2016 The Rubenianum

Quarterly 1

Announcing project Collection Ludwig Burchard II Dear friends, colleagues and benefactors,

We are pleased to announce that through a generous donation the Rubenianum will be I have the pleasure to inform you of the able to dedicate another project to Ludwig Burchard’s scholarly legacy. The project entails imminent publication of the first part of two main components, both building on previous undertakings that have been carried the mythology volumes in the Corpus out to preserve the Rubenianum’s core collection and at the same time ensure enhanced Rubenianum Ludwig Burchard. The accessibility to the scholarly community of the wealth of Rubens documentation. Digitizing the Corpus Rubenianum Ludwig Burchard, launched in 2013 and successfully two volumes are going to press as we extended until May 2016, will be continued for all Corpus volumes published before 2003, speak and will be truly impressive. abiding by the moving wall of 15 years, that was agreed upon with Brepols Publishers, for the Consisting of nearly 1000 pages and over years 2016–18. 400 images, they will be a monumental The second and larger component of the project builds on the enterprise titled A treasure addition to our ever-growing catalogue trove of study material. Disclosure and valorization of the Collection Ludwig Burchard, raisonné of Rubens’s oeuvre and constitute successfully executed in 2014–15. An archival description of Rubenianum objects originating from Burchard’s library and documentation has since allowed for a virtual reconstruction a wonderful Easter present. of the expert’s scholarly legacy. Much emphasis was placed on the Rubens files during In the meantime, volume xix, 4 on Peter this project, while the collection contains many other resources that are of considerable Paul Rubens’s many portrait copies, importance to Rubens research. For instance, Burchard frequently scribbled his thoughts the volume on the famous Decius Mus on attribution in the margins of his own catalogues while scrutinizing a painting on site. series (xiii, 2) and volume xvii on his His notebooks and appointment diaries reveal carefully planned travel details. Burchard’s collaborations with Jan Brueghel have correspondence attests to his international network of scholars and art dealers. Each and every one of these objects makes for a unique resource on Rubens research, but has only been translated and are in the process of been roughly inventoried so far. This present project includes a more detailed description being edited. The photo editing advances of these archival documents, which will allow the research community, and Corpus diligently as well. We expect all of these authors specifically, to delve further into the archive and benefit from Burchard’s accurate volumes to come out before the end of observations. Another part this year. In sum, we are proceeding at of the project involves the conservation and description cruising speed now and have the ambition of engraved reproductions and to keep up this pace until this gigantic original drawings, some dating project is finished in 2020. back to the 17th century, that The Corpus Rubenianum has proven form an interesting part of to be an Odyssey – to stay on topic – but Burchard’s Rubens files. Ithaca is in sight. This announcement does not allow me to describe all the Let me also take this occasion to warmly separate parts of the project, thank the two team members who have dubbed Project Collection recently left us, Marieke and Prisca. Ludwig Burchard II, but interim They both played a crucial role in the results will be published publication of several volumes in the regularly through the past years. Rubenianum’s newsletter and website. Close collaboration with Koen Jonckheere the RKD and Illuminare will ensure a fruitful exchange of Director of Publications expertise. The project’s final results should be presented at a conference devoted to < A gem from Ludwig Burchard’s archive: archival best practices that Pieter Soutman’s drawing of The Consecration of St Eloi as Bishop of Noyen, 1618–24. Pen and the Rubenianum is planning brown ink and wash (published in Barrett 2012, for 2018. | Lieneke Nijkamp cat. dl–18). Corpus Rubenianum Elizabeth McGrath interviewed by Gregory Martin

