#39; that took place in Belgium, as well as in Frankfurt. Verheyen made a wall painting for the Bethanienkrankenhaus hospital and\u0026nbsp;the playground of the Liebig Schule in Frankfurt and Kirchberg designed a light tower for a staircase of a gymnasion. We assume that this collaboration and friendship between Kirchberg and Verheyen resulted in two paintings on wooden panel\u0026nbsp;for Mr. Joachim (or Jochen) Kirchberg for their architectural projects.\u003cbr /\u003e\r\nUnsigned?\u0026nbsp;\u003cbr /\u003e\r\nUndated?\u0026nbsp;\u003cbr /\u003e\r\nUntitled?\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":36,"permalink":"706-untitled-study-integratie-64","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/837/medium_500/706_1.jpg?1624264010","cached_actor_names":"Jochen Kirchberg, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/837/large/706_1.jpg?1624264010","poster_credits":"(c)Jef Verheyen, photo: Auktionshaus Döbritz, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30577,"title":"• 0707 • Untitled","dimensions":"65 x 100 cm","date_begin":"1964-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Basel Niklaus Knöll Knoell Knoll","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nMounted on a new stretcher?\u003cbr /\u003e\r\nUnsigned on the reverse\u003cbr /\u003e\r\nUndated on the reverse\u003cbr /\u003e\r\nUntitled on the reverse\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nApparantly, the work was a gift for Jef Verheyen to Niklaus Kn\u0026ouml;ll on the occasion of his solo exhibition in 1964. To be dated 1964?\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":57,"permalink":"707-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/478/medium_500/707_6.jpg?1635145953","cached_actor_names":"Galerie Niklaus Knöll, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/478/large/707_6.jpg?1635145953","poster_credits":"(c)Jef Verheyen, photo: Beurret Bailly Widmer Auktionen, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30583,"title":"• 0711 • Untitled (Lichtstroom)","dimensions":"64,5 x 65,5 cm","date_begin":"1968-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Lichtstroom Lichtwenteling","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nUndated, most likely made between 1968 and 1970\u003cbr /\u003e\r\nSigned on the reverse: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nUntitled on the reverse\u003c/p\u003e\r\n","date_end":"1970-01-01","reference":"","stream_count_app":38,"permalink":"711-untitled-lichtstroom","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/073/039/medium_500/711_6.jpeg?1624962182","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/073/039/large/711_6.jpeg?1624962182","poster_credits":"(c)Jef Verheyen, photo: De Vuyst, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30571,"title":"• 0704 • Untitled (Eon)","dimensions":"130 x 130 cm","date_begin":"1973-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Eon Laser Double Eon Double Laser","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse: \u0026#39;73\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse: \u0026#39;19/33\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse \u0026#39;307\u0026#39; by unknown, which caused damaged to the front. 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Breugelmans Bert De Leeuw Jan Dries Vic Gentils Englebert Van Anderlecht Guy Vandenbranden Paul Van Hoeydonck Nic Van Bruggen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003c/p\u003e\r\n\r\n\u003cp\u003ePamphlet was printed before, not as exhibition poster.\u003c/p\u003e\r\n","date_end":null,"reference":"JV_53_01","stream_count_app":32,"permalink":"nieuwe-vlaamse-school","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/817/medium_500/JV_38_01_a.jpg?1637844264","cached_actor_names":"Guy Vandenbranden, Englebert Van Anderlecht, Guy Mees, Nic Klerks, Jef Kersting, Vic Gentils, Jan Dries, Herman  Denkens, Mark Claus, Bert De Leeuw, VECU, Nic van Bruggen, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eNieuwe Vlaamse School\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eerkent in zichzelf DEZE vlaamse traditie, dat het universele van de moderniteit in de eigen aard, d.i. de vlaamse, vervat ligt;\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003eis zich bewust dat onze oudere vlaamse schildersscholen hun eigen aard door vergelijking met de buitenlandse, d.w.z. andere schilderscholen, vonden en opdrongen;\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003eis de overtuiging toegedaan dat de autentieke schilderkunst in wezen nooit formeel of modieus is geweest, maar uiteraard alleen essenti\u0026euml;l, waardoor zij verstaat de essentie niet te verwarren met de tijdelijke mededeling der vroegere meesters;\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003ezij erkent derhalve alleen de OVERSCHRIJDENDE instelling van het individu als bepalend voor het avant-gardisme;\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003ezij keert zich af van de in Belgi\u0026euml; en in het buitenland opgeldmakende opvatting als zou er een \u0026ldquo;Belgische\u0026rdquo; schilderschool bestaan, een opvatting die een contradictio in terminis insluit;\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003evermits Belgisch niet met het Vlaamse autochtone samenvalt \u0026ndash; en die zich wil staande houden door een kultus van formalismen.\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003ezij wenst in de zin van HAAR BEGINSELEN effektief tegen deze laatste opvatting te handelen, door zich openlijk af te scheiden en zich als de \u0026ldquo;nieuwe vlaamse school\u0026rdquo; te bekennen.\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003eMARK CLAUS\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; JEF KERSTING\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; ENG. VAN ANDERLECHT\u003cbr /\u003e\r\nHERMAN DENKENS\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; NIC KLERKS \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; GUY VANDENBRANDE\u003cbr /\u003e\r\nJAN DRIES\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; GUY MEES\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; WIM VAN DE VELDE\u003cbr /\u003e\r\nVIC GENTILS\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; JEF VERHEYEN\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u003cstrong\u003eLigt de universaliteit in de traditie?\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eIs het niet juist door het feit dat hij zijn aard bepaalt dat de mens eerbied voor de dingen krijgt, en aldus de kennis verwerft, of het bewustzijn, dat alle dingen de delen zijn die de samenleving, kosmos of\u0026nbsp; eenheid vormen? Is zelfbewust worden niet het verschil tussen het ik en het andere opmerken?\u003c/p\u003e\r\n\r\n\u003cp\u003eAls men het eigenaard-ige van zichzelf kent weet men dat het iets is dat de anderen niet bepaald hebben, en dat al wat de anderen bezitten dat is wat men zelf niet heeft. Hieruit vloeit voort dat men eerst het andere moet kennen om de eigen aard te herkennen. De vlaamse traditie kan men slechts herkennen wanneer men de andere tradities aanneemt, vermits het aannemen het begin der kennis is.\u003c/p\u003e\r\n\r\n\u003cp\u003eAls men het ene ziet, ziet men automatisch het andere, en als men het andere aanneemt neemt men het ene aan. Hier is van keuze geen sprake: ofwel eerbiedigt en ziet men het andere en wordt men bewust, of men ziet niets anders waardoor men niet bestaat.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet is gemakkelijk te zeggen dat men in Belgi\u0026euml; internationaal wil worden of universeel wil erkend zijn, maar het is zeker dat hij, die bij geen enkele traditie wil aansluiten, tot niets zal behoren, daar hij geen bepaling zal geven en aldus de anderen hem aan niets bepaald zullen herkennen.\u003c/p\u003e\r\n\r\n\u003cp\u003eWas het de schuld van Van Eyck, Memling, Metsijs, Bosch, Dirc Bouts e.a. dat zij vlaams waren en schilderden? Als Rik Wouters, Ensor, Brusselmans, van den Berghe, Permeke, door dat zij vlaams voelden, bij hun traditie aansloten, kan men hen dat nog minder verwijten.\u003c/p\u003e\r\n\r\n\u003cp\u003eAls nu de Belgische offici\u0026euml;le instanties die Vlaamse schilderkunst als Belgisch willen tonen wordt dit even moeilijk als appelen voor citroenen verkopen.\u003c/p\u003e\r\n\r\n\u003cp\u003eVermits wij nooit voor de Belgische staat als autonoom zullen aangenomen worden zal geen Vlaams schilder een kans krijgen om zich officieel als aanhanger of voortzetter der Vlaamse traditie te manifesteren. Nooit zal men in Belgi\u0026euml; schilders, die bewust tot de Vlaamse traditie behoren, kunnen propageren of verdedigen.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn wezen is pikturaliteit zonder grenzen, van het ogenblik dat de mens deze voorstelt wordt het een produkt\u0026nbsp; van die mens plus zijn omgeving. 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Dudant, Baksteen, Jongeren","dimensions":"","date_begin":"1956-01-01","material":"Ink on newspaper, collage","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Het geestesleven","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_40_07","stream_count_app":20,"permalink":"tentoonstellingen-te-antwerpen-dudant-baksteen-jongeren","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/252/medium_500/JV_40_07_a.jpg?1642762381","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/252/large/JV_40_07_a.jpg?1642762381","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eHet Geestesleven\u003cbr /\u003e\r\nNovember 1956\u003cbr /\u003e\r\nM.C.\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eElders, in een gedurfd stuk \u0026quot;art-brut\u0026quot; - plaaster, lompen, grijs, giftig groen - is Dova hem te machtig geworden.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[...]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eop zichzelf genietbare werkjes...,vol kleurverfijning en goed smaak: \u0026quot;Intiem rood\u0026quot;, \u0026quot;Keramische gedachte\u0026quot; en een zeer decoratieve schildering op leisteen.\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31617,"title":"Invitation to the inaugural exhibition of Atelier 14, Antwerp, 21 July 1955","dimensions":"","date_begin":"1955-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":218,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Atelier 14 Keramiek","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_65_01","stream_count_app":31,"permalink":"ceramiek-atelier","description_ru":"","description_de":"\u003cp\u003eEinladung zur Eröffnungsausstellung von Atelier 14, Antwerpen, 21. Juli 1955.\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/239/medium_500/JV_65_01.jpg?1642510888","cached_actor_names":"Jef Verheyen, Dani Franque, Marina Van Acker","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/239/large/JV_65_01.jpg?1642510888","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eInvitation tot the inaugural exhibition of Atelier 14, Antwerp, 21 July 1955.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eUitnodiging voor de openingstentoonstelling van Atelier 14, Antwerpen, 21 juli 1955.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eInvitation à l'exposition inaugurale de l'Atelier 14, Anvers, 21 juillet 1955.\u003c/p\u003e"}]},{"id":31626,"title":"• 0732 • Intiem Rood","dimensions":"?","date_begin":"1956-01-01","material":"?","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Deutsche Buchgemeinschaft","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"732-intiem-rood","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Deutsche Buchgemeinschaft, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026lsquo;De Deutsche Buchgemeinschaft\u0026rsquo; was waarschijnlijk wel de eerste galerij, in Antwerpen, waar jonge vooruitstrevende niet figuratieve schilders aan bod kwamen. Ik leerde de directeur van die boekenwinkel kennen in het keramiekatelier, en ik kon hem overtuigen iets in onze richting te maken/ondernemen. Het is dus met die tentoonstelling dat ik werkelijk heb aangevangen. Ik maakte in die tijd kleinere werken met als naam: Intiem Rood, keramisch wit, ik was natuurlijk door de keramiek Chinees be\u0026iuml;nvloed en kon dus zeer gemakkelijk in dat gevoel geraken. \u0026lsquo;Chinese Meisternovellen\u0026rsquo; en monochrome tekeningen en schilderijen zijn echt al zeer oud en dus al zo lang gekend.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(Source: Brief aan Jean Buyck\u0026nbsp;\u003ca href=\"https://www.dewitteraaf.be/artikel/detail/nl/3397\"\u003ehttps://www.dewitteraaf.be/artikel/detail/nl/3397\u003c/a\u003e)\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31751,"title":"Invitation to the exhibition 'ZERO. Schilders door de galerie gekozen' in Galerie Ad Libitum, Antwerp","dimensions":"","date_begin":"1962-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":218,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen ZERO Ad Libitum Trouillard Ponctuations Vibrations","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"zero","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/813/medium_500/JV_01_02_11_a.jpg?1643879043","cached_actor_names":"Galerie Ad Libitum, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31752,"title":"Signed photo of Günther Uecker with inscription 'Jef, in deine reine Vision des Lichts möchte ich mit meinen Nageln eindringen. Uecker 67'","dimensions":"","date_begin":"1967-01-01","material":"Ink on photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Günther Uecker Lothar Wolleh Shared work","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned on the front by Günther Uecker: 'Uecker'\u003cbr\u003eDated on the front by Günther Uecker: '67'\u003cbr\u003eInscribed on the front by Günther Uecker:\u0026nbsp;\u003cbr\u003e\u003cbr\u003e\u003ci\u003eJef, in deine reine\u0026nbsp;Vision des Lichts möchte Ich mit meinen Nägeln eindringen.\u003c/i\u003e\u003c/p\u003e\u003cp\u003ePhotographer's stamp on the reverse\u003c/p\u003e","date_end":null,"reference":"JV_08_29","stream_count_app":23,"permalink":"signed-photograph-of-gunther-uecker-nailing-verheyen-s-work","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/819/medium_500/JV_08_29_25.jpg?1643881587","cached_actor_names":"Jef Verheyen, Günther Uecker, Lothar Wolleh ","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31761,"title":"Notebook","dimensions":"","date_begin":"1962-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Essentieel Paul De Vree adem zijn evafor binnen buiten bezitten beminnen liefde afzender en ontvanger Ensor Turner Rembrandt AB=BC","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_08_30","stream_count_app":41,"permalink":"notebook-de63aa24-ded6-4f5f-8c16-48882f1d1994","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/162/medium_500/img02022022_0142.jpg?1645713726","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/162/large/img02022022_0142.jpg?1645713726","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eTransciption:\u0026nbsp;\u003c/strong\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e...\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nOver P. De Vree \u0026ldquo;het blanke waaien\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eZijn poesie heeft iets van stromen zuiver water, lavend van hoop, van goedheid.\u003c/em\u003e\u003cbr /\u003e\r\n\u003ci\u003e\u003cem\u003eDiepe doordringende kracht, dopend, zuiverend, water dat over de ziel loopt, langzaam wassend tot er orgelkruid ontspringt.\u003c/em\u003e\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026hellip;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMoest hij dit kunnen zou het natuurlijk geen mens meer zijn, \u0026ldquo;wie kan van in een kamer haar muren langs de buitenkant bekijken\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026hellip;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMen volhoudt. Dit heeft allemaal niet te maken met moraal of levenswijze en de spelregels bepaalt tenslotte de speler zelf, naargelang zij instelling.\u003c/em\u003e\u003cbr /\u003e\r\n\u003ci\u003e\u003cem\u003eHet is zeer gemakkelijk van oordelen te vellen over de anderen. Veroordelen, klasseren, de anderen een plaats toewijzen in zijn systeem is een algemene bezigheid.\u003c/em\u003e\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026hellip;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eIemand die alles bezit verlangt niets meer,\u003c/em\u003e\u003cbr /\u003e\r\n\u003ci\u003e\u003cem\u003eIemand die niets bezit verlangt alles.\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eDus verlangen 2 verliefden niets anders (dan liefde)\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eSamen hebben zij alles = de liefde\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eLiefde = gelijke = wat de andere nodig heeft omdat hij het niet bezit. Zie affektiviteit na\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003e-\u0026gt; zo hij dit niet bezit kan hij het niet geven dus hij neemt slechts liefde nemen niet bezitten?\u003c/em\u003e\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eZo liefde tussen man en vrouw die samen leven is een kwestie van geven en nemen. Afzender \u0026ndash; ontvanger\u003c/em\u003e\u003cbr /\u003e\r\n\u003ci\u003e\u003cem\u003eOntvangen \u0026ndash; le sorte qui morte et qui derui\u0026hellip;\u0026nbsp;?\u003c/em\u003e\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLiefde bestaat niet an sich\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe niets bezitter bemint alles of kan alles nog bezinnen.\u003c/em\u003e\u003cbr /\u003e\r\n\u003ci\u003e\u003cem\u003eDe alles bezitter bemint niets omdat hij alles heeft.\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eGenoeg heben aan zichtzelf wijst op die alles.\u003c/em\u003e\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eGod bezit niets daarom bemint hij alles.\u003c/em\u003e\u003cbr /\u003e\r\n\u003ci\u003e\u003cem\u003eDe mens bemint een gedeelte omdat hij een gedeelte is. 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Vivant il touch au mort,\u0026nbsp;\u003c/em\u003e\u003cbr /\u003e\r\n\u003cem\u003eendormi. et reveill\u0026eacute;, il touche au dormant.\u003c/em\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e[Notes in Greek]\u003c/em\u003e\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e...\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u003cb\u003e\u003ci\u003e\u003cem\u003eVan statiek tot dynamiek\u003c/em\u003e\u003c/i\u003e\u003c/b\u003e\u003cbr /\u003e\r\n\u003ci\u003e\u003cem\u003esi tout change plus rien n\u0026#39;est vrai: van A=A tot \u003cb\u003ePanta Rhei\u003c/b\u003e\u003c/em\u003e\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e...\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eHeraclite\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026hellip;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003ci\u003e\u003cem\u003eMarcel Duchamp\u003c/em\u003e\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e...\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eQuand la couleur est \u0026agrave; sa maturit\u0026eacute;, la forme est \u0026agrave; sa plenitude\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003eCirkel wordt \u003cb\u003ebol\u003c/b\u003e \u0026gt;\u0026lt; oog bol \u003cb\u003espiegel\u003c/b\u003e\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[Sketch]\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003ci\u003eVan Eyck Fouquet\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003eMemling\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003eLam Gods\u003cbr /\u003e\r\nDa Vinci\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003e\u003ci\u003eGothiek\u003c/i\u003e\u003c/b\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003eStatische proportion of \u003cb\u003egulden snede\u003c/b\u003e\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[Calculations]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eEssentieel\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003evier elementen:\u003cbr /\u003e\r\nvuur\u0026nbsp; 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?\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"JV_04_05_12","stream_count_app":21,"permalink":"installation-view-at-casino-knokke-d6d40e0b-fd97-4daf-92ea-eb3b00743d0d","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/112/medium_500/JV_04_05_12_b.jpg?1645620474","cached_actor_names":"Jef 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Beckers","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nConsists of two booklets\u0026nbsp;\u003cbr /\u003e\r\nLay-out: Walter Beckers\u003cbr /\u003e\r\nPhotography: Gerald Dauphin, Paul Ibou\u003cbr /\u003e\r\nRealised by Beckers Art Promotion\u003c/p\u003e\r\n\r\n\u003cp\u003eThe publication includes the last paragraphs from\u0026nbsp;Verheyen\u0026#39;s essay in\u0026nbsp;\u003cem\u003ePour une peinture non plastique\u0026nbsp;\u003c/em\u003e(1959, Weert), as well as\u0026nbsp;\u003cem\u003eBij een kleurtest\u0026nbsp;\u003c/em\u003e(1965, Bevel), and\u0026nbsp;\u003cem\u003eFarbsinn\u003c/em\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"JV_19_01","stream_count_app":62,"permalink":"jef-verheyen-szukalski-knokke-casino","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/130/medium_500/JV_19_01_11.jpg?1645629600","cached_actor_names":"Jef Verheyen, Albert  Szukalski, Walter Beckers , Gerald Dauphin, Paul 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Liberer","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_03_01_01","stream_count_app":28,"permalink":"se-liberer-est-l-action-de-l-esprit-individuel","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/142/medium_500/JV_03_01_a.jpg?1645696034","cached_actor_names":"Jef Verheyen, Lucio Fontana","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/142/large/JV_03_01_a.jpg?1645696034","poster_credits":"(c) Scan: CKV, 2019 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eThis note is a draft letter intended for Lucio Fontana, signed by Jef Verheyen.\u003c/p\u003e\r\n\r\n\u003cp\u003eReference is made to this letter to Fontana in Val\u0026eacute;rie Da Costa, \u003cem\u003eEcrits de Lucio Fontana (Manifestes, textes, entretiens),\u003c/em\u003e Monts: les presses du r\u0026eacute;el, 2013: p. 232-233.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31392,"title":"723 Untitled","dimensions":"45,5 x 68,5 cm","date_begin":null,"material":"Water colour on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the front, lower right: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nRelined on canvas?\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":17,"permalink":"723-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/715/medium_500/723_1.jpg?1637318089","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31852,"title":"Essentialisme (FR,NL)","dimensions":"","date_begin":"1958-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Essentialisme Milaan Schwarz Darstellen Paul Klee","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":33,"permalink":"essentialisme-ca849e3d-05c0-4153-b13a-89e165910fae","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef 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Elk ding, eens zijn harmonische toestand verbroken, tracht terug harmonisch te worden. Deze betrachting is Actie, het bewegen naar iets. Beweging is tijd (dimensie) tussen twee harmonie\u0026euml;n b.v. geboorte-Dood.\u003cbr /\u003e\r\nBeweging is onvolledig, bewegingen zijn alleen mogelijk met een vooropgesteld doel, het bepalen van dat doel geeft bewegingsmogelijkheid. Bewegingsvrijheid.\u003cbr /\u003e\r\nEen schietlood uit zijn vertikale houding beweegt zolang tot het STATISCH wordt.\u003cbr /\u003e\r\nEen draaiende kleurschijf wordt op het statische punt ACHROMATISCH.\u0026nbsp;\u003cbr /\u003e\r\nSTATIEK IS HARMONIE,\u003cbr /\u003e\r\nHARMONIE IS ACHROME,\u003cbr /\u003e\r\nACHROME IS RUIMTE,\u003cbr /\u003e\r\nRUIMTE IS VRIJHEID,\u003cbr /\u003e\r\nVRIJHEID IS ESSENTIE\u003c/p\u003e\r\n\r\n\u003cp\u003el\u0026rsquo;id\u0026eacute;e se r\u0026eacute;v\u0026egrave;le ainsi dans la r\u0026eacute;alit\u0026eacute; et dans la vari\u0026eacute;t\u0026eacute; de la nature, sans rien perdre de son unit\u0026eacute; parfaite et de son caract\u0026egrave;re absolu, ind\u0026eacute;pendant de toute manifestation sensible,\u003cbr /\u003e\r\nDE MEME QUE LA LUMIERE EST PRESENTE A CHAQUE LIEU ET RESTE PARTOUT, UNE ET LA MEME,\u003cbr /\u003e\r\nde m\u0026ecirc;me id\u0026eacute;e, une et indivisible, se communique \u0026agrave; tous les \u0026ecirc;tres qui l\u0026rsquo;expriment, aussi dans la doctrine, platonicienne;\u003cbr /\u003e\r\nLA REALITE SENSIBLE N\u0026rsquo;EXISTE PAS EN ELLE MEME,\u003cbr /\u003e\r\nELLE N\u0026rsquo;EXISTE QUE PAR PARTICIPATION, ELLE S\u0026rsquo;EFFACE DEVANT L\u0026rsquo;IDEE QUE EST SON ETERNEL EXEMPLAIRE\u003c/p\u003e\r\n\r\n\u003cp\u003eESSENTIE IS\u003c/p\u003e\r\n\r\n\u003cp\u003eessenti\u0026euml;le schilderkunst is dimensieloos, een volledig vrij blijven er geen kontrasten over. Dimensies zijn op kontrasten gebaseerd, kontrasten van kleur, afstands- of tijdsbegrippen, in de wereld der essenties bestaan geen tegenstellingen\u003c/p\u003e\r\n\r\n\u003cp\u003eESSENTIES IS\u003cbr /\u003e\r\nZij zijn het samenvloeien van + en \u0026mdash;, op zichzelfstaande begrippen, autonomen of Adimensionalen. groot bestaat niet zonder klein Orde niet zonder Wanorde KOSMOS\u0026nbsp;\u0026nbsp; \u0026nbsp;CHAOS, chaos bestaat\u0026nbsp;\u0026nbsp; \u0026nbsp;niet,\u003cbr /\u003e\r\nzij was, zodus is Kosmos drager van chaos,\u003cbr /\u003e\r\nKOSMOS IS RUIMTE\u003cbr /\u003e\r\nRUIMTE IS ACHROME, zowel wit als zwart.\u0026nbsp;\u003cbr /\u003e\r\nWij kennen geen klein vierkant zonder groot, maar het VIERKANT bestaat, volledig vrij van het begrip der tegenstelling.\u003cbr /\u003e\r\nDe essentie vierkant is ADIMENSIONAAL, onmeetbaar, het blijft zijn onbepaaldheid houden.\u003cbr /\u003e\r\nWij zijn dragers van de begrippen, vierkant, cirkel, kleur,\u003cbr /\u003e\r\nESSENTIES, ADIMENSIONALE begrippen, essenties zijn vrij van materie, van tijd is ruimte.\u003cbr /\u003e\r\nLOS VAN MATERIE IS ESSENTIEEL ESSENTIE IS IK, IK IS AL HET BESTAANDE,\u003cbr /\u003e\r\nAL HET BESTAANDE IS WERKELIJKHEID,\u003cbr /\u003e\r\nWERKELIJKHEID IS ALLES,\u003cbr /\u003e\r\nIK IS ALLES.\u003c/p\u003e\r\n\r\n\u003cp\u003eWeinigen hebben bij de tentoonstelling, Klein, Rot, Piene, Uecker, deelgenomen aan de vrijheid die deze werken uitstralen, even zijn enkelen entousiast geweest, zij hebben de frisheid aangevoeld, maar geen die de diepere grond van deze manifestatie begrepen heeft. De schuld ligt bij de inrichters, die nooit voor de tentoonstelling een werk van deze groep hadden gezien. E\u0026eacute;n had de klok horen luiden, maar wist de klepel niet hangen, hij had enkel het woord \u0026bdquo;mouvement\u0026rdquo; onthouden. \u0026rsquo;t Was dan ook deze titel die zij aan die manifestatie gaven. Het beste bewijs dat zij niet wisten waar het om ging. Zij werden waarschijnlijk ge\u0026iuml;nspireerd door de werken van Tinguely die ze zagen bewegen, maar die nochtans langs de beweging om statisch zijn.\u003c/p\u003e\r\n\r\n\u003cp\u003eIves Klein is in levenden lijve een demonstratie komen geven, om ,,le vide\u0026rdquo; te tonen, het niets. Voor het hessenhuis was het natuurlijk NIETS, \u0026#39;t ging hun petje te boven.\u003c/p\u003e\r\n\r\n\u003cp\u003eNIETS IS ALLES IS ESSENTIE IS DE IK DE IK TEGENOVER ALLES,\u003cbr /\u003e\r\nDE VOLLEDIGE VRIJHEID.\u003cbr /\u003e\r\nhet is niet Ives Klein die de mono- of achromie uitvond.\u003cbr /\u003e\r\nKlee vroeg reeds 25 jaar terug\u003cbr /\u003e\r\n,,Schwarz darstellen\u0026rdquo;.\u003cbr /\u003e\r\nDe zwarte ruimte, het essenti\u0026euml;le begrip zwart, ieder is drager van dat begrip, maar om het te vinden moet men los van MATERIE kunnen, de traditionele rommel, tachisme en al het andere geplodder.\u003cbr /\u003e\r\n,,IL FAUT ENDUIRE\u0026rdquo; Dubuffet en al de andere croutisten boren naast de essentie, met Pollock, Jorn en nakomelingen is het nog erger gesteld. Een groot palet en veelkleurige verfdoos volstaan niet om van iemand een schilder te maken, een kind kan de verf uitsmeren, een kakafonie maken, naargelang van zijn fantasie. Zo maakt men geen meesterwerk, iets dat blijft aantrekken, iets waarvan de openbaring een verukkelijke droom-ruimte is.\u003cbr /\u003e\r\nKinderen spelen met verf, maar schilders zijn ze niet. Zij zoeken niet de geheimen van \u0026rsquo;t leven, noch de eeuwige harmonie\u0026euml;n te doorgronden. Het is juist het gevoel dat het genie vervoert en dat de alledaagsen nooit kennen dat de ingewijde in de taal der essenties doet verschillen van de middelmatigen. De ge\u0026euml;ntousiasmeerde kan meester worden van zichzelf, het ik toepassen of het inhemzelf scheppen. Door de opvoeding van zijn zintuigen kan hij de werelden der extase bereiken die aan de profaan verboden zijn, zij juist leiden naar de bronnen der levende krachten, de harmonie\u0026euml;n,\u003cbr /\u003e\r\nLA VIBRATION SUR PLACE \u0026bdquo;LE MOUVEMENT STABLE\u0026rdquo;.\u003cbr /\u003e\r\nHet is daar dat hij de vroegere ongekende vibraties zal voelen, een licht dat de meest delikaten zich niet kunnen voorstellen.\u003cbr /\u003e\r\nHet is in deze bespiegelende intimiteit van het onbepaalde dat de waarheid geopenbaard wordt.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\nj. verheyen\u003cbr /\u003e\r\n\u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u003cbr /\u003e\r\n\u0026nbsp; \u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u003cbr /\u003e\r\n\u0026nbsp; \u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in:\u003c/h3\u003e\r\n\r\n\u003cp\u003eHet Kahier 6 (09/1959) Nr. 13, p. 36-38.\u003cbr /\u003e\r\nDe Tafelronde 8 (1963) Nr. 03: p. 13-15\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31853,"title":"De technische mechanisatie in een gemechaniseerde samenleving (NL)","dimensions":"","date_begin":"1960-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen NUL","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"moest-de-technische-mechanisatie-van-het-mensdom","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eMoest de technische mechanisatie van het mensdom\u0026hellip;\u003c/h1\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eMoest de technische mechanisatie van het mensdom konsekwent doorgevoerd worden, iets wat waarschijnlijk in weinig tijd zal gebeuren, zou geen enkel normaal mens nog tot nadenken in staat zijn.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eIn een volledig gemechaniseerde samenleving zou de tijd zo sterk ingekort zijn, of het levensritme waardoor de mens tijdverloop voelt zo sterk versneld zijn, dat hij geheel op de directe sensatie zou aangewezen zijn Door het opdrijven der energie, het verkorten der afstanden, enz., heeft de mens geen tijd gewonnen, maar integendeel wel tijd verloren.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eHet feit dat hij zijn levensritme versnelde of inkortte deed de spanning te groot worden. Er wordt te veel van een normaal zenuwstelsel ge\u0026euml;ist, dat altijd sneller moet waarnemen; dit gedurend op zijn \u0026ldquo;qui vive\u0026rdquo; zijn verzwakt het, en maakt zijn levensduur korter dan vroeger.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eAls het nergens geen gelegenheid meer krijgt om uit te rusten zal het zenuwstelsel zich trachten aan te passen aan deze nieuwe omgeving door het nadenken uit te schakelen, en alles op de directe waarneming trachten te richten.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLiteratuur, muziek, en andere uitdrukkingsvormen, die om tot communicatie of volledig overzicht te komen een tamelijk lang tijdsverloop verlangen, verliezen terrein en liefhebbers. Op plaatsen waar het levensritme reeds zeer hevig is wordt er praktisch niet meer gelezen of naar muziek geluisterd. Men vindt er bij zogezegde ontwikkelden geen enkel boek of plaat die nadenken vraagt. Tegenover kunstvormen die van een lang tijdsverloop afhangen, zijn we volledig apatisch geworden, en al hun energie is op het meest onmiddellijke afgestemd: het beeld.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eIn het zuiden, waar het levensritme veel hoger ligt dan in het noorden, bestaat bijna alle kultuur in schilderkunst, architectuur en film.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eZuiderlingen reageren veel sneller; modes worden in het zuiden; veel modes worden in het zuiden met veel enthousiasme gevolgd, wat het zuiden moderner dan het noorden doet schijnen. Beeldende kunsten hebben er een revolutionair karakter, en zijn meestal op \u0026ldquo;le choc\u0026rdquo; gebaseerd. De gehele moderne Latijnse schilderkunst bestaat uit een directe reactie of \u0026rdquo;le coup de poing \u0026rdquo; die een kleur en schildering kunnen geven. De meeste schilders werpen zich in \u0026ldquo;l\u0026rsquo;instantan\u0026eacute;e\u0026rdquo;. Hun schilderijen zijn een directe exteriorisatie hunner sociale waarneming, die hen in zekere zin expressionistisch doet blijven. Geheel hun kunst, of zij dat wil of niet, is op het actuele sociale gericht. Door het feit dat hij die zich in een bepaalde situatie bevindt die nooit kan overzien, (wie zou van in een kamer de muren langs de buitenkant kunnen bekijken?) kunnen hun schilderijen niet gemediteerd zijn, en laat de hedendaagse schilderkunst der Latijnen nooit na-denken.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eIn het noorden is een kunstwerk praktisch altijd een product van lange meditatie. Mediteren is alleen mogelijk uit het actuele (situatie), buiten de tijd, in de schaduw van al wat er gebeurd, iets wat die situatie gevaarlijk maakt, vermits zij aan de buitenwereld de indruk geeft inactief te zijn, juist iets wat geheel niet modern schijnt. Noorderlingen schijnen nooit enthousiast te zijn, zij maken geen lawaai en spreken niet vlug, wat daarom niet zeggen wil dat hun deelneming aan het actuele niet strek en vlug zou zijn.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eActies van noordelingen zijn bijna nooit op de buitenwereld gericht. Er wordt hier zelden een schilderij gemaakt met de hoop dat het publiek erop zou reageren. In de grond verlangt een noorderling nooit naar een publiek, vermits hij als kunstenaar buiten het sociale of het collectieve staat.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eGemakkelijk kan men Klee en Mondriaan als voor beeld nemen; wie zou durven beweren dat zij minder actueel of modern zijn dan een Picasso, Miro of een Marinetti. L\u0026rsquo;instantan\u0026eacute;e van hun werk is wel \u0026ldquo;gezien\u0026rdquo;, maar zelfs nu zijn er zeer weinigen die hun esoterische waarden kennen en begrepen hebben. Het is zeer begrijpelijk dat Mathieu het werk van Klee \u0026ldquo;un petit humanisme\u0026rdquo; noemde. Toont juist Mathieu, door zijn schilderijen geen directe reactie? Zijn exteriorisatie ontaardt zelfs in exhibitionisme. Hij vraagt, bewust of onbewust, een directe deelname van het publiek aan zijn creatieve actie. In zekere zin tracht Mathieu tegen de tijd te schilderen, en meditatie bestaat voor hem, als schilder, niet. Niettegenstaande hij het teken gebruikt, het teken dat slechts een esoterisch belang heeft, heeft hij de esoteriek vergeten. Is esoteriek, niet het begin van nadenken?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eYves Klein, die sinds 1957 een filosofische waarde aan zijn werk tracht te geven, en er in slaagde om een schijn-esotermisme rond zijn doen te weven, ontaardt nu, tegenstrijdig aan al wat hij wil verkondigen, in exhibitionisme. Zijn deelneming, die vroeger op juiste waarden rust, wordt nu een verlangen naar een directe reactie van het publiek, een middel om \u0026ldquo;l\u0026rsquo;instantan\u0026eacute;e\u0026rdquo; uit te buiten. Door in een verf gedompelde naakte vrouwen over zijn doeken te rollen, gebuikt hij de \u0026ldquo;coup de poing\u0026rdquo;. Hoever hij met dit sensueel exhibitionisme van\u0026rdquo;le vide\u0026rdquo; is weggeraakt weet ik niet juist. \u0026ldquo;Quand il y a de l\u0026rsquo;esprit ou le sens de loin\u0026rdquo; schreef hij me eens, maar wat heeft \u0026ldquo;l\u0026rsquo;esprit\u0026rdquo; nog metd eze exhibities te maken?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDat in het noorden exhibitionisme nooit aanhangers kende, bewijst duidelijk dat men er zich maar naar het essenti\u0026euml;le richt. Men houdt zich weinig bezig met \u0026ldquo;l\u0026rsquo;acte cr\u0026eacute;ateur\u0026rdquo;, zodus zichzelf, en meditatie heeft er meer aanhangers dan de directe waarneming. Daar de meeste schilders hier, hun werk aan het collectieve onttrekken en zij meestal geen waardering van het modepubliek verlangen, doet hun in steden, waar alles uit actualiteit bestaat, ongezien en ongewenst blijven.\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eIn het mekka van de modekultuur, waar praktisch iedereen denkt zelf geheel kultuur te zijn, wordt al het andere overboord gegooid, t.t.z. 2.500.000.000 mensen. Wie niet in Parijs woont, kan geen kunstenaar zijn, vermits \u0026ldquo;le fue sacr\u0026eacute;\u0026rdquo; alleen door de Parijse kultuur wordt uitgedeeld. Al wat niet op de actualiteit gebaseerd is, wordt door die struisvogelpolitiekers nooit begrepen. De gehele moderne kunstgeschiedenis hebben zij aan de kant gezet: Kandynsky, Mondriaan, Klee, Malevitsch, Macke, de Italaanse futuristen, de Duitse en Vlaamse expressionisten. \u0026ldquo;Go home\u0026rdquo; roepen zij naar de Amerikaanse schilderkunst, en \u0026ldquo;en Belgique il n\u0026rsquo;y a pas de peintres\u0026rdquo;. Allemaal rommel die geen Parijse invloed heeft. Maar laat ons niet vergeten:\u0026rdquo;Diminuer le grand, augmenter le petit, c\u0026rsquo;est la joie du peuple\u0026hellip;\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eJef Verheyen\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eFebruari 1960\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003e\u0026nbsp;\u003c/h3\u003e\r\n\r\n\u003ch3\u003e\u0026nbsp;\u003c/h3\u003e\r\n\r\n\u003ch3\u003ePublished in:\u003c/h3\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nNUL magazine, 1st edition, published by\u0026nbsp;Dirk Claus, Sint Niklaas. With contributions of\u0026nbsp;Claus Dirk, Claus Mark, Leopold Flam, Nic van Bruggen, Jef Verheyen e.a.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31854,"title":"Pour une peinture non plastique (FR)","dimensions":"","date_begin":"1959-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Pour une peinture non plastique Zomer Weert Jardin des Templiers","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n\u003ci\u003ePour une peinture non plastique\u0026nbsp;\u003c/i\u003ewas written in Summer 1959 in Tempeliershof in Weert, an old farm site that Verheyen rented with Guy Mees. They have turned it to a residency, and invited friend and family.\u003cbr /\u003e\r\nThe essay was translated to French by Guy Vaes, and lay-outed by Wout Vercammen. It was printed and published by Verheyen himself.\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":33,"permalink":"pour-une-peinture-non-plastique-4edc5ed7-5f29-4cbe-8bd6-7dbd7af29732","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003ePour une peinture non plastique\u003c/h1\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLa lumi\u0026egrave;re du soleil est la mati\u0026egrave;re; elle est la couleur et la lumi\u0026egrave;re de celle-ci; elle constitue le plein et ce qui l\u0026rsquo;entoure; sa chaleur fonde son existence, sa r\u0026eacute;alit\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Newton divisait la lumi\u0026egrave;re solaire blanche. Il d\u0026eacute;montrait ainsi que la clart\u0026eacute; se partage en quantit\u0026eacute;s diverses: les couleurs.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Einstein affirmait\u0026nbsp;: lumi\u0026egrave;re implique \u0026eacute;nergie\u0026nbsp;; l\u0026rsquo;\u0026eacute;nergie poss\u0026egrave;de une masse lente, par cons\u0026eacute;quent lourde. Ainsi le rayon lumineux d\u0026eacute;crit-il, sous l\u0026rsquo;influence de la gravitation, un trac\u0026eacute; courbe, contraint par le soleil \u0026agrave; se mouvoir en forme d\u0026rsquo;ellipse.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Lumi\u0026egrave;re et chaleur sont consubstantielles. Le soleil ne peut propager sa temp\u0026eacute;rature dans une direction unique, puisqu\u0026rsquo;il transmet des ondes tout autour de sa masse \u0026ndash; ondes qui refroidissent ou r\u0026eacute;chauffent l\u0026rsquo;atmosph\u0026egrave;re qui nous enveloppe. Soumis \u0026agrave; cette action, les gaz ambiants adoptent une couleur conforme \u0026agrave; leur degr\u0026eacute; de temp\u0026eacute;rature. L\u0026rsquo;emprise du froid, elle, solidifie les \u0026eacute;l\u0026eacute;ments \u0026agrave; l\u0026rsquo;encontre de la chaleur qui rend l\u0026rsquo;air plus l\u0026eacute;ger. Ainsi la galaxie peut-elle \u0026ecirc;tre une masse solide, qui, se mouvant autour de l\u0026rsquo;axe solaire, se voit dilu\u0026eacute;e par l\u0026rsquo;intensit\u0026eacute; de son rayonnement. Du plus haut degr\u0026eacute; de chaleur (le blanc absolu) jusqu\u0026rsquo;au plus grand refroidissement (de l\u0026rsquo;achrome au noir).\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Toute couleur est un indice pr\u0026eacute;cis de temp\u0026eacute;rature. A midi le soleil occupe son point le plus \u0026eacute;lev\u0026eacute;, chaleur et clart\u0026eacute; culminent\u0026nbsp;; puis il incline progressivement vers le jaune, et, le soir venue, il devient rouge. Pendant que nous sentons diminuer sa chaleur, la terre a effectu\u0026eacute; un quart de cercle. Et quand l\u0026rsquo;atmosph\u0026egrave;re, entre l\u0026rsquo;astre et nous, s\u0026rsquo;est condens\u0026eacute;e dans le fl\u0026eacute;chissement g\u0026eacute;n\u0026eacute;ral de le clart\u0026eacute;, cela signifie un refroidissement qui s\u0026rsquo;exprime dans le passage de l\u0026rsquo;achrome au rouge.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Une lumi\u0026egrave;re d\u0026eacute;finie, transmise par un \u0026eacute;l\u0026eacute;ment connu, sous entend un nombre d\u0026eacute;termin\u0026eacute; de vibrations par seconde. Son ralentissement veut dire que la vibration isol\u0026eacute;e dure plus longtemps, et que le nombre de toutes les vibrations par seconde diminue. La longueur d\u0026rsquo;onde augmente, devient plus froide en cons\u0026eacute;quence, et la lumi\u0026egrave;re plus rouge. Cela prouve que la partie la plus chaude est la plus claire\u0026nbsp;; en refroidissant, celle-ci tourne au rouge, et, du m\u0026ecirc;me coup, elle s\u0026rsquo;alourdit, s\u0026rsquo;assombrit. La pesanteur ou valeur d\u0026rsquo;une couleur ets donc en rapport avec sa chaleur. Et la gravitation \u0026eacute;tant chaleur, la lumi\u0026egrave;re doit \u0026ecirc;tre assimil\u0026eacute;e \u0026agrave; se ce mouvement universel. On peut dire que la lumi\u0026egrave;re contient une masse pond\u0026eacute;rable, compos\u0026eacute;e de longueurs d\u0026rsquo;ondes vibrant selon leur temp\u0026eacute;rature \u0026ndash; ou couleur.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Dans la clart\u0026eacute; solaire toute chose refl\u0026egrave;te un nombre de vibrations proportionn\u0026eacute; \u0026agrave; sa quantit\u0026eacute; vibratoire. Une masse rouge irradie du rouge, etc. Ce qui est renvoy\u0026eacute; d\u0026eacute;termine l\u0026rsquo;apport de chaque \u0026eacute;l\u0026eacute;ment. Le bleu r\u0026eacute;fl\u0026eacute;chissant moins de vibrations que le rouge, sa perceptibilit\u0026eacute; nous para\u0026icirc;t plus froide\u0026nbsp;; il enferme donc plus de masse lourde \u0026ndash;ou lente. Le bleu vibre plus lentement et s\u0026rsquo;affirme plus dense, moins spatial que la jaune. Au-del\u0026agrave; du jaune, la lumi\u0026egrave;re atteint \u0026agrave; sa plus forte intensit\u0026eacute;. Ses vibrations s\u0026rsquo;accroissent \u0026agrave; mesure que la clart\u0026eacute; augmente. D\u0026rsquo;ou la conclusion que le soleil doit \u0026ecirc;tre exempt de mati\u0026egrave;re lourde, absolument transparent, immat\u0026eacute;riel.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; D\u0026eacute;termin\u0026eacute;e par une temp\u0026eacute;rature d\u0026rsquo;\u0026agrave; peu pr\u0026egrave;s 5 milliards de degr\u0026eacute;s, la vibration solaire s\u0026rsquo;affirme telle une vibration totale. Les vibrations atteignent ici \u0026agrave; une vitesse \u0026eacute;gale, ce qui les rend statiques \u0026agrave; nos yeux, simultan\u0026eacute;es ou intemporelles. (\u0026laquo;\u0026nbsp;L\u0026rsquo;espace absolu, ind\u0026eacute;pendant par sa nature de toute relation \u0026agrave; des objets ext\u0026eacute;rieurs, demeure toujours immuable et immobile\u0026nbsp;\u0026raquo; - Newton).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; La lumi\u0026egrave;re artificielle prive les couleurs de leurs vibrations exactes; aussi sont-elles in\u0026eacute;galement divis\u0026eacute;es. Eclair\u0026eacute; par une source de lumi\u0026egrave;re jaune, le bleu ne peut rendre sa valeur propre\u0026nbsp;: il devient brun cependant que le rouge, lui, se r\u0026eacute;chauffe.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Dans la lumi\u0026egrave;re artificielle les rapport des vibrations et de la chaleur sont identiques. La couleur s\u0026rsquo;y manifeste dans son ambiance naturelle. Elle y re\u0026ccedil;oit sa juste proportion, ses vibrations \u0026eacute;tant statique\u0026nbsp; vis-\u0026agrave;-vis de sa source. Enfin les couleurs ne seront harmonieuses que si les vibrations r\u0026eacute;fl\u0026eacute;chies, renvoy\u0026eacute;es et absorb\u0026eacute;es, correspondent \u0026agrave; leur entourage. La couleur n\u0026rsquo;existe que si elle demeure statique.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; La photographie traduit les tonalit\u0026eacute;s, jamais le couleur elle-m\u0026ecirc;me. Elle d\u0026eacute;finit le spectre des couleurs de fa\u0026ccedil;on m\u0026eacute;canique. Toute sensibilit\u0026eacute; toute vie fait d\u0026eacute;faut dans le spectre gris, \u0026agrave; cause du manque de chaleur que nous subissons dans le spectre naturel. Les couleurs vivantes, en harmonie avec leur degr\u0026eacute; de temp\u0026eacute;rature, repr\u0026eacute;sentent les dimensions id\u0026eacute;ales de la couleur, fondamentale. Par l\u0026rsquo;action de sa chaleur , toute couleur\u0026nbsp; impr\u0026egrave;gne la pens\u0026eacute;e d\u0026rsquo;une qualit\u0026eacute; intrins\u0026egrave;que. Du manque de chaleur il r\u0026eacute;sulte que, dans un spectre gris, le vert et le rouge\u0026nbsp; se ressemblent. C\u0026rsquo;est sous l\u0026rsquo;action du chaud et du froid\u0026nbsp; que nous r\u0026eacute;agissons au spectre des couleurs. Le centre est situ\u0026eacute; entre le jaune et le bleu, et la quantit\u0026eacute; de mati\u0026egrave;re s\u0026rsquo;y trouve en \u0026eacute;quilibre avec son contraire\u0026nbsp;: la transparence la plus absolue.\u0026nbsp; Pareil ph\u0026eacute;nom\u0026egrave;ne est facile \u0026agrave; observer dans la nature\u0026nbsp;: les plantes sont vertes, mais supposez un instant qu\u0026rsquo;elles seraient rouges , jamais plus nous ne go\u0026ucirc;terions de repos, la longueur d\u0026rsquo;onde \u0026eacute;tant trop \u0026eacute;lev\u0026eacute;e, trop tendue. Le ver, en revanche, n\u0026rsquo;est ni chaud, ni froid. La neutralit\u0026eacute; de cette couleur l\u0026rsquo;emp\u0026ecirc;che d\u0026rsquo;irriter nos sentiments \u0026ndash; elle nous d\u0026eacute;tend, elle nous permet de vivre en harmonie avec notre entourage. Quoi qu\u0026rsquo;\u0026eacute;tant des valeurs interm\u0026eacute;diaires, le mauve, le vert et l\u0026rsquo;orange n\u0026rsquo;exercent pas une action identique. Le rapport entre le jaune et le rouge est plus l\u0026eacute;ger, plus chaud, que le milieu entre rouge et le plus bleu qui se trouve en-de\u0026ccedil;\u0026agrave; du rouge.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Par son absence de chaleur, le noir ne provoque aucune vibration, absorbe toute vie.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Si le blanc est la temp\u0026eacute;rature la plus haute qui soit visible (la couleur la plus claire), le noir doit \u0026ecirc;tre assimil\u0026eacute; \u0026agrave; la plus forte r\u0026eacute;frig\u0026eacute;ration \u0026ndash; une masse non vibrante, d\u0026eacute;pourvue de vie, morte \u0026agrave; la lumi\u0026egrave;re\u0026nbsp;; une mati\u0026egrave;re compacte.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Il nous est \u0026eacute;galement loisible de subdiviser les couleurs gr\u0026acirc;ce leur qualit\u0026eacute; ou rapports\u0026nbsp;: mati\u0026egrave;re et transparence absolue.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Notre pens\u0026eacute;e oscille entre le blanc et le noir, le clair et l\u0026rsquo;obscur, le tout et le rien. Nous employons ces indices comme autant d\u0026rsquo;oppositions isol\u0026eacute;es les unes des autres. Nous divisons notre pens\u0026eacute;e. Toute chose \u0026eacute;tant conditionn\u0026eacute;e par son voisinage, L\u0026rsquo;UN ne peut exister sans L\u0026rsquo;AUTRE.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; ENSEMBLE ILS DOIVENT ETRE EGAUX, SIMULTANES, INTEMPORELS, UNE CHOSE N\u0026rsquo;EXISTE QUE DANS LA NON_DIMENSION, LA LUMIERE SOLAIRE ETS LA MATIERE. LA COULEUR ET SA LUMIERE EN MEME TEMPS. C\u0026rsquo;EST L\u0026rsquo;INTERIEUR ET SES ALENTOURS.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Les corps diaphanes absorbent un nombre d\u0026eacute;termin\u0026eacute; de couleurs et r\u0026eacute;fl\u0026eacute;chissent en retour. La somme des vibrations r\u0026eacute;fl\u0026eacute;chies forme le couleur de ces corps. De la lumi\u0026egrave;res d\u0026eacute;clinante une partie de cette somme est soustraite\u0026nbsp;: les vibrations renvoy\u0026eacute;es indiquent le nombre qui demeure.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Le rayonnement de la lumi\u0026egrave;re produit un entourage vibrant, dans lequel un corps essaye de s\u0026rsquo;adapter et d\u0026rsquo;\u0026eacute;mettre des vibrations correspondant \u0026agrave; cet entourage. De l\u0026rsquo;interaction entre ce corps et le milieu, ambiant surgit la notion concr\u0026egrave;te de couleur. Ainsi l\u0026rsquo;harmonie n\u0026rsquo;est elle pas possible que si les vibrations qui \u0026eacute;manent des choses et de leur entourage sont identiques.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; A cause de leur temp\u0026eacute;rature ou longueur d\u0026rsquo;ondes, de leur potentiel vibratoire, les couleurs exercent une influence pr\u0026eacute;pond\u0026eacute;rante sur la sensibilit\u0026eacute;. N\u0026rsquo;est ce point gr\u0026acirc;ce \u0026agrave; sa couleur qu\u0026rsquo;un tableau nous influence\u0026nbsp;? nous sommes, par cons\u0026eacute;quent, capables de lui attribuer sa valeur affective \u0026agrave; partir de l(intensit\u0026eacute; du mat\u0026eacute;riau. Ceci n\u0026rsquo;emp\u0026ecirc;che pas que la majorit\u0026eacute; des peintres se plaignent de L\u0026rsquo;INSUFFISANCE de la couleur. Tous ils s\u0026rsquo;efforcent d\u0026rsquo;obtenir une expression coloriste personnelle. Et cependant, aucun d\u0026rsquo;entre eux ne s\u0026rsquo;attache \u0026agrave; d\u0026eacute;couvrir la valeur exacte d\u0026rsquo;une couleur. Ils usent de la peinture sans conna\u0026icirc;tre la n\u0026eacute;cessit\u0026eacute; qui conditionne les relations des tons. Au lieu d\u0026rsquo;\u0026eacute;tudier la couleur en tant que telle, ils syntonisent leur science sur les mat\u0026eacute;riaux qu\u0026rsquo;ils ont a port\u0026eacute;e de la main. Rares sont ceux qui essayent d\u0026rsquo;attribuer \u0026agrave; une couleur son maximum d\u0026rsquo;efficacit\u0026eacute;. R\u0026eacute;p\u0026eacute;tons-le\u0026nbsp;: il est possible de d\u0026eacute;finire une couleur en subdivisant ses rapports en mati\u0026egrave;re compacte et en transparence absolue, c\u0026rsquo;est-\u0026agrave;-dire immat\u0026eacute;rielle.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Toutefois, si une couleur ne peut \u0026ecirc;tre divis\u0026eacute;e, il nous est n\u0026eacute;anmoins permis de la saisir dans son unit\u0026eacute; et de d\u0026eacute;finir son degr\u0026eacute; de chaleur.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; L\u0026rsquo;action vibratoire \u0026eacute;voluant sans cesse, le milieu ambiant provoque en nous des tensions, lesquelles seront, soit en harmonie avec ledit milieu, soit en train d\u0026rsquo;exercer cette disharmonie, nous r\u0026eacute;agissons en cherchant la somme des vibrations. Ne la trouant pas, nos vibrations demeurent chaotiques. Ceci jusqu\u0026rsquo;\u0026agrave; l\u0026rsquo;instant o\u0026ugrave; nous p\u0026eacute;n\u0026eacute;trons dans la zone de l\u0026rsquo;\u0026eacute;metteur. Le contact \u0026eacute;tabli, nous vibrons simultan\u0026eacute;ment, statiques en quelque sorte, avec ce qui est \u0026eacute;mis. Cette vibration devient la n\u0026ocirc;tre et vice-versa. Nous obtenons une identit\u0026eacute; et devenons unit\u0026eacute; indivisible, en \u0026ndash; harmonie. Si cette action \u0026eacute;tait inconsciente, l\u0026rsquo;intuition nous a guid\u0026eacute;s vers l\u0026rsquo;\u0026eacute;metteur que nous ressentions sans le conna\u0026icirc;tre.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Les tachistes livrent une image fid\u0026egrave;le de cette expression chaotique. L\u0026rsquo;\u0026eacute;metteur pressenti, ils se meuvent n\u0026eacute;anmoins sans but d\u0026eacute;fini. Gr\u0026acirc;ce \u0026agrave; leur intuition, ils se voient absorb\u0026eacute;s par les vibrations qu\u0026rsquo;\u0026eacute;met une \u0026eacute;nergie bien d\u0026eacute;termin\u0026eacute;e. D\u0026eacute;sireux d\u0026rsquo;obtenir une harmonie, ils t\u0026acirc;tonnent jusqu\u0026rsquo;\u0026agrave; trouver un semblant d\u0026rsquo;\u0026eacute;quilibre. Si leur intuition qui d\u0026eacute;gage parfois une force authentique ne les guide pas vers l\u0026rsquo;\u0026eacute;metteur, ils produisent encore quelques tableaux, certains non sans qualit\u0026eacute;s, mais bien vite ils retombent dans une division interne, laquelle minera les fondements m\u0026ecirc;me de leur art. une telle peinture est le produit d\u0026rsquo;un BONHEUR D\u0026rsquo;INSPIRATION plus ou moins soutenu.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLES MOUVENMENTS NE SONT POSSIBLES QUE S\u0026rsquo;ILS ONT UN BUT DEFINI\u0026nbsp;. LA CONNAISSANCE DE CE BUT SUPPOSE UNE POSSIBILITE DE MOUVEMENT QUI PORTE EN SOI SA LIBERTE D\u0026rsquo;ORIENTATION.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Est-il toutefois possible de chercher sans but? D\u0026rsquo;abord na\u0026icirc;t la n\u0026eacute;cessit\u0026eacute; de la recherche, apr\u0026egrave;s quoi l\u0026rsquo;on trouvera. Mais comment se diriger si l\u0026rsquo;on n\u0026rsquo;est pas libre? Ainsi l\u0026rsquo;intuitif est-il r\u0026eacute;gi, la plupart du temps, par des sautes d\u0026rsquo;humeur et des caprices n\u0026rsquo;enfermant aucun dessein soi disant dissimul\u0026eacute;. Son art devient un t\u0026eacute;moignage sur son ignorance.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Je crois que si l\u0026rsquo;on a la pr\u0026eacute;tention d\u0026rsquo;\u0026ecirc;tre peintre, il faut d\u0026rsquo;abord avoir un but auquel on a donn\u0026eacute; une d\u0026eacute;finition pr\u0026eacute;cise. Il faut savoir ce que l\u0026rsquo;on entreprend, \u0026ecirc;tre conscient des exigences, de sa vocation. Pour ceux qui vivent dans le sph\u0026egrave;re de l\u0026rsquo;art, la peinture trouve en elle-m\u0026ecirc;me son d\u0026eacute;ployement. Nous devons distinguer le d\u0026eacute;fini et l\u0026rsquo;ind\u0026eacute;finissable\u0026nbsp;; nous devons devenir conscients de l\u0026rsquo;existence de l\u0026rsquo;essentiel. Et c\u0026rsquo;est parce qu\u0026rsquo;il touche \u0026agrave; l\u0026rsquo;essentiel que l\u0026rsquo;art\u0026nbsp; de peindre \u0026eacute;chappe au d\u0026eacute;fini; quoique sans dimensions, il devient existentiel par la couleur. La couleur qui est d\u0026eacute;couverture de l\u0026rsquo;essentiel.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Pour appr\u0026eacute;hender l\u0026rsquo;autre, nous devons \u0026ecirc;tre pleinement nous-m\u0026ecirc;mes. N\u0026rsquo;existons nous pas en lui\u0026nbsp;? nous devons \u0026ecirc;tre conscients de notre entourage afin d\u0026rsquo;\u0026eacute;tablir une interaction harmonieuse, bas\u0026eacute;e sur l\u0026rsquo;\u0026eacute;quilibre des rapports mutuels. Une chose statique vis-\u0026agrave;-vis de ce qui l\u0026rsquo;entoure (ou le milieu s\u0026rsquo;effor\u0026ccedil;ant d\u0026rsquo;\u0026ecirc;tre en harmonie avec la chose) peut obtenir une harmonie durable. La grande difficult\u0026eacute; r\u0026eacute;side toutefois dans le fait que notre milieu\u0026nbsp; nous demeure partiellement \u0026eacute;tranger. Notre adaptation ne d\u0026eacute;passe pas la connaissance que nous avons de sa proximit\u0026eacute;. Depuis notre jeunesse nous avons de appris \u0026agrave; nous adapter\u0026nbsp;; cette adaptation concorde avec notre connaissance intime. Pour celui qui ne poss\u0026egrave;de pas suffisamment cette qualit\u0026eacute;, ce sont les autres qui d\u0026eacute;rangent son \u0026eacute;quilibre. En \u0026eacute;voluent en diff\u0026eacute;rents milieux, nous nous \u0026eacute;veillons \u0026agrave; la possibilit\u0026eacute; d\u0026rsquo;orienter les vibrations de mani\u0026egrave;re \u0026agrave; ce qu\u0026rsquo;elles ne nous incommodent plus. Nous apprenons \u0026agrave; transformer sciemment nos r\u0026eacute;actions en sources d\u0026rsquo;influences. Ainsi les utiliserons-nous \u0026agrave; notre profit.