{"id":1487,"date":"2026-05-09T23:45:59","date_gmt":"2026-05-09T23:45:59","guid":{"rendered":"https:\/\/daardoeikhetvoorteam.com\/?p=1487"},"modified":"2026-05-12T10:30:58","modified_gmt":"2026-05-12T10:30:58","slug":"a-red-that-sings-materpieces-by-james-ensor-rik-wouters-and-jules-schalzigaug","status":"publish","type":"post","link":"https:\/\/daardoeikhetvoorteam.com\/index.php\/2026\/05\/09\/a-red-that-sings-materpieces-by-james-ensor-rik-wouters-and-jules-schalzigaug\/","title":{"rendered":"A RED THAT SINGS &#8211; Materpieces by James Ensor, Rik Wouters and Jules Schalzigaug"},"content":{"rendered":"\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>Koninklijk Museum voor de Schone Kunsten Antwerpen<\/strong> &#8211; <strong>11.04.2026 &#8211; 30.08.2026<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>COLOURS AS SOUNDS<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Psychologists call it synaesthesia, from the Greek syn (together), and aisthesis (perception, sense). Stimulation, in other words, of multiple senses at once. Scientific interest in this neurological phenomenon grew steadily throughout the nineteenth century &#8211; a period in which the theories and findings of psychoanalysis and science more generally became increasingly mainstream, as an alternative, for instance, to prevailing theological and mystical beliefs about human experiences and sensations. While the associations between painting and music had been explored instinctively ever since the ancient Greek philosophers, the first concrete artistic fascination with synaesthesia coincided roughly with the period we refer to as &#8216;modernity&#8217;.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What stimulates (&#8230;)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8221;<\/p>\n\n\n\n<figure class=\"wp-block-video\"><video height=\"1080\" style=\"aspect-ratio: 1920 \/ 1080;\" width=\"1920\" controls src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_143006.mp4\"><\/video><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>ingang KMSK Antwerpen<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150528-1024x768.jpg\" alt=\"\" class=\"wp-image-1497\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150528-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150528-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150528-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150528-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150528-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150528-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150528-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<ul class=\"wp-block-list\">\n<li><\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151333-1024x768.jpg\" alt=\"\" class=\"wp-image-1489\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151333-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151333-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151333-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151333-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151333-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151333-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151333-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Henri De Braekeleer, The Colour Crusher (1873)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8216;Some critics, by contrast, including the novellist and critic Camille Lemonnier, who was a leading light in the emergence of naturalism in Francophone Belgian literature, fiercely championed De Braekeleer&#8217;s seemingly archaic realism. In this article about the 1872 Brusseld Salon, Lemonnier &#8211; still only in his twenties &#8211; wrote that the artist had made an effective study of Vermeer and the dutch genre painters, without resorting to copying. He &#8216;possessed a feeling for colour unmatched by any other artist at the Salon&#8217;. In Lemonnier&#8217;s view, De Braekeleer&#8217;s sense of colour, tonality and lighting umleased &#8216;a marvel of remarkable effects&#8217;. &#8216;His very real enchantments&#8217; were more striking than the truthfulness of nature and figuration. &#8216;His figures are sacrified to serve the purposes of colour.&#8217;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151317-1024x768.jpg\" alt=\"\" class=\"wp-image-1490\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151317-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151317-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151317-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151317-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151317-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151317-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151317-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Henri De Braekeleer, The Indian Scarf (1875)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Schenking van Walter Malgaud <\/strong>(broer van Jules Schmalzigaug, de van oorsprong Duitse familie had haar naam kort na de oorlog omgevormd tot het Frans klinkende Malgaud. Een niet ongegronde vreesvoor latente antipathie\u00ebn die Duitse klanken in Antwerpen nog konden opwekken, zal daarin een elngrijke rol hebben gespeeld.)