New staff member archival and documentary collections You must be glad that the first Mythology Rubens seems to be an acquired taste for Elise Gacoms introduces herself and her activities at the Rubenianum volume is soon to be out; can you say what many people, even in his homeland. But were your trials and tribulations as editor? the Centrum Rubenianum has played a ‘Rien au monde ne me vaudrait l’immense much-appreciated help from our volunteer crucial role, especially in recent years, in Which brings me to the third part of my job. Mythology 1 is unlike any previous Corpus plaisir d’avoir pu toucher du doigt et examiner Sare Fierens, work has started on the recently introducing some very gifted young scholars Apart from my work on the Rubenianum volume in that it has several authors – six in to Rubens and the artists in his entourage. de tout près ces magnifiques coulées de donated collection of Jean-Pierre De Bruyn, archives, I will also contribute to the online fact, ourselves included – so this has led to So the future looks promising for Rubens couleur pleines d’or et d’azur, des coups de expert on Erasmus Quellinus II and curator interesting complications; that’s the phrase description of Flemish works of art in the research. brosse magiques, … C’est une des plus belles of the Keizerskapel. In the next few RKDimages database as well as assist in training I would use rather than your ‘trials and tribulations’. At an early stage we decided The Centrum Rubenianum – as it has come leçons de peinture que j’aie reçues de ma vie … years, I will also focus my attention on the temporary cataloguers and following up other that it was best not to attempt to impose to be called – can only have been a glimmer c’est aussi ma plus grande jouissance.…’ collections of Ludwig Burchard, Marguerite aspects with regard to the collaboration with a uniform style but to allow variations of in the eyes of Roger d’Hulst and Frans In his discourse Pourquoi j’aime l’Art (1948), Casteels, Roger-A. d’Hulst, Hans Gerhard Evers, the RKD – Netherlands Institute for Art History. emphasis within the established Corpus Baudouin when you were young; I wonder Antwerp artist Emile Vloors (1871–1952) Fritz Grossmann, Marie-Louise Hairs, (Charles) Lastly, together with my colleague, structure. One of the hardest things was to try how you first became aware of the artist? interrupts the enumerating nature of his Van Herck auctioneers, Max Rooses, Pierre to stop the timetable from slipping too much librarian Ute Staes, I will be responsible for Well, in my childhood home in the west survey on remarkable painters to reveal his de Séjournet and the former Iconographic – quite difficult given the other commitments the storage room that is to be created on of Scotland, we had a book about art: personal sensation about Rubens’s work. that our collaborators had. This meant too Institute of Antwerp. the Rubenianum premises. This includes The Hundred Best Paintings, which my that I was writing the Introduction to the In 2012 I acquired my Master’s degree in art Each and every one of these collections is designing the designated space, preparing and father had acquired by collecting cigarette book before I had seen many of the entries … history with a thesis on Emile Vloors. My a unique resource for art-historical research: coupons. In it there was only one Rubens, coordinating the relocation of the archives, but So I made my essay more of an introduction specialization therefore lies in academic art they contain a wealth of documentation on the National Gallery Susanna Fourment. also the equipment of an adjacent room for to the subject, suggesting something of of the late 19th and the early 20th centuries. I liked this lady. When I was about twelve, the oeuvre of 16th- and 17th-century artists, the preliminary handling and storage of new what classical mythology meant to educated I saw her again on the cover of a booklet Nonetheless, the above quote goes to show including photographs, annotated documents people of the time, as well as outlining how acquisitions. on a shelf in our local newsagent. The that these artists were very much touched and correspondence of the creator. the ancient gods and their stories were In short, I very much look forward to shopkeeper refused to let me undo the on this topic for the Corpus. Otherwise, by the old masters. Besides, they built on a depicted before Rubens as well as by him. Though some of the information found in contributing to the increased accessibility wrapper to peek inside, but I decided it I suppose my thesis might have become rich tradition that found its origin in the 17th these collections has already been published, of the Rubenianum archives and revealing I think all our texts benefited from your was just right as a birthday present for my a book rather than a couple of articles. century. Therefore, one might say that with I am certain that many unknown gems are editing – you are a ‘natural’ with a blue pencil. father. I was