Anna De Weert

(1867-1950)

Ducklings on the river Lys (Golden Hour)

1923
oil on canvas
74 x 61 cm
signed lower left: A. De Weert
signed and dated on reverse:  Anna De Weert / Afsnee / Oct 1923
 

signed lower left: A. De Weert

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Literature
- De Smet, J., Sint-Martens-Latem en de kunst aan de Leie 1870-1970 (Tielt/Sint-Martens-Latem: Lannoo/Art Book Company, 2000), 100-112.
- Goyens de Heusch, S., Het impressionisme en het fauvisme in België (Antwerp: Mercatorfonds, 1988), 226-233.
- Steel, R. & E., Anna De Weert 'Dame de ter Neuve' (Ghent: Galerie St.-John, 2001).
- Van Doorne, V., Retrospectieve tentoonstelling Anna De Weert, Jenny Montigny, Yvonne Serruys, exhib. cat. (Deinze: MuDeL, 1988).
Exhibitions
- 1938, Ghent, Exposition Rétrospective 1894-1937 Anna De Weert-Cogen, Koninklijke Kunst- & Letterkring, 31.01-11.02.1938.
Description
Verso:
Old label (torn off), presumably Exposition Rétrospective 1894-1937 Anna De Weert-Cogen, Ghent, Royal Circle of Art & Literature, 31.01-11.02.1938.
Inscription on the canvas: Anna De Weert / Afsnee / 3 4 / Oct 1923/1926
Inscription on the frame: Sept Oct vas a couchant / 61 x 74 / L'heure dorée / Anna De Weert / Gand / rue des hospices

Anna De Weert led a double life between the more sophisticated Ghent citizenry - as the wife of the Ghent politician Maurice De Weert - and the rural Afsnee. In 1895 her mother bought the estate "Hof ter Neuve" in Afsnee. This farm is located on the inside of a Leiebocht, near the Three Leien, and surrounded by an orchard and a flowery garden. A studio space was built on the farm, of which De Weert and Emile Claus laid the foundation stone together in April 1904. In the mantelpiece the following words were edited: Lumière, Amour, Vie. Two of these are from 1904 embodied the association of artists founded by Claus: Vie et Lumière.
The painting 't Gulden uur or Eenden op de Leie clearly illustrates the artist's love for light and nature. The indirect sunlight falls here on the Leieland in the autumn and is reflected in the river. The blue light is thus scattered and the golden glow is relatively more present. With expressive brushstrokes and fresh pastel colors, De Weert exemplified the change that nature underwent in this golden hour. More than with Claus, her test is flakier and more chaotic; her paint is heavier and piecemeal. In the depth of the colors she deliberately lets the cloth play along. This makes the painting more lively. The graceful group of ducks on the water brings direct movement into the composition. For De Weert, nature and light are inextricably linked. Nature embodies the light, and light identifies nature in its existence and its appearance. In the 1920s De Weert was certainly not ignored by art criticism. She was repeatedly featured in the leading magazine Gand Artistique. Both in group and solo she participated in Belgian salons including the Brussels Cercle Artistique et Littéraire and the Ghent Royal Arts and Literary Society. Of the eighty paintings exhibited for her retrospective exhibition in 1938, this painting was selected and it is mentioned in the accompanying catalog.
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Ducklings on the river Lys (Golden Hour)