The Last Flemish Primitive : Jan Vercruysse’s self-fashioning of artisthood and national identity
In 1989, the artist Jan Vercruysse (1948–2018) stated that he was “the last Flemish Primitive”. This comment, despite being only a fragment of a lengthy interview with Carolyn Christov-Bakargiev, became a trope in subsequent writings on Vercruysse. I argue that the statement was part of a deliberate strategy by Vercruysse in shaping his identity as a (Belgian) artist. First, I focus on Vercruysse’s Portraits of the Artist (1979–1984), a series of photographic works in which he uses the genre of the self-portrait—thereby implicitly referring to the Flemish Primitives—as a means to express the c... Mehr ...
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Dokumenttyp: | journalarticle |
Erscheinungsdatum: | 2022 |
Schlagwörter: | Arts and Architecture / art market / auctions / global / local / taste / Belgium / Flanders / identity / artisthood / contemporary art / NETHERLANDISH |
Sprache: | Englisch |
Permalink: | https://search.fid-benelux.de/Record/base-28928213 |
Datenquelle: | BASE; Originalkatalog |
Powered By: | BASE |
Link(s) : | https://biblio.ugent.be/publication/8733001 |
In 1989, the artist Jan Vercruysse (1948–2018) stated that he was “the last Flemish Primitive”. This comment, despite being only a fragment of a lengthy interview with Carolyn Christov-Bakargiev, became a trope in subsequent writings on Vercruysse. I argue that the statement was part of a deliberate strategy by Vercruysse in shaping his identity as a (Belgian) artist. First, I focus on Vercruysse’s Portraits of the Artist (1979–1984), a series of photographic works in which he uses the genre of the self-portrait—thereby implicitly referring to the Flemish Primitives—as a means to express the constructedness of artistic identity. Second, I explore Vercruysse’s construction of his identity and his relationship vis-à-vis the notion of Belgian art. Finally, the statement uttered in 1989 will be contextualized within the changing political and cultural context of Belgium and Flanders in the 1980s. I demonstrate how the statement can be read as invoking a radically different conception of Belgian art during this period.