<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152437-1024x768.jpg\" alt=\"\" class=\"wp-image-1491\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152437-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152437-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152437-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152437-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152437-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152437-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152437-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">De Rialtobrug in Veneti\u00eb (1912-1913)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1024x768.jpg\" alt=\"\" class=\"wp-image-1492\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Rhythmus van lichtgolvingen: Straat + Zon + Menigte (1915)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8216;Toch moet Malgaud uiteindelijk nog een vijfde schilderij aan de lijst hebben toegevoegd, mogelijk omdat er oorspronkelijk sprake was geweest van een half dozijn schilderijen. Volgens de gegevens van het musesum behoorde ook het schilderij Rhythmus van lichtgolvingen: Straat + Zon + Menigte (ca. 1915) tot het schildersensemble. Daarin wordt de elektrisch verlichte danszaal of het caf\u00e9 concerto ingeruild voor een zonovergoten openluchtsc\u00e8ne in een drukbezochte straat, wie weet een braderij of een markt. Schmalzigaug schilderde het doek in Den Haag, waar hij de oorlogsjaren met zijn familie doorbracht. De futuristische vormgeing blijft sturend, bij uitstek door een beproefde compositie-schema met een wervelende dynamiek van linksonder tot rechtsboven. Opvallend is het verdwijnen van volle primaire kleuren als het<em> rouge qui chante<\/em> of het even kenmerkende diepblauw. Die coloristische adaptatie maakt van dit doek het enige overgebleven voorbeeld van Schmalzigaugs nooit afgewerkte kleurenleer<em> La Panchromie<\/em>.&#8217;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155254-1024x768.jpg\" alt=\"\" class=\"wp-image-1502\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155254-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155254-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155254-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155254-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155254-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155254-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155254-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>Aankoop van werken op papier<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153538-768x1024.jpg\" alt=\"\" class=\"wp-image-1504\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153538-768x1024.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153538-225x300.jpg 225w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153538-1152x1536.jpg 1152w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153538-1536x2048.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153538-1320x1760.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153538-600x800.jpg 600w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153538-scaled.jpg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Compositie (1915-1916) pastelkrijt op papier<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153508-1024x768.jpg\" alt=\"\" class=\"wp-image-1493\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153508-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153508-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153508-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153508-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153508-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153508-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153508-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Compositie (1915-1916)<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>Legaat van mevrouw Gilberte Ghesqui\u00e8re<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">De nalatenschap van deze grand dame omvat werk en kleinsculptuur van ronkende internationae namen als George Grosz, Egon Schiele, Jacque Lipchitz, Edgar Degas en Julio Gonzales, maar ook van Belgische avant-gardekunstenaars als Paul Joostens, Frans Masereel, Constant Permeke, Panamerenko en, inderdaad, Jules Schmalzigaug. Negen werken op papier van zijn hand werden op deze manier aan de KMSKA-collectie toegevoegd.&#8217;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153453-1024x768.jpg\" alt=\"\" class=\"wp-image-1494\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153453-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153453-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153453-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153453-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153453-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153453-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_153453-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Compositie (1915-1916). potlood, aquarel en gouache op papier.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-768x1024.jpg\" alt=\"\" class=\"wp-image-1495\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-768x1024.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-225x300.jpg 225w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1152x1536.jpg 1152w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1536x2048.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1320x1760.