In 1902, Spilliaert offered his services to the Brussels publisher Edmond Deman, and started work there in September on a trial basis. A new world opened up for Spilliaert in Deman’s bookstore at rue de la Montagne 86 in Brussels. He discovered Maurice Maeterlinck, Emile Verhaeren, Stéphane Mallarmé, writers whom Deman published, as well as the art of Fernand Khnopff and Odilon Redon, among others. Spilliaert produced illustrations for unique copies of collections by Verhaeren and Maeterlinck.
His masterpiece as far as illustrations are concerned is the Théâtre collection by Maeterlinck, published in 1901-1902. Spilliaert embellished this three-volume work with no fewer than 348 intriguing ink drawings, some filling an entire page, some decorating the border.
During this period, Spilliaert had hoped to travel to Congo Free State to work. Gabrielle, the oldest daughter of Edmond Deman, was engaged to Albert Sillye (1867-1929), who worked for Congo Free State. Spilliaert took his chance in late December 1903, with a recommendation from Deman. But to his great disappointment, he was turned down due to his poor health. Without any visible bitterness, but with the inevitable melancholy, he illustrated a postcard for Sillye, depicting a steamboat sailing toward the horizon.1
His plans to go to Paris were more successful. Armed with a new letter of recommendation from Edmond Deman, he met Emile Verhaeren near Paris. This heralded the beginning of a close friendship. During his stay in Paris, from February to July 1904, he became acquainted with artists such as Auguste Rodin, Eugène Carrière and Felix Vallotton. Through Verhaeren’s network Spilliaert, along with his peer Pablo Picasso, was able to exhibit several drawings in Clovis Sagot’s gallery.
Spilliaert, with his individual drawings, was becoming increasingly captivated by poetry, with references to Chateaubriand, Maeterlinck and others. His work exuded an unsettling atmosphere, with surly staring protagonists, some featuring references to social unrest.
