A milestone worth reflecting on: 75 years of art, vision, and innovation.
Step inside and discover the story of a gallery that has been a constant presence in the art world for three-quarters of a century. What began as a bold dream has grown into a place where artists and art lovers connect — a home for innovation, dialogue, and discovery.
In this exhibition, we take you on a journey through time. You will walk through key moments, meet iconic artists, and see how Galerie Depypere has continuously reinvented itself. From small steps to giant leaps: each chapter contributes to the story we celebrate today.
The story of Galerie Depypere began in 1950, when Michel Depypere (°1923 – †1978) and Simonne Coeman (°1926 – †2005) opened the doors of their first art and antique shop: In’t Bourgonsch Kruys.
As passionate collectors and devoted lovers of art and culture, they shared a clear mission: to make beauty accessible, preserve heritage, and cherish art in all its forms.
What started as a place for antiques would later evolve into a space where contemporary art and new ideas also found a platform. But the foundation was laid here — with vision, determination, and a deep-rooted love for art.
The gallery looked very different in its early years than it does today. The facade had a different appearance, the name sounded more classical, and the offerings reflected their love for history: antique furniture, porcelain, paintings, silverware, and other valuable collectibles.
The transition to painting – The discovery of Evariste Carpentier
As the years passed, the gallery’s vision also evolved. Gradually, the focus shifted from antiques to painting, with a particular fondness for works from the 17th to early 20th century.
During this period, Galerie Depypere truly began to distinguish itself, featuring masterpieces from artists such as Emmanuel Viérin, Jozef De Coene, Louis Robbe, and Vincent De Vos. But it was the encounter with the work of Evariste Carpentier that left a lasting impression — one that would continue to influence the character of the gallery.
Carpentier (1845–1922), born in Kuurne, is considered a key figure in 19th-century Belgian art history. His paintings exude a romantic and luministic character, focusing on Belgian landscapes, the rural atmosphere, its inhabitants, and historical events.
The Depypere family and the municipality of Kuurne became fascinated by his work. In 1943, Michel Depypere founded the Kuurnse Kunstkring Evariste Carpentier. Several of his works were acquired by the municipality and are still displayed in the town hall. Later, a large bronze bust of Carpentier, created by Rik Vermeersch, was placed in front of the town hall.
A Detour to the East – The Years of the Oriental Carpets
While the gallery’s focus continued to shift from antiques to painting, an unexpected new chapter opened in the 1970s — one that embraced the world of textiles and tradition.
During this period, the Depypere family developed a deep fascination with Eastern carpets. Driven by this newfound passion, they, along with the Vrouyr family, traveled to Iran — the heart of carpet art. There, they journeyed through legendary carpet cities like Isfahan, Kashan, and Tabriz, in search of the most beautiful and refined pieces, which they handpicked themselves.
The carpets they brought back — rich in color, history, and craftsmanship — quickly became a beloved part of the gallery. Each piece was a work of art in itself: hand-knotted, full of symbolism and tradition, with months or even years of work behind them. Every year, this collection was given a special place of honor in an exhibition at the gallery.
The Step Toward Modernity – A Family Grows with Art
Over the years, the gallery grew into more than just a space for antique objects and classical paintings. The focus increasingly shifted toward the present, and the gallery began to embrace modern painting — a movement deeply rooted in Michel Depypere’s own personal passion.
Michel was not only the gallery owner but, as a landscape painter, also drew inspiration from nature and from his friendship with the luminist masters Emmanuel Viérin and Albert Caullet, who provided him with wise counsel and artistic encouragement. With his heart dedicated to the local art scene, Michel, together with the Kuurnse Kunstkring, founded the first Belgian Artiestenfoor (Artists’ Fair). This initiative brought together artists from the region and laid the foundation for a vibrant local art community.
In 1968, his son Jos Depypere took his first steps into the gallery. Like his father, he was a painter, and followed in his footsteps with landscapes in a similar style. The gallery truly became a family affair when son Rik and later daughter Katrien also found their place within it. Each of them contributed in their own way to continuing the artistic legacy — with respect for the past and an eye on the future.
