Early Life and Artistic Training

Antwerp, 1889. Paul Joostens enters a French-speaking bourgeois environment in the heart of Belgium. The city's structured social order provides the backdrop for his early years. He does not initially look toward the canvas; instead, his ambitions lean toward the precision of architecture. He seeks to build structures rather than capture them.

The shift toward visual art begins in the studios of Antwerp. He enters the Royal Academy of Fine Arts, honing his technical grasp of form and space. His training continues at NHISKA. These academic foundations provide the discipline that he will later dismantle. The rigid structures of his formal education exist alongside a growing restlessness that pulls him away from the drafting table and toward the radical fringes of the avant-garde.

The Avant-Garde and Dadaist Period

The transition from academic study to the radical edge of the Antwerp Avant-garde happens with sudden force. By 1916, the structured lines of his training give way to the fractured geometry of Cubism. He moves through these forms, testing the limits of the canvas before the chaos of the post-war era takes hold. By 1919, the focus shifts entirely. He abandons traditional painting for the construction of Dadaist abstract collages. He gathers waste materials and discarded objects, assembling them into new, non-traditional realities that reject the established order.

This period is defined by a violent critique of the status quo. The artist does not merely paint; he disrupts. In 1922, this defiance finds a voice in the published Dada text Salopes - le quart d'heure de rage ou Le soleil sans chapeau. The work is an outburst of rage, a sharp departure from the bourgeois expectations of his upbringing. He operates at the intersection of visual disruption and literary provocation, using the debris of the modern world to build his compositions.

The Joostens Gothic and Religious Style

Around 1925, the radicalism of the avant-garde falls away. Joostens breaks with his former circle of friends and turns his back on the experimental chaos of his earlier years. In its place, he develops a singular, idiosyncratic aesthetic known as the "Joostens Gothic." This shift is not a mere change in subject matter but a complete realignment of his visual language. He looks backward to find a new way forward, drawing heavy inspiration from the works of Hans Memling and the Flemish Primitives.

The religious impulse takes center stage. He produces numerous Madonnas and complex religious scenes, seeking a spiritual gravity that the Dadaist movement lacked. This devotion leads him to join De Pelgrim (Le Pèlerin), an art circle dedicated to the promotion of Catholic art in all its forms. His canvases become vessels for sacred imagery, characterized by the structured, formal qualities of the Northern Renaissance masters he studied.

Yet, this religious devotion exists alongside a persistent, earthly obsession. While he paints the divine, he simultaneously captures the sensual lives of young women from the working-class neighborhoods of Antwerp. He calls these figures his Poezeloezen. This duality defines his middle period: a tension between the sacred geometry of his "Gothic" style and the raw, human vitality of the Antwerp streets.

Techniques and Artistic Mediums

The artist's practice shifts between the tactile chaos of the avant-garde and the precision of traditional forms. During his Dadaist period, he moves away from the canvas to embrace collage and assembly. He constructs abstract compositions by utilizing objects made from waste materials, pulling discarded items into the realm of art. These works often take the form of assemblages that challenge the traditional boundaries of painting. He also experiments with photo-collages, layering imagery to create new, fragmented realities.

His later output reveals a starkly different technical approach. The colorful or layered complexity of his earlier experiments gives way to the heavy, somber application of charcoal. He produces dark charcoal drawings that reflect a sense of isolation. These works rely on the raw, abrasive texture of the medium to convey mood. While his religious works and depictions of the Poezeloezen suggest a return to more classical subjects, his technical repertoire remains grounded in a tension between the found object and the hand-drawn line.

• Composition (La danse)
• Composition (La guerre)
• Grenier d'hôpital
• Atom
• Building

Later Years and Death

The 1950s bring a return to the radical. Joostens resumes his Dadaist assemblages, revisiting the fragmented logic of his earlier years. This period marks a cyclical return to the materials of waste and the chaos of construction. The experimental spirit of his youth resurfaces, but the energy has shifted.

His temperament remains volatile. This fiery nature drives him toward a profound isolation. The social connections of his avant-garde days have long since faded, replaced by a solitary existence. He channels this withdrawal into dark charcoal drawings. These works are somber, heavy with the weight of his seclusion. The lines are stark. The mood is grim.

The end comes in Antwerp, Belgium. He dies on March 24, 1960. He leaves behind a legacy marked by poverty and solitude. It is only much later, in 1976, that a retrospective at the ICC in Antwerp finally acknowledges the scope of his output.