[{"id":3255,"title":"Visage","dimensions":"30 x 20 cm","date_begin":"1951-01-01","material":"oilpaint/panel","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":"Gallerie Ronny Van de Velde, Antwerpen","cached_tag_list":"","publishing_process_id":1,"annotation":"Ronny Van de Velde, Cogels Osylei 34, 2600 Berchem\r\nronnyvandevelde@skynet.be","date_end":null,"reference":"","stream_count_app":13,"permalink":null,"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":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/539/large/Rene%20Guiette,%20Visage,%201951%20photo%20M%20HKAcc.jpg?1328274368","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"Since 1927, René Guiette has been living and working in a house designed by Le Corbusier, on the outskirts of Antwerp. After 1945, he starts to paint more spontaneously, with intentional references to inartistic pictorial language. He then becomes a member of the Compagnie d'Art Brut with which Jean Dubuffet wants to shake the art world awake. He is one of the few Antwerp artists with international contacts. In 1958, he becomes an honorary member of G58 Hessenhuis but doesn't really take an active part in the activities."},{"locale":"nl","description":"René Guiette woont en werkt vanaf 1927 in een huis aan de rand van Antwerpen dat is ontworpen door Le Corbusier. Na 1945 gaat hij veel spontaner schilderen, met opzettelijke verwijzingen naar onartistieke beeldtalen. Hij wordt dan ook lid van de Compagnie d’Art Brut waarmee Jean Dubuffet de kunstwereld wakker wil schudden. Hij is een van de weinige Antwerpse kunstenaars met internationale contacten. In 1958 wordt hij erelid van G58 Hessenhuis, maar neemt niet echt actief deel aan de werking. "},{"locale":"fr","description":""}]},{"id":4287,"title":"Les Peupliers [Poplars]","dimensions":"","date_begin":"1932-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Museum of Photography, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"balkon","date_end":null,"reference":"","stream_count_app":8,"permalink":"les-peupliers-poplars","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":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/110/large/P-1987-028-Guiette.jpg?1332833590","poster_credits":"(c)René Guiette","translations":[{"locale":"en","description":"Until the exhibition mounted by Antwerp’s FotoMuseum in 1987 devoted to René Guiette’s photographic work, this aspect of the artist’s oeuvre was as good as unknown.  Even in the first photographs from 1932, it seems that Guiette is well acquainted with the ‘new photography’.  But the photographer will set to work with the same freedom as the painter, not falling into the cold formalism and uniformity that characterized so many photographs of the time.  Many of his photographs testify to the living symbiosis between the artist and the house where he lived and worked."},{"locale":"nl","description":"Tot het Fotomuseum van Antwerpen in 1987 een tentoonstelling wijdde aan René Guiette als fotograaf was dat aspect van zijn kunstenaarschap zo goed als onbekend. Al uit de eerste foto’s van 1932 blijkt dat Guiette goed vertrouwd is met de ‘nieuwe fotografie’. Maar de fotograaf gaat even vrij te werk als de schilder, hij vervalt niet in het koude formalisme en de eenvormigheid die zoveel foto’s van de tijd kenmerken. Veel van zijn foto’s getuigen van de levende symbiose tussen de kunstenaar en het huis waarin hij woonde en werkte. "},{"locale":"fr","description":""}]},{"id":4288,"title":"Les Peupliers [Poplars]","dimensions":"","date_begin":"1932-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Museum of Photography, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"achtergevel","date_end":null,"reference":"","stream_count_app":7,"permalink":"les-peupliers-poplars--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":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/111/large/P-1987-029-Guiette.jpg?1332833696","poster_credits":"(c)René Guiette","translations":[{"locale":"en","description":"Until the exhibition mounted by Antwerp’s FotoMuseum in 1987 devoted to René Guiette’s photographic work, this aspect of the artist’s oeuvre was as good as unknown.  