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-600x800.jpg 600w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-scaled.jpg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Ontwikkeling van een thema in rood: carnaval (1914)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&#8216;Uiteindelijk is de Rometentoonstelling het enige concrete aanknopingspunt voor het bestaan van dit schilderij. Schmalzigung vervaardigde het vermoedelijk nadt hij een offici\u00eble uitnodiging had ontvangen. De vraag rijst of de expositie de belangrijkste verklaring aanreikt voor zijn gedurfde keuze voor vrije expressie en de kracht van kleur. Duidelijk is dat de gastheer van de tentoonstelling, galeriehouder Giuseppe Sprovieri, in een correspondentie met Schmalzigaug expliciet had gewezen op het uitgesproken avant-gardistische opzet van het project.&#8217;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>Gift van Galerie Ronny Van de Velde<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152730-1024x768.jpg\" alt=\"\" class=\"wp-image-1496\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152730-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152730-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152730-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152730-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152730-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152730-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_152730-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Hoofd van een man (1915-1917), blauw krijt op papier<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>Espozizione libera futurista in Galleria Futurista van Giuseppe Sprovieri, Rome 1914<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1024x768.jpg\" alt=\"\" class=\"wp-image-1498\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Vokume + Licht: de zon schijnt op de della Salute-kerk (1914)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1-768x1024.jpg\" alt=\"\" class=\"wp-image-1501\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1-768x1024.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1-225x300.jpg 225w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1-1152x1536.jpg 1152w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1-1536x2048.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1-1320x1760.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1-600x800.jpg 600w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-1-scaled.jpg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\">Ontwikkeling van een thema in rood: Carnaval<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>De twee schilderijen die de selectie net niet haalden:<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151122-1024x768.jpg\" alt=\"\" class=\"wp-image-1499\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151122-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151122-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151122-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151122-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151122-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151122-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_151122-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Interieur van de Basiliek San Marco (1913)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154632-1024x768.jpg\" alt=\"\" class=\"wp-image-1500\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154632-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154632-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154632-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154632-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154632-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154632-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154632-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">waarschijnlijke titel: Omgeving van kleuren: vorm waaruit de kop van een concertzanger is samengesteld (1914)<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"has-medium-font-size wp-block-paragraph\"><strong>&#8216;L&#8217;ORGIE POLYCHROME&#8217;<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">On 21 May 1912, Ensor was at Galerie Giroux in Brussels with his close acquaintance Rik Wouters &#8211; Belgium&#8217;s rising modernist star at the time &#8211; to attend a lecture and debate with Filippo Tomasso Marinetti and Umberto Boccioni. An exhibition featuring works by the Italian Futurists was also on display at Giroux. In the accompanying catalogue, the Italians presented themselves in their macho style as committed artistic innovators and pure blooded colourists: &#8217;the brown tints have never flowed beneath our skin, that yellow sparkles in our body, that red glistens in it, and that green, blue and violet frolic in it in a thousand voluptuous and caressing arabesques.&#8217;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Schmalzigaug had seen the same Futurist exhibition a few weeks earlier at the Bernheim-Jeune gallery in Paris. Shortly afterwards he moved to Venice, where he would eventually succumb to the siren of Futurism, as well as that of chromaestesia. In a letter written in early 1914 to the Italian gallery owner and promoter of Futurism, Giuseppe Sproveri, he described one of his most important paintings as &#8216;colour-form environments in which the head of a cabaret singer is composed&#8217;. In this way, he brought the almost audible memory of a <em>caf\u00e9-concert<\/em> singer into a direct abstract synthesis with &#8216;environments&#8217; of colour.