Les Xx and Belgian Avant-Gardism, 1868-1894. (Volumes I and II).

Abstract

This dissertation offers a comprehensive view of Belgian avant-garde art from 1868 with the formation of the Societe Libre des Beaux-Arts to 1894 with the creation of Les XX's successor La Libre Esthetique. It relates the artistic aims of Belgian avant-gardism to its political and social milieu while charting Les XX's path from its roots in other avant-garde groups through its aesthetic evolution encompassing Impressionism, Neo-Impressionism, Symbolism and the Decorative Arts. During the decade of its existence (1884-1893) Les XX became the most important artistic group of its kind in Belgium and achieved international significance. One element of its achievement was the bringing together of the arts through lectures, readings of new poetry, and musical performances--all held in the exhibition rooms. By playing the music of contemporary composers, by hosting lectures given by the elite of the literary world, and by displaying the works of predominantly Belgian, French and English artists, Les XX sought to create a showcase for artistic excellence and novelty. Another of Les XX's distinguishing features was that it invited foreign artists to exhibit with it at its annual exhibitions. These invitations were made with particular skill and included such names as Seurat, Gauguin, Lautrec, Van Gogh, and Crane. The protection and hospitality the group afforded both its members and invites provided the Belgians with an opportunity to see the most avant-garde styles of art. This had the effect of turning Les XX into a forum of avant-garde art. Its exhibitions became a market place of avant-gardism where artists and critics could see the latest and most controversial art produced. For the young, talented artists that Les XX brought together, such as Georges Lemmen, Henry van de Velde and Theo Van Rysselberghe, these exhibitions helped exp and their creative powers. A third aspect of Les XX's success was its establishment of Brussels as the artistic capital of Belgium. The Triennial Salon, held alternatively in Brussels, Antwerp and Ghent, meant Belgium had three artistic centers. However, Les XX and La Libre Esthetique became such important outlets that the artistic dominance of Brussels was assured.