Alexandre Clarys (1857-1930)
Alexandre CLARYS (1857-1930) was a student of Ernest Blanc-Garin (1843-1916) and of the Academy of Fine Arts in Brussels (between 1868 and 1879). He preferred to paint scenes with dogs and horses, such as his “Corner of the horse market”, one of his first important works, shown in the Salon 1881 in Brussels. Horses in working conditions also got his attention: draft horses on the land or in forestry, in the port, etc
Clarys also practiced the genre of animal portraits: actual portraits of dogs or horses, commissioned by their wealthy owners. Clarys, for example, portrayed the horse Montjoie of King Albert I. In the Salon 1881 in Brussels he exhibited an unspecified dog “portrait”. His clients were, of course, mainly people from horse racing and hunting backgrounds, who had their best racehorses or hunting dogs immortalized, either in a strict portrait of a horse or dog, or incorporated into an action scene. Clarys' clientele was also very international.
In 1889, in collaboration with the portraitist Léon Herbo, he painted the monumental canvas (137×200 cm) “Meeting between the Maria-Hendrika Eskadron, Queen Maria-Hendrika and Princess Clementina”. Also in this painting the depictions of purebred horses received a lot of attention (Brussels, Museum of the Army).
Clarys was active as a poster artist, of course for horse racing and other sporting horse events. His works include the poster for the Wellington Racecourse in Ostend 1911, with a view of the overcrowded stands and part of the racecourse, for a “Fête de bienfaisance, charité. Cercle de l'Escadron Marie-Henriette” (1904), and the poster “Ville de Spa - Grand concours hippique” and “Spa. Ville d'eaux Ville de sports 15 mai – 15 octobre” with outgoing carriages, hunters and hunting dogs. There are also posters for agricultural events.
In addition, Clarys was an illustrator associated with several sports newspapers, including the “Illustration Sportive”.
The First World War inspired him to a number of color etchings: “Invasie van België”, “Na Halen. Loose horses of the German cavalry”, “The Battle of the Yser”, “Belgian artillery”. They were printed at Malvaux in Brussels. In these color etchings too, Clarys' attention was more focused on the horses than on the seriousness of the situation.
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