Kunstaankopen, kunstbehoud, monografieën, exposities
Frans & Kapma Foundation


There is so much marvellous art in this world. Art that wanders through
thoughts and the stories behind the thoughts. Here is a first impression
of art that fascinates us.

Discover the artists represented in the FRANS & KAPMA COLLECTION.

145. Paula Thies
146. Elli Slegten
147. Bep van Beek
148. Jan Homan
149. Annica Koot
150. Paul Hugo ten Hoopen
151. Gert Hendriksen
152. Dick Haakman
153. Jan van Kempen
154. Jetty Homan
155. W. Hüliam
156. Max Rädecker

'Personages on park bench', ca.1947
Gouache, 27 x 35 cm,
Signed: bottom right 'a.vanderlick'
Armand Vanderlick (1897-1985)

The Belgian painter Armand Vanderlick has only been discovered by the buyer public at a later age. However, artists such as Edgard Tijtgat, Jean Brusselmans and Gustave De Smet have always been full of praise for his work, as well as reviewers, but during his exhibitions in Brussels (1929) and Ghent (1930) Vanderlick does not sell much. "I have had to wait until my 67th year to find appreciation (...) and that is my conclusion: wherever you live, if you make something good, you will sooner or later break through", says the artist during a television broadcast devoted to him in 1969.

Armand Jozef Vanderlick is born on June 26, 1897 in Sint-Jans-Molenbeek. He wants to become a painter at a young age, but his father disagrees, because 'a painter is a starveling'. He therefore goes to the Nijverheidsschool in Brussels to become a technician, but he simultaneously studies at the Academy of Brussels. Vanderlick later becomes a salesman three days a week, which gives him an income so he can paint the remaining days. In 1937 he exhibits, among others with Willem Paerels, at Kunst van Heden in Antwerp, of which he also becomes a member.

At a certain moment, however, he stops exhibiting, because it 'only costs money' and he withdraws. At last friends get him to exhibit again. In 1954 there is a retrospective in the Palais des Beaux-Arts in Brussels, but only in the 1960s, during an exhibition in the hall of the Committee for Artistic Processing (CAW) in Antwerp, he gets the long-overdue interest and begins a 'triumphal march' of exhibitions in Antwerp (1962), Ostend (1963), Antwerp and Brussels (1966), Lokeren and Knokke (1968), Museum of Ghent (1969), Aalst, Mechelen and Tielt (1970), Hasselt, St-Niklaas , St-Martens-Latem and Bruges (1971). "Suddenly important people from museums buy work from me."

Albert van Hoogenbemt writes in De Vlaamse Gids (The Flemish Guide) in 1962: "All his canvases show the painter's inner face. A man who is technically gifted and trained, puts something childlike-naïve into his paintings. In his way he tells us about life, what most of us have unfortunately lost. For him the nightingale continues to whistle (...). "R.H. Marijnissen says in De Standaard in 1967: "It is Vanderlick's merit that he goes his own individual way." And Paul Caso in Le Soir in the same year: "Armand Vanderlick is one of our great living painters." In 1969 Jan Piet Ballegeer jubilates in De Financieel Ekonomische Tijd: "Because of his personal message, Armand Vanderlick is certainly one of the most important artists of his generation."

The artists and encyclopedias of Bénézit and Piron give ample information about Vanderlick. Musée d'Art Moderne (PMMK) in Ostend is organizing a major oeuvre exhibition in 1998. The museums of Antwerp, Ghent, Deinze, Liège, Ostend and Bruges have work of him. The attraction of this painting is, in our opinion, the quiet simplicity and the intriguing image: are they two strangers who happen to be sitting on the same park bench or is it a couple that understand each other without words ... Vanderlick has a very recognizable, own style. He denies any affinity with other artists: "I am walking alone and work as I think it should be."