Exhibition"Oscar en Floris Jespers" Koninklijke Kunstkring, Antwerp 1917, nr. 37
Koninklijk Kunstverbond - Club Artes, Antwerp febr. 1923
"Retrospectieve Floris Jespers" KMSK, Antwerp 1989-90; Singer Museum, Laren 1990, cat. nr. 11 reprod.
"Floris en Oscar Jespers. De moderne jaren" KMSK, Antwerp 1996, cat. nr. 29 reprod. and p. 45 reprod. of the work on the exhibition of 1917
Literature"Oscar en Floris Jespers" Paul van Ostaijen in "Ons Land", 10.03.1917
"Ekspressionisme in Vlaanderen" Paul van Ostaijen in "De Stroom", 1918
"Verzameld werk" Paul van Ostaijen, deel IV, Amsterdam 1977, p. 81
Provenancecoll. Paul van Ostaijen, Antwerp
VERONESE RIBBON (1916)
Whilst chilling in her garden chair, Floris Jespers' future wife Olympe, examines the ribbon of the hat on her lap. The bright Veronese green, striking and full of color, catches the eye among the other, softer tones applied with airy strokes. Jespers explores the boundaries between figuration and abstraction. Color and light are the composition's creative factors, while lines are limited to a bare minimum. Bearing in mind the legacy of the Luminists, he creates an intimate and warm impression of an ordinary moment that only a loved one can depict so delicately.
Jespers' affiliation to Rik Wouters and Brabant fauvism cannot be ignored, although motive is more important to him and execution more naturalistic. This early period is marked by a variety of modern movements that blow like a whirlwind over the Belgian art scene, each of them stimulating Jespers in their own way. The seeds are sown for a further development of fauvism, cubism, futurism and especially expressionism which Jespers will incorporate later in his oeuvre.
Paul van Ostaijen, a close friend to the brothers Floris and Oscar Jespers, was a pivotal figure among the emerging generation of avant-garde artists in Antwerp. As a sharp critic, his judgment was decisive, but he also was a committed promoter and patron of contemporary artists. In particular, he highlighted early works by Jespers and explicitly mentioned this "Veronese Ribbon", which was part of his personal collection, as one of the artist's highlights:
These latest works show that the painter stands before his canvases in a much more critical way than before truly standing in front of them as a thinking painter; that as a result of this he is freed from bare objectivism. Furthermore, from an aesthetic point of view, it should be noted that his sense of beauty is truly refining: here again I'm pointing out the very intimate tonality in "The Clear Workshop" and also in "Veronese Ribbon. Utmost charming. (Paul van Ostaijen, in Ons Land' 10.03.1917)