生活

亨利·利斯出生在安特卫普的儿子Hendrik-Jozef-Martinus草地和Maria-Theresia Craen。他的父亲跑印刷业务专门从事宗教图像打印从旧铜盘子。第一蚀刻的亨利·利斯是一个葬礼的形象在1831年为他父亲的商店。亨利的钥匙不太感兴趣的学校,但非常热衷于绘画。他的父母支持他的倾向,让他住隔壁的家具下画家学习。

草地的随后的研究安特卫普美术学院:从1829年到1832年他研究了古董和从1832年到1833年他从生活学习绘画。在此期间,他开始在他姐夫的工作室工作,这一流派的画家费迪南·德·Braekeleer.草地的学院的老师之一Mattheus伊格内修斯范布莉(1773 - 1839),学院的主任。根据一个广为流传的故事,在一次讲座中,范布莉披盖的礼服女式长外衣了的话,对古代的数据草地范布莉的老式的马裤。范布莉并不欣赏这个笑话。但随着年轻性急的人拒绝道歉,导演驱逐他的学院。草地的再也没有回到学院,即使是作为一名教师在他取得了国际成功。

从一开始他的职业生涯画草地的历史和题材。在此期间草地往往与比利时浪漫的画家古斯塔夫Wappers(1803 - 1874)。艺术家都是民族主义的话题感兴趣的画的风格在很大程度上归功于16 - 17世纪佛兰德绘画的例子。1835年的钥匙去了巴黎,他参观了工作室尤金·德拉克洛瓦和满足保罗Delaroche。Delaroche的的影响浪漫主义很明显在草地的早期作品。^[3]他的早熟的人才是体现在1836年的布鲁塞尔沙龙展出他的屠杀法官的鲁汶他收到好评。

草地的阿德莱德van哈伦的在1841年结婚。这对夫妇有两个女儿和一个儿子。家庭最初住在Hobokenstraat草地。1855年草地更宽敞的房子建在街上,现在以他的名字命名,当时称为Statiestraat。Fom 1857年至1861年他曾在壁画的餐厅装饰他的房子。

草地变成了1852年的成员Kunstverbond或Cercle Artistique,Scientifique Literaire et d 'Anvers(“艺术协会”),主要是讲法语的社会的知识分子和艺术家。其名誉主席是自由安特卫普市长简弗朗斯洛斯。同年开始激烈讨论的改革后安特卫普学院主任古斯塔夫Wappers后政治压力而辞职。Kunstverbond倡导组织的深刻变化的安特卫普学院。草地Kunstverbond的朋友和其他成员约瑟夫的谎言编写了一个计划,呼吁艺术和管理功能的分离在学院和任命主任生活结束的做法。草地,也是市议会的成员,在市议会计划进行了辩护,但它被击败了。

国内外草地的获得了相当的声誉和工作为国际客户来自德国、法国、英国和俄罗斯。他在法国骑士荣誉军团勋章并被授予圣米歇尔的顺序巴伐利亚国王。利斯赢得了金牌在1855年的巴黎国际展览他的历史画的质量Berthal霾(比利时皇家美术博物馆布鲁塞尔)。评论家称赞他重建过去的高品质服装和建筑,现实的姿势和面部表情,严格的图纸和颜色的亮度。^[6]利斯1867年在巴黎赢得了一块金牌。1862年草地被比利时国王创建了一个男爵利奥波德我.

在比利时政府的要求,支持历史油画在中国的发展,在1861年安特卫普城市政府给草地的一个委员会来装饰室内的恢复安特卫普市政厅。他被要求油漆的10年10的壁画描绘这座城市的历史上重要事件。四个历史的壁画以及11肖像统治者比利时完成在1863年至1869年之间,草地的死亡。草地也收到了来自布鲁塞尔城市管理委员会类似的程序的壁画市政厅但这个委员会从未开始由于利斯1869年在安特卫普的过早死亡。

草地的有很多的学生。其中最著名的国际劳伦斯爵士Alma-Tadema协助草地的壁画在安特卫普市政厅。另一个著名的学生是他的侄子Henri De Braekeleer(1840 - 1888)。其他学生托马斯·西蒙很酷,查尔斯•纳皮尔铁窗栏栅威廉Linnig(I),Petrus马吕斯Molijn,艾伯特•范Trigt和Alexis范Hamme。

工作

亨利·利斯最初在浪漫风格,他从古斯塔夫Wappers与他合作在他职业生涯的早期阶段。他通常把浪漫主题,从英雄的战争场面和抢劫日常生活的场景,如婚礼和国家节日。他的一些作品展示的影响保罗Delaroche在1835年,他在巴黎。