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154638-1024x768.jpg\" alt=\"\" class=\"wp-image-1531\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154638-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154638-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154638-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154638-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154638-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154638-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154638-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Music in painting automatically led Schmalzigaug to more abstract images. To graceful arabesques rhythms of colours expressed in undulating lines of red, blue, yellow and white, as in the shimmering painting <em>Volume + Light<\/em>: <em>The Sun Shines on the Church of Santa Maria della Salute <\/em>(1914). As noted at the outset, it was not only the work of Ensor or other fin-de-si\u00e8cle artists that provided Schmalzigaug with outstanding examples of resonant lines of colour like this, but also the vermilion cloak worn by the king in Ruben&#8217;s altarpiece. He wrote to Boccioni: &#8216;Have no fear, I have no desire whatsoever to go back to Rubens . I merely want to say that colour only assumes its true significance, its inherent plastic significance, when it is used freely, independent of tangible form or the immediate suggestion of light. (Rubens, after all, constructed his paintings like <em>tableaux vivants<\/em>, drapimg his actors and making trappings such as these function according to the colourist demands of the composition).<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1-1024x768.jpg\" alt=\"\" class=\"wp-image-1532\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_150601-1-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">And there we have it: the entirely &#8216;free&#8217; use of colour enabled Schmalzigaug&#8217;s colourism to break free from Realist or Impressionist ways of looking. A theorist of resonant, expressive colours and abstract art had emerged, who lived up to his rhetoric by producing the first abstract painting in the history of Belgian  art: Development of a theme in Red: Carnival (1914). As well as the &#8216;red that sings&#8217;, the other primary colours blue and yellow, and the non-colours white and black, feature in it, energetic and aggressive. What Schmalzigaug painted was less a caarnival and more the colourful commotion that comes with it. He went on to paint the magnificent, abstract Composition (1914-1915) &#8211; a alightltly less wild, more symphomic piece of music in colours. &#8216;If you will indulge me [&#8230;] I begin by assuming a light itensity = X [&#8230;] in it I find the continuous play of the prism, i.e. that my light X decomposes and recomposes constontly according to the calls of the colours. For example, a red, due to the fact that the molecular conglomerate &#8220;red&#8221; absorbs all the rays of light, of intensity, governed bt X. Say I am walking in X; what is the result? A red has just addressed a call to my sight. Will I obey? Not at all &#8211; a yellow, a green, a blue will immediately have addressed similar calls to my eye.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-2-768x1024.jpg\" alt=\"\" class=\"wp-image-1533\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-2-768x1024.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-2-225x300.jpg 225w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-2-1152x1536.jpg 1152w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-2-1536x2048.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-2-1320x1760.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-2-600x800.jpg 600w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_154820-2-scaled.jpg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">..<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Things had taken a highly scientific turn in Schmalzigaug&#8217;s brain. His colourist thinking lay somewhere between the American physician Ogden Rood&#8217;s &#8216;Modern Chromatics&#8217;, Seurat and Signac&#8217;s Neo-Impressionist colour theory and the ideas of the Futurists. In terms of sound-colour, meanwhile, his paintings resemble the masterpiece Amorpha: Fugue in Two Colours (1912) by the Czech master Frantisek  Kupka, who was active in Paris. Schmalzugaug had already had the opportunity to admire the painting in 1912 at the Salon d&#8217;Automne in the French capital. The inclusion of &#8216;fugue&#8217; in the signalled Kupka&#8217;s desire to paint his colours directly into the universe of sound, with a judicious nod to the polyphonic compositions of Johann Sebastian Bach. Colours become counterpoints, with each variation, each pigment, conveying an emotional charge of his own. As so often in the history of art, the thrill and passion of red is juxtaposed with laser precision against the cooler serinity of blue.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In addition to Kupka, Schmalzigaug&#8217;s abstract work displays clear affinities with Wassily Kandinsky, the moscovite who made German Expressionism great. While the two artists met, our Antwerp Futurist must have learnt about Kandinsky&#8217;s &#8216;sound of colour&#8217; in Italy, where he certainly had access to ideas through magazins such as Der Sturm, the almanac of Der Blaue Reiter or Kandinsky&#8217;s seminal treatise \u00dcber das geistige in der Kunst (Concerning the Spiritual in Art), all of which circulated within Futurist circles. The relevant texts were also avidly consulted in the studio of the leading master Giacomo Balla, not least by Schmalzigaug, who studied and worked there for a while in the spring of 1914.