Before his international breakthrough shortly before the turn of the century, Belgian painter Raoul De Keyser (1930–2012) had a long career that reaches back to the 1960s, when he was associated with Roger Raveel and the so-called Nieuwe Visie (New Vision in Dutch), Belgium’s variation on postwar figurative painting that also entails Anglo-Saxon Pop Art and French nouveau réalisme. Dealing with De Keyser’s works of the 1960s and 1970s, this article discusses the reception of American late-modernist art currents such as Color-Field Painting, Hard Edge, Pop Art, and Minimal Art in Belgium. Drawing on contemporaneous reflections (by, among others, poet and critic Roland Jooris) as well as on recently resurfaced materials from the artist’s personal archives, this essay focuses on the ways innovations associated with these American trends were appropriated by De Keyser, particularly in the production of his so-called Linen Boxes and Slices. Made between 1967 and 1971, Linen Boxes and Slices are paintings that evolved into three-dimensional objects, free-standing on the floor or leaning against the wall. Apart from situating these constructions in De Keyser’s oeuvre, this article interprets Linen Boxes and Slices as particular variations on Pop Art’s fascination for consumer items and on Minimalism’s interest in the spatial and material aspects of “specific objects”.

中文翻译：

---

亚麻盒子和切片：Raoul De Keyser 和 1960 年代和 1970 年代比利时的美国现代主义

在世纪之交前不久取得国际突破之前，比利时画家 Raoul De Keyser（1930-2012）的职业生涯很长，可以追溯到 1960 年代，当时他与 Roger Raveel 和所谓的 Nieuwe Visie（New Vision在荷兰），比利时对战后具象绘画的变体，其中也包含盎格鲁-撒克逊波普艺术和法国新现实主义。本文以 De Keyser 1960 年代和 1970 年代的作品为题，探讨了美国后期现代主义艺术潮流，如色域绘画、硬边、波普艺术和极简艺术在比利时的接受程度。利用同时代的反思（其中包括诗人和评论家罗兰·乔里斯）以及艺术家个人档案中最近重新浮出水面的材料，本文重点介绍与这些美国趋势相关的创新被 De Keyser 所采用的方式，特别是在他所谓的亚麻盒子和切片的生产中。Linen Boxes and Slices 创作于 1967 年至 1971 年间，是演变成三维物体的画作，可独立站立在地板上或靠在墙上。除了将这些结构置于 De Keyser 的作品中之外，本文还将 Linen Boxes and Slices 解释为流行艺术对消费品的迷恋以及极简主义对“特定对象”的空间和材料方面的兴趣的特殊变体。自由站立在地板上或靠在墙上。除了将这些结构置于 De Keyser 的作品中之外，本文还将 Linen Boxes and Slices 解释为流行艺术对消费品的迷恋以及极简主义对“特定对象”的空间和材料方面的兴趣的特殊变体。自由站立在地板上或靠在墙上。除了将这些结构置于 De Keyser 的作品中之外，本文还将 Linen Boxes and Slices 解释为流行艺术对消费品的迷恋以及极简主义对“特定对象”的空间和材料方面的兴趣的特殊变体。