You are greeted with a brilliant explosion of colour. There are thick, bold brushstrokes that make up the scene of a sunrise or a sunset. I would argue that the colour choice could potentially hint at a mature sunlight, not the young tenacity of a sunrise, however, that wouldn't be the point of the painting. Zonnegloed, or Sun Glow is a painting attempting to show you what the sun feels like, not what it looks like. There is a clear hierarchy between the sky and the non-sky. Quite literally, the sun’s glow is the subject. There is no staffage. No clear composition. Just the sun, centred, and its glow, all-encompassing. Emile Claus arranges the sky around one luminous core. Brushstrokes flare out from the sun, directional and expansive. Sharp, clear marks that don't so much melt into each other as build up into an atmosphere. The palette moves from a rich yellow-orange at the source to violet, teal, and the cooler shades of blue. Belgian Luminism, whose pioneer is Claus himself, stresses shadows and peripheral shades in unexpected colors: purples, greens, oranges, to show the play of light, not just its appearance. The boundary between the sun and the surrounding sky is a dissolution, not a line. Form yields to sensation. The work is held at the Museum Dhondt-Dhaenens in Deurle, a village on the river Leie. It remains at the heart of the Lys valley that defined Belgian Luminism's geographical and spiritual centre. Zonnegloed was painted in 1905, the year after Claus founded Vie et Lumière, the circle that formalised Belgian Luminism as a movement distinct from French Impressionism. Where Monet's paintings produce a sketchy, fugitive effect, Claus's luminism is more exhaustive. It makes use of more brushstrokes, less hurry and more importantly, a greater commitment to staying inside the moment rather than catching it in passing. Zonnegloed is perhaps the purest expression of that commitment.

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