Kunstaankopen, kunstbehoud, monografieën, exposities
Frans & Kapma Foundation

Gallery

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.

73. Joseph Mous
74. Jacques Mels
75. P.N. van de Wall Perné
76. Liesbeth Rahder
77. Willy Sluiter
78. Fred Sieger
79. Ciano Siewert
80. Harrie Lenferink
81. F.A. van Oostveen
82. Willy Fleur
83. Anton Heyboer
84. Bart de Graaf


'Shipyard in Oostende', 1925
Oil on canvas, 40 x 50 cm,
Signed: lower right 'maurice seghers'
Maurice Seghers (1883-1959)

Breathtaking is the atmosphere that evokes this painting. You can feel the icy cold and hear the silence of the almost deserted yard, where a lone skipper warms himself at a fire. Surefire moods are exactly for which the painter is admired. He characterizes threatening thunder in the air or the approaching dusk perfectly in oil.

He usually paints sea or harbor views, sometimes a landscape, but almost always you can see water on his canvases. Yes, the Belgian painter Maurice Seghers likes to wander with easel and palette through the ports of Antwerp and the picturesque coastal towns between Nieuwpoort and Ostend, where he immortualizes a group of fishing boats, a wharf, a bridge or sluice in an atmospheric way. Characteristic is the light in his work and the impressionistic touch, reports the artists encyclopedia Piron.

Seghers is educated at the Academy of Fine Arts in Antwerp, where many great talents got their basic art knowledge and also where his father, Henri Seghers Jr. (1848-1919), was educated. Also in this case the apple never falls far from the tree: both are fascinated by the skipper life and have that for decades documented through numerous drawings, among others in Zeeland.

In the Dietsche Warande en Belfort, in the year of publication 1906, Maurice Seghers is described by A.W. Sanders van Loo as 'a young, hitherto little known artist', who exhibits some thirty paintings from 17 to November 26 in 'a disadvantaged small room of the Métropole in Antwerp’. The reviewer says that he wants to visit the studio of Seghers and writes: 'He is certainly totally free of modern noise, of the looking for loud-intrusive effects in screaming colors (...).
He seems little influenced by the French, on the contrary, quite unconsciously perhaps, somewhat influenced by Dutch, possesses something of their qualities and is best in reproducing moods (...) '.

Two years later in the same Dietsche Warande en Belfort - the oldest still existing Flemish literary magazine, which was first published in 1900 under that name – is mentioned that Seghers 'has made progress with giant strides. Beautiful, full of intimate mood and very delicate in colour were his Morning, Dusk, Market in St-Anna-ter-Muiden and Evening (...)',writes the surprised reviewer.