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Je puis tr\u0026egrave;s bien me repr\u0026eacute;senter ce qui arrive \u0026agrave; celui qui est priv\u0026eacute; de sa libert\u0026eacute; de choix, et se trouve devant un tableau qui le d\u0026eacute;concerte. A cause de sa couleur, cette \u0026oelig;uvre \u0026eacute;met des vibrations. Celui qui ignore ce genre d\u0026rsquo;action s\u0026rsquo;y montrera d\u0026rsquo;abord r\u0026eacute;fractaire. Il se trouvera en disharmonie vis-\u0026agrave;-vis de ce qui l\u0026rsquo;environne. Un sentiment de contrari\u0026eacute;t\u0026eacute; l\u0026rsquo;obligera \u0026agrave; r\u0026eacute;agir afin de retrouver son \u0026eacute;quilibre. Il tentera de s\u0026rsquo;adapter, sinon de modifier son entourage. Mais celui qui a appris \u0026agrave; s\u0026rsquo;adapter, qui est libre, regardera le tableau avec int\u0026eacute;r\u0026ecirc;t et s\u0026rsquo;impr\u0026eacute;gnera des vibrations \u0026eacute;mises. Si sa libert\u0026eacute; est suffisamment grande, il s\u0026rsquo;ouvrira \u0026agrave; des vibrations et\u0026nbsp;, \u0026agrave; un moment pr\u0026eacute;cis, il sera intuitivement en accord avec le cr\u0026eacute;ateur. Il trouvera l\u0026rsquo;\u0026oelig;uvre \u0026agrave; son go\u0026ucirc;t et, prenant conscience de la probl\u0026eacute;matique du peintre, se mettra \u0026agrave; l\u0026rsquo;unisson de son message. Quant un spectateur r\u0026eacute;fractaire, il se d\u0026eacute;tournera du tableau, ne changera point de niveau mental et deviendra st\u0026eacute;rile. Il n\u0026rsquo;existera que dans l\u0026rsquo;inconscient et dans les souvenirs qui le conditionnent. Or c\u0026rsquo;est dans la nouveaut\u0026eacute; que l\u0026rsquo;homme se d\u0026eacute;couvre conscient. Le pr\u0026eacute;sent est la maison de son \u0026ecirc;tre\u0026nbsp;; \u0026agrave; sa pointe extr\u0026ecirc;me s\u0026rsquo;affirme son qui-vive; le reste est v\u0026eacute;cu inconsciemment, de fa\u0026ccedil;on incompl\u0026egrave;te. Chaque exp\u0026eacute;rience nouvelle augmentera son \u0026eacute;veil, car elle lui permettra de mesurer la diff\u0026eacute;rence qui le s\u0026eacute;pare des jalons pr\u0026eacute;c\u0026eacute;demment marqu\u0026eacute;s. Toutefois ceux qui sont imperm\u0026eacute;ables \u0026agrave; la nouveaut\u0026eacute; v\u0026eacute;g\u0026egrave;teront dans le souvenir\u0026nbsp;; et, bien que pr\u0026eacute;sents \u0026agrave; nos regards, ils se tiendront dans l\u0026rsquo;\u0026eacute;loignement. Ils furent.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; L\u0026rsquo;existence authentique v\u0026eacute;cue se fonde sur la connaissance. Priv\u0026eacute;e de celle-ci, l\u0026rsquo;homme devient la proie des autres, le recul devant eux et lui-m\u0026ecirc;me \u0026eacute;tant pratiquement aboli. C\u0026rsquo;est dans la participation o\u0026ugrave; s\u0026rsquo;\u0026eacute;veille la conscience, que la vie trouve sa raison d\u0026rsquo;\u0026ecirc;tre. Mais combien de fois, au cours de sa trajectoire discontinue, l\u0026rsquo;homme peut-il se dire conscient? Si le jour, au lieu de compter douze heures, se r\u0026eacute;duisait \u0026agrave; deux vibrations lumineuses\u0026nbsp;; si la rotation de la terre, elle augmentait de quelques millions de tours, le probl\u0026egrave;me n\u0026rsquo;aurait pas de change puisque l\u0026rsquo;homme serait en harmonie avec cette condition nouvelle. Il s\u0026rsquo;agit donc d\u0026rsquo;un ph\u0026eacute;nom\u0026egrave;ne int\u0026eacute;rieur, non pas d\u0026rsquo;une situation ext\u0026eacute;rieure.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Rares sont ceux qui ont r\u0026eacute;ussi \u0026agrave; \u0026eacute;terniser leur pr\u0026eacute;sence en for\u0026ccedil;ant l\u0026rsquo;adimensionnel. Seuls y sont parvenus ceux dont les prises de conscience ont nourri leur art. Pour les g\u0026eacute;n\u0026eacute;rations futures, ils feront figures de contemporains. Ils auront pu rendre existentielles les valeurs fondamentales, et peu importe ici que le mat\u0026eacute;riau utilis\u0026eacute; soit le mot, la couleur ou la pierre. Mais si l\u0026rsquo;adh\u0026eacute;sion de l\u0026rsquo;artiste aux essences n\u0026rsquo;est pas assez forte, s\u0026rsquo;il demeure l\u0026rsquo;esclave des conventions de son \u0026eacute;poque, il dispara\u0026icirc;tra dans le remous des modes. La crainte de ne pas exister en profondeur guide le cr\u0026eacute;ateur. Son instinct le porte \u0026agrave; s\u0026rsquo;ext\u0026eacute;rioriser gr\u0026acirc;ce \u0026agrave; un mat\u0026eacute;riau s\u0026eacute;lectionn\u0026eacute;e, et, ce faisant \u0026agrave; t\u0026eacute;moigner devant autrui de sa p\u0026eacute;r\u0026eacute;nit\u0026eacute;. Il s\u0026rsquo;administre ainsi la preuve qu\u0026rsquo;il EST et participe \u0026agrave; l\u0026rsquo;adimentionnel o\u0026ugrave; la dur\u0026eacute;e suspends ses rythmes.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; En essayant de concr\u0026eacute;tiser les essences, \u0026agrave; la fois hors du temps et de ses contingences, l\u0026rsquo;artiste permet \u0026agrave; l\u0026rsquo;ind\u0026eacute;finissable de se manifester, il structure l\u0026rsquo;immat\u0026eacute;riel. C\u0026rsquo;est ainsi que le cr\u0026eacute;ateur s\u0026rsquo; accomplit dans une orientation d\u0026eacute;lib\u0026eacute;r\u0026eacute;e.\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Seuls ceux qui doutent, et ne sont point certains de leur r\u0026eacute;alit\u0026eacute; ont quelque chance d\u0026rsquo;ETRE, et cela parce qu\u0026rsquo;ils veulent affirmer l\u0026rsquo;autonomie de leur art. Niant les reflets qu\u0026rsquo;ils sont devenus dans la conscience des autres, ils se retranchent dans leurs profondeurs intimes o\u0026ugrave; gr\u0026acirc;ce \u0026agrave; l\u0026rsquo;examen de leurs possibilit\u0026eacute;s, ils tentent de formuler leur moi aussi concr\u0026egrave;tement que possible.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp; Pour conf\u0026eacute;rer \u0026agrave; sa vie le poids d\u0026rsquo;un objet, pour rendre visible son effort, le peintre se convertira en quelque sorte en couleurs. Il d\u0026eacute;terminera ainsi sa perception de la lumi\u0026egrave;re et traduira en valeurs tout l\u0026rsquo;ind\u0026eacute;finissable de son domaine. Son but est, par cons\u0026eacute;quent, d\u0026rsquo;enclore son unit\u0026eacute; spirituelle dans la couleur et la lumi\u0026egrave;re de celle-ci. Il rend l\u0026rsquo;essentiel existentiel par la vertu de son choix (et ce choix est l\u0026rsquo;affirmation de son effort). Il p\u0026eacute;n\u0026egrave;tre enfin dans l\u0026rsquo;adimension o\u0026ugrave; ne bat plus la pulsation du temps.\u003c/p\u003e\r\n\r\n\u003cp\u003eSa libert\u0026eacute; toute enti\u0026egrave;re s\u0026rsquo;y d\u0026eacute;ploie.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eJef Verheyen\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eWeert \u0026ndash; \u0026eacute;t\u0026eacute; \u0026rsquo;59 (Jardin des Templiers)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eessences \u0026ndash; notions adimensionelles\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003el\u0026rsquo;Harmonie est statique\u003c/p\u003e\r\n\r\n\u003cp\u003ele statique est achrome\u003c/p\u003e\r\n\r\n\u003cp\u003el\u0026rsquo;achrome se confond avec l\u0026rsquo;espace\u003c/p\u003e\r\n\r\n\u003cp\u003el\u0026rsquo;espace est libert\u0026eacute;\u003c/p\u003e\r\n\r\n\u003cp\u003ela libert\u0026eacute; se fonde sur une essence\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eles essences sont ind\u0026eacute;pendantes de la mati\u0026egrave;re et du temps\u003c/p\u003e\r\n\r\n\u003cp\u003efeb.\u0026rsquo;58.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDie nu niet weet wat gisteren was,\u003c/p\u003e\r\n\r\n\u003cp\u003eweet vandaag niet wat nu is.\u003c/p\u003e\r\n\r\n\u003cp\u003eHij ziet geen verschil tussen gisteren en vandaag,\u003c/p\u003e\r\n\r\n\u003cp\u003ehoudt vandaag voor morgen en beleeft morgen vandaag, wat onmogelijk is.\u003c/p\u003e\r\n\r\n\u003cp\u003eNochtans is het terwijl het was en morgen zal het nu zijn.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026rsquo;59.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eJEF VERHEYEN.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003e\u003cstrong\u003ePublished in\u003c/strong\u003e\u003c/h3\u003e\r\n\r\n\u003cp\u003e1959: Manifest\u0026nbsp;\u003cem\u003ePour une peinture non plastique,\u0026nbsp;\u003c/em\u003e1959, p. 3-11 (ed. 75)\u003cbr /\u003e\r\n1960: Galerie Bernard, exh. cat., april 1960 (partly: starting from\u0026nbsp;\u003cem\u003eC\u0026rsquo;est dans la nouveaut\u0026eacute; que l\u0026rsquo; homme se d\u0026eacute;couvre conscient... \u003c/em\u003euntil end:\u0026nbsp;\u003cem\u003eSa libert\u0026eacute; toute enti\u0026egrave;re s\u0026rsquo;y d\u0026eacute;ploie\u003c/em\u003e.)\u003cbr /\u003e\r\n1963:\u0026nbsp;De Tafelronde 8 (1963) Nr. 03: p. 16-23\u003cbr /\u003e\r\n1965:\u0026nbsp;MARDI SAMEDI n\u0026deg;4 Paris, mai 1965: p. 42.\u0026nbsp;(partly: starting from\u0026nbsp;\u003cem\u003eNotre pens\u0026eacute;e oscille entre le blanc et le noir \u003c/em\u003euntil end)\u003cbr /\u003e\r\n1971:\u0026nbsp;\u003cem\u003eJef Verheyen - Szukalski - Knokke - Casino,\u0026nbsp;\u003c/em\u003eexh. cat., Casino Knokke, 1971: n.p. (partly: starting from\u0026nbsp;\u003cem\u003eL\u0026rsquo;existence authentique v\u0026eacute;cue se fonde sur la connaissance\u0026nbsp;\u003c/em\u003euntil end.)\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31856,"title":"Die einzige Dimension","dimensions":"","date_begin":"1960-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Panarea Man Sagt Essentialisme Bos Bomen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nZie ook Essentialisme (versie 1963)?\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":22,"permalink":"man-sagt-ein-wald-bildet-eine-einhet","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eMan sagt: ein Wald bildet eine Einhet.\u003c/h1\u003e\r\n\r\n\u003cp\u003eMan sagt: ein Wald bildet eine Einhet. Aber ein Wald bestehy nur als multiplizierter Baum, und jeder Baum, und jeder Baum ist volkommen unabh\u0026auml;ngig vom Wald, in dem er w\u0026auml;chst.\u003c/p\u003e\r\n\r\n\u003cp\u003eEin Baum existiert an sich, ein Wald nie, denn ein Wald ohne B\u0026auml;ume w\u0026auml;re ja auch kein wald mehr. Die Gr\u0026ouml;sse eines Waldes h\u0026auml;ngt von H\u0026ouml;he und Anzahl der B\u0026auml;ume, die jeder ihre bestimmte Dimension haben, ab. Die Anzahl also der anwesenden Dimensionen soll massgebend sein, ein Baum und ien Grashalm wachesen beide, aber ihre Verh\u0026auml;ltnisse zueinander \u0026auml;ndern sich w\u0026auml;hrend des Wachesens nicht. F\u0026uuml;r einen Baum ist die Umgebungsform der Wald, w\u0026auml;hrend derselbe Baum f\u0026uuml;r die anderen B\u0026auml;ume den Wald darstellt.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDer trennende Umriss der B\u0026auml;ume ist der Wald; die Innenform des Waldes ist der Baum, w\u0026auml;hrend f\u0026uuml;r diesen Baum der Wald als Aussenform gilt. Der Baum bedeutet beides, Inneres und Ausseres, eigene Natur und die Natur, eines und das Andere. Eins kann nur mit Eins verglichen werden, und zwischen zwei Dingen gleicher Qualt\u0026auml;t gibt es keinen Unterschied, weil sie zusammen 1 x 1 ausamchen. So bleiben etwa 4 x 1 Mensch vier Menschen, sie werden aber nicht vier Menschen der Qualit\u0026auml;t nach, also nicht viermal mehr Mensch.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eTrotzdem werden die drie Dimensionen immer wieder gesondert behandelt, wie drie verschiedene Einheiten: L\u0026auml;nge, H\u0026ouml;he und Breite. Aber wie soll man eine dieser drei Dimensionen darstellen, ohne dass die zwei anderen anwesend sind? L x H x B ist eine geometrische Formel, d.h. 1:3. Wenn man uns lehrt, dass H x B ein zweidimensionales Flach\u0026nbsp; darstellt, irrt mann sich. H x B k\u0026ouml;nnen nicht anders als durchsichtig sein,a-dimensional, weil es kein Flach ohne eine gewisse Breite gibt. Wenn man eine Mauer van 50 x 50 vorstellt, wird diese Mauer nur dan bestehen, wenn sie Materie hat, die Breite eines ziegels z.B. Denkt man die Ziegel weg, so bleibt nichts \u0026uuml;brig und ist Dimensionales da. Nichts heisst also dimensional oder plastisch, wenn eine der drei Dimensionen fehit.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eH\u0026ouml;he und Breite eines Bildes sind also vollkommen unbestimmbar. Das sogenannte bemalte flach ist etwas eingebildetes. Ich weiss, dass das Bild, das der Maler bearbeitet, eine gewisse Dicke hat, aber diese hat keinen anderen Wert als den Raum, den der Maler darstellen will, hinten zusammenzuhalten. Ideell und reell besteht f\u0026uuml;r den Maler diese R\u0026uuml;ckseite nicht, und sollte es ihm einmal m\u0026ouml;glich sein, f\u0026uuml;r den Betrachter etwas rein Malerisches vorzustellen, so wird er weder die Vorderseite noch die R\u0026uuml;ckseite n\u0026ouml;tig haben. Also steht das Malerische und die reis malerische Wahrnehmung ausserhalb des Plastischen, ausserhalb der unterscheidenden Ordnung, die wir die materielle Ordnung nennen.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eJeder nimmt an, dass es vier Dimensionen gibt und dass L x H x B einen dreidimensionalen Wert haben, eine dreidimensionale Form darstellen. An sich bleibt diese Form statisch, aber weil sie nur im Raum oder in einer Umgebung bestehen kann, nur eine Bestimmung f\u0026uuml;r das Unbestimmte sein kann, wird dieses Unbestimmte f\u0026uuml;r die vierte Dimension das Bestimmte, und ist diese vierte Dimension alles, was wir als Dritte wahrnehmen. Demnach sind wir sowohl die eine als die andere Dimension: wir sind die einzige dimension, und von vier Dimensionen kann nicht die Rede sein.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eJef Verheyen\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003ePanarea 1960\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in:\u003c/h3\u003e\r\n\r\n\u003cp\u003eGalerie Bernard, exh. cat., 1961, n.p.\u003cbr /\u003e\r\nAd Reinhardt / Francesco Lo Savio / Jef Verheyen, exh. cat., 1961, n.p.\u003cbr /\u003e\r\nDe Tafelronde Vol. 8 (1963) Nr. 3: p. 32-33.\u003cbr /\u003e\r\nMonographie f\u0026uuml;r Jef Verheyen (Egoist n. 11), 1967\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31857,"title":"Essentialisme = 0 + 1","dimensions":"","date_begin":"1962-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Ad Libitum","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"essentialisme-0-1-86558393-59e5-488f-b0e4-af0adcfdf3f1","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eEssentialisme = 0 + 1\u003c/h1\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eBelle illusion que tous les chemins m\u0026egrave;neraient \u0026agrave; Rome\u0026nbsp;! Le nombre de routes aux destinations finales r\u0026eacute;elles est, au contraire, tr\u0026egrave;s r\u0026eacute;duit. Si les chemins de traverse vous conduisent \u0026agrave; la voie principale (encore faut-il choisir la bonne direction), cela ne signifie pas encore que la route principale incarne la fin du voyage.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLa route demeure moyen, commencement et fin, \u0026laquo;\u0026nbsp;la route qui monte et qui descend\u0026nbsp;\u0026raquo;, mais le but se trouve \u0026agrave; l\u0026rsquo;extr\u0026ecirc;me limite de vos efforts \u0026ndash;de vous-m\u0026ecirc;me.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eCeux qui prennent cette voie sont conditionn\u0026eacute;s par l\u0026rsquo;unit\u0026eacute;, par tout et tous - c\u0026rsquo;est une \u0026eacute;volution qui cerne le connu et que dirige le savoir.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003ePersonne ne peut dire avec certitude s\u0026rsquo;il est ICI ou AILLEURS; en fait, qui peut nommer l\u0026rsquo;endroit o\u0026ugrave; il se trouve\u0026nbsp;? en revanche, que de liens l\u0026rsquo;assurent qu\u0026rsquo;il est chose d\u0026eacute;finie, qu\u0026rsquo;il appartient \u0026agrave;\u0026micro;une esp\u0026egrave;ce d\u0026eacute;termin\u0026eacute;e\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eOn ne peut jamais d\u0026eacute;finir aux autres la nature exacte de ce qu\u0026rsquo;on poursuit, jamais totalement sentir avec pl\u0026eacute;nitude; parfois cependant, on con\u0026ccedil;oit l\u0026rsquo;id\u0026eacute;e.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eQuand l\u0026rsquo;intuition vous donne tout \u0026agrave; coup la compr\u0026eacute;hension, celle-ci ne peut \u0026ecirc;tre inconscients et ne s\u0026rsquo;obtient pas gratuitement. Celui qui est anim\u0026eacute; par une force inconnue de lui, poursuit quelque chose\u0026nbsp;; et le fait qu\u0026rsquo;il agit sous une contrainte rebelle \u0026agrave; toute d\u0026eacute;finition, n\u0026rsquo;alt\u0026egrave;re pas n\u0026eacute;cessairement sa lucidit\u0026eacute;\u0026nbsp;; disons que c\u0026rsquo;est l\u0026rsquo;intuition qui s\u0026rsquo;exerce.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLa\u0026nbsp;\u0026nbsp; pr\u0026eacute;destination et la prise de conscience de cette intuition, voil\u0026agrave; qui d\u0026eacute;finit l\u0026rsquo;orientation. La pr\u0026eacute;destination est donc bien une r\u0026eacute;alit\u0026eacute;. S\u0026rsquo;il croit en l\u0026rsquo;\u0026eacute;volution, le mat\u0026eacute;rialiste lui-m\u0026ecirc;me doit l\u0026rsquo;admettre.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eQu\u0026rsquo;en essence il n\u0026rsquo;y ait pas de diff\u0026eacute;rence entre le corps, l\u0026rsquo;\u0026acirc;me et l\u0026rsquo;esprit\u0026nbsp;; que volume, masse et \u0026eacute;nergie forment une entit\u0026eacute;, ce sont l\u0026agrave; choses prouv\u0026eacute;es. Seuls les d\u0026eacute;biles peuvent encore douter que tout l\u0026rsquo;existant se manifestait d\u0026eacute;j\u0026agrave; avant qu\u0026rsquo;ils ne prirent forme humaine.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eTout ce qu\u0026rsquo;on nomme m\u0026eacute;taphysique est, sans erreur possible, ultraphysique. Dimension, irr\u0026eacute;alit\u0026eacute;, transcendance et autres termes de ce genre, ne d\u0026eacute;signent en d\u0026eacute;finitive que l\u0026rsquo;emballage d\u0026rsquo;un produit, sinon la mani\u0026egrave;re dont ce produit est pr\u0026eacute;sent\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLa raison et ses ismes ne recouvrent que la mesure possible de compr\u0026eacute;hension de notre intellect \u0026ndash; mais o\u0026ugrave; reste la qualit\u0026eacute;?\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;ext\u0026eacute;rieur et l\u0026rsquo;int\u0026eacute;rieur, le trois-dimensionel, l\u0026rsquo;ultrar\u0026eacute;alit\u0026eacute;, semblent diff\u0026eacute;rer. En volume, certes, mais leurs diff\u0026eacute;rences qualitatives n\u0026rsquo;affleurent pas \u0026agrave; sa surface.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLa pens\u0026eacute;e du rationaliste de salon reste diffuse. Elle s\u0026rsquo;attache \u0026agrave; un d\u0026eacute;tail et perd de vue l\u0026rsquo;ensemble. \u0026laquo;\u0026nbsp;Tout n\u0026rsquo;est que d\u0026eacute;tail\u0026nbsp;\u0026raquo;, sans doute que Descartes ne l(ignorait pas, car il avait l\u0026rsquo;esprit de synth\u0026egrave;se\u0026nbsp;; par contre, Jean Paul Sartre, qui b\u0026eacute;n\u0026eacute;ficia de son exemple, n\u0026rsquo;a point la main fermement pos\u0026eacute;e sur le gouvernail. De l\u0026rsquo;aveuglement au nihilisme, le sens du cosmique se perd et l\u0026rsquo;on atteint au point z\u0026eacute;ro. Mais la route remonte. Tout coule, du commencement au commencement, d\u0026rsquo;un \u0026agrave; un.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eNotre perception, notre participation, notre existence sont d\u0026eacute;finies aussi bien de l\u0026rsquo;int\u0026eacute;rieur vers le dehors, que vice-versa. Tout est. Tout n\u0026rsquo;est que le nombre, tout n\u0026rsquo;est qu\u0026rsquo;un.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;ultrar\u0026eacute;alit\u0026eacute; est l\u0026rsquo;unique dimension.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eJEF VERHEYEN.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e1962\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in:\u003c/h3\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eAd Libitum, exhibition invitiation,\u0026nbsp;1962. Published alongside Verheyen\u0026#39;s drawing\u0026nbsp;\u003cem\u003eAfnemend licht is toenemend donker\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e(juni 1959 Tempelierenhof)\u003cbr /\u003e\r\nDe Tafelronde Vol. 8 (1963) Nr. 3: \u0026#39;ESSENTIALISME\u0026#39;: p. 38-39.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31858,"title":"Essentialisme (FR)","dimensions":"","date_begin":"1958-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003c/p\u003e\r\n\r\n\u003cp\u003eThis is the full French version of 1959. The bilingual version (Dutch and French) is a shortened version, published in 1959 in Het Kahier and in\u0026nbsp;1963 in\u0026nbsp;De Tafelronde.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe manifest was written in Milan, Hotel Ideal (Via San Spirito), at the time of his solo show at Gallerie Pater, november 1958. It was translated to French in January 1959. Georges Kasper decided to publish it, and took the French version with him from Milan to Lausanne.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe manifesto\u0026nbsp;\u003cem\u003eEssentialisme\u0026nbsp;\u003c/em\u003e(November 1958, Milan) has first been published in\u0026nbsp;\u003cem\u003eHet Kahier\u003c/em\u003e\u0026nbsp;Vol. 6 (Sep. 1959) nr. 13 (p. 35-38) (billingual version), and\u0026nbsp;\u003cem\u003eArt Actuel International\u0026nbsp;\u003c/em\u003ea. 2 nr. 13 (1959) (p. 3); and later republished in\u0026nbsp;\u003cem\u003eDe Tafelronde\u003c/em\u003e\u0026nbsp;Vol. 8 ( April 1963) Nr. 03\u0026nbsp;(p. 13-15) (billingual version)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":29,"permalink":"essentialisme-0d54130b-2768-464c-bd15-9e9932576fe1","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eJef Verheyen\u003c/h1\u003e\r\n\r\n\u003ch1\u003e\u003cstrong\u003eESSENTIALISME\u003c/strong\u003e\u003c/h1\u003e\r\n\r\n\u003cp align=\"center\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eIl est bon de vivre en ces temps-ci. Un tournant s\u0026rsquo; annonce qui sera essentiel dans l\u0026rsquo;Histoire. Il semble que tout incline vers sa juste valeur. M\u0026ecirc;me la peinture authentique ne sera plus achet\u0026eacute;e par snobisme mais bien par amour. Les amateurs r\u0026eacute;trogrades ne surchargeront plus leurs cimaises par go\u0026ucirc;t de la sp\u0026eacute;culation. Parmi toutes ces valeurs nouvelles, \u0026laquo;\u0026eacute;pur\u0026eacute;es, comment feraient-ils pour s\u0026rsquo;y retrouver\u0026nbsp;?\u003c/p\u003e\r\n\r\n\u003cp\u003eEssentialisme.\u003c/p\u003e\r\n\r\n\u003cp\u003eS\u0026rsquo;isoler.\u003c/p\u003e\r\n\r\n\u003cp\u003eAracher ses sens aux forces de la mati\u0026egrave;re.\u003c/p\u003e\r\n\r\n\u003cp\u003eS\u0026rsquo;unir totalement aux vibrations sup\u0026eacute;rieures.\u003c/p\u003e\r\n\r\n\u003cp\u003eA l\u0026rsquo;essentiel.\u003c/p\u003e\r\n\r\n\u003cp\u003eRouge, noir, blue, ou blanc.\u003c/p\u003e\r\n\r\n\u003cp\u003eDevenir fou d\u0026rsquo;une couleur.\u003c/p\u003e\r\n\r\n\u003cp\u003eTomber, s\u0026rsquo;envoler dans l\u0026rsquo;espace.\u003c/p\u003e\r\n\r\n\u003cp\u003eMouvement signifie disharmonie. Toute chose, une fois son harmonie bris\u0026eacute;e, s\u0026rsquo; efforce de revenir \u0026agrave; son \u0026eacute;tat originel. Pareille tentative s\u0026rsquo; appelle action. Mouvement signifie temps (voici qu\u0026rsquo;affeleure le dimensionnel) entre deux harmonies\u0026nbsp;; par exemple\u0026nbsp;:naissance et mort. Le mouvement est incomplet\u0026nbsp;; il n\u0026rsquo;est r\u0026eacute;alisable que si l\u0026rsquo;on s\u0026rsquo;est pos\u0026eacute; un but. La d\u0026eacute;finition de ce but implique une possibilit\u0026eacute; de mouvement. Libert\u0026eacute; de mouvement. Un fil \u0026agrave; plomb, arrach\u0026eacute; \u0026agrave; sa position verticale, oscillera jusqu\u0026rsquo;au moment ou il reviendra statique. Une cible de couleur lorsqu\u0026rsquo;on la fait tourner, devient achrome \u0026agrave; partir d\u0026rsquo;un point qu\u0026rsquo;on pourrait appeler statique.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;harmonie est statique.\u003c/p\u003e\r\n\r\n\u003cp\u003eLe statique est achrome.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;achrome sa confond avec l\u0026rsquo;espace.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;espace est libert\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003eLa libert\u0026eacute; se fonde sur une essence.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;id\u0026eacute;e se r\u0026eacute;v\u0026egrave;le ainsi dans la r\u0026eacute;alit\u0026eacute; et dans le vari\u0026eacute;t\u0026eacute; de la nature. Elle ne perd toutefois rien de son unit\u0026eacute; parfaite et de son caract\u0026egrave;re absolu, ind\u0026eacute;pendant de toute manifestation sensible.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe m\u0026ecirc;me que la lumi\u0026egrave;re est pr\u0026eacute;sente en chaque lieu et demeure partout: une et la m\u0026ecirc;me, de m\u0026ecirc;me l\u0026rsquo;id\u0026eacute;e, une et indivisible, se communique-t-elle \u0026agrave; tous les \u0026ecirc;tres qui l\u0026rsquo;expriment \u0026ndash; ainsi en est-il dans la doctrine platonicienne:\u003c/p\u003e\r\n\r\n\u003cp\u003eLa r\u0026eacute;alit\u0026eacute; sensible n\u0026rsquo;existe pas en elle-m\u0026ecirc;me, elle n\u0026rsquo;existe que par participation, elle s\u0026rsquo;efface devant l\u0026rsquo;id\u0026eacute;e qui est son \u0026eacute;ternel exemple.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;essence est transcendentale.\u003c/p\u003e\r\n\r\n\u003cp\u003eLa peinture essentielle est adimensionnelle. Sa libert\u0026eacute; totale d\u0026eacute;coule d\u0026rsquo;une absence de contrastes de formes et de couleurs, d\u0026rsquo;\u0026eacute;carts et de r\u0026eacute;v\u0026eacute;lations temporelles. Dans le monde des essences, on ne d\u0026eacute;c\u0026egrave;le pas point d\u0026rsquo;oppositions.\u003c/p\u003e\r\n\r\n\u003cp\u003eToutes les essences sont transcendentales.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn elles confluent des entit\u0026eacute;s autonomes ou adimensionnelles.\u003c/p\u003e\r\n\r\n\u003cp\u003eCe qui est grand implique ce qui ne l\u0026rsquo;est point\u0026nbsp;; l\u0026rsquo;ordre n\u0026nbsp;\u0026lsquo;existerait pas sans d\u0026eacute;sordre. Le chaos n\u0026rsquo;\u0026eacute;tant plus pr\u0026eacute;sent dans l\u0026rsquo;\u0026eacute;quilibre plan\u0026eacute;taire, il en r\u0026eacute;sulte que le chaos fut. Ainsi donc le cosmos est-il porteur d\u0026rsquo;un principe de chaos.\u003c/p\u003e\r\n\r\n\u003cp\u003eLe cosmos est l\u0026rsquo;espace.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;espace est achrome \u0026ndash; aussi bien le blanc que le noir.\u003c/p\u003e\r\n\r\n\u003cp\u003eOn ne conna\u0026icirc;t pas un petit carr\u0026eacute; si, auparavant, on n\u0026rsquo;en a pas appr\u0026eacute;hend\u0026eacute; un plus grand. Toutefois si le carr\u0026eacute; existe en lui-m\u0026ecirc;me, libre de toute mesure, gardant son caract\u0026egrave;re ind\u0026eacute;finissable. Nous sommes tous porteurs des principes carr\u0026eacute;, cercle, couleur. Essences = Notions adimensionnelles.\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLes essences sont ind\u0026eacute;pendantes de la mati\u0026egrave;re et du temps.\u003c/p\u003e\r\n\r\n\u003cp\u003eEtre libre de la mani\u0026egrave;re est essentiel. N\u0026eacute;anmoins toute essence se r\u0026eacute;fl\u0026eacute;chit dans le moi. Le moi s\u0026rsquo;entrouvre \u0026agrave; tout l\u0026rsquo;existant. La r\u0026eacute;alit\u0026eacute; sensible inclut te tout. Et le moi contient cette totalit\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003eCe qu\u0026rsquo;on appelle le vide, \u0026laquo;\u0026nbsp;le Rien\u0026nbsp;\u0026raquo;, est le lieu ou se manifestent les essences. Ce rien implique forc\u0026eacute;ment le tout, le tout s\u0026rsquo;identifie aux essences \u0026ndash; et celles-ci se r\u0026eacute;fl\u0026eacute;chissant dans le moi.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eLe moi ouvert \u0026agrave; la totalit\u0026eacute; conna\u0026icirc;t la libert\u0026eacute; originelle.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn fait, ce n\u0026rsquo;est pas Yves Klein qui \u0026laquo;\u0026nbsp;invente\u0026nbsp;\u0026raquo; la monochromie ou l\u0026rsquo;achromie. Il y d\u0026eacute;j\u0026agrave; vingt-neuf ans, Paul Klee posait le principe\u0026nbsp;: \u0026laquo;\u0026nbsp;Schwarz darstellen\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eLa primordiale notion du noir chacun la porte au fond de soi: mais pour la d\u0026eacute;couvrir, il faut s\u0026rsquo;\u0026ecirc;tre lib\u0026eacute;r\u0026eacute; de la mani\u0026egrave;re, du mat\u0026eacute;riau, de tous les proc\u0026eacute;d\u0026eacute;s en usage\u0026nbsp;: tachisme et autres fa\u0026ccedil;on de patauger.\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026laquo;\u0026nbsp;Il faut enduire\u0026raquo;. Dubuffet et les autres cro\u0026ucirc;tards s\u0026rsquo;ext\u0026eacute;nuent \u0026agrave; creuser loin de toute essence. Avec Pollock, Jorn et leurs suiveurs, la situation s\u0026rsquo;aggrave encore davantage. Une grande palette et une bo\u0026icirc;te \u0026agrave; couleurs richement fournie ne font pas le peintre. On ne cr\u0026eacute;e point de chef-d\u0026rsquo;\u0026oelig;uvre si l\u0026rsquo;on n\u0026rsquo;a pas, au pr\u0026eacute;alable, approfondi les harmonies primordiales: on passe \u0026agrave; c\u0026ocirc;t\u0026eacute; de la r\u0026eacute;v\u0026eacute;lation picturale qui d\u0026eacute;voile \u0026agrave; l\u0026rsquo;homme un espace de r\u0026ecirc;ves in\u0026eacute;puisable. Tels sont les sentiments que le g\u0026eacute;nie vous insuffle, mais que le commun des mortels ignore, lui n\u0026rsquo;a pas fait l\u0026rsquo;effort de s\u0026rsquo;initier aux langages des essences. Seul l\u0026rsquo;enthousiaste deviendra ma\u0026icirc;tre de lui-m\u0026ecirc;me, car en s\u0026rsquo;appliquant aux processus de la cr\u0026eacute;ation artistique, il pourra tout \u0026agrave; la fois les contr\u0026ocirc;ler et en jouir. En \u0026eacute;duquant ses sens il atteindra \u0026agrave; l\u0026rsquo;extase lucide, laquelle demeurera interdite au profane. Il d\u0026eacute;couvrira ainsi les sources des puissances vitales \u0026ndash; les harmonies, la vibration sur place, le \u0026laquo;mouvement stable\u0026raquo;. Alors seulement il go\u0026ucirc;tera cette lumi\u0026egrave;re que le plus d\u0026eacute;licats aux-m\u0026ecirc;mes ne savent se repr\u0026eacute;senter. C\u0026rsquo;est dans l\u0026rsquo;intimit\u0026eacute; r\u0026eacute;fl\u0026eacute;chie de ce qui \u0026eacute;chappe au langage que le v\u0026eacute;rit\u0026eacute; se fera jour.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eMilaan nov. 1958\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\nArt Actuel International\u0026nbsp;a. 2 nr. 13 (1959) (p. 3)\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31859,"title":"Zij die zeggen de juiste vorm is de juiste kleur vergissen zich","dimensions":"","date_begin":"1963-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"zij-die-zeggen-de-juiste-vorm-is-de-juiste-kleur-vergissen-zich","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp style=\"text-align: right;\"\u003e\u003cem\u003e\u003cspan style=\"font-family:Arial,Helvetica,sans-serif;\"\u003eEtre soi- m\u0026ecirc;me n\u0026rsquo;est rien d\u0026rsquo; autre que chaque instant vouloir \u0026ecirc;tre un autre\u003c/span\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: right;\"\u003e\u003cspan style=\"font-family:Arial,Helvetica,sans-serif;\"\u003eJ. Verheyen\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: right;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eZij die zeggen de juiste vorm is de juiste kleur vergissen zich. Het licht is onder geen vorm te brengen, en vorm geven behoort tot de vormgeving of aan hen die met kompakte materies werken.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn de werkelijke schilderkunst bestaan geen tegenstellingen, geen tijds- of afstandsbegrippen, licht en kleur hebben geen tijd, geen bepaalde afstand, ze zijn adimensioneel.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe essenti\u0026euml;le gedachte staat verder dan toen: NU wil zeggen: Bewustwording, Zijn, Altijd Leven.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;Zo denken is artistiek zelfmoord plegen, zeggen zij die nog moeten geboren worden, zij zijn nog niet, zeker niet zich zelf.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe adimensionalen zijn niet aan het einde, ofschoon zij verder dan toen zijn. Zij staan aan het begin, eindelijk aan de drempel van het ware, het eindeloze.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003eDe Tafelronde 8 (1963) Nr. 03: p. 15.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31860,"title":"Kleur is ritme / Het verschil tussen de essentialistisiche en de vroegere lichtopvatting","dimensions":"","date_begin":"1959-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen zien is voelen met de ogen zien is met de ogen voelen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"kleur-is-ritme","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eKleur is ritme\u003c/h1\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eKleur is ritme; haar weggekaatste trillingen hebben op het netvlies een ritmische inwerking die wij door de interval leren klasseren of herkennen. Kleuren nemen wij in hoge en lage trillingen waar, in korte en lange, dus in tijdsverloop. Juist daarom is het zo verschrikkelijk moeilijk slechts \u0026eacute;\u0026eacute;n kleur te voelen, vermits die kleur een aan haar toebehorende of identieke werking heeft.\u003c/p\u003e\r\n\r\n\u003cp\u003eTegenstellingen van kleuren onderscheiden wij veel gemakkelijker omdat wij bijna gelijktijdig twee verschillende tijden waarnemen, dus de korte en lange tijd van elkaar onderscheiden.\u003c/p\u003e\r\n\r\n\u003cp\u003eKleur voelen wij als tijd. Wij zien geen kleur maar voelen die voor wij haar te zien krijgen. Zien is met de ogen voelen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:right\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:right\"\u003e\u003cem\u003eHet verschil tussen de essentialistisiche en de vroegere lichtopvatting is dat men licht als \u0026quot;zien\u0026quot; voelde en ik het nu als \u0026quot;voelen\u0026quot; zie.\u003c/em\u003e\u003cbr /\u003e\r\n\u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003eDe Tafelronde Vol. 8 (1963) Nr. 3: p. 24.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31861,"title":"Door zijn materiële instelling","dimensions":"","date_begin":"1959-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"door-zijn-materiele-instelling","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eDoor zijn materi\u0026euml;le instelling\u003c/h1\u003e\r\n\r\n\u003cp\u003eDoor zijn materi\u0026euml;le instelling voelt de realist de noodzaak niet zich naar het ide\u0026euml;le te bewegen; hij verlaagt dit tot het ik, omdat hi zich als het middelpunt, het re\u0026euml;el ideaal van de kosmos voelt. Daar zijn waarneming op de omgeving, het onmiddellijk zichtbare afgestemd is kan niet anders dan aan de oppervlakte blijven, bij het re\u0026euml;le of tastbare, waardoor de realist er nooit zal in slagen om los van de vorm, het dimensionele waar te nemen of abstract (adimensioneel) te denken.\u003c/p\u003e\r\n\r\n\u003cp\u003eWat meestal voor concreet denken gehouden wordt is het decomposeren van het andere, het re\u0026euml;le of plastische, een trachten de buitenvorm naar binnen te draaien, maar weinigen door het ding. Om het concrete te beleven gaat de mens van een realiteit uit die hij tot het oorspronkelijke ontbindt om dit als laatste re\u0026euml;el contact te ontdoen van het vormelijke, wat voor mij evenveel betekend als het stof afschudden.\u003c/p\u003e\r\n\r\n\u003cp\u003eEen vormeloze of adimensionele waarneming kan niet anders dan buiten het zinnelijke gebeuren; bij voorbeeld kunnen plastisch denkenden zwart niet anders dan onder het een of ander verschijnsel voorstellen. Zij slagen er niet in aan dit zwart ruimte te geven doordat zij kleur niet in haar geheel voelen; zij blijven vergelijkend denken, in de beste zin veel of weinig zwart. Door die vergelijking zijn zij meer of minder aan de tegenstelling gebonden. Door hun vormelijke of plastische interpretatie zijn zij afhankelijk van een materi\u0026euml;le orde die gelijktijdig hun deelnemingskracht bepaalt, en absoluut zal verhinderen met het concrete contact te nemen.\u003c/p\u003e\r\n\r\n\u003cp\u003eHoe zouden zij het ide\u0026euml;le kunnen beleven.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e1959. Antwerpen.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003eAd Reinhardt / Francesco Lo Savio / Jef Verheyen, exh. cat., 1961, n.p.\u003cbr /\u003e\r\nDe Tafelronde Vol. 8 (1963) Nr. 3: p. 25.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31814,"title":"• 0735 • Compositie","dimensions":"","date_begin":"1956-01-01","material":"Oil paint on panel?","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Compositie","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"735-compositie","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/949/medium_500/735_1.jpg?1645183596","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/949/large/735_1.jpg?1645183596","poster_credits":"(c)Jef Verheyen, scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31842,"title":"• 0742 • Hommage à Monet","dimensions":"180 x 180 cm","date_begin":"1971-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Hommage à Monet Hommage à Mondriaan Casino Knokke","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"742-hommage-a-monet","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31841,"title":"• 0741 • Hommage à Monet","dimensions":"180 x 180 cm","date_begin":"1971-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Hommage à Monet Hommage à Mondriaan Casino Knokke","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"741-hommage-a-monet","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31862,"title":"META = ULTRA (waarneming)","dimensions":"","date_begin":"1959-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen De Tafelronde META ULTRA Weert Waarneming","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nOne of his more poetical writings\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":17,"permalink":"meta-ultra","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eMETA = ULTRA\u003c/h1\u003e\r\n\r\n\u003cp\u003eWanneer men \u0026rsquo;s morgens voelt dat men \u0026rsquo;s nachts iets zeer moois droomde, en er van die droom alleen de gewaarwording overblijft, die zo mooi is, en men toch niet verklaren of onder beeld kan brengen wat men droomde, is wel het beste bewijs dat het irre\u0026euml;le buiten een bepaalde vorm, scheidende omlijning of bepaalbare gewaarwording staat.\u003c/p\u003e\r\n\r\n\u003cp\u003eIk neem wel aan dat die droom door een psychische of fysische werking ontstond, het onbewuste of de ziel, maar dat dit gevoel een ganse dag voortduurt, ondanks alle andere indrukken die men gedurende die dag onderging is toch een bewijs dat dit gevoel van zeer hoge kwaliteit moest zijn en ver boven de dagelijkse gewaarwordingen stond.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet is waar dat wij het gewone voor natuurlijke houden en meestal het onverklaarbare voor het bovennatuurlijke maar ik zie niet in waarom men metafysiek tot nihilismus wil herleiden, vermits om het onverklaarbare te beleven in onnatuurlijke toestand moet verkeren dus in ongewone toestand moet zijn. Een toestand die voor de mens welke deze gewaarwording heeft, natuurlijk is en daardoor voor hem iets natuurlijks wordt. Het is absurd metafysiek als onbestaanbaar te beschouwen of er over te twisten dat ze wel of niet bestaat, zijn er niet genoeg gevallen of voorvallen, die bewijzen dat er honderdduizend dingen zijn waarvan wij de oorsprong geenszins vermoeden, laat staan kennen.\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom zouden er geen akties zijn die aan onze gewone zintuigelijke waarneming ontsnappen, akties waarvan de werking zo fijn is dat wij haar niet in gewone toestand afgeleid of gehinderd worden?\u003c/p\u003e\r\n\r\n\u003cp\u003eVer moet men niet zoeken om zulke voorbeelden te vinden. Hoeveel mensen bekijken niet hetzelfde schilderij?\u003c/p\u003e\r\n\r\n\u003cp\u003eIn zijn deelneming is de ene mens veel vrijer, oorspronkelijker dan de andere. Als de ene mens slechts ziet wat zich voor hem bevindt en de andere het daarbij nog voelt kan natuurlijk hij, die slechts ziet, aan de andere verwijten dat hij niets voelt hoewel hij ziet. De toestand van de andere die voelt en ziet, zal hem dan zeer onnatuurlijk schijnen, niettegenstaande hij, die oorspronkelijker en fijner waarneemt, het zeer gewoon vindt al ziende te voelen.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet plezierigste is dat zij, die niet in het irre\u0026euml;le geloven, trachten te bewijzen dat alleen het natuurlijke bestaat, en zij, die in het metafysische geloven, trachten te bewijzen dat het bovennatuurlijke natuurlijk is.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: right;\"\u003e\u003cstrong\u003eWeert, 1959\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003eDe Tafelronde Vol. 8 (1963) Nr. 3: p. 28.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31863,"title":"Si la mécanisation de l'humanité poursuit son développement en flèche... (FR)","dimensions":"","date_begin":"1961-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Mechanisatie Mecanique De Tafelronde","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"si-la-mecanisation-de-l-humanite-poursuit-son-developpement-en-fleche-fr","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eNI L\u0026#39;OMBRE, NI LA LUMIERE,\u003cbr /\u003e\r\nNI LE MAL, NI LE BIEN NE DIFFERENT :\u003cbr /\u003e\r\nLEUR NATURE EST UNE ET IDENTIQUE\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: right;\"\u003e(H\u0026eacute;raclite)\u003c/p\u003e\r\n\r\n\u003cp\u003eSi la m\u0026eacute;canisation de l\u0026#39;humanit\u0026eacute; poursuit son d\u0026eacute;veloppement en fl\u0026egrave;che (ph\u0026eacute;nom\u0026egrave;ne qui se produira), il est probable qu\u0026#39;aucun \u0026ecirc;tre humain, sain d\u0026#39;esprit et de corps, ne soit encore capable de r\u0026eacute;fl\u0026eacute;chir. Dans une soci\u0026eacute;t\u0026eacute; m\u0026eacute;canis\u0026eacute;e, le temps serait tellement r\u0026eacute;duit, le rythme de la vie \u0026mdash; qui permet de percevoir l\u0026#39;\u0026eacute;coulement du temps \u0026mdash; tellement acc\u0026eacute;l\u0026eacute;r\u0026eacute;, que l\u0026#39;homme deviendra l\u0026#39;esclave de la sensation imm\u0026eacute;diate.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn augmentant l\u0026#39;\u0026eacute;nergie, en r\u0026eacute;duisant les distances, etc., l\u0026#39;homme a perdu du temps au lieu d\u0026#39;en gagner. Le fait qu\u0026#39;il acc\u0026eacute;l\u0026egrave;re ou r\u0026eacute;duit son rythme de vie risque de provoquer une tension trop forte. Oui, l\u0026#39;on exige trop du syst\u0026egrave;me nerveux, lequel est en relation avec nos facult\u0026eacute;s d\u0026#39;observation ; on le veut trop souvent sur le qui-vive ; tout ceci l\u0026#39;affaiblit et pr\u0026eacute;cipite notre usure.\u003c/p\u003e\r\n\r\n\u003cp\u003eNe trouvant pas de repos, les nerfs s\u0026#39;efforceront de s\u0026#39;adapter ; ceci aura pour cons\u0026eacute;quence la perte du pouvoir de r\u0026eacute;flexion et la primaut\u0026eacute; exclusive de l\u0026#39;observatiion. R\u0026eacute;fl\u0026eacute;chir appara\u0026icirc;tra comme une vertu m\u0026eacute;di\u0026eacute;vale. Litt\u0026eacute;rature, musique et autres moyens d\u0026#39;expression exigeant des intervalles d\u0026#39;assimilation, perdront du terrain \u0026mdash; et des amateurs, cela va sans dire. L\u0026agrave; o\u0026ugrave; le rythme de vie est d\u0026eacute;j\u0026agrave; tendu, lecture et musique sont quasiment abolies. Aucun livre, aucun disque sollicitant la r\u0026eacute;flexion ne se trouvent chez les soi-disant intellectuels. Ils sont apathiques vis-\u0026agrave;-vis des arts qui r\u0026eacute;clament un temps de concentration. Toute leur \u0026eacute;nergie est canalis\u0026eacute;e par ce que l\u0026#39;observation nous transmet de plus frappant : l\u0026#39;image\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAu sud, o\u0026ugrave; le rythme est plus tr\u0026eacute;pidant qu\u0026#39;au nord, la presque totalit\u0026eacute; de la culture s\u0026#39;exprime gr\u0026acirc;ce \u0026agrave; la peinture, l\u0026#39;architecture et le cin\u0026eacute;ma. Les habitants de ces r\u0026eacute;gions r\u0026eacute;agissent plus promptement ; les modes sont \u0026eacute;pous\u0026eacute;es avec enthousiasme, ce qui explique pourquoi le sud para\u0026icirc;t plus moderne que le nord. Les arts plastiques y ont un caract\u0026egrave;re r\u0026eacute;volutionnaire et sont d\u0026#39;ordinaire bas\u0026eacute;s sur l\u0026#39;effet de choc. Toute la peinture moderne des pays latins consiste en r\u0026eacute;actions directes ; c\u0026#39;est la recherche du \u0026laquo;coup de poing\u0026raquo; que peut vous infliger une couleur, un tableau. La majorit\u0026eacute; des peintres y vivent \u0026agrave; la pointe du transitoire. Leurs tableaux sont une ext\u0026eacute;riorisation agressive de leurs perceptions, d\u0026#39;o\u0026ugrave; leur aspect expressionniste. Leur art, qu\u0026#39;il soit conscient ou non, reste bas\u0026eacute; sur l\u0026#39;actualit\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003eParce qu\u0026#39;un homme, plong\u0026eacute; dans une situation, ne peut la dominer enti\u0026egrave;rement (qui peut, enferm\u0026eacute; dans une pi\u0026egrave;ce, voir les murs de ext\u0026eacute;rieur ?), ses tableaux ne seront point m\u0026eacute;dit\u0026eacute;s, mais con\u0026ccedil;us en fonction d\u0026#39;un point de vue exclusif. Ainsi la peinture latine actuelle n\u0026#39;exige-t-elle gu\u0026egrave;re de r\u0026eacute;flexion. Dans le nord, au contraire, une \u0026oelig;uvre d\u0026#39;art est toujours le fruit d\u0026#39;une longue m\u0026eacute;ditation. M\u0026eacute;diter est uniquement possible hors de l\u0026#39;actuel, c\u0026#39;est-\u0026agrave;-dire du temps, Il va de soi qu\u0026#39;aux yeux de la plupart une telle attitude appara\u0026icirc;tra comme une forme de r\u0026eacute;gression, voire d\u0026#39;apathie mentale.\u003c/p\u003e\r\n\r\n\u003cp\u003eLes Nordiques semblent moins enthousiastes, ne font point de bruit, ne parlent pas vite. Cela ne veut pas dire que leur participation \u0026agrave; l\u0026#39;actuel ne peut \u0026ecirc;tre d\u0026eacute;cisive et prompte. L\u0026#39;action de cet homme n\u0026#39;est pratiquement pas ax\u0026eacute;e sur le monde ext\u0026eacute;rieur. Un tableau n\u0026#39;est que rarement con\u0026ccedil;u dans l\u0026#39;espoir d\u0026#39;obtenir une r\u0026eacute;action du public. En fait le peintre du nord, vivant en marge de la soci\u0026eacute;t\u0026eacute;, est moins conditionn\u0026eacute; par les caprices des amateurs. Prenons comme exemple Klee et Mondrian. Qui oserait avancer qu\u0026#39;ils sont moins actuels ou modernes que Picasso, Miro ou Marinetti ? L\u0026#39;instantan\u0026eacute;it\u0026eacute; de leurs oeuvres a \u0026eacute;t\u0026eacute; remarqu\u0026eacute;e, mais peu connaissent leur valeur \u0026eacute;sot\u0026eacute;rique. Ils font exception ceux qui ont lu et compris leurs opinions philosophiques.\u003c/p\u003e\r\n\r\n\u003cp\u003eIl est tr\u0026egrave;s compr\u0026eacute;hensible que G. Mathieu parle de l\u0026#39;\u0026oelig;uvre de Klee comme d\u0026#39;un \u0026laquo; petit humanisme \u0026raquo;. Or les tableaux de Mathieu ne r\u0026eacute;v\u0026egrave;lent-ils pr\u0026eacute;cis\u0026eacute;ment pas une r\u0026eacute;action imm\u0026eacute;diate, uns absence de recul ? Son ext\u0026eacute;riorisation d\u0026eacute;g\u0026eacute;n\u0026egrave;re m\u0026ecirc;me en exhibitionnisme. Il demande consciemment, ou inconsciemment, une participation directe \u0026agrave; son action cr\u0026eacute;atrice. En un certain sens, Mathieu s\u0026#39;efforce de peindre contre la m\u0026eacute;ditation et le temps physique. Bien qu\u0026#39;il emploie le signe, lequel n\u0026#39;a qu\u0026#39;un int\u0026eacute;r\u0026ecirc;t \u0026eacute;sot\u0026eacute;rique, il a oubli\u0026eacute; l\u0026#39;\u0026eacute;sot\u0026eacute;risme. L\u0026#39;\u0026eacute;sot\u0026eacute;risme n\u0026#39;est-il cependant pas \u0026agrave; l\u0026#39;origine de la r\u0026eacute;flexion ?\u003c/p\u003e\r\n\r\n\u003cp\u003eLe fait que l\u0026#39;exhibitionnisme n\u0026#39;eut jamais beaucoup d\u0026#39;adeptes au nord, prouve qu\u0026#39;on s\u0026#39;y oriente vers l\u0026#39;essentiel. On s\u0026#39;y occupe peu de l\u0026#39;acte cr\u0026eacute;ateur, de soi-m\u0026ecirc;me. La m\u0026eacute;ditation compte plus de disciples que l\u0026#39;observation directe. Les peintres v\u0026eacute;ritables d\u0026eacute;robant leurs travaux \u0026agrave; la collectivit\u0026eacute;, et n\u0026#39;attendant pas le verdict d\u0026#39;un public enclin aux modes, restent inconnus et peu d\u0026eacute;sir\u0026eacute;s dans les villes o\u0026ugrave; tout se d\u0026eacute;roule sous le signe de l\u0026#39;activit\u0026eacute;..\u003c/p\u003e\r\n\r\n\u003cp\u003eLa Mecque de la Culture \u0026agrave; la Mode, o\u0026ugrave; pratiquement chacun s\u0026#39;imagine incarner la culture elle-m\u0026ecirc;me, juge que tout ce qui se trouve en dehors est quantit\u0026eacute; n\u0026eacute;gligeable (c\u0026#39;est-\u0026agrave;-dire 3 milliards\u0026nbsp;d\u0026#39;hommes !) Qui n\u0026#39;habite Paris ne peut \u0026ecirc;tre bon peintre, puisque le feu sacr\u0026eacute; n\u0026#39;est distribu\u0026eacute; que par la mode parisienne. Tout ce qui n\u0026#39;est point bas\u0026eacute; sur l\u0026#39;actualit\u0026eacute; n\u0026#39;est pas compris de ces autruches de la politique. Toute l\u0026#39;histoire de l\u0026#39;art moderne est amoindrie : Kandinsky, Mondrian, Klee, Malevitch, Macke, Marc, les futuristes italiens, les expressionnistes allemands et flamands. \u0026laquo; Go home ! \u0026raquo; s\u0026#39;\u0026eacute;criaient-ils \u0026agrave; la vue des peintres am\u0026eacute;ricains. Et enfin : \u0026laquo; En Belgique, il n\u0026#39;y a pas de peintres \u0026raquo; ; oui, en effet, rien que du superflu qui ne se voit \u0026eacute;clair\u0026eacute; par l\u0026#39;astre de Paris. Ne l\u0026#39;oublions surtout pas : \u0026laquo; Diminuer le grand, augmenter le petit, c\u0026#39;est la joie du peuple \u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e1961\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003eDe Tafelronde Vol. 8 (1963) Nr. 3: p. 29-31.\u003cbr /\u003e\r\nArt Actuel, 3i\u0026egrave;me ann\u0026eacute;e,\u0026nbsp;n. 19, 1961: n.p.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31864,"title":"Supermekanisatie, superrationalisatie, superhygiëne...","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Mechanisatie De Tafelronde","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"supermekanisatie-superrationalisatie-superhygiene","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eSupermekanisatie, superrationalisatie, superhygi\u0026euml;ne, supermarkt, enz... leiden de mens steeds verder weg van de werkelijkheid die hij zich nog herinnert als een kinderdroom.\u003c/p\u003e\r\n\r\n\u003cp\u003eHij, de tijdsmodernist, de ge\u0026euml;volueerde, de beheerser van de materie lacht om de na\u0026iuml;eve negentiendeeuwse droom, de droom van de werkelijkheid, van de liefde, vader en moeder, aarde, zon, maan en sterren. Romantiek die in zijn metalen bestel geen plaats meer vindt. Het nihilisme, het verloochenen van het sublieme, het verwijderen van de idolen : liefde-idealisme-levens-kracht, brachten de mens op het nulpunt.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet middelpunt van de kosmos, de vooruitstrevende supermens liep in zijn eigen val.\u003c/p\u003e\r\n\r\n\u003cp\u003eEindelijk bewijst de rationalist zijn degeneratie\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003eDe Tafelronde Vol. 8 (1963) Nr. 3: p. 34.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31865,"title":"Als de binnenvorm de buitenvorm is","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Binnen Buiten","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"als-de-binnenvorm-de-buitenvorm-is-1a8757a0-afac-4b6a-8fd7-d1788c45ba96","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eAls de binnenvorm de buitenvorm is\u003c/h1\u003e\r\n\r\n\u003cp\u003eAls de binnenvorm de buitenvorm is, de derde dimensie de vierden wordt, de ruimte rondom de ruimte binnenin bepaalt, waarom zou men dan nog van voorwerpen in de ruimte spreken, van voorwerpen die een scheidende omlijning bezitten?\u003c/p\u003e\r\n\r\n\u003cp\u003eVoorwerpen hebben hun vorm in de dimensie of zijn door de ruimte omringd, die scheidende omlijning kan de omgeving van de ruimte zijn die zich rond het voorwerp bevindt. Wat zich binnenin is voor buiten het binnen en omgekeerd.\u003c/p\u003e\r\n\r\n\u003cp\u003eDoordat wij alles, met onze driedimensionale conceptie, van het een naar het ander waarnemen, doen wij het buiten van het binnen verschillen niettegenstaande zij samen buiten voor binnen zijn.\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003eDe Tafelronde Vol. 8 (1963) Nr. 3: p. 36.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31866,"title":"DE ULTRAWERKELIJKHEID","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen werkelijkheid ultra ultrawerkelijkheid","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"de-ultrawerkelijkheid","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eDE ULTRAWERKELIJKHEID\u003c/h1\u003e\r\n\r\n\u003cp\u003eZij is zonder beweging voor buiten zonder rust voor binnen de enige beweging, het glijden van buiten naar binnen, de gedurende wisselwerking. De binding tussen het afgezondene en het ontvangende.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet onvatbare, het onomvatbare, het alomvattende, de band die de kosmos aaneen bindt en verbonden houdt. Het verbond der waarheden of de waarheid van het verbond.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet binden van het een aan het ander, de binding tussen gisteren, vandaag en morgen.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet werkelijke, het symbool van het enigme der onbepaalde werkelijkheid, de enige re\u0026euml;le waarheid.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003eDe Tafelronde Vol. 8 (1963) Nr. 3: p. 35.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31867,"title":"HET","dimensions":"","date_begin":"1962-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen De Tafelronde","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"het","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp style=\"margin-left: 141.6pt; text-align: center;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch1 style=\"text-align: center;\"\u003eHET.\u003c/h1\u003e\r\n\r\n\u003cp\u003eWaarom leef ik tussen de dingen? Tussen de werelden van het waarschijnlijke en het onwaarschijnlijke? Ergens tussen het zwart en het wit?\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom voel ik die grens aan de rechterkant waarlangs ik steeds voortga? De onzichtbare waarschijnlijke onwaarschijnlijke muur betastend, goed wetend dat daarachter het ontzagelijke verborgen is, het zwart en het wit samen zijn.\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom voel ik dat de cirkel rondom mij draait, zich meer en meer sluit zonder ik zien kan of hij voor of achter mij gesloten of open is.\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom al die dingen, die onwaarschijnlijke waarschijnlijkheden die men soms in mijn handen giet, zodat ik ze even kan vasthouden juist voordat zij tussen mijn vingers weglopen, waarnaartoe?\u003c/p\u003e\r\n\r\n\u003cp\u003eWaar? Om mij? Waarom rond mij?\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom ging ik niet naar de eerste maar wel naar de laatste klas?\u003c/p\u003e\r\n\r\n\u003cp\u003eZomaar zonder dat ik een teken gaf? Waarom liet die oude lichtzoeker dat toe? Vroeg hij mij terug te komen \u0026rsquo;s zondags? Ergens waar het licht zich openbaarde, rondom en in mij, het van overal toestroomde, en het mij schilderde, bezeten van mij bezit nam, brandend door mijn vingers liep, verbrandend zonder sporen achter te laten.\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom was al dat licht daar? En juist toen op die zondag? Waarom moet ik altijd terug, ijskoude schrik hebben omdat het niet terug zou komen?\u003c/p\u003e\r\n\r\n\u003cp\u003eZeg het me eens?\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom blijf je nooit langer?\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom laat je die brand niet duren?\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom moet ik altijd naar je toe? Kwam je en ging je terug weg alsof je lij niet meer gunde, het niet goed genoeg vond bij mij te blijven?\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom,laat je mij alleen, zomaar zonder meer?\u003c/p\u003e\r\n\r\n\u003cp\u003eSpeel je met mij?\u003c/p\u003e\r\n\r\n\u003cp\u003eWaarom doe je mij branden tot ik blauw word om me daarna alleen te laten?\u003c/p\u003e\r\n\r\n\u003cp\u003eJe weet toch wat het is alleen zijn? Misschien ben je eenzaam?\u003c/p\u003e\r\n\r\n\u003cp\u003eDaarom kom jij altijd alleen bij de eenzamen, die alleen met jou \u0026eacute;\u0026eacute;n zijn.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: right;\"\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003cstrong\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; 1962.\u0026nbsp;\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003eDe Tafelronde Vol. 8 (1963) Nr. 3: \u0026#39;ESSENTIALISME\u0026#39;: p. 37.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31873,"title":"AB = BC (FR)","dimensions":"","date_begin":"1963-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen AB=BC","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"ab-bc-fr","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eAB = BC\u003c/h1\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003ePr\u0026eacute;tendre qu\u0026rsquo;il n\u0026rsquo;y a pas de ligne droite dans la r\u0026eacute;alit\u0026eacute; est peut-\u0026ecirc;tre absurde, vu qu\u0026rsquo;on peut difficilement s\u0026eacute;parer le monde id\u0026eacute;el du monde r\u0026eacute;el, et vu L\u0026rsquo;un monde doit n\u0026eacute;cessairement \u0026ecirc;tre la suite de l\u0026rsquo;autre, mais celui qui pr\u0026eacute;tend qu\u0026rsquo;une ligne droite doit exister pour que l\u0026rsquo;on puisse conna\u0026icirc;tre une ligne courbe est \u0026agrave; c\u0026ocirc;t\u0026eacute; de la question.