Gallery overview

Literature "Veranneman. Visie en passie" Ed. Lannoo, Tielt 2002, p. 306-307 ill.
Registered in the Archivio Gio Pomodoro Provenance Veranneman Foundation, Kruishoutem

Exhibition "James Ensor, 1860-1949, Retrospectieve" KMSKA,
Antwerpen 1951, cat. nr. 28
Marlborough Fine Art Ltd., London 1960, cat. nr.
104 Literature "James Ensor par Emile Verhaeren" Emile Verhaeren
Brussel 1909, p. 40 afb.
"James Ensor" Paul Fierens, Paris 1943, p. 37 afb. Provenance coll. Albert Croquez (gift van de kunstenaar)
Nalatenschap Albert Croquez, Paris
Privécoll., Pennsylvania

Exhibition "James Ensor, 1860-1949, Retrospectieve" KMSKA,
Antwerpen 1951, cat. nr. 27 Literature "James Ensor" Paul Fierens, Parijs 1943, p. 52
afb. Provenance coll. Albert Croquez, Paris
Nalatenschap Albert Croquez
Privécoll., Pennsylvania

Exhibition "Ensor in Gentse verzamelingen" MSK, Gent 1969,
cat. nr. 75
"Ensor - Ein Maler aus dem spätem 19 Jahrhundert"
Würtenbergischer Kunstverein, Stuttgart 1972, cat.
nr. 156
"James Ensor" Kunsthaus, Zürich; KMSK, Antwerpen
1983, cat. nr. 202
"Intrigue: James Ensor" Royal Academy of Arts,
London 2016-17, tent. cat. p. 82 afb. Provenance coll. Paul Van der Perre, Brussel
Coll. Auguste Taevernier, Gent

Provenance Gal. Van de Loo, München
Simoens Gal., Antwerp





FREEDOM AND HAPPINESS

"Would I start? Would I start with small lines, small crosses, small dots, with a big thing going from there to there, with a big spot that would watch me, with an idea? Would I start by stroking the canvas because I dream it's already finished? No, I'm starting." (Alechinsky, Paris, September 1953)
And so Alechinsky starts this extraordinary work. He casually follows his feeling while he applies the acrylic to the canvas. The artist gives free rein to his hand: sometimes the lines are calm and elegant in warm ocher, sometimes he applies brusque, heavy brush strokes in bright blue and green. It is this same hand that tells Alechinsky's fantastic stories and gives expression to the world as he experiences it. The result is a painting bursting with spontaneous energy. The gesture is explicitly present as an expressive tool, reminiscent of American abstract expressionism rather than of Cobra
The painting is a joyful color play evoking instant delight and cheerfulness. But coincidence and the subconscious also have an important role: the images veiled by the splendor of color are not at all unambiguous. Fortunately Alechinsky also loves to play with language, as illustrated by the poetic title which pushes us more or less in the direction of the painting's story. Furthermore, we, as spectator, are challenged to use our own creativity and thus contribute to the creation of the final image. The image of the artist also becomes the image of the viewer.

"L'invention de la brouette" is the title of this oeuvre majeure – so to say in the words of the artist himself. Alechinsky does not make it easy for us as viewers. We can indeed see some wheels. Do the lines form a wheelbarrow? Does the mysterious head at the bottom represent the inventor? Maybe the artist wants to tell us about the invention of the wheel and he mingles title and image as a totum pro parte. Or maybe there is another approach that has to do with Alechinsky's trip to Lapland in 1974, where he makes this painting in the studio of his friend Bengt Lindström in Sundsvall (Sweden). The local stories and legends - which he loves so much - have certainly reached his ears and must have when creating this image. After all, it is up to the viewer and his imagination to complete the story.

Literature "Retrospektieve Roger Raveel" Centrum voor Kunst en Cultuur, Ghent 1974, exhibition cat. nr. 150 reprod. p. 59 (image of the larger version with cut out face 1973-74)
"Een verschrikkelijk mooi leven" Carlos Alleene, deel 2 - 1970-2005, Deinze 2006, p. 412, 414, 420 (image of the larger version with cut out face 1973-74)

