This is Eugeen Van Mieghem

Eugeen Van Mieghem ([ˈøːɣeːn vɑn ˈmiːɣəm]; October 1, 1875 – March 24, 1930) was an player born in the port city of Antwerp, Belgium. As a boy Van Mieghem was confronted once the scratchy reality of enthusiasm at the waterfront.

In honour of his work, on her launch in 2011, a bulk carrier was named after Van Mieghem. While she plies her trade successfully, complaints have been made roughly speaking the profundity of spelling the vessels name.

Even at primary university he showed a capacity for drawing. He was introduced to the be in of Vincent van Gogh, Georges Seurat, Camille Pissarro, Henri de Toulouse-Lautrec and others at an exhibition organised by Flemish painter and architect Henry van de Velde at the Antwerp Academy approaching 1892. He attended the Antwerp Academy but was sent from intellectual because his conservative teachers disliked his subject thing and his free, spontaneous showing off with it. He threw his lot in with difficult political and cultural movements, and associated an anarchist group. By the to the front 1900s was qualified as one of the most promising youngster artists of the Antwerp school. He would never resign his idealism. He became the performer of the typical harbour folk: sack porters, sack makers, emigrants, dockers, bargees, and tramps.

Van Mieghem had his first taste of genuine success at La Libre Esthétique in Brussels, where his pastels and drawings hung alongside works by French impressionists such as Claude Monet, Paul Cézanne, Camille Pissarro, Jean Renoir and Édouard Vuillard.

Van Mieghem married Augustine Pautre in 1902. At the fall of November 1904 his youthful wife fell ill. Van Mieghem depicted her in an fabulous series of drawings and pastels that rate alongside similar work by artists such as Rembrandt (The Series of Saskia) and Ferdinand Hodler (Valentine Godé). Grief-stricken at the death of his wife, it was not since 1910 until Van Mieghem showed his performance again.

After his first individual exhibition at Antwerp’s Royal Society of Fine Arts in 1912, international captivation in his achievement mounted and bureau exhibitions followed in Cologne and The Hague. In March 1919 he showed his wartime deed in Antwerp. This remarkable series of mainly drawings and pastels met behind the wide approval of art critics, who compared this fake to that of Théophile-Alexandre Steinlen, Jean-Louis Forain, and Käthe Kollwitz. After an article by his friend and Flemish author Willem Elsschot appeared, Van Mieghem was also skillful to play-act his wartime discharge duty in a gallery in Scheveningen in The Netherlands. In 1929 he became a literary of animatronics drawing at the Academy in Antwerp and he participated in exhibitions every year until his death in 1930.

In European social art of the approach of the century, international art critics compare his be active to that of figures considering Käthe Kollwitz, de Toulouse-Lautrec, and Steinlen. Van Mieghem had no equal subsequent to it came all along to drawing and painting the lives of unsigned people, living and dynamic in an international seaport. When it comes to capturing social reality, his enactment has much of the gift and realism of Jean-François Millet’s. Like the precursor of social art, Van Mieghem never had to leave his own feel in search of subjects. The world was upon his doorstep.

In recent years Van Mieghem’s show has been rediscovered internationally. In 2000 a Steinlen retrospective at the Picasso Museum in Barcelona included seven of his works and brought international nod for his work. In 1993, the Eugeen Van Mieghem Museum opened its doors in Antwerp, with a growth of 150 of his works. In 2017 the Hugh Lane Gallery (Dublin, Ireland) exhibited several of his works.