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Le cubisme a peur-\u0026ecirc;tre bien contribu\u0026eacute; \u0026agrave; un certain progr\u0026egrave;s\u0026nbsp;; il \u0026eacute;tait r\u0026eacute;volutionnaire en son temps, mais malgr\u0026eacute; tout, les poules continuent\u0026nbsp; de pondre des \u0026oelig;ufs qui sont ronds\u0026nbsp;; et les plan\u0026egrave;tes continuent d\u0026rsquo;\u0026ecirc;tre sph\u0026eacute;riques. En effet, Mondriaan a redress\u0026eacute; les courbes\u0026nbsp;; son syst\u0026egrave;me se r\u0026eacute;duisait \u0026agrave; l\u0026rsquo;horizonte-vertical,\u0026nbsp; mod\u0026egrave;le qui est en opposition totale \u0026agrave; la r\u0026eacute;alit\u0026eacute; et qui par l\u0026agrave; continue peut-\u0026ecirc;tre de rester abstrait. Il n\u0026rsquo;y a que le monde id\u0026eacute;el o\u0026ugrave; tout est droit, horizontal et vertical, il n\u0026rsquo;y a que l\u0026rsquo;abstraction o\u0026ugrave;\u0026nbsp; le mouvement des choses soit rectiligne.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; C\u0026rsquo;est un fait: les derniers ph\u0026eacute;nom\u0026egrave;nes architecturaux reposent sur le concept de construction cubiste\u0026nbsp;: mais les possibilit\u0026eacute;s offertes par le b\u0026eacute;ton pr\u0026eacute;contraint ne sont-elles pas bien plus grandes? La ligne et le plan courbe ne se neutralisent-ils pas, cette construction n\u0026rsquo;est-elle pas un trop-plein, un vide v\u0026eacute;ritablement plein\u0026nbsp;?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Tout d\u0026eacute;pend probablement de la repr\u0026eacute;sentation ou des diff\u0026eacute;rentes fa\u0026ccedil;ons dont on observe un ph\u0026eacute;nom\u0026egrave;ne, que le Soleil soit cercle pour l\u0026rsquo;un, disque plat pour l\u0026rsquo;autre, volume statique aussi bien que dynamique pour un troisi\u0026egrave;me, cela n\u0026rsquo;exclut pas qu\u0026rsquo;en fait le ph\u0026eacute;nom\u0026egrave;ne Soleil est toutes ces choses \u0026agrave; la fois.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Abstractions \u0026ndash; symbolique \u0026ndash; volume ne sont naturellement que les diff\u0026eacute;rents noms du m\u0026ecirc;me ph\u0026eacute;nom\u0026egrave;ne mais qui indiquent la fa\u0026ccedil;on dont quelqu\u0026rsquo;un observe quelque chose. Si je tra\u0026ccedil;ais ici un cercle, si je le divisais par la ligne horizontale AC et si par le centre B je tra\u0026ccedil;ais la verticale A\u0026rsquo;C\u0026rsquo;, personne ne r\u0026eacute;voquerait en doute le fait que AB est \u0026eacute;gal \u0026agrave; BC.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Mais je me demande pourquoi ce cercle et ces lignes devraient \u0026ecirc;tre observ\u0026eacute;s sur une surface plane. Ce cercle et ces droites ne vaudraient-ils pas la sph\u0026egrave;re et les courbes, et ainsi l\u0026rsquo;ensemble ne s\u0026rsquo; approcherait-il pas plus de la r\u0026eacute;alit\u0026eacute;?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Ne serait-on pas un peu plus pr\u0026egrave;s du ph\u0026eacute;nom\u0026eacute;nal\u0026nbsp;?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003cstrong\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Jef Verheyen\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003eGalerie Bernard, exh. cat..,1964?\u003cbr /\u003e\r\nMARDI SAMEDI n\u0026deg;4 Paris, mai 1965: p. 44. (Alongside colour sketch drawing\u0026nbsp;\u003cem\u003eAB = BC)\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31874,"title":"AB = BC (NL)","dimensions":"","date_begin":"1964-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen AB=BC","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"ab-bc-nl","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eAB = BC\u003c/h1\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eBeweren dat er geen rechte lijn\u0026nbsp; in de werkelijkheid bestaat, is misschien absurd, vermits men moeilijk de ide\u0026euml;le\u0026nbsp; van de re\u0026euml;le wereld kan scheiden en de ene wereld noodzakelijkerwijze heb gevolg is van de andere. Maar hij die beweert dat er een rechte lijn moet bestaan om een gebogen lijn te kennen, is naast de kwestie.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet kubisme heeft wellicht bijgedragen tot een zekere vooruitgang; het was revolutionair in zijn tijd, maar desondanks blijven de hoenders ronde eieren leggen en de planeten gaan voort sferisch te zijn. inderdaad: Mondriaan\u0026nbsp; heeft de gebogen lijnen rechtgetrokken; zijn systeem herleidde zich tot de horizontale \u0026ndash; verticale, een model dat totaal in tegenspraak is met de realiteit en dat daarom misschien voortgaat abstract te blijven. Het is slechts in de ide\u0026euml;le wereld dat alles recht is, horizontaal en verticaal, het is slechts in de abstractie dat de beweging der dingen rechtlijnig is. Het is een feit: de laatste architecturale fenomenen berusten op kubistische opvatting der constructie, maar zijn de mogelijkheden door het gewapend beton geboden iet groter? Neutraliseren zich niet de lijnen en het gebogen plan? Is deze constructie niet de volle ledigheid, een leegte werkelijk vol?\u003c/p\u003e\r\n\r\n\u003cp\u003eAlles hangt waarschijnlijk van de voorstelling af of van de verschillende manieren waarop men een verschijnsel waarneemt. Dat de zon voor de ene een cirkel is, voor de andere een platte schijf, een statisch zowel als een dynamisch volume voor een derde, dat sluit niet uit dat in feite het fenomeen zon al deze aspecten tegelijkertijd is.\u003c/p\u003e\r\n\r\n\u003cp\u003eAbstractie \u0026ndash; symbool \u0026ndash; volume zijn de onderscheiden namen voor een zelfde fenomeen, maar ze duiden erop hoe iemand een ding waarneemt. Indien ik hier een cirkel trok en hem verdeelde door de horizontale lijn AC en zo ik door het middelpunt de verticale A\u0026rsquo;B trok, niemand zou het feit in twijfel trekken dat AB\u0026nbsp; gelijk is aan BC.\u003c/p\u003e\r\n\r\n\u003cp\u003eMaar ik vraag me af waarom die cirkel en die lijnen moeten worden waargenomen in een plat vlak. Zijn die cirkel en die lijnen niet bolvormig en staat het geheel niet dichter bij de realiteit? Zou men niet dichter zijn bij het fenomenale?\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003cstrong\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Jef Verheyen\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePlan 1: Integratie\u003c/em\u003e, exh. cat., 1964: p. 40. (Alongside sketch of Frankfurt school project with S. Paquet)\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31875,"title":"Het spiegelbeeld van de hersenen, of iets over het ontstaan van beelden in het voorstellingsvermogen (NL)","dimensions":"","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen spiegelbeeld voorstellingsvermogen schilderswijzen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"het-spiegelbeeld-van-de-hersenen-of-iets-over-het-ontstaan-van-beelden-in-het-voorstellingsvermogen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp style=\"text-align: center;\"\u003eDeze tekst is geschreven, omdat ik het nodig\u003cbr /\u003e\r\nvind dat er eindelijk een onderscheid zal\u003cbr /\u003e\r\ngemaakt worden tussen de verschillende\u003cbr /\u003e\r\nschilderswijzen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nMen kan een werk van Malevitch onmogelijk\u003cbr /\u003e\r\nvergelijken met en schilderij van Rubens, en\u0026nbsp;\u003cbr /\u003e\r\nde schilderijen\u0026nbsp; die ik schilderde, kunnen\u003cbr /\u003e\r\nonmogelijk als \u0026quot;tableaux\u0026quot; aangezien\u003cbr /\u003e\r\nworden. Het handelt hier om een andere\u003cbr /\u003e\r\ndimensie en een andere ruimtelijke ervaring.\u003cbr /\u003e\r\nHoeveel van de verzamelaars dit beseffen,\u003cbr /\u003e\r\nweet ik niet en dat is geenszins mijn\u003cbr /\u003e\r\nprobleem.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n31 januari 1979\u003c/p\u003e\r\n\r\n\u003cp\u003eHet spiegelbeeld van de hersenen, of iets over het ontstaan van beelden in het voorstellingsvermogen.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n[TBC]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\nJEF VERHEYEN\u003cbr /\u003e\r\n4 juli 1979, middag\u003cbr /\u003e\r\nProvence\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003cbr /\u003e\r\n\u0026nbsp;\u003c/h3\u003e\r\n\r\n\u003cp\u003eJanssen Pharmaceutica, exh. cat., 1982: n.p.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31877,"title":"Het is misschien hoogtijd dan men het verschil aantoont tussen de psychologisch gebonden voorstellingen en die die uit een bewustzijnstoestand zijn ontstaan","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"het-is-misschien-hoogtijd-dan-men-het-verschil-aantoont-tussen-de-psychologisch-gebonden-voorstellingen-en-die-die-uit-een-bewustzijnstoestand-zijn-ontstaan","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003e\u0026nbsp;\u003c/h3\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eJef Verheyen - Schilderijen / Peintures\u003c/em\u003e, exh. cat., PSK, 1972: n.p.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31878,"title":"Bij een kleurtest (NL)","dimensions":"","date_begin":"1965-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Kleurtest Kleurtheorie Merleau-Ponty les rouge et le vert Bevel","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"bij-een-kleurtest","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003ch1\u003eBij een kleurtest\u003c/h1\u003e\r\n\r\n\u003cp\u003eLe rouge et le vert ne sont pas des sensations, ce sont des sensibles, et la qualit\u0026eacute;\u003cbr /\u003e\r\nn\u0026#39;est pas en \u0026eacute;l\u0026eacute;ment de la conscience, c\u0026#39;est une propri\u0026eacute;t\u0026eacute; de l\u0026#39;objet.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: right;\"\u003eM. MERLEAU-PONTY\u003c/p\u003e\r\n\r\n\u003cp\u003eSynthesevresende begrippen....\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e[TBC]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003euit (Bij een kleurtest)\u003cbr /\u003e\r\nBEVEL 1965\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003c/h3\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eJef Verheyen - Szukalski - Knokke - Casino,\u0026nbsp;\u003c/em\u003eexh. cat., Casino Knokke, 1971: n.p. (partly)\u003cbr /\u003e\r\n\u003ci\u003eJef Verheyen Retrospectieve,\u0026nbsp;\u003c/i\u003eexh. cat., Paleis voor Schone Kunsten Brussel / Mus\u0026eacute;e Rath Gen\u0026egrave;ve 1979-1980: n.p. 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Groen","dimensions":"?","date_begin":"1959-01-01","material":"Oil paint and silver pigment on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Vibratie Vibration Nylon","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nFollowing the artist\u0026#39;s notes on Philippi\u0026#39;s photograph (see linked items), the work was exhibited in\u0026nbsp;\u003cem\u003eMonochrome Malerei.\u003c/em\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":9,"permalink":"763-vibratie-groen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eThis series of works (we know of three similar works) is made by posing nylon onto the wet painted canvas, and after being dried up, the nylon has been teared of to obtain the vibrating effect of waves.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26005,"title":"• 0671 • Untitled","dimensions":"Ø 120 cm","date_begin":"1962-01-01","material":"Matt lacquer on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Rond Tondo Georges Jacobs","publishing_process_id":1,"annotation":"\u003cp\u003e= 138\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":23,"permalink":"670-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/057/593/medium_500/671_1.jpg?1591104627","cached_actor_names":"Axel Vervoordt, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/057/593/large/671_1.jpg?1591104627","poster_credits":"(c)Jef Verheyen, photo: Axel Vervoordt - 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In Italian that means ‘dark flowers’.\u003c/p\u003e\u003cp\u003eThe title reveals that we are looking at a floral\u003c/p\u003e\u003cp\u003estill life. This is no accurate depiction of dark\u003c/p\u003e\u003cp\u003ered roses, but instead just the idea of them, the\u003c/p\u003e\u003cp\u003ecolour. The Renaissance frame is like a window.\u003c/p\u003e\u003cp\u003eA window on an infinite field of colour. Flowers\u003c/p\u003e\u003cp\u003e– and by extension our own existence – are\u003c/p\u003e\u003cp\u003eephemeral. In his notes Verheyen wrote that in\u003c/p\u003e\u003cp\u003ethis work ‘the dark flowers are as dark as blood.\u003c/p\u003e\u003cp\u003eThe blood of dark flowers.’\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eFiori Oscuri. Dat betekent ‘donkere bloemen’\u003c/p\u003e\u003cp\u003ein het Italiaans. De titel verraadt dat je naar een\u003c/p\u003e\u003cp\u003ebloemstilleven kijkt. Hier geen nauwkeurige\u003c/p\u003e\u003cp\u003eweergave van donkerrode rozen, maar louter\u003c/p\u003e\u003cp\u003ede idee, de kleur. De renaissancelijst is als een\u003c/p\u003e\u003cp\u003evenster. Een venster op een oneindig kleurveld.\u003c/p\u003e\u003cp\u003eBloemen, en bij uitbreiding ons bestaan, zijn\u003c/p\u003e\u003cp\u003evergankelijk. Daarover schreef Verheyen in zijn\u003c/p\u003e\u003cp\u003enotities dat “de donkere bloemen zo donker\u003c/p\u003e\u003cp\u003ezijn als bloed. Het bloed van donkere bloemen.”\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eDoor de\u0026nbsp;Fiori oscuri\u0026nbsp;bloeit een vloed van wijn\u003c/i\u003e\u003cbr\u003e\u003ci\u003eof is het het bloed van donkere bloemen?\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eRood van rozen\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eLe sang sens des fleurs obscurs\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;\u0026nbsp;\u003c/i\u003e\u003cbr\u003e\u003ci\u003eBloedend\u003c/i\u003e\u003cbr\u003e\u003ci\u003eFiori oscuri\u003c/i\u003e\u003cbr\u003e\u003cbr\u003e\u003ci\u003eLe sens de fleur obscur\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eBloed van donkere bloemen\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":32412,"title":"Mardi-Samedi (1965) Nr. 4","dimensions":"","date_begin":"1965-01-01","material":"Ink on newspaper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":59,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Mardi-Samedi Magazine AB=BC AB = BC Pour une peinture non plastique Julien Alvard Bruno Pulga Graziani Janicot O. 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Le mouvement pr\u0026eacute;sent de l\u0026#39;art \u003c/em\u003e4\u0026nbsp;\u003cbr /\u003e\r\nParis\u003cbr /\u003e\r\nMay 1965\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eTwo texts by Jef Verheyen are published:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePour une peinture non plastique:\u0026nbsp;\u003c/em\u003ep. 42. (partly: starting from Notre pens\u0026eacute;e oscille entre le blanc et le noir until end)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eAB = BC:\u0026nbsp;\u003c/em\u003ep. 44. (Alongside colour sketch drawing AB = BC)\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32416,"title":"Letter from Fritz Usinger to Jef Verheyen (26 September 1965)","dimensions":"1 side","date_begin":"1965-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Opening speech Vernissage Galerie Lohrl","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_06","stream_count_app":14,"permalink":"letter-from-fritz-usinger-to-jef-verheyen-26-september-1965-45efeef2-f1df-4787-b447-aa867b48a934","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/806/medium_500/1965_09_26_Usinger.jpg?1656408759","cached_actor_names":"Galerie Löhrl, Jef Verheyen, Fritz Usinger","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eAccompanying letter for\u0026nbsp;the transcription of Usinger\u0026#39;s\u0026nbsp;opening speech\u0026nbsp;(see linked items)\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32420,"title":"De Vlaamse ploeg pas nu samengesteld","dimensions":"1 page","date_begin":"1970-01-01","material":"Ink on newspaper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Biennale van Venetië Biennial Venice","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_40_22","stream_count_app":13,"permalink":"de-vlaamse-ploeg-pas-nu-samengesteld","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/819/medium_500/JV_40_22.jpg?1656426928","cached_actor_names":"Jef Verheyen, Piet Sterckx","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/819/large/JV_40_22.jpg?1656426928","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eSource?\u003cbr /\u003e\r\nDate? 1970\u003cbr /\u003e\r\nAuthor: Piet Sterckx\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32431,"title":"In situ photograph of a wall sculpture","dimensions":"","date_begin":"1961-01-01","material":"Black-and-white photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Keramiek Wandsculptuur","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n10 March\u0026nbsp;1961\u0026nbsp;Antwerp\u0026nbsp;(series \u0026nbsp;7960/1-8\u0026nbsp;\u003ci\u003erecordings of Jef Verheyen\u0026#39;s work in living room\u003c/i\u003e)\u003cbr /\u003e\r\nAuthentification stamp by the photographer on the reverse\u003cbr /\u003e\r\nFP Inv. n. 7960/2\u003c/p\u003e\r\n","date_end":null,"reference":"JV_39_36_34","stream_count_app":23,"permalink":"reproduction-of-a-wall-sculpture","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/915/medium_500/JV_39_36_34_a.jpg?1657023620","cached_actor_names":"Frank Philippi, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/915/large/JV_39_36_34_a.jpg?1657023620","poster_credits":"(c) Scan: CKV, 2022 - Photo: Frank Philippi / SABAM - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32434,"title":"In situ photograph of a wall sculpture","dimensions":"","date_begin":"1961-01-01","material":"Black-and-white photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Keramiek Wandsculptuur","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n10 March\u0026nbsp;1961\u0026nbsp;Antwerp\u0026nbsp;(series \u0026nbsp;7960/1-8\u0026nbsp;\u003ci\u003erecordings of Jef Verheyen\u0026#39;s work in living room\u003c/i\u003e)\u003cbr /\u003e\r\nAuthentification stamp by the photographer on the reverse\u003cbr /\u003e\r\nFP Inv. n. 7960/6\u003c/p\u003e\r\n","date_end":null,"reference":"JV_39_36_35","stream_count_app":21,"permalink":"reproduction-of-a-wall-sculpture-9188886b-5761-4139-abfe-b5a1d27130cd","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/917/medium_500/JV_39_36_35_a.jpg?1657024055","cached_actor_names":"Frank Philippi, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/917/large/JV_39_36_35_a.jpg?1657024055","poster_credits":"(c) Scan: CKV, 2022 - Photo: Frank Philippi / SABAM - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32435,"title":"Reproduction","dimensions":"","date_begin":"1961-01-01","material":"Black-and-white photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Espace Ruimte Vlaamse Ruimte Espace Noir Zwarte ruimte Espace flamand","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n10 March\u0026nbsp;1961\u0026nbsp;Antwerp\u0026nbsp;(series 8208/ 1-2; 3-3A-B; 4-4A-B; 5-5A-B-C\u0026nbsp;\u003cem\u003eRecordings of Jef Verheyen\u0026#39;s paintings\u003c/em\u003e)\u003cbr /\u003e\r\nAuthentification stamp by the photographer on the reverse\u003cbr /\u003e\r\nFP Inv. n. 8208/3B\u003c/p\u003e\r\n","date_end":null,"reference":"JV_39_36_36","stream_count_app":16,"permalink":"reproduction-dd71446d-e593-453e-b3d8-41447be13970","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/919/medium_500/JV_39_36_36_a.jpg?1657025262","cached_actor_names":"Frank Philippi, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/919/large/JV_39_36_36_a.jpg?1657025262","poster_credits":"(c) Scan: CKV, 2022 - Photo: Frank Philippi / SABAM - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32485,"title":"Double vernissage au Musée Rath (copy)","dimensions":"1/4 page","date_begin":"1980-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":167,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen, Rath, Genève","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_40_25","stream_count_app":11,"permalink":"double-vernissage-au-musee-rath-copy","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/222/medium_500/JV_40_25.jpg?1658241974","cached_actor_names":"Paul Kleim, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/222/large/JV_40_25.jpg?1658241974","poster_credits":"(c) Scan: CKV, 2022 - 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Photo: Frank Philippi / SABAM - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32491,"title":"Jef Verheyen exposeert in 't Venster","dimensions":"1/8 pagina","date_begin":"1959-01-01","material":"Ink on newspaper, collage","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":167,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen 't Venster Venster Rotterdam rood schilderij Het vrije volk","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_40_28","stream_count_app":24,"permalink":"jef-verheyen-exposeert-in-t-venster","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/228/medium_500/JV_40_28_b.jpg?1658322060","cached_actor_names":"Piet Begeer, Jef Verheyen, 't Venster","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/228/large/JV_40_28_b.jpg?1658322060","poster_credits":"(c) Scan: CKV, 2022 - 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Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eLe Matin\u003c/em\u003e\u003cbr /\u003e\r\n25 May 1959\u003cbr /\u003e\r\nAuthor?\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32493,"title":"Le rôle de l'espace dans l'art moderne","dimensions":"1 page","date_begin":"1959-01-01","material":"Ink on newspaper, collage","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_40_30","stream_count_app":12,"permalink":"le-role-de-l-espace-dans-l-art-moderne","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/230/medium_500/JV_40_30.jpg?1658320864","cached_actor_names":"Jef Verheyen, Brice Aubusson","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/230/large/JV_40_30.jpg?1658320864","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eLe Matin\u003c/em\u003e\u003cbr /\u003e\r\n19-20 September 1959\u003cbr /\u003e\r\nAuthor: Brice Aubusson\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32494,"title":"Jonge schilders","dimensions":"1/4 pagina","date_begin":"1959-01-01","material":"Ink on newspaper, collage","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":167,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen 't Venster Venster Rotterdam","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_40_31","stream_count_app":16,"permalink":"jonge-schilders","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/231/medium_500/JV_40_31_a.jpg?1658321937","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/231/large/JV_40_31_a.jpg?1658321937","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eNieuwe Rotterdam (?)\u003c/em\u003e\u003cbr /\u003e\r\n29 October 1959\u003cbr /\u003e\r\nAuthor?\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32490,"title":"Outtake from 'Essentialisme' as published in 'Het Kahier'","dimensions":"1 page (fragment)","date_begin":"1959-01-01","material":"ink on paper, collage","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Essentialisme Het Kahier","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_14_03","stream_count_app":21,"permalink":"outtake-from-essentialisme-as-published-in-het-kahier","description_ru":"","description_de":"\u003cp\u003eZweisprachige Veröffentlichung des „Essentialismus“ in der Zeitschrift Het Kahier 6, Nr. 13, 1959.\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/227/medium_500/JV_14_03.jpg?1658306490","cached_actor_names":"Jef Verheyen, Het Kahier","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/227/large/JV_14_03.jpg?1658306490","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eBilingual publication of \u003ci\u003e‘Essentialism’\u003c/i\u003e in the periodical \u003ci\u003eHet Kahier 6\u003c/i\u003e, N°13, 1959.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eTweetalige publicatie van 'Essentialisme' in het tijdschrift Het Kahier 6, nr.13, 1959.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003ePublication bilingue de « L'Essentialisme » dans la revue Het Kahier 6, n° 13, 1959.\u003c/p\u003e"}]},{"id":32488,"title":"Jef Verheyen (IT)","dimensions":"1 page","date_begin":"1959-01-01","material":"ink on paper, collage","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Pagani Grattacielo Ivo Michiels Introduction Space-Scapes Space Scapes","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_02_77","stream_count_app":20,"permalink":"jef-verheyen-it","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/225/medium_500/JV_02_77.jpg?1658303019","cached_actor_names":"Ivo Michiels, Jef Verheyen, Galleria d'arte del Grattacielo","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/225/large/JV_02_77.jpg?1658303019","poster_credits":"(c)scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eIn this introduction by Ivo Michiels, the author introduces the idea of 'space scapes' to describe the work of Verheyen early 1959.\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32489,"title":"Jef Verheyen (introduction)","dimensions":"1 page","date_begin":"1959-01-01","material":"ink on paper, collage","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen 't Venster Venster Rotterdam introductie","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_02_78","stream_count_app":16,"permalink":"jef-verheyen-1017ac5c-63ca-4384-ab09-f25ecb5ed38d","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/226/medium_500/JV_02_78.jpg?1658305214","cached_actor_names":"Ivo Michiels, Jef Verheyen, 't Venster","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/226/large/JV_02_78.jpg?1658305214","poster_credits":"(c)scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32538,"title":"• 0777 • Weer-spiegelingen (ed.)","dimensions":"","date_begin":"1979-01-01","material":"Customized bottle","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Weerspiegelingen Uitgeverij \u0026 Vondel Weer-spiegelingen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n28.10.1979\u003c/p\u003e\r\n","date_end":null,"reference":"JV_70_03","stream_count_app":19,"permalink":"weerspiegelingen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/369/medium_500/777_1.jpg?1660029454","cached_actor_names":"Uitgeverij \u0026 Vondel, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/369/large/777_1.jpg?1660029454","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32549,"title":"Jef Verheyen in 't Venster","dimensions":"1/8 page","date_begin":"1959-01-01","material":"Ink on newspaper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen 't Venster Venster Rotterdam Mark Rothko Yves Klein","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_40_32","stream_count_app":17,"permalink":"jef-verheyen-in-t-venster","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/390/medium_500/JV_40_32_a.jpg?1660050241","cached_actor_names":"Jef Verheyen, 't Venster","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/390/large/JV_40_32_a.jpg?1660050241","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eRotterdamsch Nieuwsblad\u003c/i\u003e\u003cbr /\u003e\r\n21 October 1959\u003cbr /\u003e\r\nAuthor\u0026#39;s initials: D.W.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn this article, comparison\u0026nbsp;is made with the work of Mark Rothko and Yves Klein:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eBlijkbaar uiterst schroomvallig voortgaande, luistert Verheyen naar de stem van zijn middelen, lang stilstaande bij minimale effecten. 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Her archa\u0026iuml;sche is terug het pikturale, zijn essentie en existentie zijn synthese geworden.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:right\"\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026ldquo;geen vorm zonder functie\u0026rdquo; (Klee)\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:177pt; text-align:right\"\u003e\u003cem\u003e(Zij vermenigvuldigen de eerste met het omgekeerde van de tweede zonder de in werking gestelde techniek te kunnen verantwoorden\u003c/em\u003e).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;Vroeger leerde de schilder fragmentarisch de driedimensionele wereld kennen, hij bestudeerde uiterlijk elk object afzonderlijk tot hij de vaardigheid had die werkelijkheid nauwkeurig naar vorm en kleur weer te geven. In zekere zin leerde de schilder de elementen van zijn bouwsysteem gebruiken met het doel de verschillende delen terug samen te voegen tot een geheel. Hij kende zijn wereld, wist de kracht van plant, dier en mens, natuurbrokken waarover hij schilderkunstig beschikte. Voor hem had elk fragment zijn waarde, zijn strikt noodzakelijke aanwezigheid. Honderden schetsen, stukken materiaal uit zijn bouwdoos, werden na langdurig vormen en hervormen tot kompositie, tot eenheid. De schilder kon die dingen vormen naargelang zijn systeem, systematisch werd er gebouwd, geschilderd. Elke kleurvorm had zijn bepaalde plaats, werd bewust gebruikt in functie van een zekere opgave. Van formalisme was er bij hem geen sprake van omdat elk meester wist waarmee hij had af te rekenen, wist hoe hij zijn constructie moest maken. De schilderkunst was een kollektief bewustzijn, een bepaalde techniek die van meester naar leerling verder kon gedragen worden. De weg van fragment naar geheel, van gedeelte naar vormensynthese werd door hen doeltreffend toegepast.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;De schilderkunstige rasters waren met de statische werkelijkheid verbonden tot die schema\u0026rsquo;s symbolen en dogma\u0026rsquo;s werden, zij hadden de re\u0026euml;le waarden verloren. Met doelloze verhoudingen schilderde men verder, losse verbanden die slechts uit gewoonte gebruikt werden. De schilderkunst geraakte verstrikt in een formalisme, zij werd een formele abstaktie. Het archa\u0026iuml;sche en de archetekens waren voor hen verloren en hun ergste vijand was de realiteit zelf, de levende vorm deed alles uit elkaar spatten, \u003cem\u003ehij bewoog\u003c/em\u003e. Het analytisch impressionisme deed de eerste stap verder, terug naar de oorsprong. De uiterlijke vorm werd uit elkaar gesmeten, ontbonden tot er van de drie dimensies niets overbleef dan een kale\u0026iuml;doscoop, stukken puzzle. Het vroegere fragment werd tot doel en l\u0026rsquo;art por l\u0026rsquo;art deed zijn intrede. De subjectieve schilderkunst begon. Alle wetten werden opgeheven, gingen verloren. Alles werd toegelaten. Het onbewuste, de zogenaamde intu\u0026iuml;tie, nam de plaats in van het bewustzijn. \u0026ldquo;Il faut enduire\u0026rdquo; en geeft hem maar zwam, het goed bekend 100% automatisme zijn daar het gevolg van.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;Paul Klee\u0026rsquo;s genialiteit bracht de schilderkunstige uitdrukking tot bewust beeldend denken, vorm en teken werden geanalyseerd en terug tot hun oorspronkelijke waarde gevoerd, tot fragment: bepaald element van het geheel. Paul Klee wilde geen vorm zonder functie. De door hem ontdekte wereld van het innerlijke gaf de arche-tekens hun schilderkunstige waarde en hun functie weder. De vaart naar de innerlijke ruimte was begonnen.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;Fontana\u0026#39;s spatialisme boorde door de dimensies, de ontzaglijke ruimten werden bewust. Zijn vijfde dimensie brak de grenzen, hij opende de weg naar de oneindigheid. Het bewuste \u0026ldquo;de mens als leegte in het volle\u0026rdquo; werd door Fontana tot synthese. Het verlies der zwaartekracht, het later(n) opheffen der kontrasten, het terugbrengen van de schilderkunst tot haar essenti\u0026euml;el verschijnsel, brachten de nieuwe dimensie: de kleurkracht.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;Het licht is de essenti\u0026euml;le mekaniek, de kleur is de pikturale dynamiek, de ruimste essenti\u0026euml;else transcendentie.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;De kleuropenbaring is de bewustwording.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;Het essentialisme is de alfa en omega van de pikturale existentie.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:right\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; \u003cstrong\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp; december 1962\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003ch3\u003ePublished in\u003cstrong\u003e\u0026nbsp;\u0026nbsp;\u003c/strong\u003e\u003c/h3\u003e\r\n\r\n\u003cp\u003eDe Tafelronde Vol. 8 (1963) Nr. 3: p. 40-42.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30946,"title":"Tout se compose et se transforme éternellement en fumée","dimensions":"3 sides","date_begin":null,"material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Rook Fumée Atmosfeer tout m'échappe","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_09_88","stream_count_app":19,"permalink":"tout-se-compose-et-se-transforme-eternellement-en-fumee","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/484/medium_500/JV_09_88_a.jpg?1630920158","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/484/large/JV_09_88_a.jpg?1630920158","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30948,"title":"Dans la métamorphose ","dimensions":"1 side","date_begin":null,"material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Dani Franque","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nWritten by Dani Franque\u003c/p\u003e\r\n","date_end":null,"reference":"JV_09_90","stream_count_app":20,"permalink":"dans-la-metamorphose","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/489/medium_500/JV_09_90.jpg?1630921355","cached_actor_names":"Dani Franque, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/489/large/JV_09_90.jpg?1630921355","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30977,"title":"Nog altijd vind ik het fijn me trachten uit te drukken in woorden en zinnen die zeer waarschijnlijk weinig mensen zullen lezen","dimensions":"2 sides","date_begin":null,"material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nHandwriting by Dani Franque\u003cbr /\u003e\r\nIntroduction / preface for unknown publication\u003c/p\u003e\r\n","date_end":null,"reference":"JV_09_113","stream_count_app":15,"permalink":"nog-altijd-vind-ik-het-fijn-me-trachten-uit-te-drukken-in-woorden-en-zinnen-die-zeer-waarschijnlijk-weinig-mensen-zullen-lezen-b9fc126c-57ac-4a13-8084-3623696b304e","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/583/medium_500/JV_09_113.jpg?1631180741","cached_actor_names":"Dani Franque, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/583/large/JV_09_113.jpg?1631180741","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31279,"title":"Iets over schilders, en schilderen.","dimensions":"3 sides","date_begin":"1978-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Grand Oeuvre Schilderen Schilderkunst","publishing_process_id":1,"annotation":"","date_end":"1981-01-01","reference":"JV_09_151","stream_count_app":30,"permalink":"iets-over-schilders-en-schilderen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/396/medium_500/JV_09_151_a.jpg?1634643857","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/396/large/JV_09_151_a.jpg?1634643857","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22532,"title":"• 0315 • Toverspiegel - Magische Diabolische Spiegel","dimensions":"65 x 65 cm","date_begin":"1980-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Sammlung Lenz, Schönberg, Austria","cached_tag_list":"Jef Verheyen Spiegel","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse: 1980/81\u003cbr /\u003e\r\nInscribed on the reverse: \u0026#39;magische spiegel diabolische\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse, on the frame: \u0026#39;binnenkant effen bies goud\u0026#39;\u003cbr /\u003e\r\nLabeled on the reverse referring to the Lenz Sch\u0026ouml;nberg Collection\u003c/p\u003e\r\n","date_end":"1981-01-01","reference":"VER-24","stream_count_app":43,"permalink":"315-toverspiegel","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/061/medium_500/315_asset1.jpg?1570628710","cached_actor_names":"Sammlung Lenz, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/061/large/315_asset1.jpg?1570628710","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32647,"title":"Schriften und Reflexionen - Sketches, Texts (unpublished)","dimensions":"","date_begin":"1982-01-01","material":"Collage","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Erker Reflexionen Schriften Sketches","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nThe archive preserves several maquettes for the unpublised artist\u0026#39;s publication \u0026#39;Schriften und\u0026nbsp;Reflexionen\u0026#39;, that would be published by Erker Galerie / Erker Presse.\u003c/p\u003e\r\n\r\n\u003cp\u003eOne of the maquettes included original sketches and manuscripts, made by Verheyen over the years (see linked items), that on the occasion of this publication have been (partly)\u0026nbsp;translated.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"JV_13_28","stream_count_app":49,"permalink":"schriften-reflexionen-unpublished","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/569/medium_500/JV_13_28_01.jpg?1660814109","cached_actor_names":"Erker Press, Erker Galerie, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32649,"title":"Studie I - Koude en warme kleuren","dimensions":"2 sides","date_begin":null,"material":"Ink and pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":159,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Kleurstudie Kleurtheorie Koude kleuren Warme Kleuren Hoofdkleuren","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_09_170","stream_count_app":25,"permalink":"studie-i","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/567/medium_500/JV_09_170_b.jpg?1660813824","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/567/large/JV_09_170_b.jpg?1660813824","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32652,"title":"Kontrasten","dimensions":"3 sides","date_begin":"1956-01-01","material":"Ink and pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":159,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen, Kontrasten, Klein, Groot, Vierkant, Cirkel, Oneindig, Waarheid, Bepaald, Onbepaald","publishing_process_id":1,"annotation":"","date_end":"1957-01-01","reference":"JV_09_171","stream_count_app":19,"permalink":"kontrasten","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/574/medium_500/JV_07_171_a.jpg?1660816694","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/574/large/JV_07_171_a.jpg?1660816694","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32654,"title":"Boven / Onder - Oben / Unten","dimensions":"3 sides","date_begin":null,"material":"Ink and pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":159,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Boven Onder Oben Unten Convex Concave Zon AB=BC Cirkel 1x1 abstract","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_09_172","stream_count_app":22,"permalink":"boven-onder-oben-unten","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/581/medium_500/JV_09_172_a.jpg?1660818075","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/581/large/JV_09_172_a.jpg?1660818075","poster_credits":"(c) Scan: CKV, 2022 - 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Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32668,"title":"Aan zijn vruchten laat de boom zich kennen / Over vriendschap","dimensions":"1 side","date_begin":"1959-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Boom Vruchten Vriendschap","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nWritten on the back side of the sketch drawing \u0026#39;Toenemend - Afnemend\u0026#39; (see linked item)\u003c/p\u003e\r\n","date_end":null,"reference":"JV_09_175","stream_count_app":12,"permalink":"aan-zijn-vruchten-laat-de-boom-zich-kennen-over-vriendschap","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/608/medium_500/JV_09_175_b.jpg?1660827324","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/608/large/JV_09_175_b.jpg?1660827324","poster_credits":"(c) Scan: CKV, 2022 - 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Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32754,"title":"779 Untitled (ed. 82)","dimensions":"71 x 50 cm (sheet), 43 x 43 cm","date_begin":null,"material":"Serigraph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Serigraph Zeefdruk silkscreen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"779-untitled-ed","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/813/medium_500/779_3.jpg?1661260105","cached_actor_names":"Erker Galerie, Erker Press, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nEdition of 82 or 100?\u003cbr /\u003e\r\nDry stamp Erker Press St. Gallen?\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32755,"title":"780 10 Grafieken / 10 Gedichten (ed. 100)","dimensions":"70 x 50 cm","date_begin":"1976-01-01","material":"Box with 10 lithographs and 10 poems","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen tien grafieken tien gedichten MAGEN DAVID ADOM","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":29,"permalink":"780-10-grafieken-10-gedichten-ed-10","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/818/medium_500/780_1.jpg?1661262226","cached_actor_names":"Mark Verstockt, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eLinnen box containing 10 graphic works (serigraphs and lithographs)\u0026nbsp;and 10 printed poems.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e10 artists: Patrick Conrad, Jan Cox, Bert De Leeuw, Raoul De Keyser, Pol Mara, Roger Raveel, Dan Van Severen, Jef Verheyen, Mark Verstockt, Roger Wittewrongel\u003c/p\u003e\r\n\r\n\u003cp\u003e10 poets:\u0026nbsp;Frans Boenders, Albert Bontridder, Marnix Gijsen, Roland Jooris, Ivo Michiels, Leonard Nolens, Werner Spillemaeckers, Nic Van Bruggen, Marcel van Maele, Eddy Van Vliet.\u003c/p\u003e\r\n\r\n\u003cp\u003eJef Verheyen\u0026#39;s litograph consists of a trapezium in two shades of purple.\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nPublished by MAGEN DAVID ADOM Antwerp\u003c/p\u003e\r\n\r\n\u003cp\u003eSerigraphs printed by Print Sint-Niklaas and Panter Press Antwerp\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nLithographs printed by Photogravure De Schutter Antwerp\u003c/p\u003e\r\n\r\n\u003cp\u003eThe poems are typset in Helvetic and printed by Veereman Deurne.\u003c/p\u003e\r\n\r\n\u003cp\u003eCover box by M.A.P. - Austraet Brussels.\u003c/p\u003e\r\n\r\n\u003cp\u003eLay-out by Mark Verstockt\u003c/p\u003e\r\n\r\n\u003cp\u003eThe edition is limited to 125 copies, of which 100 are for sale (numbered 0 to 100) and 25 not for sale (numbered I to XXV)\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32753,"title":"• 0778 • Untitled (Voor May \u0026 Axel uit vriendschap)","dimensions":"20 x 14 cm without frame","date_begin":"1973-01-01","material":"Matt lacquer on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Axel and May Vervoordt Foundation","cached_tag_list":"Jef Verheyen May Vervoordt Axel Vervoordt","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u0026nbsp;\u003cbr /\u003e\r\nSigned on the back: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the back: \u0026#39;4 sept. 1973\u0026#39;,\u0026nbsp;\u0026#39;73\u0026#39;\u003cbr /\u003e\r\nUntitled\u003cbr /\u003e\r\nDedicated on the back: \u0026#39;Voor May en Axel uit vriendschap\u0026#39;\u003cbr /\u003e\r\nLabeled on the reverse referring to the exhibition\u0026nbsp;\u003cem\u003eLux est Lex\u003c/em\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":34,"permalink":"778-untitled-voor-may-axel-uit-vriendschap","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/793/medium_500/778_1.jpg?1661246013","cached_actor_names":"Axel Vervoordt, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/793/large/778_1.jpg?1661246013","poster_credits":"(c)Jef Verheyen, photo: Artouché - 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Zelfbewustzijn is ook niet slecht.\u003cbr /\u003e\r\nWaar mijn [notei?] wordt.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;La table d\u0026#39;emerande\u0026quot; houdt mischien wel dat groene licht in zich dat alle deuren open maakt.\u0026nbsp;\u003cbr /\u003e\r\nDe vreemde, zeer diepe gloed van het licht lgt verder dan de \u0026quot;zichtbare\u0026quot; zone [?] van het spectrum.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Ten Bosch\u0026quot;\u003cbr /\u003e\r\n18-1-1980\u003cbr /\u003e\r\n=2+8 [?]\u003cbr /\u003e\r\nna het bezoek van Buynder\u0026nbsp;\u0026there4; [Freemasonry symbol?]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLe sang obscur des Flamants is een meesterwerk. 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Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eRondom een soort masker\u0026nbsp; \u0026nbsp; tralies\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003espiegels voor de ogen geschilderd\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003etors met mantel\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003emantel met stukjes klei\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eschildpad\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e1e) Vorm synth\u0026egrave;se\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e2e) het versieren of uitkappen\u003cbr /\u003e\r\nomgekeerd\u003c/em\u003e\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33555,"title":"Amaterie / Onbepaalde","dimensions":"1 side","date_begin":null,"material":"Ink on pencil","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":159,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen muziek literatuur ritme schilderen A materie bepaalde onbepaalde vormgeving","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_09_203","stream_count_app":13,"permalink":"amaterie-of-onbepaalde-is-ethische-gevoeligheid","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/757/medium_500/JV_09_203_a.jpg?1664436933","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/757/large/JV_09_203_a.jpg?1664436933","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003ematerie is huid\u003cbr /\u003e\r\nvormgeving\u003cbr /\u003e\r\ntasten\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ehoren\u003cbr /\u003e\r\nmuziek\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eliteratuur\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ezien\u003cbr /\u003e\r\nverf schilderen\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nritme\u003cbr /\u003e\r\nesthetiek\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003emateri\u0026euml;le gevoeligheid\u003cbr /\u003e\r\nof sensualiteit\u003cbr /\u003e\r\nmaterie vormgeving\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eAmaterie of\u0026nbsp;\u003cbr /\u003e\r\nonbepaalde is ethische gevoeligheid\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33557,"title":"Echte schoonheid","dimensions":"1 side","date_begin":null,"material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":159,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen schoonheid essentialisme essentieel elementair","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nThe back side is written\u0026nbsp;by Dani Franque\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"JV_09_204","stream_count_app":14,"permalink":"echte-schoonheid","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/760/medium_500/JV_09_204_a.jpg?1664438407","cached_actor_names":"Jef Verheyen, Dani Franque","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/760/large/JV_09_204_a.jpg?1664438407","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eEchte schoonheid vindt men slechts in het diepste binnenste. Misschien wel in de elementairste (Essensi\u0026euml;le) levensrithmus.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eSchoonheid kan men slechts in zichzelf vinden.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33559,"title":"Kleurkontrasten / Kleurverschijnselen","dimensions":"2 sides","date_begin":null,"material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive ","cached_tag_list":"Jef Verheyen Brazilië Frankrijk Degradatie Statisch Dynamisch complementair simultaan optisch terugkaatsen","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cstrong\u003eTranscription\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eIn Brazili\u0026euml; zijn \u0026#39;s avonds de kleurkontrasten veel groter dan tijdens de middaguren. Alle volumen worden in tegenlicht bijna zwart terwjil de verlichte volumen flessengroen schijnen. In het zuiden van Frankrijk nam ik het zelfde waar. De hemel was zuiver rood, op de rand van het vermiljoen, en de wijngaarden donker groen. Het kan niet anders zijn dan dat dit verschijnsel een optisch psychologisch verschijnsel was. - een complementair kleurverschijnsel - vermits in rood licht normaal de dingen rood zijn.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMet simultaaneffecten hebben die verschijnselen niets te maken.\u003cbr /\u003e\r\nWaarschijnlijk ontstaan die fenomenen door het ontbreken van kleurdegradatie.\u003cbr /\u003e\r\nIn kontrast met het enorme rood worden de volumen groen.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHet groot verschil tussen het lichtgevende en het lichtterugkaatsende is dat wat objectief voor os is (of massief) en dat was voor ons nooit objectief zal kunnen zijn.\u0026nbsp;\u003cbr /\u003e\r\nHet onderscheid tussen het dynamische en het statische.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eAls de intelligentiegraag afhankelijk is van de snelheid waarmede men iets kan herinneren, of verschillende (gevoelends) belevenissen met elkaar in relatie kan brengen dan hangt alles af van de snelheid waarmede iemand waarneemt, en van de snelheid waarmede iemand verschillende dingen onderscheidt.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe snelheid of (virtuele) dynamiek bij het waarnemen van een verschijnsel bepaalt dat wat men waarneemt (van het verschijnsel.)\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eWanneer de waarnemer gelijke tred kan houden met de snelheid of de verschillende stadia\u0026#39;s der ontwikkeling van een verschijnsel blijven alle stadia\u0026#39;s van dit verschijnsel virtueel statisch voor de waarneming.\u003cbr /\u003e\r\nZodoende kan de waarnemer de verschillende aspecten onderscheiden en bewust in zich opnemen en verder laten ontwikkelen of op afrollen [?]\u003c/em\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"JV_09_205","stream_count_app":18,"permalink":"kleurkontrasten","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/765/medium_500/JV_09_205_a.jpg?1664441284","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/765/large/JV_09_205_a.jpg?1664441284","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33570,"title":"De schilderkunst kan men het beste aan een fata morgana vergelijken","dimensions":"1 side","date_begin":null,"material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive ","cached_tag_list":"Jef Verheyen Fata Morgana","publishing_process_id":1,"annotation":"\u003cp\u003e\u003cstrong\u003eTranscription:\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe schilderkunst kan men het beste aan een fata morgana vergelijken, soms verschijnt het en meestal vervliegt het.\u003cbr /\u003e\r\nDat alle schilderijen materiaal [crossed out] zijn verandert niets aan het fictieve van de schilderkunst, vermist men voor het grootste gedeelte met het nabeeld van het schilderij verder leeft.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDoor de vermenigvuldiging van reproducties dreigt het beeld (image) of schulderij door tot de massa, waardoor het schilderij een collectieve waarde verkrijgt.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDie waarde is afhankelijk van een zekere fictie of mythe die men rond het schilderij weeft en die voor 99% niets heeft te maken met het schilderij.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eWanneer men een schilderij\u0026nbsp; [als relief] beschouwt heeft het natuurlijk een actie naar buiten die inwerkt op de kijker maar meestal is die toeschouwer geconditioneerd door enorm veel factoren die ook niets te maken hebben met het schilderij.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe relatie tussen de omgeving en het schilderij is van enorm belang, hoeveel mensen kunnen iets isoleren?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003eL\u0026#39;ambiance waarin een schilderij wordt voorgesteld is misschien het belangrijkste. Met ambiance bedoel ik alles wat het schilderij omringt, waardood het schilderij het middelpunt is.\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ci\u003eHet middelpunt, of het juiste midden vinden is misschien noodzakelijk.\u003c/i\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"JV_09_206","stream_count_app":13,"permalink":"de-schilderkunst-kan-men-het-beste-aan-een-fata-morgana-vergelijken","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/791/medium_500/JV_09_206.jpg?1664450741","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/791/large/JV_09_206.jpg?1664450741","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33572,"title":"De kleurcurve van een zonsondergang / geel oranje rood violet donkerblauw","dimensions":"1 side","date_begin":null,"material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":159,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Brazilië","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nDated 8-10?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eTranscription\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e8-10\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe kleurkurve van een zonsondergang is voor ons afhankelijk van het tijdsverloop tussen licht en donker.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eBij ons duurt een zonsondergang zeer lang vergeleken bij een zonsondergang in Brazili\u0026euml;. De overgang van geel oranje rood paars violet daar donder blauw kan men zeer gemakkelijk waarnemen omdat elke kleurverandering tamelijk lang zichtbaar blijft. In Brazili\u0026euml; gaat de zon op veel kortere tijd onder. Van licht naar donker schijnt in enkele minuten voltrokken te zijn. Daarom zijn de kleuren van een zonsondergang veel feller. Al de tussenstadia\u0026#39;s hebben in versneld tempo plaats daarom onderscheidt men ze ook niet zo gemakkelijk en komen de roden veel feller te voorschijn.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eDe indruk dat alles groen wordt na het rood is misschien een complementair nabeeld van het rood dan men zeer sterk voordien waarnam.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e[sketch]\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eMisschien ligt de kleurwaarneming in de tijd waarin men iets waarneemt of in de sterkte van de waarneming. Met sterkte bedoel ik intensiteit. Intensiteit die misschien de duur of langdurigheid compenseert of vervangt. 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Artist curated group shows 1959-1964","dimensions":"","date_begin":"2015-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen ZERO Johan Pas Artist as curator","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eThis\u0026nbsp;chapter from the abovementioned publication\u0026nbsp;focuses on the role of Antwerp artists in the development of the international ZERO movement, in particular the exhibitions organized by artists in the 1960s.\u003c/p\u003e","date_end":null,"reference":"JV_02_85","stream_count_app":18,"permalink":"zero-in-antwerp-in-zero-artist-curated-group-shows-1959-1964","description_ru":"","description_de":"\u003cp\u003eSource:\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003eCaianiello, Tiziana; Visser, Mattijs;\u0026nbsp;Melissen, Antoon (eds.), ZERO 5 : the artist as curator: collaborative iniatives in the international Zero movement, 1957-1967,\u003c/i\u003e\u0026nbsp;Ghent: AsaMer,\u0026nbsp;2015:\u0026nbsp;p. 157-192\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/777/medium_500/JV_02_85.jpg?1673274261","cached_actor_names":"Johan Pas, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/777/large/JV_02_85.jpg?1673274261","poster_credits":"(c)scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eSource:\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003eCaianiello, Tiziana; Visser, Mattijs;\u0026nbsp;Melissen, Antoon (eds.), ZERO 5 : the artist as curator: collaborative iniatives in the international Zero movement, 1957-1967,\u003c/i\u003e\u0026nbsp;Ghent: AsaMer,\u0026nbsp;2015:\u0026nbsp;p. 157-192\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eSource:\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003eCaianiello, Tiziana; Visser, Mattijs;\u0026nbsp;Melissen, Antoon (eds.), ZERO 5 : the artist as curator: collaborative iniatives in the international Zero movement, 1957-1967,\u003c/i\u003e\u0026nbsp;Ghent: AsaMer,\u0026nbsp;2015:\u0026nbsp;p. 157-192\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eSource:\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003eCaianiello, Tiziana; Visser, Mattijs;\u0026nbsp;Melissen, Antoon (eds.), ZERO 5 : the artist as curator: collaborative iniatives in the international Zero movement, 1957-1967,\u003c/i\u003e\u0026nbsp;Ghent: AsaMer,\u0026nbsp;2015:\u0026nbsp;p. 157-192\u003c/p\u003e"}]},{"id":33868,"title":"Jef Verheyen - Le Peintre Flamant","dimensions":"","date_begin":"2010-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen, Langen Foundation, Le Peintre Flamant","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_19_23","stream_count_app":21,"permalink":"jef-verheyen-le-peintre-flamant","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/302/medium_500/Verheyen-A.jpg?1710515635","cached_actor_names":"Jef Verheyen, Tijs (Mattijs) Visser, Dirk Pörschmann, Jenny Trautwein, Johan Pas, Francesca Pola, Beate Kemfert, Nanda Vigo, Claire \u0026 Paul Bataille - Ibens, Sammlung Lenz, Axel Vervoordt, Dominique Stroobant","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/302/large/Verheyen-A.jpg?1710515635","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33873,"title":"• 0802 • Untitled","dimensions":"71 x 71 cm","date_begin":"1966-01-01","material":"Matt lacquer on fibreboard, mounted in a velveted wooden square box","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Tondo Andrew Rosen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nSigned on the back: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the back: \u0026#39;1966\u0026#39;\u003cbr /\u003e\r\nUntitled\u003cbr /\u003e\r\nNoted on the back: \u0026#39;2/A\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":28,"permalink":"802-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/583/medium_500/802_4.jpg?1670926444","cached_actor_names":"Axel Vervoordt, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/583/large/802_4.jpg?1670926444","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33874,"title":"• 0803 • Schimmen - Petite Peinture","dimensions":"95 x 95 cm","date_begin":"1975-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Filip Balcaen Jacques Jonckheere","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nApril 1975\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nSigned on the back, twice: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the back: \u0026#39;april 43\u0026#39; [1932 + 43 = 1975]\u003cbr /\u003e\r\nTitled on the back: \u0026#39;Schimmen\u0026#39;, \u0026#39;Petite Peinture\u0026#39;\u003cbr /\u003e\r\nNoted on the back: \u0026#39;28e Staat\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":48,"permalink":"803-schimmen-petite-peinture","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/588/medium_500/803_2.jpg?1670926498","cached_actor_names":"Axel Vervoordt, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/588/large/803_2.jpg?1670926498","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32282,"title":"761 AB=BC (ed. 500)","dimensions":"30 x 30 cm (holder), 10 x 10 cm (box), 10 x 10 cm (colour chart)","date_begin":"1970-01-01","material":"Cardboard and coloured paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen AB=BC AB = BC Arc-en-Ciel Arc en Ciel Sunbow Zonnebogen A/B = B/C","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":39,"permalink":"761-ab-bc-ed-500","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/147/medium_500/761_3.jpg?1653905110","cached_actor_names":"Jef Verheyen, Multi-Art Press International, Multi-Art Gallery","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/147/large/761_3.jpg?1653905110","poster_credits":"(c) Photo: Cornette de Saint-Cyr - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eThis multiple is presented as one paper holder consisting four separate boxes, each containing four fluorescent\u0026nbsp;colour charts (yellow, green, pink and blue).