Belgian artist Georges Kreugaert (1848-1923) is best known as the creator of a series of exposing works of art depicting Catholic priests engaged in sinful deeds far from selfless service to God.
Despite the fact that the artist portrayed far from inventions, from the point of view of the Church, such masterpieces were, to put it mildly, unacceptable and spoiled the image of the clergy.
But what prompted the artist to create such bold paintings?
Georges Kreugaert was born in 1848 in Antwerp, where he was educated at the local art academy. Early in his career, he painted still lifes, and then moved on to portraits of delightful young beauties relaxing in lavishly furnished interiors or grassy parks.
Female images in the work of Kreigaert.
In 1876, an ambitious young artist, having made a career in his native Antwerp, decided to move to a more promising, in his opinion, Paris.
However, upon arrival in the capital of France, Kreugaert found himself literally among thousands of other excellent artists who painted pictures so magnificent and unlike his own. Having found himself in a very difficult financial situation, the artist, instead of competing in this crowded field, perhaps almost by accident, began to paint portraits of clergy (at that time quite commonplace).
One good portrait followed another, with the priests recommending Kreugaert to bishops, bishops, monsignors and, ultimately, to the cardinals themselves.
Promotional video:
Sinful priests. Truth through the eyes of Georges Kreugaert.
France was (and is) a Catholic country and at that time had a highly inflated priestly hierarchy, enjoying wealth and privileges that increased significantly when someone climbed the church ladder. And of course, the clergy could well afford the services of a highly paid portrait painter.
Among other things, such venerable "men of God" lived in palaces, enjoyed the best food and drink.
A couple of good cigars and you can start sorting through your rich collection of stamps …
They spent much more time in hobbies and entertainment, enjoying a rich life and indulging in carnal pleasures than preparing sermons, observing the needs of the congregation, or caring for the poor and disabled.
Seeing all this, Kreugaert began a very subtle, artistic form of religious protest, portraying the clergy exactly as they really were.
It remains only to guess who is being eavesdropped on and what the cardinals are dreaming of.
It should be noted that the artist “bit the hand” that fed him, but nevertheless was not afraid to show the clergy in a sinful but truthful light.