distinctly embarrassed when its hidden gems to a wider audience on the You have known the Rubenianum over my arrival at the Rubenianum I’m going ‘back still to be found there. While working on I found reproductions inside of lots of naked one hand and getting to know the research One way or another I have had quite a lot several decades; do you look back on the and near-naked women – The Three Graces, to basics’. an archive, you always encounter exciting community devoted to early modern Flemish of experience of revising texts, especially early days with affection? the goddesses in the Prado Judgement Over the past two years I have been working surprises and discover small treasures: as editor of the Journal of the Warburg art on the other. I am sure that I will find myself of , Diana and Callisto and Helena Yes, indeed; it was Kristin Belkin, then at the library of the Royal Conservatoire unique or rare photographs, documents on and Courtauld Institutes. And besides, inspired by Flemish art more than once, just like Fourment in a Fur Wrap. My father seemed writing about the Costume book for the I was greatly helped by our dedicated Antwerp. I contributed to the inventory of works of art that only surfaced once in trade, Emile Vloors aptly described his own experience happy enough with the book, however. Later Corpus, who introduced me as a potential and resourceful ‘editorial team’ at the two large institutional archives: the archive and so forth. What will emerge from the with Rubens. I hope to have cast a glimpse on it migrated to my bookshelf. After all, the contributor in the mid-1970s. But I did not Rubenianum. of the conservatoire itself and the archive of comprehensive photographic archive of Van my future projects with this short introduction author was Julius Held. immediately start on the subject assigned to former drama school Studio Herman Teirlinck. The book’s subtitle is ‘Achilles to The Graces’, me as I felt I had still so much to learn about Herck? And from the documentation files of and, as my work advances, I am sure to keep you But I think it was when you were at and you had the pleasure of writing about Rubens. What I did manage to learn had a lot Fortuitously or not, during the 1950s and Evers, which are currently hardly accessible? university in Glasgow that you had your updated on small and large discoveries through the Prado Three Graces, as well as Boreas to do with the Rubenianum ‘community’ into ’60s, the students of the Studio resided in the Those are some of the questions I’m very Rubens epiphany … our newsletter and website. and Orithyia and Ganymede, while allotted which I had been accepted. Paul Huvenne Kolveniershof! eager to answer. Furthermore, these archives to me were the many compositions of Diana, Yes, I was to see Helena ‘in the flesh’ in was particularly generous in making me feel Amid the spirits of Rubens, Burchard are of great importance to historiographical including the touching Diana and Callisto in the summer of 1966 on the start at home there, and Arnout Balis, who agreed and Teirlinck (and, with the ‘Stadsfeestzaal’ research, as they give us insight into the in the Prado; what about some of the other of a voyage of art-historical discovery that to be the editor of my volume on Rubens’s barely a hundred metres away, also that of methodology of some of the iconic art highlights? took me round Italy and ended in . historical subjects, was to become a close It was there, in Munich, that I resolved that, comrade. Of course my first visits were to Vloors, for he lived there from about 1909 historians within our field. As sediments of Bert Schepers has elucidated the whole series however much I admired Giotto and Raphael, the cosy quarters at the top of the Smit van until his death), my job at the Rubenianum research, these archives often attest to a life’s of Battles of the Amazons, including several Rubens was the artist for me. The little Fall Gelder Museum, where one could stay on for the next three years will be fourfold: work. Once you delve into such a paper legacy, little-known works from the artist’s earliest of the Damned decided the matter: if I loved with a picnic till all hours. years of activity. And there are the pictures arranging and describing the Rubenianum’s a very vivid image of the ‘archival creator’ this picture, then I must love Rubens. on the theme of the rescue of Andromeda main archival and documentary heritage arises. It is this personal component that has The move to the Kolveniershof in 1981 catalogued by Fiona Healy, who also, among You earned your living working in, and then marked a transformation … collections; following up new developments of always intrigued me about archives: so many other works, writes about the splendid running, the Photographic Collection of the It certainly was important in symbolic as the Rubenianum’s archival description system stories – personal as well as professional – Liechtenstein Discovery of Erichthonius (and Warburg Institute in London, where you also well as practical ways, making the library a in Anet; co-coordinating the creation of a may lie behind one single document. introduces alongside it a hitherto unknown taught; I wonder what brought you there in public resource and linking the Rubenianum new depot; and cataloguing Flemish art in the Arranging and describing archives includes composition of this subject). Carl Van de Velde the first place? to the , as had always been RKDimages database. research into the archival creator, compiling deals with the early Aeneas Departing from My peculiar degree in ancient Greek and the intention of Baudouin and D’Hulst. Troy in the Louvre as well as that museum’s In addition to the well-known scholarly an inventory, evaluating conservation issues, the history of art qualified me for the Since then the Corpus went through some Death of Dido. This impressive late painting is estate of Ludwig Burchard – the Rubenianum’s (re)arranging and repackaging the documents Warburg and for little else, and besides lean times when funding and morale were less appreciated than it should be, as perhaps core collection – our institution also harbours protectively and publishing the inventory I had visited its library, was a fan of the low. But now, thanks to the Rubenianum too is the astonishing Hermitage Institute’s Journal and admired the director Fund, the place is a hive of activity, and a dozen other archives and documentation and provenance details through the online on a Barrel analysed by Karolien De Clippel. Ernst Gombrich, whose Story of Art had the atmosphere of collegiality is infectious collections originating from several prominent archival description system of Anet, which the As you can see just from this selection, our been a revelation to me. He took me on to for scholars of my generation as well as for connoisseurs and art-historical institutions. It Rubenianum implemented in 2015. Another volume covers very nearly every aspect of write a thesis on Rubens’s decorations for the young. Rubens’s style too. will be my primary task both to describe and part of my job will be to improve the online the Cardinal-Infante Ferdinand’s entry into Your reputation as a scholar has taken you arrange these collections and to improve their visibility of the Rubenianum archives by Our co-authors are a mixture of the old, like Antwerp. Julius Held happened to be around far afield; I think it was in 1977 that you accessibility. In February I started off with our contributing to new developments of the us, and the early middle-aged; do you think the day I was interviewed and Gombrich stepped centre stage in the Rubens world ... archive of Horst Vey, the late Van Dyck expert archival description system, as well as by there are enough youngsters taking up the asked him if he thought this a worthwhile whose files on the artist were given to the rethinking the digital platforms currently in Rubens challenge? subject; unfortunately none of us knew That is going a bit far, but certainly the that John Rupert Martin was then working 1977 exhibition in the Koninklijk Museum Rubenianum in 2010. Simultaneously, with the use by the Rubenianum, such as RKDexplore.

2 3 was fantastic – and a turning point in my life. I met many famous pictures and Rubeniana scholars for the first time, the latter at the conference – I suppose the stage you talked about – organized by the Centrum. I have one regret, though, and that is that the members of the Rubenianum denied The Rubenianum Lectures themselves the chance to participate, acting only as hosts – which was a great pity. I gave Sunday, 19 June 2016, 11 am a talk about Rubens’s decoration of the façade of his house, identifying the subjects Jamie Richardson on the frieze as reconstructions of ancient Bryn Mawr College, Pennsylvania / paintings described by Greek and Roman Rubenianum Fellow 2015–16 authors. This seemed to go down quite well, Frans Francken the Younger and but I discovered later that the 1920s Parisian the Curious Case of the Encyclopedic outfit I was wearing had a lot to do with it: Konrad Renger’s pointed question to me in the discussion afterwards was ‘Can I buy your While previous studies have dress for my wife?’ investigated the gallery painting genre Michael Jaffé gave me some