VICTOR SERVRANCKX (1897-1965)
The 1920's
From Futurism, Purism & Geometric Abstraction to Cosmic Surrealism
June 22, 1922 : René Magritte, E.L.T. Mesens, Servranckx, Pierre-Louis Flouquet, Pierre Bourgeois
Georgette Berger-Magritte, Pierre Broodcoorens, Henriette Flouquet.
In 1922 Servranckx and Magritte, who had met at the Brussels academy, wrote the manifesto "L' Art pur. Défense de l'esthétique".
They were also colleagues in the graphic design department of the important wallpaper factory Peters-Lacroix in Haren,
In 1922 Pierre and Vicor Bourgeois, Karel Maes, Flouquet and musician Georges Monier founded the artist's group and magazine 7 Arts. Although he never became a member, Servranckx contributed regularly by providing articles with his views about modernist art.
Georgette Berger-Magritte, Pierre Broodcoorens, Henriette Flouquet.
In 1922 Servranckx and Magritte, who had met at the Brussels academy, wrote the manifesto "L' Art pur. Défense de l'esthétique".
They were also colleagues in the graphic design department of the important wallpaper factory Peters-Lacroix in Haren,
In 1922 Pierre and Vicor Bourgeois, Karel Maes, Flouquet and musician Georges Monier founded the artist's group and magazine 7 Arts. Although he never became a member, Servranckx contributed regularly by providing articles with his views about modernist art.
"Opus 1" 1921, onyx marble, 41 x 37 x 37 cm
The artist gave his works a neutral title and a serial number, as if it were production-line works.
Signed Servranckx and dated 1921 on the base at the left. Unique piece.
READ MORE
Available. Contact us for more information
Call 02 539.23.09 or mail [email protected]
The artist gave his works a neutral title and a serial number, as if it were production-line works.
Signed Servranckx and dated 1921 on the base at the left. Unique piece.
READ MORE
Available. Contact us for more information
Call 02 539.23.09 or mail [email protected]
"Expression de plénitude dans la tendresse. Compénétration d'espace négatif dans le temps, quatrième dimension.
Compénétration d'espace et de durée. Totalisation d'espace-durée"
Victor Servranckx
Compénétration d'espace et de durée. Totalisation d'espace-durée"
Victor Servranckx
In the early 1920's Servranckx subscribed to the magazine "L' Esprit Nouveau" founded by the painter Amédée Ozenfant
and architect Charles-Edouard Jeanneret (later known as "Le Corbusier"). Their compositions were based on detailed studies of geometric forms with the help of measuring instruments. Both artists were interested in technological developments and immortalized these in a timeless and classic figurative form. Servranckx had earned a surveyor's (géomètre) degree in 1913 and adhered to the same principles.
and architect Charles-Edouard Jeanneret (later known as "Le Corbusier"). Their compositions were based on detailed studies of geometric forms with the help of measuring instruments. Both artists were interested in technological developments and immortalized these in a timeless and classic figurative form. Servranckx had earned a surveyor's (géomètre) degree in 1913 and adhered to the same principles.
"Blue maternity" 1921, watercolour on cardboard, 41 x 24,5 cm
Mother and child in profile exhibited at the Ixelles Museum in 1965, cat. no 34.
Available, call 02 539.23.09 or mail [email protected]
Mother and child in profile exhibited at the Ixelles Museum in 1965, cat. no 34.
Available, call 02 539.23.09 or mail [email protected]
"Composition 1922", Gouache (Sold)
"Le premier qui pratiqua l'art abstrait en Belgique fut Servranckx" Michel Seuphor
"Le premier qui pratiqua l'art abstrait en Belgique fut Servranckx" Michel Seuphor
"Opus 3 1922", oil on canvas, 46,5 x 37,5 cm
Sold at Sotheby's Paris in 2017 for 100.000 Euro premium included
Sold at Sotheby's Paris in 2017 for 100.000 Euro premium included
In several of the artist's paintings from the early 1920's, the subject is not pictured frontally, but in profile. This "oblique point of view" is most apparent in compositions in which he combined straight lines with rounded corners that point in the same direction.
"Opus 6 1922", oil on canvas, 46,5 x 37,5 cm
Exhibitions :
Galerie Royale, Brussels, 1924 (first solo exhibition of the artist)
Ixelles Museum Brussels, 1965
Knokke, Studio Prisma - Galerie Rivage 1967
Knokke, La Réserve 1988, illustration in the catalogue
Royal Museum of Fine Arts, Brussels 1989, illustration in the catalogue
Provenance : collection of E.L.T. Mesens (1903-1971).
Mesens was a pianist, composer, writer, poet and artist best known for his surrealist collages.
He was also active as a Galerist in Brussels and in London (The London Gallery created in 1938).
He was a close friend of René Magritte and a lifelong promotor and important collector of his work .
We thank Xavier Tricot, author of the forthcoming catalogue raisonné of Servranckx, for providing this information.