\u003c/p\u003e\r\n\r\n\u003cp\u003eAn\u0026nbsp;\u0026nbsp;shape is cut out in the cardboard box, rendering\u0026nbsp;the colour charts visible.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe multiple invites us to play with the possibilities of different\u0026nbsp;shapes and colour variations, a recurring principle in Verheyen\u0026#39;s\u0026nbsp;\u003cem\u003eArc-en-Ciel\u0026nbsp;\u003c/em\u003e(\u0026#39;Sunbow\u0026#39;) series.\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nThe package consists of cardboard and a fluorescent pink wrapper with a crossed circle.\u0026nbsp;Below is mentioned \u0026#39;Multiple AB=BC/Jef Verheyen/Multi-Art Press\u0026#39;\u003c/p\u003e\r\n\r\n\u003cp\u003eEach edition is signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor: Multi-Art Press, Antwerp, 1970.\u003cbr /\u003e\r\nThe multiple was launched and sold at the Multi-Art Gallery \u0026amp; Bookshop at the original sales price of 1200 Fr. (+- 30 euros).\u003cbr /\u003e\r\nIt was published in Mulit Art News 3 / Annual report 71/72.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33919,"title":"ZERO. Die europäische Vision – 1958 bis heute. Sammlung Lenz Schönberg","dimensions":"","date_begin":"2003-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen, Sammlung Lenz","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"zero-die-europaische-vision-1958-bis-heute-sammlung-lenz-schonberg","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/760/medium_500/JV_00_02_01_a.jpg?1673012043","cached_actor_names":"Jef Verheyen, Sammlung Lenz","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33917,"title":"Jef Verheyen","dimensions":"","date_begin":"1960-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_40_48","stream_count_app":11,"permalink":"jef-verheyen-76d829f8-5b89-43c3-88f8-f7a4a1384a2d","description_ru":"","description_de":"\u003cp\u003e\u003ci\u003eFrankfurter Allgemeine Zeitung\u003c/i\u003e\u003cbr\u003e12 February 1961\u003cbr\u003eAlbert Schulze Vellinghausen\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eTranscription\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJef Verheyen. Entgegen dem Pathos der “Informellen”, die den Wind der Farbe - oder manchmal auch Hurrikan - über die grossen Flächen ihrer Formate streichen, wehen, verwehen lassen; entgegen auch der Besessenheit, mit welcher heutige “Strukturisten” die Farbmaterie dicht übereinanderzuhaüfen liben, verfährt dieser Flame in meditativer Bedächtigkeit mit einem zwart verstreichenden Auftrag, dessen Saubertkeit für den ersten Blick nichts “Individuelles” hat: Man vermeint, keinerlei Handschrift zu spüren. Erst, wer sich einsieht, erkennt auf den mässig grossen, oft dem Quadrat angenäherten Flächen, in ihrem dämmerig schwebenden Grau-Braun, oder Staubgrau die ober jene wolkige, sanfte oder gewittrig dunklere, atmosphärige Nuancierung. Beharrlich und suggestiv aber bilder sich nach und nach daraus die Einladung zur Kontemplation. Man glaubt plötzlich, eine Ahnenreihe zu wittern: in den “Wolken” eines Turner, in den “monochromen” Jagd- oder Landschaftsskizzen von Rubens. Die Gouaches aber, wo sie nicht zu sehr japanisieren, bringen es mit ihrer raunenden Monotonie zuwege, dass sich der deutsche Betrachter auch wohl an Studien “vor Tag und Tau” von dem grossen C.D. Friedrich erinnert.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003eDas scheint nun sehr hoch gegriffen vor den Werken dieses Jungen, der erst im Beginn steht und von den Gedanken der Gegenwart (nicht zuletzt einem zu schnellen Erfolg) seht rasch zum Scheitern gebracht werden kann.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eRepublished in:\u003c/p\u003e\u003cp\u003e-\u0026nbsp;Albert Schulze Vellinghausen,\u0026nbsp;\u003ci\u003eAnspielungen,\u0026nbsp;\u003c/i\u003eVelber: Friedrich, 1962: p. 153.\u003cbr\u003e- Monographie für Jef Verheyen (Egoist n. 11), 1967: n.p.\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Albert Schulze-Vellinghausen, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eFrankfurter Allgemeine Zeitung\u003c/i\u003e\u003cbr\u003e12 February 1961\u003cbr\u003eAlbert Schulze Vellinghausen\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eTranscription\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJef Verheyen. Entgegen dem Pathos der “Informellen”, die den Wind der Farbe - oder manchmal auch Hurrikan - über die grossen Flächen ihrer Formate streichen, wehen, verwehen lassen; entgegen auch der Besessenheit, mit welcher heutige “Strukturisten” die Farbmaterie dicht übereinanderzuhaüfen liben, verfährt dieser Flame in meditativer Bedächtigkeit mit einem zwart verstreichenden Auftrag, dessen Saubertkeit für den ersten Blick nichts “Individuelles” hat: Man vermeint, keinerlei Handschrift zu spüren. Erst, wer sich einsieht, erkennt auf den mässig grossen, oft dem Quadrat angenäherten Flächen, in ihrem dämmerig schwebenden Grau-Braun, oder Staubgrau die ober jene wolkige, sanfte oder gewittrig dunklere, atmosphärige Nuancierung. Beharrlich und suggestiv aber bilder sich nach und nach daraus die Einladung zur Kontemplation. Man glaubt plötzlich, eine Ahnenreihe zu wittern: in den “Wolken” eines Turner, in den “monochromen” Jagd- oder Landschaftsskizzen von Rubens. Die Gouaches aber, wo sie nicht zu sehr japanisieren, bringen es mit ihrer raunenden Monotonie zuwege, dass sich der deutsche Betrachter auch wohl an Studien “vor Tag und Tau” von dem grossen C.D. Friedrich erinnert.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003eDas scheint nun sehr hoch gegriffen vor den Werken dieses Jungen, der erst im Beginn steht und von den Gedanken der Gegenwart (nicht zuletzt einem zu schnellen Erfolg) seht rasch zum Scheitern gebracht werden kann.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eRepublished in:\u003c/p\u003e\u003cp\u003e-\u0026nbsp;Albert Schulze Vellinghausen,\u0026nbsp;\u003ci\u003eAnspielungen,\u0026nbsp;\u003c/i\u003eVelber: Friedrich, 1962: p. 153.\u003cbr\u003e- Monographie für Jef Verheyen (Egoist n. 11), 1967: n.p.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003eFrankfurter Allgemeine Zeitung\u003c/i\u003e\u003cbr\u003e12 February 1961\u003cbr\u003eAlbert Schulze Vellinghausen\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eTranscription\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJef Verheyen. Entgegen dem Pathos der “Informellen”, die den Wind der Farbe - oder manchmal auch Hurrikan - über die grossen Flächen ihrer Formate streichen, wehen, verwehen lassen; entgegen auch der Besessenheit, mit welcher heutige “Strukturisten” die Farbmaterie dicht übereinanderzuhaüfen liben, verfährt dieser Flame in meditativer Bedächtigkeit mit einem zwart verstreichenden Auftrag, dessen Saubertkeit für den ersten Blick nichts “Individuelles” hat: Man vermeint, keinerlei Handschrift zu spüren. Erst, wer sich einsieht, erkennt auf den mässig grossen, oft dem Quadrat angenäherten Flächen, in ihrem dämmerig schwebenden Grau-Braun, oder Staubgrau die ober jene wolkige, sanfte oder gewittrig dunklere, atmosphärige Nuancierung. Beharrlich und suggestiv aber bilder sich nach und nach daraus die Einladung zur Kontemplation. Man glaubt plötzlich, eine Ahnenreihe zu wittern: in den “Wolken” eines Turner, in den “monochromen” Jagd- oder Landschaftsskizzen von Rubens. Die Gouaches aber, wo sie nicht zu sehr japanisieren, bringen es mit ihrer raunenden Monotonie zuwege, dass sich der deutsche Betrachter auch wohl an Studien “vor Tag und Tau” von dem grossen C.D. Friedrich erinnert.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003eDas scheint nun sehr hoch gegriffen vor den Werken dieses Jungen, der erst im Beginn steht und von den Gedanken der Gegenwart (nicht zuletzt einem zu schnellen Erfolg) seht rasch zum Scheitern gebracht werden kann.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eRepublished in:\u003c/p\u003e\u003cp\u003e-\u0026nbsp;Albert Schulze Vellinghausen,\u0026nbsp;\u003ci\u003eAnspielungen,\u0026nbsp;\u003c/i\u003eVelber: Friedrich, 1962: p. 153.\u003cbr\u003e- Monographie für Jef Verheyen (Egoist n. 11), 1967: n.p.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eFrankfurter Allgemeine Zeitung\u003c/i\u003e\u003cbr\u003e12 February 1961\u003cbr\u003eAlbert Schulze Vellinghausen\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eTranscription\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJef Verheyen. Entgegen dem Pathos der “Informellen”, die den Wind der Farbe - oder manchmal auch Hurrikan - über die grossen Flächen ihrer Formate streichen, wehen, verwehen lassen; entgegen auch der Besessenheit, mit welcher heutige “Strukturisten” die Farbmaterie dicht übereinanderzuhaüfen liben, verfährt dieser Flame in meditativer Bedächtigkeit mit einem zwart verstreichenden Auftrag, dessen Saubertkeit für den ersten Blick nichts “Individuelles” hat: Man vermeint, keinerlei Handschrift zu spüren. Erst, wer sich einsieht, erkennt auf den mässig grossen, oft dem Quadrat angenäherten Flächen, in ihrem dämmerig schwebenden Grau-Braun, oder Staubgrau die ober jene wolkige, sanfte oder gewittrig dunklere, atmosphärige Nuancierung. Beharrlich und suggestiv aber bilder sich nach und nach daraus die Einladung zur Kontemplation. Man glaubt plötzlich, eine Ahnenreihe zu wittern: in den “Wolken” eines Turner, in den “monochromen” Jagd- oder Landschaftsskizzen von Rubens. Die Gouaches aber, wo sie nicht zu sehr japanisieren, bringen es mit ihrer raunenden Monotonie zuwege, dass sich der deutsche Betrachter auch wohl an Studien “vor Tag und Tau” von dem grossen C.D. Friedrich erinnert.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003eDas scheint nun sehr hoch gegriffen vor den Werken dieses Jungen, der erst im Beginn steht und von den Gedanken der Gegenwart (nicht zuletzt einem zu schnellen Erfolg) seht rasch zum Scheitern gebracht werden kann.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eRepublished in:\u003c/p\u003e\u003cp\u003e-\u0026nbsp;Albert Schulze Vellinghausen,\u0026nbsp;\u003ci\u003eAnspielungen,\u0026nbsp;\u003c/i\u003eVelber: Friedrich, 1962: p. 153.\u003cbr\u003e- Monographie für Jef Verheyen (Egoist n. 11), 1967: n.p.\u003c/p\u003e"}]},{"id":33869,"title":"Monographie für Jef Verheyen (Egoist n. 11)","dimensions":"","date_begin":"1967-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Egoïst Egoist Monographie","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_14_05","stream_count_app":15,"permalink":"egoist-monographie-fur-jef-verheyen","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/567/medium_500/img16112021_0001.jpg?1670511208","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/567/large/img16112021_0001.jpg?1670511208","poster_credits":"(c)scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003ein: Egoist n. 11, p. 25-36, March 1967.\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33914,"title":"Pijl","dimensions":"1 p.","date_begin":null,"material":"ink on paper, transcript","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":131,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Pijl Gedicht Nic van Bruggen Pink Poets","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eThe archive preserves a transcription of the poem.\u003c/p\u003e\u003cp\u003eThe handwritten poem, as exhibited by Frank Heirman\u0026nbsp;in\u0026nbsp;\u003ci\u003ePink Poets 50 jaar. Een overzicht\u003c/i\u003e\u0026nbsp;is not part of the archive.\u0026nbsp;\u003c/p\u003e\u003cp\u003e[Still unsure if the archive also preserves a handwritten copy.]\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","date_end":null,"reference":"JV_02_66","stream_count_app":18,"permalink":"pijl","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/740/medium_500/JV_02_66_a.jpg?1672991727","cached_actor_names":"Nic van Bruggen, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/740/large/JV_02_66_a.jpg?1672991727","poster_credits":"(c)scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33915,"title":"Jef Verheyen. Ruimte. Lucht. Licht.","dimensions":"3 p.","date_begin":null,"material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eAuthor and date unknown\u003cbr\u003eAuthor Nic van Bruggen, related to the poem\u0026nbsp;\u003ci\u003ePijl\u003c/i\u003e?\u0026nbsp;\u003c/p\u003e","date_end":null,"reference":"JV_02_90","stream_count_app":16,"permalink":"jef-verheyen-ruimte-lucht-licht","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/742/medium_500/JV_02_90_a.jpg?1672992694","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/742/large/JV_02_90_a.jpg?1672992694","poster_credits":"(c)scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33877,"title":"Denkend aan De Nieuwe Vlaamse School en vooral aan Jef Verheyen","dimensions":"3 p.","date_begin":"2009-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive ","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_02_87","stream_count_app":17,"permalink":"denkend-aan-de-nieuwe-vlaamse-school-en-vooral-aan-jef-verheyen","description_ru":"","description_de":"\u003cp\u003e\u003ca href=\"http://mededelingen.over-blog.com/article-26645698.html\"\u003e\u003cstrong\u003eDenkend aan De Nieuwe Vlaamse School en vooral aan Jef Verheyen\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eTerugblikkend op de eerste tentoonstelling van de Nieuwe Vlaamse School, schreef Van Bruggen op 3 januari 1967 aan zijn vrouw: “Ik was blij (Latem en de Jeune Peinture Belge ten spijt) als een der eersten op kunstgebied Jules Destrée te mogen parafraseren: Sire, il n’y a pas d’art belge. Ik was blij (en dank zij onze dierbare vrienden van \u003ci\u003eHet Overzicht\u003c/i\u003e en \u003ci\u003eDe Driehoek\u003c/i\u003e en dank zij het Vlaamse nummer van \u003ci\u003eDer Sturm\u003c/i\u003e gelukkig niet als een der eersten) de adjectieven Vlaams en Abstract te kunnen combineren in een geestelijke school, in een nieuwe school, in een Vlaamse school. Ik ben blij dat juist de meest Vlaamse onder de geografisch Belgische schilders, de meest echte dus de beste schilders zijn… Misschien niet voor Brussel dan, maar wel voor Milaan, New York, Tokio, Frankfurt.”\u003c/p\u003e\u003cp\u003eIn 1971 werd het eerste nummer van de zestiende jaargang van \u003ci\u003eDe Tafelronde\u003c/i\u003e (met als uitgedunde redactie: Henri Chopin, Freddy de Vree, Paul de Vree en ik) gewijd aan de ”achter- en voorgronden” van de Nieuwe Vlaamse School. Paul stelde met de nodige afstand vast:\u003c/p\u003e\u003cp\u003e“Bleek aanvankelijk de groepering (…) te berusten op een experimentele inslag, homogeen is ze niet te beschouwen. Maar het etiket zal blijven, zowel als de onderlinge verbondenheid, hoezeer ze ook door sommigen verdrongen zou worden.”\u003c/p\u003e\u003cp\u003eHij vergiste zich maar op één punt: het etiket is niet gebleven.\u003c/p\u003e\u003cp\u003eAlles goed beschouwd was de Nieuwe Vlaamse School een geesteskind van Jef Verheyen. Sneller dan welke Vlaamse schilder van zijn generatie had hij internationale contacten gelegd die niet zonder gevolgen zijn gebleven voor de ontwikkeling, de dynamiek en de positionering van de Vlaamse avant-garde. Hij mocht Crippa, Lucio Fontana, Herman Goepfert, Yves Klein, Heinz Mack, Piero Manzoni, Christian Megert, Otto Piene en Günther Uecker tot zijn kunstvrienden rekenen. Bijgestaan door zijn literaire vrienden Ivo Michiels, Guy Vaes en Paul de Vree, heeft hij er sterk toe bijgedragen dat Antwerpen aan het einde van de jaren vijftig en in het begin van de jaren zestig voor een korte tijd opnieuw een internationaal gewaardeerd centrum van avant-gardekunst werd.\u003c/p\u003e\u003cp\u003eJef was sterk beïnvloed door zijn vrij grondige lectuur van de Voor-socratici, wat overvloedig blijkt uit talrijke teksten van zijn hand. Toen ik in januari 1967 in het appartement van Pruts te Brugge het woord vooraf schreef voor de tweede druk van zijn manifest \u003ci\u003ePour une peinture non plastique\u003c/i\u003e, had ik dan ook de Diels-editie bij de hand (die ik trouwens sedertdien verloor… of uitleende, wat vaak op hetzelfde neerkomt). Ik heb me toen vergist: er zijn wel degelijk mystieke elementen aanwezig in het geschilderd en geschreven oeuvre van Jef. Een rationele, haast materialistische, zen-achtige mystiek van de leegte en van het meedogenloze licht dat hij later in de harde Provence zou gaan zoeken. Hij was een man met stevige \u003ci\u003eroots\u003c/i\u003e, zo dat de lauwe mystiekerigheid van het metafysische clair-obscur hem vreemd was. Hij viel ook niet in de valstrik van het nivellerende pseudo-kosmopolitisme: hij verbond vanzelfsprekend een nationalistische inslag met een sterk internationalistische gesteldheid, net zoals de Catalaan Joan Miró. In die zin herhaalde hij Van Ostaijens opvattingen over het nationale in de kunst. Hans Liechti (de eerste marchand die Verheyen ontdekte) vergiste zich niet wanneer hij het Vlaamse karakter van Jefs werk onderstreepte.\u003c/p\u003e\u003cp\u003eNic van Bruggen wees er terecht op dat het benaderen van het werk van Verheyen “een nogal hachelijke opdracht (is), temeer daar het zich aan elke anekdotische, literaire of formalistische inhoud onttrekt en de essentie van zijn realiteit in zichzelf vindt”. Het literaire aspect van zijn persoonlijkheid – eerder beschouwend dan lyrisch – leefde hij uit in boeiende teksten. Niemand pleitte hartstochtelijker en grondiger voor de autonomie van de kunst, zoals blijkt uit de twee afleveringen van \u003ci\u003eDe Tafelronde\u003c/i\u003e gewijd aan het “essentialisme”, de naam die Verheyen aan zijn niet-plastische schilderkunst meegaf.\u003c/p\u003e\u003cp\u003eBeslissend in Jefs ontwikkeling was de ontmoeting geweest met Yves Klein, wiens monochrome meditaties gevoerd werden door een grondige vertrouwdheid met (neo-)rosicruciaanse en boeddhistische denkbeelden. Kleins \u003ci\u003eLes Fondements\u003c/i\u003e \u003ci\u003edu judo\u003c/i\u003e (1954) wekte zijn belangstelling voor de cultische en rituele aspecten van de subtiele sport. Hij kende \u003ci\u003eZen in de kunst van het\u003c/i\u003e \u003ci\u003eboogschieten\u003c/i\u003e van Bungaku Hakushi (de Duitse hoogleraar Eugen Herrigel, gastdocent aan de keizerlijke universiteit te Sendia) die herhaalde dat de schutter tot onbeweeglijk middelpunt moet worden, “dan bereikt hij het grootste en laatste stadium: de kunst wordt kunsteloos, het schieten wordt tot een niet-schieten, tot een schieten zonder boog en pijl…” Hij expliciteerde aldus de uitspraak van zijn leermeester Kenzo Awa: “De ware kunst is zonder doel, zonder opzet!” Het komt er op aan, zichzelf vergetend, niet langer te zeggen: “ik” richt of “ik” tref, maar te \u003ci\u003eervaren\u003c/i\u003e dat “het” richt en “het” doel treft. Wanneer “het” zich manifesteert bij de leerling, dan buigt de Meester. Geen weg dus dan langs de omweg van de ontindividualisering.\u003c/p\u003e\u003cp\u003eHet beeld van de boogschutter en de pijl als metafoor komen in Jefs geschriften voor. Klein was lid van de \u003ci\u003eArchers de Saint-Sébastien\u003c/i\u003e. Guy Vaes schreef \u003ci\u003eLa flèche de Zénon\u003c/i\u003e, ik poogde \u003ci\u003eDe boog van Ulysses\u003c/i\u003e te hanteren. Dergelijke raakpunten zijn allesbehalve willekeurig: ze vormen een betekenisvolle keten van associaties, verwijzen naar een gemeenschappelijke ondergrond. En terwijl Klein in 1957 de (mystieke) naam “Yves le Monochrome” aannam, zo ondertekende Jef zijn brieven, na zijn vestiging in Saint Saturnin d’Apt, als “le peintre flamant”, met een flamboyante “t”.\u003c/p\u003e\u003cp\u003eIn het schilderen ervoer Jef een initiatieke dimensie: een lichtend begin dat, langs onvoorziene maar niettemin innig vertrouwde wegen, tot verlichting leidt. Kleuropenbaring is bewustwording, schreef Verheyen, en dergelijke uitspraken moeten letterlijk opgevat worden, in de pregnante betekenis van het woord. Kleuren zijn geen symbolen, maar organisch levende, dynamische dingen, lichamen of volumes. In een genadeloos kritische tekst over de moderne kunst en de dito maatschappij stelt hij vast: “De l’aveuglement au nihilisme, le sens\u0026nbsp; du cosmique se perd et l’on atteint au point zéro. Mais la route remonte.“ Net als André de Ridder huldigde Jef “le génie du Nord” en stond hij wantrouwig tegenover de Parijse glitter. De kunstenaars van het noorden zijn volgens hem minder aangetast door dit (zijns)verval: “L’instantanéité de leurs œuvres a été remarquée, mais peu connaissent leur valeur ésotérique.”\u003c/p\u003e\u003cp\u003eAls niemand kon hij definitieve uitspraken formuleren over wat hij als kitsj in de moderne kunst beschouwde. Over\u0026nbsp; het “nieuw realisme”: “Niets anders dan een misbruiken van de psychologische toestand der toeschouwers… Gedegenereerder uitingen zijn er tot nu niet getoond, onnozeler zaken nooit onder de naam van kunstwerk aanschouwd”. Dubuffet en de zijnen worden afgedaan als “croûtards”, en over Pollock, Jorn en hun volgelingen valt een onherroepelijk oordeel: “Une grande palette et une boîte à couleurs richement fournie ne font pas le peintre”. Mathieu wordt “une absence de recul” verweten.\u003c/p\u003e\u003cp\u003eJef Verheyens geraffineerde monochromie gaat terug op Paul Klees “Schwarz darstellen” en Cézannes “Quand la couleur est à sa richesse, la forme est à sa plénitude”. Tijd en ruimte, beweging en immobiliteit, licht en donker, koude en warmte, kleur, kleur en nog eens kleur bepalen de meditatie van Jef Verheyen. Een kleur, schreef Paul de Vree, “die zonder randen onaanrandbaar aanrandt”, “mythe zonder goden”, “het eenzaam vervullen van een ledig alles”:\u003c/p\u003e\u003cp\u003e\u003ci\u003eOp het aangezicht van de kleur\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eHet lichtgedicht\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003evan de schilder Jef Verheyen.\u003c/i\u003e\u003c/p\u003e\u003cp\u003eWanneer ik aan hem terugdenk, dan doemen eerst beelden op van een feestelijke, permanente parade. Het atelier in Nijlen; het Tempelierenhof in Weert; de Bang-Bang in Milaan, waar ik onder de verbodsbepaling “É prohibito stare a piedi nudi” op 20 mei 1967 zat naast Jef en Rotraut - zuster van Uecker en weduwe van Yves Klein; een weelderig diner met Fontana bij Crispi; een ontbijt in Milaan met E.L.T. Mesens; Frank-Ivo van Damme in het atelier van Jef; het onweer bij de opening van de tentoonstelling Vlaamse landschappen in Mullem; een rit Jefs Riley naar Ivo Michiels in Zonnegem, waar Paul de Wispelaere en Gerda kwamen binnenvallen; Jef als militant in een café aan de Nationalestraat waar de plakploeg van de Volksunie zich kwam laven; lange gesprekken met Hugo Schiltz en Nic van Bruggen; wijndegustaties bij Jo Verbrugghen in Sint-Lievens-Houtem; vernissages bij “le colonel” Stal aan de Louizalaan te Brussel of bij baron von Hoerden, in de Lamorinièrestraat; een dronken nacht bij Vic Gentils - en het misverstand met Langui die dacht dat Jef een ridderorde vroeg, terwijl het hem te doen was om een decoratie, een opdracht; Jef en Albert Szukalski. Jef die in Sint-Amands ingetogen zegt: “Het schoonste Vlaams dat ik ooit hoorde, is de ondergaande zon op het graf van Verhaeren.” Zijn hekel aan Seuphor. \u003ci\u003eGrand\u003c/i\u003e \u003ci\u003eOeuvre\u003c/i\u003e, een bibliofiele editie met Ivo Michiels die ik boven de doopvont mocht houden in de weelderige salons van de Bank van Parijs en de Nederlanden. Zijn eerste monochroom zwart werk dat hij mij schonk en later voor een tentoonstelling kwam lenen, en dat ik nooit terugkreeg, want hij was gestorven, ginds, in Saint Saturnin d’Apt, dat hij ophemelde en soms verfoeide.\u003c/p\u003e\u003cp\u003eWe trokken jaren samen op, en toch heb ik moeite met het oproepen van zijn aanwezigheid. Het vuur van zijn enthousiasme brandde nooit op. Maar de uren die we samen doorbrachten, de hartstochtelijke gesprekken die we nachtenlang voerden, de bezieling die hij uitstraalde – dat alles lijkt wel vervlogen. En het bezinksel is nauwelijks onder woorden te brengen. Stonden we te dicht bij elkaar, of behoort dat klimaat tot een afgesloten tijdperk dat, thans, geen grijparmen meer uitstrekt naar de realiteit die we voorlopig nog bewonen? Of is het lichtgewicht van dat verleden diffuus maar onvatbaar aanwezig? Le contour m’échappe. Het is of de formule om zijn présence hier en nu te bezweren verloren is gegaan. Is het wezenlijke gestolen, gesloten – of is het gewoon ontsloten, en maakt het nu onlosmakelijk deel uit van wat ik ben?\u003c/p\u003e\u003cp\u003eNaar het einde van een van die dolle recepties bij me thuis in oktober 1971, zei Jef met overtuiging: “Geloof me, schrijf, smijt die troep buiten. Antwerpen is een stad die alles neemt en niets geeft. Ga weg, of sluit de deuren.” Zelf had hij nochtans behoefte aan mensen, hij bleef geen ogenblik stilzitten. Hij was veerkrachtig en sluw en kon door zijn gedrevenheid blijkbaar moeiteloos weerstand bieden aan de vervlakkende invloeden van de futiele wereld waarin ook hij gedoemd was bij tijd en wijlen te vertoeven. Zijn deur stond steeds wijd open, maar hij ging inderdaad weg – al kwam hij graag terug. In een dichterlijke bui schreef hij vanuit de Provence: “Si mon mal se résigne, si jamais j’ai quelque or, choisirai-je le Nord ou le pays des vignes”. Het lot heeft beslist dat de keuze zich nooit écht heeft opgedrongen.\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003eHenri-Floris JESPERS\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003e\u0026nbsp;\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003ePublished Janauary 11, 2009\u0026nbsp;\u003cbr\u003eOnline blog\u0026nbsp;\u003ci\u003eMededelingen van het Centrum voor Documentatie \u0026amp; Reëvaluatie\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Henri-Floris Jespers, Jef Verheyen, Paul De Vree, Freddy De Vree, Nic van Bruggen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003ca href=\"http://mededelingen.over-blog.com/article-26645698.html\"\u003e\u003cstrong\u003eDenkend aan De Nieuwe Vlaamse School en vooral aan Jef Verheyen\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eTerugblikkend op de eerste tentoonstelling van de Nieuwe Vlaamse School, schreef Van Bruggen op 3 januari 1967 aan zijn vrouw: “Ik was blij (Latem en de Jeune Peinture Belge ten spijt) als een der eersten op kunstgebied Jules Destrée te mogen parafraseren: Sire, il n’y a pas d’art belge. Ik was blij (en dank zij onze dierbare vrienden van \u003ci\u003eHet Overzicht\u003c/i\u003e en \u003ci\u003eDe Driehoek\u003c/i\u003e en dank zij het Vlaamse nummer van \u003ci\u003eDer Sturm\u003c/i\u003e gelukkig niet als een der eersten) de adjectieven Vlaams en Abstract te kunnen combineren in een geestelijke school, in een nieuwe school, in een Vlaamse school. Ik ben blij dat juist de meest Vlaamse onder de geografisch Belgische schilders, de meest echte dus de beste schilders zijn… Misschien niet voor Brussel dan, maar wel voor Milaan, New York, Tokio, Frankfurt.”\u003c/p\u003e\u003cp\u003eIn 1971 werd het eerste nummer van de zestiende jaargang van \u003ci\u003eDe Tafelronde\u003c/i\u003e (met als uitgedunde redactie: Henri Chopin, Freddy de Vree, Paul de Vree en ik) gewijd aan de ”achter- en voorgronden” van de Nieuwe Vlaamse School. Paul stelde met de nodige afstand vast:\u003c/p\u003e\u003cp\u003e“Bleek aanvankelijk de groepering (…) te berusten op een experimentele inslag, homogeen is ze niet te beschouwen. Maar het etiket zal blijven, zowel als de onderlinge verbondenheid, hoezeer ze ook door sommigen verdrongen zou worden.”\u003c/p\u003e\u003cp\u003eHij vergiste zich maar op één punt: het etiket is niet gebleven.\u003c/p\u003e\u003cp\u003eAlles goed beschouwd was de Nieuwe Vlaamse School een geesteskind van Jef Verheyen. Sneller dan welke Vlaamse schilder van zijn generatie had hij internationale contacten gelegd die niet zonder gevolgen zijn gebleven voor de ontwikkeling, de dynamiek en de positionering van de Vlaamse avant-garde. Hij mocht Crippa, Lucio Fontana, Herman Goepfert, Yves Klein, Heinz Mack, Piero Manzoni, Christian Megert, Otto Piene en Günther Uecker tot zijn kunstvrienden rekenen. Bijgestaan door zijn literaire vrienden Ivo Michiels, Guy Vaes en Paul de Vree, heeft hij er sterk toe bijgedragen dat Antwerpen aan het einde van de jaren vijftig en in het begin van de jaren zestig voor een korte tijd opnieuw een internationaal gewaardeerd centrum van avant-gardekunst werd.\u003c/p\u003e\u003cp\u003eJef was sterk beïnvloed door zijn vrij grondige lectuur van de Voor-socratici, wat overvloedig blijkt uit talrijke teksten van zijn hand. Toen ik in januari 1967 in het appartement van Pruts te Brugge het woord vooraf schreef voor de tweede druk van zijn manifest \u003ci\u003ePour une peinture non plastique\u003c/i\u003e, had ik dan ook de Diels-editie bij de hand (die ik trouwens sedertdien verloor… of uitleende, wat vaak op hetzelfde neerkomt). Ik heb me toen vergist: er zijn wel degelijk mystieke elementen aanwezig in het geschilderd en geschreven oeuvre van Jef. Een rationele, haast materialistische, zen-achtige mystiek van de leegte en van het meedogenloze licht dat hij later in de harde Provence zou gaan zoeken. Hij was een man met stevige \u003ci\u003eroots\u003c/i\u003e, zo dat de lauwe mystiekerigheid van het metafysische clair-obscur hem vreemd was. Hij viel ook niet in de valstrik van het nivellerende pseudo-kosmopolitisme: hij verbond vanzelfsprekend een nationalistische inslag met een sterk internationalistische gesteldheid, net zoals de Catalaan Joan Miró. In die zin herhaalde hij Van Ostaijens opvattingen over het nationale in de kunst. Hans Liechti (de eerste marchand die Verheyen ontdekte) vergiste zich niet wanneer hij het Vlaamse karakter van Jefs werk onderstreepte.\u003c/p\u003e\u003cp\u003eNic van Bruggen wees er terecht op dat het benaderen van het werk van Verheyen “een nogal hachelijke opdracht (is), temeer daar het zich aan elke anekdotische, literaire of formalistische inhoud onttrekt en de essentie van zijn realiteit in zichzelf vindt”. Het literaire aspect van zijn persoonlijkheid – eerder beschouwend dan lyrisch – leefde hij uit in boeiende teksten. Niemand pleitte hartstochtelijker en grondiger voor de autonomie van de kunst, zoals blijkt uit de twee afleveringen van \u003ci\u003eDe Tafelronde\u003c/i\u003e gewijd aan het “essentialisme”, de naam die Verheyen aan zijn niet-plastische schilderkunst meegaf.\u003c/p\u003e\u003cp\u003eBeslissend in Jefs ontwikkeling was de ontmoeting geweest met Yves Klein, wiens monochrome meditaties gevoerd werden door een grondige vertrouwdheid met (neo-)rosicruciaanse en boeddhistische denkbeelden. Kleins \u003ci\u003eLes Fondements\u003c/i\u003e \u003ci\u003edu judo\u003c/i\u003e (1954) wekte zijn belangstelling voor de cultische en rituele aspecten van de subtiele sport. Hij kende \u003ci\u003eZen in de kunst van het\u003c/i\u003e \u003ci\u003eboogschieten\u003c/i\u003e van Bungaku Hakushi (de Duitse hoogleraar Eugen Herrigel, gastdocent aan de keizerlijke universiteit te Sendia) die herhaalde dat de schutter tot onbeweeglijk middelpunt moet worden, “dan bereikt hij het grootste en laatste stadium: de kunst wordt kunsteloos, het schieten wordt tot een niet-schieten, tot een schieten zonder boog en pijl…” Hij expliciteerde aldus de uitspraak van zijn leermeester Kenzo Awa: “De ware kunst is zonder doel, zonder opzet!” Het komt er op aan, zichzelf vergetend, niet langer te zeggen: “ik” richt of “ik” tref, maar te \u003ci\u003eervaren\u003c/i\u003e dat “het” richt en “het” doel treft. Wanneer “het” zich manifesteert bij de leerling, dan buigt de Meester. Geen weg dus dan langs de omweg van de ontindividualisering.\u003c/p\u003e\u003cp\u003eHet beeld van de boogschutter en de pijl als metafoor komen in Jefs geschriften voor. Klein was lid van de \u003ci\u003eArchers de Saint-Sébastien\u003c/i\u003e. Guy Vaes schreef \u003ci\u003eLa flèche de Zénon\u003c/i\u003e, ik poogde \u003ci\u003eDe boog van Ulysses\u003c/i\u003e te hanteren. Dergelijke raakpunten zijn allesbehalve willekeurig: ze vormen een betekenisvolle keten van associaties, verwijzen naar een gemeenschappelijke ondergrond. En terwijl Klein in 1957 de (mystieke) naam “Yves le Monochrome” aannam, zo ondertekende Jef zijn brieven, na zijn vestiging in Saint Saturnin d’Apt, als “le peintre flamant”, met een flamboyante “t”.\u003c/p\u003e\u003cp\u003eIn het schilderen ervoer Jef een initiatieke dimensie: een lichtend begin dat, langs onvoorziene maar niettemin innig vertrouwde wegen, tot verlichting leidt. Kleuropenbaring is bewustwording, schreef Verheyen, en dergelijke uitspraken moeten letterlijk opgevat worden, in de pregnante betekenis van het woord. Kleuren zijn geen symbolen, maar organisch levende, dynamische dingen, lichamen of volumes. In een genadeloos kritische tekst over de moderne kunst en de dito maatschappij stelt hij vast: “De l’aveuglement au nihilisme, le sens\u0026nbsp; du cosmique se perd et l’on atteint au point zéro. Mais la route remonte.“ Net als André de Ridder huldigde Jef “le génie du Nord” en stond hij wantrouwig tegenover de Parijse glitter. De kunstenaars van het noorden zijn volgens hem minder aangetast door dit (zijns)verval: “L’instantanéité de leurs œuvres a été remarquée, mais peu connaissent leur valeur ésotérique.”\u003c/p\u003e\u003cp\u003eAls niemand kon hij definitieve uitspraken formuleren over wat hij als kitsj in de moderne kunst beschouwde. Over\u0026nbsp; het “nieuw realisme”: “Niets anders dan een misbruiken van de psychologische toestand der toeschouwers… Gedegenereerder uitingen zijn er tot nu niet getoond, onnozeler zaken nooit onder de naam van kunstwerk aanschouwd”. Dubuffet en de zijnen worden afgedaan als “croûtards”, en over Pollock, Jorn en hun volgelingen valt een onherroepelijk oordeel: “Une grande palette et une boîte à couleurs richement fournie ne font pas le peintre”. Mathieu wordt “une absence de recul” verweten.\u003c/p\u003e\u003cp\u003eJef Verheyens geraffineerde monochromie gaat terug op Paul Klees “Schwarz darstellen” en Cézannes “Quand la couleur est à sa richesse, la forme est à sa plénitude”. Tijd en ruimte, beweging en immobiliteit, licht en donker, koude en warmte, kleur, kleur en nog eens kleur bepalen de meditatie van Jef Verheyen. Een kleur, schreef Paul de Vree, “die zonder randen onaanrandbaar aanrandt”, “mythe zonder goden”, “het eenzaam vervullen van een ledig alles”:\u003c/p\u003e\u003cp\u003e\u003ci\u003eOp het aangezicht van de kleur\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eHet lichtgedicht\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003evan de schilder Jef Verheyen.\u003c/i\u003e\u003c/p\u003e\u003cp\u003eWanneer ik aan hem terugdenk, dan doemen eerst beelden op van een feestelijke, permanente parade. Het atelier in Nijlen; het Tempelierenhof in Weert; de Bang-Bang in Milaan, waar ik onder de verbodsbepaling “É prohibito stare a piedi nudi” op 20 mei 1967 zat naast Jef en Rotraut - zuster van Uecker en weduwe van Yves Klein; een weelderig diner met Fontana bij Crispi; een ontbijt in Milaan met E.L.T. Mesens; Frank-Ivo van Damme in het atelier van Jef; het onweer bij de opening van de tentoonstelling Vlaamse landschappen in Mullem; een rit Jefs Riley naar Ivo Michiels in Zonnegem, waar Paul de Wispelaere en Gerda kwamen binnenvallen; Jef als militant in een café aan de Nationalestraat waar de plakploeg van de Volksunie zich kwam laven; lange gesprekken met Hugo Schiltz en Nic van Bruggen; wijndegustaties bij Jo Verbrugghen in Sint-Lievens-Houtem; vernissages bij “le colonel” Stal aan de Louizalaan te Brussel of bij baron von Hoerden, in de Lamorinièrestraat; een dronken nacht bij Vic Gentils - en het misverstand met Langui die dacht dat Jef een ridderorde vroeg, terwijl het hem te doen was om een decoratie, een opdracht; Jef en Albert Szukalski. Jef die in Sint-Amands ingetogen zegt: “Het schoonste Vlaams dat ik ooit hoorde, is de ondergaande zon op het graf van Verhaeren.” Zijn hekel aan Seuphor. \u003ci\u003eGrand\u003c/i\u003e \u003ci\u003eOeuvre\u003c/i\u003e, een bibliofiele editie met Ivo Michiels die ik boven de doopvont mocht houden in de weelderige salons van de Bank van Parijs en de Nederlanden. Zijn eerste monochroom zwart werk dat hij mij schonk en later voor een tentoonstelling kwam lenen, en dat ik nooit terugkreeg, want hij was gestorven, ginds, in Saint Saturnin d’Apt, dat hij ophemelde en soms verfoeide.\u003c/p\u003e\u003cp\u003eWe trokken jaren samen op, en toch heb ik moeite met het oproepen van zijn aanwezigheid. Het vuur van zijn enthousiasme brandde nooit op. Maar de uren die we samen doorbrachten, de hartstochtelijke gesprekken die we nachtenlang voerden, de bezieling die hij uitstraalde – dat alles lijkt wel vervlogen. En het bezinksel is nauwelijks onder woorden te brengen. Stonden we te dicht bij elkaar, of behoort dat klimaat tot een afgesloten tijdperk dat, thans, geen grijparmen meer uitstrekt naar de realiteit die we voorlopig nog bewonen? Of is het lichtgewicht van dat verleden diffuus maar onvatbaar aanwezig? Le contour m’échappe. Het is of de formule om zijn présence hier en nu te bezweren verloren is gegaan. Is het wezenlijke gestolen, gesloten – of is het gewoon ontsloten, en maakt het nu onlosmakelijk deel uit van wat ik ben?\u003c/p\u003e\u003cp\u003eNaar het einde van een van die dolle recepties bij me thuis in oktober 1971, zei Jef met overtuiging: “Geloof me, schrijf, smijt die troep buiten. Antwerpen is een stad die alles neemt en niets geeft. Ga weg, of sluit de deuren.” Zelf had hij nochtans behoefte aan mensen, hij bleef geen ogenblik stilzitten. Hij was veerkrachtig en sluw en kon door zijn gedrevenheid blijkbaar moeiteloos weerstand bieden aan de vervlakkende invloeden van de futiele wereld waarin ook hij gedoemd was bij tijd en wijlen te vertoeven. Zijn deur stond steeds wijd open, maar hij ging inderdaad weg – al kwam hij graag terug. In een dichterlijke bui schreef hij vanuit de Provence: “Si mon mal se résigne, si jamais j’ai quelque or, choisirai-je le Nord ou le pays des vignes”. Het lot heeft beslist dat de keuze zich nooit écht heeft opgedrongen.\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003eHenri-Floris JESPERS\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003e\u0026nbsp;\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003ePublished Janauary 11, 2009\u0026nbsp;\u003cbr\u003eOnline blog\u0026nbsp;\u003ci\u003eMededelingen van het Centrum voor Documentatie \u0026amp; Reëvaluatie\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ca href=\"http://mededelingen.over-blog.com/article-26645698.html\"\u003e\u003cstrong\u003eDenkend aan De Nieuwe Vlaamse School en vooral aan Jef Verheyen\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eTerugblikkend op de eerste tentoonstelling van de Nieuwe Vlaamse School, schreef Van Bruggen op 3 januari 1967 aan zijn vrouw: “Ik was blij (Latem en de Jeune Peinture Belge ten spijt) als een der eersten op kunstgebied Jules Destrée te mogen parafraseren: Sire, il n’y a pas d’art belge. Ik was blij (en dank zij onze dierbare vrienden van \u003ci\u003eHet Overzicht\u003c/i\u003e en \u003ci\u003eDe Driehoek\u003c/i\u003e en dank zij het Vlaamse nummer van \u003ci\u003eDer Sturm\u003c/i\u003e gelukkig niet als een der eersten) de adjectieven Vlaams en Abstract te kunnen combineren in een geestelijke school, in een nieuwe school, in een Vlaamse school. Ik ben blij dat juist de meest Vlaamse onder de geografisch Belgische schilders, de meest echte dus de beste schilders zijn… Misschien niet voor Brussel dan, maar wel voor Milaan, New York, Tokio, Frankfurt.”\u003c/p\u003e\u003cp\u003eIn 1971 werd het eerste nummer van de zestiende jaargang van \u003ci\u003eDe Tafelronde\u003c/i\u003e (met als uitgedunde redactie: Henri Chopin, Freddy de Vree, Paul de Vree en ik) gewijd aan de ”achter- en voorgronden” van de Nieuwe Vlaamse School. Paul stelde met de nodige afstand vast:\u003c/p\u003e\u003cp\u003e“Bleek aanvankelijk de groepering (…) te berusten op een experimentele inslag, homogeen is ze niet te beschouwen. Maar het etiket zal blijven, zowel als de onderlinge verbondenheid, hoezeer ze ook door sommigen verdrongen zou worden.”\u003c/p\u003e\u003cp\u003eHij vergiste zich maar op één punt: het etiket is niet gebleven.\u003c/p\u003e\u003cp\u003eAlles goed beschouwd was de Nieuwe Vlaamse School een geesteskind van Jef Verheyen. Sneller dan welke Vlaamse schilder van zijn generatie had hij internationale contacten gelegd die niet zonder gevolgen zijn gebleven voor de ontwikkeling, de dynamiek en de positionering van de Vlaamse avant-garde. Hij mocht Crippa, Lucio Fontana, Herman Goepfert, Yves Klein, Heinz Mack, Piero Manzoni, Christian Megert, Otto Piene en Günther Uecker tot zijn kunstvrienden rekenen. Bijgestaan door zijn literaire vrienden Ivo Michiels, Guy Vaes en Paul de Vree, heeft hij er sterk toe bijgedragen dat Antwerpen aan het einde van de jaren vijftig en in het begin van de jaren zestig voor een korte tijd opnieuw een internationaal gewaardeerd centrum van avant-gardekunst werd.\u003c/p\u003e\u003cp\u003eJef was sterk beïnvloed door zijn vrij grondige lectuur van de Voor-socratici, wat overvloedig blijkt uit talrijke teksten van zijn hand. Toen ik in januari 1967 in het appartement van Pruts te Brugge het woord vooraf schreef voor de tweede druk van zijn manifest \u003ci\u003ePour une peinture non plastique\u003c/i\u003e, had ik dan ook de Diels-editie bij de hand (die ik trouwens sedertdien verloor… of uitleende, wat vaak op hetzelfde neerkomt). Ik heb me toen vergist: er zijn wel degelijk mystieke elementen aanwezig in het geschilderd en geschreven oeuvre van Jef. Een rationele, haast materialistische, zen-achtige mystiek van de leegte en van het meedogenloze licht dat hij later in de harde Provence zou gaan zoeken. Hij was een man met stevige \u003ci\u003eroots\u003c/i\u003e, zo dat de lauwe mystiekerigheid van het metafysische clair-obscur hem vreemd was. Hij viel ook niet in de valstrik van het nivellerende pseudo-kosmopolitisme: hij verbond vanzelfsprekend een nationalistische inslag met een sterk internationalistische gesteldheid, net zoals de Catalaan Joan Miró. In die zin herhaalde hij Van Ostaijens opvattingen over het nationale in de kunst. Hans Liechti (de eerste marchand die Verheyen ontdekte) vergiste zich niet wanneer hij het Vlaamse karakter van Jefs werk onderstreepte.\u003c/p\u003e\u003cp\u003eNic van Bruggen wees er terecht op dat het benaderen van het werk van Verheyen “een nogal hachelijke opdracht (is), temeer daar het zich aan elke anekdotische, literaire of formalistische inhoud onttrekt en de essentie van zijn realiteit in zichzelf vindt”. Het literaire aspect van zijn persoonlijkheid – eerder beschouwend dan lyrisch – leefde hij uit in boeiende teksten. Niemand pleitte hartstochtelijker en grondiger voor de autonomie van de kunst, zoals blijkt uit de twee afleveringen van \u003ci\u003eDe Tafelronde\u003c/i\u003e gewijd aan het “essentialisme”, de naam die Verheyen aan zijn niet-plastische schilderkunst meegaf.\u003c/p\u003e\u003cp\u003eBeslissend in Jefs ontwikkeling was de ontmoeting geweest met Yves Klein, wiens monochrome meditaties gevoerd werden door een grondige vertrouwdheid met (neo-)rosicruciaanse en boeddhistische denkbeelden. Kleins \u003ci\u003eLes Fondements\u003c/i\u003e \u003ci\u003edu judo\u003c/i\u003e (1954) wekte zijn belangstelling voor de cultische en rituele aspecten van de subtiele sport. Hij kende \u003ci\u003eZen in de kunst van het\u003c/i\u003e \u003ci\u003eboogschieten\u003c/i\u003e van Bungaku Hakushi (de Duitse hoogleraar Eugen Herrigel, gastdocent aan de keizerlijke universiteit te Sendia) die herhaalde dat de schutter tot onbeweeglijk middelpunt moet worden, “dan bereikt hij het grootste en laatste stadium: de kunst wordt kunsteloos, het schieten wordt tot een niet-schieten, tot een schieten zonder boog en pijl…” Hij expliciteerde aldus de uitspraak van zijn leermeester Kenzo Awa: “De ware kunst is zonder doel, zonder opzet!” Het komt er op aan, zichzelf vergetend, niet langer te zeggen: “ik” richt of “ik” tref, maar te \u003ci\u003eervaren\u003c/i\u003e dat “het” richt en “het” doel treft. Wanneer “het” zich manifesteert bij de leerling, dan buigt de Meester. Geen weg dus dan langs de omweg van de ontindividualisering.\u003c/p\u003e\u003cp\u003eHet beeld van de boogschutter en de pijl als metafoor komen in Jefs geschriften voor. Klein was lid van de \u003ci\u003eArchers de Saint-Sébastien\u003c/i\u003e. Guy Vaes schreef \u003ci\u003eLa flèche de Zénon\u003c/i\u003e, ik poogde \u003ci\u003eDe boog van Ulysses\u003c/i\u003e te hanteren. Dergelijke raakpunten zijn allesbehalve willekeurig: ze vormen een betekenisvolle keten van associaties, verwijzen naar een gemeenschappelijke ondergrond. En terwijl Klein in 1957 de (mystieke) naam “Yves le Monochrome” aannam, zo ondertekende Jef zijn brieven, na zijn vestiging in Saint Saturnin d’Apt, als “le peintre flamant”, met een flamboyante “t”.\u003c/p\u003e\u003cp\u003eIn het schilderen ervoer Jef een initiatieke dimensie: een lichtend begin dat, langs onvoorziene maar niettemin innig vertrouwde wegen, tot verlichting leidt. Kleuropenbaring is bewustwording, schreef Verheyen, en dergelijke uitspraken moeten letterlijk opgevat worden, in de pregnante betekenis van het woord. Kleuren zijn geen symbolen, maar organisch levende, dynamische dingen, lichamen of volumes. In een genadeloos kritische tekst over de moderne kunst en de dito maatschappij stelt hij vast: “De l’aveuglement au nihilisme, le sens\u0026nbsp; du cosmique se perd et l’on atteint au point zéro. Mais la route remonte.“ Net als André de Ridder huldigde Jef “le génie du Nord” en stond hij wantrouwig tegenover de Parijse glitter. De kunstenaars van het noorden zijn volgens hem minder aangetast door dit (zijns)verval: “L’instantanéité de leurs œuvres a été remarquée, mais peu connaissent leur valeur ésotérique.”\u003c/p\u003e\u003cp\u003eAls niemand kon hij definitieve uitspraken formuleren over wat hij als kitsj in de moderne kunst beschouwde. Over\u0026nbsp; het “nieuw realisme”: “Niets anders dan een misbruiken van de psychologische toestand der toeschouwers… Gedegenereerder uitingen zijn er tot nu niet getoond, onnozeler zaken nooit onder de naam van kunstwerk aanschouwd”. Dubuffet en de zijnen worden afgedaan als “croûtards”, en over Pollock, Jorn en hun volgelingen valt een onherroepelijk oordeel: “Une grande palette et une boîte à couleurs richement fournie ne font pas le peintre”. Mathieu wordt “une absence de recul” verweten.\u003c/p\u003e\u003cp\u003eJef Verheyens geraffineerde monochromie gaat terug op Paul Klees “Schwarz darstellen” en Cézannes “Quand la couleur est à sa richesse, la forme est à sa plénitude”. Tijd en ruimte, beweging en immobiliteit, licht en donker, koude en warmte, kleur, kleur en nog eens kleur bepalen de meditatie van Jef Verheyen. Een kleur, schreef Paul de Vree, “die zonder randen onaanrandbaar aanrandt”, “mythe zonder goden”, “het eenzaam vervullen van een ledig alles”:\u003c/p\u003e\u003cp\u003e\u003ci\u003eOp het aangezicht van de kleur\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eHet lichtgedicht\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003evan de schilder Jef Verheyen.\u003c/i\u003e\u003c/p\u003e\u003cp\u003eWanneer ik aan hem terugdenk, dan doemen eerst beelden op van een feestelijke, permanente parade. Het atelier in Nijlen; het Tempelierenhof in Weert; de Bang-Bang in Milaan, waar ik onder de verbodsbepaling “É prohibito stare a piedi nudi” op 20 mei 1967 zat naast Jef en Rotraut - zuster van Uecker en weduwe van Yves Klein; een weelderig diner met Fontana bij Crispi; een ontbijt in Milaan met E.L.T. Mesens; Frank-Ivo van Damme in het atelier van Jef; het onweer bij de opening van de tentoonstelling Vlaamse landschappen in Mullem; een rit Jefs Riley naar Ivo Michiels in Zonnegem, waar Paul de Wispelaere en Gerda kwamen binnenvallen; Jef als militant in een café aan de Nationalestraat waar de plakploeg van de Volksunie zich kwam laven; lange gesprekken met Hugo Schiltz en Nic van Bruggen; wijndegustaties bij Jo Verbrugghen in Sint-Lievens-Houtem; vernissages bij “le colonel” Stal aan de Louizalaan te Brussel of bij baron von Hoerden, in de Lamorinièrestraat; een dronken nacht bij Vic Gentils - en het misverstand met Langui die dacht dat Jef een ridderorde vroeg, terwijl het hem te doen was om een decoratie, een opdracht; Jef en Albert Szukalski. Jef die in Sint-Amands ingetogen zegt: “Het schoonste Vlaams dat ik ooit hoorde, is de ondergaande zon op het graf van Verhaeren.” Zijn hekel aan Seuphor. \u003ci\u003eGrand\u003c/i\u003e \u003ci\u003eOeuvre\u003c/i\u003e, een bibliofiele editie met Ivo Michiels die ik boven de doopvont mocht houden in de weelderige salons van de Bank van Parijs en de Nederlanden. Zijn eerste monochroom zwart werk dat hij mij schonk en later voor een tentoonstelling kwam lenen, en dat ik nooit terugkreeg, want hij was gestorven, ginds, in Saint Saturnin d’Apt, dat hij ophemelde en soms verfoeide.\u003c/p\u003e\u003cp\u003eWe trokken jaren samen op, en toch heb ik moeite met het oproepen van zijn aanwezigheid. Het vuur van zijn enthousiasme brandde nooit op. Maar de uren die we samen doorbrachten, de hartstochtelijke gesprekken die we nachtenlang voerden, de bezieling die hij uitstraalde – dat alles lijkt wel vervlogen. En het bezinksel is nauwelijks onder woorden te brengen. Stonden we te dicht bij elkaar, of behoort dat klimaat tot een afgesloten tijdperk dat, thans, geen grijparmen meer uitstrekt naar de realiteit die we voorlopig nog bewonen? Of is het lichtgewicht van dat verleden diffuus maar onvatbaar aanwezig? Le contour m’échappe. Het is of de formule om zijn présence hier en nu te bezweren verloren is gegaan. Is het wezenlijke gestolen, gesloten – of is het gewoon ontsloten, en maakt het nu onlosmakelijk deel uit van wat ik ben?\u003c/p\u003e\u003cp\u003eNaar het einde van een van die dolle recepties bij me thuis in oktober 1971, zei Jef met overtuiging: “Geloof me, schrijf, smijt die troep buiten. Antwerpen is een stad die alles neemt en niets geeft. Ga weg, of sluit de deuren.” Zelf had hij nochtans behoefte aan mensen, hij bleef geen ogenblik stilzitten. Hij was veerkrachtig en sluw en kon door zijn gedrevenheid blijkbaar moeiteloos weerstand bieden aan de vervlakkende invloeden van de futiele wereld waarin ook hij gedoemd was bij tijd en wijlen te vertoeven. Zijn deur stond steeds wijd open, maar hij ging inderdaad weg – al kwam hij graag terug. In een dichterlijke bui schreef hij vanuit de Provence: “Si mon mal se résigne, si jamais j’ai quelque or, choisirai-je le Nord ou le pays des vignes”. Het lot heeft beslist dat de keuze zich nooit écht heeft opgedrongen.\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003eHenri-Floris JESPERS\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003e\u0026nbsp;\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003ePublished Janauary 11, 2009\u0026nbsp;\u003cbr\u003eOnline blog\u0026nbsp;\u003ci\u003eMededelingen van het Centrum voor Documentatie \u0026amp; Reëvaluatie\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ca href=\"http://mededelingen.over-blog.com/article-26645698.html\"\u003e\u003cstrong\u003eDenkend aan De Nieuwe Vlaamse School en vooral aan Jef Verheyen\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eTerugblikkend op de eerste tentoonstelling van de Nieuwe Vlaamse School, schreef Van Bruggen op 3 januari 1967 aan zijn vrouw: “Ik was blij (Latem en de Jeune Peinture Belge ten spijt) als een der eersten op kunstgebied Jules Destrée te mogen parafraseren: Sire, il n’y a pas d’art belge. Ik was blij (en dank zij onze dierbare vrienden van \u003ci\u003eHet Overzicht\u003c/i\u003e en \u003ci\u003eDe Driehoek\u003c/i\u003e en dank zij het Vlaamse nummer van \u003ci\u003eDer Sturm\u003c/i\u003e gelukkig niet als een der eersten) de adjectieven Vlaams en Abstract te kunnen combineren in een geestelijke school, in een nieuwe school, in een Vlaamse school. Ik ben blij dat juist de meest Vlaamse onder de geografisch Belgische schilders, de meest echte dus de beste schilders zijn… Misschien niet voor Brussel dan, maar wel voor Milaan, New York, Tokio, Frankfurt.”\u003c/p\u003e\u003cp\u003eIn 1971 werd het eerste nummer van de zestiende jaargang van \u003ci\u003eDe Tafelronde\u003c/i\u003e (met als uitgedunde redactie: Henri Chopin, Freddy de Vree, Paul de Vree en ik) gewijd aan de ”achter- en voorgronden” van de Nieuwe Vlaamse School. Paul stelde met de nodige afstand vast:\u003c/p\u003e\u003cp\u003e“Bleek aanvankelijk de groepering (…) te berusten op een experimentele inslag, homogeen is ze niet te beschouwen. Maar het etiket zal blijven, zowel als de onderlinge verbondenheid, hoezeer ze ook door sommigen verdrongen zou worden.”\u003c/p\u003e\u003cp\u003eHij vergiste zich maar op één punt: het etiket is niet gebleven.\u003c/p\u003e\u003cp\u003eAlles goed beschouwd was de Nieuwe Vlaamse School een geesteskind van Jef Verheyen. Sneller dan welke Vlaamse schilder van zijn generatie had hij internationale contacten gelegd die niet zonder gevolgen zijn gebleven voor de ontwikkeling, de dynamiek en de positionering van de Vlaamse avant-garde. Hij mocht Crippa, Lucio Fontana, Herman Goepfert, Yves Klein, Heinz Mack, Piero Manzoni, Christian Megert, Otto Piene en Günther Uecker tot zijn kunstvrienden rekenen. Bijgestaan door zijn literaire vrienden Ivo Michiels, Guy Vaes en Paul de Vree, heeft hij er sterk toe bijgedragen dat Antwerpen aan het einde van de jaren vijftig en in het begin van de jaren zestig voor een korte tijd opnieuw een internationaal gewaardeerd centrum van avant-gardekunst werd.\u003c/p\u003e\u003cp\u003eJef was sterk beïnvloed door zijn vrij grondige lectuur van de Voor-socratici, wat overvloedig blijkt uit talrijke teksten van zijn hand. Toen ik in januari 1967 in het appartement van Pruts te Brugge het woord vooraf schreef voor de tweede druk van zijn manifest \u003ci\u003ePour une peinture non plastique\u003c/i\u003e, had ik dan ook de Diels-editie bij de hand (die ik trouwens sedertdien verloor… of uitleende, wat vaak op hetzelfde neerkomt). Ik heb me toen vergist: er zijn wel degelijk mystieke elementen aanwezig in het geschilderd en geschreven oeuvre van Jef. Een rationele, haast materialistische, zen-achtige mystiek van de leegte en van het meedogenloze licht dat hij later in de harde Provence zou gaan zoeken. Hij was een man met stevige \u003ci\u003eroots\u003c/i\u003e, zo dat de lauwe mystiekerigheid van het metafysische clair-obscur hem vreemd was. Hij viel ook niet in de valstrik van het nivellerende pseudo-kosmopolitisme: hij verbond vanzelfsprekend een nationalistische inslag met een sterk internationalistische gesteldheid, net zoals de Catalaan Joan Miró. In die zin herhaalde hij Van Ostaijens opvattingen over het nationale in de kunst. Hans Liechti (de eerste marchand die Verheyen ontdekte) vergiste zich niet wanneer hij het Vlaamse karakter van Jefs werk onderstreepte.\u003c/p\u003e\u003cp\u003eNic van Bruggen wees er terecht op dat het benaderen van het werk van Verheyen “een nogal hachelijke opdracht (is), temeer daar het zich aan elke anekdotische, literaire of formalistische inhoud onttrekt en de essentie van zijn realiteit in zichzelf vindt”. Het literaire aspect van zijn persoonlijkheid – eerder beschouwend dan lyrisch – leefde hij uit in boeiende teksten. Niemand pleitte hartstochtelijker en grondiger voor de autonomie van de kunst, zoals blijkt uit de twee afleveringen van \u003ci\u003eDe Tafelronde\u003c/i\u003e gewijd aan het “essentialisme”, de naam die Verheyen aan zijn niet-plastische schilderkunst meegaf.\u003c/p\u003e\u003cp\u003eBeslissend in Jefs ontwikkeling was de ontmoeting geweest met Yves Klein, wiens monochrome meditaties gevoerd werden door een grondige vertrouwdheid met (neo-)rosicruciaanse en boeddhistische denkbeelden. Kleins \u003ci\u003eLes Fondements\u003c/i\u003e \u003ci\u003edu judo\u003c/i\u003e (1954) wekte zijn belangstelling voor de cultische en rituele aspecten van de subtiele sport. Hij kende \u003ci\u003eZen in de kunst van het\u003c/i\u003e \u003ci\u003eboogschieten\u003c/i\u003e van Bungaku Hakushi (de Duitse hoogleraar Eugen Herrigel, gastdocent aan de keizerlijke universiteit te Sendia) die herhaalde dat de schutter tot onbeweeglijk middelpunt moet worden, “dan bereikt hij het grootste en laatste stadium: de kunst wordt kunsteloos, het schieten wordt tot een niet-schieten, tot een schieten zonder boog en pijl…” Hij expliciteerde aldus de uitspraak van zijn leermeester Kenzo Awa: “De ware kunst is zonder doel, zonder opzet!” Het komt er op aan, zichzelf vergetend, niet langer te zeggen: “ik” richt of “ik” tref, maar te \u003ci\u003eervaren\u003c/i\u003e dat “het” richt en “het” doel treft. Wanneer “het” zich manifesteert bij de leerling, dan buigt de Meester. Geen weg dus dan langs de omweg van de ontindividualisering.