A major figure of Neoclassicism and national statuary.

A central figure in 19th-century Belgian sculpture, Guillaume (Willem) Geefs was born in Antwerp (Borgerhout) in 1805 into a renowned family of artists. Among his brothers—Joseph, Aloys, Jean, Théodore, and Charles—many also became accomplished sculptors. Geefs quickly stood out as one of the most gifted of his generation. Appointed official sculptor to King Leopold I, he received numerous state commissions that helped shape the visual identity of the newly independent Belgium.

Trained at the Royal Academy of Fine Arts in Antwerp under Jean-Louis Van Geel (1787-1852), Geefs developed a sculptural language rooted in Neoclassicism, gradually infused with Romantic expressiveness. He continued his studies in Paris in 1828 and later became a professor at the Brussels Academy of Fine Arts. His growing reputation brought major public commissions, making him one of the key artists entrusted with honoring national figures.

Among his most prominent works are the Monument to the Martyrs of the 1830 Revolution (Brussels), the Mausoleum of Frédéric de Mérode (Brussels Cathedral), the Statue of Leopold I atop the Congress Column (1859), and the powerful Genius of Evil (1848) in Liège. His expressive, often dramatic style gave these monuments lasting emotional resonance.

In addition to his public monuments, Geefs was also highly sought after for his busts and portraits, admired for their refinement and ability to convey the dignity of his subjects. In 1841, Geefs received the prestigious commission for a bust of Albert of Saxe-Coburg, husband of Queen Victoria. On this occasion, he also produced a bust of their daughter, Princess Victoria. This work forms part of a series of portraits of royal children that Geefs created throughout his career, including depictions of the young Leopold II, Princess Charlotte of Belgium, and the Count of Flanders.

Guillaume Geefs passed away in 1883 in Brussels (Schaerbeek). His prolific body of work—spanning public monuments, portraits, and memorials—continues to define the sculptural heritage of 19th-century Belgium.

Literature :

• ENGELEN, C. MARX, M. La Sculpture en Belgique à partir de 1830, Tome III. Engelen-Marx, Louvain, 2006. p. 1614 – 1624.
• FRANZ HERRE, KAISERIN FRIEDRICH. Eine Engländerin in Deutschland. Hohenheim Verlag, Stuttgart, 2006.
• VAN LENNEP, J. Catalogue de la sculpture: artistes nés entre 1750 et 1882. Musées Royaux des Beaux-Arts de Belgique, Bruxelles, 1992.