Even in the first photographs from 1932, it seems that Guiette is well acquainted with the ‘new photography’.  But the photographer will set to work with the same freedom as the painter, not falling into the cold formalism and uniformity that characterized so many photographs of the time.  Many of his photographs testify to the living symbiosis between the artist and the house where he lived and worked."},{"locale":"nl","description":"Tot het Fotomuseum van Antwerpen in 1987 een tentoonstelling wijdde aan René Guiette als fotograaf was dat aspect van zijn kunstenaarschap zo goed als onbekend. Al uit de eerste foto’s van 1932 blijkt dat Guiette goed vertrouwd is met de ‘nieuwe fotografie’. Maar de fotograaf gaat even vrij te werk als de schilder, hij vervalt niet in het koude formalisme en de eenvormigheid die zoveel foto’s van de tijd kenmerken. Veel van zijn foto’s getuigen van de levende symbiose tussen de kunstenaar en het huis waarin hij woonde en werkte. "},{"locale":"fr","description":""}]},{"id":4289,"title":"Les Peupliers [Poplars]","dimensions":"","date_begin":"1940-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Museum of Photography, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"man op trap","date_end":null,"reference":"","stream_count_app":8,"permalink":"les-peupliers-poplars--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":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/113/large/P-1987-030-Guiette.jpg?1332833753","poster_credits":"(c)René Guiette","translations":[{"locale":"en","description":"Until the exhibition mounted by Antwerp’s FotoMuseum in 1987 devoted to René Guiette’s photographic work, this aspect of the artist’s oeuvre was as good as unknown.  Even in the first photographs from 1932, it seems that Guiette is well acquainted with the ‘new photography’.  But the photographer will set to work with the same freedom as the painter, not falling into the cold formalism and uniformity that characterized so many photographs of the time.  Many of his photographs testify to the living symbiosis between the artist and the house where he lived and worked."},{"locale":"nl","description":"Tot het Fotomuseum van Antwerpen in 1987 een tentoonstelling wijdde aan René Guiette als fotograaf was dat aspect van zijn kunstenaarschap zo goed als onbekend. Al uit de eerste foto’s van 1932 blijkt dat Guiette goed vertrouwd is met de ‘nieuwe fotografie’. Maar de fotograaf gaat even vrij te werk als de schilder, hij vervalt niet in het koude formalisme en de eenvormigheid die zoveel foto’s van de tijd kenmerken. Veel van zijn foto’s getuigen van de levende symbiose tussen de kunstenaar en het huis waarin hij woonde en werkte. "},{"locale":"fr","description":""}]},{"id":4282,"title":"De voorstad [Suburb]","dimensions":"","date_begin":"1930-01-01","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":"Collectie Provincie Antwerpen","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"de-voorstad-suburb","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":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/000/large/Ren%C3%A9%20Guiette,%20De%20Voorstad%20collectie%20Provincie%20Antwerpen.jpg?1332420786","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"In 1927 René Guiette moves home and studio to a house designed by Le Corbusier on the outskirts of Antwerp.  He is a cosmopolitan individual, steeped in Parisian culture.  This ‘portrait’ of his house - recognizable by the round window of the roof terrace - might have been painted by Léopold Survage in Neuilly.  The influence of Picasso on Guiette in the 1930s, lends to this painting a character close to a still-life with collage elements or of a design for a sculpture in metal plate."