[{"id":458,"title":"Malmédy","dimensions":"415 x 285 mm","date_begin":"1990-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1991-01-01","reference":"BK5918","stream_count_app":21,"permalink":"malmedy","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/298/large/1.jpg?1465914951","poster_credits":"(c)image: Syb'l. S. - Pictures ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":457,"title":"Malmédy","dimensions":"415 x 285 mm","date_begin":"1990-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1991-01-01","reference":"BK5917","stream_count_app":10,"permalink":"malmedy--4","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/299/large/2.jpg?1465915000","poster_credits":"(c)image: Syb'l. S. - Pictures","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":456,"title":"Malmédy","dimensions":"415 x 285 mm","date_begin":"1990-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1991-01-01","reference":"BK5916","stream_count_app":10,"permalink":"malmedy--3","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/300/large/3.jpg?1465915059","poster_credits":"(c)image: Syb'l. S. - Pictures","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":455,"title":"Malmédy","dimensions":"415 x 285 mm","date_begin":"1990-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1991-01-01","reference":"BK5915","stream_count_app":12,"permalink":"malmedy--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/301/large/4.jpg?1465915084","poster_credits":"(c)image: Syb'l. S. - Pictures ","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eIn totaal bestaat de reeks Malm\u0026eacute;dy uit 121 penseeltekeningen. Het M HKA heeft er vier van in zijn collectie. De titel van de reeks verwijst naar het Malm\u0026eacute;dy Bond papier waarop De Keyser de tekeningen schilderde. Samen tonen ze een verzameling van verschillende tekens en motieven. Kenmerkend voor deze reeks is het gebruik van inktzwarte waterverf, die slechts sporadisch witte vormen uitspaart. De vorm en aanwezigheid van de witte kleur varieert per tekening. De verftoetsen verschillen ook in grootte en vorm. De ene tekening toont langwerpige verfstroken die dun uitlopen, op een andere zijn ze dan weer klein en dik aangebracht. Op deze manier bespeelt de kunstenaar de ruimte van het papier, hij ordent ze en geeft ze een functie. De vier tekeningen in de collectie van het M HKA zijn opgebouwd uit kleurvlakken die associaties oproepen met de natuur. Het lijken sneeuwlandschappen met sporen in de sneeuw [of eerder het negatief ervan] met hier en daar een afdruk van een menselijke voet, hoewel de vormen eerder dierlijk of zelfs amorf lijken. De tekeningen lijken wel voorafbeeldingen. Ze vertrekken vanuit een plaats, die bedeesd een onderwerp laat zien. Ze zijn bescheiden, maar tastbaar aanwezig en vragen aandacht voor wat ze verzwijgen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":5592,"title":"Zonder titel [Untitled]","dimensions":"6 x (21 x 32.5 cm)","date_begin":"1988-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK5634_M66","stream_count_app":39,"permalink":"zonder-titel-untitled--82","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Raoul De Keyser","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/082/large/ZonderTitel1988HeirmanG.jpg?1441098612","poster_credits":"(c)image: M HKA, photo Heirman Graphics","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eInspired by a reawakening of Belgian painting in the 1980s, Raoul De Keyser began to acknowledge more possibilities in the painted image. His palette was enriched, he would allow for increasingly complex pictorial spaces and he would combine different painting techniques in one work. The thin white line, which appears in almost all phases of De Keyser\u0026rsquo;s career as a painter, appears to have an independent function during these years. For instance, through the careful application of brushstrokes he divides colour fields in two, or allows a white line to link different panels together. The quality of the painting is decided not only by technique and structure; the characteristics of the canvas are more actively brought into play. \u003cem\u003eZonder titel\u003c/em\u003e\u0026nbsp;is part of this development. The spontaneous movement of the white line across the different black panels achieves an integral composition, which expresses an unfailing sense of space. Viewers are resolutely referred back to the world of painting itself. The rhythm of the white line is interrupted here and there by the limits of a surface. This provokes the question of what a painting really can be. Zonder titel can be regarded as a minimal and reticent work, but it is also grandiose, timeless.