series
Contemplative Landscapes
That’s how the light gets in
I would like to say ...
First Art Kit
Pretending
The Swallows
What's love got to do with it (group)
02.04.26—14.06.26
cc de steiger/ter posterie/ kunstenhuis,
Menen/Roeselare/Harelbeke (BE)
Atelier in beeld (group)
03.05.26 , 10:00—19:00
Lindenlei 35, Ghent (BE)
we are STILL NATURE (group)
06.06.26—12.07.26
De Egelantier, Otegem (BE)
Ooidonk Art Festival (group)
18.06.26—30.08.26
Ooidonkdreef 5, Deinze (BE)
The Contemplatives (solo)
27.08.26—10.09.26
Marina e Susanna SENT, Venice (IT)
isabel@bluebirdbooks.be
+32 (0)479955104
@isabel_reine_devos
more about Isabel Devos
press
The Art Couch—De drang om te worden in een beeld gevat
The Art Couch—Vijf kunstenaars in bloei in Otegem
OKV—Contemplatieve schoonheid die verrast
Urbanautica—Landscape and the Sublime
Urbanautica—Oriental Hints
Urbanautica—Glass and Pioneering Years
Urbanautica—Because it’s in my Nature. A Belgian Wave
Academie Brugge—In het hoofd van Isabel Devos
© 2026 Isabel Devos L’eau passeThe wind risesThe HedgeFlottilla
Contemplative Landscapes
Isabel Devos, like many abstract and informal painters, feeds on an inner search through colors, sometimes recalling the dramatic palette of William Congdom (1912-1998), or Rothko's color field research (1903-1970). Isabel Devos "paints" nature as a feeling or as a memory of her feeling (as in the work "Rock Scales" which uses the technique of printing Wet Collodion on the glass to generate a dark impression).
In so doing she brings her gesture to an extreme synthesis and conveys the concept of infinity into the landscape. The landscape is everywhere. The Belgian artist dismantles the idea of a neoclassical landscape, or to stay in Venice, she does not depict a veduta like Canaletto, an illuminist reproduction, the expression of technical ability. Instead, imagination prevails over observation. The theme of infinity refers by analogy to Giacomo Leopardi's poetics (1798 - 1837), to the homonymous Canto, in whose verses the romantic poetics of nature is condensed: the contrast between the horizon limited by the hedge and the "endless spaces" that the mind can imagine introduces the theme of the evocative power of vision, so frequent in the artistic expression of the romantic age.
Thus in the landscapes contemplated by Isabel Devos, the hedges become walls, and the "endless spaces" become the landscapes she sublimated.
Urbanautica: Landscape and the Sublime