African Paintings in Belgium: A Complex Legacy of Colonialism, Art, and Contemporary Appreciation

February 07, 2025

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Introduction

Belgium’s involvement in Africa started with King Leopold II, who personally controlled the Congo Free State from 1885 to 1908. He acquired the territory during the Berlin Conference (1884-1885), which divided Africa among European powers. Under his rule, the Congo was exploited for rubber, ivory, and other resources. Forced labor, brutal punishments, and human rights abuses were rampant. An estimated 10 million Congolese people died due to forced labor, violence, and disease. Due to international outrage, Belgium’s government took control in 1908, renaming it the Belgian Congo. Colonial rule continued economic exploitation but with some investment in infrastructure, education, and healthcare, though these were designed to benefit Belgian interests. Congolese people had no political representation, and racial segregation was enforced. The demand for independence grew in the 1950s, leading to Congo’s independence on June 30, 1960. After independence, Belgium maintained influence, especially through economic and military involvement. Belgium was implicated in the assassination of Congo’s first prime minister, Patrice Lumumba, and continued to back regimes that aligned with its interests, particularly Mobutu Sese Seko. Belgium also controlled Rwanda and Burundi under a League of Nations mandate after World War I. The Belgians deepened ethnic divisions between Hutu and Tutsi populations, contributing to later conflicts, including the Rwandan Genocide of 1994. Today, Belgium acknowledges its colonial past, with ongoing debates about reparations and historical accountability. However, economic and political ties between Belgium and its former colonies remain significant, with trade, diplomacy, and diaspora communities shaping modern relations.

Belgium's relationship with African art, particularly African paintings, is deeply intertwined with its colonial history, museum collections, and contemporary art scene. From the exploitation of Congolese resources to the vibrant modern-day appreciation of African artists in Belgium, this topic reflects both a painful past and an evolving artistic dialogue. This article explores Belgium’s colonial ties to African art, the presence of African paintings in its museums and galleries, the role of Congolese artists in the Belgian art market, and the ethical debates surrounding the repatriation of African artworks.

1. The Colonial Legacy and Its Impact on African Art

1.1 Belgium’s Colonial History in the Congo

Belgium ruled the Congo (now the Democratic Republic of the Congo) as a brutal colony from 1885 to 1960. Under King Leopold II’s personal rule (1885-1908), followed by official Belgian administration (1908-1960), vast amounts of African artifacts were taken to Belgium. These included sculptures, masks, and textiles, with paintings becoming part of the narrative in later years as Congolese artists emerged in the modern art scene.

1.2 How Colonialism Shaped the Perception of African Art

During the colonial era, African art was often viewed through an ethnographic lens rather than as fine art. Belgian collectors and scholars classified African paintings and crafts as "primitive" rather than recognizing their artistic value. This perception has evolved, but its remnants still influence how African paintings are displayed and valued in Belgium today.

2. African Art Collections in Belgian Museums

2.1 The Royal Museum for Central Africa (RMCA) in Tervuren

The RMCA, often called the "AfricaMuseum," houses one of the most extensive collections of African art in the world. While its holdings include traditional masks and sculptures, the museum has recently expanded its exhibitions to include contemporary African paintings, highlighting works by Congolese artists who depict historical and modern African experiences.

2.2 The Controversy Surrounding the RMCA’s Collection

Many of the artifacts in the RMCA were acquired under colonial rule, raising questions about ethical ownership. Activists and African governments have called for the return of looted artworks, including paintings that were taken or bought under exploitative circumstances.

2.3 African Art in Other Belgian Institutions

Other museums, such as the Museum of Fine Arts in Brussels and the M HKA (Museum of Contemporary Art Antwerp), have begun showcasing African contemporary art, including paintings by artists from the Congo, Angola, and other African nations.

3. The Rise of Congolese and African Artists in Belgium

3.1 Congolese Painters and the Belgian Art Scene

Belgium has become a major platform for Congolese artists, many of whom use paintings to express their views on colonialism, identity, and modern African life. Notable artists include:

• Chéri Samba – One of the most famous Congolese painters, known for his colorful, narrative-driven works.

• Aimé Mpane – A contemporary artist whose paintings and mixed-media works address Congolese history and identity.

• Moké – A painter celebrated for his urban scenes depicting daily life in Kinshasa.

3.2 African Art Exhibitions and Belgian Galleries

Numerous galleries in Brussels, Antwerp, and Ghent have begun to specialize in African paintings. Some of the key spaces include:

• Galerie MAGNIN-A – Focuses on African contemporary art and has exhibited Congolese painters.

• Brussels Art Square – Hosts events showcasing African art, including paintings by up-and-coming artists.

