出生在 根特 一个讲法语的资产阶级家庭，他首先在Theo Canneel根特学院从1879到 皇家美术学院 在布鲁塞尔领导下 让-弗朗索瓦portaels 。对Portaels北非画开始东方时尚比利时。他们的影响会强烈影响的青年éo Rysselberghe。之间的1882和1888他对摩洛哥进行了三次，在那里一共一年半。

仅仅18岁，他已经参加了根特沙龙，展示的是两个肖像。不久之后，他 管的自画像 （1880），涂上忧郁的颜色在当时的比利时现实主义传统。伊斯 在森林的一个开放点的孩子 （1880）已经偏离了这一风格，他把印象派的第一步。然而，他很快就发展了自己的现实主义风格，接近于印象主义。1881他首次展出在布鲁塞尔沙龙。

第一次去摩洛哥
接下来的一年他前往（在弗兰ç弗朗索瓦Portaels脚步）广泛在西班牙和摩洛哥与他的朋友 弗朗茨查莱特 和 阿斯图里亚斯 画家 从regoyos达里奥 。他特别推崇“大师”的 普拉多博物馆 。进入 塞维利亚 他们遇到了 康斯坦丁·莫聂耳 ，谁是复制 彼得的运动 的 下十字架. From this Spanish trip stem the following portraits :  西班牙女人 （1881）和 Sevillan的女人 （1882），风格已经完全不同。当他踏上 丹吉尔 在1882十月底，一个全新的世界向他敞开了大门：离欧洲那么近却完全不同。他会在那儿呆了四个月，绘画和油画风景如画的场景在街上的 城堡 而在 露天剧场 ： 阿拉伯街头的修鞋匠 （1882）， 阿拉伯男孩 （1882）， 休息的警卫 （1883）

回到比利时，他发现约30的作品他旅行在“圆artistique等小éraire”在Ghent。这是一个急功近利，特别是 KEF的吸烟者 ， 卖橘子 和海景 海峡（夕阳），Tanger （1882）。

1883四月，他表现出这些场景的日常生活在地中海的沙龙 l'essor 在布鲁塞尔之前，热心公众。也正是在这个时候，他结识了作家和诗人 尔哈伦 ，后来他把几次。

1883九月，Rysselberghe去了 哈勒姆 研究作品中的光 哈尔斯 。光的精确绘制将继续占据他的心。他还会见了美国画家 William Merritt Chase 。

Les XX
日éO范Rysselberghe是一个比利时的艺术界突出的创始人 Les XX 1883十月28。这是一个圆的激进的年轻艺术家，赞助下，作为秘书，布鲁塞尔的法学家和艺术爱好者 八度斯 （1856–1919）。他们背叛了陈旧的 学院派 当时和当时的艺术标准。最著名的成员之间 詹姆斯·恩索尔 ， 威利雀 ， 赫诺普夫 ， 菲ROPS ，后来 罗丹 和 保罗·西涅克 。这个会员带来了Rysselberghe与其他激进的艺术家接触，如 James Abbott mcneill惠斯勒 他表现， Les XX 1884。他的影响作为一个肖像画家，可以在Rysselberghe的画像看到 Octave Maus作为一个花花公子 （1885）。Van Rysselberghe就给Octave Maus和他的妻子1883和1890之间的几个肖像。

第二次到摩洛哥
1883年十一月他又离开了，与Frantz Charlet一起，在丹吉尔。他在一年期间，他与Octave Maus常数的信件，敦促他接受“Les XX”的第一个展览的几个新的名字：Constantin Meunier， 艾尔弗雷德verwee ， William Merritt Chase 。（他见过他1883 哈勒姆 1884四月，他访问了。） 安达卢西亚 在美国画家公司 约翰·辛格·萨金特 和绅士的画家 拉尔夫柯蒂斯 。他还邀请他们去布鲁塞尔展。这一次，van Rysselberghe试图超越自己。他的大，异国情调的画 阿拉伯幻想 ，引入主题 Eugene Delacroix 他的最著名的作品，是这一时期。这是沐浴在刺目的阳光热摩洛哥。从现在开始，van Rysselberghe将会被光。但由于缺乏资金，迫使他在十月1884月底返回比利时。