从大约1839年,草地的疏远的感伤和历史轶事浪漫的学校。他开始画场景设定在16世纪的安特卫普,结合习从生活细节和刻意仿古风格让人想起15和16世纪佛兰德和德国绘画。他放弃了大胆的尝试技术启发鲁本斯支持线,形状和地方色彩。

许多这一时期的绘画描绘具体的历史主题,而其他类型的场景或肖像。这种发展对现实主义使他在比利时这个艺术运动的先驱者之一。这幅画”在弗兰德斯在17世纪婚礼(1839);安特卫普皇家美术博物馆)是第一位预示着这种更冷静的风格。他的作品从1640年代证明草地的搜索历史和心理真实,取代了强调感伤和感性的他早期作品的轶事。作品的一个例子,废弃的历史传说的以写实的手法描绘历史事件是作文Albrecht Durer参观在1520年安特卫普。草地的这张照片基于杜勒的帐户在自己杂志的事件。在他16和17世纪的安特卫普的场景,山谷里去寻求反映的精神和氛围。他的作品的历史事件和日常生活的现实和可能受到当代法国现实主义者古斯塔夫·及库尔贝和让小米.

草地的16世纪佛兰德的研究和德国画家也有助于个人的发展风格,混合古风的刚度与现实的观察。与这些作品,他赢得了一批追随者众多年轻艺术家在比利时以及相当大的声誉在法国,他在那里获得了金牌在1855年的巴黎国际展览的历史画Berthal de阴霾的质量(比利时皇家美术博物馆布鲁塞尔)。

利斯是一个有天赋的肖像画家,见他的自画像,和他的肖像妻子和女儿和他的艺术家如建筑师的肖像阿方斯Balat.

草地的影响了许多年轻的比利时艺术家。一些,如约瑟夫的谎言,Frans Vinck和卡雷尔Ooms听从他的紧密合作。草地的工作也产生了强烈的影响他的同胞Frans Lamoriniere和维克多Lagye。詹姆斯天梭在他的早期作品受草地。Henri De Braekeleer和等其他艺术家Jan Stobbaerts能够改变草地的教义在一个新的和原始语言。

Life

Henri Leys was born in Antwerp as the son of Hendrik-Jozef-Martinus Leys and Maria-Theresia Craen. His father ran a printing business specializing in religious images printed from old copper plates. The first etching by Henri Leys was a funeral image made for his father's shop in 1831. Henry Leys was not very interested in school but was very keen on drawing. His parents supported his proclivity and let him study under a furniture painter who lived next door.

Leys subsequently studied at the Antwerp Academy of Fine Arts: from 1829 to 1832 he studied from the Antique and from 1832 to 1833 he studied drawing from life. During this period he started to work in the studio of his brother-in-law, the genre painter Ferdinand de Braekeleer. One of Leys' teachers at the Academy was Mattheus Ignatius van Bree (1773-1839), the director of the Academy. According to a widely circulated story, during a lecture by van Bree on the draping of the gown and peplos of figures from antiquity Leys made a remark about van Bree's old-fashioned breeches. Van Bree did not appreciate the joke. But as the young hothead refused to apologize, the director evicted him from the Academy. Leys never returned to the Academy, not even as a teacher after he had achieved international success.

From the start of his career Leys painted history and genre subjects.During this period Leys often collaborated with the Belgian Romantic painter Gustaf Wappers (1803-1874). Both artists were interested in nationalistic subjects painted in styles that owe much to the example of 16th- and 17th-century Flemish painting. In 1835 Leys went to Paris where he visited the studio of Eugène Delacroix and met Paul Delaroche. The influence of Delaroche's Romanticismis evident in Leys' early work. His precocious talent was manifested at the Brussels Salon of 1836 where he exhibited his Massacre of the magistrates of Louvain for which he received high praise.^[4]

Leys married Adelaïde van Haren in 1841. The couple had two daughters and a son. The family Leys initially lived in the Hobokenstraat.In 1855 Leys had a more spacious house built in the street, which now bears his name, and was then called the Statiestraat. Fom 1857 to 1861 he worked on murals to decorate the dining room of his house.

