Art is as natural to an Axel Vervoordt interior as the horizon is to a landscape. In my last post, Axel Vervoordt: The Art of the Room, Part I, photographs of vignettes taken within the designer’s Belgian castel focuses on his sensitive and exacting curatorial prowess at creating tableau that stirs the mind, soul and senses. The feature, based on an article written for The Financial Times “How to Spend It” section, inspired in me new ideas on how to present material in future posts. For my love of art I thought it might be interesting to select inspired works of art as the leitmotif for each interiors post, whether the art actually is hung in the rooms of the dwellings presented or is a representation of the spirit of their rooms. It just might be interesting and unique enough to keep me going at this thing called blogging, and I rather like how this idea links to my blog name, The Art of the Room.
The stunning photographs featured in today’s post were published in the British Elle Decoration annual winter issue “Country”. Most of the rooms and vignettes featured you have likely seen before; however, there are several offering a new perspective of each space, and to their relationship with art and to the residence as an organic whole. While myriad and diverse styles from the ancient world, the Old World, the classic European tradition, wabi-sabi and modern design converge within the walls of his moated 12th-century castle, Vervoordt possesses the skill of an alchemist at bringing enlightenment and harmony to these spaces with deftness and seeming ease. Highly atmospheric yet undecorated, his oeuvre is deeply rooted in emotion, in art, in life. Their is an overarching, even spiritual, universality that transcends fashion and fads. The following photos are a testament to our ongoing fascination with this wizard’s cunning synthesis of diverse cultures and stylistic periods into harmonious and engaging spaces that honor the spirit of things.
Built in the 16th-century and featuring an onion dome, the gatehouse lies on the east side of the moat and is the main entrance to the rest of the castle.
Built in the 16th-century and featuring an onion dome, the gatehouse lies on the east side of the moat and is the main entrance to the rest of the castle.
In the entrance hall, a Louis-XV bench sits beneath a painting by Victor Vasarely and and 18th-century French chandelier. A set of chairs in the same style line the walls.
A number of rooms have oriental style interiors that reflect Axel Vervoordt’s interests in Eastern philosophy and wabi-sabi, the Japanese design ethos centered on the beauty of imperfection.
The Oriental Salon on the first floor is a comfortable place to relax. The painting behind the sofa is a 1958 by Kimiko Ohara, while the standing sculpture originates from 10th-century Thailand.
The blue cupboard in the kitchen is a French design dating from the 18th-century.
A painting by Belgian artist Jef Verheyen sits above a hollowed-out log.
A selection of glassware sits beneath a painting by Flemish artist Frans Snyders in the cellar.
A blue art work by Jef Verheyen contrasts with red ocher walls and white marble bust in the reception room.
The tall, open shelving unit in the library is a cabinet of curiosities.
An Italian bench is paired with a painting by Otto Piene titled Nachtstück on the landing of the staircase.
A door in the hallway opens into the Red Bedroom.
Above the antique marble bathtub in the Venetian is a rare Roman frieze.
The Venetian Bedroom has a muted palette employing Fortuny textiles and a wooden trompe l’oeil floor.
British Elle Decoration winter, 2015, edition of “Country”; photography and room descriptions by Michael Paul.
