Spilliaert is inextricably linked to his hometown: through his scenes of the dike, the sea and the port, bathers and fisherwomen, as well as the fact that his family name was well known in Ostend, including through his father’s perfumery and hair salon. Moreover, his many interior scenes and still lifes give the impression that he showed little inclination of wanting to leave his familiar surroundings.

Although Spilliaert lived in his childhood home until the age of thirty-five, he left the seaside town several times. In 1902, he moved to Brussels to work for publisher Edmond Deman. In 1904, he went to Paris, where he met many prominent artists through Emile Verhaeren. He would return to Paris many times in the years that followed.

In 1917, in the middle of the war, Spilliaert really did leave Ostend behind in earnest for the first time and moved to Brussels with his brand-new wife Rachel. Secretly, he dreamt of fleeing to neutral Switzerland, but those plans were thwarted by Rachel’s pregnancy, among other things.1 The family settled in Molenbeek, in the Karreveld neighbourhood and later in Begijnenstraat. In 1922, they returned to Ostend, but in 1935 they moved permanently to Brussels. During the last ten years of his life, they continued to move regularly around the municipality of Ixelles.

The Spilliaerts not only resided in Ostend and Brussels, Nieuwpoort, another seaside resort on the Belgian coast, was one of their holiday destinations, among others. On one occasion Spilliaert stayed in the southern French town of Saint-Jacques near Grasse, at the country home of Henri Vandeputte. In the summer of 1930, he spent time in the Hainaut village of Bassilly, mainly to find inspiration for illustrations for the book Au temps que Nanette était perdue by Benoît Bouché. As of 1936, the Spilliaerts often spent time in the High Fens at the country home of Adolphe Van Glabbeke, later minister and mayor of Ostend.

Although Spilliaert claimed it was his dream to travel, he never became a real globetrotter. In 1903, he had hoped to travel to the Congo through Edmond Deman’s son-in-law, but his poor health threw a spanner in the works. In 1908, he became rather envious when his friend, Stefan Zweig, was about to leave for India. However, when he did get the opportunity to take a trip around the world on a cargo vessel in 1927, he got cold feet and abandoned the dream for good.2 In the end, his travel adventures were limited to a family trip in 1932, when he received a travel grant from the Belgian government. With that money, he hoped to travel via the Swiss Alps along the Adriatic coast across Abruzzo to Rome and Sicily. He already led a somewhat spartan existence, and even on their travels he and his family enjoyed few luxuries, ending the trip early.3 They ultimately reached Venice and the Dolomites.

On his deathbed, Spilliaert expressed the wish to return to Ostend, but his precarious health did not permit it. He was, however, buried in his beloved seaside town following a Mass at the Maria-Boodschapkerk in Ixelles.4

Léon Spilliaert, Mediterranean Garden near Grasse, 1923, watercolour and pencil on paper, 59 x 44.3 cm. De Vuyst, Lokeren.
Léon Spilliaert, The High Fens in Summer, 1938, watercolour and gouache on paper, 34 x 49 cm. De Vuyst, Lokeren.
Léon Spilliaert, Illustration for Benoît Bouché, Au temps que Nanette était perdue, Brussels, L'Eglantine, 1931, 24 x 18 cm. Ostend, Mu.ZEE, Collection of the City of Ostend, inv. SM002527. Photo Cedric Verhelst.

Footnotes

  • 1

    Anne Adriaens-Pannier, Spilliaert. De bezielde blik, Ghent, Ludion, 2006, p. 305.

  • 2

    Anne Adriaens-Pannier, Spilliaert. De bezielde blik, Ghent, Ludion, 2006, p. 312.

  • 3

    Anne Adriaens-Pannier, Edouard Derom and Johan van Rossum, ‘Familieherinneringen. Interview met Johan van Rossum’, in Anne Adriaens-Pannier, Patrick Derom and Édouard Derom, Léon Spilliaert: Dwalen door de stilte, Ghent, Snoeck/Brussels, Patrick Derom Gallery, 2024, p. 68.

  • 4

    Anne Adriaens-Pannier, Spilliaert. De bezielde blik, Ghent, Ludion, 2006, p. 317.

Last updated: 13-12-2024

Read also

The Spilliaert family
The Spilliaert family, father Léonard-Hubert Spilliaert, mother Léonie Jonckheere, Léon Spilliaert, Maurice Spilliaert and Marie-Henriette Spilliaert, Ostend, ca. 1887. Photographer unknown.
Question

Did Spilliaert’s parents support his ambition to become an artist?

Read more
Self-portrait with Red Pencil
Léon Spilliaert, Self-portrait with Red Pencil, 1908, Indian ink, gouache and pastels on paper, 85 x 69 cm. Ostend, Mu.ZEE, Collection of the City of Ostend, inv. SM000005. Foto Cedric Verhelst.
Question

Why did Spilliaert produce so many self-portraits?

Read more
Liefde (Amour) (Love), 1901
Léon Spilliaert, Liefde (Amour) (Love), 1901, Indian ink, watercolour and gouache on paper, 32 x 19.6 cm. New York, Hearn Family Trust.
Question

Spilliaert: symbolist, expressionist, surrealist...?

Read more