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The Concrete brings together ‘optical’ and ‘kinetic’ works created in the late 1950s and early 1960s. The works are based on tangible materia
This page offers a selective glimpse into the Jef Verheyen (1932-1984) archive, painting a picture of the artist’s practice and the nature of
For Jef Verheyen, writing was nearly as critical as painting. He was a man of images but also of words and ideas. His art – painting – was ro
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Little notebooks were Jef Verheyen’s companions wherever he went: at various studios, during exhibitions, and on trips to Italy, Spain, Franc
Il est bon de vivre en ces temps-ci. Un tournant s'annonce qui sera essentiel dans l'Histoire. Il semble que tout incline vers sa juste vale
The artist’s archive contains an astonishing number of photographs. This is due, in part, to Jef Verheyen’s personal relationship with photog
Jef Verheyen carefully preserved every press article. The earliest articles date back to 1955, telling of the artist’s ceramics period and hi
In 1957, 25-year-old Verheyen moved to the modern metropolis of Milan, where he met Lucio Fontana (1899-1968), the Argentinian-Italian painte
In the first decade of the artist’s career, the 1950s, the concept of his black monochromes takes shape. Verheyen defines these works as Schw
Around 1960, the artist further elaborates on his Zwarte Ruimte or ‘Black Space’. He conceives his series De 4 Elementen (‘The Four Elements’
In the early 1970s, Verheyen paints his Lichtpijlen (‘Light Arrows’), and the laser paintings Eonen (‘Aeons’) and Arkturus. The artist has le
Various authors, critics, and curators from Belgium and abroad penned this selection of writings. They are profound sources for studying Jef