This books offers an appreciation of the life and work of Father Mon Van Genechten, a Belgian artist-priest who was a missionary in China from 1930 to 1946. It presents Father Van Genechten as an open-hearted and creative man of faith, and also makes the rather dramatic claim that Van Genechten, whose art combined Chinese styles with Christian iconography, should be seen as a Chinese artist.

The book contains two essays: one by De Ridder, on the art-historical context of Van Genechten's work; and the other by Swerts, giving fuller biographical detail. It also includes a brief memoir of Van Genechten by a former student; reproductions of his paintings, woodcuts and photographs; a list of his exhibitions; and a catalog of his known works. This catalogue is, unfortunately, less useful than it might be as it gives neither the current location of a work nor where it is reproduced.

Van Genechten is no neglected genius, but he is potentially interesting to students of Christian missionary work in China, of the modern development of Christian art, and also to students of modern Chinese art. His career – which encompassed decorating churches in Inner Mongolia, teaching at the Catholic University of Peking, and being prisoner of war in Shandong – offers a fresh perspective on East–West artistic interchange. But while the book introduces a worthwhile subject, it falls short in analysis and historical contextualization.