Emma de Liedekerke 

In The Messenger of the Night, a female figure stands on a stylised vessel, holding a light source that pierces the darkness of a marine landscape. The scene is accompanied by a handwritten text drawn from The Theologian’s Tale: Elizabeth by Henry Wadsworth Longfellow, establishing an explicit link between poetry and image and lending the work an introspective dimension.

The Crossing depicts two female figures reclining within a vessel of sinuous, almost organic lines, gliding across a calm expanse of water. The emphasis lies on the notion of passage, suggested through slow movement and the continuity of the lines rather than through a defined narrative.

In The Annunciation, a winged figure leans towards a seated woman within an architectural setting structured by monumental columns. The gesture, restrained and suspended, suggests a silent form of communication, without dramatic effect.

Through their iconography, atmosphere of restraint, and graphic treatment, these drawings belong to a Symbolist aesthetic, characteristic of Belgian Symbolism in the early twentieth century. They are traditionally presented as the work of a student and in the style of Fernand Khnopff.