Memorial plaque to Anto Carte in Brussels at 1050, rue de l'Ermitage, 46
Antoine "Anto" Carte (8 December 1886 - 15 February 1954) was a Belgian painter.
Antoine Carto was born in Mons in 1886. His father was a joiner.[1] Anto Carte was first apprenticed to François Depooter, an interior painter, and then studied art at the academies of Mons and Brussels, and in Paris. He started working in a Symbolist style, but after the First World War became a Flemish Expressionist painter in the style of the painters of the group of Sint-Martens-Latem like Gustave Van de Woestijne. In 1917 he had his first exposition, of illustrations he made for a work by Emile Verhaeren. He exposed together with the Flemish Expressionists at the 1923 Salon d'Automne in Paris. He had a solo exhibition in Pittsburgh, at the Carnegie Institute, in 1924, where all 60 paintings were sold.[1] Retrospective exhibitions at the Museum of Mons were organised in 1949 and in 1995.[2]
Later in his career, he designed many posters and stained glass windows, including in 1927 the windows for a new building at the University of Mons-Hainaut. He also designed a 50 Belgian Francs banknote.[2]
Art Nouveau is an international style of art, architecture, and applied art, especially the decorative arts. It was often inspired by natural forms such as the sinuous curves of plants and flowers. Other characteristics of Art Nouveau were a sense of dynamism and movement, often given by asymmetry or whiplash lines, and the use of modern materials, particularly iron, glass, ceramics and later concrete, to create unusual forms and larger open spaces. It was popular between 1890 and 1910 during the Belle Époque period, and was a reaction against the academicism, eclecticism and historicism of 19th century architecture and decorative art.
Bernard van Orley, also called Barend or Barent van Orley, Bernaert van Orley or Barend van Brussel, was a versatile Flemish artist and representative of Dutch and Flemish Renaissance painting, who was equally active as a designer of tapestries and, at the end of his life, stained glass. Although he never visited Italy, he belongs to the group of Italianizing Flemish painters called the Romanists, who were influenced by Italian Renaissance painting, in his case especially by Raphael.
The National Basilica of the Sacred Heart is a Roman Catholic minor basilica and parish church in Brussels, Belgium. It is dedicated to the Sacred Heart, inspired by the Basilique du Sacré-Coeur in Paris. Symbolically, King Leopold II laid the first stone in 1905 during the celebrations of the 75th anniversary of Belgian independence. The construction was halted by the two World Wars and finished only in 1970. Belonging to the Metropolitan Archdiocese of Mechelen–Brussels, it is one of the largest churches by area in the world.
Théophile "Théo" van Rysselberghe was a Belgian neo-impressionist painter, who played a pivotal role in the European art scene at the turn of the twentieth century.
Alfred Émile Léopold Stevens was a Belgian painter, known for his paintings of elegant modern women. In their realistic style and careful finish, his works reveal the influence of 17th-century Dutch genre painting. After gaining attention early in his career with a social realist painting depicting the plight of poor vagrants, he achieved great critical and popular success with his scenes of upper-middle class Parisian life. He tended to use the same models over and over again, and not all of them were aristocratic. "At least three of his frequent models can be identified in the infamous Book of the Courtesans, a top secret leather bound book containing the surveillance files of the Paris vice squad," writes author Summer Brennan.
Emile Claus was a Belgian painter.
Nicolas de Staël was a French painter of Russian origin known for his use of a thick impasto and his highly abstract landscape painting. He also worked with collage, illustration and textiles.
The Centre for Fine Arts is a multi-purpose cultural venue in the Royal Quarter of Brussels, Belgium. It is often referred to as BOZAR in French or by its initials PSK in Dutch. This multidisciplinary space was designed to bring together a wide range of artistic events, whether music, visual arts, theatre, dance, literature, cinema or architecture.
Hendrik Beyaert (Dutch) or Henri Beyaert (French) was a Belgian architect. He is considered one of the most important Belgian architects of the 19th century.
Founded in 1928 at the instigation of the insurance broker Léon Eeckman and of the painters Anto-Carte and Louis Buisseret, the Groupe Nervia was a Belgian artistic circle, the purpose of which was to foster Walloon art, obscured by the Flemish Expressionism of the Laethem-Saint-Martin School, by supporting young talented artists of Hainaut. It included, in addition to Anto-Carte, eight other painters: Louis Buisseret, Frans Depooter, Léon Devos, Léon Navez, Pierre Paulus, Rodolphe Strebelle, Taf Wallet and Jean Winance. Nervia's art claims a Latin essence and is more realistic, lyric and intimist than their northern neighbors’. In addition to their obvious skills, Nervia's artists refused avant-garde at all costs, deeply studied other artists, and expressed a sort of neo-humanism through themes taken from everyday and family life, treated with harmony and idealism.
Frans Depooter, born in Mons, Belgium, in 1898, was a Belgian painter. He died in 1987 in Maffe at age 89.
Karl Heeremans was an artist-painter with very personal norms of colours and forms. Revolutions in contemporary art from Picasso to Kandinsky were considered to be over, and his modern approach marked late 20th-century art. His style can be described as a form of magic surrealism with cubist base and a delicate colourscale.
Charles Verlat or Karel Verlat was a Belgian painter, watercolorist, engraver (printmaker), art educator and director of the Antwerp Academy. He painted many subjects and was particularly known as an animalier and portrait painter. He also created Orientalist works, genre scenes, including a number of singeries, religious compositions and still lifes.
Rodolphe Paul Marie Wytsman was a Belgian Impressionist painter. He trained at the Académie Royale des Beaux-Arts in Brussels, and was one of the founding members of Les XX, a group of avant-garde Belgian artists.
Evelyne Axell was a Belgian Pop painter. She is best known for her psychedelic, erotic paintings of female nudes and self-portraits on plexiglas that blend the hedonistic and Pop impulses of the 1960s. Elements of the 1960s—the Vietnam War, the Black Panthers movement, and the sexual liberation of women affected her work.
Constant Montald was a Belgian painter, muralist, sculptor, and teacher.
Éliane Georgette Diane de Meuse was a Belgian painter. She was the wife of Max Van Dyck. They met at the Académie Royale des Beaux-Arts, Brussels where they attended the courses of the same professors.
Louis Van Lint was a Belgian painter, major figure of the Belgian post-war abstraction.
Flemish Expressionism, also referred to as Belgian Expressionism, was one of the dominant art styles in Flanders during the interbellum. Influenced by artists like James Ensor and the early works of Vincent van Gogh, it was a distinct contemporary of German Expressionism. Contrary to the more rebellious and erotic nature of many German Expressionist works, the Flemish art of the School of Latem was more oriented towards the farming life, and was expressed in earthy colours and vigorous brushwork. It was also in general more oriented towards France and Brussels than to Germany, and incorporated elements of Fauvism and Cubism, for example the interest in "primitive" art, of both the ethnic and folk traditions. Flemish Expressionists like Spilliaert were more influenced by Ensor and Symbolism, or like Wouters were closer to the vibrant colours used by the Fauvists. The main proponents were Gust De Smet, Constant Permeke and Frits Van den Berghe.
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