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kandinsky&#8217;s words in Concerning the Spiritual in Art are those of a musician of painting: &#8216;Colour is the key. The eye is the hammer. The soul is the piano with many strings. The artist is the hand that purposefully, touching one key or another, sets the the human soul vibrating.&#8217; It was not only among the Expressoinists that analogies of this kind between musician and painter lay at the heart of the modernist experiment. In 1899, for example, the Neo-Impressionist Signac expressed himself in similar terms: &#8216;The painter will have played his keyboard of colours in the same way that a composer uses the different instruments to orchestrate a symphony.&#8217; For his part, Schmalzigaug wrote to Boccioni: &#8216;I suppose that the canvas will cease to serve the composer of coloured music, other than as the means of finding his orchestrations; that a numbered system of vibrations (similar to musical notation) will make it possible to &#8220;play&#8221; the luminous suggestion on a keyboard; [&#8230;]. Our palette would be, to this giant apparatus, what the piano is to the orchestra.&#8217;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Schmalzigaug&#8217;s description of a colour keyboard imstrument was prescient as, exactly one year later, in March 1915, the Russian composer Alexander Scriabin performed his tone-poem <em>Prometheus<\/em> at Carnegie Hall in New York, accompanied by a c<em>lavier \u00e0 lumi\u00e8re<\/em>: a keyboard that could project a different colour of light into the air with each note.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Harry Chapin Plummer, who was present at this groundbreaking event, wrote a detailed essay for the April 1915 issue of Scientific American, in which he described how the tastiera per luce or &#8216;colour-light keyboard&#8217; could be used successfully as an &#8216;orchestral unit&#8217; for a new art form: &#8216;colour-music&#8217;: &#8216;The colour appeared, simultaneously with the rendition of the music, filtering through a mesh of fine gauze within a square framework at the back of the stage [&#8230;]. The player, or operator, sat at the keyboard in the body of the orchestra [&#8230;]. He followed the condoctor&#8217;s beat and the music [&#8230;]. An arbitrary color-scale was employed by the composer of &#8216;Promotheus&#8217;, corresponding with a musical scale, with its color equivalents, follows:<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">C    Red<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">D   Yelloe<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">E   Pearly Blue<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">F-sharp    Blue<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A   Green<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">B-flat    Steeley Gray<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Harmonic combinations of these tones naturally demanded corresponding combinations of the various hues in the mesh upon which the gaze of the audience was centred [&#8230;]. &#8220;Prometheus&#8221; is styled by Scriabin as the embodiment of the creative energy of the universe &#8211; the creative principle of light, heat, energy, conflict, and physical and mental activity.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Scriabin&#8217;s all-encompassing cosmic energy combines with the analogy between music and painting in general to reveal yet another common thread running throughout modern art and culture: a fascination. Since by the end of the nineteenth century, theb esoteric way of thinking &#8211; initially led by the controversial  Madame Blavatsky &#8211; had been based on a universal, all-transcending wisdom. Insights from religion, science, (Eastern) philosophy., mysterical knowledge, art and spirituality were combined, in order to (among other things) validate the higher truth of multisensory experiences.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The Blavatsky prot\u00e9g\u00e9e Alice L. Cleather had already pointed out (as Plummer would too), in an 1895 article for <em>The Path<\/em> magazine, that the entire notion of &#8216;colour music&#8217; had been invented by the English artist Alexander Wallace Rimington, whose thinking was largely in keeping with Theosophical teachings. That same year, Rimington had given a &#8216;colour organ&#8217; performance at the St James&#8217;s Hall in London, of which Cleather wrote: &#8216;The new instrument [&#8230;] is provided with a keyboard [&#8230;] upon which any piece of music suited for a keyed instrument can be played. [&#8230;] every note or combination of notes struck on the keyboard showed itself in floods of colour [&#8230;].&#8217;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Rimington explained his findings in the following terms: &#8216;Taking the spectrum band as the basis of all colour, there are two remarkable points of resemblance between it and the musical octave. [&#8230;] The first of them is that is that the different colours of the one, and the different notes of the other, are both due to various rates of vibration, acting on the eye or the ear [&#8230;] the second analogy [&#8230;] if we measure the rate of vibration at the first visible point at the red end of the spectrum, we shall find it is approximitely one-half what it is at the extreme violet end. Now in music, as we all know, this relationship is the same. If we take the first and last notes of an octave [&#8230;] the latter has nearly double the number of air vibrations &#8211; and the first note of the new octave has exactly double.