NIEUWS DEELNEMERS

On the occasion of BRAFA 2026, the Baroque high-relief Small Faun playing with a Satyr, presented by Romigioli Antichità, will undoubtedly be one of the highlights of their stand. This marble sculpture, dated and signed by Giuseppe Piamontini, is one of the artist’s masterpieces.

Giuseppe Piamontini : the dialogue of sculptures between myth and Medici patronage
One of Giuseppe Piamontini’s most spirited works, dated 1710, depicts a young satyr playing with a little faun in an interplay of gestures, draperies, and pastoral symbols. The dynamic and theatrical scene reflects the taste of the Florentine Baroque and appears to have been conceived as a pendant to the celebrated sculpture of Eros and Anteros, executed by Piamontini in 1707 and now preserved in the Medici Treasury at the Palazzo Pitti.

The commission, by analogy with the work at the Pitti, can very likely be attributed to Ferdinando de’ Medici, son of Cosimo III, and attests to the court’s esteem for the artist, who was among the great prince’s most favored sculptors. The sculpture stages a dialogue between the concrete, musical dimension of the young faun and the magical, playful challenge embodied by the satyr, forming an allegory of nature, abundance, and contrast.

Also curious and significant is the presence, in the collections of the Palacio Real de El Pardo in Madrid, of a small bronze perfectly faithful to the Florentine sculpture. It almost appears to be a preparatory bronze model, though certainly later, since we know it was commissioned by Charles III of Bourbon during his stay in Florence in 1732.

​​​​​​​Romigioli Antichità, Viale Toselli 68 | IT-20025 Legnano - STAND N° 51 at BRAFA
m. +39 348 41 28 148 | m. +39 348 01 17 005
romigioli@romigioli.it | www.romigioli.it

The idea for this exhibition devoted to the ancient tribal art of the Indigenous peoples of South America first emerged about fifteen years ago.

The aim is to present, through both quantity and quality, an ensemble that brings together classic works as well as rare pieces, revealing the essence of a true “continent unto itself” within the world of tribal art. Just as Africa, Oceania, and North America - with the Northwest Coast, the Plains peoples, and the Inuit of the far north - are now widely recognized, South America deserves a similar place of honour.

The exhibition focuses primarily on wooden works: more than thirty different clubs and makana, masks, statuettes, and various objects such as maracas, cigar holders, shamanic staffs, stools, and more. The main regions and ethnic groups will be represented, including the Karajá, Kayapó, Tapirapé, and Tucano.

A number of rare pre-Columbian pieces enrich the collection: objects from Marajó Island in Brazil, the Timoto-Cuica of Venezuela, and the Muisca of Colombia - Indigenous peoples whose postures and adornments unmistakably affirm their identity.

Ancient Indigenous art from South America is rare. Early colonization, large population movements, and the devastating toll of epidemics brought from Europe profoundly disrupted these cultures and severely limited the survival of their artistic heritage.

Together, these objects reveal the full face of a continent still too little known for the richness of its early arts. These tribes are of striking beauty, and several large-scale photographs will highlight their unique and often overlooked humanity.

Serge Schoffel - Art Premier - STAND N° 30
Rue Watteeu 14, BE-1000 Brussels - m. +32 (0)473 56 32 33 - contact@sergeschoffel.com | www.sergeschoffel.com

LA PATINOIRE ROYALE BACH marks its tenth participation at BRAFA with a refined selection of works by gallery artists including Lita Albuquerque, Renaud Auguste-Dormeuil, Carlos Cruz-Diez, Thomas Devaux, Michel Mouffe, Luzia Simons, and Joana Vasconcelos.
 

A major highlight is Alfredo Jaar’s iconic triptych Life Magazine, 19 April 1968 (1995), composed of three large lightboxes. Using a documentary photograph of Martin Luther King Jr.’s funeral published in Life, Jaar intervenes with his characteristic precision, replacing faces with black or red dots to expose racial inequities and the politics of representation. The black dots mark African American mourners, while the red dots identify White attendees, transforming the image into a stark commentary on persistent racial imbalance. Created during Jaar’s research for Searching for Africa in Life (1996), the work similarly reveals the absence and erasure embedded in visual archives.

The gallery also presents Olga de Amaral’s diptych Corteza 2 (2015), a shimmering composition of linen, gesso, acrylic, and gold leaf. A seminal figure in contemporary textile art, de Amaral has elevated fiber to the realm of sculpture and painting, drawing on pre-Columbian heritage and spiritual symbolism. 

