The early years in Ghent and Mechelen

Prosper De Troyer began his training through hands-on work, first as an apprentice to the sculptor Van Biesbrouck in Ghent and later under the painter De Pauw. These early years were marked by a practical approach to the craft. He studied at the Sint-Lucas Academy in Oostakker and continued his education at the Academie voor Schone Kunsten in Mechelen, where he sat in the same classes as Rik Wouters.

Life outside the studio involved manual labor. To support himself, he worked as a façade painter. This period of his life was shaped by certain social and personal connections, including his decision to join the socialist party and his friendship with Michel Ghelderode. His early work showed the influence of Eugène Laermans and Jacob Smits.

A shifting hand

The way De Troyer applied paint changed as he moved through different styles. His first solo exhibition took place in Brussels in 1914. Initially, his canvases leaned toward Impressionism and Fauvism. By 1917, he was part of the artist circle Doe Stil Voort. During this time, a correspondence with Marinetti brought an interest in Futurism to his work. Alongside Jules Schmalzigaug, he became one of the few figures representing this movement in Belgium.

Between 1921 and 1922, his focus shifted again. He moved toward abstraction, influenced by the geometrical style of Jozef Peeters, and participated in the second Kongres voor Moderne Kunst in Antwerp. However, around 1922, he turned back toward a form of Expressionism.

Subjects and forms

His work often returned to the quiet details of daily life and nature. Some of his pieces include:

• Portraits, such as a Portrait of a Gentleman on wood panel.
• Still lifes featuring fruit, flowers, or fish.
• Scenes of rural life, including peasants and cows in a landscape.
• Studies of figures, like a Resting girl in charcoal or a Peasant girl with hat in pastel.

The artist used various media to capture these subjects, from oil on canvas and panel to charcoal drawings and ink washes. His later works, such as those from the 1940s, continued to explore these themes through different textures and techniques.