Édouard Vereycken

ÉDOUARD VEREYCKEN (Antwerp, Belgium, 1893 - 1965).
"Woman with flowers".
Lost wax bronze with greenish-brown patina.
Signed on the base.
Foundry stamp: "Batardy Fr. & Cie / Cire perdue / Bruxelles".
Wooden base.
Measurements: 47 cm high.

Bronze sculpture by Édouard Vereycken, one of the outstanding names of Belgian sculpture of the first half of the 20th century. The piece represents a female nude of collected composition and great plastic intensity. The figure appears folded in on itself, in a closed and enveloping posture that concentrates the expressive tension in the dialogue between torso, arms and legs.

One of the most singular aspects of the work is the treatment of the long hair, which descends over the body and seems to be progressively confused with the floral motifs that cover the figure. This fusion between body, hair and flowers introduces a symbolist reading of great sensuality, in which the woman is integrated with an organic and ornamental universe, without losing the compact solidity of the sculptural form.

The piece shows echoes of Rodin's vibrant modeling and the bodily power of early 20th century Belgian sculpture, especially close to the sensibility of Jef Lambeaux. The dark, glossy patina accentuates the hallmarks of light on the anatomy, alternating polished areas with rougher, more expressive surfaces.

The foundry stamp Batardy Fr. & Cie, Cire perdue, Bruxelles confirms the execution by the lost wax technique, ideal for preserving the tactile richness of the modeling. For its technical quality, its compact composition and the delicate integration between figure, hair and floral motifs, Woman with Flowers is a remarkable example of Vereycken's bronze production.

Vereycken developed an international career, with stays and works in Italy, America, Canada and France; he also won the Prix de Rome in 1920 with his Perseus, a fact that confirms his early projection within the academic and monumental field. His work includes both small sculpture and public commissions, including commemorative monuments in Belgium, which reinforces its consideration within the Belgian sculpture of the twentieth century.