},{"locale":"nl","description":"René Guiette woont en werkt vanaf 1927 in een huis aan de rand van Antwerpen dat is ontworpen door Le Corbusier. Hij is een kosmopolitische figuur, doordesemd van de Parijse cultuur. Dit ‘portret’ van zijn huis – herkenbaar aan het ronde raam van het dakterras – had Léopold Survage in Neuilly kunnen schilderen. De invloed van Picasso die Guiette in de jaren 1930 ondergaat, verleent dit schilderij bijna het karakter van een stilleven met collage-elementen of van een ontwerp voor een sculptuur in metaalplaat."},{"locale":"fr","description":""}]},{"id":37548,"title":"Zonder titel","dimensions":"","date_begin":"1953-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Dennis Van Mol","cached_tag_list":"archival presentation","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"compositie-b8cf2e7d-90f5-4985-a938-37edb6c1d1c5","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/096/126/medium_500/F032.jpg?1783417618","cached_actor_names":"Rene Guiette","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/096/126/large/F032.jpg?1783417618","poster_credits":"(c)René Guiette - photo: M HKA, 2026","translations":[{"locale":"en","description":"\u003cp\u003eRené Guiette was a pre-eminently experimental artist who mastered diverse styles throughout his life. Like a kind of Flemish Picasso, he was invariably the first to assimi late the very latest from Paris into his own work. In this way, Guiette evolved rapidly from fauvism and cubism to art brut and Zen.\u0026nbsp;\u003c/p\u003e\u003cp\u003eJust like Jozef Peeters, René Guiette was an honorary member of the Antwerp Groep 58. Because at the time he had commissioned Le Corbusier to design his studio home, the somewhat introverted artist already enjoyed cult status among the younger generation. But unlike driving force Peeters, Guiette was not an organiser, but rather an observer and a quiet force.\u0026nbsp;\u003c/p\u003e\u003cp\u003eNevertheless, his post-war trajectory was a source of inspiration for the generation of artists seeking a possible meaning for art after the trauma of WWII. Guiette's oeuvre reads like a quest for alternatives to the stiffened Western culture. What begins in 1948 with a fascination for Jean Dubuffet's art brut ends with a deep dive into Zen Buddhism and Eastern culture.\u003c/p\u003e\u003cp\u003eRead further \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/462/original/AP_Avant-Garde_brochure_EN.pdf?1788350825\"\u003ehere\u003c/a\u003e!\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eRené Guiette was een bij uitstek experimenteel kunstenaar die zich in de loop van zijn leven uiteenlopende stijlen eigen maakte. Als een soort Vlaamse Picasso was hij steevast de eerste om het allernieuwste uit Parijs te assimileren in zijn eigen werk. Op die manier evolueerde Guiette in snel tempo van fauvisme en kubisme naar art brut en Zen.\u003cbr\u003eNet als Jozef Peeters was René Guiette erelid van de Antwerpse Groep 58. Doordat hij zijn atelier woning destijds had laten optrekken door Le Corbusier genoot de wat in zichzelf gekeerde kunstenaar toen al een cultstatus bij de jonge garde. Maar anders dan drijvende kracht Peeters was Guiette geen organisator, maar eerder een observator en een stille kracht.\u003cbr\u003eToch was zijn naoorlogse parcours een bron van inspiratie voor de generatie kunstenaars die op zoek was naar een mogelijke betekenis van kunst na het trauma van de Tweede Wereldoorlog. Het oeuvre van Guiette leest als een zoektocht naar alternatieven voor de verstar de Westerse cultuur. Wat in 1948\u0026nbsp;\u003cbr\u003ebegint met een fascinatie voor de art brut van Jean Dubuffet eindigt met een diepe duik in het Zen boeddhisme en de Oosterse cultuur.\u003c/p\u003e\u003cp\u003eLees verder \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/463/original/AP_Avant-Garde_brochure_NL.pdf?1788351283\"\u003ehier\u003c/a\u003e!