Exhibitions :
Galerie Royale, Brussels, 1924 (first solo exhibition of the artist)
Ixelles Museum Brussels, 1965
Knokke, Studio Prisma - Galerie Rivage 1967
Knokke, La Réserve 1988, illustration in the catalogue
Royal Museum of Fine Arts, Brussels 1989, illustration in the catalogue
Provenance : collection of E.L.T. Mesens (1903-1971).
Mesens was a pianist, composer, writer, poet and artist best known for his surrealist collages.
He was also active as a Galerist in Brussels and in London (The London Gallery created in 1938).
He was a close friend of René Magritte and a lifelong promotor and important collector of his work .
We thank Xavier Tricot, author of the forthcoming catalogue raisonné of Servranckx, for providing this information.
E.L.T. Mesens in 1934, photo by Man Ray
READ MORE about E.L.T. Mesens
READ MORE about E.L.T. Mesens
"Opus 8 - Construction mécanique 1922" , oil on canvas, 72 x 98 cm
Sold at Christie's Paris in april 2024 for 403.200 Euro premium included
Sold at Christie's Paris in april 2024 for 403.200 Euro premium included
"Opus 47 1923 - exaltation of machinery", oil on canvas, 113 x 210,5, is rightly considered as Servranckx's masterpiece.
Collection of the Royal Museum of Fine Arts of Belgium, Brussels.
"Having been engaged as a designer in a major artistic industry, Servranckx is very fond of the factory. He is fascinated by the
mechanical world and its style provides him with a set of rules. What a complex wealth is found in the interplay of industrial elements !"
Pierre Bourgeois, poet and co-founder of "7 Arts"
Collection of the Royal Museum of Fine Arts of Belgium, Brussels.
"Having been engaged as a designer in a major artistic industry, Servranckx is very fond of the factory. He is fascinated by the
mechanical world and its style provides him with a set of rules. What a complex wealth is found in the interplay of industrial elements !"
Pierre Bourgeois, poet and co-founder of "7 Arts"
Léonce Rosenberg (1879-1947) admiring "Opus 47 1923" at Galerie Apollo in Brussels, october 1946 (Exhibition Herbin-Servranckx).
In 1918 Servranckx showed his work at Rosenberg's gallery “L'Effort Moderne” in Paris, where he met a.o. Filippo Tommaso Marinetti,
Theo van Doesburg, Fernand Léger and Marcel Duchamp. Due to his acquaintance with Duchamp, Servranckx particpated in the "International Exhibition of Modern art" organized in 1926/27 by the "Société Anonyme" (Katherine Dreier) in the Brooklyn museum, NY and in the Art Gallery of Ontario in Toronto, Canada.
In 1918 Servranckx showed his work at Rosenberg's gallery “L'Effort Moderne” in Paris, where he met a.o. Filippo Tommaso Marinetti,
Theo van Doesburg, Fernand Léger and Marcel Duchamp. Due to his acquaintance with Duchamp, Servranckx particpated in the "International Exhibition of Modern art" organized in 1926/27 by the "Société Anonyme" (Katherine Dreier) in the Brooklyn museum, NY and in the Art Gallery of Ontario in Toronto, Canada.
"Opus 53 1923", oil on canvas, 92 x 70 cm
Collection of the Ixelles museum, Brussels
Dans un dégradé entre gris et rouge, plusieurs cercles, entiers ou demi coupés, entrent en collision.
On pourrait y voir la palette d’un peintre, ou des planètes agglomérées avec leurs satellites.
La peinture évoque aussi les représentations de machines, telles que peintes par Fernand Léger.
«Les lois géométriques, c’est ce qui relie les hommes, c’est la plate-forme où tous les hommes peuvent se rencontrer; c’est un terrain d’entente pour un art collectif possible. La forme géométrique exclut l’individualisme particulariste».
Victor Servranckx
Source : Ixelles museum, Belgium
Collection of the Ixelles museum, Brussels
Dans un dégradé entre gris et rouge, plusieurs cercles, entiers ou demi coupés, entrent en collision.
On pourrait y voir la palette d’un peintre, ou des planètes agglomérées avec leurs satellites.
La peinture évoque aussi les représentations de machines, telles que peintes par Fernand Léger.
«Les lois géométriques, c’est ce qui relie les hommes, c’est la plate-forme où tous les hommes peuvent se rencontrer; c’est un terrain d’entente pour un art collectif possible. La forme géométrique exclut l’individualisme particulariste».
Victor Servranckx
Source : Ixelles museum, Belgium
Victor Servranckx in 1923
Invitation card for the first solo exhibition of the artist at Galerie Royale, Brussels, 1924
This important exhibition featuring more than 100 paintings and sculptures triggered a breakthrough in Servranckx's career. His works were published in international magazines and exhibited in Paris, Bielefeld, Bucarest etc..
