The most interesting of the "Ménages d'artistes" existing at present in the Belgian School is that of the Wytsmans. While Rodolph Wytsman seeks out the characteristic aspects of the landscapes of Brabant and the silent spots among the Flemish towns, Mme. Juliette Wytsman, for her part represents, so to speak, the floral life of the sites chosen by her husband. She has indeed created a _genre_ in which she is without a rival.
The daughters of the German engraver, Hoppe, one of whom has married Bernier, the animal painter, and the other the landscapist, Gilsoul, have likewise attained celebrity.
[Illustration: DUTCH SCHOOL, XVII CENTURY THE MERRY YOUNG MAN. FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE PAINTING IN THE RIJKSMUSEUM AMSTERDAM. Judith Leyster, Painter 1600(?)-1660]
The daughters and granddaughters of famous artists form yet another section. Mlle. Alice Ronner, of Brussels, daughter of Mme. Henriette Ronner, is beyond dispute the foremost painter of still-life in Belgium to-day. Her technical qualities are of the highest order, her _mise-en-page_, her draughtsmanship and her colour are in the grand style, and her works one and all have a really masterly air. Mlle. Marguerite Verboeckhoven, the granddaughter of the famous animal painter, has set herself to study the delicate gradations of colour seen on the Belgian littoral. Mlle. Verwée, daughter of the painter of the _Beau Pays de Flandre_, exhibits portraits, which display the wealth of her palette; and the still-life subjects by Mlle. Georgette Meunier, daughter of the engraver, Jean Baptiste, and niece of the great Constantin Meunier, are delicate both in design and in colouring. She is a pupil of Alfred Stevens.
Mme. Destrée-Danse and Mlle. Louise Danse, daughters of Auguste Danse, the engraver, have revealed themselves worthy of their father's high gifts. Mlle. Wesmael, in some remarkable landscapes, and Mme. Marie Durand, who has done some interesting heads, both prove that in Auguste Danse the teacher is fully worthy of the artist.
With regard to Mlle. Alix d'Anethan, C. Lemonnier, in his "History of Belgian Fine Art," writes in the following terms:--"In the Antwerp Salon of 1882 were two canvases by Mlle. d'Anethan, _L'affiche_ and _L'Enfant malade_, which had the freshness and the limpidity of Chardin, with a grace, a delicacy of touch, a feminine sense revealing the teaching of that most imperious of masters, Alfred Stevens." Mlle. Berthe Art, too, followed this prodigious master painter. She has made her position by means of pastels which, while preserving their natural charm, have all the solidity of oil-paintings.