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eOnder invloed van een heropleving van de Belgische schilderkunst begint Raoul De Keyser in de jaren 1980 meerdere mogelijkheden van het beeld te verkennen: zijn kleurenpalet breidt uit, ruimtes worden steeds complexer vormgegeven en verschillende verftechnieken wisselen elkaar af. De krijtlijn, die in bijna alle fasen van De Keysers oeuvre opduikt, lijkt in deze periode een zelfstandige functie te krijgen. Door een zorgvuldige behandeling van penseelstreek en verftoets deelt hij bijvoorbeeld kleurvlakken in twee\u0026euml;n, of laat de krijtlijn verschillende panelen met elkaar verbinden. De kwaliteit van het schilderij wordt niet alleen door techniek en opbouw bepaald, ook de eigenschappen van het canvas spelen nu een actievere rol. \u003cem\u003eZonder titel\u003c/em\u003e\u0026nbsp;uit 1988 sluit hier bij aan: de spontane beweging van het krijtlijnmotief over de verschillende panelen zorgt voor een integere compositie, waaruit een zeker gevoel voor ruimtelijkheid spreekt. Door de aarzelende beweging waarmee de witte lijn over de zwart geschilderde panelen is aangebracht, wordt de kijker resoluut teruggeworpen op de wereld van het schilderij zelf. Het ritme van de lijn wordt telkens doorbroken door de grenzen van een vlak. Het roept bijna de vraag op: wat moet een schilderij eigenlijk zijn? Zonder titel kan als een minimalistisch en bescheiden werk worden gezien, maar ziet er tegelijkertijd groots en tijdloos uit.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eSous l\u0026rsquo;influence d\u0026rsquo;une renaissance de la peinture belge, Raoul De Keyser commence \u0026agrave; explorer plusieurs possibilit\u0026eacute;s de l\u0026rsquo;image dans les ann\u0026eacute;es 80\u0026nbsp;: sa palette de couleurs s\u0026rsquo;\u0026eacute;largit, les espaces deviennent de plus en plus complexes et diff\u0026eacute;rentes techniques de peinture s\u0026rsquo;alternent. La ligne de craie, qui appara\u0026icirc;t dans presque toutes les phases de l\u0026rsquo;\u0026oelig;uvre de De Keyser, semble avoir une fonction ind\u0026eacute;pendante \u0026agrave; cette p\u0026eacute;riode. Par un traitement soigneux des coups de pinceau, il divise les couleurs en aplat en deux, ou il utilise la ligne de craie pour relier des diff\u0026eacute;rents panneaux. La qualit\u0026eacute; de la peinture n\u0026rsquo;est pas seulement d\u0026eacute;termin\u0026eacute;e par la technologie et la construction, les propri\u0026eacute;t\u0026eacute;s de la toile jouent \u0026eacute;galement un r\u0026ocirc;le plus actif. \u003cem\u003eZonder titel\u003c/em\u003e (Sans titre) de 1988 correspond \u0026agrave; cela\u0026nbsp;: le mouvement spontan\u0026eacute; de la ligne de craie sur les diff\u0026eacute;rents panneaux cr\u0026eacute;e une composition int\u0026egrave;gre, ce qui nous donne un certain sentiment de l\u0026rsquo;espace. Le spectateur est rejet\u0026eacute; r\u0026eacute;solument sur le monde de la peinture elle-m\u0026ecirc;me par le mouvement h\u0026eacute;sitant avec lequel la ligne blanche est appliqu\u0026eacute;e sur les panneaux peints en noir. Le rythme de la ligne est toujours rompu par les limites d\u0026rsquo;un surface. Cela presque \u0026eacute;voque la question\u0026nbsp;: une peinture doit \u0026ecirc;tre quoi\u0026nbsp;? Zonder titel peut \u0026ecirc;tre consid\u0026eacute;r\u0026eacute; comme un travail minimaliste et modeste, mais en m\u0026ecirc;me temps il a l\u0026rsquo;air grandiose et intemporel.\u003c/p\u003e\r\n"}]},{"id":5595,"title":"Centrum [Centre]","dimensions":"","date_begin":"1991-01-01","material":"oil, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0411","stream_count_app":22,"permalink":"centrum-centre","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Raoul De Keyser","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/085/large/De_Keyser_Raoul_Centrum_1991.jpg?1342685126","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eAfter his in-depth investigation into the possibilities of painting in the 1980s, Raoul De Keyser focused on monochrome images in the early 1990s, but not merely as an exercise in purity. He always linked what is beyond the sensorial, the abstract, to the sensorial and physical aspects of the painting, by regularly scratching or staining the work. We might ask if De Keyser\u0026rsquo;s colour fields really are monochrome. He appeared to be layering different surfaces on top of each other, as if foreground and background were always overlapping. The unity of the image is disturbed.