trouble when as a progressive whole, little attention I was writing the National Gallery Flemish has been given to its earliest stages of school catalogue, and I think you had development as manifested in the work problems with him when writing your Corpus of the genre’s likely inventor, Frans volume? Francken the Younger (1581–1642). This lecture will address its least studied Actually Michael Jaffé never behaved towards category, the so-called ‘encyclopedic me in the way he famously did to certain still life’ or Preziosenwand, painted ‘rivals’. Partly at least that was because exclusively by Francken and his studio, I was female and tended to write about , The Three Graces (detail). Museo Nacional del Prado, Madrid iconography. And after all he examined , Achilles among the Daughters of Lycomedes. Oil on paper, laid down on panel, 23.5 × 34.5 cm in the context of early modern curiosity and passed my thesis in 1971, despite the culture and its discursive practice indigestible lunch he claimed Gombrich even by his admirers, that Jordaens was not brother, has a message for our time as much of collection. had given him beforehand. But it won’t be a sophisticated artist. In fact he appears as for his own. Rubenshuis acquires Open for registration from his art as a man of thoughtfulness and The lecture is in English and coincides news to you that though I persuaded him Can I go back to an earlier topic and ask where intelligence. a modello by Jan Boeckhorst From book to byte. Art that Romulus rather than Aeneas was the you learnt your Latin and ancient Greek – as with the start of the Summer Course subject of the so-called Cardiff Cartoons, Another of your interests has been the your proficiency in both has been one of your publications in transition for the Study of the Arts in – The I failed completely in my attempt to convince presence of black people in European art. defining characteristics? The Rubenshuis recently acquired a modello Age of Rubens in Context, 19–29 June 2016. him that those designs, which he Can you say what led you to this subject? for Achilles among the Daughters of On 21 April 2016 the Rubenianum organizes My school in Kilmarnock was not a very had published as by Rubens, could not be Lycomedes by Jan Boeckhorst (c. 1604–1668), a study day in conclusion of the project You could say that this came naturally from academic one, but it was possible to study by the artist or even from his studio. He a German-born painter who was a pupil ‘Digitizing the Corpus Rubenianum Ludwig even threatened that I would be responsible experiences in life as well as art. As far as art Greek as well as Latin, even if the option and assistant of Rubens. The modello, Burchard’. This day will be devoted to the Coming out soon for his death by apoplexy if I published is concerned, the fact is that Rubens and his was rarely taken up. I persuaded four of my which fits superbly into the collection of transition from printed volumes to web- New Corpus volume this view, which I eventually did – without, contemporaries introduced African and Indian friends to join me in choosing the subject so thank goodness, the threatened effect. His figures into their works in more important, that a Greek class would take place. In fact the Rubenshuis, was acquired with funding based art-historical publications, presenting arch-enemy, Julius Held, did not employ the varied and sympathetic roles than artists at I was motivated by a fascination with classical from the Friends of the Rubenshuis. case studies from the Low Countries, The Centrum Rubenianum is proud to same style of rhetoric or ‘argument’, but any period before the last century, and this mythology, helped along by the copy of Robert The discovery of Achilles, disguised parallel to online museum catalogues that announce the publication of the first of certainly showed marked indignation when seemed to deserve investigation. Jordaens’s Graves’s Greek Myths that I found in the local as a woman, among the daughters of have recently been published under the three volumes on Rubens’s mythological marvellous picture in the Rubenshuis which library and, of course, by those mythological he once caught me sitting next to Jaffé at a King Lycomedes was regularly depicted umbrella of the Getty Foundation’s Online subjects. The book will be presented at shows Moses confronting the viewer with his pictures in my father’s little Rubens book. So conference. Scholarly Catalogue Initiative. A variety the Rubens House in early May. Ethiopian wife, as, in the biblical story, the you see that Rubens and Mythology have been in paintings. Rubens and Van Dyck, for But I