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Portrait of baron Francis Delbeke
Håndmalet oliereproduktion fra $181 37 × 27 cm
Samme størrelse som originalen $491 126 × 90 cm Bestil i original størrelse →
Portrait of baron Francis Delbeke (1917) er det mest berømte maleri af Jules Schmalzigaug, som er i De Kongelige Skønkunstmuseer i Belgiens samling i Bruxelles. San Marco from the Piazetta (1913) og The Rialto Bridge in Venice (1913) er de næste to værker, som verden kender bedst. Udvalgt fra de 6 værker af Jules Schmalzigaug i vores katalog er her de 6, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
De 2 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Jules Schmalzigaug | Malerier fra denne liste |
|---|---|---|---|
 Det Kongelige Museum for Fin Kunst Antwerpen |
Antwerpen | 5 | San Marco from the Piazetta, The Rialto Bridge in Venice, Impression in a Dance Hall |
 De Kongelige Skønkunstmuseer i Belgien |
Bruxelles | 1 | Portrait of baron Francis Delbeke |
Jules Schmalzigaugs karriere på denne side strækker sig over 5 år, fra 1913 til 1917: en kort periode, der her følger de mest kendte malerier år for år.
Portrait of baron Francis Delbeke (1917), De Kongelige Skønkunstmuseer i Belgien, Bruxelles. Derefter følger San Marco from the Piazetta (1913) og The Rialto Bridge in Venice (1913).
35 år gammel: Portrait of baron Francis Delbeke er fra 1917, og Jules Schmalzigaug blev født i 1882.
Vores katalog indeholder 6 værker af Jules Schmalzigaug, dateret fra 1913 til 1917.
De fleste af dem findes i Det Kongelige Museum for Fin Kunst Antwerpen (Antwerpen) og De Kongelige Skønkunstmuseer i Belgien (Bruxelles). Tabellen ovenfor lister museerne enkeltvis.
I 1914: 3 af de 6 værker på denne side stammer fra denne periode, herunder Impression in a Dance Hall.
Det tidligste på denne side er San Marco from the Piazetta (1913), det seneste Portrait of baron Francis Delbeke (1917).
San Marco from the Piazetta, The Rialto Bridge in Venice og Impression in a Dance Hall er blandt de 5 værker på denne side, som er i Det Kongelige Museum for Fin Kunst Antwerpen, Antwerpen's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
Antwerp, 1882. A child is born into a well-to-do family with German roots. The early years are marked by physical struggle; a malformation in the vertebrae leads to a retreat in Dessau, Germany. It is here, amidst medical treatment, that a teacher named Paul Riess notices a specific talent for drawing. This recognition sets a path toward the Kunstakademie Karlsruhe, where the young artist studies under Hans Thoma.
The canvas begins to change during a tour of Italy in 1905. Venice enters the frame. The atmosphere of the canals and the particular quality of the Adriatic light pull him away from his more conventional, darker beginnings. He moves through Paris, absorbing the energy of the era, but it is the Italian influence that provides the spark for a radical shift.
1912 arrives with a sudden acceleration. At the Bernheim-Jeune gallery in Paris, he encounters the exhibition of the Italian Futurists. The impact is immediate. He finds himself drawn to the works of Giacomo Balla and Umberto Boccioni. He does not merely observe this movement; he enters it. He moves to Venice, establishing a studio where light and shadow interact with cloth-covered surfaces, much like the methods of Jakob Smits.
His work begins to capture the pulse of modernity—the whirring of technology, the energy of crowds, and the speed of transport. He develops his own chromatic theories under the concept of La Panchromie, an unpublished treatise exploring the tension between colour-light and colour-muffled contrasts. In 1914, he reaches a peak in Rome, exhibiting six works at the Esposizione Libera Futurista Internazionale. One piece, Development of a Theme in Red: Carnival, emerges as the first fully abstract oil painting by a Belgian artist.
The outbreak of World War I shatters the international rhythm of his life. Forced to flee the conflict, he moves to The Hague in the neutral Netherlands. The isolation is heavy. The vibrant, crowded energy of Venice feels distant. In this period of exile, his brush returns to more figurative subjects, but the previous momentum has stalled. He struggles with a sense of loneliness and a perceived disconnection from the artistic life he once inhabited.
The end comes abruptly in May 1917. At only thirty-four years old, Jules Schmalzigaug commits suicide in The Hague. His career, though short, leaves behind a specific mark on Belgian modern art through his ability to link the traditions of the Old Masters, such as Rubens, with the radical, kinetic experiments of the avant-garde.