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eCentrum\u003c/em\u003e\u0026nbsp;demonstrates this working method. We notice a duality: the colours do not fully connect to each other; their different layers are thin and transparent. The edges of the surface let us realise that this is \u0026lsquo;only\u0026rsquo; a painting. Yet if we focus longer on the work the surface slowly begins to move. The nebulous grey is on its way in the opposite direction, away from the gold. Foreground and background slide effortlessly into each other. With such serene images De Keyser knew how to send his viewers out in all directions: from the deep the superficial, from the mysterious to the everyday, from the simple to the complex, and back again.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eNadat Raoul De Keyser in de jaren 1980 de mogelijkheden van het schilderen zelf onderzocht, concentreerde hij zich in de vroege jaren 1990 op monochrome schilderijen, maar niet louter als een zuivere ervaring. De Keyser koppelde het boven zintuiglijke, het abstracte, telkens aan de zintuiglijke en fysieke bestanddelen van het schilderij \u0026ndash; door het werk regelmatig te bekrassen of te bespatten. Men kan bij de kleurvlakken van De Keyser de vraag stellen of ze wel echt monochroom zijn. Het lijkt alsof hij verschillende vlakken en lagen over elkaar heen schoof, alsof voorgrond en achtergrond elkaar steeds overlappen. De eenheid van het beeld wordt verstoord.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet schilderij \u003cem\u003eCentrum\u003c/em\u003e\u0026nbsp;uit 1991 toont eenzelfde werkwijze. Ook hier zien we een dualiteit optreden: de kleuren vinden geen volledige aansluiting bij elkaar, de verschillende niveaus zijn dun en transparant. De randen van het doek laten ons zien dat we hier \u0026lsquo;slechts\u0026rsquo; met een schilderij te maken hebben. Maar concentreren we ons langer op het werk, dan komt het vlak langzaam in beweging: de nevelachtige mist van het grijs beweegt zich in een tegenovergestelde richting, weg van het goud. Voorgrond en achtergrond verglijden moeiteloos in elkaar. Met zulke serene beelden wist De Keyser zijn toeschouwers telkens alle richtingen uit te sturen: vanuit de diepte naar het oppervlak, vanuit het mysterieuze naar het alledaagse, vanuit de eenvoud naar het complexe, en weer terug.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eApr\u0026egrave;s qu\u0026rsquo;il ait \u0026eacute;tudi\u0026eacute; les possibilit\u0026eacute;s de la peinture dans les ann\u0026eacute;es 1980, Raoul De Keyser se concentrait au d\u0026eacute;but des ann\u0026eacute;e 1990 sur les peintures monochromes, mais pas seulement comme une exp\u0026eacute;rience pure. De Keyser toujours liait ce qui est au-del\u0026agrave; du sensoriel, l\u0026rsquo;abstrait, aux \u0026eacute;l\u0026eacute;ments sensoriels et physiques de la peinture \u0026ndash; en rayant ou \u0026eacute;claboussant l\u0026rsquo;\u0026oelig;uvre. En voyant les couleurs en aplat, on peut se demander si elles sont vraiment monochromes. Il semble qu\u0026rsquo;il d\u0026eacute;pla\u0026ccedil;ait des plans et des couches diff\u0026eacute;rents les uns sur les autres, comme si le premier plan et le fond se recouvrent toujours. L\u0026rsquo;unit\u0026eacute; de l\u0026rsquo;image est perturb\u0026eacute;e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLa peinture \u003cem\u003eCentrum\u003c/em\u003e (Centre) de 1991 d\u0026eacute;montre la m\u0026ecirc;me m\u0026eacute;thode. Ici aussi, il se produit une dualit\u0026eacute;\u0026nbsp;: les couleurs ne se joignent pas, les diff\u0026eacute;rents niveaux sont fin et transparents. Les bords de la toile nous montrent qu\u0026rsquo;il s\u0026rsquo;agit \u0026laquo;\u0026nbsp;seulement\u0026nbsp;\u0026raquo; d\u0026rsquo;une peinture. Mais si nous nous concentrons plus longtemps sur le travail, le surface commence lentement \u0026agrave; se bouger\u0026nbsp;: le gris troubl\u0026eacute; se d\u0026eacute;place dans une direction oppos\u0026eacute;e et s\u0026rsquo;\u0026eacute;loigne de l\u0026rsquo;or. Le premier plan et l\u0026rsquo;arri\u0026egrave;re-plan fusionnent sans effort. Avec des images aussi sereines, De Keyser a envoy\u0026eacute; son public dans toutes les directions\u0026nbsp;: de la profondeur \u0026agrave; la surface, du myst\u0026eacute;rieux au quotidien, de la simplicit\u0026eacute; au complexe, et vice-versa.