Leys became in 1852 member of the Kunstverbond or Cercle Artistique, Litéraire et Scientifique d’Anvers ('Art Association'), a mainly French-speaking society of intellectuals and artists. Its honorary chairman was the liberal mayor of Antwerp Jan Frans Loos. In the same year a heated discussion had started about the reform of the Antwerp Academy after its director Gustaf Wappers had resigned from his post following political pressure. The Kunstverbond championed profound changes to the organisation of the Antwerp Academy. Leys' friend and fellow member of the Kunstverbond Joseph Lies authored a plan that called for the separation of the artistic and administrative functions in the Academy and for ending the practice of appointing the director for life. Leys, who was also member of the city council, defended the plan in the city council, but it was defeated.

Leys gained a considerable reputation at home and abroad and worked for an international clientele from Germany, France, England and Russia. He was made a knight in the French Legion of Honour and was awarded the Order of St. Michael by the king of Bavaria.^[5] Leys won a gold medal at the International Exhibition in Paris in 1855 for his historical painting The Mass of Berthal de Haze (Royal Museums of Fine Arts of Belgium, Brussels). Critics praised the high quality of his reconstruction of the past through costumes and architecture, the realistic poses and facial expressions, the rigorous drawing and the brightness of the colours.^[6] Leys won another gold medal in Paris in 1867. In 1862 Leys was created a baron by the Belgian King Leopold I.

At the request of the Belgian government, which supported the development of history painting in the country, the Antwerp city administration gave Leys in 1861 a commission to decorate the interior of the restored Antwerp Town Hall. He was asked to paint over a period of 10 years 10 monumental murals depicting key events in the city's history. Four of the murals along with 11 portraits of historical rulers of Belgium were completed between 1863 and 1869, the year in which Leys died. Leys had also received a commission from the Brussels city administration for a similar program of murals in its town hall but this commission was never commenced due to the untimely death of Leys in 1869 in Antwerp.

Leys had a number of pupils. Among these the best-known internationally is Sir Lawrence Alma-Tadema who assisted Leys with the murals in the Antwerp Town Hall. Another well-known pupil was his nephew Henri De Braekeleer (1840-1888). Other pupils were Thomas Simon Cool, Charles Napier Hemy, Willem Linnig (I), Petrus Marius Molijn, Hendrik Albert van Trigt and Alexis Van Hamme.

Work

Henry Leys initially worked in the Romantic style he had learned from Gustaf Wappers with whom he collaborated in the early phase of his career. He treated the typically Romantic subjects, ranging from heroic scenes of war and brigandage to scenes of daily life such as weddings and country festivals. Some of his works show the influence of Paul Delaroche, whom he had met in Paris in 1835.

From about 1839, Leys distanced himself from the pathos and historical anecdotes of the Romantic school. He began painting scenes set in 16th-century Antwerp, combining details studied from life with a deliberately archaising style reminiscent of 15th and 16th-century Flemish and German painting. He abandoned the bravura technique inspired by Rubens in favour of line, shape and local colour.

Many of the paintings from this period depict specific historical subjects, while others were genre scenes or portraits. This development towards Realism made him one of the pioneers of this artistic movement in Belgium. The painting ’’Wedding in Flanders in the 17th century (1839; Royal Museum of Fine Arts Antwerp) was the first to herald this more sober style. His works from the 1640s attest to Leys' search for historical and psychological truthfulness, which replaced the emphasis on pathos and sentimental anecdote of his earlier work. An example of his works that abandoned historical legend in favour of a realistic depiction of historical events is the composition Albrecht Dürer visiting Antwerp in 1520. Leys based this picture on the account given by Dürer in his own journal of the event. In his scenes of 16th and 17th-century Antwerp, Leys sought to reflect the spirit and atmosphere of that time. His compositions of historical events and of everyday life were realistic and may have been inspired by contemporary French Realists Gustave Courbet and Jean-François Millet.

Leys' study of 16th-century Flemish and German painters also contributed to the development of a personal style, which mingled archaistic rigidity with realistic observation. With these works, he earned a following among many younger artists in Belgium as well as a considerable reputation in France, where he won a gold medal at the International Exhibition in Paris in 1855 for his historical painting The Mass of Berthal de Haze (Royal Museums of Fine Arts of Belgium, Brussels).

Leys was a gifted portrait painter as shown by his self-portrait, and the portraits of his wife and daughter and of his fellow artists such as the portrait of the architect Alphonse Balat.

Leys influenced many young Belgian artists. Some, such as Joseph Lies, Frans Vinck and Karel Ooms followed his work very closely. Leys' work also exerted a strong influence on his compatriots Frans Lamorinière and Victor Lagye. James Tissot was influenced by Leys in his early work.^[11] Other artists such as Henri De Braekeleer and Jan Stobbaerts were able to transform Leys' teachings in a new and original language.