A third highlight is Evelyn Axell’s Le Val Vert (1971), a striking example of her pioneering feminist Pop Art. Painted under plexiglas, the work depicts a nude female figure from above, merging vulnerability with empowered autonomy. With warm, sensuous colors, Axell subverts the traditional male gaze and celebrates female erotic agency—affirming her vital, if long-overlooked, place in 20th-century art.

La Patinoire Royale Bach - Stand : 053
Rue Veydt 15 I BE-1060 Brussels - t +32 (0)2 533 03 90 I m +32 (0)486 29 68 39
valerie@prvbgallery.com I www.prvbgallery.com

Olga de Amaral Corteza 2 (diptico), 2015, linen, gesso, gold leaf and acrylic paint, 80 x 50 cm (each)_Courtesy of Casa Amaral © Diego Amaral

C’est toujours un plaisir d’exposer dans ce salon de qualité internationale marqué par le professionnalisme et la convivialité., accueille un stand placé sous le signe de l’éclectisme, mêlant grands noms de la sculpture figurative comme Rodin et Bourdelle, ainsi qu’une sélection d’animaliers des années 1930. Antoine-Louis Barye y occupe une place centrale avec Trois femmes assises (1840), pièce ornementale d’une grande rareté. Parmi les œuvres majeures figure aussi la Danaïde « petit modèle » (1885) de Rodin, à la fois symbole de désespoir et prétexte à magnifier le corps féminin. Le bronze Les Violettes (1899) de Raoul Larche, chef modèle unique, est présenté comme un manifeste sculptural de l’Art nouveau.

La sculpture figurative du début du XXᵉ siècle est illustrée par la spectaculaire Baigneuse de Marcelle Delcour-Guinard, récompensée au Salon de 1932. Côté animaliers, le public pourra découvrir un très rare Bison d’Amérique de Jacq Orlande Sinapi ainsi qu’un grand Chat en porcelaine de Paris d’Édouard-Marcel Sandoz, édité seulement entre 1924 et 1930. Deux rapaces sculptés par François Martinez complètent cet ensemble. Enfin, deux pièces singulières enrichissent la présentation : l’Obélisque unique d’Émile Gilioli, aux formes cristallines typiques des années 1960, et une délicate Tête d’enfant d’Albert Pommier, au regard intemporel.

François Martinez (Oran 1902–1986 Toulouse), Two Birds of Prey, Circa before 1938, direct carving in thuja wood, H 57 x W 39 x D 26 cm, signed ‘F Martinez’, Unique piece

Op BRAFA 2026 zal Arte-Fact Fine Art Vergeten Verhalen presenteren: een uitnodiging aan de bezoekers om verhalen te ontdekken die verborgen liggen onder de oppervlakte van verf en tijd; verhalen over verbindingen tussen kunstenaars en opdrachtgevers, hoven en culturen, inspiratie en creatie. 

Vergeten Verhalen neemt bezoekers mee op een reis door Europa: van de glorie van de Nederlandse Gouden Eeuw, via de artistieke schittering van Antwerpen en de pracht van het Brusselse hof, tot de creatieve uitwisselingen met Spanje en Italië. Een bijzondere rode draad in de presentatie eert vrouwelijke stemmen en toont hen niet als randfiguren, maar als vaak vergeten schakels in het verhaal van artistieke creatie. 

“Schilderijen van oude meesters bezitten een magie die verder gaat dan hun schoonheid; ze fluisteren vergeten verhalen en tijdloze inspiratie. Voor de bezoekers van BRAFA hopen we een brug door de tijd te slaan, die hen
verbindt met de kunstenaars en verhalen van vervlogen eeuwen,” zegt galerieoprichter Claudia Walendy.

Te ontdekken op stand 132.

Domenico Puligo (Florence, 1492-1527), Madonna and Child with the young Saint John the Baptist, Oil on panel, 95 x 72 cm

Galerie Greta Meert neemt voor het eerst deel aan BRAFA met een zorgvuldig samengestelde selectie die de kern van haar artistieke visie weerspiegelt. Al meer dan vijfendertig jaar stimuleert de galerie een dialoog tussen historische en hedendaagse kunst, gebaseerd op gedeelde ideeën, formele kwesties en continuïteit. De stand is geen overzicht, maar een onderzoek naar de uitwisseling tussen generaties en media.