\u003c/p\u003e\r\n"}]},{"id":5594,"title":"Maaigem en Kabinet [Maaigem and Cabinet]","dimensions":"56 x 55 cm","date_begin":"1991-01-01","material":"oil paint, cardboard, gesso","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK5914","stream_count_app":40,"permalink":"maaigem-en-kabinet-maaigem-and-cabinet","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Raoul De Keyser","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/860/large/Maaigem.jpg?1441097740","poster_credits":"©image: M HKA, Syb'l.S.-Pictures","translations":[{"locale":"en","description":"\u003cp\u003eAt the time that Raoul De Keyser made this work, he had already been busy for some years investigating \u0026lsquo;painting\u0026rsquo; as such, and the possibilities inherent to different materials. For De Keyser, each work was part of this research into the support, the paint sort and texture. He analyzed colors, materials, forms and brushstrokes \u0026ndash; apart or in relation to each other \u0026ndash; in terms of spatial potentialities. It was not so much the pure tone that seemed to interest him, but rather the slow process of conceal/reveal whereby bit by bit and step-by-step, he disclosed things. This investigation into painting itself was not limited to relationships within a single painting. De Keyser regularly worked in series, exploring the repetitive correlations between paintings. Oftentimes older works were partially painted-over years later and so acquired new meaning. The title of this work refers to an older series of drawings entitled \u003cem\u003eMaaigem\u003c/em\u003e\u0026nbsp;that he made in 1975. Almost twenty years later he again took up the motifs of these drawings, further experimented with them and created a new image. He seldom considered his works as finished. His entire oeuvre may be seen as a work-in-progress, a quest for \u0026lsquo;the\u0026rsquo; definitive painting.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eOp het moment dat Raoul De Keyser dit werk maakte, was hij al een aantal jaar bezig met onderzoek naar het schilderen zelf en naar de mogelijkheden van materialen. Elk werk vormde voor de schilder een onderzoek naar de drager, de verfsoort en de textuur. De Keyser analyseerde kleuren, materialen, vormen en verfstreek, al dan niet in onderlinge relatie, op ruimtelijke mogelijkheden. Niet het zuiver tonen leek hem te interesseren, wel een langdurig proces van verhullen waarbij hij beetje bij beetje, uiterst traag, dingen prijsgaf. Dit onderzoek naar het schilderen zelf beperkte zich niet tot verhoudingen binnen \u0026eacute;\u0026eacute;n schilderij. Regelmatig werkte hij in reeksen, waarin hij de repetitieve relaties tussen de schilderijen verkende. Oudere werken werden vaak jaren later deels overschilderd en kregen een nieuwe betekenis. De titel van dit werk verwijst naar een oudere reeks tekeningen met als titel \u003cem\u003eMaaigem\u003c/em\u003e\u0026nbsp;die hij maakte in 1975. Bijna twintig jaar later hernam hij de motieven uit deze tekeningen, experimenteerde er verder mee en cre\u0026euml;erde een nieuw beeld. Zelden beschouwde hij zijn werk als voltooid. Zijn werken kunnen gezien worden als een work-in-progress, een zoektocht naar het definitieve schilderij.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eAu moment o\u0026ugrave; il a fait ce travail, Raoul De Keyser avait d\u0026eacute;j\u0026agrave; pass\u0026eacute; un certain nombre d\u0026rsquo;ann\u0026eacute;es \u0026agrave; faire des recherches sur la peinture elle-m\u0026ecirc;me et sur les possibilit\u0026eacute;s de mat\u0026eacute;riaux. Pour le peintre, chaque travail \u0026eacute;tait une analyse sur le porteur, le type de peinture et la texture. Il analysait les couleurs, les mat\u0026eacute;riaux, les formes et les coups de pinceau sur les possibilit\u0026eacute;s spatiales. Il ne s\u0026rsquo;int\u0026eacute;ressait pas \u0026agrave; montrer d\u0026rsquo;une mani\u0026egrave;re pure, mais d\u0026rsquo;un long processus de d\u0026eacute;guiser dans lequel, petit \u0026agrave; petit, tr\u0026egrave;s lentement, il relevait des choses. Cette recherche sur la peinture elle-m\u0026ecirc;me ne se limitait pas aux relations dans une seule peinture. De Keyser travaillait r\u0026eacute;guli\u0026egrave;rement en s\u0026eacute;ries, dans lesquelles il explorait les relations r\u0026eacute;p\u0026eacute;titives entre les peintures. Les \u0026oelig;uvres les plus anciennes ont souvent \u0026eacute;t\u0026eacute; partiellement repeintes de nombreuses ann\u0026eacute;es plus tard, et ont re\u0026ccedil;u une nouvelle signification. Le titre de ce travail se r\u0026eacute;f\u0026egrave;re \u0026agrave; une s\u0026eacute;rie de dessins qu\u0026rsquo;il a fait en 1975, avec le titre \u003cem\u003eMaaigem\u003c/em\u003e. Pr\u0026egrave;s de deux d\u0026eacute;cennies plus tard, il a repris les motifs de ces dessins, il y exp\u0026eacute;rimentait plus et cr\u0026eacute;ait une nouvelle image. Rarement consid\u0026eacute;rait-il son travail comme accompli. Ses \u0026oelig;uvres peuvent \u0026ecirc;tre consid\u0026eacute;r\u0026eacute;es comme un work-in-progress, une recherche sur la peinture d\u0026eacute;finitive.