The Enduring Legacy of the Van der Kelen Painting School in Brussels

The École Van der Kelen-Logelain, located in Brussels, is a distinctive institution that has been teaching decorative painting techniques since its establishment in 1892. Under the guidance of Sylvie Van der Kelen, who recently took over from her mother Denise, the school maintains a rigorous curriculum that emphasizes traditional trompe l’oeil methods. Students, clad in white lab coats, engage in a demanding routine that includes daily demonstrations, extensive homework, and a strict no-phone policy. The course, lasting six months, equips students with skills in sign painting, gold leaf application, and the replication of various wood and marble textures.

The Guardian

Despite its storied history, the Van der Kelen school faces significant challenges in the 21st century. The decline in interest for decorative painting among affluent clients has led to a drop in student enrollment, with class sizes dwindling from over 100 in the interwar period to just 10 or 11 in recent years. Sylvie acknowledges that the school's techniques have fluctuated in popularity, often cycling through periods of high demand and relative obscurity. However, the school continues to attract students from diverse backgrounds, including architects and graphic designers seeking a return to hands-on artistry.

The Guardian

One of the key figures in revitalizing interest in the school is Lucy McKenzie, a Glasgow-based artist who discovered the institution in 2007. McKenzie’s successful integration of trompe l’oeil techniques into contemporary art has drawn attention to the school, leading to an increase in enrollment. Her work has been exhibited in prestigious venues such as Tate Britain and the Art Institute of Chicago, contributing to a renewed appreciation for trompe l’oeil as a legitimate artistic form.

The Guardian

While the Van der Kelen school is celebrated for preserving unique artistic techniques, it has also faced criticism for its perceived elitism and outdated practices. Critics argue that its high tuition fee of €13,750 and rigid structure may alienate potential students. However, McKenzie defends the institution, asserting that it is a "national treasure" deserving of UNESCO protection. She emphasizes that the school provides invaluable skills that students can adapt to their artistic endeavors.

The Guardian

The future of the Van der Kelen school remains uncertain, yet there is hope for its continuity. Sylvie's son, Hilaire, is already being introduced to the world of decorative painting, suggesting a potential generational transition. Sylvie reflects on her family's commitment to preserving these techniques, stating, “They all discover something in themselves, working here.” As the school navigates the complexities of modern art trends, its legacy as a bastion of trompe l’oeil painting endures, fostering a new generation of artists dedicated to this intricate craft.

The Guardian

• “Everybody is in search for something special here,” — Sylvie Van der Kelen, Director

The Guardian

• “My father’s life was the students and the workshop, nothing else,” — Sylvie Van der Kelen, reflecting on her family's legacy.

The Guardian