\u003c/p\u003e\u003cp\u003eHet beeld van de boogschutter en de pijl als metafoor komen in Jefs geschriften voor. Klein was lid van de \u003ci\u003eArchers de Saint-Sébastien\u003c/i\u003e. Guy Vaes schreef \u003ci\u003eLa flèche de Zénon\u003c/i\u003e, ik poogde \u003ci\u003eDe boog van Ulysses\u003c/i\u003e te hanteren. Dergelijke raakpunten zijn allesbehalve willekeurig: ze vormen een betekenisvolle keten van associaties, verwijzen naar een gemeenschappelijke ondergrond. En terwijl Klein in 1957 de (mystieke) naam “Yves le Monochrome” aannam, zo ondertekende Jef zijn brieven, na zijn vestiging in Saint Saturnin d’Apt, als “le peintre flamant”, met een flamboyante “t”.\u003c/p\u003e\u003cp\u003eIn het schilderen ervoer Jef een initiatieke dimensie: een lichtend begin dat, langs onvoorziene maar niettemin innig vertrouwde wegen, tot verlichting leidt. Kleuropenbaring is bewustwording, schreef Verheyen, en dergelijke uitspraken moeten letterlijk opgevat worden, in de pregnante betekenis van het woord. Kleuren zijn geen symbolen, maar organisch levende, dynamische dingen, lichamen of volumes. In een genadeloos kritische tekst over de moderne kunst en de dito maatschappij stelt hij vast: “De l’aveuglement au nihilisme, le sens\u0026nbsp; du cosmique se perd et l’on atteint au point zéro. Mais la route remonte.“ Net als André de Ridder huldigde Jef “le génie du Nord” en stond hij wantrouwig tegenover de Parijse glitter. De kunstenaars van het noorden zijn volgens hem minder aangetast door dit (zijns)verval: “L’instantanéité de leurs œuvres a été remarquée, mais peu connaissent leur valeur ésotérique.”\u003c/p\u003e\u003cp\u003eAls niemand kon hij definitieve uitspraken formuleren over wat hij als kitsj in de moderne kunst beschouwde. Over\u0026nbsp; het “nieuw realisme”: “Niets anders dan een misbruiken van de psychologische toestand der toeschouwers… Gedegenereerder uitingen zijn er tot nu niet getoond, onnozeler zaken nooit onder de naam van kunstwerk aanschouwd”. Dubuffet en de zijnen worden afgedaan als “croûtards”, en over Pollock, Jorn en hun volgelingen valt een onherroepelijk oordeel: “Une grande palette et une boîte à couleurs richement fournie ne font pas le peintre”. Mathieu wordt “une absence de recul” verweten.\u003c/p\u003e\u003cp\u003eJef Verheyens geraffineerde monochromie gaat terug op Paul Klees “Schwarz darstellen” en Cézannes “Quand la couleur est à sa richesse, la forme est à sa plénitude”. Tijd en ruimte, beweging en immobiliteit, licht en donker, koude en warmte, kleur, kleur en nog eens kleur bepalen de meditatie van Jef Verheyen. Een kleur, schreef Paul de Vree, “die zonder randen onaanrandbaar aanrandt”, “mythe zonder goden”, “het eenzaam vervullen van een ledig alles”:\u003c/p\u003e\u003cp\u003e\u003ci\u003eOp het aangezicht van de kleur\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eHet lichtgedicht\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003evan de schilder Jef Verheyen.\u003c/i\u003e\u003c/p\u003e\u003cp\u003eWanneer ik aan hem terugdenk, dan doemen eerst beelden op van een feestelijke, permanente parade. Het atelier in Nijlen; het Tempelierenhof in Weert; de Bang-Bang in Milaan, waar ik onder de verbodsbepaling “É prohibito stare a piedi nudi” op 20 mei 1967 zat naast Jef en Rotraut - zuster van Uecker en weduwe van Yves Klein; een weelderig diner met Fontana bij Crispi; een ontbijt in Milaan met E.L.T. Mesens; Frank-Ivo van Damme in het atelier van Jef; het onweer bij de opening van de tentoonstelling Vlaamse landschappen in Mullem; een rit Jefs Riley naar Ivo Michiels in Zonnegem, waar Paul de Wispelaere en Gerda kwamen binnenvallen; Jef als militant in een café aan de Nationalestraat waar de plakploeg van de Volksunie zich kwam laven; lange gesprekken met Hugo Schiltz en Nic van Bruggen; wijndegustaties bij Jo Verbrugghen in Sint-Lievens-Houtem; vernissages bij “le colonel” Stal aan de Louizalaan te Brussel of bij baron von Hoerden, in de Lamorinièrestraat; een dronken nacht bij Vic Gentils - en het misverstand met Langui die dacht dat Jef een ridderorde vroeg, terwijl het hem te doen was om een decoratie, een opdracht; Jef en Albert Szukalski. Jef die in Sint-Amands ingetogen zegt: “Het schoonste Vlaams dat ik ooit hoorde, is de ondergaande zon op het graf van Verhaeren.” Zijn hekel aan Seuphor. \u003ci\u003eGrand\u003c/i\u003e \u003ci\u003eOeuvre\u003c/i\u003e, een bibliofiele editie met Ivo Michiels die ik boven de doopvont mocht houden in de weelderige salons van de Bank van Parijs en de Nederlanden. Zijn eerste monochroom zwart werk dat hij mij schonk en later voor een tentoonstelling kwam lenen, en dat ik nooit terugkreeg, want hij was gestorven, ginds, in Saint Saturnin d’Apt, dat hij ophemelde en soms verfoeide.\u003c/p\u003e\u003cp\u003eWe trokken jaren samen op, en toch heb ik moeite met het oproepen van zijn aanwezigheid. Het vuur van zijn enthousiasme brandde nooit op. Maar de uren die we samen doorbrachten, de hartstochtelijke gesprekken die we nachtenlang voerden, de bezieling die hij uitstraalde – dat alles lijkt wel vervlogen. En het bezinksel is nauwelijks onder woorden te brengen. Stonden we te dicht bij elkaar, of behoort dat klimaat tot een afgesloten tijdperk dat, thans, geen grijparmen meer uitstrekt naar de realiteit die we voorlopig nog bewonen? Of is het lichtgewicht van dat verleden diffuus maar onvatbaar aanwezig? Le contour m’échappe. Het is of de formule om zijn présence hier en nu te bezweren verloren is gegaan. Is het wezenlijke gestolen, gesloten – of is het gewoon ontsloten, en maakt het nu onlosmakelijk deel uit van wat ik ben?\u003c/p\u003e\u003cp\u003eNaar het einde van een van die dolle recepties bij me thuis in oktober 1971, zei Jef met overtuiging: “Geloof me, schrijf, smijt die troep buiten. Antwerpen is een stad die alles neemt en niets geeft. Ga weg, of sluit de deuren.” Zelf had hij nochtans behoefte aan mensen, hij bleef geen ogenblik stilzitten. Hij was veerkrachtig en sluw en kon door zijn gedrevenheid blijkbaar moeiteloos weerstand bieden aan de vervlakkende invloeden van de futiele wereld waarin ook hij gedoemd was bij tijd en wijlen te vertoeven. Zijn deur stond steeds wijd open, maar hij ging inderdaad weg – al kwam hij graag terug. In een dichterlijke bui schreef hij vanuit de Provence: “Si mon mal se résigne, si jamais j’ai quelque or, choisirai-je le Nord ou le pays des vignes”. Het lot heeft beslist dat de keuze zich nooit écht heeft opgedrongen.\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003eHenri-Floris JESPERS\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003e\u0026nbsp;\u003c/p\u003e\u003cp style=\"text-align:right;\"\u003ePublished Janauary 11, 2009\u0026nbsp;\u003cbr\u003eOnline blog\u0026nbsp;\u003ci\u003eMededelingen van het Centrum voor Documentatie \u0026amp; Reëvaluatie\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":33876,"title":"• 0805 • Untitled","dimensions":"65 x 65 cm with frame","date_begin":"1965-01-01","material":"Matt lacquer on fibreboard, mounted in a wooden velveted square box","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Marcel Stal Tondo Dornier","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nca. 1965\u003cbr /\u003e\r\nSigned?\u0026nbsp;\u003cbr /\u003e\r\nDated?\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":24,"permalink":"805-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/622/medium_500/805_1.jpg?1670945975","cached_actor_names":"Axel Vervoordt, Galerie Carrefour, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/622/large/805_1.jpg?1670945975","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - 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Rousseau \u0026amp; Claude Lorent.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : ICC/Internationaal Cultureel Centrum, Antwerpen (9.1. - 14.2.1982) \u0026amp; Palais des Beaux-Arts, Charleroi (5.12. - 3.1.1982).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eM HKA Collection:\u0026nbsp;B 1997/898\u003c/strong\u003e\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_18_37","stream_count_app":16,"permalink":"biennale-de-la-critique-biennale-van-de-kritiek","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/040/015/medium_500/20180314093702092_0001.jpg?1521016704","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/040/015/large/20180314093702092_0001.jpg?1521016704","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18197,"title":"Biënnale van de kritiek/Biennale de la critique","dimensions":"30.5 x 22 cm, 46 p., language : Dutch, French, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1977-01-01","material":"ink, paper","short_description":"\u003cp\u003eICC publication.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditors : Florent Bex, Bernard Marcelis, Robert Rousseau \u0026amp; Glenn Van Looy.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthors : Florent Bex, Fons De Vogelaere, Jean Dypr\u0026eacute;au, Bernard Marcelis, Jacques Parisse, Robert Rousseau \u0026amp; Glenn Van Looy.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibitions : ICC/Internationaal Cultureel Centrum, Antwerpen (12.11. - 23.12.1977) \u0026amp; Palais des Beaux-Arts, Charleroi (14.1. - 12.2.1978).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eM HKA Collection:\u0026nbsp;B 1993/180\u003c/strong\u003e\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_18_38","stream_count_app":25,"permalink":"biennale-van-de-kritiek-biennale-de-la-critique-c78e44f7-9e6b-49b5-98ee-dc0d6533d2e7","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/887/medium_500/20180302095420314_0001.jpg?1519981135","cached_actor_names":"Florent Bex, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/887/large/20180302095420314_0001.jpg?1519981135","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18476,"title":"Objart 67-68 / Objectkunst 1960-1970","dimensions":"42 x 29.6 cm, 23 p., language : Dutch, publisher : Koninklijk Museum voor Schone Kunsten/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1993-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication, n\u0026deg;305.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Hedwig L. Verschaeren.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthors : Jean F. Buyck \u0026amp; Hedwig L. 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Ineens al die mensen rond je die daar zeker vele mooie dingen voor je zullen vertellen, nu je er niet meer zijt. Of is het alleen omdat ik nu niet meer tot bij je thuis kan komen, zomaar op gelijk welk uur, je nodig had om van je wijsheid en ouderdom iets te leren dat ik hier alleen zit en tracht te begrijpen waarom jij leefde?\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eHad dit allemaal zin mijn beste? Je leefde nooit voor je zelf, alles wat gij deed was voor de anderen, al de pisdoeken die je voor je kinderen waste, je dertigjarige lange verzorging voor je lamme vrouw, al de energie die je verspeelde met je tijdschriften, de tentoonstellingen met Klee, Kandinsky en Moholy-Nagy die je zo goed kende? Al die dingen die je tot niets anders dan last waren?\u003cbr /\u003e\r\nPraktisch niemand dacht er aan, zij zijn dat allemaal vergeten. Vandaag niet, natuurlijk.\u003cbr /\u003e\r\nVandaag, mijn beste Jef, zal je hoogdag zijn. Moesten zij alles wat ze vandaag over je gaan vertellen eens een jaar vroeger gedaan hebben hadden wij samen geen boekje over je werk / activiteit moeten maken; een boekje dat er nu niet zal komen daar jij weg bent en ik het niet nodig vind aan de andere te laten zien wie jij (eigenlijk) was.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nWie ge waart? Weinigen zullen dat weten. Van je schilderijen begrijpen zij geen fluit, al wat je zegde hielden zij voor flauwe kul en je weet zelf best waarom.\u003cbr /\u003e\r\nWeet gij dat zij al een comiteit stichten? Ik zie je al lachen, dat was het toch niet dat gij wenste, of vergis ik mij? Eindelijk gaan zij iets voor je doen, ik weet zeer goed dat je dat niet wenste, maar had je niet eens kunnen wachten met sterven, ja, je wachtte al lang genoeg. Je was er bijna, die Zwitser die je werk wilde kopen [Hans Liechti], je schilderijen in Itali\u0026euml; en Amerika, zelfs het geld hebt gij niet ontvangen, de weinige schilderijen die je verkocht diende je nog tot niets, en jij die zo tegen je zin in schilderijen wegdeed.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nBeste Jef, zou het nu voor je veranderen, alles wordt veel gemakkelijker, nu, heel de kwestie is voor je opgelost.\u003cbr /\u003e\r\nZe kunnen je nu niets meer vragen, ik zelf zal je wel missen, je was de enige in Antwerpen die ik vertrouwde en aan wie ik mijn hart kon luchten. Misschien kwetste ik je wel af en toe maar ik heb dat nooit zo gewild.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nEergisteren kwam ik nog bij je thuis, alles was daar nog alsof je even weg was om de een of andere boodschap te doen voor de vrouw die op het eerste woonde, spijtig dat je dat laatste schilderij niet meer afmaakte, door die Tijl Uilenspiegel heb ik je wel goed begrepen, in zekere zin schijnt me dit een portret van je, nu je weg bent herken ik je daar beter in, ja, Jef, je was een soort van Uilenspiegel, ik was zeer dikwijls de uil die in je spiegel kwam te staan, je wist me altijd zo goed te helpen met je raad en je hebt me altijd begrepen, het scheen me dikwijls alsof ik tegen mezelf sprak maar dan met de kwaliteit van 65 jaar miserie.\u003cbr /\u003e\r\nJe retrospectieve zal er komen, misschien werkte je daar te hard voor of was het (misschien) slechts omdat je aan het einde was en alles, door de sterkte die je ontwikkelde, uiteensprong.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eAntwerpen, woensdag\u003cbr /\u003e\r\nSeptember 1960\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33932,"title":"Un ami peintre comme lui","dimensions":"2 sides","date_begin":"1961-01-01","material":"Ink in notebook","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Zwitserland Suisse Hans Liechti Englebert Van Anderlecht","publishing_process_id":1,"annotation":"","date_end":null,"reference":"part of JV_08_41","stream_count_app":15,"permalink":"un-ami-peintre-comme-lui","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/817/medium_500/img02022022_0065.jpg?1673952230","cached_actor_names":"Galerie Bernard, Englebert Van Anderlecht, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/817/large/img02022022_0065.jpg?1673952230","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eOuttake from the artist\u0026#39;s notebook (see linked item)\u003cbr /\u003e\r\nDraft letter, most likely to be addressed to Hans Liechti\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e[...] \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eQuand je pense aux moments que nous avons v\u0026eacute;cu ensemble en Suisse, avec Van Anderlecht encore vivant\u0026nbsp;; c\u0026rsquo;est la peur\u0026nbsp;qui me prend. De quoi j\u0026rsquo;ai peur cela je ne sais d\u0026eacute;finir exactement, mais maintenant je ne sens pas le courage de continuer ce que Van Anderlecht et moi ont mis en route ensemble.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLui, aussi bien que moi, savait que le seul lien qui [?] le temps avec l\u0026rsquo;\u0026eacute;ternit\u0026eacute; \u0026eacute;tait l\u0026rsquo;amour, qui pr\u0026eacute;cis\u0026eacute;ment pour cette raison domine toute chose. \u0026laquo;\u0026nbsp;On se tient\u0026nbsp;\u0026raquo; me disait-il toujours et cela est maintenant fini.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nC\u0026rsquo;est en ce moment ci que je r\u0026eacute;alise combien il me soutenait, avec lui et son enthousiasme je croyais tout possible. Je l\u0026rsquo;ai pas connu plus longtemps que vous mais tout ce qui se passait entre nous, pendant ce bref d\u0026eacute;lai de temps ne se passera plus. Cette perte est plus grand pour la Flandre que les autres supposent. Vous savez qu\u0026rsquo;il \u0026eacute;tait le seul ici sur lequel je pourrais compter.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLa peinture est une tr\u0026egrave;s belle chose, mais en dehors d\u0026rsquo;elle on doit vivre aussi, je veux dire tout ce temps qu\u0026rsquo;on ne pas la peinture. Au fond une chose est merveilleux que dans si peu de temps nous avons connu un contacte si profond, pendant que lui et moi faisaient la peinture ensemble, on attaque les dieux \u0026agrave; deux, ou les obligeais de prendre couleur et formes, avant que je rencontrerai encore un peintre pareil\u0026hellip; C\u0026rsquo;est cela qui me donne peur. Je sais trop bien qu\u0026rsquo;il n\u0026rsquo; y a plus de peintres comme lui, et que dans ma vie prochaine, long ou courte, je n\u0026rsquo;aurai plus un ami peintre comme lui. Je ne pense pas que j\u0026rsquo;exag\u0026egrave;re. Jamais j\u0026rsquo;ai vu un homme qui avait tant de passion pour la peinture, et la passion c\u0026rsquo;est peut-\u0026ecirc;tre bien l\u0026rsquo;amour dans la vrai sens du mot. Je ne pense pas que l\u0026rsquo;amour est devenu une passion mais c\u0026rsquo;est bien l\u0026rsquo;amour qu\u0026rsquo;on nomme la passion. La passion pour la vie, ou le vouloir de survivre, librement, pleinement. Il \u0026eacute;tait plein de vie, la vie lui d\u0026eacute;bordait de partout, il vivait tellement vite, avec tant de passion que celle donnait le vertige aux autres, c\u0026rsquo;est peut-\u0026ecirc;tre pour cela qu\u0026rsquo;il avait fini avant nous. Il a fini avant nous et c\u0026rsquo;est nous qui doivent continuer, mais c\u0026rsquo;est bien peu comme consolation.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp; \u0026nbsp; \u0026nbsp;Vendredi 10 mars [1961, 3 days after Van Anderlecht\u0026rsquo;s passing]\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e[...]\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33934,"title":"812 ISIS - Nieuw thema - Dubbel","dimensions":"160 x 160 cm","date_begin":"1983-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Private","cached_tag_list":"Jef 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faire? Je suis rivé à Gelsenkirchen ou j’exécute une très grande commande pour l’Opéra en ce moment. Ca va durer encore au moins un mois. Et je ne sais pas comment vous faire parvenir mes œuvres. S.V.P. passez-moi un petit mot.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eYves Klein\u003c/i\u003e\u003cbr\u003e\u003ci\u003echez architecte WERNER RUHNAU\u003c/i\u003e\u003cbr\u003e\u003ci\u003eAN DER WIESE 2 GELSENKIRCHEN\u003c/i\u003e\u003cbr\u003e\u003ci\u003eALLEMAGNE\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eMille amitiés\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eYves Klein\u003c/i\u003e\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":34029,"title":"Copy of Paul Klee (ed. 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Marcel Brion, 1955) uit de bibliotheek van de kunstenaar.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eCopie de Paul Klee (éd. 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/\u003e\r\nUntitled\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":20,"permalink":"686-portret-van-dani","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/430/medium_500/686_2.jpg?1594714392","cached_actor_names":"Jef Verheyen, Dani Franque","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/430/large/686_2.jpg?1594714392","poster_credits":"(c)Jef Verheyen, scan: CKV, 2020 - Jef 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reverse\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":29,"permalink":"403-untitled-red","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/996/medium_500/403_asset1.jpg?1575369128","cached_actor_names":"Jef Verheyen, Galleria Pater, Galerie Bernard","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/996/large/403_asset1.jpg?1575369128","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22989,"title":"• 0407 • Gent","dimensions":"80 x 100 cm","date_begin":"1958-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse?\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":13,"permalink":"407-gent","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Galerie Bernard, Galerie Schoeller, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21144,"title":"• 0033 • Untitled","dimensions":"120 x 160 cm","date_begin":"1957-01-01","material":"Oil paint on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Bernhard \u0026 Pascale Liechti Collection","cached_tag_list":"Jef Verheyen Lange Noordstraat Guy Vaes","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eArtist's frame (wood, unpainted)\u003cbr\u003eSigned on the front and on the reverse\u003cbr\u003eDated on the front and on the reverse: March 1957\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":94,"permalink":"33-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/861/medium_500/33_12.jpg?1721048488","cached_actor_names":"Galerie Bernard, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/861/large/33_12.jpg?1721048488","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eHans Liechti saw and bought the work at the \u003cstrong\u003eartist's studio at Lange Noordstraat I,\u003c/strong\u003e Antwerp (property Guy and\u0026nbsp;Lydie\u0026nbsp;Vaes).\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31300,"title":"• 0721 • L'air est plein de ta chaleur","dimensions":"64 x 53 cm","date_begin":"1958-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Fondazione Lucio Fontana","cached_tag_list":"Jef Verheyen L'air est plein de ta chaleur Lucio Fontana Hessenhuis G58 G 58 Rood Van Dijck","publishing_process_id":1,"annotation":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eThis work is remarkable, not only because of its appearance but also of its exhibition history and provenance.\u0026nbsp;\u003c/p\u003e\u003cp\u003eFirst of all, this seems one of Verheyen's first red paintings, a series that evolved from his dark\u0026nbsp;paintings with half circle.\u0026nbsp;\u0026nbsp;This monochrome work in fire red, with floating dark bow, seem to evoke a\u0026nbsp;Buddhist atmosphere or appeal to Zen.\u003c/p\u003e\u003cp\u003eIt was painted right before the G 58 Hessenhuis exhibition that opened November 1958, and it was shown there, despite Verheyen's so-called abscence in this exhibition (for example, his name was left out of the catalogue right before publishing).\u003c/p\u003e\u003cp\u003eLucio Fontana bought this work (unsure if it was during the exhibition or rightafter) and it is still part of the Fondazione Lucio Fontana's collection.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJef Verheyen's letter to Jean F. Buyck, 17 March 1980:\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003e[...]\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003ci\u003eIntussen werkte ik aan mijn schilderijen voor de tentoonstelling die bij Pater, Milaan zou plaats hebben op 6 November 1958. Er waren donkere schilderijen bij met een boog, waaruit einde 1958 mijn rode schilderijen ontstonden.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eBij het nakijken van B. Kleins brieven vindt men het bewijs dat het in het Hessenhuis heeft gehangen; ‘L’air est plein de ta chaleur’ is gemaakt voor 1959, de brief van B. Klein is van 11 jan. 1959 en ik was toen in Milaan.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eHet is op mijn opening 6 nov. 1958 dat Manzoni met kleine witte schilderijtjes onder zijn arm kwam. Wij hebben wel wat gepraat over monochroom en achroom, ik wist toen echt wel waarover het ging. Ook Fontana sprak over een vierde dimensie en wij hebben uitgemaakt dat hij in feite een nieuwe dimensie bracht.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003e\u0026nbsp;Hij verkocht mijn mooie zwarte Diamant, zwart violet, aan Boschi en gaf me dat prachtig zwartgroen schilderij gemaakt in 1956/55. Waarschijnlijk is dat de eerste Fontana die in België terecht kwam.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eDe brief van Ben Klein, 11 januari 1959, bewijst juist wanneer dat rood schilderij in het hessenhuis hing, de foto van F. Philippi in mijn catalogus Paleis voor Schone Kunsten, Brussel, 1979, toont dat schilderij.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003e\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; Fontana heeft dat gekocht en het is misschien nog in zijn verzameling.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003e\u0026nbsp;[...]\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eValérie da Costa wrote:\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eProche de Roberto Crippa, il rencontre Lucio Fontana à Milan en 1957 et reçoit son soutien. Fontana lui achète, en 1958, un premier tableau de couleur bleue (Sans titre, 1956) lors de sa première exposition à la galerie Pater à Milan en février 1958 («\u0026nbsp;Comhaire-Verheyen\u0026nbsp;»). Elle sera suivie d’une exposition personnelle en novembre 1958 dans la même galerie.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eFontana possédera ainsi dans sa collection trois tableaux de Jef Verheyen (Sans titre, 1956\u0026nbsp;; L’Air est plein de ta chaleur, 1958\u0026nbsp;; Les Arbres roses, 1967)\u003c/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eNovember 1958: \u003c/strong\u003efirst exhibition at the Hessenhuis.\u0026nbsp;Lucio Fontana buys \u003ci\u003eL’air est plein de ta chaleur\u003c/i\u003e (\u003ci\u003eThe Air is Full of Your Warmth\u003c/i\u003e) shown in that exhibition and in Milan and gives him what Verheyen describes as\u0026nbsp;a ‘splendid black-green painting’.\u0026nbsp;In a letter (November) from Italy: ‘I’m leaving G-58’.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eNotes in the artist's scrapbook (see linked items):\u003cbr\u003e\u003cbr\u003e\u003ci\u003eJe suis L'air est plein de ta chaleur\u003c/i\u003e\u003cbr\u003e\u003ci\u003e81865 coll. Fontana\u003c/i\u003e\u003cbr\u003e\u003ci\u003e1958\u003c/i\u003e\u003c/p\u003e","date_end":null,"reference":"84","stream_count_app":84,"permalink":"721-l-air-est-plein-de-ta-chaleur","description_ru":"","description_de":"\u003cp\u003eDieses feuerrote Gemälde ist Verheyens erstes monochromes Experiment. Der halbe, schwebende Bogen verschwindet in den Hintergrund und macht Platz für ein meditatives Rot. 1958 wird das Werk zum ersten –\u0026nbsp;und zum letzten – Mal im Antwerpener Hessenhuis auf der Ausstellung \u003ci\u003eG58\u003c/i\u003e gezeigt. Verheyens italienischer Freund und Mentor Lucio Fontana kauft das Gemälde. Es ist das erste Mal, dass die Fondazione Lucio Fontana dieses Werk als Leihgabe zur Verfügung stellt.\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/933/medium_500/721_12.jpg?1721123828","cached_actor_names":"Jef Verheyen, Lucio Fontana","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/933/large/721_12.jpg?1721123828","poster_credits":"© SABAM Belgium, 2024, Fondazione Lucio Fontana","translations":[{"locale":"en","description":"\u003cp\u003eThis deep red painting is Verheyen’s first\u003c/p\u003e\u003cp\u003esuccessful monochrome experiment. The floating\u003c/p\u003e\u003cp\u003ehalf arc blends into the background, making\u003c/p\u003e\u003cp\u003eway for a meditative red. In 1958 this work is\u003c/p\u003e\u003cp\u003eexhibited for the first and last time, at the\u003c/p\u003e\u003cp\u003eG58 exhibition in the Hessenhuis, in Antwerp.\u003c/p\u003e\u003cp\u003eVerheyen’s Italian friend and mentor Lucio\u003c/p\u003e\u003cp\u003eFontana acquires the painting.\u003c/p\u003e\u003cp\u003eThis is the first time that the Fondazione\u003c/p\u003e\u003cp\u003eLucio Fontana has loaned the work. After more\u003c/p\u003e\u003cp\u003ethan 60 years, it is back in Antwerp.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDit vuurrode schilderij is Verheyens eerste\u003c/p\u003e\u003cp\u003esuccesvolle monochrome experiment. De halve,\u003c/p\u003e\u003cp\u003ezwevende boog verdwijnt naar de achtergrond\u003c/p\u003e\u003cp\u003een maakt plaats voor het meditatieve rood.\u003c/p\u003e\u003cp\u003eIn 1958 wordt het werk voor het eerst – en het\u003c/p\u003e\u003cp\u003elaatst – tentoongesteld in het Hessenhuis in\u003c/p\u003e\u003cp\u003eAntwerpen, op de tentoonstelling van G58.\u003c/p\u003e\u003cp\u003eVerheyens Italiaanse vriend en mentor Lucio\u003c/p\u003e\u003cp\u003eFontana verwerft het schilderij.\u003c/p\u003e\u003cp\u003eDit is de eerste keer dat de Fondazione\u003c/p\u003e\u003cp\u003eLucio Fontana het werk in bruikleen geeft.\u003c/p\u003e\u003cp\u003eNa meer dan zestig jaar reist het voor het eerst\u003c/p\u003e\u003cp\u003eterug naar Antwerpen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eCe tableau rouge incandescent est la première expérience monochrome réussie de Jef Verheyen. Le demi-cercle flottant disparaît dans le fond et cède la place au rouge méditatif. L’œuvre est présentée pour la première – et dernière – fois en 1958 à la Hessenhuis d’Anvers, lors de l’exposition \u003ci\u003eG58\u003c/i\u003e. Elle est acquise\u0026nbsp;par l’Italien Lucio Fontana, ami et mentor de Jef Verheyen. C’est la première fois que la Fondazione Lucio Fontana consent à la prêter.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":31816,"title":"• 0736 • Untitled ","dimensions":"82 x 38.5 cm","date_begin":"1956-01-01","material":"oil paint on masonite","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Fondazione Lucio Fontana","cached_tag_list":"Jef Verheyen Dripping Lucio Fontana Milan Ecriture","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eDecember 1956\u003cbr\u003eSigned on the front: 'Jef Verheyen'\u003cbr\u003eDated on the front: '12-56'\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":54,"permalink":"736-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/850/medium_500/736_8.jpg?1721043399","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/850/large/736_8.jpg?1721043399","poster_credits":"© SABAM Belgium, 2024, Fondazione Lucio Fontana","translations":[{"locale":"en","description":"\u003cp\u003eIn September 1957 the 25-year-old Verheyen\u003c/p\u003e\u003cp\u003evisits the modern metropolis of Milan for the\u003c/p\u003e\u003cp\u003efirst time. There he forges contacts with artists\u003c/p\u003e\u003cp\u003eand gallery owners. In February 1958 he holds\u003c/p\u003e\u003cp\u003ehis first exhibition in Milan’s Galleria Pater.\u003c/p\u003e\u003cp\u003eVerheyen describes that moment as ‘the start of\u003c/p\u003e\u003cp\u003ean immensely exciting story’. The Italian public\u003c/p\u003e\u003cp\u003eget to see his earliest paintings there. These are\u003c/p\u003e\u003cp\u003enotable for their cosmic or ‘labyrinthine’ style.\u003c/p\u003e\u003cp\u003eAt that exhibition, Italian-Argentine artist Lucio\u003c/p\u003e\u003cp\u003eFontana purchases this small painting. It is now\u003c/p\u003e\u003cp\u003epart of the Fondazione Lucio Fontana collection.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eFontana bought this work on the opening of the exhibition at Galleria Pater, 17 February 1958.\u003cbr\u003e\u003cbr\u003eThe work is on view on the installation photograph (on the right) by Sinigaglia.\u0026nbsp;\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eVerheyen writes about this work to Yves Klein in his letter from 7 February 1959:\u003ci\u003e\u0026nbsp;Fontana, je le connais bien depuis assez de temps, il m’a acheté quelques peintures qui représentent encore une \u003cstrong\u003eécriture\u003c/strong\u003e.\u0026nbsp;\u003c/i\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn september 1957 trekt de 25-jarige Verheyen\u003c/p\u003e\u003cp\u003evoor het eerst naar de moderne grootstad\u003c/p\u003e\u003cp\u003eMilaan. Hij legt er contacten met kunstenaars en\u003c/p\u003e\u003cp\u003egaleriehouders. In februari 1958 organiseert hij\u003c/p\u003e\u003cp\u003ein de Galleria Pater zijn eerste tentoonstelling.\u003c/p\u003e\u003cp\u003eVerheyen beschrijft dat moment als “de start\u003c/p\u003e\u003cp\u003evan een geweldige, spannende geschiedenis.”\u003c/p\u003e\u003cp\u003eHet Italiaanse publiek krijgt er zijn vroegste\u003c/p\u003e\u003cp\u003eschilderijen te zien. Ze vallen op door hun\u003c/p\u003e\u003cp\u003ekosmische of “labyrintische” stijl.\u003c/p\u003e\u003cp\u003eDe Italiaans-Argentijnse kunstenaar Lucio\u003c/p\u003e\u003cp\u003eFontana koopt op de tentoonstelling dit kleine\u003c/p\u003e\u003cp\u003eschilderij. Vandaag behoort het nog steeds tot\u003c/p\u003e\u003cp\u003ede collectie van de Fondazione Lucio Fontana.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":21156,"title":"• 0044 • Hommage à Fontana","dimensions":"50 x 60 cm","date_begin":"1957-01-01","material":"Collage, mixed media, oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Lucio Fontana Hans Liechti Hommage","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\n1957/1958/1959?\u003cbr /\u003e\r\nGilded frame, not original (\u0026gt;Hans Liechti)\u003cbr /\u003e\r\nSigned on the reverse in January 1959\u003cbr /\u003e\r\nDated on the reverse: \u0026quot;janvier 1959\u0026quot;\u003cbr /\u003e\r\nTitled aftwards by the artist, in 1959. According to Hans Liechti, who received the work from Verheyen,\u0026nbsp;the work was made in 1957.\u0026nbsp;\u003c/p\u003e\r\n","date_end":"1958-01-01","reference":"","stream_count_app":78,"permalink":"44-hommage-a-fontana","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/393/medium_500/44_asset1.jpg?1555077863","cached_actor_names":"Jef Verheyen, Galerie Bernard","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/393/large/44_asset1.jpg?1555077863","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive - Private Collection","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30579,"title":"• 0709 • Untitled","dimensions":"40 x 40 cm","date_begin":"1956-01-01","material":"Paint on slate","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Deutsche Buchgemeinschaft Ivo Michiels Adriaan de Roover","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nCa. 1956\u003cbr /\u003e\r\nUnsigned on the reverse\u0026nbsp;\u003cbr /\u003e\r\nUndated on the reverse\u003cbr /\u003e\r\nUntitled on the reverse\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nSigned and dated \u0026#39;1952\u0026#39; afterwards, by Adriaan De Roover, according to the current owner.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\nAccording to Ivo Michiels, the work was part of Verheyen\u0026#39;s solo exhibtion at the Deutsche Buchgemeinschaft (Antwerp) in 1956. In his review of this exhibition, the author mentions works on slate.\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":36,"permalink":"709-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/923/medium_500/709_1.JPG?1624366505","cached_actor_names":"Jef Verheyen, Deutsche Buchgemeinschaft, Ivo Michiels, Adriaan de Roover","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/923/large/709_1.JPG?1624366505","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive, 2021","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23119,"title":"• 0457 • Compositie","dimensions":"25 x 34 cm","date_begin":"1957-01-01","material":"Mixed media on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"André Garitte Foundation, Antwerp, Belgium","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"457-compositie","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/552/medium_500/457_asset1.jpg?1578577389","cached_actor_names":"Jef Verheyen, André Garitte Foundation","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/552/large/457_asset1.jpg?1578577389","poster_credits":"(c)Jef Verheyen, photo: ? 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(Maurice Graindorge); Carnegie Museums of Pittsburgh 1964, n. 268, 79\u0026nbsp;(Galerie Carrefour)\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":51,"permalink":"150","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/833/medium_500/150_asset1.jpg?1559724863","cached_actor_names":"Galerie Carrefour, Jef 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reverse,\u0026nbsp;by Jef Verheyen: \u0026#39;Jef Verheyen et Van Anderlecht Englebert\u0026#39;\u003cbr /\u003e\r\nDated on the reverse, by Van Anderlecht Archive: \u0026#39;1960\u0026#39;\u003cbr /\u003e\r\nTitled on the reverse by Jef Verheyen: \u0026#39;L\u0026#39;un et l\u0026#39;autre\u0026#39;\u003cbr /\u003e\r\nNumbered on the reverse, by Jef Verheyen: \u0026#39;n\u0026deg; 7\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse, by Van Anderlecht Archive: \u0026#39;130 x 97\u0026#39;\u003cbr /\u003e\r\nLabeled on the reverse referring to Campo \u0026amp; Campo, Antwerp; and to Galerie Cotthem, Knokke\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eRegistered and inscribed on the reverse by Van Anderlecht Archive: n. 679\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":26,"permalink":"700-l-un-et-l-autre-ni-l-un-ni-l-autre-12","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/664/medium_500/700_1.jpg?1623418784","cached_actor_names":"Jef Verheyen, Englebert Van Anderlecht, Galerie Cotthem","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/664/large/700_1.jpg?1623418784","poster_credits":"(c)Jef Verheyen, 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Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31265,"title":"• 0718 • Bruine compositie","dimensions":"","date_begin":"1962-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection Flemish Community","cached_tag_list":"Jef Verheyen Vlaamse Gemeenschap Flemish Community Beaux-Arts Vibratie Zilver","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse?\u003cbr /\u003e\r\nDated on the reverse?\u0026nbsp;\u003cbr /\u003e\r\nTitled on the reverse?\u0026nbsp;\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nFormer collection Beaux-Arts? see ex inv. n. 1292?\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"9137","stream_count_app":32,"permalink":"718-bruine-compositie","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/344/medium_500/718_5.jpg?1647944801","cached_actor_names":"Jef Verheyen, M HKA Museum van Hedendaagse Kunst Antwerpen, Vlaamse Gemeenschap / Flemish Community","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/344/large/718_5.jpg?1647944801","poster_credits":"(c)Jef Verheyen, photo: Christine Clinckx, M HKA - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21769,"title":"• 0266 • Spectra Venetiana - Dag en Nacht in Venetië","dimensions":"180 x 90 cm each, diptych","date_begin":"1977-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":16,"stream_count":0,"collection":"Dora Janssen, Antwerp, Belgium","cached_tag_list":"Jef Verheyen Diptych Venice Spectra Venetiana Jour Nuit Dag Nacht Paul Janssen Dora Janssen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (painted)\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nDated on the reverse: \u0026#39;Summer 1977\u0026#39;\u003cbr /\u003e\r\nSigned on the reverse\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":109,"permalink":"267-spectra-venetiana","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/679/medium_500/266_asset3.jpg?1579263408","cached_actor_names":"Jef Verheyen, The Antwerp Gallery ","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/679/large/266_asset3.jpg?1579263408","poster_credits":"(c)Jef Verheyen, photo: Axel Vervoordt - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26476,"title":"• 0685 • Untitled (Stilleven)","dimensions":"46 x 66 cm, 58 x 78,5 cm with frame","date_begin":"1957-01-01","material":"Oil paint on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Stilleven","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nFramed afterwards (not original)\u003cbr /\u003e\r\nSigned on the front (bottom right)\u003cbr /\u003e\r\nDated on the front (bottom right): \u0026#39;10-2?-1957\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":26,"permalink":"685-untitled-stilleven","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/427/medium_500/685_5.jpg?1594713995","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/427/large/685_5.jpg?1594713995","poster_credits":"(c)Jef Verheyen, photo: Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32278,"title":"Jef Verheyen's Liber Amicis","dimensions":"","date_begin":"1962-01-01","material":"mixed media on bound paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":57,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Liber Amicis Liber Amicorum Vriendenboek Jef Verheyen and Friends","publishing_process_id":1,"annotation":"","date_end":"1984-01-01","reference":"","stream_count_app":265,"permalink":"liber-amicis","description_ru":"","description_de":"\u003cp\u003eVerheyen war mehr als nur ein Maler, er war ein uneingeschränkter Modernist, ein später \u003ci\u003eHomo Universalis\u003c/i\u003e genannter Internationalist, dessen Bedeutung als Bindeglied zwischen der belgischen und der internationalen Kunstwelt kaum hoch genug eingeschätzt werden kann. Letzteres beweist sicherlich der im Archiv aufbewahrte und bisher nie zugänglich gemachte \u003ci\u003eLiber Amicis\u003c/i\u003e, in dem Jef Verheyen seinem Freundeskreis aus dem In- und Ausland Gelegenheit zu Wort gab. Der \u003ci\u003eLiber Amicis\u003c/i\u003e enthält unter anderem Beiträge von Piero Manzoni, Gotthard Graubner, Günther Uecker und Christian Megert.\u003c/p\u003e\u003cp\u003e(ADT)\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/079/medium_500/LA1.jpg?1653640801","cached_actor_names":"Jef Verheyen, Hermann Goepfert, Serge Largot, Nanda Vigo, Raymond Dauphin, Rochus Kowallek, Lucio Fontana, Gotthard Graubner, Jan van der Borgt, Maria Mara, Paul Ibou, Jos Macken, Frank-Ivo van Damme, Piet Sterckx, Christian Megert, Galerie Edith Wahlandt, Dominique Stroobant, Guy Stern, Lotte Lenya, Leon In den Kleef, Madeleine Everaert, Marlborough Gallery, Hergé, Roger Nellens, Hugues C. Pernath, The Antwerp Gallery , Albert  Szukalski, Anselm Thürwächter, Galerie Bernard, Ivo Michiels, Blinky Palermo, Gerhard Richter, Guy Vaes, Vic Gentils, Adam Seide, Günther Uecker, Piero Manzoni","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/079/large/LA1.jpg?1653640801","poster_credits":"(c) Scan: CKV, 2019 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eMore than just a painter. Verheyen was an unfettered modernist, a late-called \u003ci\u003ehomo universalis\u003c/i\u003e and internationalist whose importance as a link between the Belgian and international art worlds can hardly be overestimated. The latter is certainly evidenced by the \u003ci\u003eLiber Amicis\u003c/i\u003e, preserved in the archives and thus far never made available, in which Jef Verheyen gave his network of friends from home and abroad the opportunity to speak. The \u003ci\u003eLiber Amicis\u003c/i\u003e has contributions from Piero Manzoni, Gotthard Graubner, Günther Uecker and Christian Megert, among others.\u003c/p\u003e\u003cp\u003e(ADT)\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eMeer dan een schilder alleen was Verheyen een ongebonden modernist, een laatgeroepen\u0026nbsp;\u003ci\u003ehomo universalis \u003c/i\u003een internationalist waarvan het belang als schakel tussen de Belgische en de internationale kunstwereld moeilijk overschat kan worden. Van dat laatste getuigt alleszins de in het archief bewaarde en tot dusver nooit ontsloten\u0026nbsp;\u003ci\u003eLiber Amicis\u0026nbsp; \u003c/i\u003ewaarin\u003ci\u003e\u0026nbsp;\u003c/i\u003eJef Verheyen zijn bevriende netwerk uit binnen- en buitenland aan het woord liet. Het \u003ci\u003eLiber Amicis\u003c/i\u003e heeft bijdragen van onder meer Piero Manzoni, Gotthard Graubner, Günther Uecker en Christian Megert.\u003c/p\u003e\u003cp\u003e(ADT)\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003ePlus qu'un simple peintre, Verheyen était un moderniste sans entrave, un \u003ci\u003ehomo universalis\u003c/i\u003e et un internationaliste dont l'importance en tant que lien entre le monde de l'art belge et international ne peut guère être surestimée. En témoigne certainement le \u003ci\u003eLiber Amicis\u003c/i\u003e, conservé dans les archives et jusqu'à présent jamais rendu public, dans lequel Jef Verheyen a donné la parole à son réseau d'amis nationaux et étrangers. Le \u003ci\u003eLiber Amicis\u003c/i\u003e compte notamment sur les contributions de Piero Manzoni, Gotthard Graubner, Günther Uecker et Christian Megert.\u003c/p\u003e\u003cp\u003e(ADT)\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":23087,"title":"• 0443 • Untitled","dimensions":"80 x 100 cm, 82 x 101 cm with frame","date_begin":"1958-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"S.M.A.K., Stedelijk Museum voor Actuele Kunst, Ghent (Flemish Community)","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eArtist's? frame\u003cbr\u003eSigned on the reverse\u003cbr\u003eDated on the reverse: 'juni 58'\u003cbr\u003eUntitled\u0026nbsp;\u003cbr\u003eInscribed on the reverse: 'Rue Rubens 14 anvers'\u003cbr\u003eLabeled on the reverse\u0026nbsp;\u003c/p\u003e","date_end":null,"reference":"1567 / 8439","stream_count_app":64,"permalink":"44","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/443/medium_500/443_asset1.jpg?1577961091","cached_actor_names":"Jef Verheyen, S.M.A.K. Stedelijk Museum voor Actuele Kunst, Vlaamse Gemeenschap / Flemish Community","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/050/443/large/443_asset1.jpg?1577961091","poster_credits":"(c)Jef Verheyen, photo: S.M.A.K. Stedelijk Museum voor Actuele Kunst - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21192,"title":"• 0070 • Cathédrale de la Lumière","dimensions":"97 x 130 cm, 107 x 141 cm with frame","date_begin":"1960-01-01","material":"Oil paint on canvas","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":181,"platform_id":1,"deleted":false,"asset_count":15,"stream_count":0,"collection":"Axel and May Vervoordt Foundation","cached_tag_list":"Jef Verheyen Zwart","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nSigned on the reverse\u003cbr /\u003e\r\nDated on the reverse\u003cbr /\u003e\r\nInscribed on the reverse: \u0026#39;Anvers\u0026#39;\u0026nbsp;(twice)\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eAbout the meaning of \u003cem\u003eLichtkathedralen \u003c/em\u003e(Cathedrals of Light), the artist wrote in his notebook in 1961:\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eL\u0026rsquo;art flamand est un art sacrale. \u003c/em\u003e\u003cem\u003eAl wat onze voorvaderen schilderden, diende om de kathedralen te versieren. Mijn schilderijen zijn ook sacraal of zij zijn kathedralen van licht of zouden in de kathedraal van het licht moeten zijn.\u003cbr /\u003e\r\nKathedraal van licht is Kosmos.\u003cbr /\u003e\r\nHet huist van het licht. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePeintures fait pour la cath\u0026eacute;drale de la lumi\u0026egrave;re. \u003c/em\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":129,"permalink":"70-cathedrale-de-la-lumiere","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/489/medium_500/70_asset1.jpg?1556020968","cached_actor_names":"Jef Verheyen, Axel Vervoordt, Galerie Bernard, Jos Macken","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/489/large/70_asset1.jpg?1556020968","poster_credits":"(c)Jef Verheyen, photo: Axel Vervoordt -  Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e[...] In both operational and theoretical terms, these are somewhat eccentric positions to put forward in a European context, where the point of reference was still the pictorial dimension: a dimension which Verheyen himself was to resolve in a different and more evocative direction, in a sort of chromatic pantheism which receives spatial and light-related stimuli in a quite different way, leading to an explosion of \u003cem\u003eflows of light\u003c/em\u003e and \u003cem\u003ecathedrals of light\u003c/em\u003e, which, in their very titles, bespeak his particular vocation and frame of reference. [...]\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nSource:\u0026nbsp;Francesca Pola, \u0026#39;Bodies of light and dialectics of the immaterial. Spazialismo, Essentialisme, Achrome\u0026#39; in \u003cem\u003eJef Verheyen and Friends,\u0026nbsp;\u003c/em\u003eexh. cat., 2010: p. 157.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nAround\u0026nbsp;1966 \u0026ndash; 1967, Jef Verheyen would paint\u003cem\u003e\u0026nbsp;Lichtkathedralen (Light Cathedrals).\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22715,"title":"• 0352 • Venus Saphira","dimensions":"200 x 324 cm, 204 x 327 cm with frame","date_begin":"1978-01-01","material":"matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"Private Collection","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wood, painted pink)\u003cbr /\u003e\r\nSigned on the reverse in 1978\u003cbr /\u003e\r\nDated on the reverse in 1978: \u0026#39;Zomer 1978\u0026#39;\u003cbr /\u003e\r\nTitled on the reverse on 1978: \u0026#39;Venus\u0026#39;\u003cbr /\u003e\r\nInscribed on the reverse in 1978: \u0026#39;Ten Bosch\u0026#39;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe work has been repainted on 10 September 1983 in Ten Bosch\u003c/p\u003e\r\n","date_end":"1983-01-01","reference":"","stream_count_app":85,"permalink":"352-venus-saphira","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/340/medium_500/352_asset1.jpg?1572257940","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/339/large/352_asset1.jpg?1572257934","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Axel Vervoordt, Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":23417,"title":"• 0492 • Gelati","dimensions":"130 x 130 cm","date_begin":"1969-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Royal Museums of Fine Arts of Belgium, Brussels, Belgium","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the reverse: \u0026#39;J. Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse: \u0026#39;1969\u0026#39;\u003cbr /\u003e\r\nTitled on the reverse: \u0026#39;Gelati\u0026#39;\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"7792","stream_count_app":41,"permalink":"492-gelatti","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/408/medium_500/492_1.jpg?1582182033","cached_actor_names":"Jef Verheyen, Koninklijk Museum voor Schone Kunsten Brussel","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/408/large/492_1.jpg?1582182033","poster_credits":"(c)Jef Verheyen, photo: J. Geleyns, Royal Museums of Fine Arts of Belgium, SABAM - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":25263,"title":"• 0627 • Urbino ","dimensions":"95 x 95 cm","date_begin":"1977-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Antony Van der Elst Urbino Ideale Ruimte L'espace idéal Herfst Autumn","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nArtist\u0026#39;s frame (wood, painted green/orange)\u003cbr /\u003e\r\nOriginal stretcher\u003cbr /\u003e\r\nSigned on the reverse (marker): \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the reverse (marker): \u0026#39;1977\u0026#39;; \u0026#39;oktober 45\u0026#39;\u0026nbsp;[45 = 45 + 1932 = 1977]\u003cbr /\u003e\r\nTitled\u0026nbsp;on the reverse (marker): \u0026#39;Urbino\u0026#39; + Latin inscription [\u0026#39;ceietto quidi\u0026#39;?]\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nIncluded in the artist\u0026#39;s inventory of works made in 1978?\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":38,"permalink":"627-herfst","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":24098,"title":"• 0504 • De Grote Pan - Le Grand Pan","dimensions":"193 x 166 cm","date_begin":"1963-01-01","material":"matt lacquer on fibreboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Royal Museums of Fine Arts of Belgium, Brussels, Belgium","cached_tag_list":"Jef Verheyen Pan De grote Pan Le grand Pan tondo","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eReworked in 1976\u003cbr\u003eSigned on the reverse: 'Jef Verheyen'\u003cbr\u003eDated on the reverse: '1963/64'\u003cbr\u003eTitled on the reverse: 'Le Grand Pan'\u003cbr\u003eInscribed on the reverse (in 1963/64): 'Sète'\u003cbr\u003eInscribed on the reverse (in 1976): 'Ce tableau a été contrefait par moi-même fin juillet 1976'\u003c/p\u003e","date_end":"1964-01-01","reference":"8709","stream_count_app":61,"permalink":"504-le-grand-pan","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/411/medium_500/504_1.jpg?1582185290","cached_actor_names":"Koninklijk Museum voor Schone Kunsten Brussel, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/411/large/504_1.jpg?1582185290","poster_credits":"© SABAM Belgium, 2024, Royal Museums of Fine Arts of Belgium (Brussels), J. Geleyns","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21562,"title":"• 223 • Lux est Lex ","dimensions":"160 x 160 cm each, 173 x 174 cm with frame","date_begin":"1974-01-01","material":"matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Private Collection","cached_tag_list":"Jef Verheyen Dia Lux est Lex Lux Lex Provence Les Talons","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned on the reverse\u003cbr\u003eDated on the reverse\u003cbr\u003eTitled on the reverse?\u0026nbsp;\u003c/p\u003e\u003cp\u003eAccording to the artist's sketch (as published in Axel Vervoordt's catalogue 'Provence' the left panel symbolises\u0026nbsp;\u003ci\u003eNacht (Night), \u003c/i\u003eand the right one\u0026nbsp;\u003ci\u003eDag (Day)\u003c/i\u003e\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":111,"permalink":"223-lux-est-lex","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/191/medium_500/223_15.jpg?1723210616","cached_actor_names":"Jef Verheyen, Axel Vervoordt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/191/large/223_15.jpg?1723210616","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22660,"title":"• 0330 • Diamant - Zwevende Ruimte ","dimensions":"71 x 71 cm","date_begin":"1984-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Diamant Diamond Zwevende Ruimte Ruimte Flottant Zwevend","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eArtist's frame (wood, painted)\u003cbr\u003eSigned on the reverse\u003cbr\u003eDated on the reverse: 'jan 1984'\u003cbr\u003eInscribed on the reverse:\u0026nbsp;Th Diamant I Zwevende Ruimte\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":59,"permalink":"330-th-diamant-i-zwevende-ruimte","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/833/medium_500/330_asset3.jpg?1574332889","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/049/833/large/330_asset3.jpg?1574332889","poster_credits":"(c)Jef Verheyen, photo: Congo Blue. Courtesy Axel Vervoordt Gallery - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":34013,"title":"• 0816 • Birth of Venus - Hommage à Botticelli","dimensions":"180 x 180 cm","date_begin":"1973-01-01","material":"Matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Museum Sztuki, Lodz","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"MS/SN/M/989","stream_count_app":19,"permalink":"815-hommage-a-botticelli","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/237/medium_500/816_1.jpg?1676361522","cached_actor_names":"Museum Sztuki, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/237/large/816_1.jpg?1676361522","poster_credits":"(c)Jef Verheyen, photo: Museum Sztuki - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26382,"title":"• 0684 • L'amour","dimensions":"99.6 x 61 cm","date_begin":"1950-01-01","material":"oil paint on wooden panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Amour","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned on the front: 'Jef Verheyen'\u003cbr\u003eDated on the front: '50'\u003cbr\u003eTitled on the front: 'l'amour'\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":36,"permalink":"684-l-amour","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/260/medium_500/AfbeeldingJV1.jpg?1708514387","cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/260/large/AfbeeldingJV1.jpg?1708514387","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":21175,"title":"• 0063 • Zwarte Ruimte - Espace Noir","dimensions":"130 x 195 cm","date_begin":"1959-01-01","material":"oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":181,"platform_id":1,"deleted":false,"asset_count":16,"stream_count":0,"collection":"Axel and May Vervoordt Foundation","cached_tag_list":"Jef Verheyen Zwarte ruimte Espace noir","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003e\u003ci\u003eZwarte Ruimte\u003c/i\u003e was painted in Antwerp in 1959 and then transported, signed and framed by the artist in Switzerland at Galerie Bernard in 1960.Jef Verheyen traveled to Switzerland with the canvas rolled. 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Verheyen schildert de blauwe\u003c/p\u003e\u003cp\u003eondergrond, Fontana voert de perforaties uit als\u003c/p\u003e\u003cp\u003eeen performance. Deze samenwerking belichaamt\u003c/p\u003e\u003cp\u003ehun gedeelde opvattingen over het activeren van\u003c/p\u003e\u003cp\u003ede ruimte. “Fontana’s spatialisme boorde door de\u003c/p\u003e\u003cp\u003edimensies. Zijn vijfde dimensie brak de grenzen,\u003c/p\u003e\u003cp\u003ehij opende de weg naar de oneindigheid,” schrijft\u003c/p\u003e\u003cp\u003eVerheyen. De titel van dit werk verwijst naar de\u003c/p\u003e\u003cp\u003eeindeloze Möbiusring. Deze ring staat symbool voor\u003c/p\u003e\u003cp\u003ede harmonie tussen twee artistieke benaderingen\u003c/p\u003e\u003cp\u003een voor hun droom van oneindige vrijheid.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":23199,"title":"• 0488 • Untitled (Mirror Mosaic) ","dimensions":"74.5 x 64 x 2 cm                ","date_begin":"1957-01-01","material":"ceramics and mirrored glass","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":254,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Private Collection, Belgium","cached_tag_list":"Jef Verheyen Spiegel Keramiek","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned on the front, top left: 'Jef Verheyen'\u003cbr\u003eDated on the front, top left: '57'\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":102,"permalink":"488-spiegelmozaiek","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/587/medium_500/488_7.jpg?1601904438","cached_actor_names":"Leon In den Kleef, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/587/large/488_7.jpg?1601904438","poster_credits":"(c)Jef Verheyen, photo: De Vuyst, 2020 - 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Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003e1) Masker op pot\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003e2) Masker op tamelijk platte figuur\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003e3) open mond\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27190,"title":"Interior of l'Atelier 14 (ceramics shop)","dimensions":"","date_begin":null,"material":"photo print on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen l'Atelier 14","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"photograph-interior-of-l-atelier-14-ceramics-shop","description_ru":"","description_de":"\u003cp\u003eDani Francque und Jef Verheyen in der Rubenstraat 14 in Antwerpen, wo sie 1955 ihr Keramikgeschäft Atelier 14 eröffneten.