The Exhibition of Prince Regent Karel (1974)
Some moments in the history of Galerie Depypere shine with a special kind of brilliance — a blend of art, friendship, and surprise. One of these moments took place in 1974 when the gallery organized a remarkable exhibition: a solo show of works by Prince Regent Karel of Flanders (°1903 – †1983).
Prince Karel had long been a dear friend of the Depypere family. He was a familiar and beloved guest at exhibitions, where his warm personality and genuine interest in art always made a lasting impression. However, what few people knew was that he was also a talented painter. When the family decided to spotlight his work, the public was introduced to a different side of the Prince: not as a statesman, but as an artist.
The exhibition was an unprecedented success. Every piece found a new owner, and the interest was overwhelming. To this day, this exhibition is remembered as one of the most memorable chapters in the gallery’s history.
The Group of Five – Where Friendship Became Art
It was the late 1960s, a time when everything seemed to be in motion: society, the art world, and Galerie Depypere. Modern art had found its place within the walls of the gallery.
During one of those typical conversations between experts, dreamers, and artists — this time between Marcel Notebaert and Michel Depypere — an idea came up. “What if we did something together?” it was suggested, no more than a passing thought. But Michel saw potential in it and proposed organizing an exhibition with five artists who were not only talented but also friends.
José Vermeersch, Octave Landuyt, Jan Van De Kerckhove, André Deroo, and Marcel Notebaert — five distinct figures, each with their own style. The response was an enthusiastic “yes” from all of them, and the rest, as they say, is history. The first exhibition of the Groep van Vijf (Group of Five) in 1969 made a huge impact.
What started as a one-time experiment quickly grew into an annual tradition. Year after year, they returned with new works, new ideas. And each time, it was different, yet still recognizable. For the gallery, it brought a fresh energy — a confirmation that art is alive and constantly evolving.
José Vermeersch – The Beginning of an Artistic Quest
José Vermeersch began his artistic career in the 1940s, as a student of Constant Permeke. His early work was heavily influenced by classical painting, and he often painted portraits, such as the portrait of Michel Depypere, which you may have seen at the beginning of this exhibition.
In addition to painting, Vermeersch had a deep passion for architecture; he designed furniture, interiors, and even the façade of the gallery, which first appeared in 1975.
The works you see here reflect the artistic renewal that characterized the early years of Vermeersch’s career. As he developed, he increasingly focused on modern art, drawing influences from artists such as Giacomo Manzù, Marino Marini, and Giorgio de Chirico — pioneers of metaphysical art. This is evident in the way he deformed the human figure and used symbols to capture the deeper emotions of existence.
As you move through this exhibition, you will notice how Vermeersch’s work reflects his ongoing quest for renewal. We could say that Vermeersch, with his sculptures, laid the foundation for introducing terra cotta into contemporary art.
Passion Until the End
“Sunday evening, March 19, 1978. Everything went as usual: friends at the house, a joke, a glass of wine, and a hearty word. José and Rik Vermeersch would be his last friends at a farewell that no one could have foreseen until the very last moment. Michel felt unwell. Coincidentally, there was a doctor who had been viewing works in the gallery. After a quick consultation, the diagnosis was positive, and the overly confident Michel, who was feeling a bit better by then, exclaimed, ‘I’m fine! What’s my fault, doctor?’ At the doctor’s dismissive gesture, Michel added, ‘Then I’ll pour you a glass of my finest wine!’ These were his last words. Before that grateful but sick heart could speak again, it stopped.”
– Bert Dewilde
It was a princely yet deeply emotional funeral in a packed Sint-Michielskerk. For the first time, there was silence surrounding Michel.
Support for Young Artists
Michel Depypere always had an eye for young people trying to find their way in the art world. He understood how difficult a debut could be and was more than willing to offer support to emerging artists. With focused feedback and genuine appreciation, he helped them grow and encouraged them to showcase their work.
