Gustave Van de Woestyne


The riders

circa 1913
65 x 75 cm
Oil on canvas
Signed lower right: G. VAN DEN WOESTYNE

Signed lower right: Gve VAN DE WOESTYNE

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- Boyens, P., V. van der Giessen, A. van Lienden e.a., Valerius De Saedeleer en Gustave Van de Woestyne. Bevriende meesterschilders, (Spanbroek: Scheringa Museum voor Realisme, 2008), 65, 93, no. 33 (ill.).
- De Geest, J., F. Lechien-Durant, Gustave Van de Woestyne 1881-1947, (Gent: SD&Z/Pandora, 1997.
- D'Haese, J., M. Van de Woestyne, R. Van den Abeele, Gustave Van de Woestyne 1881-1947, (Sint-Martens-Latem: Gemeentehuis, 1970).
- Gepts, G., L. De Jong & E. Maréchal, Gustave Van de Woestyne 1881-1947, (Antwerpen: KMSKA, 1981).
- Hoozee, R., C. Verleysen, P. Boyens e.a., Gustave Van den Woestyne, (Brussel/Gent: Mercatorfonds/ Museum van Schone Kunsten, 2010), pp. 138-139, no. 69 (ill.).
- Pauwels, P.J.H., V. Van Doorne, Leie. Rimpeloze eenvoud, (Deinze: MuDeL, 2010), 55, 107, no. 28 (ill.).
- Pauwels, P.J.H., Als een fonkelenden spiegel (Sint-Martens-Latem: Galerie Oscar De Vos, 2019), p. 165 (ill.).
- Spinoy, A., E. Langui, G. Marlier, Gustave Van den Woestyne, (Mechelen: Cultureel Centrum 1967), no. 36.
- Van de Woestyne, K., Gustave Van de Woestyne, (Bruxelles: Palais des Beaux-Arts, 1929), p. 7, no. 165.
- 1927, Art Contemporain : Van de Woestyne, Brussels.
- 1929, Palais des Beaux-Arts, Brussels, Gustave Van de Woestyne, 02-24.03.1929, no. 165.
- 1967, Mechelen, CC Mechelen, Gustave Van de Woestyne, 02.09-15.10.1967, no. 35.
- 2008-2009, Spanbroek, Scheringa Museum voor Realisme, Valerius De Saedeleer en Gustave Van de Woestyne : Bevriende Meesterschilders, 19.10.2008-01.02.2009, no. 33 (ill.).
- 2010, Ghent, MSK, Gustave Van de Woestyne, 27.03-27.06.2010, no. 69 (ill.).
- 2010, Deinze, MuDeL, Leie. Rimpeloze eenvoud, 28.09-28.11.2008, no. 23 (ill.).
- Maurice Speth, Antwerp
-  Alice Vanrycke (widdow Maurice Speth), Antwerp
- H. Raspé, Dilbeek
On the occasion of BRAFA in the Galleries we present an exceptional painting by Gustave Van de Woestyne. 

In The Horsewomen, worldly ladies parade in front of the peaceful snowy landscape of Tiegem: fashionably dressed, sensual, hautain, but without any interest in nature. For the artist this theme is rather exceptional, though even after his departure to Tiegem, Van de Woestyne sticks to the Latem typology. More so, the antithesis between the mundane and the rural has been increased to maximum proportions. The meticulous reproduction of the flora recalls the Italian and Flemish Primitives. The somewhat naive division between the worldly, flat foreground and the religious, sloping background also refers to their art. It’s an imaginary, slightly naive winter landscape in which the artist contrasts the dormant nature with the hay stacks at nightfall, to fashionable ladies on elegant horses.

Yet the reality is a bit more nuanced and some questions are answered. About 1912, the commentaries mentioned L'Autre Miroir, a painting dated from 1910. This work, executed in four colors, was apparently intended as decorative art. It hung in an exhibition in 1911 but disappeared without any trace afterwards. The scene was described in Elsevier magazine in 1912 as follows: 'The painter wants to express in it: the immeasurable distance that lies between the world and Christ. We find the worldly depicted on the left on the canvas: fashionably dressed sames, including an Amazon, with them flowers and plants and a pond, in which everything reflects. . walks in a white robe, his gaze turned upwards, followed by a little lamb.'
It is quite possible that the artist based himself on the figures of this monumental painting. 
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