Critics noted that Eliane de Meuse had inherited much from the Belgian Luminism, movement of the very early 20th century, which combined aspects of Realism (Realist visual arts), Impressionism and Neo-Impressionism.

Charles Bernard, the foremost Belgian critic at that time[3] wrote that he considered the art of Eliane de Meuse as aimed towards a pure, clear artistic ideal, without any selfish motives.

This exhibition took place in the Palais des Beaux-Arts (Centre for Fine Arts, Brussels), where a collection of paintings representing the outcome of fourteen years of dedication in the pursuit of personal expression was presented.

[3] The same year, in Le Courrier d’Anvers, Sander Pierron,[4] another influential critic, wrote that he believed this young artist was called to a great destiny.

[6] In his monograph dedicated to Eliane de Meuse Paul Caso wrote that: Every type of art work has been tackled, with a natural inclination for still lifes (frequently with wonderful flowers from her garden), the true nub of her work, often studied as a pile of objects, masks, flowers, draperies, many times assembled around the same chair from her studio, a chair which acquires a real personality, in an apparent disorder of forms and colours.