From the Kuurnse Kunstkring grew the Jeugdatelier (Youth Workshop), a place where young artists could explore and deepen their creativity. Michel saw it as his mission to provide young people with a platform. At the annual Artiestenfoor (Artists’ Fair), they even had the opportunity to sell their work and gain recognition for their efforts.
Together with his wife Simonne, Michel gave several young artists the chance to profile themselves in the gallery. These opportunities came not only because of their talent but often also due to a connection to the region or to the family. One of the first was Rik Vermeersch, who joined the group in 1975 and went on to further develop his career.
After Michel’s passing, Jos, Rik, and Katrien continued his work, searching for new talent. Among those who found their way to the gallery were Philippe Bouttens, Hans Vandekerckhove, Robie Van Outryve, and Piet Moerman. Tjok Dessauvage, a long-time friend of José Vermeersch, also exhibited his ceramics annually.
The Depypere family tirelessly continued their efforts to discover and promote a new generation of artists. In the 1990s, names such as Pjeroo Roobjee, Yvan Theys, Jacques Pille, and Godfried Vervisch became regular fixtures at the gallery.
Koen Scherpeel: Extraordinary Young Talent
“I met Koen in 1979, when he was just 18 years old. He was studying at Sint Lucas in Ghent, where my sister Katrien was in the same program. One day she came home and said, ‘There’s a student in my class who’s unbelievable. He draws better than all the teachers combined!’ I replied, ‘Bring him to the gallery sometime!’
The first time I saw his work, we immediately decided to exhibit it. Koen wasn’t just an exceptional painter and draftsman — he was also a phenomenal etcher. He mastered all the printmaking techniques. What drew me most to his work was the way he approached reality, always surrounded by fantastical stories. Where he got that imagination from was incredible. His work was, in fact, always autobiographical — he recorded everything in his journals. He worked like a man possessed.
I vividly remember the first Kleurdag in Kuurne, in 1987, when Koen and Peter Six created a painting 15 meters long on the town square. Koen’s part of the painting was filled with figures he completed in just one day. That same evening, he had a performance scheduled on the steps of the town hall, because he was also a singer and guitarist. He could do it all.
Over the years, his work became more chaotic — likely a reflection of his personal life. The accident and his far-too-early passing brought his career to an abrupt end. There were so many plans, so many ideas he still wanted to bring to life. Koen was the most remarkable talent we ever introduced in the gallery.”
– Jos Depypere
Christian Silvain: From Artist to Iconic Scandal
Christian Silvain, born in 1950 in Eupen, has always followed an unconventional path in the art world. His creative energy was sparked early on by his aunts, who ran a toy shop. After their passing, he ended up living on the streets of Brussels at the age of 16. As a self-taught artist, he made his debut in the 1970s with his first exhibition.
Silvain grew into a highly versatile artist, with a body of work ranging from classical portraits to surrealist and hyperrealist paintings. Over time, his oeuvre became deeply marked by the traumas of his youth.
He broke through internationally in the 1980s. His work gained even wider global attention following a plagiarism scandal involving Chinese artist Ye Yongqing, who had been copying Silvain’s work extensively since the 1990s. In 2020, the case led to a lawsuit, which concluded in late 2024 with Ye’s admission of guilt and a court-imposed fine of €650,000.
In 2019, the gallery organized an exhibition in Shanghai and Beijing, placing Silvain’s work at the forefront — now framed by the backdrop of the scandal. That moment marked a new chapter for the gallery as well: daughter Chloé decided to join the family business, actively contributing to the continued growth and evolution of the gallery’s legacy.
Giampaolo Amoruso: The Language of Glass
Giampaolo Amoruso has been a fixture at Galerie Depypere since the 1990s. He grew up in the shadow of the historic Cristalleries de Boussu, where, as a child, he became fascinated by the dance of fire and glass. From his Sicilian father, he inherited a love of craftsmanship; from his mother, an unshakable sense of dedication.
What few people know is that his work was introduced to the gallery by none other than José Vermeersch.
Vermeersch, always in search of new materials to give shape to his artistic vision, was captivated by Amoruso’s mastery. In the glowing glass, he recognized the same intensity and soulful expression he pursued in his own work. What began as a chance encounter blossomed into a meaningful artistic exchange.
