Eugène Eechaut (1928-2019) - Abstract ink composition - diptych - framed - 43 x 33 cm

Eugène Eechaut (1928-2019)

Original and unique artwork

Framed and ready to be hung

Ink and watercolor on paper

These two early works by Eugène Eechaut, created in 1965, are executed in ink and watercolor on paper and reveal a central motif that runs throughout the artist’s career: the tree. Both compositions focus on roots and organic structures, rendered in a way that hovers between representation and abstraction.

As in the early work of Piet Mondrian, who painted trees while gradually moving from the visible world toward abstraction, Eechaut explores the form as a point of transition. His lines dissect and reconstruct the trunk and roots into dynamic structures that feel both natural and almost architectural. At the same time, the subject recalls Vincent van Gogh’s fascination with tree roots as expressive, living forms charged with tension and movement.

In these drawings, the tree is still recognizable, yet already shifting into something more abstract. The forms stretch, fragment, and pulse across the surface, suggesting growth, energy, and inner structure. This theme became a lasting thread in Eechaut’s practice, with trees repeatedly serving as a source of inspiration and a foundation for his visual language.

The two works complement each other beautifully, forming a cohesive pair that reflects different interpretations of the same motif. Both are framed in simple frames with glass and are ready to be hung, making them immediately suitable for display in a collection or interior.

Early works
1965
Ink and watercolor on paper
Signed

The dimensions with a simple frame measure 43 × 33 cm

About the artist:

Eugène Eechaut (1928–2019) was a Belgian artist whose career evolved at the crossroads of imagination, technical discipline, and artistic dialogue. He began gaining recognition in 1958, when he received his first distinctions from the European Center for Art and Aesthetics. Early in his career, Eechaut became a member of the artist collective JECTA, an influential Belgian group that included René Magritte. His participation in this circle is confirmed by two surviving newspaper clippings documenting shared exhibitions and professional activity within the group.

Since the 1960s, Eugène Eechaut became a regular participant in exhibitions at the Tamara Pfeiffer Gallery in Brussels, a venue internationally recognized for presenting leading figures of modern and avant-garde art. A preserved invitation card from the 1968–1969 exhibition season confirms that Eechaut exhibited in the same gallery alongside major artists such as Max Ernst, Jean Cocteau, Paul Klee, Dorothea Tanning, Léon Navez, Dunoyer de Segonzac, and Félix Labisse. These archival materials clearly demonstrate that Eechaut shared exhibition space with some of the most influential artists of the twentieth century.

Over the course of his artistic life, Eechaut developed several distinctive and recognizable artistic styles, rather than adhering to a single visual language. His work is characterized by evolving color palettes and a strong sense of structure, combining elegance with expressive freedom. He gradually refined and mastered ink techniques, achieving a high level of precision and control that became a defining element of his artistic identity.

Despite consistent exhibition activity and professional recognition, Eechaut remained notably discreet and protective of his work, rarely offering pieces for sale—even within his own family. This personal approach has contributed to the rarity of his works on the market today. Supported by archival documents, exhibition invitations, and press records, Eugène Eechaut’s legacy emerges as that of a disciplined and original artist, firmly embedded in the European art scene and in direct dialogue with some of its most celebrated figures.

Will be well packaged, protected and insured