“Who was Marcel Laurent?” I ask. Right here on Rue Marcel Laurent, we explore the life of a man honored with a Parisian street. Marcel Laurent was born on December 25, 1872. His birthplace was Mussy-la-Ville in Belgium.
Laurent became a professor of art history. He taught at Liège University in Belgium. His expertise spanned from antiquity to the present. Laurent also served as a curator. He worked at the Musées royaux d’Art et d’Histoire in Brussels.
Marcel Laurent’s early education took place at the college of Virton in Belgium. He studied classical philology. His focus was Greek and Latin. He earned a doctoral degree at the University of Liège. His mentor was Hellenist Charles Michel. Laurent furthered his studies in Paris and Strasbourg. He spent two years in Greece. He was a foreign member of the École française d’Athènes. Around 1902, he returned to Liège. There, he taught Greek Antiquity at the university.
In 1903, art history and archaeology became part of the curriculum. Laurent was appointed professor of mediaeval art history. The Congrès archéologique de Liège provided an opportunity in 1909. Laurent published a paper on arts in the Meuse valley. He covered the Carolingian, Romanesque, and Gothic periods. Laurent emphasized metalworkers’ and goldsmiths’ art. He highlighted Renier and Godefroid de Huy. These artists were from Huy. He also mentioned Nicolas de Verdun and Hugo d’Oignies. These artists were active in the Meuse valley. They worked during the twelfth and thirteenth centuries.
In 1910-1911, Laurent released a two-volume handbook. It covered early Christian art. Marguerite Devigne was among his pupils. In 1912, he became an attaché. He worked at the industrial arts section of the Brussels Musées royaux d’Art et d’Histoire. He studied ceramic collections. He published a survey of ivories too. The title was Les ivoires prégothiques conservés en Belgique.
Laurent co-authored a broad overview. He worked with Dutch architectural historian Willem van der Pluym. It covered masterpieces of architecture and sculpture. The range was from antiquity to their time.
In 1920, Laurent became curator of the Musées royaux d’Art et d’Histoire. He succeeded Joseph Destrée. His interest in ceramics continued. In 1922, he wrote about Guido di Savino. Savino introduced maiolica art from Italy to Antwerp.
For the 1924 exhibition of Liège arts at the Louvre, Laurent wrote the catalog introduction. He sketched ancient art in Liège. He honored goldsmith Godefroid de Huy. His art reached its peak in the Meuse valley. The bronze font by Renier de Huy was a highlight. It was made between 1107 and 1118. It is preserved in Saint Barthélemy Church in Liège. Laurent dedicated two articles to this masterpiece.
In 1928, he published L’architecture et la sculpture en Belgique. Laurent inspected monuments as a member of the Commission royale des monuments. In 1931, he defended Mosan art’s originality. He argued against Hermann Theodor Beenken’s views. In 1932, he wrote about Mosan art’s distant origins.
Laurent retired as curator in 1936. He dedicated himself to his academic career. Marthe Crick-Kuntziger succeeded him. The Académie royale de Belgique elected Laurent in 1938. He became a member in 1941. He lectured on Henri Focillon.
Poor health forced Laurent to retire in 1945. Joseph A. P. M. Ch. Borchgrave d’Altena was one of his students. Laurent believed art should be studied in context. This included philology, iconography, and style analysis.
Laurent’s publications reflected debates. These were between Belgian and German scholars. The topic was Mosan art. Some Germans saw it as a Rhine School variant. Laurent asserted its independence and superiority.
Marcel Laurent died on June 7, 1946. He left behind a legacy of art historical scholarship. This street, Rue Marcel Laurent, keeps his memory alive. It reminds us of his contributions to art history and his dedication to education.