Tag: Flemish masters

Nana (after anonymous Flemish master)

Nana (after anonymous Flemish master)

I am very excited to complete the first two works of my new series, Family Portraits.  This series lies at the intersection of heritage and family history, art history and digital technology, craft and fine art, grief, memory, mental illness, addiction, and love.

I am 3/4 Belgian-American, and I am lucky to have visited Belgium several times.  This series involves combing through boxes of family photographs and researching the art of the Flemish masters.  A digital collage is printed onto cotton fabric, layered with lace, batting, and backing and stitched by and/or machine.  Each portrait is an homage, an exploration of family dynamics and grief.  All is done without the use of AI.

When I look at this work, I cannot believe the painter is unknown, let alone the dressmakers.  That dress is gloriously ridiculous.  It must have taken teams of lacemakers and dressmakers months to complete.  The dress itself is a masterpiece, and the painter painstakingly recreated each strand of lace with the stroke of a brush.

Countess Ursula’s stunning gown inspired me to create an homage to my Nana, Rosella Van Belle, my mother’s stepmother.  Nana was the Martha Stewart of here day.  She cultivated a lovely rose garden, was a great cook, dressmaker, and hosted a magical Christmas Eve celebration throughout my childhood.  It was always a highlight of my year.

Portrait of Ursula, Countess of Solms-Braunfels, Anonymous circa 1630.  

Countess Ursula’s stunning gown inspired me to create an homage to my Nana, Rosella Van Belle, my mother’s stepmother.  Nana was the Martha Stewart of her day.  She cultivated a lovely rose garden, was a great cook, dressmaker and needle worker.   She hosted a magical Christmas Eve celebration throughout my childhood.  It was always a highlight of my year.

collage of family photos into painting by anonymous Flemish master
Nana, (After Anonymous), by Mary Vaneecke 2026

The digital collage includes a picture of her grandchildren singing Christmas carols, her Singer sewing machine, a fantastic bit of handmade lace, and buttons, patches, and the cover of a needle packet from her sewing box.  There is some of her best-loved cookies on the table, along with a Christmas stollen.  She is crowned with one of her bracelets.

See the first work in the series here.

Family Portrait (after Jan Steen)

Family Portrait (after Jan Steen)

And now for something completely different….

I am very excited to complete the first two works of my new series, Family Portraits.  This series lies at the intersection of heritage and family history, art history and digital technology, craft and fine art, grief, memory, mental illness, addiction, and love.

I am 3/4 Belgian-American, and I am lucky to have visited Belgium several times.  This series involves combing through boxes of family photographs and researching the art of the Flemish masters.  A digital collage is printed onto cotton fabric, layered with lace, batting, and backing and stitched by and/or machine.  Each portrait is an homage, an exploration of family dynamics and grief.  All is done without the use of AI.  

The first work is based on Jan Steen’s famous Merry Family.  There is a lot going on in this painting!  You can learn all about it here at the Rijksmuseum.

The Merry Family by Jan Steen, 1668

 

Family Portrait (after Jan Steen) by Mary Vaneecke, 2026

I feel this is a rich vein for exploration, and I love finding the perfect elements to combine in a collage.  What do you think?