1957 · Belgium
Ronny Delrue is an established contemporary artist, who was born in Belgium. Ronny Delrue was born in 1957. Some of the artist's contemporaries that are from the same generation and country include Luc Tuymans and Francis Alÿs.
Ronny Delrue's exhibition
42 of Ronny Delrue's works are currently for sale on Artland.
Historical Context of Belgium
Surrounded by France and the Netherlands, the modest country of Belgium has been significantly influenced by its neighbours throughout time and asserted itself as a vibrant and inventive artistic hub in the later part of the nineteenth century. Belgian art productions were crucial in the unfolding of Surrealism in the 1930s, primarily through the works of Rene Magritte and Paul Delvaux. Among others, Marcel Broodthaers, Wim Delvoye, Francis Alys and Luc Tuymans are key figures of the Belgian art scene of the twentieth century. Greatly influenced by Belgian artists, the Symbolist movement was a prominent artistic trend, early precursor to Surrealism, and including artists such as Léon Spilliaert, Jean Delville, Fernand Khnopff and James Ensor. As the age of the avant-garde began to take place in Europe towards the late nineteenth century, Brussels turned into a hub for the Art Nouveau movement, which included the architect Victor Horta amongst its founders.
Further Biographical Context for Ronny Delrue
Ronny Delrue was born in 1957 and was largely inspired creatively by the 1970s. Conceptualism is often perceived as a response to Minimalism, and the leading art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that ensued were all characteristic of a strong desire to progress and consolidate the art world, in response to the tensions of the previous 1960s. Process art branched out from Conceptualism, including some of its most essential aspects, but going further in creating mysterious and experimental artistic journeys, while Land Art brought creation to the outsides, initiating early ideas of environmentalism. In Germany, Expressive figure painting was given a second chance for the first time since the weakening of Abstract Expressionism almost two decades, the genre reclaimed its distinction through the brushstrokes of Gerhard Richter, Anselm Kiefer and Georg Baselitz. The majority of the critically acclaimed artists from the 1960s, who had gained success and popularity, kept their status in the 1970s. Andy Warhol was a key figure of those two decades, and in the 1970s started to experiment with film and magazine publishing, thus engaging in a cross-platform activity that no other visual artist of such standard had previously undertaken. By doing so, he secured his status as a celebrity. The multicultural and sophisticated position that New York city held in the 1960s remained just as influential in the 1970s. With multiple international renowned artists gravitating the galleries and downtown scene, the city once again reinforced its reputation as the artistic hub of the generation. Street art started to emerge as a true and recognized form of art towards the end of the 1970s. Jean-Michel Basquiat and Keith Haring were pioneers in proving that their artworks could exist at the same time in art galleries and in urban settings. Fuelled by graffiti art, street art from its earliest days showed that it could endure in a unceasing flux of self-transformation, eternally shifting the limits of modern art, becoming a truly ground-breaking artistic genre. All over, various movements defined the 1970s. Amongst others, feminism and the innovative radical ideologies it occasioned strongly influenced the visual culture. Photorealism, which had emerged in the 1960s, also gained critical and commercial success. The critical, leading artistic figures of New York city started to embrace painters and sculptors from Latin America. The Arte Povera movement, which emerged in Italy, received international acknowledgement in the 1970s, and leading figures such as Jannis Kounnelis, Mario Merz, and Michelangelo Pistoletto were praised. The critically engaged Mono-Ha movement, comprised of Japanese and Korean artists, flourished in Tokyo in the 1970s. Discarding conventional ideas of representation, the artists favoured an interpretation of the world through an engagement with materials and an exploration of their properties. The artworks would often consist of encounters between natural and industrial materials such as stone, glass, cotton, sponge, wood, oil and water, mostly unchanged intact.