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We do note know whether Schmalzigaug was aware of Rimigton&#8217;s colour organ, but he certainly discussed Theosophy with Futurists such as Russolo and Balla. He decided to continue working radically in that spirit, and ultimately came to believe that his research into colour and sound was more important than the act of painting itself. He wrote to his brother in June 1914: &#8216;Latest conclusions: to achieve the of the painting [&#8230;] To achieve the use of Colour-free-of-Space, to detach from White Light (light is everything) the parts (which are colours). Instead of painting pictures, to compose scores for colourist orchestrations. To achieve the notation of colourist sensations.&#8217;This outpouring should nevertheless be taken with a pinch of salt, since Schmalzigaug never actually stopped painting.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As part of his ultimately unfinished theory of colour entitled &#8216;La Panchromie&#8217;, Schmaligaug began to develop a system in which chromatic tones and intervals were noted on a musical stave. He based it on his observations at contemporary music halls, where he noticed that the &#8216;Colour-Lumi\u00e8re&#8217; consistently split into three hues: RA (a cold blue), GLOU (an intensely warm red tending towards orange) and STRI (a toxic green). Together, these &#8216;light colours&#8217; formed a single &#8216;Lumi\u00e8re-Ambiance&#8217;, which could only be held in check by &#8216;valeurs-feutre&#8217; &#8211; &#8216;felt colours&#8217; that absorbed light, such as cobalt blue, brown-red and olive green. The pulsating canvas <em>Rhythm of Light Waves<\/em>: <em>Street + Sun + Crowd<\/em> (1915-17) appears  to be the sole manifesto for this theory.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1-1024x768.jpg\" alt=\"\" class=\"wp-image-1538\" srcset=\"https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1-1024x768.jpg 1024w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1-300x225.jpg 300w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1-768x576.jpg 768w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1-1536x1152.jpg 1536w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1-2048x1536.jpg 2048w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1-1320x990.jpg 1320w, https:\/\/daardoeikhetvoorteam.com\/wp-content\/uploads\/2026\/05\/20260508_155208-1-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"has-small-font-size wp-block-paragraph\"><strong>Rhythm of Light Waves: Street + Sun + Crowd (1915-1917).<\/strong> Donation from Walter Malgaud, 1928.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Because of the First World War and his strategic suicide in 1917, Schmalzigaug was no longer given the opportunity to share his avant-garde artistic ideas on optical and acoustic sensations with his contemporaries. He had even gone to great lengths to keep his rapprochements with Futurism largely under wraps, even from his parents. At the time, this kind of painting would have been ridiculed in Antwerp bourgeois circles and he knew his parents would not approve his career path. Nor did he reveal his true colours to his former colleagues at the Antwerp artists&#8217; group Kunst van Heden, where he had served for many years since 1908 as assistent secretary, international networker and &#8216;associate writer&#8217;. His work was never exhibited by the group during his life time. It did not appear there there until 1923, when rooms were post-humously allocated to him at the Kunst van Heden salon, together with the colourful works of the sculptor-painter Rik Wouters, who had also died far too young, in July 1916 at the age of 33.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Koninklijk Museum voor de Schone Kunsten Antwerpen &#8211; 11.04.2026 &#8211; 30.08.2026 COLOURS AS SOUNDS Psychologists call it synaesthesia, from the Greek syn (together), and aisthesis (perception, sense). Stimulation, in other words, of multiple senses at once. Scientific interest in this neurological phenomenon grew steadily throughout the nineteenth century &#8211; a period in which the theories [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kadence_starter_templates_imported_post":false,"footnotes":""},"categories":[37],"tags":[],"class_list":["post-1487","post","type-post","status-publish","format-standard","hentry","category-museum-antwerpen"],"_links":{"self":[{"href":"https:\/\/daardoeikhetvoorteam.com\/index.php\/wp-json\/wp\/v2\/posts\/1487","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/daardoeikhetvoorteam.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/daardoeikhetvoorteam.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/daardoeikhetvoorteam.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/daardoeikhetvoorteam.com\/index.php\/wp-json\/wp\/v2\/comments?post=1487"}],"version-history":[{"count":5,"href":"https:\/\/daardoeikhetvoorteam.com\/index.php\/wp-json\/wp\/v2\/posts\/1487\/revisions"}],"predecessor-version":[{"id":1539,"href":"https:\/\/daardoeikhetvoorteam.com\/index.php\/wp-json\/wp\/v2\/posts\/1487\/revisions\/1539"}],"wp:attachment":[{"href":"https:\/\/daardoeikhetvoorteam.com\/index.php\/wp-json\/wp\/v2\/media?parent=1487"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/daardoeikhetvoorteam.com\/index.php\/wp-json\/wp\/v2\/categories?post=1487"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/daardoeikhetvoorteam.com\/index.php\/wp-json\/wp\/v2\/tags?post=1487"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}