The XX society and its role in the formation of the Belgian avantgarde
Abstract
The article investigates the organizational peculiarities of the exhibition activity of the Belgian art society XX, which existed in Brussels from 1883 to 1893. Despite the high level of knowledge of this problem in the West, in Russia XX is mentioned most often in the context of the French Neo-Impressionism. Such an assessment lacks objectivity and requires some adjustments, which is the main aim of the author of this paper. The article describes in detail the organizational features of the XX activity. Particular attention is paid to such issues as the regulation of the number of the participants, the selection of the paintings presented at the exhibition, the three permanent members committee and its function in the absence of the jury, the secretary’s role, the public activities of the XX, the communication of the artists with the literary arts magazine L’Art Moderne. The international relations of the XX are regarded mostly at the example of the participation in the exhibitions of the British and French artists such as Whistler, Seurat, Gauguin, Toulouse-Lautrec. A comparative stylistic analysis of the paintings allows us to take a fresh look at the problem of the artistic influences on Belgian art of the 1880–1890-ies. The author of the article also attempts to define the place of the group “XX” in a number of other arts organizations, operating in Belgium and abroad in the era of fin de siècle.
Keywords:
XX society, XX group, Neo-Impressionism, Post-Impressionism, jury, exhibition, Octave Maus, James Ensor, Fernand Khnopff, James Whistler, Willy Finch, Henry van de Velde, Jan Toorop, Christ’s entry into Brussels in 1889, Archibald database, group «Septem», Gesamtkunstwerk
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Articles of "Vestnik of Saint Petersburg University. Arts" are open access distributed under the terms of the License Agreement with Saint Petersburg State University, which permits to the authors unrestricted distribution and self-archiving free of charge.