\u003c/p\u003e\r\n"}]},{"id":5593,"title":"Penetrant","dimensions":"180 x 120 cm","date_begin":"1995-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK6961_E","stream_count_app":27,"permalink":"penetrant","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Raoul De Keyser","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/083/large/De_Keyzer_Raoul_Untitled_1995_BK_6961_EPhotoclinckx.jpg?1342684625","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eRaoul De Keyser starts to paint in 1963 under the influence of his teacher Roger Raveel.\u0026nbsp;At first, his subjects are concrete everyday objects and items from his immediate surroundings, set down markedly simplified on canvas.\u0026nbsp;His work takes a more abstract bend in the 1970\u0026#39;s.\u0026nbsp;A concrete element remains present, but the representation is less recognizable and makes way for color planes with linear elements.\u0026nbsp;In the decades of the Eighties and Nineties, figuration more-and-more disappears in the sobriety of paint-layers.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe work \u003cem\u003ePenetrant\u003c/em\u003e dates from the 1990\u0026#39;s.\u0026nbsp; By this time the painter had already for some years been delving into the notion of painting itself, and the possibilities of materials in this context.\u0026nbsp; Here, creativity emerges from out of practical confrontations with the material means of the medium itself.\u0026nbsp; For the painter, each work comprises research into the support, the paint type and the texture.\u0026nbsp; The painter seems to be testing colors, materials, forms and brushstrokes in mutual relationship, or not, in terms of their spatial potentialities.\u0026nbsp; It appears that it is not so much pure tones that interest him, but rather the lengthy process of \u0026#39;disguise\u0026#39;, with revelation achieved utterly slowly and bit-by-bit.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe work\u0026#39;s title, \u003cem\u003ePenetrant, \u003c/em\u003erefers to a liquid that is added to a material in order to achieve a cover-layer, so that it may better impregnate the surface.\u0026nbsp; In this piece the artist so investigates the character of the covering layer.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eRaoul De Keyser begint onder invloed van zijn leermeester Roger Raveel in 1963 te schilderen. Aanvankelijk vertrekt hij van concrete gebruiksvoorwerpen en dingen uit zijn directe omgeving die hij sterk vereenvoudigd op doek zet. Vanaf de jaren zeventig wordt zijn werk abstracter. Een concreet gegeven blijft aanwezig, maar de voorstelling wordt minder herkenbaar en maakt plaats voor kleurvlakken met lineaire elementen. In de jaren tachtig en negentig verdwijnt de figuratie meer en meer in de soberheid van verflagen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet werk\u0026nbsp;\u003cem\u003ePenetrant\u003c/em\u003e\u0026nbsp;dateert uit de jaren negentig. Op dat moment was de schilder al een aantal jaar bezig met onderzoek naar het schilderen zelf en naar de mogelijkheden van materialen in die context. De creativiteit komt voort uit de praktische confrontaties met de materi\u0026euml;le middelen van het medium zelf. Elk werk vormt voor de schilder een onderzoek naar de drager, de verfsoort en de textuur. De schilder lijkt kleuren, materialen, vormen en verfstreek al dan niet in onderlinge relatie te testen op hun ruimtelijke mogelijkheden. Niet het zuiver tonen lijkt hem te interesseren, wel een langdurig proces van verhullen waarbij hij beetje bij beetje, uiterst traag, dingen prijsgeeft.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe titel van het werk\u0026nbsp;\u003cem\u003ePenetrant\u003c/em\u003e\u0026nbsp;verwijst naar een vloeistof die wordt toegevoegd aan een materiaal dat een deklaag moet vormen, zodat het beter in het oppervlak doordringt. De kunstenaar onderzoekt in dit werk dus de kwaliteit van de deklaag.