PréfaceMichel DraguetBefore and After? Rupture or Continuity? Belgian Art around the First World War. An IntroductionInga Rossi-SchrimpfShaping the Experience of Military Occupation: Ten ImagesSophie De Schaepdrijver14/18 Rupture or Continuity? Belgian Art Around World War I in the Collections of the Royal Museums of Fine ArtsInga Rossi-Schrimpf & Laura KollwelterIllustrationsARTISTS AT WAR AND ABROAD – ON THE FRONT AND IN EXILEL’art en guerre ! L’État belge, mécène des artistes combattants :politique bienveillante ou nécessité impérieuse ?Sandrine Smets‘My heart is sore about brave Belgium’ – Artistic Exodus: Belgian Refugee Artists in Great Britain during the Great WarCaterina VerdicktJacob and Louise De Graaff – Patrons of Modern Belgian Artists in ExileLaura KollwelterOCCUPATION – INFLUENCES ON THE ART MARKET AND THE INTERCULTURAL EXCHANGESBelgian Art During the First World War: Exhibitions and Salons in BrusselsWerner Adriaenssens« Rencontres interculturelles » et occupation : un nouvel élan pour les transferts culturels belgo-allemands après 1918Christina Kott et Hubert RolandPrecursors or Followers? The German Art Scene and the Role and Image of Belgian Art Around World War IInga Rossi-SchrimpfPOLITICIZED ART AROUND WWIWhen Flemish Nationalism, Progressivism, and Avant-Gardism Came Together: 1917-1922Sergio ServellónAlbert Daenens (1883-1952): Belgian Artist From Brussels, Flemish Activist and French Publicist, International Anarchist and Antimilitarist Before, During and After World War IErik Buelinckx BELGIAN ART AND THE INTERNATIONAL AVANT-GARDE OF THE 1920’S-NETWORKSModernist Generations in Belgium: United and Divided by Community ArtHans VandevoordeThe Originality of the 7 Arts’ Constructivism: The Connections to The Belgian Pre-War Art SceneEva FrancioliRéseaux d’artistes avant et après la guerre : le cas exemplaire de la Section d’orFrançoise Lucbert BELGIAN ART AND THE INTERNATIONAL AVANT-GARDES OF THE 1920’S – CASE STUDIESFrom Avant-garde to Arrière-garde? – Henry van de Velde’s Architectural Oeuvre Before and After World War IOle W. Fischer‘Votre lettre m’a bien intéressée’: Marthe “Tour” Donas and the Belgian Art Scene Around 1920Peter J.H. PauwelsIllustrationsAbstractsAbout the AuthorsBibliographyIllustration CreditsList of works shown in the exhibition 14-18. Rupture or Continuity - Belgian Art around World War IColophonThe impact of the Great War and its aftermath on Belgian artistic lifeThe impact of the Great War and its aftermath on Belgian artistic life.
World War I had a major effect on Belgian visual arts. German occupation, the horror at the battlefield and the experience of exile led to multiple narratives and artistic expressions by Belgian artists during and after the war. Belgian interbellum art is extremely vibrant and diverse. 14/18 - Rupture or Continuity takes a look at Belgian artistic life in the years around the First World War and how it was affected by this event. The Great War was a catalyst of artistic oppositions, leading on the one hand to a Belgian avant-garde that explored new forms and styles, while continuing to uphold a more traditional and established art on the other. Whereas the war experience consolidated an already present style for some artists, for others it constituted a revolution leading to new artistic adventures. The collection of essays in the present book highlights these contrasting facets of Belgian art in its rich historical context during the early 20th century.

Contributors: Werner Adriaenssens (Royal Museums of Art and History, Brussels), Erik Buelinckx (Royal Institute for Cultural Heritage, Brussels), Sophie de Schaepdrijver (Pennsylvania State University), Ole W. Fischer (University of Utah, Salt Lake City), Eva Francioli (Università degli Studi di Firenze), Laura Kollwelter (Royal Museum of Fine Arts of Belgium, Brussels), Christina Kott (Université Panthéon-Assas Paris 2), Françoise Lucbert (Université Laval, Québec), Peter Pauwels (independent art historian, Antwerp), Hubert Roland (F.R.S. - FNRS / Université Catholique de Louvain), Inga Rossi-Schrimpf (Royal Museum of Fine Arts of Belgium, Brussels), Sergio Servellón (FeliXart Museum, Drogenbos), Sandrine Smets (Royal Museum of Armed Forces and Military History, Brussels), Hans Vandevoorde (Vrije Universiteit Brussel), Caterina Verdickt (Universiteit Antwerpen)The impact of the Great War and its aftermath on Belgian artistic lifeWorld War I had a major effect on Belgian visual arts. German occupation, the horror at the battlefield and the experience of exile led to multiple narratives and artistic expressions by Belgian artists during and after the war. Belgian interbellum art is extremely vibrant and diverse. 14/18 – Rupture or Continuity takes a look at Belgian artistic life in the years around the First World War and how it was affected by this event. The Great War was a catalyst of artistic oppositions, leading on the one hand to a Belgian avant-garde that explored new forms and styles, while continuing to uphold a more traditional and established art on the other. Whereas the war experience consolidated an already present style for some artists, for others it constituted a revolution leading to new artistic adventures. The collection of essays in the present book highlights these contrasting facets of Belgian art in its rich historical context during the early 20th century.Contributors: Werner Adriaenssens (Royal Museums of Art and History, Brussels), Erik Buelinckx (Royal Institute for Cultural Heritage, Brussels), Sophie de Schaepdrijver (Pennsylvania State University), Ole W. Fischer (University of Utah, Salt Lake City), Eva Francioli (Università degli Studi di Firenze), Laura Kollwelter (Royal Museum of Fine Arts of Belgium, Brussels), Christina Kott (Université Panthéon-Assas Paris 2), Françoise Lucbert (Université Laval, Québec), Peter Pauwels (independent art historian, Antwerp), Hubert Roland (F.R.S. – FNRS / Université Catholique de Louvain), Inga Rossi-Schrimpf (Royal Museum of Fine Arts of Belgium, Brussels), Sergio Servellón (FeliXart Museum, Drogenbos), Sandrine Smets (Royal Museum of Armed Forces and Military History, Brussels), Hans Vandevoorde (Vrije Universiteit Brussel), Caterina Verdickt (Universiteit Antwerpen)