French Footsteps in Kuurne
Over time, Galerie Depypere increasingly opened its doors to international artists. A particularly strong connection developed with France. Through collaborations with French galleries, not only were artists like Giampaolo Amoruso and Christian Silvain promoted in France, but French artists also found their way to Kuurne.
From around 2010, the gallery began participating annually in major French art fairs, significantly boosting its international visibility. During an exhibition in Rennes — where Christian Silvain represented Belgium — the gallery was introduced to Bernard Pras, leading to a valuable collaboration.
Ben Bella was also introduced to the gallery through Giampaolo Amoruso, and in 2018, a joint exhibition featuring both artists marked another highlight in the gallery’s growing cross-border journey.
Bart Ramakers: A Friendship in Focus
The BAD fair at Citadel Park in Ghent, 2018, was nearing its end when Jos stopped by a stand entirely dedicated to my work. He was very discreet, not revealing much of his intentions, but my then-new partner Sofie managed to coax something out of him: he was looking for interesting artists, and thought he had found one — “a bit in the style of Lagrange, but better.”
His invitation brought us to Kuurne, where Galerie Depypere took us completely by surprise: not a typical gallery, but a vibrant place full of history, tied to familiar names like Vermeersch, Scherpeel, and Roobjee.
It quickly became our second home, thanks in large part to the warm friendship of Daisy and later Chloé and Laurent. We became involved in art auctions for Autentico, staged photo shoots together, introduced fellow artists, and shared summer days at pop-ups in Knokke and Ostend…
What began as a tentative encounter blossomed into a friendship that has forever enriched — and continues to enrich — our artistic journey.
In the heart of the gallery — and at the heart of this photo — Jos Depypere appears to be painting a portrait of his daughter Chloé. Or so it seems. What do we really see? A father, a daughter, a brush trying to capture reality, while the walls around them whisper with echoes of the past. Portraits of the gallery’s founders, books full of stories, the spirit of the Vermeersch family, the glass of Amoruso bending light and memory. Even the notarial deed of the building seems to smile knowingly — an official stamp on something that was never merely a building.
This tableau plays with the paradox of Magritte: “Ceci n’est pas une pipe” becomes “Ceci ne sont pas Jos et Chloé.” These are only images creating other images — a layered game, where the gallerist is both creator and creation, caught in an eternal moment of making. As with the Belgian surrealists, it’s not about what you see, but what lies beneath: the invisible threads of heritage, dedication, and the quiet madness of art.
The gallery is not a place — it is a dream, shared, painted, and passed on for 75 years. And just as a painting of a pipe is never truly a pipe, this is never just a photograph. It’s a wink toward the impossible, where past and future meet in a single brushstroke.
Kamagurka: KAMA in the HOUSE
“I got to know Jos via via. Who exactly those ‘via via’ were, I honestly don’t remember — maybe they were clients, maybe friends, maybe clients who acted like friends or friends who acted like clients. Anyway, it must have been around 2018, in my studio in Merelbeke.
Back then, people were telling me: ‘You should really go see Jos Depypere, check out his gallery in Kuurne. That might be something for you. ’ My first thought was: Kuurne? But I gave it a try and picked up the phone.
We met up, had a talk — and one thing led to another, as it often does. We clicked right away. And in his gallery, there were already works by artists I knew, like Pjeroo Roobjee, which made it all feel instantly familiar.
And yes, before long that typical phrase popped up: ‘Let’s do something together.’ It’s one of those sentences that just slips out — and before you know it, you’re off and running. First came a solo exhibition of my work at Jos’s gallery, then a duo show with Herr Seele in 2019. That’s how it all started. And ever since, we’ve kept on ‘doing something’ together – KAMA is in the HOUSE.”
– Kamagurka
Come and discover our exhibition “75 Years Galerie Jos Depypere”
Come and discover our exhibition “75 Years Galerie Depypere” — on view until July 13.
We are open Thursday through Sunday, or by appointment.
You can find more info here.
