The Drawbridge of Overschie - Maurice Sys (1880-1972)

This painting showcases the artist's characteristic attention to atmospheric effects, light, and composition, all hallmarks of his landscape and architectural scenes.
The composition of the painting is anchored around the drawbridge, which occupies a dominant position in the center of the painting. The diagonal lines created by the structure of the bridge lead the viewer’s eye toward the middle ground, where a figure is visible crossing the bridge. The strong vertical elements of the bridge contrast with the horizontal expanse of the water, creating a dynamic sense of balance.
The boats in the foreground serve as focal points, leading the viewer’s gaze into the scene and towards the bridge itself. The bridge’s arches reflect in the water, adding depth and subtle symmetry. The way the artist has positioned the boats and the architectural structure creates a natural flow for the viewer’s eye, moving from the bottom of the image upward.
Sys employs a muted, earthy color palette dominated by soft browns, ochres, and greys, reflecting the materials of the bridge and surrounding buildings. These warm tones are balanced by the cooler greens and blues of the water, which contrasts with the warmth of the bridge structure and rooftops in the background. The red-tiled roofs offer a slight variation in color, adding warmth and a bit of vibrancy to the overall restrained palette.
Light plays a crucial role in this painting, as in much of Maurice Sys’ work. The light source appears soft and diffused, possibly from an overcast sky, giving the scene a calm, misty atmosphere. There are no harsh shadows, which suggests a cloudy or late afternoon setting where the sunlight is scattered. The reflection of light on the water's surface is handled delicately, with small variations in tone that capture the gentle ripples and movements of the water.
Sys subtly uses light to highlight the texture of the wood and stone of the bridge, as well as the details on the boats. Despite the muted light, the scene has a sense of quiet luminosity, with the softness of the light enhancing the peaceful atmosphere.
Sys’ brushwork is relatively loose but still controlled, which helps convey texture effectively. The stone of the bridge and the weathered wood of the boats are depicted with visible brushstrokes that suggest the roughness of these materials. His technique captures the weather-beaten quality of the scene, emphasizing the realism of the setting. The water is painted with soft, flowing strokes, which contrasts with the more angular and structured handling of the bridge.
The overall mood of the painting is calm and contemplative. The quiet tones, soft light, and peaceful subject matter contribute to a serene atmosphere. The solitary figure crossing the bridge adds a human element, but they are somewhat small and distant, which reinforces the dominance of nature and the man-made structures over individual presence. The painting evokes a sense of stillness, as if capturing a brief, quiet moment in a small, overlooked corner of the world.

Biography

Maurice Sys (1880–1972)
Maurice Sys (1880–1972) was a Belgian painter renowned for his evocative landscapes, seascapes, and depictions of everyday life. He was born on May 19, 1880, in Ghent, Belgium, and his work is deeply rooted in the artistic traditions of the Second School of Sint-Martens-Latem, part of a broader movement in Belgian art that placed nature, rural life, and emotional expression at its core.
Sys showed artistic talent early on and pursued formal education at the Royal Academy of Fine Arts in Ghent. There, he was influenced by notable teachers like Jean Delvin and Louis Tytgadt, who grounded him in classical techniques. However, it was the burgeoning art movements in Belgium, particularly the Latem School, that had the most profound influence on his work.
Maurice Sys belonged to the Second School of Sint-Martens-Latem, a prominent art collective active in the early 20th century. The Latem School, located in the village of Sint-Martens-Latem near Ghent, was a gathering of artists deeply inspired by nature, rural life, and the spiritual connection between people and their environment. The Second Latem School, with which Maurice Sys was associated, was more grounded in expressionism and impressionism. Key figures in this second group included Gustave De Smet, Frits Van den Berghe, and Constant Permeke. These artists emphasized emotional expression, the dynamic use of color, and a deep engagement with the Belgian landscape, all of which heavily influenced Sys' work. His technique was heavily influenced by the use of color and light typical of impressionism, while his emotive interpretations of landscapes aligned him with expressionist currents.
Sys was particularly drawn to the work of Constant Permeke and Gustave De Smet, whose bold yet emotive depictions of the rural world resonated with his own aesthetic. Their loose brushwork, attention to atmospheric effects, and interest in the lives of common people helped shape Sys' approach to painting.
Maurice Sys developed a style, characterized by loose brushstrokes, vibrant yet nuanced color palettes, and a careful depiction of light and atmosphere. His works focused on serene landscapes, coastal views, and quiet scenes of rural life in Belgium. Through his paintings, Sys captured the intimate connection between people and their surroundings, evoking a sense of tranquility and reflection.
His compositions often depicted the coastlines of Belgian towns like Nieuwpoort, Ostend, and Knokke, revealing both the peacefulness of these settings and the dramatic interaction of light, water, and sky.
Sys' work gained recognition throughout Belgium and Europe. He exhibited regularly in Ghent and Brussels, as well as in international venues in Paris and The Hague.
Like many of his Latem School contemporaries, Sys had a deep connection to the rural and coastal regions of Belgium, drawing inspiration from the landscapes around him. His work reflects a meditative quality, often portraying nature not just as a backdrop but as a living, breathing entity with its own spirit.
Maurice Sys continued painting well into his later years, maintaining a prolific output. His later works became even more introspective, focusing on the passage of time, the changing seasons, and the quiet beauty of rural life. Sys passed away in 1972 at the age of 92, leaving behind a significant legacy in Belgian art.