\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eRené Guiette est un artiste résolument expérimental. Au cours de sa vie, il a adopté des styles très variés. Tel un « Picasso flamand », il est toujours le premier à intégrer les dernières tendances venues de Paris dans son œuvre. C’est ainsi que Guiette évolue rapidement du fauvisme et du cubisme à l’art brut et au zen.\u003cbr\u003eTout comme Jozef Peeters, René Guiette est membre d’honneur du Groupe 58 d’Anvers. Pour avoir fait concevoir son atelier-logement par Le Corbusier en 1925, cet artiste quelque peu replié sur lui-même jouit d’un statut culte auprès de la jeune garde. Mais contrairement à Peeters, véritable force motrice, Guiette n’est pas un organisateur, mais plutôt un observateur et une force discrète.\u003cbr\u003eSon parcours d’après-guerre n’en est pas moins une source d’inspiration pour la génération d’artistes en quête d’un sens possible à donner à l’art après le traumatisme de la Seconde Guerre mondiale. L’œuvre de Guiette se lit comme une recherche d’alternatives à la culture occidentale figée. Ce qui commence en 1948 par une fascination pour l’art brut de Jean Dubuffet s’achève par une immersion profonde dans le bouddhisme zen et la culture orientale.\u003c/p\u003e\u003cp\u003eLire la suite \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/464/original/AP_Avant-Garde_brochure_FR.pdf?1788351401\"\u003eici\u003c/a\u003e!\u003c/p\u003e"}]},{"id":37540,"title":"Zonder titel","dimensions":"","date_begin":"1966-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eYolande Avondroodt\u003c/p\u003e","date_end":null,"reference":"","stream_count_app":17,"permalink":"compositie-e934e8ae-1df2-4aaf-b442-c69f581ec5f4","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/096/145/medium_500/F021.jpg?1783431988","cached_actor_names":"Rene Guiette","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/096/145/large/F021.jpg?1783431988","poster_credits":"(c)René Guiette - photo: M HKA, 2026","translations":[{"locale":"en","description":"\u003cp\u003eJust like Jozef Peeters, René Guiette was an honorary member of the Antwerp Groep 58. Because at the time he had commissioned Le Corbusier to design his studio home, the somewhat introverted artist already enjoyed cult status among the younger generation. But unlike driving force Peeters, Guiette was not an organiser, but rather an observer and a quiet force.\u0026nbsp;\u003c/p\u003e\u003cp\u003eNevertheless, his post-war trajec tory was a source of inspiration for the generation of artists seeking a possible meaning for art after the trauma of WWII. Guiette's oeuvre reads like a quest for alternatives to the stiffened Western culture. What begins in 1948 with a fascination for Jean Dubuffet's art brut ends with a deep dive into Zen Buddhism and Eastern culture.\u0026nbsp;\u003c/p\u003e\u003cp\u003eThese tendencies also inspired many young people in Groep 58. For example, Eastern art and the way to a reconciliation between tradition and radical formal innovation, ultimately leading to monochrome painting. The influence of Zen and Tao was an important source of inspiration for many writ ers and artists of the 1950s.\u0026nbsp;\u003c/p\u003e\u003cp\u003eUndoubtedly, this had something to do with what around 1920, van Ostaijen had called a desire for de-individualisation, a desire he linked to Eastern philosophy in the poem ‘De weg’ [The road]:\u0026nbsp;\u003c/p\u003e\u003cp\u003eIt is a faraway road\u0026nbsp;\u003cbr\u003eto the passionless mountain\u0026nbsp;\u003cbr\u003eof bare contemplation\u0026nbsp;\u003cbr\u003eLogos\u0026nbsp;\u003cbr\u003eTao\u0026nbsp;\u003cbr\u003eGuiette was a master of that pas sionless, bare contemplation.\u003cbr\u003eRead further \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/462/original/AP_Avant-Garde_brochure_EN.pdf?1788350825\"\u003ehere\u003c/a\u003e!