De historische basis omvat belangrijke werken van sleutelkunstenaars uit de naoorlogse periode. De werken van Carla Accardi, van de jaren 1960 tot de jaren 1980, tonen de ontwikkeling van haar visuele taal. Zeldzame studies van John Baldessari onthullen vaak onbekende stappen in zijn conceptuele proces. Enrico Castellani’s monumentale Superficie Bianca benadrukt zijn onderzoek naar reliëf en licht. Papierwerken van Sol LeWitt, een Frame Painting van Robert Mangold en stukken van Shirley Jaffe, Lee Mullican en Antonio Sanfilippo vervolledigen dit geheel.

De hedendaagse selectie toont de voortzetting van artistieke vraagstellingen. Edith Dekyndt, Noam Rappaport, David Claerbout, James White, Magali Reus, Didier Vermeiren en Louise Lawler onderzoeken ieder op hun eigen manier materialiteit, tijdelijkheid, vorm en ruimtelijke positionering.

Een derde pijler is het meubilair van Donald Judd, gepresenteerd als een verlengstuk van zijn sculpturale logica en als brug tussen kunst, design, ruimte en functie. De hele presentatie belichaamt de overtuiging van de galerie dat kunst een netwerk van relaties vormt. Door historische iconen, studies en hedendaagse werken samen te brengen, toont de stand hoe ideeën door de tijd heen bewegen en nodigt hij bezoekers uit verbanden te ontdekken tussen generaties, media en manieren van kijken.

Ontdek een selectie werken die op BRAFA 2026 worden gepresenteerd in het persbericht.

Donald Judd, Bookshelf 14, 1984, Aluminium / mint green RAL 6029, H 100 x W 100 x D 50 cm
Courtesy the artist and Galerie Greta Meert

Op BRAFA presenteert Gallery Sofie Van de Velde een zorgvuldig samengestelde dialoog tussen moderne meesters en hedendaagse kunstenaars. De selectie legt zowel continuïteit als spanningen bloot, als onderzoek naar wat generaties kunstenaars met elkaar verbindt en welke contrasten bestaan tussen kunstenaars van dezelfde generatie.

Een eerste lijn ontvouwt zich rond de notie van beweging. In het werk van vroeg 20steeeuwse vernieuwers als Victor Servranckx, Wassily Kandinsky en Paul Klee staat de dynamiek van ritme en vorm centraal, geworteld in de vooruitstrevendheid en energie van de avantgarde. Dit staat in contrast met de verstilling die spreekt uit de schilderijen van Karin Hanssen, Ilse D’Hollander en Cristof Yvoré, maar ook uit de subtiele werken van Raoul De Keyser en Willy De Sauter: kunstenaars die de kracht van stilte en concentratie laten primeren op de drang tot snelheid.

Tegelijkertijd blijven de hedendaagse werken van Pieter Jennes en Jesse Tomballe overeind naast de popart van Andy Warhol...

Virginie Devillez is a Brussels-based expert and dealer in Belgian and international art with over 25 years of experience. She has facilitated major acquisitions for museums including the Musée d’Orsay, Centre Pompidou, Mu.ZEE, and the Royal Museums of Fine Arts of Belgium. Holding a PhD from the Université libre de Bruxelles, she previously served as curator at the Royal Museums and project manager for the Magritte Museum. After directing leading contemporary galleries, she worked at Sotheby’s (2016–2023) as an expert in Impressionist, Modern, and Contemporary Art. She is a member of the René Magritte Authentication Committee, a researcher, an independent curator, and is currently preparing a Magritte exhibition for 2028.

In January 2026, the gallery will exhibit for the first time at BRAFA Art Fair, where it will present a selection of Belgian artists including Georges Lemmen, James Ensor, Rik Wouters, Victor Servranckx, Pierre-Louis Flouquet, René Magritte, Paul Delvaux, Gustave De Smet and Jean Brusselmans.

Maison d'Art will present the following exhibition at BRAFA titled 'True to Life'. Usually we refer to 'truth to life' when we’re speaking about fiction in writing or the visual arts. Of course it depends on what your definition of truth is, not to mention life itself, which is sometimes inscrutable (certainly in dreams). People looking at paintings in the 15th, 16th and 17th centuries saw the subjects before them as a reflection of different kinds of truth: literal verisimilitude, as we see here in the paintings of Gentileschi and Ribera, who sought to depict the whole truth and whose fascination with naturalism was expressed through a blend of close observation and stunning pictorial technique.