\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/061/043/medium_500/JV_Atelier14.jpg?1598518443","cached_actor_names":"Dani Franque, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/061/043/large/JV_Atelier14.jpg?1598518443","poster_credits":"(c)Scan: CKV, 2020 - Jef Verheyen Archive - photo: Gerald Dauphin","translations":[{"locale":"en","description":"\u003cp\u003eIn 1954, along with\u0026nbsp;ceramicists Dani Francq, Marina Van Acker and Blanca Olmedo, Jef Verheyen \u0026nbsp;sets up a studio/shop in Antwerp, opposite the Rubens House, an he calls it 'l'Atelier 14'. 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Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eEtymology: Vlaming - Flamme - Flaming - Vlam - Vuur - Vuurvogel - Flamant - Flagsma / The emotional effect of flaming light\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eEtymologie: Vlaming - Flamme - Flaming - Vlam - Vuur - Vuurvogel - Flamant - Flagsma / The emotional effect of flaming light\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eNotes sur l'étymologie du \u003ci\u003ePeintre Flamant\u003c/i\u003e, surnom choisi par Jef Verheyen\u003c/p\u003e"}]},{"id":22962,"title":"Pour une peinture non plastique (softcover)","dimensions":"28 x 18.2 cm","date_begin":"1967-01-01","material":"ink on paper, softcover","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":22,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Pour une peinture non plastique","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_70_01_01","stream_count_app":114,"permalink":"pour-une-peinture-non-plastique","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/401/medium_500/JV_70_01_01.jpg?1630654118","cached_actor_names":"Jef Verheyen, Guy Vaes, Henri-Floris Jespers, Ivo Michiels, Wout Vercammen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/401/large/JV_70_01_01.jpg?1630654118","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003ePour une peinture non plastique\u0026nbsp;\u003c/i\u003eis\u003c/p\u003e\u003cp\u003ea collection of texts, compiled by\u003c/p\u003e\u003cp\u003eJef Verheyen in 1959 and including\u003c/p\u003e\u003cp\u003ean essay by him. The cahier was first\u003c/p\u003e\u003cp\u003eself-published in 1960 (loose-leaf,\u003c/p\u003e\u003cp\u003eperforated, with brass rings). The cahier\u003c/p\u003e\u003cp\u003estarts with the words of Paul\u003c/p\u003e\u003cp\u003eCézanne and then quotes Guy Vaes,\u003c/p\u003e\u003cp\u003eJoseph Joubert, Henry Miller, Ivo\u003c/p\u003e\u003cp\u003eMichiels, Paul van Ostaijen,\u003c/p\u003e\u003cp\u003eHeraclitus, Plato, Lao Tseu, Henri\u003c/p\u003e\u003cp\u003ePoincaré, Aristotle, Empedocles,\u003c/p\u003e\u003cp\u003eParmenides.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eOriginally printed in 1960. Reprinted with an introduction by Henri-Floris Jespers in 1967 in softcover as well in hardcover, with sliding case. \u0026nbsp;The cahier has been lay-outed by Wout Vercammen.\u003c/strong\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003ePour une peinture non plastique\u0026nbsp;\u003c/i\u003eis\u003c/p\u003e\u003cp\u003eeen verzameling teksten, in 1959\u003c/p\u003e\u003cp\u003edoor Jef Verheyen samengesteld\u003c/p\u003e\u003cp\u003een vergezeld van een eigen essay.\u003c/p\u003e\u003cp\u003eDe bundel werd in 1960 voor het eerst gepubliceerd\u003c/p\u003e\u003cp\u003ein eigen beheer (losbladig, geperforeerd, met koperen ringen).\u0026nbsp;\u003c/p\u003e\u003cp\u003eHet cahier vangt aan met de woorden van\u003c/p\u003e\u003cp\u003ePaul Cézanne en citeert vervolgens\u003c/p\u003e\u003cp\u003eGuy Vaes, Joseph Joubert, Henry\u003c/p\u003e\u003cp\u003eMiller, Ivo Michiels, Paul van\u003c/p\u003e\u003cp\u003eOstaijen, Heraclitus, Plato, Lao Zi,\u003c/p\u003e\u003cp\u003eHenri Poincaré, Aristoteles,\u003c/p\u003e\u003cp\u003eEmpedocles, Parmenides.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eOorspronkelijk gedrukt in 1960. Herdrukt met een inleiding door Henri-Floris Jespers in 1967 in zowel soft- als hardcover met schuifdoos. Het cahier is vormgegeven door Wout Vercammen.\u003c/strong\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":33885,"title":"• 0810 • Soleil II","dimensions":"130 x 130 cm","date_begin":"1966-01-01","material":"matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Sammlung Lenz, Schönberg, Austria","cached_tag_list":"Jef Verheyen Soleil Soleil 2","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned on the back: 'Jef Verheyen'\u003cbr\u003eDated on the back '66/67'\u003cbr\u003eLabeled on the reverse referring to the Sao Paulo exhibition (1967), Belgische Staat (1967), Marcel Stal,\u0026nbsp;Musée d’art et d’histoire de Neuchâtel exhibition (19)\u003cbr\u003eCustoms stamps Antwerp\u003c/p\u003e","date_end":"1967-01-01","reference":"VER-42","stream_count_app":49,"permalink":"810-soleil","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/032/medium_500/810_8.jpg?1721988998","cached_actor_names":"Galerie Carrefour, Sammlung Lenz, Galerie Bernard, Galerie Schoeller, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/032/large/810_8.jpg?1721988998","poster_credits":"© SABAM Belgium, 2024, Philipp Schönborn","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22319,"title":"• 0295 • Zonder titel (Hommage à Van Gogh)","dimensions":"120 x 120 cm, 125 x 125 x 5,3 cm with frame","date_begin":"1976-01-01","material":"matt lacquer on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Jef Verheyen in Provence Provence Van Gogh Hommage Homage","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eArtist's frame\u003cbr\u003eSigned twice on the reverse\u003cbr\u003eDated twice\u0026nbsp;on the reverse\u003cbr\u003eInscribed on the reverse: \"Le Peintre Flamant [...] St. Saturnin d'apt\"\u003c/p\u003e\u003cp\u003eMade in February 1976\u0026nbsp;according to the artist's inventory, commissioned\u0026nbsp;\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":71,"permalink":"295-untitled","description_ru":"","description_de":"\u003cp\u003eAn Van Goghs Werk schätzt Verheyen v.a. die Freisetzung von Licht und Farbe. In dieser Hommage an den holländischen Meister finden sich die wesentlichen Bestandteile von Verheyens Malerei: Die Andeutung einer Landschaft, eines Lichtfeldes, einer Schattenlinie, ein subtiles Verhältnis warmer und kalter Farben. Auf diese Weise gelingt es Verheyen, die Essenz des flirrenden Lichts des Südens einzufangen. \u0026nbsp; \u0026nbsp; \u0026nbsp;„Aus meiner Sicht hat nicht Van Gogh, sondern Verheyen die Provence gemalt,”\u0026nbsp;sagte Hans Liechti, ein Schweizer Galerist und Freund Verheyens.\u0026nbsp;\u003c/p\u003e\u003cp\u003e(KMSKA, 2024)\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/048/662/medium_500/295_asset2.jpg?1571733285","cached_actor_names":"Jef Verheyen, Axel Vervoordt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/048/662/large/295_asset2.jpg?1571733285","poster_credits":"(c)photo: Jan Liégeois - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eVerheyen admires the liberation of light and colour in Van Gogh's work. In this tribute to that Dutch master we find the essential ingredients of Verheyen's painting: the suggestion of a landscape, a field of light, a shadow line, a subtle balance of warm and cold colours. With these Verheyen manages to capture the essence of the vibrant southern light. ‘For me it was not Van Gogh, but Verheyen who painted Provence,’ said Hans Liechti, a Swiss gallery owner and friend of Verheyen.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn het werk van Van Gogh waardeert Verheyen de bevrijding van licht en kleur. In dit eerbetoon aan de Hollandse meester vind je de essentiële ingrediënten terug van Verheyens schilderkunst: de suggestie van een landschap, een lichtveld, een schaduwlijn, een subtiele verhouding tussen warme en koude kleuren. Zo weet Verheyen de essentie te vatten van het zinderende zuiderse licht. “Voor mij is het niet Van Gogh, maar Verheyen die de Provence heeft geschilderd,” zei Hans Liechti, een Zwitserse galeriehouder en vriend van Verheyen.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eJef Verheyen est admiratif de la libération de la lumière et de la couleur dans l’œuvre de Van Gogh. Dans cet hommage au Maître hollandais, on retrouve les ingrédients essentiels de la peinture de Verheyen\u0026nbsp;qui ne fait ici que suggérer un paysage, un champ de lumière, une ligne d’ombre, dans un rapport subtil entre les couleurs chaudes et froides. Jef Verheyen parvient ainsi à capturer l’essence de la brûlante lumière du Midi. «\u0026nbsp;Pour moi, le peintre de la Provence, ce n’est pas Van Gogh, mais Verheyen\u0026nbsp;», déclarait Hans Liechti, galeriste suisse et ami de Jef Verheyen.\u003c/p\u003e\u003cp\u003e(source: KMSKA, 2024)\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":31435,"title":"Jef Verheyen","dimensions":"","date_begin":"1973-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":20,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Lodz Museum Sztuki Eon Eoneum Jardin des templiers Weert 1959 Pour une peinture non plastique Ook een verhaal","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eNotes by the artist on the inside\u003c/p\u003e\u003cp\u003eIvo Michiels,\u0026nbsp;\u003ci\u003eJef Verheyen, une autre histoire\u003c/i\u003e\u003cbr\u003e\u003ci\u003eJef Verheyen, \u003c/i\u003eextract from\u003ci\u003e\u0026nbsp;Pour une peinture non plastique,\u003c/i\u003e Jardin des Templiers, Weert, 1959\u003cbr\u003eJef Verheyen, \u003ci\u003ePourquoi l'un a-t-il le sens de la couleur et l'autre pas\u003c/i\u003e, 1966\u003c/p\u003e","date_end":null,"reference":"JV_19_10","stream_count_app":102,"permalink":"jef-verheyen-bde8df20-c263-4413-bfd6-d6ec8d62bb66","description_ru":"","description_de":"\u003cp\u003eNotes by the artist on the inside\u003c/p\u003e\u003cp\u003eIvo Michiels,\u0026nbsp;\u003ci\u003eJef Verheyen, une autre histoire\u003c/i\u003e\u003cbr\u003e\u003ci\u003eJef Verheyen, \u003c/i\u003eextract from\u003ci\u003e\u0026nbsp;Pour une peinture non plastique,\u003c/i\u003e Jardin des Templiers, Weert, 1959\u003cbr\u003eJef Verheyen, \u003ci\u003ePourquoi l'un a-t-il le sens de la couleur et l'autre pas\u003c/i\u003e, 1966\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/846/medium_500/JV_19_10_a.jpg?1638276570","cached_actor_names":"Ivo Michiels, Frank Philippi, R. Stanislawski, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/846/large/JV_19_10_a.jpg?1638276570","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eNotes by the artist on the inside\u003c/p\u003e\u003cp\u003eIvo Michiels,\u0026nbsp;\u003ci\u003eJef Verheyen, une autre histoire\u003c/i\u003e\u003cbr\u003e\u003ci\u003eJef Verheyen, \u003c/i\u003eextract from\u003ci\u003e\u0026nbsp;Pour une peinture non plastique,\u003c/i\u003e Jardin des Templiers, Weert, 1959\u003cbr\u003eJef Verheyen, \u003ci\u003ePourquoi l'un a-t-il le sens de la couleur et l'autre pas\u003c/i\u003e, 1966\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eNotes by the artist on the inside\u003c/p\u003e\u003cp\u003eIvo Michiels,\u0026nbsp;\u003ci\u003eJef Verheyen, une autre histoire\u003c/i\u003e\u003cbr\u003e\u003ci\u003eJef Verheyen, \u003c/i\u003eextract from\u003ci\u003e\u0026nbsp;Pour une peinture non plastique,\u003c/i\u003e Jardin des Templiers, Weert, 1959\u003cbr\u003eJef Verheyen, \u003ci\u003ePourquoi l'un a-t-il le sens de la couleur et l'autre pas\u003c/i\u003e, 1966\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eNotes by the artist on the inside\u003c/p\u003e\u003cp\u003eIvo Michiels,\u0026nbsp;\u003ci\u003eJef Verheyen, une autre histoire\u003c/i\u003e\u003cbr\u003e\u003ci\u003eJef Verheyen, \u003c/i\u003eextract from\u003ci\u003e\u0026nbsp;Pour une peinture non plastique,\u003c/i\u003e Jardin des Templiers, Weert, 1959\u003cbr\u003eJef Verheyen, \u003ci\u003ePourquoi l'un a-t-il le sens de la couleur et l'autre pas\u003c/i\u003e, 1966\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":21165,"title":"• 0053 • Untitled (Milano)","dimensions":"65 x 81 cm","date_begin":"1959-01-01","material":"oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private Collection","cached_tag_list":"Jef Verheyen Milan","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eWork made in Milan\u003cbr\u003eSigned on the reverse: 'Jef Verheyen'\u003cbr\u003eDated on the reverse: 'M 59' [Milan 1959]\u003cbr\u003e\u0026nbsp;\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":50,"permalink":"53-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/411/medium_500/53_asset1.jpg?1555491827","cached_actor_names":"Axel Vervoordt, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/044/411/large/53_asset1.jpg?1555491827","poster_credits":"(c)Jef Verheyen, photo: ? - Axel Vervoordt","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":25914,"title":"Opening speech - Uber Jef Verheyen Eine Rede (copy)","dimensions":"A4, 10 p.","date_begin":"1982-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":25,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Frans Lazere","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":61,"permalink":"vernissage-speech-669cc758-ca4b-40ba-8566-2df363530c9b","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/057/291/medium_500/JV_Text_Durrenmatt_1.jpg?1590567137","cached_actor_names":"Friedrich Dürrenmatt, Jef Verheyen, Erker Galerie, Erker Press","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/057/291/large/JV_Text_Durrenmatt_1.jpg?1590567137","poster_credits":"(c)scan: CKV, 2020 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27627,"title":"Licht, Raum und Unendlichkeit","dimensions":"A4, 4 p.","date_begin":"2010-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Artinvestor Artcollector Langen Foundation Le Peintre Flamant","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_40_50","stream_count_app":20,"permalink":"licht-raum-und-unendlichkeit","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/237/medium_500/27627_a.jpg?1600954869","cached_actor_names":"Johanna Hunder, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/237/large/27627_a.jpg?1600954869","poster_credits":"(c) Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003ePublished in 2010 in the art magazine 'Artinvestor' (now 'Artcollector')\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31908,"title":"Ivo Michiels: Misschien wel een schrijver die schildert","dimensions":"5 p.","date_begin":"2011-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"Jef Verheyen Boek 40 Ivo Michiels Casa Roca","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"ivo-michiels-misschien-wel-een-schrijver-die-schildert","description_ru":"","description_de":"\u003cp\u003eFrank Heirman, 'Ivo Michiels: Misschien wel een schrijver die schildert', in: \u003ci\u003eDeus ex Machina\u003c/i\u003e, 35, 138-139, 2011, 105-112.\u003cbr\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003ch2\u003eIvo Michiels\u003c/h2\u003e\u003ch2\u003eMisschien wel een schrijver die schildert\u003c/h2\u003e\u003cp\u003e1. Correspondances\u003c/p\u003e\u003cp\u003e“Mijn grote, mijn enige, mijn eerste hartstocht”, verwoordde Charles Baudelaire (1821-1867) zijn liefde voor de schilderkunst. De dichter van ‘Les fleurs du mal’ was één van de eerste schrijvers die zich intens met plastische kunsten inliet. De jaarlijkse kunstsalons volgde hij op de voet, hij schreef kritieken en nam gedurfde stellingen in. Met Eugène Delacroix had hij een blijvende band. Keer op keer zocht hij naar de essentie van diens romantische genie. “Als Delacroix een schilderij componeert, kijkt hij in zichzelf in plaats van door het raam te staren. Uit de schepping heeft hij al lang datgene gehaald wat zijn kunst nodig heeft, en dat geeft zijn schilderijen hun intieme aantrekkingskracht, al ogen ze op het eerste gezicht onaangenaam”, ontdekte de dichter, die overigens als criticus schatplichtig was aan zijn voorganger Théophile Gautier.\u003c/p\u003e\u003cp\u003eBaudelaire hield de kunstkritiek niet gescheiden van zijn andere werk. Zijn voorkeur voor het groteske en de combinatie van het hoge en het lage vond hij terug in prenten en schilderijen. Sommige gedichten zijn een regelrechte poging om ‘Correspondances’ te vinden tussen verf en inkt.\u0026nbsp;\u003c/p\u003e\u003cp\u003eVanaf Baudelaire, waarmee de kunstgeschiedenis graag de moderne poëzie laat beginnen, vormt belangstelling voor plastische kunsten een rode draad in de literatuur. Vooral de experimentele poëzie vond nieuwe wegen via het contact met plastische kunsten. Mallarmé, Apollinaire, Tzara, Breton schieten te binnen. Ook de Vlaamse literatuur biedt treffende voorbeelden. Karel Van de Woestyne wist zich in Latem omringd door expressionistische schilders, maar was ook vertrouwd met de voorgangers van Les XX en James Ensor. Paul Van Ostaijen sloot een verbond met Oscar en Floris Jespers en Paul Joostens, maar boekte de meeste vooruitgang door zijn kennis van het Franse kubisme en zijn dadaïstische contacten in Berlijn.\u003c/p\u003e\u003cp\u003eOnmiddellijk na de schoolbanken belandde Hugo Claus in kringen van schilders en beeldhouwers. Op achttienjarige leeftijd was hij betrokken bij de groep La Relève waarvan Roger Raveel en Jan Burssens deel uitmaakten. Twee jaar later, in 1949, introduceerde beeldhouwer Florent Wellens hem in Les Ateliers du Marais, de woon- en werkplaats van Pierre Alechinsky waar ook Reinhoud, Jan Cox en vele oud-leden van Cobra zich ophielden.\u003c/p\u003e\u003cp\u003eOok voor Ivo Michiels speelde de kunstscene, net zoals de filmwereld, een doorslaggevende rol in zijn evolutie als schrijver. Maar het was geen liefde op het eerste gezicht. Er ging een leerproces aan vooraf, waarin de schrijver zijn eigen leermeester was.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e2. Springen of niet-springen\u003c/p\u003e\u003cp\u003eIn 1949 zit Ivo Michiels, nochtans zes jaar ouder dan Hugo Claus, nog helemaal opgesloten in zijn cocon van idealistische poëzie en strijdbaar maar toch ook progressief katholiek engagement. Van plastische kunsten is er nog geen spoor. De liefde voor schilderijen kreeg hij niet van thuis of van schoolleraars mee.\u0026nbsp;\u003c/p\u003e\u003cp\u003eMichiels was zich bewust van zijn intellectuele achterstand en kreeg de gelegenheid zichzelf bij te werken, toen hij vanaf 1948 aan het Handelsblad mocht meewerken.\u003c/p\u003e\u003cp\u003eDe eerste jaren schreef hij over film en literatuur. Pas na vier jaar verzorgde hij een eerste kunstbijdrage, gewijd aan Jack Godderis (1916-1971). Merkwaardig: over die Antwerpse schilder zou hij het vaakst schrijven in de krant, vijf artikels in totaal. En nog merkwaardiger: Michiels zou Godderis, een figuur die vandaag passé is en wiens oeuvre nauwelijks evolutie vertoonde, trouw blijven tot zijn ontslag bij de krant in 1958. Hij waardeert diens zoektocht naar beheersing en harmonie. Vooral diens portretten vond hij ‘ontheven’. Michiels’ belangstelling moet meer gewekt zijn door de artistieke figuur Godderis en diens eerlijkheid, dan door zijn stijl. Zijn grimmig coloriet dat afwijkt van de werkelijkheid paste bij het existentialisme begin jaren vijftig, waarvoor Michiels toen ontvankelijk was\u003c/p\u003e\u003cp\u003eTot begin 1954 schreef Michiels slechts hoogst sporadisch over schone kunsten. Daarna drukte hij zijn stempel op de rubriek ‘Geestesleven’, een pagina op dinsdag waarvoor hij romans en plastische kunst recenseerde. ‘Geestesleven’ was moderner dan de titel liet vermoeden. Walter De Block signaleerde er al eens belangrijke jazzplaten en ook Paul De Vree schreef er af en toe voor. Het moet een stimulerende biotoop geweest zijn, met Michiels als spil.\u003c/p\u003e\u003cp\u003eWaarover schrijft Michiels in de krant? Nauwelijks over het verleden en al zeker niet over het vooroorlogse kunstgebeuren. Hij kan niet voorbij aan de grote evenementen, zoals het jaarlijkse salon van ‘Kunst van Heden’ in de Stadsfeestzaal, maar eigenlijk heeft hij weinig te melden over de retrospectieven. Op het salon van 1954 betwist hij niet de verdiensten van Gustaaf De Smet en de revolutionair Paul Joostens, maar het raakt hem niet echt. Hij ontdekt er liever Anne Bonnet en Jan Saverys. In een tentoonstelling bij het Grafisch Genootschap datzelfde jaar in hij al even onbegrijpelijk meer getroffen door de anekdotische jonge etser René De Coninck dan door de vormvernieuwers van de jaren twintig. Hij vindt Frans Masereel en Henri Van Straten gedateerd. “Het is niet iets maar de illustratie van iets.” Het is ook tekenend dat hij over de abstracte pionier Jozef Peeters geen woord schrijft, hoewel hij wel een schilderij van hem zou verwerven, dat hij later aan een vriend cadeau zou doen.\u003c/p\u003e\u003cp\u003eMichiels heeft duidelijk meer voeling met de jonge schilders die zich in 1945 verenigden in Jeune Peinture. Na de traumatische oorlogsjaren probeerden ze weer aansluiting te vinden bij een voorzichtig modernisme. Zij schipperden tussen figuratie en abstractie. Een deel maakte de sprong, anderen niet. Michiels stond voor een gelijkaardig dilemma. Kiezen deed hij niet. Hij sympathiseerde vooral voor artiesten die net niet sprongen.\u003c/p\u003e\u003cp\u003eJeune Peinture bestond als groep maar enkele jaren en vertakte naar tal van andere groeperingen zoals Cobra, Art Abstrait, Taptoe, Formes, allemaal van korte duur, maar met lange nawerking. Jack Godderis was lid van Jeune Peinture, net zoals Luc Peire, Rik Slabbinck, Gaston Bertrand, Marc Mendelson en Jan Vaerten. Michiels volgde deze opkomende artiesten met aandacht in meerdere artikels. Vooral over Peire die van langgerekte Afrikaanse figuurtjes naar streepschilderijen evolueerde, was hij enthousiast.\u003c/p\u003e\u003cp\u003eHun exposities vonden vooral plaats in Het Atelier, de eerste vernieuwende galerie in het Antwerpse. Pip Wouters en kunstschilder Jan Vaerten hadden de ruimte in 1951 geopend. Collega Hubert Lampo, die kunstrecensies voor de socialistische Volksgazet schreef en die voor Michiels’ latere overstap naar de socialistische uitgeverij Ontwikkeling cruciaal zou zijn, verzorgde er vaak inleidingen. Onder de vaste bezoekers van Het Atelier bevonden zich schrijvers als Paul Neuhuys en Werner Spillemaeckers, choreografe Jeanne Brabants, architect Renaat Braem.\u003c/p\u003e\u003cp\u003eEen tweede belangrijke biotoop vond Michiels in het Centrum van Artistieke Werking (CAW), een zaal op de Meir, waar John Trouillard vanaf 1954 de exposities organiseerde. Het niveau wisselde, maar het was hier dat nieuwlichters hun eerste kansen kregen. Hier kon Michiels zo nu en dan zijn eigen generatie ontdekken. Een revelatie was de expositie van Paul Van Hoeydonck (1925), die met zijn taferelen uit de Antwerpse haven en Marokko de grens van de abstractie aftastte. Hij is zo enthousiast dat hij naar het atelier trekt om te zien hoe Van Hoeydonck “een sprong uit de anekdote en het bijkomstige maakt” zonder te belanden “in het steriel constructivisme in het ijle.” “Hoe dichter zijn werk de abstractie zal benaderen, hoe meer het er van verlost zijn worden”, besluit hij profetisch.\u003c/p\u003e\u003cp\u003eOok de figuur John Trouillard zou in Michiels’ latere carrière terugkomen. In 1959 verzorgde hij de lay-out van ‘Albisola Mare, Savona’,\u0026nbsp; een verhaal in een beperkte editie met tekeningen van Wilfredo Lam en Roberto Crippa. In 1960 zou Trouillard het CAW openstellen voor de Nieuwe Vlaamse School van Jef Verheyen, inmiddels Michiels’ boezemvriend. Daarna startte hij de fameuze Ad Libitum-galerie waar Verheyen en zijn buitenlandse Zero-vrienden onderdak zouden krijgen.\u003c/p\u003e\u003cp\u003eHet artistiek klimaat in Antwerpen kabbelt in de fifties gezapig op en neer. Maar in het seizoen 1956-57 keert het ten goede. Als kunstcriticus kan Michiels de interessante exposities niet meer bijhouden. In plaats van lange beschouwende stukken verschijnen steeds vaker losse foto’s, waarin hij zijn enthousiasme uitschreeuwt voor Marc Mendelson, Luc Peire, maar ook voor Michel Seuphor en nieuwe namen als Dan van Severen, Walter Leblanc\u0026nbsp; en Mark Verstockt. Die ontmoet hij in galerie Accent in de Lange Nieuwstraat 91, zijn nieuwe thuishaven. De galerie annex boekhandel en prentenkabinet van radio en tv-medewerker Hugo Hellemans, was een vertrouwd adres voor Michiels. Van 1947 tot 1951 had Paul De Vree in het huis, dat eigendom was van Maurice Gilliams, de boekhandel ‘De Brug’ geleid en was er het redactiesecretariaat van De Golfslag, het katholieke tijdschrift waarvan Michiels een stuwende kracht was.\u003c/p\u003e\u003cp\u003eNaast Accent openden ook Galerie Vermeer in de Eikenstraat en Ravenna in de Korte Gasthuisstraat de deuren. De avant-garde kreeg ook expositiemogelijkheden in zoldercafé Gard Sivik en de Deutsche Buchgemeinschaft.\u003c/p\u003e\u003cp\u003eAntwerpen was rijp voor de creatieve explosie van G58 in het Hessenhuis. Michiels maakte het van op de eerste rij mee, maar niet meer als onderzoekend journalist, wel als overtuigd kunstfan, beginnend verzamelaar en vriend van tal van G58-leden.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e3. Zoekende kunstcriticus\u003c/p\u003e\u003cp\u003eHoe belangrijk waren de kunstkritieken van Michiels uit de jaren vijftig? Jan Hoet schreef er in 1980 in het Michiels-nummer van het tijdschrift Restant geestdriftig over. “Zij vormen een onschatbare bron van informatie en een heldere en boeiende lectuur voor wie wenst kennis op te doen over de naoorlogse periode, echo’s op te vangen van de strijd en de polemieken die rond de tegenstelling ‘figuratief’ en ‘non-figuratief’ werden\u0026nbsp; gevoerd”, vindt Hoet.\u003c/p\u003e\u003cp\u003eDat klopt. Vijftig jaar na datum blijven het goed leesbare tijdsdocumenten, wat van de meeste krantenkritiek vandaag niet meer gezegd zal kunnen worden. Michiels bijdragen zijn voor de huidige normen lange, persoonlijke stukken waarin hij geen afzonderlijke werken beschrijft, maar steeds behoedzaam een synthese formuleert. Aanpak en stijl wijken grondig af van de huidige journalistieke kunstkritiek, die zich al te vaak beperkt tot een objectieve situering van de artiest, weetjes over de expo en een typering van opmerkelijke werken.\u003c/p\u003e\u003cp\u003eMichiels schrijft in de wij- of ik-vorm en richt zich duidelijk tot een groep ingewijden die hem week na week volgen. Hij tracht te verwoorden wat hij bijgeleerd heeft, wat het belang is van wat hij gezien heeft en maakt voorspellingen voor de toekomst. Als er een vervolgstuk komt, soms jaren later, grijpt hij terug naar wat hij eerder vaststelde. Het is duidelijk dat Michiels als criticus een missie heeft. Het verleden wil hij niet corrigeren, maar hij wil inzicht verwerven in de artistieke productie van het moment en van daaruit aanduiden welke richting de kunst het best uitgaat.\u003c/p\u003e\u003cp\u003eMichiels is een kind van zijn tijd. In de jaren vijftig bezat de kunstcriticus nog gezag. De allergrootsten hadden zelfs een onuitputtelijke macht. De beroemdste naoorlogse criticus Clement Greenberg wist door zijn geschriften en invloed het artistieke middelpunt te verleggen van Parijs naar New York. Hij schoof Jackson Pollock en Willem De Kooning als nieuwe Picasso’s naar voren, een visie die de kunstmarkt overnam. Een kunstcriticus in de 21\u003csup\u003este\u003c/sup\u003e eeuw kan alleen maar cynisch toekijken hoe de artistieke trends elkaar steeds sneller opvolgen. Robert Hughes, de toonaangevende stem van Time Magazine, kon enkele vaststellen dat de criticus gedegradeerd was tot een pianist in een bordeel. “Je hebt geen invloed van wat er zich boven allemaal afspeelt”, gaf hij toe.\u003c/p\u003e\u003cp\u003eIvo Michiels wist, ondanks de kleine en steeds teruglopende oplage van Het Handelsblad, zijn stem gehoord. Zijn actieradius beperkte zich tot Antwerpen, met af en toe een zijsprongetje naar bevriende galeries in Brussel en Brugge. Michiels werd zeker gewaardeerd. Galeriehouders en kunstenaars solliciteerden naar zijn mening, maar hij werd nooit de doorslaggevende criticus die de bakens wist te verzetten. Daarvoor was de periode dat hij de scene volgde te kort en zijn corpus te beperkt. Bovendien vielen zijn activiteiten juist in een overdracht van de macht. Na de oorlog was Jan Walravens (1920), de kunstredacteur van Het Laatste Nieuws en stichter van het experimentele tijdschrift Tijd en Mens, de luidste stem die het existentialisme, experimentele poëzie, Jeune Peinture en Cobra\u0026nbsp; voortrok. In het debat van figuratieven en niet-figuratieven kozen Brusselaar Maurits Bilcke en de jonge Marc Callewaert in Gazet van Antwerpen sneller en radicaler de kaart van de jonge abstracten. In tegenstelling tot Michiels legden zij wel de link met de historische avant-garde, visten ze Jozef Peeters en Victor Servranckx op. Als eerste presenteerde Bilcke, samen met Jeune Peinture-schilder Jo Delahaut, hun werk in Saint-Laurent, dé pilootgalerie in Brussel, waar Michiels af en toe kwam kijken. Marc Callewaert engageerde zich honderd percent in het kanteljaar 1958 en werd voorzitter, tentoonstellingsmaker en tekstschrijver van G58. Dat hij daarover ook nog eens uitvoerig en positief berichtte in Gazet van Antwerpen was misschien deontologisch over de schreef, maar het zorgde wel voor een ruime belangstelling.\u003c/p\u003e\u003cp\u003eOp het moment dat Michiels, sneller dan zijn collega’s, nieuwe kunstaders ontdekte, berichtte hij niet meer wekelijks over zijn speurtocht. Gelukkig kon hij het ontgonnen goud op een andere manier verwerken.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e4. Bondgenoot Jef Verheyen\u003c/p\u003e\u003cp\u003eSchrijven over Ivo Michiels en de plastische kunsten is schrijven over Jef Verheyen (1932-1984). “De schilder die mij in leven en kunst waarschijnlijk het meest na heeft gestaan”, getuigt Michiels in ‘Daar komen scherven van’, Boek 7 van Journal Brut dat over de plastische kunsten gaat en voor een groot deel over Verheyen.\u003c/p\u003e\u003cp\u003eMichiels verwijst graag naar hem als de Schilder, met hoofdletter. Verheyen was overigens meer dan een schilder. Tijdens zijn opleiding aan de Academie sloot hij aan bij De Nevelvlek en zat in de redactie van hun tijdschrift Het Kahier, schreef manifesten, publiceerde in Nul en De Tafelronde, hield af en toe een dagboek bij en was een verwoed brievenschrijver. Ook met andere schrijvers als Paul De Vree, Nic Van Bruggen en Guy Vaes was hij close, maar de vriendschap met Michiels was van een meer persoonlijke, creatieve aard.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn Michiels’ eerste echte experimentele verhaal ‘Albisola Mare, Savona’ uit 1959 duikt Verheyen even op als de Antwerpse vriend V. Ze zijn samen op bezoek in het huis van Wilfredo Lam aan de Ligurische kust. In deze ‘superieure, fel psychisch geladen reisherinnering’ (dixit Hubert Lampo) komen ook Lucio Fontana, Roberto Crippa, Walasse Ting en Asger Jorn voor, allen onder voor insiders herkenbare schuilnaam. Michiels was in de kunstenaarskolonie van Albisola Mare, bekend voor zijn keramiekateliers, verzeild geraakt dank zij Jef Veheyen, die hem meenam.\u003c/p\u003e\u003cp\u003eVerheyen, gezegend met lef en een sterk ego, nam in hun vriendschap bijna steeds het initiatief. Hij was het die in september 1955 Michiels aanspraak in diens stamcafé Casa Roca op de hoek van de Meir en de Kolveniersstraat. Hij klopte stoutweg op het vensterraam en vroeg of de criticus zijn pas geopende keramiekatelier achter de hoek in de Rubensstraat niet wilde komen bezoeken.\u003c/p\u003e\u003cp\u003e\u0026nbsp;Michiels legde zeventien jaar later die eerste ontmoeting vast in een tekst die verscheen in de boekmultiple ‘Jef Verheyen 40’, uitgegeven ter gelegenheid van de veertigste verjaardag van de schilder. Michiels herinnerde zich de uitnodiging van Verheyen als een bevel en hij gehoorzaamde.\u003c/p\u003e\u003cp\u003eOp 18 oktober 1955 schrijft hij een bijdrage in het Handelsblad, een beetje weggestoken in de verzamelrubriek ‘de Antwerpse salons’. Michiels is positief over het gedurfde niet-commerciële initiatief van Verheyen, diens partner Dani Francq en Marina Van Acker die samen het keramiekatelier hadden opgezet, maar hij heeft duidelijk nog geen kijk op de keramiekkunst. Hij vindt het werk zuiver van lijn en eerlijk, maar vermoedt de enorme ambities van Verheyen nog niet.\u003c/p\u003e\u003cp\u003eEen jaar later, op 28 november 1956, publiceert hij een tweede en meteen laatste stuk over Verheyen in Het Handelsblad. Aanleiding was diens allereerste soloshow bij de Deutsche Buchgemeinschaft in de Lange Leemstraat. Hoewel het slechts een bescheiden schilderijenexpositie betrof, ziet Michiels nu wel\u0026nbsp; “de artistieke ernst” ervan in. Daarbij speelde mee dat hij ondertussen al meermaals het schildersatelier had bezocht en ook kennis had van de grote werken die Verheyen niet kon tonen in de kleine boekhandel. Michiels zag het verband in matièrebehandeling en kleurgebruik tussen de geëxposeerde doeken en de vroegere keramiekwerken, maar hij wist ook dat Verheyen al een stadium verder was gevorderd. “In deze grotere doeken treedt deze jongere al veel rijper naar voor en verrast hij de toeschouwer door een compositorisch vermogen dat respect afdwingt, terwijl het ritme van het schilderij groeit uit een boeiende verkaveling van het oppervlak in vlakken en onderverdeling van vlakken welke in hun kleinste onderdeel ook elk afzonderlijk nog aan een eigen door de matière gestimuleerde spanning onderworpen zijn.”\u003c/p\u003e\u003cp\u003eDe recensie wint nog aan kracht doordat Michiels ze koppelt aan een al even extatische kritiek van het nieuwe werk dat Paul Van Hoeydonck in Brussel toonde. Van Hoeydonck is op dat moment de kunstenaar in wie de criticus het sterkst gelooft. Weldra zal Verheyen die positie overnemen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e5. Wonderjaren 1957-1959\u003c/p\u003e\u003cp\u003eIn 1957 komt alles in een stroomversnelling. De uiterlijke omstandigheden lijken nochtans ongunstig: Het Handelsblad gaat op de fles en wordt overgenomen door De Standaard met als gevolg dat Michiels zijn baan verliest. Gelukkig wordt hij even doorbetaald en kan hij op 1 december terecht bij uitgeverij Ontwikkeling. Financieel gaat hij er flink op vooruit. In 1957 publiceert hij ook ‘Het afscheid’, in zijn ogen zijn echte debuut en de roman die hem onomstotelijk in het kamp van de vernieuwers brengt.\u003c/p\u003e\u003cp\u003eIn dat kamp profileert zich ook steeds nadrukkelijker Jef Verheyen, met wie Michiels de vriendschapsbanden aanhaalt. De eerste brieven gaan over en weer in wat zal uitgroeien tot een indrukwekkende correspondentie. Najaar 1957 heeft Verheyen zijn eerste belangrijke solo-expositie in galerie Accent in Antwerpen en legt hij met Walter Vanermen, Jef Kersting , Herman Denkens en André Comhaire de basis van wat zal uitgroeien tot G58.\u003c/p\u003e\u003cp\u003eMet het wegvallen van Het Handelsblad richt Michiels zich tot vaktijdschriften, in de eerste plaats het katholieke Periscoop dat in 1950 door professor René Lissens was opgericht als blad voor literaire kritiek maar geleidelijk aan meer aandacht ging schenken aan plastische kunsten. Volgens Michiels was het tijdschrift ook op beter papier gedrukt, wat sterkere illustraties toeliet. Michiels keek ook naar het buitenland. In het Italiaans-Franse I 4 Soli, waarvan hij in Het Handelsblad enkele nummers positief besprak, publiceerde hij eind 1957 al een belangrijke tekst over Jef Verheyen, in het Frans. “Voor Verheyen is een schilderij een wereld die perfect en helemaal onafhankelijk is. Meer zelfs: het is een eerste appél dat uitgeroepen en gehoord wordt, daarvoor was er niets tenzij de leegte en de stilte”, meldt Michiels.\u003c/p\u003e\u003cp\u003eIn februari 1958 heeft Verheyen, die de zomer daarvoor het pad was gaan effenen, zijn eerste tentoonstelling beet in Milaan, bij galerie Pater. Michiels schreef de tekst voor het vouwblaadje bij de vernissage, waarop hij aanwezig was. Veertien jaar later zou hij het afscheidstafereel met Verheyen op het perron in Milaan beschrijven, een tekst die meermaals verscheen en die uiteindelijk ook in Journal Brut, Boek 7 belandde.\u0026nbsp; “Ik was hem vanuit Antwerpen nagereisd, was een paar dagen bij hem in Milaan gebleven, reed nu het eerst weer terug, hem achterlatend met het restant van wat schamele lires. Maar hij bleef. Omdat het moest. Ergens moest het. Hij bleef om morgen misschien toch nog een schilderij te verkopen, iemand te ontmoeten die geld gaf, of niet eens geld, die een weg openmaakte.”\u003c/p\u003e\u003cp\u003eIn zijn missie in Milaan slaagde Jef Verheyen met onderscheiding. Hij verkocht een blauw schilderij aan Fontana en sloot vriendschap met Crippa, later ook met Manzoni\u0026nbsp; en vele anderen. Michiels werd eveneens in die kringen geïntroduceerd en bracht verslag uit in\u0026nbsp; Het Kahier 11 van 1958, waar Verheyen in de redactieraad zat, en in ‘Milanese brief’ in de Periscoop. In Journal Brut zouden nog tal van heroïsche anekdotes uit de woelige Italiaanse periode gerecupereerd worden.\u003c/p\u003e\u003cp\u003eMichiels beperkte zijn rol niet louter tot kijker en commentator, maar koos uitdrukkelijk partij voor Verheyen en zijn Italiaanse vrienden. Zo kreeg hij het via Willy Vaerewijck, directeur van uitgeverij\u0026nbsp; Ontwikkeling, gedaan dat hij een beeldje van Crippa kon plaatsen in het Paviljoen van de Pers op de Wereldexpositie. Hij ging het persoonlijk ophalen in Milaan. Michiels schreef ook een brief aan Herman Teirlinck met de vraag of de Belgische Staat geen werk kon aankopen van de veelbelovende kunstenaar Jef Verheyen. De vraag kwam veel te vroeg.\u003c/p\u003e\u003cp\u003eEen gemiste kans want Verheyen ging door op zijn elan. Eind 1958 presenteerde hij het monochrome schilderij ‘De lucht is vol van uw warmte’ op de openingsexpositie van G58 in het Hessenhuis. Na ruzie verliet hij de groep en vond hij expositiemogelijkheden in Zwitserland, waar hoteleigenaar en galeriehouder Hans Liechti zijn mecenas en promotor werd. In Düsseldorf sloot hij vriendschap met Günther Uecker en Otto Piene van de Zero-beweging, waarvan hij de Belgische ambassadeur werd.\u003c/p\u003e\u003cp\u003eMichiels publiceerde ondertussen over Verheyen waar en wanneer hij maar de gelegenheid kreeg. Hij schreef een openingswoord voor een expo in Rotterdam en leverde bijdragen aan het Franstalige Art Actuel en De Kunstmeridiaan, verbonden aan de Brusselse Taptoe-galerie waar hij Asger Jorn en Wallase Ting beter leerde kennen. Toen in 1959 dichters en kunstenaars\u0026nbsp; van G58, De Tafelronde, Het Kahier en Frontaal elkaar even vonden in het ‘Modernistisch Centrum’, hield Michiels een lezing over ‘Abstracte kunst’, een richting waarvoor hij nu voluit overstag ging.\u003c/p\u003e\u003cp\u003eIn deze periode van druk atelierbezoek, gesprekken onder kunstenaars en drinkgelagen begint Michiels ook kunst te verzamelen en te verhandelen. “Het had alles met vriendschap en generositeit te maken, de slechte kanten van de business bestonden in de jaren vijftig nog nauwelijks”, blikt hij vandaag terug.\u003c/p\u003e\u003cp\u003eDe gulle Fontana die graag jongeren rondom zich had, gaf hem een werkje van Asger Jorn cadeau. Van Baj kocht hij een groot doek op afbetaling omdat de eerste koper, die hij zelf had aangebracht, uiteindelijk een ander werk wilde.\u003c/p\u003e\u003cp\u003eMichiels zou een benijdenswaardige verzameling opbouwen met sleutelwerken van Baj, Fontana, Engelbert Van Anderlecht en Jef Verheyen, van wie hij meermaals cruciale werken uitleenden voor tentoonstellingen in musea. Ook stukken van de Zero-beweging en popart kwamen in zijn bezit.\u003c/p\u003e\u003cp\u003eUit geldnoodzaak verkocht hij nu en dan werk door. Bij zijn verhuizing naar Frankrijk zou het merendeel van de collectie worden verkocht, met uitzondering van enkele Verheyens. Michiels beweert dat hij nooit kunstwerken zo maar op veiling bracht, maar ze steeds aanbood aan vrienden of bevriende galeriehouders.\u003c/p\u003e\u003cp\u003eIn tegenstelling tot vele collega’s zoals Paul Van Ostaijen, Maurice Gilliams, Gaston Burssens, Paul De Vree, Adriaan De Roover, Louis Paul Boon, Hugo Claus, Gust Gils, Paul Snoek, Patrick Conrad en Hugues C. Pernath waagde Michiels zich niet aan het maken van kunst. Volgens de schrijver zou Jef Verheyen hem daar wel toe aangespoord hebben, maar zelf oordeelde hij dat zijn talenten elders lagen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e6. Naar de essentie\u003c/p\u003e\u003cp\u003eIn de jaren zestig volgt Ivo Michiels het galeriewezen nog wel, zeker zolang hij in Antwerpen woont, bemiddelt en verkoopt wat, maar laat de organisatie en propaganda van Jef Verheyen en diens entourage over aan anderen. Die anderen zijn dan Paul De Vree, zijn soulmate van De Tafelronde, en Nic Van Bruggen, de jonge kunstcriticus van De Nieuwe Gazet en aspirant-dichter. In zijn eerste bundel ‘Revolver’ (1962) zou die zich uitdrukkelijk beroepen op de plastische theorieën van Jef Verheyen.\u003c/p\u003e\u003cp\u003eKenmerkend is dat niet Michiels, maar wel Paul De Vree en Nic Van Bruggen de Nieuwe Vlaamse School boven de doopvont hielden en er samen met Verheyen het manifest van schreven. De groep bestond uit afgescheurde G58-leden en nieuwe vrienden van Verheyen zoals Engelbert Van Anderlecht, Guy Mees en Guy Vandenbranden. De Nieuwe Vlaamse School ging van start op 15 oktober 1960 met een expositie in het CAW, niet toevallig op dezelfde dag als de derde groepstentoonstelling van G58. Er werd met modder gegooid, maar Michiels mengde zich niet.\u003c/p\u003e\u003cp\u003ePolemiek had hij altijd al gemeden. Zijn hart ging meer uit naar abstractie dan figuratie, maar hij hield steeds beide polen in het oog, net zoals hij handig schipperde\u0026nbsp; tussen de ‘koude’ constructivistische en ‘warme’ lyrische abstracten. Kiezen tussen de Nieuwe Vlaamse School van Jef Verheyen en G58 van\u0026nbsp; Paul Van Hoeydonck, Bert De Leeuw en Walter Leblanc was een dilemma. Met Verheyen had hij een zielsband, maar het werk van Van Hoeydonck en Leblanc hoefde hij daarvoor toch niet af te zweren?\u003c/p\u003e\u003cp\u003eGelukkig moest hij als criticus zijn kop niet meer uit te steken, want na 1960 beoefende Michiels geen journalistiek meer. Alle publicaties stonden voortaan in het teken van creatief schrijven. Creatief, dat wilde voor hem zeggen: de lessen die hij van Verheyen en andere schilders geleerd had ,omzetten in taal. Geen beschrijving of omschrijving meer, geen illustratie en ballast, maar de essentie. Of\u0026nbsp; in de zienswijze van Jef Verheyen: geen impressionisme, maar het wezen van kleur en licht.\u003c/p\u003e\u003cp\u003eIn de Alfa-cyclus, die Michiels tussen 1963 en 1979 liet verschijnen, gaat hij met klanken, zinnen en teksten omspringen zoals een schilder met vlakverdeling en ruimtewerking, kleur en licht. ‘Het boek Alfa’ begint symbolisch in de modder, dikke matièreverf, maar er staan ook speelse Cobra-achtige passages in en koele constructies. Het plastische hoogtepunt valt in ‘Exit’, het middendeel van de Alfa-cyclus dat na 130 bladzijde repetitieve bezwering eindigt op de vijftiende letter van het alfabet: de 0 of het cijfer nul, een directe hommage aan de Zero-beweging, die de terugkeer naar de nulgraad van de schilderkunst voorstond.\u003c/p\u003e\u003cp\u003eDaarna kan er in ‘Dixit’ weer opgebouwd worden. In de tiendelige Journal Brut-cyclus zal het hele gamma van plasticiteit aan bod komen: van barok tot minimaal.\u003c/p\u003e\u003cp\u003e“Bij Zero, Verheyen en Fontana, voelde ik mij als schrijver het nauwst betrokken. Hoewel Cobra, Jorn vooral, ook Corneille, geregeld hun kleurkopje opsteken in mijn schriftuur”, becommentarieert Michiels vandaag het belang van de plastische kunsten voor zijn romanoeuvre.\u003c/p\u003e\u003cp\u003eParallel met het ontstaan van de Alfa-cyclus publiceert Michiels ook schaarse gelegenheidsteksten, geschreven op verzoek van kunstenaars, galeriehouders, film- of theaterproducenten. Onmogelijk om er een genrebepaling op te kleven. Raadselachtig\u0026nbsp; poëzie, een herinnering of dagboekfragment, een imaginaire dialoog, essayistische\u0026nbsp; duidingen, taalspel? Meestal mengt hij de vormen door elkaar.\u003c/p\u003e\u003cp\u003eDe teksten liggen in het verlengde van ‘Albisola mare, Savona’, handelen over kunst, zijn hyperpersoonlijk en richten zich tot een publiek van ingewijden dat op dezelfde golflengte zit. Ze verschijnen op kleine oplagen in gespecialiseerde tijdschriften, catalogi of dure kunstedities. Zo was ‘Babyblauw en suikergoedrose’, een in memoriam voor Lucio Fontana, te lezen in het tijdschrift Raam in 1969.\u003c/p\u003e\u003cp\u003e‘Jef Verheyen, schilder. Ook een verhaal’ vond een plek in de dure boekmultiple ‘Jef Verheyen 40’, uitgebracht ter gelegenheid van de veertigste verjaardag van de schilder. Bij die gelegenheid werd ook een legendarisch feest gehouden in het kasteel in het Rivierenhof in Deurne. Verheyen, Michiels en fotograaf Frank Philippi werkten nauw samen aan dit megalomaan project van vormgever en uitgever Paul Ibou. De tekstschrijver was 85.000 frank (2000 euro) beloofd en 3 percent van de verkoop, maar door het faillissement van Paul Ibou en zijn Multi Art Gallery kwam daar niets van terecht.\u003c/p\u003e\u003cp\u003eHet boekje ‘Zes keer een aanloop’ begeleidde een expo van Alechinsky bij de Antwerpse galerie Lens Fine Art. ‘Het fietsje van Szukalski’ hoorde bij een expo in The Antwerp Gallery in de Lamorinièrestraat, waar ook Verheyen een keer exposeerde. De van oorsprong Poolse beeldhouwer en collagekunstenaar begon zijn carrière als assistent van Jef Verheyen en maakte een serie neusportretten waarin Michiels en Verheyen figureerden. In 1979 schreef Michiels vier gedichten/teksten bij evenveel seriegrafieën van Mark Verstockt, met wie hij al kennis had gemaakt eind jaren vijftig in galerie Accent.\u003c/p\u003e\u003cp\u003eMet al deze kunstteksten laat\u0026nbsp; Michiels een volstrekt eigen stem horen. In 1979 bundelde Walter Soethoudt ze\u0026nbsp; in ‘Luister hoe dit beeld hoe die lijn hoe die kleur hoe dit vlak luister’. De bundel had even goed ‘Zie hoe deze klank, hoe dit woord, hoe deze zin, hoe deze tekst, zie’ kunnen heten. Als ‘scherven’ kregen ze een terechte plek in Journal Brut Boek 7, samen met andere herinneringen uit de kunstwereld.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e7. Frankrijk\u003c/p\u003e\u003cp\u003eIn de zomer van 1974 zet Jef Verheyen weer een nieuwe stap. Hij laat Antwerpen achter zich en verhuist naar Les Talons in Saint Saturnin d’ Apt in de Provence. Hij kon de sprong wagen dankzij enkele oude en nieuwe gefortuneerde verzamelaars zoals de Duitser Gerhard Lenz, dokter Jos Macken, Louis Bogaerts (die twee van zijn Verheyens opofferde om ze door Fontana te laten doorboren), galeriehouder Marcel Stal, Baron Antonino von Hoerde, Carlo Van den Bossche en de jonge, beginnende antiquair Axel Vervoordt. Verheyen zat vanaf zijn bijdrage aan de Biënnale van Venetië ook steviger in een Europees circuit van musea en galeries.\u003c/p\u003e\u003cp\u003eTussen de Provence en het landelijke Zonnegem, waar Michiels woont, gaapt een afstand. Verheyen behoudt wel een atelier in Antwerpen, maar de twee zien elkaar steeds minder. Wel voeren ze een drukke correspondentie. Van Verheyen bewaart het Letterenhuis bijna zeventig overwegend lange brieven gericht aan Michiels.\u003c/p\u003e\u003cp\u003eSteeds terugkerend onderwerpen zijn de eenzaamheid, de noodzaak om België en Antwerpen te verlaten\u0026nbsp; (“het zielige leven van de Vécu en de Boer van Tienen”) en de lof van Frankrijk.\u003c/p\u003e\u003cp\u003e\u0026nbsp; “Wat dat land hier biedt, jongen, ik kan het echt niet zeggen. Ik stap van het ene schilderij in het andere, de ruimten liggen niet meer achter elkaar, op elkander, allemaal deuren die ik open en terug dicht doe…”, schrijft Verheyen op 9 oktober 1974.\u003c/p\u003e\u003cp\u003eEn op 16 december klinkt het zo: “De eenzaamheid en de onafhankelijkheid zijn dingen die noodzakelijk zijn voor iemand die tot het uiterste wil gaan, in creatieve zin. En voor wat zou ik eigenlijk leven. Voor de schilderkunst en voor niets anders in feite. Ik weet niet of het zal lukken maar in de provinciale brol van België wil ik niet stikken. Ik sterf liever voor iets dat de moeite is dan in een beerput te verzuipen.”\u003c/p\u003e\u003cp\u003eVerheyen mist Michiels. Hij wil zijn oordeel kennen over zijn nieuwe doeken, maar is ook benieuwd naar diens schrijfwerk. “De bezwering (obsessie vind ik niet juist) die jij met je woorden tracht te bereiken, ligt me zo nabij, dat ik het duidelijk kan voelen”, laat hij weten.\u003c/p\u003e\u003cp\u003eDe volgende jaren laat Verheyen geen gelegenheid voorbijgaan om Michiels uit te nodigen om in Frankrijk te komen schrijven. In 1978 begint hij ook tips te geven over interessante huizen die hij hem in de buurt te koop staan. In 1979 waagt Michiels op zijn beurt de overtocht en nestelt zich in Le Barroux, zo’n 50 kilometer noordelijker dan Saint Saturnin d’ Apt. Uitgerekend in die periode is Verheyen vaak in Antwerpen, Zwitserland en Duitsland voor de voorbereiding van Zero-tentoonstellingen.\u003c/p\u003e\u003cp\u003eToch vinden ze de tijd om aan twee gezamenlijke luxeprojecten te werken. ‘Weerspiegelingen’ in 1979 bevat twee litho’s, een tekst van Jef Verheyen en een commentaar van Michiels. Michiels stelt vast dat Verheyen veel teksten geschreven heeft en taal een drijfveer was voor de schilder, zoals plastische kunst voor hem als schrijver. Hij besluit: “Tekst en beeld zijn er al van oudsher op uit elkaar aan te vullen, soms in een typisch twintigste-eeuwse huwelijk, uitgroeiend tot een authentieke integratie. Van sommige zal het dan zelfs moeilijk worden, uit te maken welke taal primair de hunne is: die van het zien, of die van het horen, die van de verf of die van de inkt.”\u003c/p\u003e\u003cp\u003e‘Le Grand Oeuvre’ in 1982 uitgegeven door galerie Erker in Sankt Gallen brengt tien litho’s van Jef Verheyen samen met tien teksten van Ivo Michiels. De bekende Zwitserse schrijver Friedrich Dürrenmatt stelt het werk voor in Sankt Gallen. In Antwerpen houden Julien Schoenaerts en Henri-Floris Jespers het boven de doopvont in het Oserriethhuis op de Meir.\u0026nbsp; “Jef maakte tien litho's in zwart-wit, terwijl de tien teksten van mij eveneens op steen werden geschreven, maar dan in kleur. Jef was trots op zijn vondst”, herinnerde Michiels zich deze samenwerking, die hun afscheid zou worden.\u003c/p\u003e\u003cp\u003eOp 2 maart 1984 sterft Jef Verheyen aan de gevolgen van een hartaanval op de judomat van zijn sportclub in Apt. Hij wordt begraven in een grafkelder in Croagnes.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e8. En maar vliegen\u003c/p\u003e\u003cp\u003eIvo Michiels blijft verweesd achter en heeft nog negen delen van zijn opus ‘Journal Brut’ te schrijven. Een jaar na Verheyens dood publiceert hij deel 2, ‘Het boek der nauwe relaties’. De Schilder mocht daarin niet ontbreken. In het hoofdstuk ‘De witte tenten voor de hoge ramen’ blikt Michiels terug op diens begrafenis. Terwijl hij met een roos voor het graf staat, brengen zijn gedachten hem terug naar een memorabele nacht in Venetië. Het is 1981: Jef Verheyen heeft zijn beste vrienden uitgenodigd in een onderkomen paleis. Terwijl de anderen slapen, filosoferen de schilder en de schrijver over de nietigheid van het bestaan en de grootheid van kunst.\u003c/p\u003e\u003cp\u003eMichiels noteert hun dialoog:\u003c/p\u003e\u003cp\u003e“Zeker een schrijver.\u003c/p\u003e\u003cp\u003eOf een schilder.\u003c/p\u003e\u003cp\u003eMisschien wel een schrijver die schildert\u003c/p\u003e\u003cp\u003eMisschien wel een schilder die schrijft\u003c/p\u003e\u003cp\u003eDe ene kunst en de andere kunst, vogel is vogel.\u003c/p\u003e\u003cp\u003eWolken zijn wolken, ik bedoel woorden.”\u003c/p\u003e\u003cp\u003e“En maar vliegen”, zegt hij.”\u003c/p\u003e\u003cp\u003eWaarop Verheyen twee planken neemt en ermee als een steltloper begint rond te lopen, op hoge poten boven het banale. Baudelaire knikt instemmend: een knappe correspondance, kunst als poësis, niet als mimesis.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eFrank HEIRMAN\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Frank Heirman, Ivo Michiels, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eFrank Heirman, 'Ivo Michiels: Misschien wel een schrijver die schildert', in: \u003ci\u003eDeus ex Machina\u003c/i\u003e, 35, 138-139, 2011, 105-112.\u003cbr\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003ch2\u003eIvo Michiels\u003c/h2\u003e\u003ch2\u003eMisschien wel een schrijver die schildert\u003c/h2\u003e\u003cp\u003e1. Correspondances\u003c/p\u003e\u003cp\u003e“Mijn grote, mijn enige, mijn eerste hartstocht”, verwoordde Charles Baudelaire (1821-1867) zijn liefde voor de schilderkunst. De dichter van ‘Les fleurs du mal’ was één van de eerste schrijvers die zich intens met plastische kunsten inliet. De jaarlijkse kunstsalons volgde hij op de voet, hij schreef kritieken en nam gedurfde stellingen in. Met Eugène Delacroix had hij een blijvende band. Keer op keer zocht hij naar de essentie van diens romantische genie. “Als Delacroix een schilderij componeert, kijkt hij in zichzelf in plaats van door het raam te staren. Uit de schepping heeft hij al lang datgene gehaald wat zijn kunst nodig heeft, en dat geeft zijn schilderijen hun intieme aantrekkingskracht, al ogen ze op het eerste gezicht onaangenaam”, ontdekte de dichter, die overigens als criticus schatplichtig was aan zijn voorganger Théophile Gautier.\u003c/p\u003e\u003cp\u003eBaudelaire hield de kunstkritiek niet gescheiden van zijn andere werk. Zijn voorkeur voor het groteske en de combinatie van het hoge en het lage vond hij terug in prenten en schilderijen. Sommige gedichten zijn een regelrechte poging om ‘Correspondances’ te vinden tussen verf en inkt.\u0026nbsp;\u003c/p\u003e\u003cp\u003eVanaf Baudelaire, waarmee de kunstgeschiedenis graag de moderne poëzie laat beginnen, vormt belangstelling voor plastische kunsten een rode draad in de literatuur. Vooral de experimentele poëzie vond nieuwe wegen via het contact met plastische kunsten. Mallarmé, Apollinaire, Tzara, Breton schieten te binnen. Ook de Vlaamse literatuur biedt treffende voorbeelden. Karel Van de Woestyne wist zich in Latem omringd door expressionistische schilders, maar was ook vertrouwd met de voorgangers van Les XX en James Ensor. Paul Van Ostaijen sloot een verbond met Oscar en Floris Jespers en Paul Joostens, maar boekte de meeste vooruitgang door zijn kennis van het Franse kubisme en zijn dadaïstische contacten in Berlijn.\u003c/p\u003e\u003cp\u003eOnmiddellijk na de schoolbanken belandde Hugo Claus in kringen van schilders en beeldhouwers. Op achttienjarige leeftijd was hij betrokken bij de groep La Relève waarvan Roger Raveel en Jan Burssens deel uitmaakten. Twee jaar later, in 1949, introduceerde beeldhouwer Florent Wellens hem in Les Ateliers du Marais, de woon- en werkplaats van Pierre Alechinsky waar ook Reinhoud, Jan Cox en vele oud-leden van Cobra zich ophielden.\u003c/p\u003e\u003cp\u003eOok voor Ivo Michiels speelde de kunstscene, net zoals de filmwereld, een doorslaggevende rol in zijn evolutie als schrijver. Maar het was geen liefde op het eerste gezicht. Er ging een leerproces aan vooraf, waarin de schrijver zijn eigen leermeester was.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e2. Springen of niet-springen\u003c/p\u003e\u003cp\u003eIn 1949 zit Ivo Michiels, nochtans zes jaar ouder dan Hugo Claus, nog helemaal opgesloten in zijn cocon van idealistische poëzie en strijdbaar maar toch ook progressief katholiek engagement. Van plastische kunsten is er nog geen spoor. De liefde voor schilderijen kreeg hij niet van thuis of van schoolleraars mee.\u0026nbsp;\u003c/p\u003e\u003cp\u003eMichiels was zich bewust van zijn intellectuele achterstand en kreeg de gelegenheid zichzelf bij te werken, toen hij vanaf 1948 aan het Handelsblad mocht meewerken.\u003c/p\u003e\u003cp\u003eDe eerste jaren schreef hij over film en literatuur. Pas na vier jaar verzorgde hij een eerste kunstbijdrage, gewijd aan Jack Godderis (1916-1971). Merkwaardig: over die Antwerpse schilder zou hij het vaakst schrijven in de krant, vijf artikels in totaal. En nog merkwaardiger: Michiels zou Godderis, een figuur die vandaag passé is en wiens oeuvre nauwelijks evolutie vertoonde, trouw blijven tot zijn ontslag bij de krant in 1958. Hij waardeert diens zoektocht naar beheersing en harmonie. Vooral diens portretten vond hij ‘ontheven’. Michiels’ belangstelling moet meer gewekt zijn door de artistieke figuur Godderis en diens eerlijkheid, dan door zijn stijl. Zijn grimmig coloriet dat afwijkt van de werkelijkheid paste bij het existentialisme begin jaren vijftig, waarvoor Michiels toen ontvankelijk was\u003c/p\u003e\u003cp\u003eTot begin 1954 schreef Michiels slechts hoogst sporadisch over schone kunsten. Daarna drukte hij zijn stempel op de rubriek ‘Geestesleven’, een pagina op dinsdag waarvoor hij romans en plastische kunst recenseerde. ‘Geestesleven’ was moderner dan de titel liet vermoeden. Walter De Block signaleerde er al eens belangrijke jazzplaten en ook Paul De Vree schreef er af en toe voor. Het moet een stimulerende biotoop geweest zijn, met Michiels als spil.\u003c/p\u003e\u003cp\u003eWaarover schrijft Michiels in de krant? Nauwelijks over het verleden en al zeker niet over het vooroorlogse kunstgebeuren. Hij kan niet voorbij aan de grote evenementen, zoals het jaarlijkse salon van ‘Kunst van Heden’ in de Stadsfeestzaal, maar eigenlijk heeft hij weinig te melden over de retrospectieven. Op het salon van 1954 betwist hij niet de verdiensten van Gustaaf De Smet en de revolutionair Paul Joostens, maar het raakt hem niet echt. Hij ontdekt er liever Anne Bonnet en Jan Saverys. In een tentoonstelling bij het Grafisch Genootschap datzelfde jaar in hij al even onbegrijpelijk meer getroffen door de anekdotische jonge etser René De Coninck dan door de vormvernieuwers van de jaren twintig. Hij vindt Frans Masereel en Henri Van Straten gedateerd. “Het is niet iets maar de illustratie van iets.” Het is ook tekenend dat hij over de abstracte pionier Jozef Peeters geen woord schrijft, hoewel hij wel een schilderij van hem zou verwerven, dat hij later aan een vriend cadeau zou doen.