Exhibition "La collection du Musée d'Art Contemporain de Gand. L'Arte Povera, l'art conceptuel et les mythologies individuelles en Europe" Musée d'Art Contemporain, Montréal 1983
"De verzameling van het MHK, Gent" RMS, Balen 1984
"Le plein vert" Cayeux-sur-Mer 1984
"Panamarenko. Arbeiten 1966-1985" Städtisches Bodensee Museum, Friedrichshafen 1985, nr. 25
"Panamarenko. Een overzicht 1965-1985" M HKA, Antwerp 1989, nr. 33
"Panamarenko" Tokyo, Osaka, Fukuyama, Kamakura 1992-93, nr. 28
"Panamarenko, de retrospectieve" KMSKB, Brussels 2006, exhib. cat., nr. 32 ill.
"Panamarenko Universum" M HKA, Antwerp 2014-15, exhib. cat., p. 122 ill. Literature "Panamarenko. A Book by Hans Theys" Published by Frank Van Haecke & Isy Brachot 1992, nr. 79 ill.
"Panamarenko" Jon Thompson, Ludion 2001

Provenance Gal. Willy D'Huyser, Brussels (acquired by the present owner)

Literature "Gust De Smet. De mensch en zijn werk" Emile Langui, Manteau, Brussels, 1945, nr. 57
"Gust. De Smet. Kroniek, Kunsthistorische analyse" Piet Boyens, Antwerp 1989, nr. 66 ill. Provenance coll. Richard De Moor, Ghent
auction Campo, Antwerp 1968, nr. 58

Literature "La sculpture belge 1830-1930" Marguerite Devigne, Brussels 1930, cf. reprod. 66
"George Minne" Leo van Puyvelde, Collection Les Contemporains, Brussels 1930, cf. nr. 85, pl. 100-101
"La sculpture belge 1830-1930" Brussels 1930, reprod. 66 Provenance the artist's family
auction De Vuyst, 28/05/1988, nr. 298

Exhibition "Léon Spilliaert - Onbekende werken" Casino, Knokke 2000, cat. nr. 107, p. 185 reprod.
"Léon Spilliaert. Florilège" Musée des Beaux-Arts, Mons 2001, cat. nr. 21 Literature To be included in the catalogue raisonné in preparation by Mrs. Anne Adriaens-Pannier

Literature "George Grard. Monografie/Oeuvre-Catalogus" Stichting George Grard, Ed. Stichting Kunstboek 1995, cf. cat. nr. 105

Exhibition "Arnaldo Pomodoro" Galerie Semiha Huber, Zürich 1996
"Arnaldo Pomodoro" Stephen Wirtz Gallery, San Francisco 1998
"Arnaldo Pomodoro" Venice Design Art Gallery, Venice 1998
"Arnaldo Pomodoro. Sculptures 1990-2000" Marlborough Monaco, Monte-Carlo 2001, cf. reprod.
"Arnaldo Pomodoro alla Torre Guevara di Ischia" Torre Guevara, Ischia 2003, cf. p. 33 reprod. Literature "Arnaldo Pomodoro. Catalogo ragionato della scultura. Tomo I+II" Flaminio Gualdoni, Ed. Skira, Milan 2007, cf. cat. nr. 933, p. 723 reprod.

Provenance Lens Fine Art, Antwerp

Exhibition "Berrocal. Exposition de sculptures" Gal. Kriegel, Paris 1962 Literature "Berrocal" Denys Chevalier, Gal. Kriegel, Paris 1965, reprod.
"La Sculpture de Berrocal" Giuseppe Marchiori, La Connaissance, Brussels 1973, p. 52 reprod.
"Berrocal Catalogo General / Obras Recientes 1974" Miguel Berrocal, 1974, p. 68 reprod.
"Antologica Berrocal (1955-1984)" Ministero de Cultura, Madrid 1984, exhibition cat., p. 118 and p. 439 reprod.
"Retrospective Berrocal (1955-1985)" Centre Culturel de la Communauté Française Wallonie-Bruxelles, Brussels 1985, p. 26 reprod.
"Berrocal. 25 Ans de Sculptures editées 1964-1989" Miguel Berrocal, Artcurial, Paris 1989, p. 24 reprod.
"Berrocal" Jean Louis Ferrier, Éd. de la Différence, 1989, p. 129 reprod.
We would like to thank the Berrocal Foundation for their help when cataloging this work Provenance coll. Louis Bogaerts, Brussels ca. 1965-1995



For the majority of his iconographic works, Berrocal chose themes from the classical antiquity without losing sight of other sources of inspiration. His topics are male torsos, women figures, heads and portraits. In general it’s about the stylized, reconstructed, maimed parts of the human body. These anthropomorphic themes are apt to the most imaginative metamorphoses and have been a source of infinitive variation in art for thousands of years through the ages and for all art forms. If one studies objectively the artistic evolution of torsos, one can determine that after early baroque, during which the physical appearance is in contrast with the inner complexity and the abstraction, follows a more anatomical morphology “in which the organization of structures tend more towards the essence, the joints become more functional and the technical performances of the composition are concentrated on organic tensions” (Jean Dypréau, Brussels, 1983).