• Bozar (Centre for Fine Arts Brussels) – Regularly features African artists in exhibitions and discussions.

4. The Role of the African Diaspora in Belgium’s Art Scene

4.1 African Communities and Their Influence on Belgian Art

Belgium has a significant African diaspora, particularly Congolese, who have contributed to shaping the contemporary art scene. African-owned galleries, cultural organizations, and community-led exhibitions have played a crucial role in promoting African paintings and fostering cultural exchange.

The presence of African communities in Belgium has led to the rise of art festivals, workshops, and cultural events that showcase African creativity. Events like the Congo Biennale, held in Brussels, have provided platforms for African artists to exhibit their works and engage in meaningful discussions about art, heritage, and identity. African-run initiatives, such as Collectif Faire-Part and Mokili, also play a significant role in shaping the contemporary Belgian art scene by advocating for inclusivity and representation of African artists.

Furthermore, social media and digital platforms have allowed African communities in Belgium to promote their art beyond traditional gallery spaces. Online exhibitions, virtual art fairs, and crowdfunding initiatives have enabled African artists to connect directly with audiences and buyers, bypassing the often exclusive and Eurocentric art establishment.

The influence of the African diaspora extends beyond exhibitions to academia and public discourse, with scholars and curators of African descent playing a more prominent role in Belgian cultural institutions. These individuals help challenge outdated narratives and create a more nuanced understanding of African art, including contemporary paintings that reflect both African and European influences.

4.2 Challenges Faced by African Artists in Belgium

Despite growing interest in African art, African artists in Belgium still face significant challenges that hinder their full integration into the mainstream art scene.

• Limited access to major galleries: Many prestigious Belgian galleries prioritize European and established international artists, making it difficult for African painters to secure exhibition space. Emerging African artists often rely on smaller, independent galleries or community-driven initiatives to showcase their work.

• Underrepresentation in mainstream Belgian art institutions: Although institutions like Bozar and the RMCA have started including African contemporary art in their programming, African artists remain underrepresented in permanent collections and high-profile exhibitions. This lack of institutional support limits their visibility and career progression.

• The persistence of colonial-era stereotypes about African art: Many Belgian art collectors and institutions still categorize African paintings under the broad umbrella of "ethnic" or "primitive" art rather than recognizing them as part of the global contemporary art movement. This outdated perspective affects how African artists are marketed, priced, and perceived in Belgium.

• Economic and funding challenges: Many African artists in Belgium struggle with financial instability due to limited sponsorship opportunities, high competition, and difficulty accessing grants that are often tailored to European artists.

• Visa and residency issues: African artists who wish to live and work in Belgium often face bureaucratic hurdles related to visas and work permits, making it difficult to establish a stable career in the country.

• Cultural appropriation and tokenization: Some Belgian galleries and institutions exploit African art as a trend rather than engaging with it in a meaningful way. African artists sometimes find themselves included in exhibitions as a way to tick diversity boxes rather than being valued for their work and contributions.

Addressing these challenges requires a shift in institutional policies, increased funding for African artists, and a broader cultural acceptance of African contemporary paintings as integral to Belgium’s diverse art landscape. By fostering inclusivity and breaking down barriers, Belgium can create a more equitable space for African artists to thrive and contribute to the global art conversation.

5. Ethical Debates: Should Belgium Return African Art?

5.1 Calls for Repatriation of African Artworks

African governments and activists have long called for Belgium to return art taken during the colonial era. Some paintings, particularly those created by early Congolese artists under colonial rule, are considered cultural heritage and subject to restitution claims.

5.2 Belgian Government Initiatives and Museum Reforms

The Belgian government has begun addressing these concerns by:

• Creating policies for the possible return of looted artworks

• Encouraging collaboration with African museums and artists

• Funding exhibitions that give African voices a platform

6. Contemporary Market for African Paintings in Belgium

6.1 Belgian Collectors and the Demand for African Art

Interest in African paintings among Belgian collectors has surged, with auction houses and art fairs witnessing increased demand for contemporary African works. Key factors driving this trend include:

• Growing appreciation for African contemporary aesthetics

• Recognition of African artists in international markets

• Increased visibility through exhibitions and art fairs

Conclusion

Belgium’s connection to African paintings is a story of colonial legacy, artistic evolution, and contemporary appreciation. While historical injustices still cast a shadow over Belgian-African art relations, the growing recognition of African painters and ethical considerations surrounding repatriation suggest a more inclusive and respectful future. As Congolese and other African artists continue to shape Belgium’s art scene, their paintings serve not only as visual masterpieces but also as powerful statements of history, identity, and resilience.