* Anna Boch, Vincent van Gogh's friend Eugène Boch, Georges Lemmen and Théo van Rysselberghe Impressionist painters from Belgium.

Through these articles, he became a lifelong friend of the Neo-impressionist Belgian painter Théo van Rysselberghe, resulting in a vast body of letters.

When Emile Verhaeren died on 27 November 1916 at Rouen station ( by falling under a train ), it was Théo van Rysselberghe and his friend, the famous French writer ( and later Nobel Prize winner ) André Gide who informed Marthe Verhaeren of the death of her husband.

St. Amands, his native city, has dedicated a museum to this giant of Belgian literature, showing many original manuscripts of his works and letters along with works of his artistic friends Théo van Rysselberghe, Leon Spilliaert, Constantin Meunier, Paul Signac and Ossip Zadkine.

His tomb, in the Le Lavandou cemetery, features a bronze medallion which his friend Théo van Rysselberghe had designed.

In 1898 he participated with Paul Signac, Maximilien Luce, and Théo van Rysselberghe in the first Neo-Impressionist exhibition in Germany, organized by Harry Kessler at Keller und Reiner Gallery ( Berlin ).

-Portrait of Marie Monnom ( Later wife of Théo van Rysselberghe ), 1887.

During this period he developed a lasting friendship with the painter Théo van Rysselberghe and the sculptor Constantin Meunier.

Many well-known artists ( such as Aristide Delannoy, Maximilien Luce, Paul Signac, Alexandre Steinlen, Théo van Rysselberghe, Camille Pissarro, Kees van Dongen, Charles Angrand, Henri-Edmond Cross, George Willaume, etc.

Théo ( Théophile ) van Rysselberghe ( 23 November 1862 — 14 December 1926 ) was a Belgian neo-impressionist painter, who played a pivotal role in the European art scene at the turn of the century.

Their impact would strongly influence the young Théo van Rysselberghe.

At the second show of Les XX in 1885 Théo van Rysselberghe showed his Arabian phantasia and other images and paintings from his second Moroccan trip, such as Abraham Sicsu ( interpreter in Tanger ) ( 1884 ).

Théo van Rysselberghe abandoned realism and became an adept of pointillism.

# REDIRECT Théo van Rysselberghe

# REDIRECT Théo van Rysselberghe

During this period, he also drew illustrations for anarchist publications such as Les Temps nouveaux ; other Neo-Impressionists contributing to these publications included Signac, Luce, and Théo van Rysselberghe.

| 18643 van Rysselberghe || || Théo van Rysselberghe, 19th / 20th-century Belgian pointillistic and impressionistic painter

A non-prescriptive group of artists were involved, whose ideals and practices varied widely: Albert Gleizes, František Kupka, Piet Mondrian, Jean Arp, Marlow Moss, Naum Gabo, Barbara Hepworth, Ben Nicholson, Kurt Schwitters, Wassily Kandinsky, Théo Kerg, Taro Okamoto, Paule Vézelay, Hans Erni, Bart van der Leck, Leon Tutundjian and John Wardell Power.

A pupil of Isidore Verheyden, she was influenced by Théo van Rysselberghe whom she met in the Groupe des XX.

# redirect Théo van Rysselberghe

His high place in the history of contemporary Belgian art is due to his influence as a learned and clear-sighted teacher, who guided, among many others, painters such as Emile Wauters, Théo van Rysselberghe and Edouard Agneesens, sculptors Charles van der Stappen and Jacques de Lalaing, and the architect Charles Licot.

* Clement, Russell T., Neo-impressionist painters, a sourcebook on Georges Seurat, Camille Pissarro, Paul Signac, Théo Van Rysselberghe, Henri Edmond Cross, Charles Angrand, Maximilien Luce, and Albert Dubois-Pillet, Westport, Conn., Greenwood Press, 1999.

Théo Van Rysselberghe was one of the prominent co-founders of the Belgian artistic circle Les XX on 28 October 1883.

* Theo van Rysselberghe — 6 paintings

Image: Portrait-Alice-Sethe-1888. jpg | Theo van Rysselberghe ( 1862 – 1926 )

In one of these letters, he was described by Maria van Rysselberghe, as " a unique personality, a whirlwind with an indomitable character, who didn't bother himself about bourgeois rules and who provoked or overwhelmed everybody by his straightforward directness ".

In September 1883 van Rysselberghe went to Haarlem to study the light in the works of Frans Hals.

This membership brought van Rysselberghe in contact with other radical artists, such as James Abbott McNeill Whistler, who had exhibited in Les XX in 1884.

This time, van Rysselberghe tried to surpass himself.

From now on van Rysselberghe would be obsessed by light.

In 1887 van Rysselberghe already experimented with this style, as can be seen in his Madame Oscar Ghysbrecht ( 1887 ) and Madame Edmond Picard ( 1887 ).

Her sister, Maria Sèthe, also a model of van Rysselberghe, would marry the renowned Art Nouveau architect Henry Van de Velde.