A budding artist in Germany
In 1889, Henri went to Germany to study and practice under Hermann Knackfuß, a master pupil of Eduard Bendemann, historical-scenes painter of the Düsseldorfer school. The works of Hermann Knackfuß in historicist styles are dedicated partly to generally historical representations, and partly to church motives. The Royal Academy of Art in Kassel (officially known as the Königliche Kunstakademie Kassel) was a conservative institution that adhered to traditional academic art principles, much like other state-sponsored art academies in Germany at the time.
Instruction at the The Royal Academy of Art in Kassel during this period was rooted in traditional academic methodologies, which emphasized: Mastery of Drawing, Historical and Genre Painting, Oil Painting Techniques, and Composition and Perspective. The academy did not embrace the emerging modernist movements of the time, such as Impressionism or Symbolism, which were gaining traction in France. Instead, it promoted Realism (in a polished, academic form) and Neoclassicism, with some influence from the Düsseldorf School of painting.
Here, under the tutelage of Herr Knackfuß, Henri honed his skills, making reproductions of 16th century art such as Rembrandt; his monumental reproduction was Rembrandt's "Jacob Blessing the Children of Joseph." From Knackfuß, Henri acquired meticulous draftsmanship and an appreciation for historical accuracy in composition.
This painting was favored by his father, Joseph, and was displayed in the "wohnzimmer" or parlor of Joseph's home in Molenbeek. Knackfuß built a solid friendship with Hucklenbroich and allowed him to extend his stay in Kassel, which includes many works by Rembrandt.
Education and experiences in Paris
Hucklenbroich attended the Académie Julian in Paris in 1894. This institution was founded in 1868 by the artist Rudolphe Julian. With its progressive ideas, it became an alternative to the state-run art school, École des Beaux-Arts. The Académie Julian admitted both men and women, although they studied in separate ateliers (studios). Women could study from nude models—an exceptional allowance in that era—giving them opportunities for serious artistic development on par with male counterparts.
A few years earlier, in 1888-1889, Les Nabis originated as a rebellious group of young student artists from the Académie Julian. By 1890, they began to successfully participate in public exhibitions, while most of their artistic output remained in private hands or in the possession of the artists themselves.
Upon arriving in Paris, where artistic circles were less familiar with Germanic names, Henri adopted the more Flemish-sounding name "Huklenbrok," which he used to sign his works. This simplified surname would become his artistic identity. While there is no evidence that Huklenbrok directly associated with Les Nabis, their presence and growing influence in Paris would have been part of the artistic atmosphere he encountered.
While rooted in academic realism, the Académie Julian encouraged technical mastery and participation in the Salon de Paris but also tolerated more modern approaches, particularly from its more progressive students.The school was not just a place of instruction but also a vital part of Paris' artistic scene, closely tied to the bohemian lifestyle of Montparnasse and the Latin Quarter. Its students frequently exhibited in the Salon and formed artistic circles that influenced later modernist movements.
With his formal training from Germany, Huklenbrok was well-prepared to become a student of Jean-Paul Laurens (1838–1921), a French painter and sculptor, and one of the last major exponents of the French Academic style.
After his time with Knackfuß, Huklenbrok's skills were well-aligned with Laurens' classical style. The style adhered to neo-classical masterpieces. Under Laurens, Huklenbrok refined his understanding of historical narrative in painting and developed the compositional techniques that would later characterize his mature work. Jean-Paul Laurens was known as a demanding but fair teacher, respected for his discipline and seriousness. While he taught classical methods, he was not rigidly dogmatic. Students could explore personal themes and styles as long as they mastered core principles.
Fortunately, like many students at the time, Huklenbrok was able to attend complementary classes at l'École des Beaux-Arts.
Gustave Moreau (6 April 1826–18 April 1898) was a French Symbolist painter whose main focus was the illustration of biblical and mythological figures. Moreau, in his elder years, became more revolutionary in style, and when he joined the École des Beaux-Arts, he advocated for a rebellious style to his students. Huklenbrok observed a rise in artistic freedom among his fellow students and began to seriously envision fulfilling his dreams of a career as an artist.
The crossroads of culture in the industrial age
By the 1870s, the European railway network had expanded dramatically, with Belgium among the first countries to develop an extensive system connecting major towns. This infrastructure transformed artistic life by allowing the educated middle class to travel affordably across borders. Artists like Huklenbrok gained unprecedented access to academies, salons, and exhibitions in cultural centers like Paris, Antwerp, and Düsseldorf.
This mobility, enhanced by art journals and shared languages, enabled young artists to build international networks, exchange ideas, and participate in the vibrant artistic movements emerging across Europe.
Huklenbrok divided his time between Brussels (where he stayed at his parents' home and participated in exhibits), Paris (where he maintained a studio), and Brittany (where he found subjects to paint alongside several other artists).
Huklenbrok befriended Henri de Groux, a Belgian Symbolist painter, sculptor, and lithographer. This connection would prove significant for Huklenbrok's artistic development and career opportunities.
De Groux was also one of the members of Les XX and La Libre Esthétique. He was deeply engaged with Symbolist art, moving away from realism and into visionary, often apocalyptic or mystical themes. His 1889 painting "Christ aux Outrages," widely described as his masterwork, depicted Jesus being attacked by a mob.
Henri de Groux was known for his volatile personality and public quarrels: he was expelled from Les XX for apparently whipping James Ensor. In 1890, he publicly insulted Vincent van Gogh, calling him a "madman and a charlatan" at a memorial exhibition held at the Café du Tambourin in Paris after Van Gogh's death, which sparked controversy and was countered by young artists like Toulouse-Lautrec.
Henri de Groux entered a late period marked by growing isolation, artistic obsession with apocalyptic themes, and a mixture of acclaim and alienation. While still recognized as a significant Symbolist and visionary painter, his mental and emotional instability intensified, and his personal mythology began to eclipse his earlier Symbolist affiliations.
De Groux would eventually invite Huklenbrok to paint with him in Brittany at the end of spring in 1895. Huklenbrok's encounters in this northern tip of France would change his life, setting him on a path toward discovering his own artistic voice.