think you got on quite well with Julius patriarch confronted his critical sister and part of my life for a very long time. example, both treated this Homeric theme. of projects will be discussed, illustrating Held, didn’t you? According to an ancient legend, Achilles’ challenges as well as success stories Yes, I did. I believe he trusted me, and we had mother, knowing that her son would die if and covering viewpoints from museums, CORPUS RUBENIANUM The Corpus Rubenianum Ludwig Burchard CORPUS CORPUS RUBENIANUM LUDWIG BURCHARD RUBENIANUM LUDWIG BURCHARD many fruitful exchanges over the years. I was he fought in the Trojan War, entrusted him libraries and publishersis divided into the following alike. twenty-nine The parts:study day L. BURCHARD CORPUS RUBENIANUM This complete edition of the works of Rubens dis- PART XI cusses and reproduces all his paintings, sketches and XI LUDWIG BURCHARD invited to give lectures at Williamstown in to Lycomedes’ household, where heThis complete lived edition of the works of Rubens discuss- includes contributionsI. THE CEILING PAINTINGS FOR byTHE JESUIT the CHURCH INRijksmuseum ANTWERP* es and reproduces all his paintings, sketches and II. THE EUCHARIST SERIES* drawings, as well as the works designed by him for MYTHOLOGICAL SUBJECTS , sculpture, architecture and prints. The III. THE OLD TESTAMENT* his honour towards the end of his life. I wish ACHILLES TO THE GRACES among the king’s daughters in hisCorpus palace is based on the materialon assembled over sev- Amsterdam, FlemishIV. THE HOLY TRINITY, THE Art LIFE OF THE Collection, VIRGIN, MADONNAS, THE HOLY FAMILYIRPA/ MYTHOLOGICAL eral decades by Ludwig Burchard and handed over to PART XI the city of Antwerp after his death in 1960. It has been V. THE LIFE OF CHRIST BEFORE THE PASSION (1)* & (2) SUBJECTS Elizabeth McGrath – Gregory Martin – Fiona Healy that the Rubenianum had been able to benefit considerably enlarged by the combined efforts of the VI. THE PASSION OF CHRIST* the island of Scyros. When war threatened,Centrum Rubenianum and the Rubenianum. KIK Royal Institute for Cultural Heritage, and Bert Schepers – Carl Van de Velde VII. THE LIFE OF CHRIST AFTER THE PASSION* Karolien De Clippel The Corpus consists of twenty-nine parts, each of VIII. SAINTS* 1 more from his presence and expertise, but old which deals with a particular commission or group of IX. THE DECORATION OF THE TORRE DE LA PARADA* ACHILLES Odysseus and other Greek chieftainssubjects. Each were part is written by a Rubens scholar (in Brepols Publishers. Participants receive free some cases a number of scholars) and incorporates the X. THE ACHILLES SERIES* TO THE One remarkable feature of European culture as it material accumulated by Ludwig Burchard with the histories of competitive rivalry were involved XI. MYTHOLOGICAL SUBJECTS (1)*, (2) & (3) developed in the Renaissance was the accommoda- result of his/her (or their) own research. The Corpus GRACES tion it made with ancient paganism. The classical aims in this way to embody and to advance present- XII. ALLEGORIES AND SUBJECTS FROM LITERATURE sent to fetch Achilles, knowing they had access to the Rubenshuis museum, and can gods and their legends were allegorised, transformed day knowledge of the work of Rubens. XIII. SUBJECTS FROM HISTORY (1)*, (2) & (3)* here, as with Jaffé. McGRATH into symbolic figures or emblematic scenes that might XIV. THE MARIA DE’MEDICI AND HENRY IV SERIES (1) & (2) The Corpus is sponsored by the City of Antwerp and MARTIN accord with Christian morality. At the same time there the Rubenianum Fund (King Baudouin Foundation), also sign up forXV. THE CEILINGa brief DECORATION OFbehind-the-scene THE BANQUETING HALL* emerged a new, secular, genre of art devoted to the to trick him into revealing himself.and isThey published under the patronage of HSH Prince HEALY depiction of the most popular myths, above all the Hans Adam II of Liechtenstein and the International XVI. THE DECORATIONS FOR THE POMPA INTROITUS FERDINANDI* SCHEPERS love stories recounted by the ancient poets. These sto- Union of Academies (UAI).tt XVII. GENRE SCENES VAN DE VELDE That invitation to Williamstown was a fine ries were not only attractive in themselves; they tour of the Rubenianum.XVIII. LANDSCAPES AND HUNTING SCENES (1)* & (2)* cunningly deposited a heap of feminine gifts DE CLIPPEL offered the opportunity to depict nude figures in nar- XIX. PORTRAITS (1)*, (2)*, (3) & (4) rative action, which the example of antiquity held tribute to you; among your other distinctions “Tatsächlich war Burchard der größte Kenner von XX. STUDY HEADS AND ANATOMICAL STUDIES (1) & (2) forth as the highest