BRUSSELS, BELGIUM.- An important retrospective of the work of Fernand Khnoppff (1858-1921), a major artist and leader of the Belgian Symbolist movement, has been organized by the Royal Museums of Fine Arts in Belgium. Several hitherto unknown works will be shown for the first time. Exhibition dates are as follows: From January 16 to May 9, 2004, Tuesday to Sunday, 10:00 to 17:00. Thursday evenings until 21:00. Closed Mondays and May 1st. Fernand Khnopff (Greembergen 1858 – Brussels 1921,) son of an old cosmopolitan family, lived in Bruges for most of his childhood. The atmosphere of this somber and decadent city had a strong influence on the young aspiring artist, which he would endeavor to capture later on in his work. His favorite model was his sister Marguerite, born in 1864. In 1866 the family moved to Brussels, where Khnopff’s father was appointed a judge. He started studying law at the Université libre of Brussels to please his father, and at that time he developed a passion for French literature. Shortly after he quit the university and began learning the rudiments of painting in Xavier Mellery’s studio. He took drawing lessons at the Brussels Academy of Fine Arts from 1876 and 1879, together with James Ensor.
He exhibited for the first time at the L´essor Salon in Brussels in 1881. From the 1880’s onwards he began exhibiting in England, and in London he met pre-Raphaelites Hunt, Watts, Ford Maddox Brown and Burne-Jones. He began writing articles for The Studio, the leading British art magazine, and introduced may Belgian artists and exhibitions o the British public. In 1891, at the first Secession exhibition in Viena he exhibited 21 works, an event that brought him international fame.
Khnopff reveals himself as a particularly multi-faceted artist: he worked not only in oils, pastels and mixed techniques, but was also a sculptor and engraver. He also produced excellent photographs of his work, enhanced with pastels or colored crayons. At the end of his life he was in constant demand, and illustrated programs for many charities and patriotic events. His work can be admired in leading museums worldwide.
The Catalogue - The foreword by the Head Curator is followed by three introductory essays and three texts on specific aspects of Khnopff’s work. They deal with Khnopff’s affinity with England in general and with Edward Burne-Jones in particular.
The catalogue proper follows the thematic structure of the exhibition, but ignores physical limitations imposed by the exhibition rooms. It includes twelve chapters, each about a particular theme. There is also a section devoted to Khnopff’s photography. The splendidly illustrated volume will contain around 300 pages.
The Structure of the Exhibition - 280 works will be displayed, around 265 by Fernand Khnopff himself –paintings, drawings, sculpture. retouched photos, book illustrations and graphic work. All the themes dear to the artist will be developed and contrasted with some 15 works from other Belgian and European artists. This placing of Khnopff’s work among his contemporaries, and in an international context, will be one of the more unusual facets of the exhibition.