在第二显示 Les XX 在1885届éO范Rysselberghe给他的 阿拉伯幻想 和其他从他的第二摩洛哥旅行图片和绘画作品，如 Abraham Sicsu（译者：Tanger） （1884）。

印象主义
 
 珍妮和Marguerite Schlobach
 Marguerite van Mons的肖像然而，他的下一个肖像而柔和的颜色，使用不同的黑色或紫色渐变光的颜色对比： 珍妮和Marguerite Schlobach （1884）， 八度斯 （1885）， 卡米尔•蒙斯 （1886）， 玛格丽特•蒙斯 （1886）（可以比较 Gabrielle Braun的肖像 （1886）模式 赫诺普夫 ）。

他看到了印象派画家的作品 莫奈 和 -雷诺阿 在显示 Les XX 1886。他留下了深刻的印象。他尝试用这种技术，可以看出在 日本专辑的女人 （1886）。他在画这个印象派的影响变得突出 在她的包厢Madame Picard （1886）和 ghysbrecht夫人奥斯卡 (1886) (painted in a palette of bright colours). In 1887 he painted some impressionist seascapes at the Belgian coast :  在涨潮的Het Zwin （1887）

因为他的成长与巴黎的艺术场景，倍频马斯派他作为一个球探去巴黎寻找未来展新的人才 Les XX 。

新印象主义
他发现 点彩派 当他看到了技术 乔治斯修拉 的 La Grande Jatte 在第八次印象派展览 巴黎 1886。这震惊了他完全。在一起 威尔德 ， 乔治斯莱曼 ， 沙维尔麦勒里 ， 威利史络巴哈 和 阿尔弗雷德·芬奇 和 安娜德国 他“进口”这种风格的比利时。Seurat被邀请到下一个沙龙 Les XX 在布鲁塞尔1887。但他的 La Grande Jatte 批评的艺术批评是“不知所云胡言乱语应用到绘画“高贵的艺术。

日éO范Rysselberghe抛弃 现实主义 成为一个熟练的点画法。这使他有时在沉重的冲突 詹姆斯·恩索尔 。1887 Rysselberghe已经尝试了这种风格，可以看出他 ghysbrecht夫人奥斯卡 （1887）和 爱德蒙皮卡夫人 （1887）。而在夏天1887几周，美国è氖克（兄弟 安娜德国 ）在Batignolles，巴黎附近，他遇到了来自巴黎的场景如希思黎，西涅克几位画家，尤其是Degas和 亨利图卢兹劳特累克 。他赞赏尤其是图卢兹劳特累克的人才。他的肖像 皮埃尔-我 （1887）类似于图卢兹的劳特累克当时的风格。他设法邀请他们中的一些人，包括Forain，图卢兹，拉克，劳特累克的下一个展览 Les XX 。

第三的摩洛哥之旅
1887年十二月他被邀请，与Edmond Picard一起，陪同比利时经济代表团 梅克内斯 ，摩洛哥。在这三个月里，他做了许多彩色铅笔素描。他还画了苏丹的画像 哈桑一世 。回到布鲁塞尔后，他开始画他的印象，依靠他的照片、笔记和草图。伊斯 游牧营地 （1887）可能是他的第一个 新印象派 工作在 在过去的schliat山大篷车 ，Seurat的影响是显而易见的。伊斯 在meknèMansour El Hay门 （1887）和 摩洛哥（大剧场） （1887）也画点彩派的风格，但仍以短划和不分。这些是摩洛哥罕见的点彩派绘画中。当他说完了这些画，他完全停止这个摩洛哥时期他的生活。