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eRaoul De Keyser commence \u0026agrave; peindre en 1963 sous l\u0026rsquo;influence de son professeur Roger Raveel. Au d\u0026eacute;part, il part des ustensiles concrets et des choses de son entourage imm\u0026eacute;diat qu\u0026rsquo;il met sur la toile d\u0026rsquo;une mani\u0026egrave;re tr\u0026egrave;s simplifi\u0026eacute;e. A partir des ann\u0026eacute;es soixante-dix, son travail devient plus abstrait. Il continue \u0026agrave; utiliser un fait concret, mais l\u0026rsquo;image devient moins reconnaissable et fait place pour des couleurs en aplat avec des \u0026eacute;l\u0026eacute;ments lin\u0026eacute;aires. Dans les ann\u0026eacute;es quatre-vingt et quatre-vingt-dix, la figuration dispara\u0026icirc;t de plus en plus dans la sobri\u0026eacute;t\u0026eacute; des couches de peinture.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLe travail \u003cem\u003ePenetrant\u003c/em\u003e date des ann\u0026eacute;es 90. A cette \u0026eacute;poque, le peintre avait pass\u0026eacute; un certain nombre d\u0026rsquo;ann\u0026eacute;es \u0026agrave; faire des recherches sur la peinture elle-m\u0026ecirc;me et sur les possibilit\u0026eacute;s de mat\u0026eacute;riaux dans ce contexte. La cr\u0026eacute;ativit\u0026eacute; r\u0026eacute;sulte des confrontations pratiques avec les ressources mat\u0026eacute;rielles du m\u0026eacute;dium lui-m\u0026ecirc;me. Pour le peintre, chaque travail \u0026eacute;tait une analyse sur le porteur, le type de peinture et la texture. Il analysait les couleurs, les mat\u0026eacute;riaux, les formes et les coups de pinceau sur les possibilit\u0026eacute;s spatiales. Il ne s\u0026rsquo;int\u0026eacute;ressait pas \u0026agrave; montrer d\u0026rsquo;une mani\u0026egrave;re pure, mais d\u0026rsquo;un long processus de d\u0026eacute;guiser dans lequel, petit \u0026agrave; petit, tr\u0026egrave;s lentement, il relevait des choses.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLe titre de l\u0026rsquo;ouvrage \u003cem\u003ePenetrant\u003c/em\u003e fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; un liquide qui est ajout\u0026eacute; au mat\u0026eacute;riau qui doit former une couche de couverture, afin qu\u0026rsquo;il p\u0026eacute;n\u0026egrave;tre mieux dans la surface. Dans ce travail, l\u0026rsquo;artiste \u0026eacute;tudie donc la qualit\u0026eacute; de la couche de couverture.\u003c/p\u003e\r\n"}]},{"id":459,"title":"Zilver [Silver]","dimensions":"82 x 67 cm","date_begin":"1991-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1992-01-01","reference":"BK6889_M150","stream_count_app":29,"permalink":"zilver-silver","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDer Titel dieses Gem\u0026auml;ldes bezieht sich auf das deckende Grau, das in diesem Werk dominiert. Die \u0026Ouml;lfarbe ist d\u0026uuml;nn aufgetragen auf der Leinwand. Hier und da sind noch kleine St\u0026uuml;cke von dem Linnen sichtbar. Wenn man sich die Leinwand n\u0026auml;her anschaut, f\u0026auml;llt auf, dass \u0026uuml;ber dem grauen Untergrund einige kleine farbige Farbspritzer verteilt worden sind. Sie haben eine autonome und plastische Funktion: sie kreieren keine Tiefe, aber sind entscheidend f\u0026uuml;r die eigene r\u0026auml;umliche Wirkung von der Oberfl\u0026auml;che. Die Z\u0026ouml;gerung, womit sie aufgetragen worden sind, wird nicht versteckt, sondern bekommt eine intentionelle Qualit\u0026auml;t. Die Kombination von Farben und Leinwandaufteilung sorgt f\u0026uuml;r eine gewisse Tiefe im Gem\u0026auml;lde, was, gemeinsam mit der Weise worauf das Werk gemalt ist, daf\u0026uuml;r sorgt, dass \u003cem\u003eZilver \u003c/em\u003e(dt. Silber) eine gro\u0026beta;e Redegewandtheit ausstrahlt. Das Ergebnis ist ein Gem\u0026auml;lde, das \u0026uuml;berzeugt durch seine Einfachheit, seine Klarheit, und seinen autonomen Charakter.\u003c/p\u003e\r\n\r\n\u003cp\u003eDas Werk stammt aus den 90er Jahren. Damals untersuchte der Maler schon einige Jahre die Malerei und Materialm\u0026ouml;glichkeiten in diesem Kontext. Seine Arbeit ist Teil eines globalen Forschungsprogramms. Die Kreativit\u0026auml;t kommt hervor aus den praktischen Konfrontationen mit materiellen Mitteln von dem Medium selbst. Jedes Werk ist f\u0026uuml;r den K\u0026uuml;nstler eine Forschung nach dem Tr\u0026auml;ger, die Art der Farbe, und die Textur. Der Maler scheint Farben, Materialien, Formen, und Farbstriche, in gegenseitiger, bzw. nichtgegenseitiger Beziehung, zu erproben auf r\u0026auml;umlichen M\u0026ouml;glichkeiten. Nicht das lautere Zeigen scheint ihn zu interessieren, sondern ein l\u0026auml;ngerer Prozess des Verh\u0026uuml;llens, wobei er nach und nach, \u0026auml;u\u0026beta;erst langsam, Dinge preisgibt. Diese gro\u0026beta;e Intimit\u0026auml;t harmoniert perfekt mit dem kleinen Format des Gem\u0026auml;ldes.