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In 1902, Fernand Khnopff completed construction on a house on the edge of the Bois de la Cambre in Brussels. The belly of the building concealed his studio behind a brass bar that a butler would slide aside for visitors – a gesture described as pernickety and pedantic in its day. A golden circle on the floor housed the artist’s easel. Its position was adjusted in harmony with the stars. Every studio visit began in the rose garden surrounding the house, a rampart of flowers that shielded the careful choreographies of the artist’s dwelling from the bustling, gossipy city outside.
In the interbellum, Brussels lost the house. In the Freudian sixties, Khnopff was considered depraved for repeatedly painting his sister, with whom the artist shared a close and beautiful friendship. Already having fallen out of fashion in the early twentieth century with the rise of modernism, the artist again unfairly fell victim to shifting psycho-cultural codes.
A home can be more than just...More
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Press Release
In 1902, Fernand Khnopff completed construction on a house on the edge of the Bois de la Cambre in Brussels. The belly of the building concealed his studio behind a brass bar that a butler would slide aside for visitors – a gesture described as pernickety and pedantic in its day. A golden circle on the floor housed the artist’s easel. Its position was adjusted in harmony with the stars. Every studio visit began in the rose garden surrounding the house, a rampart of flowers that shielded the careful choreographies of the artist’s dwelling from the bustling, gossipy city outside.
In the interbellum, Brussels lost the house. In the Freudian sixties, Khnopff was considered depraved for repeatedly painting his sister, with whom the artist shared a close and beautiful friendship. Already having fallen out of fashion in the early twentieth century with the rise of modernism, the artist again unfairly fell victim to shifting psycho-cultural codes.
A home can be more than just...More
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