Biography
Belgian painter Baron Herman Courtens was known for his richly painted figures, interiors, flowers and still lifes. Born in Brussels, he was the eldest son of celebrated landscape painter Franz Courtens and studied under both his father and Isidore Verheyden. Rather than follow Franz into landscape painting, Herman developed an independent reputation through more intimate subjects, particularly women, children and domestic interiors.
His works are admired for their confident brushwork, rich colour and sensitivity to texture, particularly fabrics and flowers. Courtens exhibited widely in Belgium and France, became a member of the Société Nationale des Beaux-Arts, and later taught at and served as Director of the Royal Academy of Fine Arts in Brussels. He was subsequently ennobled as Baron Herman Courtens and continued an extraordinary artistic dynasty that also included his sculptor brother Alfred and painter sons Pierre and Jacques.
Known For
Figure paintings, portraits, intimate interiors, children, dancers, flowers and still lifes.
Student Of
- Franz Courtens (1854-1943)
- Isidore Verheyden (1846-1905)
Lived In
- Saint-Josse-ten-Noode, Brussels
- Ixelles, Brussels
- Travelled extensively, including to Egypt and elsewhere in Europe.
Public Collections
- Royal Museum of Fine Arts Antwerp
- Groeninge Museum, Bruges
- Charlier Museum, Brussels
- Belgian State collections
- Museum of Fine Arts, Mulhouse
- Kortrijk collections
Timeline
1884
Born at Saint-Josse-ten-Noode, Brussels, on 23 February. He was the son of the celebrated Belgian landscape painter Franz Courtens.
Late 19th Century
Received his earliest artistic instruction from his father. Subsequently studied under Isidore Verheyden.
Early 20th Century
Developed an independent artistic identity centred increasingly upon figures, interiors, flowers, children and still lifes rather than the landscape painting associated with his father. Travelled widely, including to Egypt.
1914
Held an individual exhibition at the Cercle Artistique et Littéraire in Brussels.
1920
Marcel Wyseur devoted an illustrated article to Courtens in L'Art Belge, published on 31 December. Wyseur discussed the challenge presented by Franz Courtens' reputation and praised Herman's perseverance, sensitivity and development of an independent artistic identity. The article reproduced works including La Conseillère and Porteur d'eau.
1922
His architect brother Antoine Courtens designed a studio for Herman in Saint-Josse-ten-Noode.
1924
Exhibited with the Société Nationale des Aquarellistes et Pastellistes.
1925
Produced works including The Queen's Flower and Portrait of a Young Woman.
1926
Exhibited at the Academy of Dendermonde. Works associated with this period included The Fantastic Bird, The Bird with the Pheasant, The Venetian Woman and The Forgotten Ones.
1929
Exhibited Nude at the Salon des Artistes Français. Painted Solitude.
1931
Held an individual exhibition at the Charlier Museum in Brussels.
1941
Held a solo exhibition at La Petite Galerie in Brussels.
Later Career
Taught at the higher institute of fine arts and became Director of the Royal Academy of Fine Arts in Brussels. Was ennobled, becoming Baron Herman Courtens. His children continued the family's artistic tradition, including the painters Pierre Courtens and Jacques Courtens.
1956
Died at Ixelles, Brussels, on 1 March, aged seventy-two.
Described By Others
Writing in L'Art Belge on 31 December 1920, Marcel Wyseur presented Courtens as an artist whose career was founded upon perseverance rather than fashion or self-promotion. He described Courtens as advancing “patiemment, mais avec assurance” — patiently, but confidently — and emphasised his determination continually to improve his art. Wyseur also recognised the difficulty presented by his famous surname, remarking: “Ce n'est pas impunément qu'on s'appelle Courtens quand on veut faire de la peinture.” One does not bear the name Courtens with impunity when one aspires to be a painter.
Courtens' particular sensitivity to atmosphere was described through his fascination with quiet Flemish streets and interiors, where “le silence et la mélancolie se donnent la main pour rêver” - silence and melancholy join hands to dream.
Ultimately, Wyseur compared Courtens' painting with poetry, finding in both:
“Même émotion, même vérité, mêmes regards autant vers la vie invisible que vers la vie ambiante.” The same emotion, the same truth, and the same attention to both the invisible life and the visible world surrounding us.