Marcel Duchamp invited him to participate at the International exhibition of Modern Art organized by Katherine Dreier
("Société Anonyme") in the Museums of Brooklyn, NY and in Toronto, Canada in 1926.
This important exhibition featuring more than 100 paintings and sculptures triggered a breakthrough in Servranckx's career. His works were published in international magazines and exhibited in Paris, Bielefeld, Bucarest etc..
Marcel Duchamp invited him to participate at the International exhibition of Modern Art organized by Katherine Dreier
("Société Anonyme") in the Museums of Brooklyn, NY and in Toronto, Canada in 1926.
"Opus 1 1924 - the squarest rectangle", oil on canvas, 65 x 60,5 cm
A monochrome work
Collection of the Staatsgalerie, Stuttgart
Photo credit Art Resource, NY
A monochrome work
Collection of the Staatsgalerie, Stuttgart
Photo credit Art Resource, NY
"Opus 1 1924 (torso of an elegant young woman)"
Wood and painted metal, height 82,8 cm
Sold at Christie's Paris for 264.600 Euro premium included in october 2024.
Wood and painted metal, height 82,8 cm
Sold at Christie's Paris for 264.600 Euro premium included in october 2024.
From 1925 to 1927, Servranckx concentrated mainly on architecture and the applied and collective arts.
He designed furniture and worked closely together with architects Huib Hoste and Jozef De Bruycker.
When Servranckx resumed painting in 1927, he distanced himself from the constructivist style, using a very diverse mixture of styles in his oeuvre. His work became "abstract and cosmic surrealist" whereby organic elements were combined with geometrical forms.
In visionary paintings with biomorphic figures, Servranckx experimented with new techniques and materials.
However, the design element remained part of his visual means of expression.
He designed furniture and worked closely together with architects Huib Hoste and Jozef De Bruycker.
When Servranckx resumed painting in 1927, he distanced himself from the constructivist style, using a very diverse mixture of styles in his oeuvre. His work became "abstract and cosmic surrealist" whereby organic elements were combined with geometrical forms.
In visionary paintings with biomorphic figures, Servranckx experimented with new techniques and materials.
However, the design element remained part of his visual means of expression.
"Opus 2 1927, - The water realm", Oil on panel, 131 x 121 cm
Collection of the Royal Museum of Fine Arts in Antwerp
Collection of the Royal Museum of Fine Arts in Antwerp
"Opus 9 1927", Oil on canvas 130 x 205 cm
With reference to Stanley Kubrick's masterpiece, this major work could be called "1927 a Space Odyssey"
Sold at Lempertz in 2017 for 272.800 Euro premium included.
With reference to Stanley Kubrick's masterpiece, this major work could be called "1927 a Space Odyssey"
Sold at Lempertz in 2017 for 272.800 Euro premium included.
"Cosmic vision" 1927, pencil on paper, 21,6 x 29,5 cm, collection of the Museum of Modern Art, New York
Michel Seuphor wrote that Servranckx was a visionary artist and cosmic poet painting his metaphysical obsessions.
Click here to view available drawings by the artist
Michel Seuphor wrote that Servranckx was a visionary artist and cosmic poet painting his metaphysical obsessions.
Click here to view available drawings by the artist
"Composition" 1927, gouache, 55,5 x 39,5 cm
Exhibited at Ixelles Museum Brussels, 1965, cat. no 108
Available, call 02 539.23.09 or mail [email protected]
Exhibited at Ixelles Museum Brussels, 1965, cat. no 108
Available, call 02 539.23.09 or mail [email protected]
"Opus 10 1928 - Clouded marble-marbled clouds" Oil on canvas, 46 x 37 cm
This fine work is part of a series devoted to different elements found in nature.
In 1928 Herwarth Walden exhibited Servranckx at Galerie Der Sturm in Berlin
Exhibited at Ixelles Museum Brussels in 1965, cat. no 114
SOLD
This fine work is part of a series devoted to different elements found in nature.
In 1928 Herwarth Walden exhibited Servranckx at Galerie Der Sturm in Berlin
Exhibited at Ixelles Museum Brussels in 1965, cat. no 114
SOLD
Exhibition of the group "L' Assaut" in 1928
Invitation card for the Servranckx exhibition at the Palais des Beaux-Arts, 1929.
At the same time the Palais hosted an exhibition of the work of James Ensor.
At the same time the Palais hosted an exhibition of the work of James Ensor.
Servranckx at the Palais des Beaux-Arts, 1929. At the same time there was an exhibition of the works of James Ensor.
Upon seeing Servranckx works, Ensor declared :
"Servranckx, l’ami au cœur joyeux, au regard franc.
Je vous dis, un jour Servranckx sera plus grand que moi et ses œuvres auront plus de valeur que les miennes".
Upon seeing Servranckx works, Ensor declared :
"Servranckx, l’ami au cœur joyeux, au regard franc.
Je vous dis, un jour Servranckx sera plus grand que moi et ses œuvres auront plus de valeur que les miennes".