In the Quattrcoento and Cinquecento – the great era of the Italian Renaissance – a holy image would bring the truth of faith into the home, as our Tuscan and Ferrarese panels once did for their fortunate, devout owners. The lively and sweetly melancholic Virgin and Child of the 1470s, the Holy Family by Foschi (recently exhibited in the Accademia, Florence), reflecting the energetic style of sixteenth-century Florentine art, and the intimate Adoration of the Shepherds by Garofalo, with its refined sense of colour – all these pictures offered reassurance in a period of growing doubt.

Painting could also illustrate subjects on the border between literature and allegory, as in Lomazzo’s Boat, which has great poetic truth even if its meaning continues to perplex scholars. Contemporary with that enigmatic work (around 1570), Giovanni Battista Della Porta’s statue of a woman in rosso antico evokes one of the oldest truths, the great era of Classical Antiquity, in which the idealized life of the gods is expressed in the finest way possible, through the human form.

Centuries ago, life was generally shorter and less predictable than it is now, and art always offered reassurance – as it should now. Living with these paintings and sculptures, sharing them, enjoying them, is still the greatest pleasure.

Marietta Vinci-Corsini
Pier Francesco Foschi (Florence, 1502-1567), The Madonna and Child and the Infant Saint John the Baptist.

Participant in the BRAFA since 2004, the Galerie Alexis Bordes is happy to return for the 71st edition of this eclectic and fast-growing fair. This year, we are offering an eclectic group of European works from the 17th to the 20th century.

This selection does not reflect a theme chosen beforehand but a succession of favourites. As acquisitions unfold, trends nevertheless appear and naturally convey broad guiding lines. Landscape appears under the brushes and pencils of artists working in the open air. Working from life, they manage to capture the essence of reality. Among them, Spillaert, Frank Boggs or Achille Laugé each have their own treatment of light and of the touch, reflecting the unique vision of their environment. 

The genre of portraiture also occupies a decisive place in our hanging. It completes our understanding of an artistic movement and of an era, by revealing not only faces, but also ways of being and of representing oneself. Testimonies of past habits, our portraits illustrate social codes and aesthetic conventions. This dimension is found in the various genre scenes that we present. These works ultimately draw an artistic portrait of Europe, at once geographical, historical and cultural.​​​​​​​..

Nicolas Lancret (Paris, 1690-1743), The hurdy-gurdy player in gallant company in a park, Oil on canvas, 94 x 74 cm, carved and gilt wood frame with Louis XV period decoration of shells, acanthus leaves, and small flowers.

At BRAFA 2026, Repetto Gallery presents a dialogue which traces the shifting landscape of European modernism through the 20th century. This special preview brings together seven of the artists selected for our booth: Valerio Adami, Christo, Giorgio de Chirico, Jean Dubuffet, Max Ernst, Kurt Schwitters, and Victor Vasarely. Though their paths differ - rooted in Surrealism,
Dada, Nouveau Réalisme, and Op Art - each of these artists shares an impulse to reimagine the conditions of seeing and being. 

Giorgio de Chirico’s metaphysical squares and silent architectures introduce a world where time stands still, where the dream precedes the image. From that stillness, Max Ernst and Kurt Schwitters draw motion: Ernst’s surrealist transformations of nature and psyche, and Schwitters’ collages that reassemble the debris of the modern world into new harmonies. Jean Dubuffet turns to raw matter and gesture.

Christo, by contrast, veils and wraps - his drawings capturing the paradox of concealment as a form of revelation, where the hidden becomes a new kind of visible. In Victor Vasarely’s optical geometries, structure vibrates into sensation; the visual field itself becomes alive, unstable, participatory. And Valerio Adami, with his incisive line and luminous color, reconstructs the image as a space of thought - where narrative unfolds through contour and symbol. Together, these artists propose a map of modernity in motion: their works speak to one another across decades, converging on a shared question - how art might continue to invent new forms of meaning within the flux of the twentieth century and beyond.

Ces tapisseries, tissées à Aubusson dans les ateliers d’exception qui ont accompagné les plus grands artistes du XXᵉ siècle, incarnent un moment clé de l’histoire de l’art moderne : celui où la peinture quitte le mur pour devenir espace, texture et lumière. Après le succès de l’exposition « La tapisserie d’Aubusson : La fabrique des icônes », présentée à Paris, la galerie poursuit son exploration d’un sujet fascinant : comment la tapisserie a façonné les icônes de la modernité. Dans un monde où l’image est devenue instantanée et dématérialisée, ces oeuvres rappellent la beauté d’un art lent, physique, tissé dans le temps. Ici, chaque fil est un trait de pinceau, chaque noeud une respiration. Entre la main du peintre et celle du lissier, entre le geste et la matière, s’est inventé un art total - à la fois populaire, monumental et profondément humain...

