Category Archives: Frans Vinck

On the fifth day of Christmas…

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“On the fifth day of Christmas my true love sent to me five gold rings…” is probably the most memorable line from the Christmas carol, The Twelve days of Christmas.

Another recognisable five-rings motif is the Olympic Games symbol created by Pierre de Coubertin who founded the International Olympic Committee. The educator and historian was also a talented designer.

The original flag displayed for the 1920 Antwerp Olympic Games. Source: olympics.com

The five-rings design first saw the light of day during preparations for the 1914 Olympic World Congress in Paris, but is wasn’t until after the First World War that the symbolic flag made its official world debut at the 1920 Olympic Games in Antwerp, Belgium.

Although the new Olympic flag was displayed in the stadium throughout the four weeks of the Games, the symbol wasn’t incorporated on the 90,000 posters printed in 17 languages advertising the event.

The poster features a naked discus thrower as a reference to the Games of Antiquity. The figure is wrapped in a ribbon of national flags representing the competing nations. The coat of arms of the host city Antwerp – a castle with three towers, two hands and a wreath of laurel and six roses – is placed in the top right corner. In the background is the city of Antwerp and one of its most notable landmarks, the tower of the Cathedral of Our Lady of Antwerp.

The Cathedral is approximately five kilometres from Antwerp’s Olympic Stadium, now home to the Belgian football club, Beerschot. It houses a stunnng set of the Stations of the Cross painted by two Belgian artists, Louis Hendrix and Frans Vinck. The 14 paintings were produced between 1864 and 1868.

The fourth station – Jesus meets his mother – is attributed to Hendrix. Like Jan van Eyck’s Arnolfini Portrait, it is structured as a coat of arms. The group of supporters on the left side of the frame depicts the Virgin Mary, John the Evangelist, Mary Magdalene, Mary Clophas and Joanna the wife of Chuza.

All five figures of the group are presented with halos shown as five gold interlocking rings!

So while the Olympic five-rings flag was flown only at the stadium during the month-long event, a similar motif had been present and on display in Antwerp for 50 years prior to the 1920 Olympic Games. I sometimes wonder if Pierre de Coubertin was aware of the connection to the “five gold rings” in the Cathedral of Our Lady of Antwerp.

Jan van Eyck… another sighting

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The 13th Station of the Cross, Jesus is taken down from his Cross. Frans de Vriendt

Frans de Vriendt (1829-1919) was a sculptor who lived and worked in Borgerhout, Belgium, making monumental statues in stone, bronze or wood. He also produced bas reliefs. The example above is one of a set of 14 Stations of the Cross he produced for churches in Belgium, England, France and Holland. He also taught at the Acadamy of Fine Arts in Antwerp.

There is no doubt it was the series of Stations in the Antwerp Cathedral of Our Lady that inspired De Vriendt to create his own set as he copied some of the features. The Antwerp stations were painted by Louis Hendrix and Frans Vinck between 1864 and 1868. It wasn’t long after that De Vriendt began producing his own bas-relief versions.

Below is the 13th Station – Jesus is taken down from his Cross – attributed to Louis Hendrix. The general scene and composition of the central figures is typical. However, there are a couple of figures in the Hendrix version, one of which is repeated in de Vriendt’s panel, that command closer inspection.

Antwerp Cathedral, 13th Station, Jesus is taken down from his Cross, Louis Hendrix

In the Hendrix panel, the figure on the right edge of the frame clasping the jar of oil is meant to be Jan van Eyck, an early master of oil painting. In the bas-relief the figure of Jan is transferred to the left edge and the jar of oil passed to the man alongside. Nicodemus is portrayed with his head is turned towards Jan in acknowledgement.

If there is any uncertainty that the Hendrix figure isn’t Jan, then compare it to the Sybil in red and black, portrayed at the right edge of the frame in Van Eyck’s Crucifixion painting and its deposition scene.

Jan van Eyck, The Crucifixion, Met Museum, New York

The other figure in the Hendrix panel referred to earlier is the man on the left of the frame holding the Crown of Thorns. This is likely to be Jan’s brother Hubert. His yellow cape and grip on the thorns define him as a goldfinch, a sign of Christ’s passion and Resurrection. It may also link to the quatrain on the Ghent Altarpiece in which Jan acknowledged his brother as greater than himself, and therefore deserving of Christ’s crown.