\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/999/large/Zilver1991SyblSPictures.jpg?1441098719","poster_credits":"(c)image: Syb'l. S. - Pictures","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe title of this painting refers to the covering grey that dominates this work of art. The oil paint is applied thinly on the canvas. Here and there, some pieces of the linen are still visible. If you look closely to the canvas, you can see some little coloured paint splashes beneath the grey base. They have an autonomous and plastic function. They don\u0026rsquo;t create depth, but are vital for the special effect of the surface. The hesitation, by which they are applied, has not been hidden, but has become an intentional quality. The combination of colours and division of the canvas creates a strong stratification, that, together with the way the work is painted, results in \u003cem\u003eZilver \u003c/em\u003e(\u0026lsquo;Silver\u0026rsquo;) having a great a power of expression. In that way, this painting is convincing, because of its simplicity, its clearance, and its autonomous nature.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThis work of art dates from the nineties. By that time, De Keyser was already investigating painting itself and the possibilities of materials in that context for several years. His work is port of a global investigation program. The creativity evolved out of the practical confrontation with the materials of the medium itself. De Keyser investigates the medium, the paint and the texture of each work. The painter seems to test the mutual relation between colours, materials, forms and strokes of paint, and special possibilities. He doesn\u0026rsquo;t just want to display his art, but he tries to build up a process of veiling, by which he shows us things little by little, in a very slowly manner. This major intimacy harmonizes perfectly with the small size of the painting.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe titel van dit schilderij verwijst naar de dekkende grijze kleur die in het werk overheerst. De olieverf is dun aangebracht op het doek. Hier en daar zijn nog stukjes van het linnen zichtbaar. Als je het doek van nabij bekijkt, valt het op dat er over de grijze ondergrond enkele kleine gekleurde verfspatten zijn verdeeld. Ze hebben een autonome en plastische functie. Ze cre\u0026euml;ren geen diepte, maar zijn bepalend voor de eigen ruimtelijke werking van het oppervlak. De aarzeling waarmee ze zijn aangebracht, wordt niet weggestopt, maar krijgt een intentionele kwaliteit. De combinatie van kleuren en vlakverdeling zorgt voor een sterke vlaktewerking die, samen met de wijze waarop het werk is geschilderd, ervoor zorgt dat \u003cem\u003eZilver \u003c/em\u003eeen grote zeggingskracht uitstraalt. Het resultaat is een schilderij dat overtuigt door zijn eenvoud, zijn helderheid en zijn autonome karakter.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet werk dateert uit de jaren negentig. Toen was de schilder al een aantal jaar bezig met onderzoek naar het schilderen zelf en naar de mogelijkheden van materialen in die context. Zijn werk vormt een onderdeel van een globaal onderzoeksprogramma. De creativiteit komt voort uit de praktische confrontaties met de materi\u0026euml;le middelen van het medium zelf. Elk werk vormt voor de schilder een onderzoek naar de drager, de verfsoort en de textuur. De schilder lijkt kleuren, materialen, vormen en verfstreken al dan niet in onderlinge relatie te beproeven op ruimtelijke mogelijkheden. Niet het zuiver tonen lijkt hem te interesseren, wel een langdurig proces van verhullen waarbij hij beetje bij beetje, uiterst traag, dingen prijsgeeft. Deze grote intimiteit harmonieert perfect met het kleine formaat van het schilderij.