他现在的写照，产生了一系列令人瞩目的新印象派肖像。

点彩画法
 
 他的妻子玛丽亚和女儿Elisabeth他的著名的画像爱丽丝的è的（1888）在蓝色和金色将成为他人生的转折点。这一次他仅仅用了点的肖像。她后来嫁给雕塑家 保罗杜布瓦 。她的妹妹，玛丽亚的è，也是一个Rysselberghe模型，将嫁给著名 新艺术运动 建筑师 威尔德 。在这期间他做了许多新写意人物画，如他的妻子玛丽亚和他们的女儿Elisabeth的肖像。他在1889与Marie Monnom结婚了。他们去度蜜月的英国南部和布列塔尼地区。这也会导致一些新印象派绘画。在巴黎，他有一次与 梵谷 和管理，因此邀请 Vincent梵高 到下一个展览在布鲁塞尔。这就是梵高卖 在montmajour红葡萄 到 安娜德国 ，只画他卖过。

除了肖像画，他也画在这一时期的许多景观和海洋景观：“Cadzand”沙丘（1893），“彩虹”（1894）。

在1895他长途旅行到Athens和君士坦丁堡，匈牙利，罗马尼亚，为莫斯科和圣彼得堡为“Compagnie des货车LITS制作海报”。一个著名的作品是海报“豪丽大饭店、Ostende”（1899）。

在1897，van Rysselberghe搬到巴黎。随着 保罗·西涅克 ， Maximilien卢斯 ， 阿里斯蒂德Delannoy ， 亚历山大斯坦伦 ， 毕沙罗 ， 凡·东根 ， 乔治魏劳 等他contributed to the anarchist杂志 新时代 。

Lady in白夫人肖像rysselberghe西奥范。1903后，他当时的技术，他用了这么多年，变得更轻松，1910后就放弃了完全。他的笔触变得更长，他经常使用生动的色彩和更强烈的对比，或柔和的色调。他已经成为了光和热，在他的画作中应用主。伊斯 Nice附近的橄榄树 （1905）提醒我们使用的技术 Vincent梵高 。这些较长的笔画在红色和紫色的他变得突出 洗浴小姐的松树下卡瓦列利è重新 （1905）

经过勘探，在他的自行车上，和他的朋友一起 亨利·埃德蒙德·克劳斯 Mediterranean的海岸之间， 耶尔 和 摩纳哥 ，他发现一个有趣的地方在圣克莱尔（交叉的地方已经居住）。他的哥哥（邻居），建筑师Octave van Rysselberghe，他有一个居住在建1911。他现在已经退休的Côte d'Azur越来越脱离布鲁塞尔艺术场景。

 
 木兰花（1910），他的一个罕见的花组成；私人收藏在这里，他继续画，大多是Mediterranean海岸的风景、肖像画（他的妻子和女儿，和他的弟弟八度）。他在1910获得了Nocard家庭的住宅为一些大型装饰壁画和花组成的秩序 讷伊 ，法国。

From 1905 on, the female nude becomes prominent in his monumental paintings : "After the bath" (1910). His painting  十月的藤蔓 （1912）被涂上了红色的活泼的颜色，绿色和蓝色。他最后的作品之一 在浴缸里的女孩 （1925）。

在他生命的最后，他还把肖像雕塑，如 Head of安德烈. 。

他死在圣克莱尔， VaR 十二月1926，法国14，葬在墓地旁边Lavandou，他的朋友、画家 亨利·埃德蒙德·克劳斯 。

多了一个最大的新印象派画家的作品仍然在私人收藏。他们很少被看到。最近的一次回顾 théo Van rysselberghe 在布鲁塞尔，在二月和九月之间的海牙后2006。2005年十一月，他的工作 港口这 （1892）取在拍卖中€260万 纽约 。

他的哥哥 rysselberghe八度范 （1855–1929）是一位著名的比利时建筑师，谁与 约瑟夫·波拉尔 和 威尔德 。

Born in  Ghent  to a French-speaking bourgeois family, he studied first at the Academy of Ghent under Theo Canneel and from 1879 at the  Académie Royale des Beaux-Arts  in Brussels under the directorship of  Jean-François Portaels . The North African paintings of Portaels had started an orientalist fashion in Belgium. Their impact would strongly influence the young Théo van Rysselberghe. Between 1882 and 1888 he made three trips to Morocco, staying there a total of one year and half.