\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eNet als Jozef Peeters was René Guiette erelid van de Antwerpse Groep 58. Doordat hij zijn atelier woning destijds had laten optrekken door Le Corbusier genoot de wat in zichzelf gekeerde kunstenaar toen al een cultstatus bij de jonge garde. Maar anders dan drijvende kracht Peeters was Guiette geen organisa tor, maar eerder een observator en een stille kracht.\u0026nbsp;\u003c/p\u003e\u003cp\u003eToch was zijn naoorlogse parcours een bron van inspiratie voor de generatie kunstenaars die op zoek was naar een mogelijke betekenis van kunst na het trauma van de Tweede Wereldoorlog. Het oeuvre van Guiette leest als een zoektocht naar alternatieven voor de verstar de Westerse cultuur. Wat in 1948 begint met een fascinatie voor de art brut van Jean Dubuffet eindigt met een diepe duik in het Zen boeddhisme en de Oosterse cultuur.\u0026nbsp;\u003c/p\u003e\u003cp\u003eDeze tendensen inspireerden ook heel wat jongeren van de Groep\u0026nbsp;58. De Oosterse kunst en filosofie toon den Jef Verheyen bijvoorbeeld de weg naar een verzoening tussen tra ditie en radicale vormvernieuwing om zo uiteindelijk bij de monochro me schilderkunst uit te komen. De invloed van Zen en Tao was voor vele schrijvers en kunstenaars uit de jaren vijftig een belangrijke inspiratiebron.\u0026nbsp;\u003c/p\u003e\u003cp\u003eOngetwijfeld had dat iets te maken met wat Van Ostaijen rond 1920 een verlangen naar ontindividualisering had genoemd, een verlangen dat hij in het gedicht De Weg in verband bracht met de Oosterse filosofie:\u0026nbsp;\u003c/p\u003e\u003cp\u003eHet is een verre weg\u0026nbsp;\u003cbr\u003enaar de passieloze berg\u003cbr\u003evan het blote schouwen\u0026nbsp;\u003cbr\u003eLo gos\u0026nbsp;\u003cbr\u003eTao\u0026nbsp;\u003c/p\u003e\u003cp\u003eGuiette was een meester in dat passieloze, blote schouwen.\u003c/p\u003e\u003cp\u003eLees verder \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/463/original/AP_Avant-Garde_brochure_NL.pdf?1788351283\"\u003ehier\u003c/a\u003e!\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eTout comme Jozef Peeters, René Guiette est membre d’honneur du Groupe 58 d’Anvers. Pour avoir fait concevoir son atelier-logement par Le Corbusier en 1925, cet artiste quelque peu replié sur lui-même jouit d’un statut culte auprès de la jeune garde. Mais contrairement à Peeters, véritable force motrice, Guiette n’est pas un organisateur, mais plutôt un observateur et une force discrète.\u003cbr\u003eSon parcours d’après-guerre n’en est pas moins une source d’inspiration pour la génération d’artistes en quête d’un sens possible à donner à l’art après le traumatisme de la Seconde Guerre mondiale. L’œuvre de Guiette se lit comme une recherche d’alternatives à la culture occidentale figée. Ce qui commence en 1948 par une fascination pour l’art brut de Jean Dubuffet s’achève par une immersion profonde dans le bouddhisme zen et la culture orientale.\u003cbr\u003eCes tendances se retrouvent aussi auprès de nombreux jeunes du Groupe 58. Ainsi, l’art et la philo sophie du lointain Orient amènent Jef Verheyen à concilier tradition et innovation formelle radicale, ce qui aboutit finalement à la peinture monochrome. L’influence du zen et du taoïsme se révèle majeure dans l’œuvre de nombreux écrivains et artistes des années 1950. Cet intérêt pour les philosophies orientales n’est de toute évidence pas sans rapport avec ce que Van Ostaijen a qualifié, vers 1920, de «\u0026nbsp;désir de désindividualisation », un désir qu’il associe, dans le poème De\u0026nbsp;Weg [Le Chemin], à la philosophie taoïste :\u0026nbsp;\u003c/p\u003e\u003cp\u003e« Le chemin est long\u0026nbsp;\u003cbr\u003evers le mont sans\u0026nbsp;\u003cbr\u003epassion de la contemplation nue »\u0026nbsp;\u003cbr\u003eLogos\u003cbr\u003eTao\u0026nbsp;\u003c/p\u003e\u003cp\u003eGuiette est passé maître dans cette contemplation nue et dénuée de passion.\u003c/p\u003e\u003cp\u003eLire la suite \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/464/original/AP_Avant-Garde_brochure_FR.pdf?1788351401\"\u003eici\u003c/a\u003e!\u003c/p\u003e"}]}]