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLe titre de cette peinture fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; la couleur grise de couverture qui domine dans l\u0026#39;\u0026oelig;uvre. La peinture \u0026agrave; l\u0026#39;huile est appliqu\u0026eacute;e en fine couche sur la toile. Ici et l\u0026agrave;, des morceaux de la toile sont encore visibles. Si vous y regardez de plus pr\u0026egrave;s, vous remarquerez que quelques petites \u0026eacute;claboussures de peinture de couleur sont r\u0026eacute;parties sur le fond gris. Elles ont une fonction autonome et plastique. Elles ne cr\u0026eacute;ent pas de profondeur mais elles sont d\u0026eacute;terminantes pour le fonctionnement spatial propre de la surface. L\u0026#39;h\u0026eacute;sitation avec laquelle elles ont \u0026eacute;t\u0026eacute; appliqu\u0026eacute;es n\u0026#39;est pas dissimul\u0026eacute;e mais prend une qualit\u0026eacute; intentionnelle. La combinaison de couleurs et de r\u0026eacute;partition sur la surface engendre un puissant traitement qui, avec la m\u0026eacute;thode employ\u0026eacute;e pour peindre l\u0026#39;\u0026oelig;uvre, conf\u0026egrave;re \u0026agrave; \u003cem\u003eZilver \u003c/em\u003eune grande \u0026eacute;loquence. Il en r\u0026eacute;sulte une peinture qui convainc par sa simplicit\u0026eacute;, sa clart\u0026eacute; et son caract\u0026egrave;re autonome.\u003c/p\u003e\r\n"}]},{"id":13738,"title":"Raoul De Keyser - Schilderijen 1995","dimensions":"28 x 19.5 cm, 54 p., language : Dutch, English, publisher : Museum van Hedendaagse Kunst Antwerpen","date_begin":"1997-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1996/55","stream_count_app":7,"permalink":"raoul-de-keyser-schilderijen-1995","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/353/large/__Photo_M_HKA__46.jpg?1458564355","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eForeword : Liliane Dewachter, Curator MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Steven Jacobs \u0026amp; Hans Rudolf Reust.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eAvailable in the M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eForeword : Liliane Dewachter, Curator MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Steven Jacobs \u0026amp; Hans Rudolf Reust.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eVerkrijgbaar in de M HKA - bookshop. \u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eForeword : Liliane Dewachter, Curator MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Steven Jacobs \u0026amp; Hans Rudolf Reust.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eDisponible dans le M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"}]},{"id":18375,"title":"Raoul De Keyser","dimensions":"29.5 x 21 cm, language : Dutch, English, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1980-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication, n\u0026deg;201.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditors :\u0026nbsp;Flor Bex \u0026amp; Hilde Van Pelt.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthors : Hilde Van Pelt \u0026amp; Wim Van Mulders.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : ICC/Internationaal Cultureel Centrum, Antwerpen (18.10. - 16.11.1980).\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/24","stream_count_app":6,"permalink":"raoul-de-keyser","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/985/medium_500/20180313091208615_0001.jpg?1520928814","cached_actor_names":"Raoul De Keyser","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/985/large/20180313091208615_0001.jpg?1520928814","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":34116,"title":"Kunst \u0026 Leven: 80 KUNSTENAARS schenken een werk voor een POLIO-VRIJE WERELD","dimensions":"29,7 x 21 cm","date_begin":"1989-01-01","material":"Print on paper","short_description":"","art_status_id":48,"legal_status_id":47,"category_id":218,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":53,"permalink":"kunst-leven-80-kunstenaars-schenken-een-werk-voor-een-polio-vrije-wereld","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/817/medium_500/198904_001.jpg?1682501508","cached_actor_names":"Maurice Wyckaert, Roger Wittevrongel , Pierre Vlerick , Erik Verhal , Willy Van Sompel, Dan Van Severen, Paul Van Rafelghem, Philip Van Isacker, Ludwig Vandevelde, Philippe Vandenberg, Rik Slabbinck, Raoul Servais, Pjeroo Roobjee, Rita Reychler, Roger Raveel, Luc Peire, Jozef Mees, Danny Matthys, Frans Masereel, Marcel Maeyer, Marc Maet, Octave Landuyt, Jean-Jacques Gailliard, Jean-Michel Folon, James Ensor , Lili Dujourie, Karel Dierickx, Yves De Smet, Paul Delvaux, Raoul De Keyser, Franky DC, Leo Copers, Willem Cole, Jacques Charlier, Jan Burssens, Bram Bogart, Jean Bilquin, Pierre Alechinsky, Francky Cane ","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/817/large/198904_001.jpg?1682501508","poster_credits":"Scan: CKV","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]