When I met my muse, in 2007, I had all but given up on being an artist.
I was just an empty shell, waiting to be thrown away.
I was a world traveller, but I only travelled from country to country,
from bar to bar and once in a blue moon I would make a painting.
But then I met the most wonderful woman who gave me back my heart and my soul.
She is smart, beautiful and most of all very special.
She gave me back my life and when I fell in love with her, I became the artist
I am now. Without her I would not even be an artist and my life would have no meaning.
But for now, thanks to her, I am simply emotion in motion.
D´haese (°1965- )
Begga D'haese (°1934-)
Since 1969, she has asserted herself more and more with the quiet strength of a woman who, after ten pregnancies, has lost none of her desire for self-fulfilment.
She attended the technical school in Furnes where she learnt welding in particular. For the school's 25 th anniversary, she created, together with the students of a welding class, a sculpture 4 metres high weighing more than 1000 kg. Very rapidly, however, she found her real love in the fine, ceaseless working of wood and marble. By sheer talent, perseverance, will and discipline,
Begga D'Haese has succeeded fully in getting her exteriorised sensations under full plastic control. She communicates her inspiration that varies depending on her feelings and happy mood (as she can only create when in a positive mood), which exudes happiness. Devoid of bitterness or parallel feelings, her art tends to make the world more agreeable. It radiates a tactile quality that grazes our senses and gives us an intense desire to come into contact with the material. Her sculptures invite the beholder to caress.
Roel D'haese (°1921-1996)
Karel Appel (°1921-2006)
In 1946 they both went to Liege and a year later they had their first exposition together. After a stop-over in Paris they returned to Amsterdam. There they got acquainted with Constant and in 1948 the three of them had an exposition in Amsterdam. On 16th July 1948 Appel, Corneille and Constant together with Anton Rooskens, Theo Wolvecamp and Jan Nieuwenhuys (Constant's brother) set up the Nederlandse Experimentele Groep (= the Dutch Experimental Group). On 8th November 1948 Appel became co-founder of CoBrA. In the Netherlands he is probably the best known member of the movement. He became renowned for his creed 'I'm just messing about'. His work caused a lot of commotion in the Dutch art world in the 1940's and '50's. His mural "Vragende kinderen" (= Wondering children) from metricconverterProductID1949 in1949 in the canteen of the Amsterdam city hall for instance caused quite a scandal. At the insistence of scandalized public officers this `twist-Appel' was even covered by the council and hung hidden after wallpaper for ten years.
Appel has always proclaimed direct expression in paint, more than Constant who argued the necessity of the Marxist analysis of the western civilization. That is why he never paid a lot of attention to the theoretical pamphlets of Constant and Dotremont. During the Cobra years he painted friendly, innocent childlike figures and fantasy animals in bright colours, simple shapes and solid lines.
Also after the breakup of CoBrA he managed to retain an instinctive approach of his subject. In the 1950's he developed a much more fierce style of painting; lines and colour sections melted into a stirred mass of paint. Besides painting Appel also made assemblages and sculptures and wrote poems.
In 1953 his work was on show at the Biennale of Sao Paulo and in that same year he also had his first major solo exhibition. In 1954 he got solo exhibitions in Paris and New York. They marked the start of an international career. 'I'm painting as a barbarian in the barbarian times.'
He got his first training from a goldsmith from Brussels. From1946 till 1950 he studied metal arts and sculpting at the authoritative École nationale supérieure des arts visuels (ENSAV), previously known as the École Nationale Supérieure d'Architecture et des Arts Decoratifs (ENSAAD - la Cambre) in the former Abbey Ter Kameren to the south of Brussels, where Oscar Jespers was his teacher between 1946 and 1947. He also followed evening classes in industrial drawing and in 1947 he also took up a printing course at the "School voor Kunsten en Ambachten" (= a school for Arts and Craftsmanship) in Brussels.
In 1949 Strebelle introduced him to the Marais Atelier in Brussels. In 1950 he got acquainted with Pierre Alechinsky and was introduced to the other Cobra members through him. With them he participated in several CoBrA exhibitions, such as the "IIe Internationale Tentoonstelling van Expirimentele Kunst (= the II International Exhibition of Experimental Art) (COBRA°" in the Palais de Beaux-Arts in Liege in 1951). He first settled as smith and made utility and ornamental wrought ironwork on order. In 1956 he had his first breakthrough as an artist with a solo exhibition in the Gallery Taptoe in Brussels, where he was rewarded with the "Prix de la Critique" (= The Prize of the Critics).
In 1957 he obtained the Prize of the 'Jonge Belgische Beeldhouwkunst' (= Young Belgian Sculpture). It was not until 1958, when CoBrA had already broken up quite some time, that he discovered his personal artistic direction. Between 1958 and 1959 he collaborated with Pierre Alechinsky in his summer workshop in Sauvagemont (Walloon Brabant) and participated in several exhibitions with him. In this period he also met the Dane Børge Birch, holder of the important Galerie Birch in Copenhagen.
In 1959 he obtained a scholarship form the Belgian government and took of to work in the Paris area and later in other places in France, such as for example Saint-Rémy-de-Provence. In 1960 he worked together with his friend Pierre Alechinsky in Bosse (Oise). Encouraged by him, he took up drawing in 1962 and had a first exhibition in that same year in Gallery Lefebre in New York, where the introductory text was written by another CoBrA member Christian Dotremont.
Originally he had started by copper welding monster-like enlarged insects (e.g. "Mante religieuse", 1956) and since 1960 his creations all had a plant or human-like feel, to end in often grotesque hybrid creatures such as 'Grégoire' (°1960). Reinhoud was emerged in the originality of the fantastic realism. For these creations he mainly used yellow and red copper, lead and pewter (copper + tin), because these materials could shape his highly creative creations more easily.
During a visist to Copenhagen, Reinhoud made several small sculptures moulded in bread for Børge Birch. The latter was fascinated by them and suggested to cover these sculptures with silver or copper in an electrolysis bath. These fairytale-like figures became a huge success for Reinhoud and signalled the start of a whole series. These metamorphic figures sometimes looked like an insect, than again like a bird and were engaged in human activities. Reinhoud exhibited several times in Gallery Birch (1961, 1965, 1969, 1973, 1977, 1985 and 1986).
In 1962 he continued to experiment with his style introducing metal objects with crumpled metallic sheets of which 'Le Bibendum'is an example. In 1963 he created his first pieces in new silver. A year later he travelled to the 'Instituto Torcuato di Tella' in Buenos Aires, Argentina. He married photographer Suzy Embo in 1964 and settled in Paris. The year after that he experimented with large figures in newsprint and chicken wire. In 1968 he created a number of headless sculptures, which he appropriately called 'Migraines'. In 1969 he made a number of wooden sculptures.
In 1970 married again to Nicole Rémon. He stayed in the United Sates for a short period (1974-1975), first as guest lecturer at the Minneapolis College of Art and Design. In this period he mainly worked in copper and messing. Later he travelled through the Colorado desert, the Nevada desert and finally through Mexico. After his return, in the period between 1976 and 1978, he stayed alternately in Paris and La Bosse.
Every summer he went to the Provence. From 1980 he regularly visited Normandy and started to use cobble stones in his pieces. In 1982 he developed a engraving procedure with the remains of his sculptures and flat metal sheets.
In 1983 he made a bas-relief "Stop the Run" for the metro station in Ossegem in Brussels. In 1987 he worked in Morville (Normandy). In 1992 he focussed on drawing again. Reinhoud D'Haese died on 1st July 2007 at the age of 79 due to a stroke.