 

The HELENE BAILLY MARCILHAC Gallery is delighted to take part in the 71st edition of BRAFA for the fourteenth consecutive year.

On this occasion, the gallery will present a selection of Post-Impressionist, Fauvist, and Modern works, bringing together some of the most significant names from these pivotal artistic periods. 

Among the major works exhibited will be an exceptional painting by Émile Othon Friesz, dating from 1907, a vibrant testament to Fauvism at its height; an intimate Fauvist canvas by Henri Manguin from 1908, depicting a woman undressing; and a luminous work by Théo Van Rysselberghe, also from 1908, exemplifying the radiant Neo-Impressionist aesthetic of the time. 

The presentation will also feature a compelling dialogue between Francis Picabia and Victor Brauner, two leading figures of Surrealism. The works, coming from a private collection held within the same family for over thirty years, reveal the deep friendship and artistic affinity between the two artists. Picabia’s portrait of Brauner resonates with one of Brauner’s own compositions, forming a coherent and profoundly engaging ensemble. 

Completing this presentation is a poetic and monumental “Arbre à Cocons” by Charles Macaire. In this hand-crafted paper sculpture, the artist celebrates the beauty of gesture and the nobility of craftsmanship. Entirely shaped by hand, the piece embodies the meeting of artistic creation and artisanal savoir-faire, extending the dialogue between nature, material, and poetry.

While peasants sleep in the foreground of this jewel-like panel, a pointy-eared devil strides purposefully through their field, scattering weeds among the wheat. At first glance, Gillis Mostaert's
recently rediscovered painting appears to be a straightforward biblical illustration - a parable from Matthew about good and evil. Yet in the religious turmoil of 1560s Antwerp, this small work carried a dangerously progressive message: a call for tolerance in an age of persecution. 

The parable's critical verse - "Let both of them grow together until the harvest" - became a rallying cry for moderate theologians arguing against the execution of heretics. By depicting this subject, Mostaert and his contemporaries (including Pieter Bruegel the Elder) were making a subtle but radical statement: only God, not earthly authorities, should separate the righteous from the damned. In a decade that would see the outbreak of the Dutch Revolt and waves of religious violence, such calls for coexistence were as urgent as they were controversial.

Today, as debates over religious freedom, pluralism, and ideological division dominate global discourse, Mostaert's message resonates with uncomfortable immediacy. The painting asks: who decides what is wheat and what is weed? And what damage do we cause when we try to root out what we perceive as evil before its time? .... Read thie press release.

Pour l’édition 2026 de la BRAFA, Maison Rapin investit le stand 16 : un espace repensé et agrandi pour accueillir une scénographie inédite imaginée comme l’intérieur d’un collectionneur. Conçu comme une véritable immersion, le stand se déploie en un parcours à travers les espaces de vie d’un collectionneur, où pièces historiques et créations contemporaines du XXe siècle se répondent et s’entrecroisent. Du jardin d’hiver à la salle à manger, jusqu’à la chambre, chaque espace révèle l’éclectisme et la vision singulière qui caractérisent Maison Rapin.

Fidèle à son esprit, Maison Rapin propose ici une lecture vivante des arts décoratifs et du design du XXe siècle, transposée dans l’univers intimiste d’un collectionneur, dont chaque espace reflète le goût, la curiosité et la sensibilité.

 

Stern Pissarro Gallery is pleased to present a carefully curated selection of impressionist, modern and contemporary works at BRAFA 2026. Spanning the late nineteenth century to today, the presentation reflects the gallery’s focus on established international artists.

Among the highlights is Confidence, les enfants Bernheim au salon by Édouard Vuillard, an exceptional domestic interior from a pivotal moment in his career that captures the intimate atmosphere of the Bernheim family home. Louis Hayet’s Sur les Champs-Élysées (1888) offers a vibrant example of early Pointillism, combining precise divided brushwork with a luminous palette.

Amedeo Modigliani’s Homme à la barbe, a fine work on paper published in Ceroni’s 1956 catalogue raisonné, exemplifies the artist’s elegant economy of line, while Marc Chagall’s L’hiver procession de Noël (Les quatre saisons) connects directly to his celebrated mosaic for Chicago’s Chase Tower Plaza.