Barely 18 years old, he already participated at the Salon of Ghent, showing two portraits. Soon afterwards followed his Self-portrait with pipe  (1880), painted in somber colours in the Belgian realistic tradition of that time. His  Child in an open spot of the forest  (1880) already departs from this style and he sets his first steps towards impressionism. Yet soon he would develop his own realistic style, close to impressionism. In 1881 he exhibited for the first time at the Salon in Brussels.

First trip to Morocco
The next year he travelled (following in the footsteps of Jean-François Portaels) extensively in Spain and Morocco together with his friend  Frantz Charlet  and the  Asturian  painter  Darío de Regoyos . He especially admired the 'old masters' in the Museo del Prado . In  Seville  they met  Constantin Meunier , who was copying  Pedro Campaña 's  Descent from the Cross. From this Spanish trip stem the following portraits :  Spanish woman  (1881) and  Sevillan woman  (1882), already completely different in style. When he set foot in  Tanger  at the end of October 1882, a whole new world opened up for him: so close to Europe and yet completely different. He would stay there for four months, drawing and painting the picturesque scenes on the street, the  kasbah  and in the  souk :  Arabian street cobbler  (1882),  Arabian boy  (1882),  Resting guard  (1883)

Back in Belgium, he showed about 30 works of his trip at the "Cercle Artistique et Littéraire" in Ghent. It was an instant success, especially  The kef smokers ,  The orange seller  and a seascape  The strait (setting sun), Tanger  (1882).

In April 1883 he exhibited these scenes of everyday Mediterranean life at the salon  L'Essor , in Brussels before an enthusiast public. It was also around this time that he befriended the writer and poet  Emile Verhaeren , whom he would later portray several times.

In September 1883 van Rysselberghe went to  Haarlem  to study the light in the works of  Frans Hals . The accurate rendering of light would continue to occupy his mind. There he also met the American painter  William Merritt Chase .

Les XX
Théo van Rysselberghe was one of the prominent co-founders of the Belgian artistic circle  Les XX  on 28 October 1883. This was a circle of young radical artists, under the patronage, as secretary, of the Brussels jurist and art lover  Octave Maus (1856–1919). They rebelled against the outmoded  academism  of that time and the prevailing artistic standards. Among the most notable members were  James Ensor ,  Willy Finch ,  Fernand Khnopff ,  Félicien Rops , and later  Auguste Rodin  and  Paul Signac . This membership brought van Rysselberghe in contact with other radical artists, such as  James Abbott McNeill Whistler , who had exhibited in  Les XX  in 1884. His influence as a portrait painter can be seen in van Rysselberghe's portrait of  Octave Maus as a dandy  (1885). Van Rysselberghe would paint several portraits of Octave Maus and his wife between 1883 and 1890.

Second trip to Morocco
In November 1883 he left again, together with Frantz Charlet, for Tanger. During his stay of one year, he was in constant correspondence with Octave Maus, urging him to accept several new names for the first exhibition of "Les XX": Constantin Meunier,  Alfred Verwee ,  William Merritt Chase . (He had met him in 1883 in  Haarlem .) In April 1884 he visited  Andalucia  in the company of the American painter  John Singer Sargent  and the gentleman-painter  Ralph Curtis . He also invited them to the exhibition in Brussels. This time, van Rysselberghe tried to surpass himself. His large, exotic painting  Arabian phantasia , a theme introduced by  Eugène Delacroix , is his best known work from this period. It is bathed in the harsh light of the hot Moroccan sun. From now on van Rysselberghe would be obsessed by light. But lack of funds forced him to return to Belgium at the end of October 1884.