\u003c/p\u003e\u003cp\u003eMichiels heeft duidelijk meer voeling met de jonge schilders die zich in 1945 verenigden in Jeune Peinture. Na de traumatische oorlogsjaren probeerden ze weer aansluiting te vinden bij een voorzichtig modernisme. Zij schipperden tussen figuratie en abstractie. Een deel maakte de sprong, anderen niet. Michiels stond voor een gelijkaardig dilemma. Kiezen deed hij niet. Hij sympathiseerde vooral voor artiesten die net niet sprongen.\u003c/p\u003e\u003cp\u003eJeune Peinture bestond als groep maar enkele jaren en vertakte naar tal van andere groeperingen zoals Cobra, Art Abstrait, Taptoe, Formes, allemaal van korte duur, maar met lange nawerking. Jack Godderis was lid van Jeune Peinture, net zoals Luc Peire, Rik Slabbinck, Gaston Bertrand, Marc Mendelson en Jan Vaerten. Michiels volgde deze opkomende artiesten met aandacht in meerdere artikels. Vooral over Peire die van langgerekte Afrikaanse figuurtjes naar streepschilderijen evolueerde, was hij enthousiast.\u003c/p\u003e\u003cp\u003eHun exposities vonden vooral plaats in Het Atelier, de eerste vernieuwende galerie in het Antwerpse. Pip Wouters en kunstschilder Jan Vaerten hadden de ruimte in 1951 geopend. Collega Hubert Lampo, die kunstrecensies voor de socialistische Volksgazet schreef en die voor Michiels’ latere overstap naar de socialistische uitgeverij Ontwikkeling cruciaal zou zijn, verzorgde er vaak inleidingen. Onder de vaste bezoekers van Het Atelier bevonden zich schrijvers als Paul Neuhuys en Werner Spillemaeckers, choreografe Jeanne Brabants, architect Renaat Braem.\u003c/p\u003e\u003cp\u003eEen tweede belangrijke biotoop vond Michiels in het Centrum van Artistieke Werking (CAW), een zaal op de Meir, waar John Trouillard vanaf 1954 de exposities organiseerde. Het niveau wisselde, maar het was hier dat nieuwlichters hun eerste kansen kregen. Hier kon Michiels zo nu en dan zijn eigen generatie ontdekken. Een revelatie was de expositie van Paul Van Hoeydonck (1925), die met zijn taferelen uit de Antwerpse haven en Marokko de grens van de abstractie aftastte. Hij is zo enthousiast dat hij naar het atelier trekt om te zien hoe Van Hoeydonck “een sprong uit de anekdote en het bijkomstige maakt” zonder te belanden “in het steriel constructivisme in het ijle.” “Hoe dichter zijn werk de abstractie zal benaderen, hoe meer het er van verlost zijn worden”, besluit hij profetisch.\u003c/p\u003e\u003cp\u003eOok de figuur John Trouillard zou in Michiels’ latere carrière terugkomen. In 1959 verzorgde hij de lay-out van ‘Albisola Mare, Savona’,\u0026nbsp; een verhaal in een beperkte editie met tekeningen van Wilfredo Lam en Roberto Crippa. In 1960 zou Trouillard het CAW openstellen voor de Nieuwe Vlaamse School van Jef Verheyen, inmiddels Michiels’ boezemvriend. Daarna startte hij de fameuze Ad Libitum-galerie waar Verheyen en zijn buitenlandse Zero-vrienden onderdak zouden krijgen.\u003c/p\u003e\u003cp\u003eHet artistiek klimaat in Antwerpen kabbelt in de fifties gezapig op en neer. Maar in het seizoen 1956-57 keert het ten goede. Als kunstcriticus kan Michiels de interessante exposities niet meer bijhouden. In plaats van lange beschouwende stukken verschijnen steeds vaker losse foto’s, waarin hij zijn enthousiasme uitschreeuwt voor Marc Mendelson, Luc Peire, maar ook voor Michel Seuphor en nieuwe namen als Dan van Severen, Walter Leblanc\u0026nbsp; en Mark Verstockt. Die ontmoet hij in galerie Accent in de Lange Nieuwstraat 91, zijn nieuwe thuishaven. De galerie annex boekhandel en prentenkabinet van radio en tv-medewerker Hugo Hellemans, was een vertrouwd adres voor Michiels. Van 1947 tot 1951 had Paul De Vree in het huis, dat eigendom was van Maurice Gilliams, de boekhandel ‘De Brug’ geleid en was er het redactiesecretariaat van De Golfslag, het katholieke tijdschrift waarvan Michiels een stuwende kracht was.\u003c/p\u003e\u003cp\u003eNaast Accent openden ook Galerie Vermeer in de Eikenstraat en Ravenna in de Korte Gasthuisstraat de deuren. De avant-garde kreeg ook expositiemogelijkheden in zoldercafé Gard Sivik en de Deutsche Buchgemeinschaft.\u003c/p\u003e\u003cp\u003eAntwerpen was rijp voor de creatieve explosie van G58 in het Hessenhuis. Michiels maakte het van op de eerste rij mee, maar niet meer als onderzoekend journalist, wel als overtuigd kunstfan, beginnend verzamelaar en vriend van tal van G58-leden.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e3. Zoekende kunstcriticus\u003c/p\u003e\u003cp\u003eHoe belangrijk waren de kunstkritieken van Michiels uit de jaren vijftig? Jan Hoet schreef er in 1980 in het Michiels-nummer van het tijdschrift Restant geestdriftig over. “Zij vormen een onschatbare bron van informatie en een heldere en boeiende lectuur voor wie wenst kennis op te doen over de naoorlogse periode, echo’s op te vangen van de strijd en de polemieken die rond de tegenstelling ‘figuratief’ en ‘non-figuratief’ werden\u0026nbsp; gevoerd”, vindt Hoet.\u003c/p\u003e\u003cp\u003eDat klopt. Vijftig jaar na datum blijven het goed leesbare tijdsdocumenten, wat van de meeste krantenkritiek vandaag niet meer gezegd zal kunnen worden. Michiels bijdragen zijn voor de huidige normen lange, persoonlijke stukken waarin hij geen afzonderlijke werken beschrijft, maar steeds behoedzaam een synthese formuleert. Aanpak en stijl wijken grondig af van de huidige journalistieke kunstkritiek, die zich al te vaak beperkt tot een objectieve situering van de artiest, weetjes over de expo en een typering van opmerkelijke werken.\u003c/p\u003e\u003cp\u003eMichiels schrijft in de wij- of ik-vorm en richt zich duidelijk tot een groep ingewijden die hem week na week volgen. Hij tracht te verwoorden wat hij bijgeleerd heeft, wat het belang is van wat hij gezien heeft en maakt voorspellingen voor de toekomst. Als er een vervolgstuk komt, soms jaren later, grijpt hij terug naar wat hij eerder vaststelde. Het is duidelijk dat Michiels als criticus een missie heeft. Het verleden wil hij niet corrigeren, maar hij wil inzicht verwerven in de artistieke productie van het moment en van daaruit aanduiden welke richting de kunst het best uitgaat.\u003c/p\u003e\u003cp\u003eMichiels is een kind van zijn tijd. In de jaren vijftig bezat de kunstcriticus nog gezag. De allergrootsten hadden zelfs een onuitputtelijke macht. De beroemdste naoorlogse criticus Clement Greenberg wist door zijn geschriften en invloed het artistieke middelpunt te verleggen van Parijs naar New York. Hij schoof Jackson Pollock en Willem De Kooning als nieuwe Picasso’s naar voren, een visie die de kunstmarkt overnam. Een kunstcriticus in de 21\u003csup\u003este\u003c/sup\u003e eeuw kan alleen maar cynisch toekijken hoe de artistieke trends elkaar steeds sneller opvolgen. Robert Hughes, de toonaangevende stem van Time Magazine, kon enkele vaststellen dat de criticus gedegradeerd was tot een pianist in een bordeel. “Je hebt geen invloed van wat er zich boven allemaal afspeelt”, gaf hij toe.\u003c/p\u003e\u003cp\u003eIvo Michiels wist, ondanks de kleine en steeds teruglopende oplage van Het Handelsblad, zijn stem gehoord. Zijn actieradius beperkte zich tot Antwerpen, met af en toe een zijsprongetje naar bevriende galeries in Brussel en Brugge. Michiels werd zeker gewaardeerd. Galeriehouders en kunstenaars solliciteerden naar zijn mening, maar hij werd nooit de doorslaggevende criticus die de bakens wist te verzetten. Daarvoor was de periode dat hij de scene volgde te kort en zijn corpus te beperkt. Bovendien vielen zijn activiteiten juist in een overdracht van de macht. Na de oorlog was Jan Walravens (1920), de kunstredacteur van Het Laatste Nieuws en stichter van het experimentele tijdschrift Tijd en Mens, de luidste stem die het existentialisme, experimentele poëzie, Jeune Peinture en Cobra\u0026nbsp; voortrok. In het debat van figuratieven en niet-figuratieven kozen Brusselaar Maurits Bilcke en de jonge Marc Callewaert in Gazet van Antwerpen sneller en radicaler de kaart van de jonge abstracten. In tegenstelling tot Michiels legden zij wel de link met de historische avant-garde, visten ze Jozef Peeters en Victor Servranckx op. Als eerste presenteerde Bilcke, samen met Jeune Peinture-schilder Jo Delahaut, hun werk in Saint-Laurent, dé pilootgalerie in Brussel, waar Michiels af en toe kwam kijken. Marc Callewaert engageerde zich honderd percent in het kanteljaar 1958 en werd voorzitter, tentoonstellingsmaker en tekstschrijver van G58. Dat hij daarover ook nog eens uitvoerig en positief berichtte in Gazet van Antwerpen was misschien deontologisch over de schreef, maar het zorgde wel voor een ruime belangstelling.\u003c/p\u003e\u003cp\u003eOp het moment dat Michiels, sneller dan zijn collega’s, nieuwe kunstaders ontdekte, berichtte hij niet meer wekelijks over zijn speurtocht. Gelukkig kon hij het ontgonnen goud op een andere manier verwerken.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e4. Bondgenoot Jef Verheyen\u003c/p\u003e\u003cp\u003eSchrijven over Ivo Michiels en de plastische kunsten is schrijven over Jef Verheyen (1932-1984). “De schilder die mij in leven en kunst waarschijnlijk het meest na heeft gestaan”, getuigt Michiels in ‘Daar komen scherven van’, Boek 7 van Journal Brut dat over de plastische kunsten gaat en voor een groot deel over Verheyen.\u003c/p\u003e\u003cp\u003eMichiels verwijst graag naar hem als de Schilder, met hoofdletter. Verheyen was overigens meer dan een schilder. Tijdens zijn opleiding aan de Academie sloot hij aan bij De Nevelvlek en zat in de redactie van hun tijdschrift Het Kahier, schreef manifesten, publiceerde in Nul en De Tafelronde, hield af en toe een dagboek bij en was een verwoed brievenschrijver. Ook met andere schrijvers als Paul De Vree, Nic Van Bruggen en Guy Vaes was hij close, maar de vriendschap met Michiels was van een meer persoonlijke, creatieve aard.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn Michiels’ eerste echte experimentele verhaal ‘Albisola Mare, Savona’ uit 1959 duikt Verheyen even op als de Antwerpse vriend V. Ze zijn samen op bezoek in het huis van Wilfredo Lam aan de Ligurische kust. In deze ‘superieure, fel psychisch geladen reisherinnering’ (dixit Hubert Lampo) komen ook Lucio Fontana, Roberto Crippa, Walasse Ting en Asger Jorn voor, allen onder voor insiders herkenbare schuilnaam. Michiels was in de kunstenaarskolonie van Albisola Mare, bekend voor zijn keramiekateliers, verzeild geraakt dank zij Jef Veheyen, die hem meenam.\u003c/p\u003e\u003cp\u003eVerheyen, gezegend met lef en een sterk ego, nam in hun vriendschap bijna steeds het initiatief. Hij was het die in september 1955 Michiels aanspraak in diens stamcafé Casa Roca op de hoek van de Meir en de Kolveniersstraat. Hij klopte stoutweg op het vensterraam en vroeg of de criticus zijn pas geopende keramiekatelier achter de hoek in de Rubensstraat niet wilde komen bezoeken.\u003c/p\u003e\u003cp\u003e\u0026nbsp;Michiels legde zeventien jaar later die eerste ontmoeting vast in een tekst die verscheen in de boekmultiple ‘Jef Verheyen 40’, uitgegeven ter gelegenheid van de veertigste verjaardag van de schilder. Michiels herinnerde zich de uitnodiging van Verheyen als een bevel en hij gehoorzaamde.\u003c/p\u003e\u003cp\u003eOp 18 oktober 1955 schrijft hij een bijdrage in het Handelsblad, een beetje weggestoken in de verzamelrubriek ‘de Antwerpse salons’. Michiels is positief over het gedurfde niet-commerciële initiatief van Verheyen, diens partner Dani Francq en Marina Van Acker die samen het keramiekatelier hadden opgezet, maar hij heeft duidelijk nog geen kijk op de keramiekkunst. Hij vindt het werk zuiver van lijn en eerlijk, maar vermoedt de enorme ambities van Verheyen nog niet.\u003c/p\u003e\u003cp\u003eEen jaar later, op 28 november 1956, publiceert hij een tweede en meteen laatste stuk over Verheyen in Het Handelsblad. Aanleiding was diens allereerste soloshow bij de Deutsche Buchgemeinschaft in de Lange Leemstraat. Hoewel het slechts een bescheiden schilderijenexpositie betrof, ziet Michiels nu wel\u0026nbsp; “de artistieke ernst” ervan in. Daarbij speelde mee dat hij ondertussen al meermaals het schildersatelier had bezocht en ook kennis had van de grote werken die Verheyen niet kon tonen in de kleine boekhandel. Michiels zag het verband in matièrebehandeling en kleurgebruik tussen de geëxposeerde doeken en de vroegere keramiekwerken, maar hij wist ook dat Verheyen al een stadium verder was gevorderd. “In deze grotere doeken treedt deze jongere al veel rijper naar voor en verrast hij de toeschouwer door een compositorisch vermogen dat respect afdwingt, terwijl het ritme van het schilderij groeit uit een boeiende verkaveling van het oppervlak in vlakken en onderverdeling van vlakken welke in hun kleinste onderdeel ook elk afzonderlijk nog aan een eigen door de matière gestimuleerde spanning onderworpen zijn.”\u003c/p\u003e\u003cp\u003eDe recensie wint nog aan kracht doordat Michiels ze koppelt aan een al even extatische kritiek van het nieuwe werk dat Paul Van Hoeydonck in Brussel toonde. Van Hoeydonck is op dat moment de kunstenaar in wie de criticus het sterkst gelooft. Weldra zal Verheyen die positie overnemen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e5. Wonderjaren 1957-1959\u003c/p\u003e\u003cp\u003eIn 1957 komt alles in een stroomversnelling. De uiterlijke omstandigheden lijken nochtans ongunstig: Het Handelsblad gaat op de fles en wordt overgenomen door De Standaard met als gevolg dat Michiels zijn baan verliest. Gelukkig wordt hij even doorbetaald en kan hij op 1 december terecht bij uitgeverij Ontwikkeling. Financieel gaat hij er flink op vooruit. In 1957 publiceert hij ook ‘Het afscheid’, in zijn ogen zijn echte debuut en de roman die hem onomstotelijk in het kamp van de vernieuwers brengt.\u003c/p\u003e\u003cp\u003eIn dat kamp profileert zich ook steeds nadrukkelijker Jef Verheyen, met wie Michiels de vriendschapsbanden aanhaalt. De eerste brieven gaan over en weer in wat zal uitgroeien tot een indrukwekkende correspondentie. Najaar 1957 heeft Verheyen zijn eerste belangrijke solo-expositie in galerie Accent in Antwerpen en legt hij met Walter Vanermen, Jef Kersting , Herman Denkens en André Comhaire de basis van wat zal uitgroeien tot G58.\u003c/p\u003e\u003cp\u003eMet het wegvallen van Het Handelsblad richt Michiels zich tot vaktijdschriften, in de eerste plaats het katholieke Periscoop dat in 1950 door professor René Lissens was opgericht als blad voor literaire kritiek maar geleidelijk aan meer aandacht ging schenken aan plastische kunsten. Volgens Michiels was het tijdschrift ook op beter papier gedrukt, wat sterkere illustraties toeliet. Michiels keek ook naar het buitenland. In het Italiaans-Franse I 4 Soli, waarvan hij in Het Handelsblad enkele nummers positief besprak, publiceerde hij eind 1957 al een belangrijke tekst over Jef Verheyen, in het Frans. “Voor Verheyen is een schilderij een wereld die perfect en helemaal onafhankelijk is. Meer zelfs: het is een eerste appél dat uitgeroepen en gehoord wordt, daarvoor was er niets tenzij de leegte en de stilte”, meldt Michiels.\u003c/p\u003e\u003cp\u003eIn februari 1958 heeft Verheyen, die de zomer daarvoor het pad was gaan effenen, zijn eerste tentoonstelling beet in Milaan, bij galerie Pater. Michiels schreef de tekst voor het vouwblaadje bij de vernissage, waarop hij aanwezig was. Veertien jaar later zou hij het afscheidstafereel met Verheyen op het perron in Milaan beschrijven, een tekst die meermaals verscheen en die uiteindelijk ook in Journal Brut, Boek 7 belandde.\u0026nbsp; “Ik was hem vanuit Antwerpen nagereisd, was een paar dagen bij hem in Milaan gebleven, reed nu het eerst weer terug, hem achterlatend met het restant van wat schamele lires. Maar hij bleef. Omdat het moest. Ergens moest het. Hij bleef om morgen misschien toch nog een schilderij te verkopen, iemand te ontmoeten die geld gaf, of niet eens geld, die een weg openmaakte.”\u003c/p\u003e\u003cp\u003eIn zijn missie in Milaan slaagde Jef Verheyen met onderscheiding. Hij verkocht een blauw schilderij aan Fontana en sloot vriendschap met Crippa, later ook met Manzoni\u0026nbsp; en vele anderen. Michiels werd eveneens in die kringen geïntroduceerd en bracht verslag uit in\u0026nbsp; Het Kahier 11 van 1958, waar Verheyen in de redactieraad zat, en in ‘Milanese brief’ in de Periscoop. In Journal Brut zouden nog tal van heroïsche anekdotes uit de woelige Italiaanse periode gerecupereerd worden.\u003c/p\u003e\u003cp\u003eMichiels beperkte zijn rol niet louter tot kijker en commentator, maar koos uitdrukkelijk partij voor Verheyen en zijn Italiaanse vrienden. Zo kreeg hij het via Willy Vaerewijck, directeur van uitgeverij\u0026nbsp; Ontwikkeling, gedaan dat hij een beeldje van Crippa kon plaatsen in het Paviljoen van de Pers op de Wereldexpositie. Hij ging het persoonlijk ophalen in Milaan. Michiels schreef ook een brief aan Herman Teirlinck met de vraag of de Belgische Staat geen werk kon aankopen van de veelbelovende kunstenaar Jef Verheyen. De vraag kwam veel te vroeg.\u003c/p\u003e\u003cp\u003eEen gemiste kans want Verheyen ging door op zijn elan. Eind 1958 presenteerde hij het monochrome schilderij ‘De lucht is vol van uw warmte’ op de openingsexpositie van G58 in het Hessenhuis. Na ruzie verliet hij de groep en vond hij expositiemogelijkheden in Zwitserland, waar hoteleigenaar en galeriehouder Hans Liechti zijn mecenas en promotor werd. In Düsseldorf sloot hij vriendschap met Günther Uecker en Otto Piene van de Zero-beweging, waarvan hij de Belgische ambassadeur werd.\u003c/p\u003e\u003cp\u003eMichiels publiceerde ondertussen over Verheyen waar en wanneer hij maar de gelegenheid kreeg. Hij schreef een openingswoord voor een expo in Rotterdam en leverde bijdragen aan het Franstalige Art Actuel en De Kunstmeridiaan, verbonden aan de Brusselse Taptoe-galerie waar hij Asger Jorn en Wallase Ting beter leerde kennen. Toen in 1959 dichters en kunstenaars\u0026nbsp; van G58, De Tafelronde, Het Kahier en Frontaal elkaar even vonden in het ‘Modernistisch Centrum’, hield Michiels een lezing over ‘Abstracte kunst’, een richting waarvoor hij nu voluit overstag ging.\u003c/p\u003e\u003cp\u003eIn deze periode van druk atelierbezoek, gesprekken onder kunstenaars en drinkgelagen begint Michiels ook kunst te verzamelen en te verhandelen. “Het had alles met vriendschap en generositeit te maken, de slechte kanten van de business bestonden in de jaren vijftig nog nauwelijks”, blikt hij vandaag terug.\u003c/p\u003e\u003cp\u003eDe gulle Fontana die graag jongeren rondom zich had, gaf hem een werkje van Asger Jorn cadeau. Van Baj kocht hij een groot doek op afbetaling omdat de eerste koper, die hij zelf had aangebracht, uiteindelijk een ander werk wilde.\u003c/p\u003e\u003cp\u003eMichiels zou een benijdenswaardige verzameling opbouwen met sleutelwerken van Baj, Fontana, Engelbert Van Anderlecht en Jef Verheyen, van wie hij meermaals cruciale werken uitleenden voor tentoonstellingen in musea. Ook stukken van de Zero-beweging en popart kwamen in zijn bezit.\u003c/p\u003e\u003cp\u003eUit geldnoodzaak verkocht hij nu en dan werk door. Bij zijn verhuizing naar Frankrijk zou het merendeel van de collectie worden verkocht, met uitzondering van enkele Verheyens. Michiels beweert dat hij nooit kunstwerken zo maar op veiling bracht, maar ze steeds aanbood aan vrienden of bevriende galeriehouders.\u003c/p\u003e\u003cp\u003eIn tegenstelling tot vele collega’s zoals Paul Van Ostaijen, Maurice Gilliams, Gaston Burssens, Paul De Vree, Adriaan De Roover, Louis Paul Boon, Hugo Claus, Gust Gils, Paul Snoek, Patrick Conrad en Hugues C. Pernath waagde Michiels zich niet aan het maken van kunst. Volgens de schrijver zou Jef Verheyen hem daar wel toe aangespoord hebben, maar zelf oordeelde hij dat zijn talenten elders lagen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e6. Naar de essentie\u003c/p\u003e\u003cp\u003eIn de jaren zestig volgt Ivo Michiels het galeriewezen nog wel, zeker zolang hij in Antwerpen woont, bemiddelt en verkoopt wat, maar laat de organisatie en propaganda van Jef Verheyen en diens entourage over aan anderen. Die anderen zijn dan Paul De Vree, zijn soulmate van De Tafelronde, en Nic Van Bruggen, de jonge kunstcriticus van De Nieuwe Gazet en aspirant-dichter. In zijn eerste bundel ‘Revolver’ (1962) zou die zich uitdrukkelijk beroepen op de plastische theorieën van Jef Verheyen.\u003c/p\u003e\u003cp\u003eKenmerkend is dat niet Michiels, maar wel Paul De Vree en Nic Van Bruggen de Nieuwe Vlaamse School boven de doopvont hielden en er samen met Verheyen het manifest van schreven. De groep bestond uit afgescheurde G58-leden en nieuwe vrienden van Verheyen zoals Engelbert Van Anderlecht, Guy Mees en Guy Vandenbranden. De Nieuwe Vlaamse School ging van start op 15 oktober 1960 met een expositie in het CAW, niet toevallig op dezelfde dag als de derde groepstentoonstelling van G58. Er werd met modder gegooid, maar Michiels mengde zich niet.\u003c/p\u003e\u003cp\u003ePolemiek had hij altijd al gemeden. Zijn hart ging meer uit naar abstractie dan figuratie, maar hij hield steeds beide polen in het oog, net zoals hij handig schipperde\u0026nbsp; tussen de ‘koude’ constructivistische en ‘warme’ lyrische abstracten. Kiezen tussen de Nieuwe Vlaamse School van Jef Verheyen en G58 van\u0026nbsp; Paul Van Hoeydonck, Bert De Leeuw en Walter Leblanc was een dilemma. Met Verheyen had hij een zielsband, maar het werk van Van Hoeydonck en Leblanc hoefde hij daarvoor toch niet af te zweren?\u003c/p\u003e\u003cp\u003eGelukkig moest hij als criticus zijn kop niet meer uit te steken, want na 1960 beoefende Michiels geen journalistiek meer. Alle publicaties stonden voortaan in het teken van creatief schrijven. Creatief, dat wilde voor hem zeggen: de lessen die hij van Verheyen en andere schilders geleerd had ,omzetten in taal. Geen beschrijving of omschrijving meer, geen illustratie en ballast, maar de essentie. Of\u0026nbsp; in de zienswijze van Jef Verheyen: geen impressionisme, maar het wezen van kleur en licht.\u003c/p\u003e\u003cp\u003eIn de Alfa-cyclus, die Michiels tussen 1963 en 1979 liet verschijnen, gaat hij met klanken, zinnen en teksten omspringen zoals een schilder met vlakverdeling en ruimtewerking, kleur en licht. ‘Het boek Alfa’ begint symbolisch in de modder, dikke matièreverf, maar er staan ook speelse Cobra-achtige passages in en koele constructies. Het plastische hoogtepunt valt in ‘Exit’, het middendeel van de Alfa-cyclus dat na 130 bladzijde repetitieve bezwering eindigt op de vijftiende letter van het alfabet: de 0 of het cijfer nul, een directe hommage aan de Zero-beweging, die de terugkeer naar de nulgraad van de schilderkunst voorstond.\u003c/p\u003e\u003cp\u003eDaarna kan er in ‘Dixit’ weer opgebouwd worden. In de tiendelige Journal Brut-cyclus zal het hele gamma van plasticiteit aan bod komen: van barok tot minimaal.\u003c/p\u003e\u003cp\u003e“Bij Zero, Verheyen en Fontana, voelde ik mij als schrijver het nauwst betrokken. Hoewel Cobra, Jorn vooral, ook Corneille, geregeld hun kleurkopje opsteken in mijn schriftuur”, becommentarieert Michiels vandaag het belang van de plastische kunsten voor zijn romanoeuvre.\u003c/p\u003e\u003cp\u003eParallel met het ontstaan van de Alfa-cyclus publiceert Michiels ook schaarse gelegenheidsteksten, geschreven op verzoek van kunstenaars, galeriehouders, film- of theaterproducenten. Onmogelijk om er een genrebepaling op te kleven. Raadselachtig\u0026nbsp; poëzie, een herinnering of dagboekfragment, een imaginaire dialoog, essayistische\u0026nbsp; duidingen, taalspel? Meestal mengt hij de vormen door elkaar.\u003c/p\u003e\u003cp\u003eDe teksten liggen in het verlengde van ‘Albisola mare, Savona’, handelen over kunst, zijn hyperpersoonlijk en richten zich tot een publiek van ingewijden dat op dezelfde golflengte zit. Ze verschijnen op kleine oplagen in gespecialiseerde tijdschriften, catalogi of dure kunstedities. Zo was ‘Babyblauw en suikergoedrose’, een in memoriam voor Lucio Fontana, te lezen in het tijdschrift Raam in 1969.\u003c/p\u003e\u003cp\u003e‘Jef Verheyen, schilder. Ook een verhaal’ vond een plek in de dure boekmultiple ‘Jef Verheyen 40’, uitgebracht ter gelegenheid van de veertigste verjaardag van de schilder. Bij die gelegenheid werd ook een legendarisch feest gehouden in het kasteel in het Rivierenhof in Deurne. Verheyen, Michiels en fotograaf Frank Philippi werkten nauw samen aan dit megalomaan project van vormgever en uitgever Paul Ibou. De tekstschrijver was 85.000 frank (2000 euro) beloofd en 3 percent van de verkoop, maar door het faillissement van Paul Ibou en zijn Multi Art Gallery kwam daar niets van terecht.\u003c/p\u003e\u003cp\u003eHet boekje ‘Zes keer een aanloop’ begeleidde een expo van Alechinsky bij de Antwerpse galerie Lens Fine Art. ‘Het fietsje van Szukalski’ hoorde bij een expo in The Antwerp Gallery in de Lamorinièrestraat, waar ook Verheyen een keer exposeerde. De van oorsprong Poolse beeldhouwer en collagekunstenaar begon zijn carrière als assistent van Jef Verheyen en maakte een serie neusportretten waarin Michiels en Verheyen figureerden. In 1979 schreef Michiels vier gedichten/teksten bij evenveel seriegrafieën van Mark Verstockt, met wie hij al kennis had gemaakt eind jaren vijftig in galerie Accent.\u003c/p\u003e\u003cp\u003eMet al deze kunstteksten laat\u0026nbsp; Michiels een volstrekt eigen stem horen. In 1979 bundelde Walter Soethoudt ze\u0026nbsp; in ‘Luister hoe dit beeld hoe die lijn hoe die kleur hoe dit vlak luister’. De bundel had even goed ‘Zie hoe deze klank, hoe dit woord, hoe deze zin, hoe deze tekst, zie’ kunnen heten. Als ‘scherven’ kregen ze een terechte plek in Journal Brut Boek 7, samen met andere herinneringen uit de kunstwereld.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e7. Frankrijk\u003c/p\u003e\u003cp\u003eIn de zomer van 1974 zet Jef Verheyen weer een nieuwe stap. Hij laat Antwerpen achter zich en verhuist naar Les Talons in Saint Saturnin d’ Apt in de Provence. Hij kon de sprong wagen dankzij enkele oude en nieuwe gefortuneerde verzamelaars zoals de Duitser Gerhard Lenz, dokter Jos Macken, Louis Bogaerts (die twee van zijn Verheyens opofferde om ze door Fontana te laten doorboren), galeriehouder Marcel Stal, Baron Antonino von Hoerde, Carlo Van den Bossche en de jonge, beginnende antiquair Axel Vervoordt. Verheyen zat vanaf zijn bijdrage aan de Biënnale van Venetië ook steviger in een Europees circuit van musea en galeries.\u003c/p\u003e\u003cp\u003eTussen de Provence en het landelijke Zonnegem, waar Michiels woont, gaapt een afstand. Verheyen behoudt wel een atelier in Antwerpen, maar de twee zien elkaar steeds minder. Wel voeren ze een drukke correspondentie. Van Verheyen bewaart het Letterenhuis bijna zeventig overwegend lange brieven gericht aan Michiels.\u003c/p\u003e\u003cp\u003eSteeds terugkerend onderwerpen zijn de eenzaamheid, de noodzaak om België en Antwerpen te verlaten\u0026nbsp; (“het zielige leven van de Vécu en de Boer van Tienen”) en de lof van Frankrijk.\u003c/p\u003e\u003cp\u003e\u0026nbsp; “Wat dat land hier biedt, jongen, ik kan het echt niet zeggen. Ik stap van het ene schilderij in het andere, de ruimten liggen niet meer achter elkaar, op elkander, allemaal deuren die ik open en terug dicht doe…”, schrijft Verheyen op 9 oktober 1974.\u003c/p\u003e\u003cp\u003eEn op 16 december klinkt het zo: “De eenzaamheid en de onafhankelijkheid zijn dingen die noodzakelijk zijn voor iemand die tot het uiterste wil gaan, in creatieve zin. En voor wat zou ik eigenlijk leven. Voor de schilderkunst en voor niets anders in feite. Ik weet niet of het zal lukken maar in de provinciale brol van België wil ik niet stikken. Ik sterf liever voor iets dat de moeite is dan in een beerput te verzuipen.”\u003c/p\u003e\u003cp\u003eVerheyen mist Michiels. Hij wil zijn oordeel kennen over zijn nieuwe doeken, maar is ook benieuwd naar diens schrijfwerk. “De bezwering (obsessie vind ik niet juist) die jij met je woorden tracht te bereiken, ligt me zo nabij, dat ik het duidelijk kan voelen”, laat hij weten.\u003c/p\u003e\u003cp\u003eDe volgende jaren laat Verheyen geen gelegenheid voorbijgaan om Michiels uit te nodigen om in Frankrijk te komen schrijven. In 1978 begint hij ook tips te geven over interessante huizen die hij hem in de buurt te koop staan. In 1979 waagt Michiels op zijn beurt de overtocht en nestelt zich in Le Barroux, zo’n 50 kilometer noordelijker dan Saint Saturnin d’ Apt. Uitgerekend in die periode is Verheyen vaak in Antwerpen, Zwitserland en Duitsland voor de voorbereiding van Zero-tentoonstellingen.\u003c/p\u003e\u003cp\u003eToch vinden ze de tijd om aan twee gezamenlijke luxeprojecten te werken. ‘Weerspiegelingen’ in 1979 bevat twee litho’s, een tekst van Jef Verheyen en een commentaar van Michiels. Michiels stelt vast dat Verheyen veel teksten geschreven heeft en taal een drijfveer was voor de schilder, zoals plastische kunst voor hem als schrijver. Hij besluit: “Tekst en beeld zijn er al van oudsher op uit elkaar aan te vullen, soms in een typisch twintigste-eeuwse huwelijk, uitgroeiend tot een authentieke integratie. Van sommige zal het dan zelfs moeilijk worden, uit te maken welke taal primair de hunne is: die van het zien, of die van het horen, die van de verf of die van de inkt.”\u003c/p\u003e\u003cp\u003e‘Le Grand Oeuvre’ in 1982 uitgegeven door galerie Erker in Sankt Gallen brengt tien litho’s van Jef Verheyen samen met tien teksten van Ivo Michiels. De bekende Zwitserse schrijver Friedrich Dürrenmatt stelt het werk voor in Sankt Gallen. In Antwerpen houden Julien Schoenaerts en Henri-Floris Jespers het boven de doopvont in het Oserriethhuis op de Meir.\u0026nbsp; “Jef maakte tien litho's in zwart-wit, terwijl de tien teksten van mij eveneens op steen werden geschreven, maar dan in kleur. Jef was trots op zijn vondst”, herinnerde Michiels zich deze samenwerking, die hun afscheid zou worden.\u003c/p\u003e\u003cp\u003eOp 2 maart 1984 sterft Jef Verheyen aan de gevolgen van een hartaanval op de judomat van zijn sportclub in Apt. Hij wordt begraven in een grafkelder in Croagnes.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e8. En maar vliegen\u003c/p\u003e\u003cp\u003eIvo Michiels blijft verweesd achter en heeft nog negen delen van zijn opus ‘Journal Brut’ te schrijven. Een jaar na Verheyens dood publiceert hij deel 2, ‘Het boek der nauwe relaties’. De Schilder mocht daarin niet ontbreken. In het hoofdstuk ‘De witte tenten voor de hoge ramen’ blikt Michiels terug op diens begrafenis. Terwijl hij met een roos voor het graf staat, brengen zijn gedachten hem terug naar een memorabele nacht in Venetië. Het is 1981: Jef Verheyen heeft zijn beste vrienden uitgenodigd in een onderkomen paleis. Terwijl de anderen slapen, filosoferen de schilder en de schrijver over de nietigheid van het bestaan en de grootheid van kunst.\u003c/p\u003e\u003cp\u003eMichiels noteert hun dialoog:\u003c/p\u003e\u003cp\u003e“Zeker een schrijver.\u003c/p\u003e\u003cp\u003eOf een schilder.\u003c/p\u003e\u003cp\u003eMisschien wel een schrijver die schildert\u003c/p\u003e\u003cp\u003eMisschien wel een schilder die schrijft\u003c/p\u003e\u003cp\u003eDe ene kunst en de andere kunst, vogel is vogel.\u003c/p\u003e\u003cp\u003eWolken zijn wolken, ik bedoel woorden.”\u003c/p\u003e\u003cp\u003e“En maar vliegen”, zegt hij.”\u003c/p\u003e\u003cp\u003eWaarop Verheyen twee planken neemt en ermee als een steltloper begint rond te lopen, op hoge poten boven het banale. Baudelaire knikt instemmend: een knappe correspondance, kunst als poësis, niet als mimesis.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eFrank HEIRMAN\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eFrank Heirman, 'Ivo Michiels: Misschien wel een schrijver die schildert', in: \u003ci\u003eDeus ex Machina\u003c/i\u003e, 35, 138-139, 2011, 105-112.\u003cbr\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003ch2\u003eIvo Michiels\u003c/h2\u003e\u003ch2\u003eMisschien wel een schrijver die schildert\u003c/h2\u003e\u003cp\u003e1. Correspondances\u003c/p\u003e\u003cp\u003e“Mijn grote, mijn enige, mijn eerste hartstocht”, verwoordde Charles Baudelaire (1821-1867) zijn liefde voor de schilderkunst. De dichter van ‘Les fleurs du mal’ was één van de eerste schrijvers die zich intens met plastische kunsten inliet. De jaarlijkse kunstsalons volgde hij op de voet, hij schreef kritieken en nam gedurfde stellingen in. Met Eugène Delacroix had hij een blijvende band. Keer op keer zocht hij naar de essentie van diens romantische genie. “Als Delacroix een schilderij componeert, kijkt hij in zichzelf in plaats van door het raam te staren. Uit de schepping heeft hij al lang datgene gehaald wat zijn kunst nodig heeft, en dat geeft zijn schilderijen hun intieme aantrekkingskracht, al ogen ze op het eerste gezicht onaangenaam”, ontdekte de dichter, die overigens als criticus schatplichtig was aan zijn voorganger Théophile Gautier.\u003c/p\u003e\u003cp\u003eBaudelaire hield de kunstkritiek niet gescheiden van zijn andere werk. Zijn voorkeur voor het groteske en de combinatie van het hoge en het lage vond hij terug in prenten en schilderijen. Sommige gedichten zijn een regelrechte poging om ‘Correspondances’ te vinden tussen verf en inkt.\u0026nbsp;\u003c/p\u003e\u003cp\u003eVanaf Baudelaire, waarmee de kunstgeschiedenis graag de moderne poëzie laat beginnen, vormt belangstelling voor plastische kunsten een rode draad in de literatuur. Vooral de experimentele poëzie vond nieuwe wegen via het contact met plastische kunsten. Mallarmé, Apollinaire, Tzara, Breton schieten te binnen. Ook de Vlaamse literatuur biedt treffende voorbeelden. Karel Van de Woestyne wist zich in Latem omringd door expressionistische schilders, maar was ook vertrouwd met de voorgangers van Les XX en James Ensor. Paul Van Ostaijen sloot een verbond met Oscar en Floris Jespers en Paul Joostens, maar boekte de meeste vooruitgang door zijn kennis van het Franse kubisme en zijn dadaïstische contacten in Berlijn.\u003c/p\u003e\u003cp\u003eOnmiddellijk na de schoolbanken belandde Hugo Claus in kringen van schilders en beeldhouwers. Op achttienjarige leeftijd was hij betrokken bij de groep La Relève waarvan Roger Raveel en Jan Burssens deel uitmaakten. Twee jaar later, in 1949, introduceerde beeldhouwer Florent Wellens hem in Les Ateliers du Marais, de woon- en werkplaats van Pierre Alechinsky waar ook Reinhoud, Jan Cox en vele oud-leden van Cobra zich ophielden.\u003c/p\u003e\u003cp\u003eOok voor Ivo Michiels speelde de kunstscene, net zoals de filmwereld, een doorslaggevende rol in zijn evolutie als schrijver. Maar het was geen liefde op het eerste gezicht. Er ging een leerproces aan vooraf, waarin de schrijver zijn eigen leermeester was.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e2. Springen of niet-springen\u003c/p\u003e\u003cp\u003eIn 1949 zit Ivo Michiels, nochtans zes jaar ouder dan Hugo Claus, nog helemaal opgesloten in zijn cocon van idealistische poëzie en strijdbaar maar toch ook progressief katholiek engagement. Van plastische kunsten is er nog geen spoor. De liefde voor schilderijen kreeg hij niet van thuis of van schoolleraars mee.\u0026nbsp;\u003c/p\u003e\u003cp\u003eMichiels was zich bewust van zijn intellectuele achterstand en kreeg de gelegenheid zichzelf bij te werken, toen hij vanaf 1948 aan het Handelsblad mocht meewerken.\u003c/p\u003e\u003cp\u003eDe eerste jaren schreef hij over film en literatuur. Pas na vier jaar verzorgde hij een eerste kunstbijdrage, gewijd aan Jack Godderis (1916-1971). Merkwaardig: over die Antwerpse schilder zou hij het vaakst schrijven in de krant, vijf artikels in totaal. En nog merkwaardiger: Michiels zou Godderis, een figuur die vandaag passé is en wiens oeuvre nauwelijks evolutie vertoonde, trouw blijven tot zijn ontslag bij de krant in 1958. Hij waardeert diens zoektocht naar beheersing en harmonie. Vooral diens portretten vond hij ‘ontheven’. Michiels’ belangstelling moet meer gewekt zijn door de artistieke figuur Godderis en diens eerlijkheid, dan door zijn stijl. Zijn grimmig coloriet dat afwijkt van de werkelijkheid paste bij het existentialisme begin jaren vijftig, waarvoor Michiels toen ontvankelijk was\u003c/p\u003e\u003cp\u003eTot begin 1954 schreef Michiels slechts hoogst sporadisch over schone kunsten. Daarna drukte hij zijn stempel op de rubriek ‘Geestesleven’, een pagina op dinsdag waarvoor hij romans en plastische kunst recenseerde. ‘Geestesleven’ was moderner dan de titel liet vermoeden. Walter De Block signaleerde er al eens belangrijke jazzplaten en ook Paul De Vree schreef er af en toe voor. Het moet een stimulerende biotoop geweest zijn, met Michiels als spil.\u003c/p\u003e\u003cp\u003eWaarover schrijft Michiels in de krant? Nauwelijks over het verleden en al zeker niet over het vooroorlogse kunstgebeuren. Hij kan niet voorbij aan de grote evenementen, zoals het jaarlijkse salon van ‘Kunst van Heden’ in de Stadsfeestzaal, maar eigenlijk heeft hij weinig te melden over de retrospectieven. Op het salon van 1954 betwist hij niet de verdiensten van Gustaaf De Smet en de revolutionair Paul Joostens, maar het raakt hem niet echt. Hij ontdekt er liever Anne Bonnet en Jan Saverys. In een tentoonstelling bij het Grafisch Genootschap datzelfde jaar in hij al even onbegrijpelijk meer getroffen door de anekdotische jonge etser René De Coninck dan door de vormvernieuwers van de jaren twintig. Hij vindt Frans Masereel en Henri Van Straten gedateerd. “Het is niet iets maar de illustratie van iets.” Het is ook tekenend dat hij over de abstracte pionier Jozef Peeters geen woord schrijft, hoewel hij wel een schilderij van hem zou verwerven, dat hij later aan een vriend cadeau zou doen.\u003c/p\u003e\u003cp\u003eMichiels heeft duidelijk meer voeling met de jonge schilders die zich in 1945 verenigden in Jeune Peinture. Na de traumatische oorlogsjaren probeerden ze weer aansluiting te vinden bij een voorzichtig modernisme. Zij schipperden tussen figuratie en abstractie. Een deel maakte de sprong, anderen niet. Michiels stond voor een gelijkaardig dilemma. Kiezen deed hij niet. Hij sympathiseerde vooral voor artiesten die net niet sprongen.\u003c/p\u003e\u003cp\u003eJeune Peinture bestond als groep maar enkele jaren en vertakte naar tal van andere groeperingen zoals Cobra, Art Abstrait, Taptoe, Formes, allemaal van korte duur, maar met lange nawerking. Jack Godderis was lid van Jeune Peinture, net zoals Luc Peire, Rik Slabbinck, Gaston Bertrand, Marc Mendelson en Jan Vaerten. Michiels volgde deze opkomende artiesten met aandacht in meerdere artikels. Vooral over Peire die van langgerekte Afrikaanse figuurtjes naar streepschilderijen evolueerde, was hij enthousiast.\u003c/p\u003e\u003cp\u003eHun exposities vonden vooral plaats in Het Atelier, de eerste vernieuwende galerie in het Antwerpse. Pip Wouters en kunstschilder Jan Vaerten hadden de ruimte in 1951 geopend. Collega Hubert Lampo, die kunstrecensies voor de socialistische Volksgazet schreef en die voor Michiels’ latere overstap naar de socialistische uitgeverij Ontwikkeling cruciaal zou zijn, verzorgde er vaak inleidingen. Onder de vaste bezoekers van Het Atelier bevonden zich schrijvers als Paul Neuhuys en Werner Spillemaeckers, choreografe Jeanne Brabants, architect Renaat Braem.\u003c/p\u003e\u003cp\u003eEen tweede belangrijke biotoop vond Michiels in het Centrum van Artistieke Werking (CAW), een zaal op de Meir, waar John Trouillard vanaf 1954 de exposities organiseerde. Het niveau wisselde, maar het was hier dat nieuwlichters hun eerste kansen kregen. Hier kon Michiels zo nu en dan zijn eigen generatie ontdekken. Een revelatie was de expositie van Paul Van Hoeydonck (1925), die met zijn taferelen uit de Antwerpse haven en Marokko de grens van de abstractie aftastte. Hij is zo enthousiast dat hij naar het atelier trekt om te zien hoe Van Hoeydonck “een sprong uit de anekdote en het bijkomstige maakt” zonder te belanden “in het steriel constructivisme in het ijle.” “Hoe dichter zijn werk de abstractie zal benaderen, hoe meer het er van verlost zijn worden”, besluit hij profetisch.\u003c/p\u003e\u003cp\u003eOok de figuur John Trouillard zou in Michiels’ latere carrière terugkomen. In 1959 verzorgde hij de lay-out van ‘Albisola Mare, Savona’,\u0026nbsp; een verhaal in een beperkte editie met tekeningen van Wilfredo Lam en Roberto Crippa. In 1960 zou Trouillard het CAW openstellen voor de Nieuwe Vlaamse School van Jef Verheyen, inmiddels Michiels’ boezemvriend. Daarna startte hij de fameuze Ad Libitum-galerie waar Verheyen en zijn buitenlandse Zero-vrienden onderdak zouden krijgen.\u003c/p\u003e\u003cp\u003eHet artistiek klimaat in Antwerpen kabbelt in de fifties gezapig op en neer. Maar in het seizoen 1956-57 keert het ten goede. Als kunstcriticus kan Michiels de interessante exposities niet meer bijhouden. In plaats van lange beschouwende stukken verschijnen steeds vaker losse foto’s, waarin hij zijn enthousiasme uitschreeuwt voor Marc Mendelson, Luc Peire, maar ook voor Michel Seuphor en nieuwe namen als Dan van Severen, Walter Leblanc\u0026nbsp; en Mark Verstockt. Die ontmoet hij in galerie Accent in de Lange Nieuwstraat 91, zijn nieuwe thuishaven. De galerie annex boekhandel en prentenkabinet van radio en tv-medewerker Hugo Hellemans, was een vertrouwd adres voor Michiels. Van 1947 tot 1951 had Paul De Vree in het huis, dat eigendom was van Maurice Gilliams, de boekhandel ‘De Brug’ geleid en was er het redactiesecretariaat van De Golfslag, het katholieke tijdschrift waarvan Michiels een stuwende kracht was.\u003c/p\u003e\u003cp\u003eNaast Accent openden ook Galerie Vermeer in de Eikenstraat en Ravenna in de Korte Gasthuisstraat de deuren. De avant-garde kreeg ook expositiemogelijkheden in zoldercafé Gard Sivik en de Deutsche Buchgemeinschaft.\u003c/p\u003e\u003cp\u003eAntwerpen was rijp voor de creatieve explosie van G58 in het Hessenhuis. Michiels maakte het van op de eerste rij mee, maar niet meer als onderzoekend journalist, wel als overtuigd kunstfan, beginnend verzamelaar en vriend van tal van G58-leden.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e3. Zoekende kunstcriticus\u003c/p\u003e\u003cp\u003eHoe belangrijk waren de kunstkritieken van Michiels uit de jaren vijftig? Jan Hoet schreef er in 1980 in het Michiels-nummer van het tijdschrift Restant geestdriftig over. “Zij vormen een onschatbare bron van informatie en een heldere en boeiende lectuur voor wie wenst kennis op te doen over de naoorlogse periode, echo’s op te vangen van de strijd en de polemieken die rond de tegenstelling ‘figuratief’ en ‘non-figuratief’ werden\u0026nbsp; gevoerd”, vindt Hoet.\u003c/p\u003e\u003cp\u003eDat klopt. Vijftig jaar na datum blijven het goed leesbare tijdsdocumenten, wat van de meeste krantenkritiek vandaag niet meer gezegd zal kunnen worden. Michiels bijdragen zijn voor de huidige normen lange, persoonlijke stukken waarin hij geen afzonderlijke werken beschrijft, maar steeds behoedzaam een synthese formuleert. Aanpak en stijl wijken grondig af van de huidige journalistieke kunstkritiek, die zich al te vaak beperkt tot een objectieve situering van de artiest, weetjes over de expo en een typering van opmerkelijke werken.\u003c/p\u003e\u003cp\u003eMichiels schrijft in de wij- of ik-vorm en richt zich duidelijk tot een groep ingewijden die hem week na week volgen. Hij tracht te verwoorden wat hij bijgeleerd heeft, wat het belang is van wat hij gezien heeft en maakt voorspellingen voor de toekomst. Als er een vervolgstuk komt, soms jaren later, grijpt hij terug naar wat hij eerder vaststelde. Het is duidelijk dat Michiels als criticus een missie heeft. Het verleden wil hij niet corrigeren, maar hij wil inzicht verwerven in de artistieke productie van het moment en van daaruit aanduiden welke richting de kunst het best uitgaat.\u003c/p\u003e\u003cp\u003eMichiels is een kind van zijn tijd. In de jaren vijftig bezat de kunstcriticus nog gezag. De allergrootsten hadden zelfs een onuitputtelijke macht. De beroemdste naoorlogse criticus Clement Greenberg wist door zijn geschriften en invloed het artistieke middelpunt te verleggen van Parijs naar New York. Hij schoof Jackson Pollock en Willem De Kooning als nieuwe Picasso’s naar voren, een visie die de kunstmarkt overnam. Een kunstcriticus in de 21\u003csup\u003este\u003c/sup\u003e eeuw kan alleen maar cynisch toekijken hoe de artistieke trends elkaar steeds sneller opvolgen. Robert Hughes, de toonaangevende stem van Time Magazine, kon enkele vaststellen dat de criticus gedegradeerd was tot een pianist in een bordeel. “Je hebt geen invloed van wat er zich boven allemaal afspeelt”, gaf hij toe.\u003c/p\u003e\u003cp\u003eIvo Michiels wist, ondanks de kleine en steeds teruglopende oplage van Het Handelsblad, zijn stem gehoord. Zijn actieradius beperkte zich tot Antwerpen, met af en toe een zijsprongetje naar bevriende galeries in Brussel en Brugge. Michiels werd zeker gewaardeerd. Galeriehouders en kunstenaars solliciteerden naar zijn mening, maar hij werd nooit de doorslaggevende criticus die de bakens wist te verzetten. Daarvoor was de periode dat hij de scene volgde te kort en zijn corpus te beperkt. Bovendien vielen zijn activiteiten juist in een overdracht van de macht. Na de oorlog was Jan Walravens (1920), de kunstredacteur van Het Laatste Nieuws en stichter van het experimentele tijdschrift Tijd en Mens, de luidste stem die het existentialisme, experimentele poëzie, Jeune Peinture en Cobra\u0026nbsp; voortrok. In het debat van figuratieven en niet-figuratieven kozen Brusselaar Maurits Bilcke en de jonge Marc Callewaert in Gazet van Antwerpen sneller en radicaler de kaart van de jonge abstracten. In tegenstelling tot Michiels legden zij wel de link met de historische avant-garde, visten ze Jozef Peeters en Victor Servranckx op. Als eerste presenteerde Bilcke, samen met Jeune Peinture-schilder Jo Delahaut, hun werk in Saint-Laurent, dé pilootgalerie in Brussel, waar Michiels af en toe kwam kijken. Marc Callewaert engageerde zich honderd percent in het kanteljaar 1958 en werd voorzitter, tentoonstellingsmaker en tekstschrijver van G58. Dat hij daarover ook nog eens uitvoerig en positief berichtte in Gazet van Antwerpen was misschien deontologisch over de schreef, maar het zorgde wel voor een ruime belangstelling.\u003c/p\u003e\u003cp\u003eOp het moment dat Michiels, sneller dan zijn collega’s, nieuwe kunstaders ontdekte, berichtte hij niet meer wekelijks over zijn speurtocht. Gelukkig kon hij het ontgonnen goud op een andere manier verwerken.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e4. Bondgenoot Jef Verheyen\u003c/p\u003e\u003cp\u003eSchrijven over Ivo Michiels en de plastische kunsten is schrijven over Jef Verheyen (1932-1984). “De schilder die mij in leven en kunst waarschijnlijk het meest na heeft gestaan”, getuigt Michiels in ‘Daar komen scherven van’, Boek 7 van Journal Brut dat over de plastische kunsten gaat en voor een groot deel over Verheyen.\u003c/p\u003e\u003cp\u003eMichiels verwijst graag naar hem als de Schilder, met hoofdletter. Verheyen was overigens meer dan een schilder. Tijdens zijn opleiding aan de Academie sloot hij aan bij De Nevelvlek en zat in de redactie van hun tijdschrift Het Kahier, schreef manifesten, publiceerde in Nul en De Tafelronde, hield af en toe een dagboek bij en was een verwoed brievenschrijver. Ook met andere schrijvers als Paul De Vree, Nic Van Bruggen en Guy Vaes was hij close, maar de vriendschap met Michiels was van een meer persoonlijke, creatieve aard.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn Michiels’ eerste echte experimentele verhaal ‘Albisola Mare, Savona’ uit 1959 duikt Verheyen even op als de Antwerpse vriend V. Ze zijn samen op bezoek in het huis van Wilfredo Lam aan de Ligurische kust. In deze ‘superieure, fel psychisch geladen reisherinnering’ (dixit Hubert Lampo) komen ook Lucio Fontana, Roberto Crippa, Walasse Ting en Asger Jorn voor, allen onder voor insiders herkenbare schuilnaam. Michiels was in de kunstenaarskolonie van Albisola Mare, bekend voor zijn keramiekateliers, verzeild geraakt dank zij Jef Veheyen, die hem meenam.\u003c/p\u003e\u003cp\u003eVerheyen, gezegend met lef en een sterk ego, nam in hun vriendschap bijna steeds het initiatief. Hij was het die in september 1955 Michiels aanspraak in diens stamcafé Casa Roca op de hoek van de Meir en de Kolveniersstraat. Hij klopte stoutweg op het vensterraam en vroeg of de criticus zijn pas geopende keramiekatelier achter de hoek in de Rubensstraat niet wilde komen bezoeken.\u003c/p\u003e\u003cp\u003e\u0026nbsp;Michiels legde zeventien jaar later die eerste ontmoeting vast in een tekst die verscheen in de boekmultiple ‘Jef Verheyen 40’, uitgegeven ter gelegenheid van de veertigste verjaardag van de schilder. Michiels herinnerde zich de uitnodiging van Verheyen als een bevel en hij gehoorzaamde.\u003c/p\u003e\u003cp\u003eOp 18 oktober 1955 schrijft hij een bijdrage in het Handelsblad, een beetje weggestoken in de verzamelrubriek ‘de Antwerpse salons’. Michiels is positief over het gedurfde niet-commerciële initiatief van Verheyen, diens partner Dani Francq en Marina Van Acker die samen het keramiekatelier hadden opgezet, maar hij heeft duidelijk nog geen kijk op de keramiekkunst. Hij vindt het werk zuiver van lijn en eerlijk, maar vermoedt de enorme ambities van Verheyen nog niet.\u003c/p\u003e\u003cp\u003eEen jaar later, op 28 november 1956, publiceert hij een tweede en meteen laatste stuk over Verheyen in Het Handelsblad. Aanleiding was diens allereerste soloshow bij de Deutsche Buchgemeinschaft in de Lange Leemstraat. Hoewel het slechts een bescheiden schilderijenexpositie betrof, ziet Michiels nu wel\u0026nbsp; “de artistieke ernst” ervan in. Daarbij speelde mee dat hij ondertussen al meermaals het schildersatelier had bezocht en ook kennis had van de grote werken die Verheyen niet kon tonen in de kleine boekhandel. Michiels zag het verband in matièrebehandeling en kleurgebruik tussen de geëxposeerde doeken en de vroegere keramiekwerken, maar hij wist ook dat Verheyen al een stadium verder was gevorderd. “In deze grotere doeken treedt deze jongere al veel rijper naar voor en verrast hij de toeschouwer door een compositorisch vermogen dat respect afdwingt, terwijl het ritme van het schilderij groeit uit een boeiende verkaveling van het oppervlak in vlakken en onderverdeling van vlakken welke in hun kleinste onderdeel ook elk afzonderlijk nog aan een eigen door de matière gestimuleerde spanning onderworpen zijn.”\u003c/p\u003e\u003cp\u003eDe recensie wint nog aan kracht doordat Michiels ze koppelt aan een al even extatische kritiek van het nieuwe werk dat Paul Van Hoeydonck in Brussel toonde. Van Hoeydonck is op dat moment de kunstenaar in wie de criticus het sterkst gelooft. Weldra zal Verheyen die positie overnemen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e5. Wonderjaren 1957-1959\u003c/p\u003e\u003cp\u003eIn 1957 komt alles in een stroomversnelling. De uiterlijke omstandigheden lijken nochtans ongunstig: Het Handelsblad gaat op de fles en wordt overgenomen door De Standaard met als gevolg dat Michiels zijn baan verliest. Gelukkig wordt hij even doorbetaald en kan hij op 1 december terecht bij uitgeverij Ontwikkeling. Financieel gaat hij er flink op vooruit. In 1957 publiceert hij ook ‘Het afscheid’, in zijn ogen zijn echte debuut en de roman die hem onomstotelijk in het kamp van de vernieuwers brengt.\u003c/p\u003e\u003cp\u003eIn dat kamp profileert zich ook steeds nadrukkelijker Jef Verheyen, met wie Michiels de vriendschapsbanden aanhaalt. De eerste brieven gaan over en weer in wat zal uitgroeien tot een indrukwekkende correspondentie. Najaar 1957 heeft Verheyen zijn eerste belangrijke solo-expositie in galerie Accent in Antwerpen en legt hij met Walter Vanermen, Jef Kersting , Herman Denkens en André Comhaire de basis van wat zal uitgroeien tot G58.\u003c/p\u003e\u003cp\u003eMet het wegvallen van Het Handelsblad richt Michiels zich tot vaktijdschriften, in de eerste plaats het katholieke Periscoop dat in 1950 door professor René Lissens was opgericht als blad voor literaire kritiek maar geleidelijk aan meer aandacht ging schenken aan plastische kunsten. Volgens Michiels was het tijdschrift ook op beter papier gedrukt, wat sterkere illustraties toeliet. Michiels keek ook naar het buitenland. In het Italiaans-Franse I 4 Soli, waarvan hij in Het Handelsblad enkele nummers positief besprak, publiceerde hij eind 1957 al een belangrijke tekst over Jef Verheyen, in het Frans. “Voor Verheyen is een schilderij een wereld die perfect en helemaal onafhankelijk is. Meer zelfs: het is een eerste appél dat uitgeroepen en gehoord wordt, daarvoor was er niets tenzij de leegte en de stilte”, meldt Michiels.\u003c/p\u003e\u003cp\u003eIn februari 1958 heeft Verheyen, die de zomer daarvoor het pad was gaan effenen, zijn eerste tentoonstelling beet in Milaan, bij galerie Pater. Michiels schreef de tekst voor het vouwblaadje bij de vernissage, waarop hij aanwezig was. Veertien jaar later zou hij het afscheidstafereel met Verheyen op het perron in Milaan beschrijven, een tekst die meermaals verscheen en die uiteindelijk ook in Journal Brut, Boek 7 belandde.\u0026nbsp; “Ik was hem vanuit Antwerpen nagereisd, was een paar dagen bij hem in Milaan gebleven, reed nu het eerst weer terug, hem achterlatend met het restant van wat schamele lires. Maar hij bleef. Omdat het moest. Ergens moest het. Hij bleef om morgen misschien toch nog een schilderij te verkopen, iemand te ontmoeten die geld gaf, of niet eens geld, die een weg openmaakte.”\u003c/p\u003e\u003cp\u003eIn zijn missie in Milaan slaagde Jef Verheyen met onderscheiding. Hij verkocht een blauw schilderij aan Fontana en sloot vriendschap met Crippa, later ook met Manzoni\u0026nbsp; en vele anderen. Michiels werd eveneens in die kringen geïntroduceerd en bracht verslag uit in\u0026nbsp; Het Kahier 11 van 1958, waar Verheyen in de redactieraad zat, en in ‘Milanese brief’ in de Periscoop. In Journal Brut zouden nog tal van heroïsche anekdotes uit de woelige Italiaanse periode gerecupereerd worden.\u003c/p\u003e\u003cp\u003eMichiels beperkte zijn rol niet louter tot kijker en commentator, maar koos uitdrukkelijk partij voor Verheyen en zijn Italiaanse vrienden. Zo kreeg hij het via Willy Vaerewijck, directeur van uitgeverij\u0026nbsp; Ontwikkeling, gedaan dat hij een beeldje van Crippa kon plaatsen in het Paviljoen van de Pers op de Wereldexpositie. Hij ging het persoonlijk ophalen in Milaan. Michiels schreef ook een brief aan Herman Teirlinck met de vraag of de Belgische Staat geen werk kon aankopen van de veelbelovende kunstenaar Jef Verheyen. De vraag kwam veel te vroeg.\u003c/p\u003e\u003cp\u003eEen gemiste kans want Verheyen ging door op zijn elan. Eind 1958 presenteerde hij het monochrome schilderij ‘De lucht is vol van uw warmte’ op de openingsexpositie van G58 in het Hessenhuis. Na ruzie verliet hij de groep en vond hij expositiemogelijkheden in Zwitserland, waar hoteleigenaar en galeriehouder Hans Liechti zijn mecenas en promotor werd. In Düsseldorf sloot hij vriendschap met Günther Uecker en Otto Piene van de Zero-beweging, waarvan hij de Belgische ambassadeur werd.\u003c/p\u003e\u003cp\u003eMichiels publiceerde ondertussen over Verheyen waar en wanneer hij maar de gelegenheid kreeg. Hij schreef een openingswoord voor een expo in Rotterdam en leverde bijdragen aan het Franstalige Art Actuel en De Kunstmeridiaan, verbonden aan de Brusselse Taptoe-galerie waar hij Asger Jorn en Wallase Ting beter leerde kennen. Toen in 1959 dichters en kunstenaars\u0026nbsp; van G58, De Tafelronde, Het Kahier en Frontaal elkaar even vonden in het ‘Modernistisch Centrum’, hield Michiels een lezing over ‘Abstracte kunst’, een richting waarvoor hij nu voluit overstag ging.\u003c/p\u003e\u003cp\u003eIn deze periode van druk atelierbezoek, gesprekken onder kunstenaars en drinkgelagen begint Michiels ook kunst te verzamelen en te verhandelen. “Het had alles met vriendschap en generositeit te maken, de slechte kanten van de business bestonden in de jaren vijftig nog nauwelijks”, blikt hij vandaag terug.\u003c/p\u003e\u003cp\u003eDe gulle Fontana die graag jongeren rondom zich had, gaf hem een werkje van Asger Jorn cadeau. Van Baj kocht hij een groot doek op afbetaling omdat de eerste koper, die hij zelf had aangebracht, uiteindelijk een ander werk wilde.\u003c/p\u003e\u003cp\u003eMichiels zou een benijdenswaardige verzameling opbouwen met sleutelwerken van Baj, Fontana, Engelbert Van Anderlecht en Jef Verheyen, van wie hij meermaals cruciale werken uitleenden voor tentoonstellingen in musea. Ook stukken van de Zero-beweging en popart kwamen in zijn bezit.\u003c/p\u003e\u003cp\u003eUit geldnoodzaak verkocht hij nu en dan werk door. Bij zijn verhuizing naar Frankrijk zou het merendeel van de collectie worden verkocht, met uitzondering van enkele Verheyens. Michiels beweert dat hij nooit kunstwerken zo maar op veiling bracht, maar ze steeds aanbood aan vrienden of bevriende galeriehouders.\u003c/p\u003e\u003cp\u003eIn tegenstelling tot vele collega’s zoals Paul Van Ostaijen, Maurice Gilliams, Gaston Burssens, Paul De Vree, Adriaan De Roover, Louis Paul Boon, Hugo Claus, Gust Gils, Paul Snoek, Patrick Conrad en Hugues C. Pernath waagde Michiels zich niet aan het maken van kunst. Volgens de schrijver zou Jef Verheyen hem daar wel toe aangespoord hebben, maar zelf oordeelde hij dat zijn talenten elders lagen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e6. Naar de essentie\u003c/p\u003e\u003cp\u003eIn de jaren zestig volgt Ivo Michiels het galeriewezen nog wel, zeker zolang hij in Antwerpen woont, bemiddelt en verkoopt wat, maar laat de organisatie en propaganda van Jef Verheyen en diens entourage over aan anderen. Die anderen zijn dan Paul De Vree, zijn soulmate van De Tafelronde, en Nic Van Bruggen, de jonge kunstcriticus van De Nieuwe Gazet en aspirant-dichter. In zijn eerste bundel ‘Revolver’ (1962) zou die zich uitdrukkelijk beroepen op de plastische theorieën van Jef Verheyen.\u003c/p\u003e\u003cp\u003eKenmerkend is dat niet Michiels, maar wel Paul De Vree en Nic Van Bruggen de Nieuwe Vlaamse School boven de doopvont hielden en er samen met Verheyen het manifest van schreven. De groep bestond uit afgescheurde G58-leden en nieuwe vrienden van Verheyen zoals Engelbert Van Anderlecht, Guy Mees en Guy Vandenbranden. De Nieuwe Vlaamse School ging van start op 15 oktober 1960 met een expositie in het CAW, niet toevallig op dezelfde dag als de derde groepstentoonstelling van G58. Er werd met modder gegooid, maar Michiels mengde zich niet.