In 1974, the Ghent Gallery Contrast Punt 1 showcased the work of Ghent artist Dees de Bruyne (1940-1998). The exhibition, featuring a series of erotic works, prompted the Ghent city management to issue a stark disclaimer: The visitor does not submit no complaint to the judicial or civil authorities by viewing the simple fact of the exhibition. Forbidden access for minors. This warning foreshadowed the controversy that would soon engulf de Bruyne’s art.

A Rebellious Vision

De bruyne, known for his rebellious spirit and unflinching portrayal of eroticism and raw imagery, stirred meaningful controversy.police intervention led to the seizure of some works. Among the pieces on display was “The Children’s Friends,” a painting from 1972 that has recently resurfaced after years of being lost.

The painting depicts a seemingly idyllic party table, complete with coffee, cake, and the inscription Free and happy. However,the scene is jarringly disrupted by the presence of three naked,tortured children surrounded by six monumental figures.

The Faces of Power and Scandal

According to Knack, the figures in “The Children’s friends” are not mere abstractions. The painting features recognizable individuals:

• Pope Paul VI
• American Cardinal Francis Spellman
• Minister of Justice Alfons Vranckx
• U.S. President Richard Nixon

The inclusion of these figures, juxtaposed with the image of suffering children, creates a powerful and disturbing commentary on power and responsibility.

Adding another layer of complexity, the painting also includes Maria Wens, a pedagogue and professor at Ghent university, who was also the managing director of a children’s home in Brasschaat. In the early 1970s, Wens was embroiled in a controversial case involving child abuse and financial fraud. Delivered troops can be seen in the background.

Rediscovery in the Attic

After the controversial exhibition, “The Children’s Friends” vanished. The Mudel museum (Museum van Deinze and the Leie region) and Knack recently announced its rediscovery. The former owner, prompted by a call from Walter Ertveldt, the manager of De Bruyne’s archive, and the Mudel, revealed that the painting had been stored in her attic for years.

The owner had confided in an advisor, expressing difficulty living with a work of art that so powerfully evoked child abuse.The canvas was traced through her, and it is now on long-term loan to the Mudel.

A Bohemian Life

De Bruyne’s life was as unconventional as his art. According to The Artcouch, he was a bohemian who constantly moved between countries, frequently enough struggling financially. He worked in Italy, Los Angeles, paris, and Malaga before returning to Ghent in 1996. he died of cancer in 1998.

Themes of a Turbulent Era

De Bruyne’s work was deeply influenced by the revolutionary spirit of the 1960s and 70s. He tackled themes such as:

• the Provo movement
• New sexual freedoms
• The Vietnam War
• Racism

He exposed hypocrisy, corruption, and the lust for power, often focusing on the marginalized members of society. His subjects included transvestites,boxers,junkies,prostitutes,and psychiatric patients. He also created erotic works and, later in his career, addressed the AIDS epidemic. Amidst these challenging themes, he also painted idyllic scenes of his family.

An Independent Voice

De Bruyne was an Einzelgänger, an independent spirit who forged his own path, uninfluenced by artistic trends. He embraced a clearly readable figurative style, positioning himself as a louse in the fur of the establishment. The Mudel notes that he is now coming to the fore again thanks to the recovered ‘De kindervrienden’, a painting about an abuse scandal from the 70s, which is unluckily still up to date today.