At the second show of  Les XX  in 1885 Théo van Rysselberghe showed his  Arabian phantasia  and other images and paintings from his second Moroccan trip, such as  Abraham Sicsu (interpreter in Tanger)  (1884).

Impressionism
Yet his next portraits are in rather subdued colours, using different black or purple gradations contrasting with light colours:  Jeanne and Marguerite Schlobach  (1884),  Octave Maus (1885),  Camille Van Mons  (1886),  Marguerite Van Mons  (1886) (to be compared with  Portrait of Gabrielle Braun  (1886) by  Fernand Khnopff ).

He saw the works of the impressionists  Monet  and  Auguste Renoir  at the show of  Les XX  in 1886. He was deeply impressed. He experimented with this technique, as can be seen in  Woman with Japanese album  (1886). This impressionist influence became prominent in his paintings  Madame Picard in her Loge  (1886) and  Madame Oscar Ghysbrecht (1886) (painted in a palette of bright colours). In 1887 he painted some impressionist seascapes at the Belgian coast :  Het Zwin at high tide  (1887)

Because of his growing ties with the Parisian art scene, Octave Maus sent him as a talent scout to Paris to look out for new talent for the next exhibitions of  Les XX .
 

Neo-impressionism
He discovered the  pointillist  technique when he saw  Georges Seurat 's  La Grande Jatte  at the eighth impressionist exhibition in  Paris  in 1886. This shook him up completely. Together with Henry Van de Velde ,  Georges Lemmen ,  Xavier Mellery ,  Willy Schlobach  and  Alfred William Finch and  Anna Boch  he "imported" this style to Belgium. Seurat was invited to the next salon of  Les XX  in Brussels in 1887. But there his  La Grande Jatte  was heavily criticized by the art critics as "incomprehensible gibberish applied to the noble art of painting".

Théo van Rysselberghe abandoned  realism  and became an adept of pointillism. This brought him sometimes in heavy conflict with  James Ensor . In 1887 van Rysselberghe already experimented with this style, as can be seen in his  Madame Oscar Ghysbrecht  (1887) and  Madame Edmond Picard (1887). While staying in summer 1887 a few weeks with Eugène Boch (brother of  Anna Boch ) in Batignolles, near Paris, he met several painters from the Parisian scene such as Sisley, Signac, Degas and especially  Henri de Toulouse-Lautrec . He appreciated especially the talent of Toulouse-Lautrec. His portrait  Pierre-Marie Olin  (1887) closely resembles the style of Toulouse-Lautrec of that time. He managed to invite several of them, including Signac, Forain, and Toulouse-Lautrec to the next exhibition of  Les XX .

Third trip to Morocco
In December 1887 he was invited, together with Edmond Picard, to accompany a Belgian economic delegation to  Meknès , Morocco. During these three months he made many color pencil sketches. He also drew a portrait of the sultan  Hassan I . Back in Brussels, he started painting his impressions, relying on his photos, notes and sketches. His  Nomad encampment  (1887) is probably his first  neo-impressionist  work. In the  Caravan in the mountains past Schliat , the influence of Seurat is unmistakable. His  Gate of Mansour-El-Hay in Meknès  (1887) and  Morocco (the great souk)  (1887) are also painted in pointillist style, but still with short strokes and not with points. These are among the rare pointillist paintings of Morocco. When he had finished these paintings, he stopped completely with this Moroccan period in his life.

He now turned to portraiture, resulting in a series of remarkable neo-impressionist portraits.

