Floris Jespers

Thus expression.. Had to be given to the naturalistic form of the object. The creator of one of the first Modernist groups in Belgium, he was at the center of avant-garde circles, as a member of De Branding and Kunst van Heden. Alongside Constant Permeke, Frits van den Berghe, and Gustave de Smet, he exhibited at influential galleries like Sélection and Le Centaure, while also serving as the "House Illustrator of the Flemish Avant-Garde," publishing graphic art in periodicals like Ça Ira, Ruimte, and Variétés, which featured experiements in Dada, poetry, and various manifestos. Collectively, these experiments helped create and develop what later came to be known as Flemish Expressionism.

Floris Jespers studied at Royal Academy of Fine Arts. The recorded working language is Dutch. Subjects and genres recorded for the work are flemish. Work by Floris Jespers is recorded in the collections of Finnish National Gallery, Design Museum Gent, Royal Museum of Fine Arts Antwerp, Museum of Fine Arts Ghent (MSK) and Mu.ZEE - Kunstmuseum aan Zee.

• Name — Floris Jespers • Born — 18 March 1889 • Birthplace — Borgerhout • Died — 16 April 1965 • Place of death — Antwerp • Education — Royal Academy of Fine Arts (Antwerp) • Movement — Flemish expressionism

The son of sculptor Emiel Jespers and the brother of sculptor Oscar Jespers, Jespers was already enrolled in the Royal Academy of Fine Arts by age 11. He debuted as a painter at age 22, inspired by Cubism, Kandinsky, and German Expressionism. Within a decade, he had met poet Paul Van Ostaijen, who mentions Jespers by name in the poem Huldegedicht aan Singer. Both became active in Antwerp's 1920's Avant-garde while Jespers contributed to the publications Ça Ira, Le Centaure and Sélection and befriended Jean Metzinger and Albert Gleizes when they published Du Cubisme. In 1921, Jespers exhibited in a group show with Kurt Schwitters and Fokko Mees, both members of the Dutch group De Branding. In 1925, he became a member of Kunst van Heden, a prominent Belgian association also known as L'Art Contemporain, founded in 1905 to promote contemporary art through exhibitions, salons, and publications. Jespers traveled to the Belgian Congo for the first time in 1951. He stayed in the city of Kamina, where his son Mark Jespers worked as a doctor. The journey was a revelation for him, and he translated his impressions of African women into colorful frescoes. His African paintings are not genre scenes, but they present a greater vision of Africa. From the mysterious gazes and the faces of the swimmers painted in Ostend in 1927 and the Congolese women of the 1950s, a consistent idealised vision of the untouchable and enigmatic African woman emerges.

Floris Jespers is recorded as painter, printmaker, draftsperson and artist.