Works on paper by Henry Moore and Paul Delvaux reveal each artist’s mastery of form and composition on an intimate scale. Contemporary highlights include Chiharu Shiota’s Endless Line, a two-dimensional work made using her signature red thread, and Yayoi Kusama’s Visionary Wave Crest (1978), a striking Infinity Net painting from 1978, combining enamel and acrylic to create a fascinating texture.

For its first participation at Brafa Art Fair in January 2026, the gallery will present a curated dialogue between Brazilian modern furniture and Italian lighting and decorative arts. The presentation will bring together the organic warmth of Brazil’s mid-century masters with the refined luminosity of Italian postwar design, creating a vivid counterpoint to the European winter.

At the center of the exhibition stands a selection of exceptional Brazilian works by José Zanine Caldas, Jorge Zalszupin, Joaquim Tenreiro, and Carlo Hauner, among others. These designers each represent a distinct chapter in Brazil’s design history, combining artisanal craftsmanship with a modernist sensibility rooted in tropical materials and natural forms. Their work captures the essence of mid-century Brazil, tactile, expressive, and profoundly human.

To complement this ensemble, the gallery will showcase lighting by Max Ingrand for Fontana Arte and Angelo Lelii, two of Italy’s most celebrated figures in glass and light design. Their poetic compositions in brass, opaline glass, and crystal embody the refined sophistication that defined Italy’s postwar design renaissance. The installation will be further enriched with artworks by Dedalo Montali and Christoph Bollinger, whose sculptural and painterly gestures bridge the space between art and design.

Together, these pieces create a dialogue between continents, a meeting of Brazil’s sensual modernism and Italy’s sculptural elegance. The presentation seeks to evoke the warmth, rhythm, and material richness of South America within the refined architectural context of Brafa, celebrating a cross-cultural harmony that feels both timeless and invigorating.

Our debut at Brafa marks a long-awaited milestone. Having admired the fair for many years, we chose to join only when our collection felt mature enough to fully represent our vision. In 2026, that moment arrives. We will bring the best of the best, a selection that embodies the spirit, sophistication, and vitality of twentieth-century design.

Dei Bardi Art is delighted to present at Brafa 2026 an exquisite 15thcentury alabaster relief of The Resurrection of Christ, created by the celebrated Nottingham workshops - Europe’s leading centre for devotional alabaster sculpture.

Christ rises triumphantly from the tomb, his figure softly modelled with the luminous warmth unique to English alabaster. At his feet, soldiers lie sleeping, their armour and expressions carved with remarkable precision.

This panel carries an exceptional provenance, having belonged to two major museum collections. Once in the renowned Hubert Wilm Collection in Munich, it then entered the Germanisches Nationalmuseum, Nuremberg, where it remained for nearly forty years. In the 20th century it joined the esteemed John & Johanna Bass Collection, before entering the Bass Museum of Art, Miami Beach in 1963. Historic museum numbers remain visible on the Stone - rare, tangible witnesses to its journey through major collections and institutional history.

Provenance :
– Collection Hubert Wilm, Munich (XIXᵉ siècle)
– Germanisches Nationalmuseum, Nuremberg (c. 1880–1920)
– Lamperts, Cologne, 1944
– Collection John & Johanna Bass, New York
– Bass Museum of Art, Miami Beach, 1963

Tijdens BRAFA 2026 presenteert Galerie Oscar De Vos de tentoonstelling Herinneringen aan de Leiestreek, een hommage aan de kunstenaars die de rivier, de dorpen en het licht van de Leiestreek vereeuwigden. In de 20e eeuw werd het dorp in een internationale kunstenaarskolonie.

De selectie brengt hoogtepunten uit acht decennia kunst, van Xavier De Cocks Vlaamse kermis (1857) en Albijn Van den Abeele’s ingetogen Laatste zonnestralen, opkomende maan (1904) tot Emile Claus’ herontdekte Villa Zonneschijn aan de Leie (1893) en zijn iconische meesterwerk Na de oversteek (1899).

Daarnaast worden nooit eerder op de kunstmarkt verschenen werken van Jenny Montigny (Zomer, ca. 1905; De Leie te Deurle, 1934) en Maurice Sys (Nocturne, ca. 1905) gepresenteerd, naast expressionistische doeken van Frits Van den Berghe, Constant Permeke, Hubert Malfait en Albert Saverys.

De tentoonstelling weerspiegelt de seizoenen, de intieme interieurs en het dorpsleven van de Leiestreek en vormt zo een poëtische herinnering aan een landschap dat kunstenaars en kunstverzamelaars blijft inspireren...
Meer informartie in het Persdossier.