Pointillism
His famous portrait of Alice Sèthe (1888) in blue and gold would become a turning point in his life. This time he used merely points in the portrait. She would later marry the sculptor  Paul Dubois . Her sister, Maria Sèthe, also a model of van Rysselberghe, would marry the renowned  Art Nouveau  architect Henry Van de Velde . In that period he made many Neo-impressionistic portraits, such as the portrait of his wife Maria and their daughter Elisabeth. He had married Marie Monnom in 1889. They went on their honeymoon to the south of England and then to Brittany. This would also result in a number of Neo-impressionistic paintings. In Paris he had a meeting with  Theo Van Gogh  and managed thus to invite  Vincent van Gogh  to the next exhibition in Brussels. That is where Van Gogh sold  Vigne Rouge in Montmajour  to  Anna Boch , the only painting he ever sold.Apart from the portraits, he also painted in this period many landscapes and seascapes :

In the 1895 he made long journeys to Athens and Constantinople, Hungary, Romania, Moscow and Saint Petersburg in order to make posters for the

In 1897, van Rysselberghe moved to Paris. Along with  Paul Signac ,  Maximilien Luce ,  Aristide Delannoy ,  Alexandre Steinlen , Camille Pissarro ,  Van Dongen ,  George Willaume , etc., he contributed to the anarchist magazine  Temps Nouveaux . [1]

In the final years of the 1890s, Théo van Rysselberghe had reached the climax of his Neo-impressionist technique. Slowly he abandoned the use of dots in his portraits and landscapes and began applying somewhat broader strokes :  The hippodrome at Boulogne-sur-Mer  (1900) and the group portrait  Summer afternoon  (1900),  Young women on the beach  (1901),  Young girl with straw bonnet  (1901), and  The Reading  (1903) (with the contrast between red and blue colours).

After all his years as talent scout for Octave Maus, van Rysselberghe made the mistake of his life: he didn't recognize the talent of the young  Pablo Picasso  (who was in his Blue Period at that time). He found his works "ugly and uninteresting".

Later years
  After 1903, his pointillist technique, which he had used for so many years, became more relaxed and after 1910 he abandoned it completely. His strokes had become longer and he used more often vivid colours and more intense contrasts, or softened hues. He had become a master in applying light and heat in his paintings. His  Olive trees near Nice  (1905) remind us of the technique used by  Vincent van Gogh . These longer strokes in red and mauve become prominent in his  Bathing ladies under the pine trees at Cavalière (1905)

After some prospecting, touring on his bike, together with his friend  Henri-Edmond Cross , of the Mediterranean coast between  Hyères  and  Monaco , he found an interesting spot in Saint-Clair (where Cross already resided). His brother (and neighbour), the architect Octave van Rysselberghe, built him there a residence in 1911. He retired now to the Côte d'Azur and became more and more detached from the Brussels art scene.

 Here he continued painting, mostly landscapes of the Mediterranean coast, portraits (of his wife and daughter, and of his brother Octave). In 1910 he received an orderforsome large decorative murals and flower compositions for the residence of the family Nocard in  Neuilly , France.

From 1905 on, the female nude becomes prominent in his monumental paintings : "After the bath" (1910). His painting  The vines in October  (1912) is painted in lively colours of red, green and blue. One of his last works was Girl in a bath tub  (1925).

At the end of his life, he also turned to portrait sculpture, such as the  Head of André Gide .

He died in Saint-Clair,  Var , France on 14 December 1926 and was buried in the cemetery of Lavandou, next to his friend and painter  Henri-Edmond Cross .

Much of the works of one of the greatest neo-impressionist painters still remain in private collections. They can only rarely be seen. One recent occasion was the retrospective  Théo van Rysselberghe  in Brussels and later in The Hague between February and September 2006. In November 2005, his work  Port Cette  (1892) fetched a record 2.6m € at an auction in  New York .

His brother  Octave van Rysselberghe  (1855–1929) was a famous Belgian architect, who collaborated with  Joseph Poelaert  and Henry Van de Velde .