Cookies settings


Functional Cookies

This site uses cookies to ensure its proper functioning and cannot be disabled from our systems. We do not use them for advertising purposes. If these cookies are blocked, some parts of the site will not work.

Measure of audience

This website uses cookies such as Google Analytics and Google Ads to measure and improve our website.

Interactive Content

This site uses third-party components, such as ReCAPTCHA, Google Maps, MailChimp or Calameo, which may place cookies on your machine. If you choose to block a component, the content will not be displayed.

Social Networks / Videos

Social network and video plug-ins, which use cookies, are present on this website. They allow us to improve the user-friendliness and promotion of the site through various social interactions.

Other cookies

This website uses a number of cookies to manage, for example, user sessions.

7. A warm reunion with nature (1956-1967)

After the interlude of cold abstraction that strengthened his strong formal discipline, Van Lint returns at a lyrical abstraction inspired by the subjective interpretation of the nature. Particularly sensitive to the abundance of the nature (Fall wilderness - Sauvagerie automnale), Strange Vegetation (Etrange végétation), to blinding waves or clouds Children in Oostduinkerke (Enfants à Oostduinkerke), to terrestrial complexion, the painter convenes the essence through compositions of a tachiste, and turbulent present, as washed away by a strong wind.

Color is not essential, but in my case, it plays a certain role in the sense that I want it to be refined, subtle, because life is like that, all in shades, all in variations with accents sometimes more violent or even aggressive.

The sea inspires the artist the most during his many visits to the Belgian coast or in Brittany; he goes  to meet it on the wet sand, sniff it, to blend with it or for an emotional look on a clump of seaweeds, shellfish, shimmering pool of water left by the sea on the sand, discovering in all of these shapes, which he captures first, most of the time, in charcoal and then being inspired by them to paint canvases titled for example Marine mirrors (Miroirs marins) or Marine mirage (Mirage marin), a large canvas which was commissioned in 1957 for the Center for Scientific and Nuclear Research, Mol. Other times, Van Lint finds inspiration in the shapes of more mineral nature settings. When, leaving Saint-Josse, he prepares to build a house in Kraainem, he discovered in this green village in the Brussels' periphery, a quarry carved in the hillside.  The visible geological strata are inspiring first watercolor drawings and afterwards canvases as Geological section (Coupe géologique), a masterful painting exhibited today in the Ghent Museum. Meanwhile, during many exhibitions in Belgium and abroad, the artist continues to be honored and applauded: an award received from the Guggenheim Foundation in New York and the Grand Prize of the Belgian Critics in Charleroi in 1958, the International Painting Marzotto Prize in Lugano in 1960, the awarding of a work scholarship by the Belgian State in 1961, an exhibition tribute to the Museum of Fine Arts of Verviers in 1962.