\u003c/p\u003e\u003cp\u003ePolemiek had hij altijd al gemeden. Zijn hart ging meer uit naar abstractie dan figuratie, maar hij hield steeds beide polen in het oog, net zoals hij handig schipperde\u0026nbsp; tussen de ‘koude’ constructivistische en ‘warme’ lyrische abstracten. Kiezen tussen de Nieuwe Vlaamse School van Jef Verheyen en G58 van\u0026nbsp; Paul Van Hoeydonck, Bert De Leeuw en Walter Leblanc was een dilemma. Met Verheyen had hij een zielsband, maar het werk van Van Hoeydonck en Leblanc hoefde hij daarvoor toch niet af te zweren?\u003c/p\u003e\u003cp\u003eGelukkig moest hij als criticus zijn kop niet meer uit te steken, want na 1960 beoefende Michiels geen journalistiek meer. Alle publicaties stonden voortaan in het teken van creatief schrijven. Creatief, dat wilde voor hem zeggen: de lessen die hij van Verheyen en andere schilders geleerd had ,omzetten in taal. Geen beschrijving of omschrijving meer, geen illustratie en ballast, maar de essentie. Of\u0026nbsp; in de zienswijze van Jef Verheyen: geen impressionisme, maar het wezen van kleur en licht.\u003c/p\u003e\u003cp\u003eIn de Alfa-cyclus, die Michiels tussen 1963 en 1979 liet verschijnen, gaat hij met klanken, zinnen en teksten omspringen zoals een schilder met vlakverdeling en ruimtewerking, kleur en licht. ‘Het boek Alfa’ begint symbolisch in de modder, dikke matièreverf, maar er staan ook speelse Cobra-achtige passages in en koele constructies. Het plastische hoogtepunt valt in ‘Exit’, het middendeel van de Alfa-cyclus dat na 130 bladzijde repetitieve bezwering eindigt op de vijftiende letter van het alfabet: de 0 of het cijfer nul, een directe hommage aan de Zero-beweging, die de terugkeer naar de nulgraad van de schilderkunst voorstond.\u003c/p\u003e\u003cp\u003eDaarna kan er in ‘Dixit’ weer opgebouwd worden. In de tiendelige Journal Brut-cyclus zal het hele gamma van plasticiteit aan bod komen: van barok tot minimaal.\u003c/p\u003e\u003cp\u003e“Bij Zero, Verheyen en Fontana, voelde ik mij als schrijver het nauwst betrokken. Hoewel Cobra, Jorn vooral, ook Corneille, geregeld hun kleurkopje opsteken in mijn schriftuur”, becommentarieert Michiels vandaag het belang van de plastische kunsten voor zijn romanoeuvre.\u003c/p\u003e\u003cp\u003eParallel met het ontstaan van de Alfa-cyclus publiceert Michiels ook schaarse gelegenheidsteksten, geschreven op verzoek van kunstenaars, galeriehouders, film- of theaterproducenten. Onmogelijk om er een genrebepaling op te kleven. Raadselachtig\u0026nbsp; poëzie, een herinnering of dagboekfragment, een imaginaire dialoog, essayistische\u0026nbsp; duidingen, taalspel? Meestal mengt hij de vormen door elkaar.\u003c/p\u003e\u003cp\u003eDe teksten liggen in het verlengde van ‘Albisola mare, Savona’, handelen over kunst, zijn hyperpersoonlijk en richten zich tot een publiek van ingewijden dat op dezelfde golflengte zit. Ze verschijnen op kleine oplagen in gespecialiseerde tijdschriften, catalogi of dure kunstedities. Zo was ‘Babyblauw en suikergoedrose’, een in memoriam voor Lucio Fontana, te lezen in het tijdschrift Raam in 1969.\u003c/p\u003e\u003cp\u003e‘Jef Verheyen, schilder. Ook een verhaal’ vond een plek in de dure boekmultiple ‘Jef Verheyen 40’, uitgebracht ter gelegenheid van de veertigste verjaardag van de schilder. Bij die gelegenheid werd ook een legendarisch feest gehouden in het kasteel in het Rivierenhof in Deurne. Verheyen, Michiels en fotograaf Frank Philippi werkten nauw samen aan dit megalomaan project van vormgever en uitgever Paul Ibou. De tekstschrijver was 85.000 frank (2000 euro) beloofd en 3 percent van de verkoop, maar door het faillissement van Paul Ibou en zijn Multi Art Gallery kwam daar niets van terecht.\u003c/p\u003e\u003cp\u003eHet boekje ‘Zes keer een aanloop’ begeleidde een expo van Alechinsky bij de Antwerpse galerie Lens Fine Art. ‘Het fietsje van Szukalski’ hoorde bij een expo in The Antwerp Gallery in de Lamorinièrestraat, waar ook Verheyen een keer exposeerde. De van oorsprong Poolse beeldhouwer en collagekunstenaar begon zijn carrière als assistent van Jef Verheyen en maakte een serie neusportretten waarin Michiels en Verheyen figureerden. In 1979 schreef Michiels vier gedichten/teksten bij evenveel seriegrafieën van Mark Verstockt, met wie hij al kennis had gemaakt eind jaren vijftig in galerie Accent.\u003c/p\u003e\u003cp\u003eMet al deze kunstteksten laat\u0026nbsp; Michiels een volstrekt eigen stem horen. In 1979 bundelde Walter Soethoudt ze\u0026nbsp; in ‘Luister hoe dit beeld hoe die lijn hoe die kleur hoe dit vlak luister’. De bundel had even goed ‘Zie hoe deze klank, hoe dit woord, hoe deze zin, hoe deze tekst, zie’ kunnen heten. Als ‘scherven’ kregen ze een terechte plek in Journal Brut Boek 7, samen met andere herinneringen uit de kunstwereld.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e7. Frankrijk\u003c/p\u003e\u003cp\u003eIn de zomer van 1974 zet Jef Verheyen weer een nieuwe stap. Hij laat Antwerpen achter zich en verhuist naar Les Talons in Saint Saturnin d’ Apt in de Provence. Hij kon de sprong wagen dankzij enkele oude en nieuwe gefortuneerde verzamelaars zoals de Duitser Gerhard Lenz, dokter Jos Macken, Louis Bogaerts (die twee van zijn Verheyens opofferde om ze door Fontana te laten doorboren), galeriehouder Marcel Stal, Baron Antonino von Hoerde, Carlo Van den Bossche en de jonge, beginnende antiquair Axel Vervoordt. Verheyen zat vanaf zijn bijdrage aan de Biënnale van Venetië ook steviger in een Europees circuit van musea en galeries.\u003c/p\u003e\u003cp\u003eTussen de Provence en het landelijke Zonnegem, waar Michiels woont, gaapt een afstand. Verheyen behoudt wel een atelier in Antwerpen, maar de twee zien elkaar steeds minder. Wel voeren ze een drukke correspondentie. Van Verheyen bewaart het Letterenhuis bijna zeventig overwegend lange brieven gericht aan Michiels.\u003c/p\u003e\u003cp\u003eSteeds terugkerend onderwerpen zijn de eenzaamheid, de noodzaak om België en Antwerpen te verlaten\u0026nbsp; (“het zielige leven van de Vécu en de Boer van Tienen”) en de lof van Frankrijk.\u003c/p\u003e\u003cp\u003e\u0026nbsp; “Wat dat land hier biedt, jongen, ik kan het echt niet zeggen. Ik stap van het ene schilderij in het andere, de ruimten liggen niet meer achter elkaar, op elkander, allemaal deuren die ik open en terug dicht doe…”, schrijft Verheyen op 9 oktober 1974.\u003c/p\u003e\u003cp\u003eEn op 16 december klinkt het zo: “De eenzaamheid en de onafhankelijkheid zijn dingen die noodzakelijk zijn voor iemand die tot het uiterste wil gaan, in creatieve zin. En voor wat zou ik eigenlijk leven. Voor de schilderkunst en voor niets anders in feite. Ik weet niet of het zal lukken maar in de provinciale brol van België wil ik niet stikken. Ik sterf liever voor iets dat de moeite is dan in een beerput te verzuipen.”\u003c/p\u003e\u003cp\u003eVerheyen mist Michiels. Hij wil zijn oordeel kennen over zijn nieuwe doeken, maar is ook benieuwd naar diens schrijfwerk. “De bezwering (obsessie vind ik niet juist) die jij met je woorden tracht te bereiken, ligt me zo nabij, dat ik het duidelijk kan voelen”, laat hij weten.\u003c/p\u003e\u003cp\u003eDe volgende jaren laat Verheyen geen gelegenheid voorbijgaan om Michiels uit te nodigen om in Frankrijk te komen schrijven. In 1978 begint hij ook tips te geven over interessante huizen die hij hem in de buurt te koop staan. In 1979 waagt Michiels op zijn beurt de overtocht en nestelt zich in Le Barroux, zo’n 50 kilometer noordelijker dan Saint Saturnin d’ Apt. Uitgerekend in die periode is Verheyen vaak in Antwerpen, Zwitserland en Duitsland voor de voorbereiding van Zero-tentoonstellingen.\u003c/p\u003e\u003cp\u003eToch vinden ze de tijd om aan twee gezamenlijke luxeprojecten te werken. ‘Weerspiegelingen’ in 1979 bevat twee litho’s, een tekst van Jef Verheyen en een commentaar van Michiels. Michiels stelt vast dat Verheyen veel teksten geschreven heeft en taal een drijfveer was voor de schilder, zoals plastische kunst voor hem als schrijver. Hij besluit: “Tekst en beeld zijn er al van oudsher op uit elkaar aan te vullen, soms in een typisch twintigste-eeuwse huwelijk, uitgroeiend tot een authentieke integratie. Van sommige zal het dan zelfs moeilijk worden, uit te maken welke taal primair de hunne is: die van het zien, of die van het horen, die van de verf of die van de inkt.”\u003c/p\u003e\u003cp\u003e‘Le Grand Oeuvre’ in 1982 uitgegeven door galerie Erker in Sankt Gallen brengt tien litho’s van Jef Verheyen samen met tien teksten van Ivo Michiels. De bekende Zwitserse schrijver Friedrich Dürrenmatt stelt het werk voor in Sankt Gallen. In Antwerpen houden Julien Schoenaerts en Henri-Floris Jespers het boven de doopvont in het Oserriethhuis op de Meir.\u0026nbsp; “Jef maakte tien litho's in zwart-wit, terwijl de tien teksten van mij eveneens op steen werden geschreven, maar dan in kleur. Jef was trots op zijn vondst”, herinnerde Michiels zich deze samenwerking, die hun afscheid zou worden.\u003c/p\u003e\u003cp\u003eOp 2 maart 1984 sterft Jef Verheyen aan de gevolgen van een hartaanval op de judomat van zijn sportclub in Apt. Hij wordt begraven in een grafkelder in Croagnes.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e8. En maar vliegen\u003c/p\u003e\u003cp\u003eIvo Michiels blijft verweesd achter en heeft nog negen delen van zijn opus ‘Journal Brut’ te schrijven. Een jaar na Verheyens dood publiceert hij deel 2, ‘Het boek der nauwe relaties’. De Schilder mocht daarin niet ontbreken. In het hoofdstuk ‘De witte tenten voor de hoge ramen’ blikt Michiels terug op diens begrafenis. Terwijl hij met een roos voor het graf staat, brengen zijn gedachten hem terug naar een memorabele nacht in Venetië. Het is 1981: Jef Verheyen heeft zijn beste vrienden uitgenodigd in een onderkomen paleis. Terwijl de anderen slapen, filosoferen de schilder en de schrijver over de nietigheid van het bestaan en de grootheid van kunst.\u003c/p\u003e\u003cp\u003eMichiels noteert hun dialoog:\u003c/p\u003e\u003cp\u003e“Zeker een schrijver.\u003c/p\u003e\u003cp\u003eOf een schilder.\u003c/p\u003e\u003cp\u003eMisschien wel een schrijver die schildert\u003c/p\u003e\u003cp\u003eMisschien wel een schilder die schrijft\u003c/p\u003e\u003cp\u003eDe ene kunst en de andere kunst, vogel is vogel.\u003c/p\u003e\u003cp\u003eWolken zijn wolken, ik bedoel woorden.”\u003c/p\u003e\u003cp\u003e“En maar vliegen”, zegt hij.”\u003c/p\u003e\u003cp\u003eWaarop Verheyen twee planken neemt en ermee als een steltloper begint rond te lopen, op hoge poten boven het banale. Baudelaire knikt instemmend: een knappe correspondance, kunst als poësis, niet als mimesis.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eFrank HEIRMAN\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eFrank Heirman, 'Ivo Michiels: Misschien wel een schrijver die schildert', in: \u003ci\u003eDeus ex Machina\u003c/i\u003e, 35, 138-139, 2011, 105-112.\u003cbr\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003ch2\u003eIvo Michiels\u003c/h2\u003e\u003ch2\u003eMisschien wel een schrijver die schildert\u003c/h2\u003e\u003cp\u003e1. Correspondances\u003c/p\u003e\u003cp\u003e“Mijn grote, mijn enige, mijn eerste hartstocht”, verwoordde Charles Baudelaire (1821-1867) zijn liefde voor de schilderkunst. De dichter van ‘Les fleurs du mal’ was één van de eerste schrijvers die zich intens met plastische kunsten inliet. De jaarlijkse kunstsalons volgde hij op de voet, hij schreef kritieken en nam gedurfde stellingen in. Met Eugène Delacroix had hij een blijvende band. Keer op keer zocht hij naar de essentie van diens romantische genie. “Als Delacroix een schilderij componeert, kijkt hij in zichzelf in plaats van door het raam te staren. Uit de schepping heeft hij al lang datgene gehaald wat zijn kunst nodig heeft, en dat geeft zijn schilderijen hun intieme aantrekkingskracht, al ogen ze op het eerste gezicht onaangenaam”, ontdekte de dichter, die overigens als criticus schatplichtig was aan zijn voorganger Théophile Gautier.\u003c/p\u003e\u003cp\u003eBaudelaire hield de kunstkritiek niet gescheiden van zijn andere werk. Zijn voorkeur voor het groteske en de combinatie van het hoge en het lage vond hij terug in prenten en schilderijen. Sommige gedichten zijn een regelrechte poging om ‘Correspondances’ te vinden tussen verf en inkt.\u0026nbsp;\u003c/p\u003e\u003cp\u003eVanaf Baudelaire, waarmee de kunstgeschiedenis graag de moderne poëzie laat beginnen, vormt belangstelling voor plastische kunsten een rode draad in de literatuur. Vooral de experimentele poëzie vond nieuwe wegen via het contact met plastische kunsten. Mallarmé, Apollinaire, Tzara, Breton schieten te binnen. Ook de Vlaamse literatuur biedt treffende voorbeelden. Karel Van de Woestyne wist zich in Latem omringd door expressionistische schilders, maar was ook vertrouwd met de voorgangers van Les XX en James Ensor. Paul Van Ostaijen sloot een verbond met Oscar en Floris Jespers en Paul Joostens, maar boekte de meeste vooruitgang door zijn kennis van het Franse kubisme en zijn dadaïstische contacten in Berlijn.\u003c/p\u003e\u003cp\u003eOnmiddellijk na de schoolbanken belandde Hugo Claus in kringen van schilders en beeldhouwers. Op achttienjarige leeftijd was hij betrokken bij de groep La Relève waarvan Roger Raveel en Jan Burssens deel uitmaakten. Twee jaar later, in 1949, introduceerde beeldhouwer Florent Wellens hem in Les Ateliers du Marais, de woon- en werkplaats van Pierre Alechinsky waar ook Reinhoud, Jan Cox en vele oud-leden van Cobra zich ophielden.\u003c/p\u003e\u003cp\u003eOok voor Ivo Michiels speelde de kunstscene, net zoals de filmwereld, een doorslaggevende rol in zijn evolutie als schrijver. Maar het was geen liefde op het eerste gezicht. Er ging een leerproces aan vooraf, waarin de schrijver zijn eigen leermeester was.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e2. Springen of niet-springen\u003c/p\u003e\u003cp\u003eIn 1949 zit Ivo Michiels, nochtans zes jaar ouder dan Hugo Claus, nog helemaal opgesloten in zijn cocon van idealistische poëzie en strijdbaar maar toch ook progressief katholiek engagement. Van plastische kunsten is er nog geen spoor. De liefde voor schilderijen kreeg hij niet van thuis of van schoolleraars mee.\u0026nbsp;\u003c/p\u003e\u003cp\u003eMichiels was zich bewust van zijn intellectuele achterstand en kreeg de gelegenheid zichzelf bij te werken, toen hij vanaf 1948 aan het Handelsblad mocht meewerken.\u003c/p\u003e\u003cp\u003eDe eerste jaren schreef hij over film en literatuur. Pas na vier jaar verzorgde hij een eerste kunstbijdrage, gewijd aan Jack Godderis (1916-1971). Merkwaardig: over die Antwerpse schilder zou hij het vaakst schrijven in de krant, vijf artikels in totaal. En nog merkwaardiger: Michiels zou Godderis, een figuur die vandaag passé is en wiens oeuvre nauwelijks evolutie vertoonde, trouw blijven tot zijn ontslag bij de krant in 1958. Hij waardeert diens zoektocht naar beheersing en harmonie. Vooral diens portretten vond hij ‘ontheven’. Michiels’ belangstelling moet meer gewekt zijn door de artistieke figuur Godderis en diens eerlijkheid, dan door zijn stijl. Zijn grimmig coloriet dat afwijkt van de werkelijkheid paste bij het existentialisme begin jaren vijftig, waarvoor Michiels toen ontvankelijk was\u003c/p\u003e\u003cp\u003eTot begin 1954 schreef Michiels slechts hoogst sporadisch over schone kunsten. Daarna drukte hij zijn stempel op de rubriek ‘Geestesleven’, een pagina op dinsdag waarvoor hij romans en plastische kunst recenseerde. ‘Geestesleven’ was moderner dan de titel liet vermoeden. Walter De Block signaleerde er al eens belangrijke jazzplaten en ook Paul De Vree schreef er af en toe voor. Het moet een stimulerende biotoop geweest zijn, met Michiels als spil.\u003c/p\u003e\u003cp\u003eWaarover schrijft Michiels in de krant? Nauwelijks over het verleden en al zeker niet over het vooroorlogse kunstgebeuren. Hij kan niet voorbij aan de grote evenementen, zoals het jaarlijkse salon van ‘Kunst van Heden’ in de Stadsfeestzaal, maar eigenlijk heeft hij weinig te melden over de retrospectieven. Op het salon van 1954 betwist hij niet de verdiensten van Gustaaf De Smet en de revolutionair Paul Joostens, maar het raakt hem niet echt. Hij ontdekt er liever Anne Bonnet en Jan Saverys. In een tentoonstelling bij het Grafisch Genootschap datzelfde jaar in hij al even onbegrijpelijk meer getroffen door de anekdotische jonge etser René De Coninck dan door de vormvernieuwers van de jaren twintig. Hij vindt Frans Masereel en Henri Van Straten gedateerd. “Het is niet iets maar de illustratie van iets.” Het is ook tekenend dat hij over de abstracte pionier Jozef Peeters geen woord schrijft, hoewel hij wel een schilderij van hem zou verwerven, dat hij later aan een vriend cadeau zou doen.\u003c/p\u003e\u003cp\u003eMichiels heeft duidelijk meer voeling met de jonge schilders die zich in 1945 verenigden in Jeune Peinture. Na de traumatische oorlogsjaren probeerden ze weer aansluiting te vinden bij een voorzichtig modernisme. Zij schipperden tussen figuratie en abstractie. Een deel maakte de sprong, anderen niet. Michiels stond voor een gelijkaardig dilemma. Kiezen deed hij niet. Hij sympathiseerde vooral voor artiesten die net niet sprongen.\u003c/p\u003e\u003cp\u003eJeune Peinture bestond als groep maar enkele jaren en vertakte naar tal van andere groeperingen zoals Cobra, Art Abstrait, Taptoe, Formes, allemaal van korte duur, maar met lange nawerking. Jack Godderis was lid van Jeune Peinture, net zoals Luc Peire, Rik Slabbinck, Gaston Bertrand, Marc Mendelson en Jan Vaerten. Michiels volgde deze opkomende artiesten met aandacht in meerdere artikels. Vooral over Peire die van langgerekte Afrikaanse figuurtjes naar streepschilderijen evolueerde, was hij enthousiast.\u003c/p\u003e\u003cp\u003eHun exposities vonden vooral plaats in Het Atelier, de eerste vernieuwende galerie in het Antwerpse. Pip Wouters en kunstschilder Jan Vaerten hadden de ruimte in 1951 geopend. Collega Hubert Lampo, die kunstrecensies voor de socialistische Volksgazet schreef en die voor Michiels’ latere overstap naar de socialistische uitgeverij Ontwikkeling cruciaal zou zijn, verzorgde er vaak inleidingen. Onder de vaste bezoekers van Het Atelier bevonden zich schrijvers als Paul Neuhuys en Werner Spillemaeckers, choreografe Jeanne Brabants, architect Renaat Braem.\u003c/p\u003e\u003cp\u003eEen tweede belangrijke biotoop vond Michiels in het Centrum van Artistieke Werking (CAW), een zaal op de Meir, waar John Trouillard vanaf 1954 de exposities organiseerde. Het niveau wisselde, maar het was hier dat nieuwlichters hun eerste kansen kregen. Hier kon Michiels zo nu en dan zijn eigen generatie ontdekken. Een revelatie was de expositie van Paul Van Hoeydonck (1925), die met zijn taferelen uit de Antwerpse haven en Marokko de grens van de abstractie aftastte. Hij is zo enthousiast dat hij naar het atelier trekt om te zien hoe Van Hoeydonck “een sprong uit de anekdote en het bijkomstige maakt” zonder te belanden “in het steriel constructivisme in het ijle.” “Hoe dichter zijn werk de abstractie zal benaderen, hoe meer het er van verlost zijn worden”, besluit hij profetisch.\u003c/p\u003e\u003cp\u003eOok de figuur John Trouillard zou in Michiels’ latere carrière terugkomen. In 1959 verzorgde hij de lay-out van ‘Albisola Mare, Savona’,\u0026nbsp; een verhaal in een beperkte editie met tekeningen van Wilfredo Lam en Roberto Crippa. In 1960 zou Trouillard het CAW openstellen voor de Nieuwe Vlaamse School van Jef Verheyen, inmiddels Michiels’ boezemvriend. Daarna startte hij de fameuze Ad Libitum-galerie waar Verheyen en zijn buitenlandse Zero-vrienden onderdak zouden krijgen.\u003c/p\u003e\u003cp\u003eHet artistiek klimaat in Antwerpen kabbelt in de fifties gezapig op en neer. Maar in het seizoen 1956-57 keert het ten goede. Als kunstcriticus kan Michiels de interessante exposities niet meer bijhouden. In plaats van lange beschouwende stukken verschijnen steeds vaker losse foto’s, waarin hij zijn enthousiasme uitschreeuwt voor Marc Mendelson, Luc Peire, maar ook voor Michel Seuphor en nieuwe namen als Dan van Severen, Walter Leblanc\u0026nbsp; en Mark Verstockt. Die ontmoet hij in galerie Accent in de Lange Nieuwstraat 91, zijn nieuwe thuishaven. De galerie annex boekhandel en prentenkabinet van radio en tv-medewerker Hugo Hellemans, was een vertrouwd adres voor Michiels. Van 1947 tot 1951 had Paul De Vree in het huis, dat eigendom was van Maurice Gilliams, de boekhandel ‘De Brug’ geleid en was er het redactiesecretariaat van De Golfslag, het katholieke tijdschrift waarvan Michiels een stuwende kracht was.\u003c/p\u003e\u003cp\u003eNaast Accent openden ook Galerie Vermeer in de Eikenstraat en Ravenna in de Korte Gasthuisstraat de deuren. De avant-garde kreeg ook expositiemogelijkheden in zoldercafé Gard Sivik en de Deutsche Buchgemeinschaft.\u003c/p\u003e\u003cp\u003eAntwerpen was rijp voor de creatieve explosie van G58 in het Hessenhuis. Michiels maakte het van op de eerste rij mee, maar niet meer als onderzoekend journalist, wel als overtuigd kunstfan, beginnend verzamelaar en vriend van tal van G58-leden.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e3. Zoekende kunstcriticus\u003c/p\u003e\u003cp\u003eHoe belangrijk waren de kunstkritieken van Michiels uit de jaren vijftig? Jan Hoet schreef er in 1980 in het Michiels-nummer van het tijdschrift Restant geestdriftig over. “Zij vormen een onschatbare bron van informatie en een heldere en boeiende lectuur voor wie wenst kennis op te doen over de naoorlogse periode, echo’s op te vangen van de strijd en de polemieken die rond de tegenstelling ‘figuratief’ en ‘non-figuratief’ werden\u0026nbsp; gevoerd”, vindt Hoet.\u003c/p\u003e\u003cp\u003eDat klopt. Vijftig jaar na datum blijven het goed leesbare tijdsdocumenten, wat van de meeste krantenkritiek vandaag niet meer gezegd zal kunnen worden. Michiels bijdragen zijn voor de huidige normen lange, persoonlijke stukken waarin hij geen afzonderlijke werken beschrijft, maar steeds behoedzaam een synthese formuleert. Aanpak en stijl wijken grondig af van de huidige journalistieke kunstkritiek, die zich al te vaak beperkt tot een objectieve situering van de artiest, weetjes over de expo en een typering van opmerkelijke werken.\u003c/p\u003e\u003cp\u003eMichiels schrijft in de wij- of ik-vorm en richt zich duidelijk tot een groep ingewijden die hem week na week volgen. Hij tracht te verwoorden wat hij bijgeleerd heeft, wat het belang is van wat hij gezien heeft en maakt voorspellingen voor de toekomst. Als er een vervolgstuk komt, soms jaren later, grijpt hij terug naar wat hij eerder vaststelde. Het is duidelijk dat Michiels als criticus een missie heeft. Het verleden wil hij niet corrigeren, maar hij wil inzicht verwerven in de artistieke productie van het moment en van daaruit aanduiden welke richting de kunst het best uitgaat.\u003c/p\u003e\u003cp\u003eMichiels is een kind van zijn tijd. In de jaren vijftig bezat de kunstcriticus nog gezag. De allergrootsten hadden zelfs een onuitputtelijke macht. De beroemdste naoorlogse criticus Clement Greenberg wist door zijn geschriften en invloed het artistieke middelpunt te verleggen van Parijs naar New York. Hij schoof Jackson Pollock en Willem De Kooning als nieuwe Picasso’s naar voren, een visie die de kunstmarkt overnam. Een kunstcriticus in de 21\u003csup\u003este\u003c/sup\u003e eeuw kan alleen maar cynisch toekijken hoe de artistieke trends elkaar steeds sneller opvolgen. Robert Hughes, de toonaangevende stem van Time Magazine, kon enkele vaststellen dat de criticus gedegradeerd was tot een pianist in een bordeel. “Je hebt geen invloed van wat er zich boven allemaal afspeelt”, gaf hij toe.\u003c/p\u003e\u003cp\u003eIvo Michiels wist, ondanks de kleine en steeds teruglopende oplage van Het Handelsblad, zijn stem gehoord. Zijn actieradius beperkte zich tot Antwerpen, met af en toe een zijsprongetje naar bevriende galeries in Brussel en Brugge. Michiels werd zeker gewaardeerd. Galeriehouders en kunstenaars solliciteerden naar zijn mening, maar hij werd nooit de doorslaggevende criticus die de bakens wist te verzetten. Daarvoor was de periode dat hij de scene volgde te kort en zijn corpus te beperkt. Bovendien vielen zijn activiteiten juist in een overdracht van de macht. Na de oorlog was Jan Walravens (1920), de kunstredacteur van Het Laatste Nieuws en stichter van het experimentele tijdschrift Tijd en Mens, de luidste stem die het existentialisme, experimentele poëzie, Jeune Peinture en Cobra\u0026nbsp; voortrok. In het debat van figuratieven en niet-figuratieven kozen Brusselaar Maurits Bilcke en de jonge Marc Callewaert in Gazet van Antwerpen sneller en radicaler de kaart van de jonge abstracten. In tegenstelling tot Michiels legden zij wel de link met de historische avant-garde, visten ze Jozef Peeters en Victor Servranckx op. Als eerste presenteerde Bilcke, samen met Jeune Peinture-schilder Jo Delahaut, hun werk in Saint-Laurent, dé pilootgalerie in Brussel, waar Michiels af en toe kwam kijken. Marc Callewaert engageerde zich honderd percent in het kanteljaar 1958 en werd voorzitter, tentoonstellingsmaker en tekstschrijver van G58. Dat hij daarover ook nog eens uitvoerig en positief berichtte in Gazet van Antwerpen was misschien deontologisch over de schreef, maar het zorgde wel voor een ruime belangstelling.\u003c/p\u003e\u003cp\u003eOp het moment dat Michiels, sneller dan zijn collega’s, nieuwe kunstaders ontdekte, berichtte hij niet meer wekelijks over zijn speurtocht. Gelukkig kon hij het ontgonnen goud op een andere manier verwerken.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e4. Bondgenoot Jef Verheyen\u003c/p\u003e\u003cp\u003eSchrijven over Ivo Michiels en de plastische kunsten is schrijven over Jef Verheyen (1932-1984). “De schilder die mij in leven en kunst waarschijnlijk het meest na heeft gestaan”, getuigt Michiels in ‘Daar komen scherven van’, Boek 7 van Journal Brut dat over de plastische kunsten gaat en voor een groot deel over Verheyen.\u003c/p\u003e\u003cp\u003eMichiels verwijst graag naar hem als de Schilder, met hoofdletter. Verheyen was overigens meer dan een schilder. Tijdens zijn opleiding aan de Academie sloot hij aan bij De Nevelvlek en zat in de redactie van hun tijdschrift Het Kahier, schreef manifesten, publiceerde in Nul en De Tafelronde, hield af en toe een dagboek bij en was een verwoed brievenschrijver. Ook met andere schrijvers als Paul De Vree, Nic Van Bruggen en Guy Vaes was hij close, maar de vriendschap met Michiels was van een meer persoonlijke, creatieve aard.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn Michiels’ eerste echte experimentele verhaal ‘Albisola Mare, Savona’ uit 1959 duikt Verheyen even op als de Antwerpse vriend V. Ze zijn samen op bezoek in het huis van Wilfredo Lam aan de Ligurische kust. In deze ‘superieure, fel psychisch geladen reisherinnering’ (dixit Hubert Lampo) komen ook Lucio Fontana, Roberto Crippa, Walasse Ting en Asger Jorn voor, allen onder voor insiders herkenbare schuilnaam. Michiels was in de kunstenaarskolonie van Albisola Mare, bekend voor zijn keramiekateliers, verzeild geraakt dank zij Jef Veheyen, die hem meenam.\u003c/p\u003e\u003cp\u003eVerheyen, gezegend met lef en een sterk ego, nam in hun vriendschap bijna steeds het initiatief. Hij was het die in september 1955 Michiels aanspraak in diens stamcafé Casa Roca op de hoek van de Meir en de Kolveniersstraat. Hij klopte stoutweg op het vensterraam en vroeg of de criticus zijn pas geopende keramiekatelier achter de hoek in de Rubensstraat niet wilde komen bezoeken.\u003c/p\u003e\u003cp\u003e\u0026nbsp;Michiels legde zeventien jaar later die eerste ontmoeting vast in een tekst die verscheen in de boekmultiple ‘Jef Verheyen 40’, uitgegeven ter gelegenheid van de veertigste verjaardag van de schilder. Michiels herinnerde zich de uitnodiging van Verheyen als een bevel en hij gehoorzaamde.\u003c/p\u003e\u003cp\u003eOp 18 oktober 1955 schrijft hij een bijdrage in het Handelsblad, een beetje weggestoken in de verzamelrubriek ‘de Antwerpse salons’. Michiels is positief over het gedurfde niet-commerciële initiatief van Verheyen, diens partner Dani Francq en Marina Van Acker die samen het keramiekatelier hadden opgezet, maar hij heeft duidelijk nog geen kijk op de keramiekkunst. Hij vindt het werk zuiver van lijn en eerlijk, maar vermoedt de enorme ambities van Verheyen nog niet.\u003c/p\u003e\u003cp\u003eEen jaar later, op 28 november 1956, publiceert hij een tweede en meteen laatste stuk over Verheyen in Het Handelsblad. Aanleiding was diens allereerste soloshow bij de Deutsche Buchgemeinschaft in de Lange Leemstraat. Hoewel het slechts een bescheiden schilderijenexpositie betrof, ziet Michiels nu wel\u0026nbsp; “de artistieke ernst” ervan in. Daarbij speelde mee dat hij ondertussen al meermaals het schildersatelier had bezocht en ook kennis had van de grote werken die Verheyen niet kon tonen in de kleine boekhandel. Michiels zag het verband in matièrebehandeling en kleurgebruik tussen de geëxposeerde doeken en de vroegere keramiekwerken, maar hij wist ook dat Verheyen al een stadium verder was gevorderd. “In deze grotere doeken treedt deze jongere al veel rijper naar voor en verrast hij de toeschouwer door een compositorisch vermogen dat respect afdwingt, terwijl het ritme van het schilderij groeit uit een boeiende verkaveling van het oppervlak in vlakken en onderverdeling van vlakken welke in hun kleinste onderdeel ook elk afzonderlijk nog aan een eigen door de matière gestimuleerde spanning onderworpen zijn.”\u003c/p\u003e\u003cp\u003eDe recensie wint nog aan kracht doordat Michiels ze koppelt aan een al even extatische kritiek van het nieuwe werk dat Paul Van Hoeydonck in Brussel toonde. Van Hoeydonck is op dat moment de kunstenaar in wie de criticus het sterkst gelooft. Weldra zal Verheyen die positie overnemen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e5. Wonderjaren 1957-1959\u003c/p\u003e\u003cp\u003eIn 1957 komt alles in een stroomversnelling. De uiterlijke omstandigheden lijken nochtans ongunstig: Het Handelsblad gaat op de fles en wordt overgenomen door De Standaard met als gevolg dat Michiels zijn baan verliest. Gelukkig wordt hij even doorbetaald en kan hij op 1 december terecht bij uitgeverij Ontwikkeling. Financieel gaat hij er flink op vooruit. In 1957 publiceert hij ook ‘Het afscheid’, in zijn ogen zijn echte debuut en de roman die hem onomstotelijk in het kamp van de vernieuwers brengt.\u003c/p\u003e\u003cp\u003eIn dat kamp profileert zich ook steeds nadrukkelijker Jef Verheyen, met wie Michiels de vriendschapsbanden aanhaalt. De eerste brieven gaan over en weer in wat zal uitgroeien tot een indrukwekkende correspondentie. Najaar 1957 heeft Verheyen zijn eerste belangrijke solo-expositie in galerie Accent in Antwerpen en legt hij met Walter Vanermen, Jef Kersting , Herman Denkens en André Comhaire de basis van wat zal uitgroeien tot G58.\u003c/p\u003e\u003cp\u003eMet het wegvallen van Het Handelsblad richt Michiels zich tot vaktijdschriften, in de eerste plaats het katholieke Periscoop dat in 1950 door professor René Lissens was opgericht als blad voor literaire kritiek maar geleidelijk aan meer aandacht ging schenken aan plastische kunsten. Volgens Michiels was het tijdschrift ook op beter papier gedrukt, wat sterkere illustraties toeliet. Michiels keek ook naar het buitenland. In het Italiaans-Franse I 4 Soli, waarvan hij in Het Handelsblad enkele nummers positief besprak, publiceerde hij eind 1957 al een belangrijke tekst over Jef Verheyen, in het Frans. “Voor Verheyen is een schilderij een wereld die perfect en helemaal onafhankelijk is. Meer zelfs: het is een eerste appél dat uitgeroepen en gehoord wordt, daarvoor was er niets tenzij de leegte en de stilte”, meldt Michiels.\u003c/p\u003e\u003cp\u003eIn februari 1958 heeft Verheyen, die de zomer daarvoor het pad was gaan effenen, zijn eerste tentoonstelling beet in Milaan, bij galerie Pater. Michiels schreef de tekst voor het vouwblaadje bij de vernissage, waarop hij aanwezig was. Veertien jaar later zou hij het afscheidstafereel met Verheyen op het perron in Milaan beschrijven, een tekst die meermaals verscheen en die uiteindelijk ook in Journal Brut, Boek 7 belandde.\u0026nbsp; “Ik was hem vanuit Antwerpen nagereisd, was een paar dagen bij hem in Milaan gebleven, reed nu het eerst weer terug, hem achterlatend met het restant van wat schamele lires. Maar hij bleef. Omdat het moest. Ergens moest het. Hij bleef om morgen misschien toch nog een schilderij te verkopen, iemand te ontmoeten die geld gaf, of niet eens geld, die een weg openmaakte.”\u003c/p\u003e\u003cp\u003eIn zijn missie in Milaan slaagde Jef Verheyen met onderscheiding. Hij verkocht een blauw schilderij aan Fontana en sloot vriendschap met Crippa, later ook met Manzoni\u0026nbsp; en vele anderen. Michiels werd eveneens in die kringen geïntroduceerd en bracht verslag uit in\u0026nbsp; Het Kahier 11 van 1958, waar Verheyen in de redactieraad zat, en in ‘Milanese brief’ in de Periscoop. In Journal Brut zouden nog tal van heroïsche anekdotes uit de woelige Italiaanse periode gerecupereerd worden.\u003c/p\u003e\u003cp\u003eMichiels beperkte zijn rol niet louter tot kijker en commentator, maar koos uitdrukkelijk partij voor Verheyen en zijn Italiaanse vrienden. Zo kreeg hij het via Willy Vaerewijck, directeur van uitgeverij\u0026nbsp; Ontwikkeling, gedaan dat hij een beeldje van Crippa kon plaatsen in het Paviljoen van de Pers op de Wereldexpositie. Hij ging het persoonlijk ophalen in Milaan. Michiels schreef ook een brief aan Herman Teirlinck met de vraag of de Belgische Staat geen werk kon aankopen van de veelbelovende kunstenaar Jef Verheyen. De vraag kwam veel te vroeg.\u003c/p\u003e\u003cp\u003eEen gemiste kans want Verheyen ging door op zijn elan. Eind 1958 presenteerde hij het monochrome schilderij ‘De lucht is vol van uw warmte’ op de openingsexpositie van G58 in het Hessenhuis. Na ruzie verliet hij de groep en vond hij expositiemogelijkheden in Zwitserland, waar hoteleigenaar en galeriehouder Hans Liechti zijn mecenas en promotor werd. In Düsseldorf sloot hij vriendschap met Günther Uecker en Otto Piene van de Zero-beweging, waarvan hij de Belgische ambassadeur werd.\u003c/p\u003e\u003cp\u003eMichiels publiceerde ondertussen over Verheyen waar en wanneer hij maar de gelegenheid kreeg. Hij schreef een openingswoord voor een expo in Rotterdam en leverde bijdragen aan het Franstalige Art Actuel en De Kunstmeridiaan, verbonden aan de Brusselse Taptoe-galerie waar hij Asger Jorn en Wallase Ting beter leerde kennen. Toen in 1959 dichters en kunstenaars\u0026nbsp; van G58, De Tafelronde, Het Kahier en Frontaal elkaar even vonden in het ‘Modernistisch Centrum’, hield Michiels een lezing over ‘Abstracte kunst’, een richting waarvoor hij nu voluit overstag ging.\u003c/p\u003e\u003cp\u003eIn deze periode van druk atelierbezoek, gesprekken onder kunstenaars en drinkgelagen begint Michiels ook kunst te verzamelen en te verhandelen. “Het had alles met vriendschap en generositeit te maken, de slechte kanten van de business bestonden in de jaren vijftig nog nauwelijks”, blikt hij vandaag terug.\u003c/p\u003e\u003cp\u003eDe gulle Fontana die graag jongeren rondom zich had, gaf hem een werkje van Asger Jorn cadeau. Van Baj kocht hij een groot doek op afbetaling omdat de eerste koper, die hij zelf had aangebracht, uiteindelijk een ander werk wilde.\u003c/p\u003e\u003cp\u003eMichiels zou een benijdenswaardige verzameling opbouwen met sleutelwerken van Baj, Fontana, Engelbert Van Anderlecht en Jef Verheyen, van wie hij meermaals cruciale werken uitleenden voor tentoonstellingen in musea. Ook stukken van de Zero-beweging en popart kwamen in zijn bezit.\u003c/p\u003e\u003cp\u003eUit geldnoodzaak verkocht hij nu en dan werk door. Bij zijn verhuizing naar Frankrijk zou het merendeel van de collectie worden verkocht, met uitzondering van enkele Verheyens. Michiels beweert dat hij nooit kunstwerken zo maar op veiling bracht, maar ze steeds aanbood aan vrienden of bevriende galeriehouders.\u003c/p\u003e\u003cp\u003eIn tegenstelling tot vele collega’s zoals Paul Van Ostaijen, Maurice Gilliams, Gaston Burssens, Paul De Vree, Adriaan De Roover, Louis Paul Boon, Hugo Claus, Gust Gils, Paul Snoek, Patrick Conrad en Hugues C. Pernath waagde Michiels zich niet aan het maken van kunst. Volgens de schrijver zou Jef Verheyen hem daar wel toe aangespoord hebben, maar zelf oordeelde hij dat zijn talenten elders lagen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e6. Naar de essentie\u003c/p\u003e\u003cp\u003eIn de jaren zestig volgt Ivo Michiels het galeriewezen nog wel, zeker zolang hij in Antwerpen woont, bemiddelt en verkoopt wat, maar laat de organisatie en propaganda van Jef Verheyen en diens entourage over aan anderen. Die anderen zijn dan Paul De Vree, zijn soulmate van De Tafelronde, en Nic Van Bruggen, de jonge kunstcriticus van De Nieuwe Gazet en aspirant-dichter. In zijn eerste bundel ‘Revolver’ (1962) zou die zich uitdrukkelijk beroepen op de plastische theorieën van Jef Verheyen.\u003c/p\u003e\u003cp\u003eKenmerkend is dat niet Michiels, maar wel Paul De Vree en Nic Van Bruggen de Nieuwe Vlaamse School boven de doopvont hielden en er samen met Verheyen het manifest van schreven. De groep bestond uit afgescheurde G58-leden en nieuwe vrienden van Verheyen zoals Engelbert Van Anderlecht, Guy Mees en Guy Vandenbranden. De Nieuwe Vlaamse School ging van start op 15 oktober 1960 met een expositie in het CAW, niet toevallig op dezelfde dag als de derde groepstentoonstelling van G58. Er werd met modder gegooid, maar Michiels mengde zich niet.\u003c/p\u003e\u003cp\u003ePolemiek had hij altijd al gemeden. Zijn hart ging meer uit naar abstractie dan figuratie, maar hij hield steeds beide polen in het oog, net zoals hij handig schipperde\u0026nbsp; tussen de ‘koude’ constructivistische en ‘warme’ lyrische abstracten. Kiezen tussen de Nieuwe Vlaamse School van Jef Verheyen en G58 van\u0026nbsp; Paul Van Hoeydonck, Bert De Leeuw en Walter Leblanc was een dilemma. Met Verheyen had hij een zielsband, maar het werk van Van Hoeydonck en Leblanc hoefde hij daarvoor toch niet af te zweren?\u003c/p\u003e\u003cp\u003eGelukkig moest hij als criticus zijn kop niet meer uit te steken, want na 1960 beoefende Michiels geen journalistiek meer. Alle publicaties stonden voortaan in het teken van creatief schrijven. Creatief, dat wilde voor hem zeggen: de lessen die hij van Verheyen en andere schilders geleerd had ,omzetten in taal. Geen beschrijving of omschrijving meer, geen illustratie en ballast, maar de essentie. Of\u0026nbsp; in de zienswijze van Jef Verheyen: geen impressionisme, maar het wezen van kleur en licht.\u003c/p\u003e\u003cp\u003eIn de Alfa-cyclus, die Michiels tussen 1963 en 1979 liet verschijnen, gaat hij met klanken, zinnen en teksten omspringen zoals een schilder met vlakverdeling en ruimtewerking, kleur en licht. ‘Het boek Alfa’ begint symbolisch in de modder, dikke matièreverf, maar er staan ook speelse Cobra-achtige passages in en koele constructies. Het plastische hoogtepunt valt in ‘Exit’, het middendeel van de Alfa-cyclus dat na 130 bladzijde repetitieve bezwering eindigt op de vijftiende letter van het alfabet: de 0 of het cijfer nul, een directe hommage aan de Zero-beweging, die de terugkeer naar de nulgraad van de schilderkunst voorstond.\u003c/p\u003e\u003cp\u003eDaarna kan er in ‘Dixit’ weer opgebouwd worden. In de tiendelige Journal Brut-cyclus zal het hele gamma van plasticiteit aan bod komen: van barok tot minimaal.\u003c/p\u003e\u003cp\u003e“Bij Zero, Verheyen en Fontana, voelde ik mij als schrijver het nauwst betrokken. Hoewel Cobra, Jorn vooral, ook Corneille, geregeld hun kleurkopje opsteken in mijn schriftuur”, becommentarieert Michiels vandaag het belang van de plastische kunsten voor zijn romanoeuvre.\u003c/p\u003e\u003cp\u003eParallel met het ontstaan van de Alfa-cyclus publiceert Michiels ook schaarse gelegenheidsteksten, geschreven op verzoek van kunstenaars, galeriehouders, film- of theaterproducenten. Onmogelijk om er een genrebepaling op te kleven. Raadselachtig\u0026nbsp; poëzie, een herinnering of dagboekfragment, een imaginaire dialoog, essayistische\u0026nbsp; duidingen, taalspel? Meestal mengt hij de vormen door elkaar.\u003c/p\u003e\u003cp\u003eDe teksten liggen in het verlengde van ‘Albisola mare, Savona’, handelen over kunst, zijn hyperpersoonlijk en richten zich tot een publiek van ingewijden dat op dezelfde golflengte zit. Ze verschijnen op kleine oplagen in gespecialiseerde tijdschriften, catalogi of dure kunstedities. Zo was ‘Babyblauw en suikergoedrose’, een in memoriam voor Lucio Fontana, te lezen in het tijdschrift Raam in 1969.\u003c/p\u003e\u003cp\u003e‘Jef Verheyen, schilder. Ook een verhaal’ vond een plek in de dure boekmultiple ‘Jef Verheyen 40’, uitgebracht ter gelegenheid van de veertigste verjaardag van de schilder. Bij die gelegenheid werd ook een legendarisch feest gehouden in het kasteel in het Rivierenhof in Deurne. Verheyen, Michiels en fotograaf Frank Philippi werkten nauw samen aan dit megalomaan project van vormgever en uitgever Paul Ibou. De tekstschrijver was 85.000 frank (2000 euro) beloofd en 3 percent van de verkoop, maar door het faillissement van Paul Ibou en zijn Multi Art Gallery kwam daar niets van terecht.\u003c/p\u003e\u003cp\u003eHet boekje ‘Zes keer een aanloop’ begeleidde een expo van Alechinsky bij de Antwerpse galerie Lens Fine Art. ‘Het fietsje van Szukalski’ hoorde bij een expo in The Antwerp Gallery in de Lamorinièrestraat, waar ook Verheyen een keer exposeerde. De van oorsprong Poolse beeldhouwer en collagekunstenaar begon zijn carrière als assistent van Jef Verheyen en maakte een serie neusportretten waarin Michiels en Verheyen figureerden. In 1979 schreef Michiels vier gedichten/teksten bij evenveel seriegrafieën van Mark Verstockt, met wie hij al kennis had gemaakt eind jaren vijftig in galerie Accent.\u003c/p\u003e\u003cp\u003eMet al deze kunstteksten laat\u0026nbsp; Michiels een volstrekt eigen stem horen. In 1979 bundelde Walter Soethoudt ze\u0026nbsp; in ‘Luister hoe dit beeld hoe die lijn hoe die kleur hoe dit vlak luister’. De bundel had even goed ‘Zie hoe deze klank, hoe dit woord, hoe deze zin, hoe deze tekst, zie’ kunnen heten. Als ‘scherven’ kregen ze een terechte plek in Journal Brut Boek 7, samen met andere herinneringen uit de kunstwereld.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e7. Frankrijk\u003c/p\u003e\u003cp\u003eIn de zomer van 1974 zet Jef Verheyen weer een nieuwe stap. Hij laat Antwerpen achter zich en verhuist naar Les Talons in Saint Saturnin d’ Apt in de Provence. Hij kon de sprong wagen dankzij enkele oude en nieuwe gefortuneerde verzamelaars zoals de Duitser Gerhard Lenz, dokter Jos Macken, Louis Bogaerts (die twee van zijn Verheyens opofferde om ze door Fontana te laten doorboren), galeriehouder Marcel Stal, Baron Antonino von Hoerde, Carlo Van den Bossche en de jonge, beginnende antiquair Axel Vervoordt. Verheyen zat vanaf zijn bijdrage aan de Biënnale van Venetië ook steviger in een Europees circuit van musea en galeries.\u003c/p\u003e\u003cp\u003eTussen de Provence en het landelijke Zonnegem, waar Michiels woont, gaapt een afstand. Verheyen behoudt wel een atelier in Antwerpen, maar de twee zien elkaar steeds minder. Wel voeren ze een drukke correspondentie. Van Verheyen bewaart het Letterenhuis bijna zeventig overwegend lange brieven gericht aan Michiels.\u003c/p\u003e\u003cp\u003eSteeds terugkerend onderwerpen zijn de eenzaamheid, de noodzaak om België en Antwerpen te verlaten\u0026nbsp; (“het zielige leven van de Vécu en de Boer van Tienen”) en de lof van Frankrijk.\u003c/p\u003e\u003cp\u003e\u0026nbsp; “Wat dat land hier biedt, jongen, ik kan het echt niet zeggen. Ik stap van het ene schilderij in het andere, de ruimten liggen niet meer achter elkaar, op elkander, allemaal deuren die ik open en terug dicht doe…”, schrijft Verheyen op 9 oktober 1974.\u003c/p\u003e\u003cp\u003eEn op 16 december klinkt het zo: “De eenzaamheid en de onafhankelijkheid zijn dingen die noodzakelijk zijn voor iemand die tot het uiterste wil gaan, in creatieve zin. En voor wat zou ik eigenlijk leven. Voor de schilderkunst en voor niets anders in feite. Ik weet niet of het zal lukken maar in de provinciale brol van België wil ik niet stikken. Ik sterf liever voor iets dat de moeite is dan in een beerput te verzuipen.”\u003c/p\u003e\u003cp\u003eVerheyen mist Michiels. Hij wil zijn oordeel kennen over zijn nieuwe doeken, maar is ook benieuwd naar diens schrijfwerk. “De bezwering (obsessie vind ik niet juist) die jij met je woorden tracht te bereiken, ligt me zo nabij, dat ik het duidelijk kan voelen”, laat hij weten.\u003c/p\u003e\u003cp\u003eDe volgende jaren laat Verheyen geen gelegenheid voorbijgaan om Michiels uit te nodigen om in Frankrijk te komen schrijven. In 1978 begint hij ook tips te geven over interessante huizen die hij hem in de buurt te koop staan. In 1979 waagt Michiels op zijn beurt de overtocht en nestelt zich in Le Barroux, zo’n 50 kilometer noordelijker dan Saint Saturnin d’ Apt. Uitgerekend in die periode is Verheyen vaak in Antwerpen, Zwitserland en Duitsland voor de voorbereiding van Zero-tentoonstellingen.\u003c/p\u003e\u003cp\u003eToch vinden ze de tijd om aan twee gezamenlijke luxeprojecten te werken. ‘Weerspiegelingen’ in 1979 bevat twee litho’s, een tekst van Jef Verheyen en een commentaar van Michiels. Michiels stelt vast dat Verheyen veel teksten geschreven heeft en taal een drijfveer was voor de schilder, zoals plastische kunst voor hem als schrijver. Hij besluit: “Tekst en beeld zijn er al van oudsher op uit elkaar aan te vullen, soms in een typisch twintigste-eeuwse huwelijk, uitgroeiend tot een authentieke integratie. Van sommige zal het dan zelfs moeilijk worden, uit te maken welke taal primair de hunne is: die van het zien, of die van het horen, die van de verf of die van de inkt.”\u003c/p\u003e\u003cp\u003e‘Le Grand Oeuvre’ in 1982 uitgegeven door galerie Erker in Sankt Gallen brengt tien litho’s van Jef Verheyen samen met tien teksten van Ivo Michiels. De bekende Zwitserse schrijver Friedrich Dürrenmatt stelt het werk voor in Sankt Gallen. In Antwerpen houden Julien Schoenaerts en Henri-Floris Jespers het boven de doopvont in het Oserriethhuis op de Meir.\u0026nbsp; “Jef maakte tien litho's in zwart-wit, terwijl de tien teksten van mij eveneens op steen werden geschreven, maar dan in kleur. Jef was trots op zijn vondst”, herinnerde Michiels zich deze samenwerking, die hun afscheid zou worden.\u003c/p\u003e\u003cp\u003eOp 2 maart 1984 sterft Jef Verheyen aan de gevolgen van een hartaanval op de judomat van zijn sportclub in Apt. Hij wordt begraven in een grafkelder in Croagnes.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e8. En maar vliegen\u003c/p\u003e\u003cp\u003eIvo Michiels blijft verweesd achter en heeft nog negen delen van zijn opus ‘Journal Brut’ te schrijven. Een jaar na Verheyens dood publiceert hij deel 2, ‘Het boek der nauwe relaties’. De Schilder mocht daarin niet ontbreken. In het hoofdstuk ‘De witte tenten voor de hoge ramen’ blikt Michiels terug op diens begrafenis. Terwijl hij met een roos voor het graf staat, brengen zijn gedachten hem terug naar een memorabele nacht in Venetië. Het is 1981: Jef Verheyen heeft zijn beste vrienden uitgenodigd in een onderkomen paleis. Terwijl de anderen slapen, filosoferen de schilder en de schrijver over de nietigheid van het bestaan en de grootheid van kunst.\u003c/p\u003e\u003cp\u003eMichiels noteert hun dialoog:\u003c/p\u003e\u003cp\u003e“Zeker een schrijver.\u003c/p\u003e\u003cp\u003eOf een schilder.\u003c/p\u003e\u003cp\u003eMisschien wel een schrijver die schildert\u003c/p\u003e\u003cp\u003eMisschien wel een schilder die schrijft\u003c/p\u003e\u003cp\u003eDe ene kunst en de andere kunst, vogel is vogel.\u003c/p\u003e\u003cp\u003eWolken zijn wolken, ik bedoel woorden.”\u003c/p\u003e\u003cp\u003e“En maar vliegen”, zegt hij.”\u003c/p\u003e\u003cp\u003eWaarop Verheyen twee planken neemt en ermee als een steltloper begint rond te lopen, op hoge poten boven het banale. Baudelaire knikt instemmend: een knappe correspondance, kunst als poësis, niet als mimesis.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eFrank HEIRMAN\u003c/p\u003e"}]},{"id":30578,"title":"• 0708 • Untitled (Bonjour Tijl Uilenspiegel)","dimensions":"100 x 80 cm","date_begin":"1959-01-01","material":"Oil paint on burlap","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Pagani Grattacielo Al piccolo Luca Enzo Pagani Tijl Uilenspiegel","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr\u003eSigned on the back: 'Jef Verheyen'\u003cbr\u003eDated on the back: '59'\u003cbr\u003eUntitled on the back\u003cbr\u003eNoted on the stretcher: 'bonjour Tijl Ylenspiegel' [IUilenspiegel]\u003cbr\u003eInscribed on the reverse by Enzo Pagani in 1968, when he sold the work: 'opera originale col autentica del PITTORE JEF VERHEYEN ANVERSA (BELGIO)\u0026nbsp;PAGANI FEBBRAIO 1968'\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":32,"permalink":"708-untitled","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/919/medium_500/708_1.jpg?1624365374","cached_actor_names":"Galleria d'arte del Grattacielo, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/919/large/708_1.jpg?1624365374","poster_credits":"(c)Jef Verheyen, photo: Finarte, 2021 - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":35815,"title":"Essentieel","dimensions":"00:20:00","date_begin":"1964-01-01","material":"16 mm film","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":182,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"esstentieel","description_ru":"","description_de":"\u003cp\u003e1964 wagten sich Jef Verheyen und der Dichter Paul De Vree an den Experimentalfilm. In \u003ci\u003eEssentieel\u0026nbsp;\u003c/i\u003e(Essenziell)\u003ci\u003e\u0026nbsp;\u003c/i\u003egelingt es Verheyen, Vibrationen, Reflexionen und Schwingungen des Lichts\u0026nbsp;tatsächlich darzustellen. Die unmittelbare Erfahrung des Lichts ist ihm wichtiger als der Akt des Malens selbst. In \u003ci\u003eEssentieel \u003c/i\u003esieht man grelle, monochrome Farbflächen und abstrakte Darstellungen der Elemente: Feuer, Wasser, Erde und Licht. Undefinierbare Laute werden von sich wiederholenden Phrasen in verschiedenen Sprachen unterbrochen:\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003eAls de zon zonnig alleen zijn\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eOff to the cosmos\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003ePlonger dans l’infini\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eQuiver entirely\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/320/medium_500/Verheyen_De_Vree__filmstill_3_Essentiel.jpg?1711357112","cached_actor_names":"Paul De Vree, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/320/large/Verheyen_De_Vree__filmstill_3_Essentiel.jpg?1711357112","poster_credits":"(c)Paul De Vree, Jef Verheyen","translations":[{"locale":"en","description":"\u003cp\u003eIn 1964 Jef Verheyen and poet Paul De Vree make the experimental film \u003ci\u003eEssentieel\u0026nbsp;\u003c/i\u003e(Essential). It enables Verheyen to present \u003ci\u003ereal\u003c/i\u003e vibrations, reflections and tremors of light. Experiencing light is more important to him than painting it. In \u003ci\u003eEssentieel\u003c/i\u003e we see flashing, monochrome fields of colour and abstract representations of the elements: fire, water, earth and air. Abstract soundscapes are interrupted by recurring sentences in different languages:\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003eAls de zon zonnig alleen zijn\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eOff to the cosmos\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003ePlonger dans l’infini\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eQuiver entirely\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn 1964 wagen\u0026nbsp;Jef Verheyen en dichter Paul De Vree zich aan de experimentele film. In \u003ci\u003eEssentieel\u0026nbsp;\u003c/i\u003ekan Verheyen vibraties, reflecties en trillingen van licht écht voorstellen. De ervaring van het licht is voor hem belangrijker dan het schilderen zelf. In \u003ci\u003eEssentieel\u003c/i\u003e zie je flitsende, monochrome kleurvlakken en abstracte voorstellingen van de elementen: vuur, water, aarde en lucht. Onherkenbare klanken worden onderbroken door steeds weerkerende zinnen in verschillende talen:\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003eAls de zon zonnig alleen zijn\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eOff to the cosmos\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003ePlonger dans l’infini\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eQuiver entirely\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eEn 1964, Jef Verheyen et le poète Paul De Vree se lancent dans le cinéma expérimental. 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The cahier was first\u003c/p\u003e\u003cp\u003eself-published in 1960 (loose-leaf,\u003c/p\u003e\u003cp\u003eperforated, with brass rings). The cahier\u003c/p\u003e\u003cp\u003estarts with the words of Paul\u003c/p\u003e\u003cp\u003eCézanne and then quotes Guy Vaes,\u003c/p\u003e\u003cp\u003eJoseph Joubert, Henry Miller, Ivo\u003c/p\u003e\u003cp\u003eMichiels, Paul van Ostaijen,\u003c/p\u003e\u003cp\u003eHeraclitus, Plato, Lao Tseu, Henri\u003c/p\u003e\u003cp\u003ePoincaré, Aristotle, Empedocles,\u003c/p\u003e\u003cp\u003eParmenides.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eOriginally printed in 1960. Reprinted with an introduction by Henri-Floris Jespers in 1967 in softcover as well in hardcover, with sliding case. \u0026nbsp;The cahier has been lay-outed by Wout Vercammen.\u003c/strong\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003ePour une peinture non plastique\u0026nbsp;\u003c/i\u003eis\u003c/p\u003e\u003cp\u003eeen verzameling teksten, in 1959\u003c/p\u003e\u003cp\u003edoor Jef Verheyen samengesteld\u003c/p\u003e\u003cp\u003een vergezeld van een eigen essay.\u003c/p\u003e\u003cp\u003eDe bundel werd in 1960 voor het eerst gepubliceerd\u003c/p\u003e\u003cp\u003ein eigen beheer (losbladig, geperforeerd, met koperen ringen).\u0026nbsp;\u003c/p\u003e\u003cp\u003eHet cahier vangt aan met de woorden van\u003c/p\u003e\u003cp\u003ePaul Cézanne en citeert vervolgens\u003c/p\u003e\u003cp\u003eGuy Vaes, Joseph Joubert, Henry\u003c/p\u003e\u003cp\u003eMiller, Ivo Michiels, Paul van\u003c/p\u003e\u003cp\u003eOstaijen, Heraclitus, Plato, Lao Zi,\u003c/p\u003e\u003cp\u003eHenri Poincaré, Aristoteles,\u003c/p\u003e\u003cp\u003eEmpedocles, Parmenides.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eOorspronkelijk gedrukt in 1960. Herdrukt met een inleiding door Henri-Floris Jespers in 1967 in zowel soft- als hardcover met schuifdoos. Het cahier is vormgegeven door Wout Vercammen.\u003c/strong\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":36202,"title":"Guy Mees (left) and Jef Verheyen in the Tempeliershof in Weert, where they spent the summer together, painting and writing","dimensions":"","date_begin":"1959-01-01","material":"Photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen, Guy Mees, Tempelierenhof, Tempeliershof, Weert, Schelde","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_39_27_01","stream_count_app":10,"permalink":"guy-mees-left-and-jef-verheyen-in-the-tempeliershof-in-weert-where-they-spent-the-summer-together-painting-and-writing","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/760/medium_500/JV_39_27_01.jpg?1718802337","cached_actor_names":"Jef Verheyen, Guy Mees","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/760/large/JV_39_27_01.jpg?1718802337","poster_credits":"Scan: CKV - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eWeg met verf. Dat is het motto van Guy Mees in de\u003c/p\u003e\u003cp\u003ejaren 1960. De avant-gardekunstenaar verruilt doek\u003c/p\u003e\u003cp\u003een houtskool voor composities met industrieel\u003c/p\u003e\u003cp\u003evervaardigd kant en neonlampen. Of ze nu rond,\u003c/p\u003e\u003cp\u003evierkant of driehoekig zijn, ze dragen allemaal\u003c/p\u003e\u003cp\u003ede titel \u003ci\u003eVerloren Ruimte.\u0026nbsp;\u003c/i\u003eNet als Verheyen speelt\u003c/p\u003e\u003cp\u003eMees met concepten als ruimte en licht. In 1959\u003c/p\u003e\u003cp\u003ebrengen ze de zomer door in het Tempeliershof,\u003c/p\u003e\u003cp\u003eeen leegstaande boerderij in Weert. Daar werken\u003c/p\u003e\u003cp\u003een schrijven ze samen. Voor Verheyen is Mees\u003c/p\u003e\u003cp\u003e“de schilder die mij de oplossing toonde,” en de\u003c/p\u003e\u003cp\u003edefinitie van schilderkunst in vraag stelt.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eAway with paint. In the 1960s that is the slogan\u003c/p\u003e\u003cp\u003eof Guy Mees. This avant-garde artist exchanges\u003c/p\u003e\u003cp\u003ecanvas and charcoal for industrially produced lace\u003c/p\u003e\u003cp\u003eand neon lights. Whether they are round, square or\u003c/p\u003e\u003cp\u003etriangular, these works all bear the enigmatic title\u003c/p\u003e\u003cp\u003e\u003ci\u003eVerloren Ruimte\u0026nbsp;\u003c/i\u003e(Lost Space). Just like Verheyen,\u003c/p\u003e\u003cp\u003eMees plays with concepts such as space and\u003c/p\u003e\u003cp\u003elight. In 1959 they both spend the summer at the\u003c/p\u003e\u003cp\u003eTempeliershof, an empty farm in Weert, where they\u003c/p\u003e\u003cp\u003ework and write together. For Verheyen, Mees is\u003c/p\u003e\u003cp\u003e‘the painter who showed me the solution’ and\u003c/p\u003e\u003cp\u003equestioned the definition of painting.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":36203,"title":"Copy of Les van Eyck (ed. 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Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":36222,"title":"Invitation to the exhibition Nieuwe Europese School in Hessenhuis, Antwerp","dimensions":"","date_begin":"1960-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":218,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_01_02_02","stream_count_app":8,"permalink":"invitation-to-the-exhibition-nieuwe-europese-school-in-hessenhuis-antwerp","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":36223,"title":"Jef Verheyen by the window, Rubensstraat, Antwerp","dimensions":"","date_begin":"1958-01-01","material":"Photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Rubensstraat","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_38_18","stream_count_app":14,"permalink":"jef-verheyen-by-the-window-rubensstraat-antwerp","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/797/medium_500/36223.jpg?1720431564","cached_actor_names":"Frank Philippi, Jef Verheyen","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/797/large/36223.jpg?1720431564","poster_credits":"FOMU Collection, Fotomuseum Antwerpen, Frank Philippi","translations":[{"locale":"en","description":"\u003cp\u003eFrank Philippi shot this photograph on the occasion of the inaugural exhibition of G58 - 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