Tag

In L’agneau mystique (The mystic Lamb) the Belgian documentary film maker André Cauvin visually explores the famous 15th Century polyptych by Jan and Hubert Van Eyck (also known as the Ghent Altar Piece). With slow horizontal and vertical camera movements the filmmaker guides the viewer through the different panels of the altarpiece. Carefully chosen close-ups reveal the numerous details of the painting as well

Henri Storcks documentary on the work of Pieter Paul Rubens is a true lesson in art history. Through evocative split screens, Rubens’s fluid and natural style  is systematically set against the relative stiffness of Flemish Primitive painters like Dieric Bouts and Jan Van Eyck. Storck clearly feels at ease when taking on the role of the art history teacher. Despite his didactic approach, the experimental filmma

In 1969, Henri Storck revisits the work of Paul Delvaux. This time, the now internationally renowned painter himself is at the centre of the image as well as the narrative.

In this film, Henri Storck, one of Belgiums most prolific experimental and documentary film makers, evokes the poetic world of the surrealist painter Paul Delvaux (1897-1994), then on the verge of his international breakthrough. The paintings and drawings are at the center of the film makers’s attention. The painter himself is present only through his work.   The work of Delvaux inspired several Belgian do

The Yser Tower is a symbol of Flemish nationalism located in Diksmuide. It was built in 1929 to commemorate the Flemish soldiers killed in the Great War. The monument is also referenced in La vie sexuelle des belges (Jan Bucquoy, 1994)

In the Belgian art documentary of the 1960s and 1970s, the artist is more and more forgrounded. Not only the painter, sculptor or architect who is the subject of the documentary, but also the filmmaker. With Dieric Bouts (1975) is really a dialogue, a polemic and sometimes even a dance between the 15th Century painter and the 20th Century filmmaker.

Luc de Heusch captures the work of the Belgian artist Pierre Alechinsky (1927). Not only his work, but also the artist’s muses and the artistic process are shown. Although working in very different art forms, De Heusch and Alechinsky share an interest in local customs. In this clip, de Heusch casts his enthographer’s eye on both the artist and his work, and the actual subject of Alechinsky’s paintin

The seaside city of Ostend appoints native Henri Storck as its first official city cinematographer. This results in a series of lyrical short films (fiction as well as documentary) on daily life in Ostend: herring fishing, bathing, beach life and city dwelling. Trains de plaisir (Pleasure trips, 1930) is an idyllic and affectionate homage to lazy Sundays spent at the beach. In these early films, we recognize Storcks