goal for painting. before the women – jewellery, clothesRubens’ Werken undand es ist sehr zu bedauern daß er seine All lecturesXXI. BOOKare ILLUSTRATIONS in Dutch. AND TITLE-PAGES* Registration Rubens was one of the greatest creators of classical Arbeit nicht abzuschließen vermochte. was to be the first female Slade professor at Es ist daher eine schöne und wohlverdiente Geste, XXII. ARCHITECTURE AND SCULPTURE (1)*, (2), (3), (4) & (5) allegory; he was also a supreme interpreter of the clas- daß sein Name nun sozusagen als der eines XXIII. COPIES AFTER THE ANTIQUE* sical stories. No painter was so at home in the litera- Schirmherrn für immer mit dem ture of the Greeks and Romans. When he painted for other finery – as well as some weaponry. is mandatoryXXIV. and THE COSTUME open BOOK* until 14 April. Corpus Rubenianum verbunden bleibt.” pleasure, which, increasingly in the course of his life, Oxford University, and then more recently XXV. THE THEORETICAL NOTEBOOK (Julius S. Held, in Zeitschrift für Kunstgeschichte, 1969) he felt able to do, he used pagan myth to express and When time had come to select a gift, Achilles For registrationXXVI. COPIES and AND ADAPT AprogrammeTIONS FROM RENAISSANCE AND LATER details,ARTISTS (1)* & (2)* celebrate themes of love, beauty and the creative you gave the prestigious Gerson lecture XXVII. WORKS IN COLLABORATION (1)* & (2) forces of nature, often in wonderfully idiosyncratic XXVIII. DRAWINGS NOT RELATED TO THE ABOVE SUBJECTS ways. Still, as a Christian committed to the ideals of the Catholic Reformation, Rubens respected the XXIX. ADDENDA, CORRIGENDA AND INDEXES at Groningen where your subject was not instinctively grabbed the weapons, thus please consult our website http:// restrictions generally placed on the depiction of “This series is one of the greatest collaborative art-historical pagan tales. Most of his mythological paintings were enterprises of the late twentieth century.” made for private settings, for display within houses Rubens but Jordaens ... betraying his true identity. (J. Douglas Stewart, in Revue d’art canadienne, 1988) www.rubenianum.be/nl/activiteit/van- (including his own) or in the galleries of princes, Elizabeth McGrath – Gregory Martin – Fiona Healy noblemen and prelates. It is a happy accident of histo- ry that so many these splendid paintings are now The sketch served as a modello for the boek-tot-byte. Bert Schepers – Carl Van de Velde widely visible in the great museums of the world. I have become increasingly attached to Karolien De Clippel “As usual, the volume is very fully illustrated, but with the addition for the first time in a volume Jordaens, and relish the way he takes up painting of the same name (c. 1653–55)of the Corpus Rubenianum, at the of colour repr oductions.” The study day is part of the project (Christopher White, in certain themes from Rubens, especially Staatsgalerie in Schleissheim. Boeckhorst’sNewsletter Historians of Netherlandish Art, 2006) ‘Digitizing the* Already publishedCorpus Rubenianum Ludwig MYTHOLOGICAL SUBJECTS 1 · Achilles to The Graces Bacchic themes, and goes still further with modello will be displayed alongside similar Burchard’, sponsored by the Samuel them to produce amazing effects. I have examples by Justus van Egmont and Jan van H. Kress Foundation and the Flemish VOLUME TWO tried to counter the view, sometimes held den Hoecke. | Ben van Beneden Government. Peter Paul Rubens, Diana and Callisto. Museo Nacional del Prado, Madrid

4 5 CORPUS RUBENIANUM LUDWIG BURCHARD

PATRON H S H Prince Hans-Adam II von und zu Liechtenstein Rubenianum Fund BOARD Thomas Leysen (Chairman) Dominique Allard, Arnout Balis, Michel Ceuterick, Gregory Martin, Ben van Beneden

BENEFACTORS Fonds Inbev-Baillet Latour Fonds Léon Courtin–Marcelle Bouché, managed by the King Baudouin Foundation The Samuel H. Kress Foundation The Michael Marks Charitable Trust Broere Charitable Foundation

Allaert-d’Hulst family Gaëtan and Bénédicte Hannecart Stichting Liedts-Meessen Annette Bühler Jules-André Hayen Otto Naumann Michel Ceuterick Steven Heinz Natan Saban Herman De Bode Baroness Paul Janssen Johnny Van Haeften Georges De Jonckheere David Koetser Eric Verbeeck Dr Willem Dreesmann David Kowitz Juan Miguel Villar Mir Antoine Friling Bettina Leysen Mark Weiss Bob Haboldt Thomas and Nancy Leysen

DONORS Joris Brantegem Dov Gottesman Baron Jean-Albert Moorkens Ingrid Ceusters Stéphane Holvoet Philip Mould Manny and Brigitta Davidson Christophe Janet Simon and Elena Mumford Jean-Marie De Coster Baron Daniel Janssen Marnix Neerman Baron Bernard de Giey Baron Paul-Emmanuel Janssen Paulson Family Foundation Joseph de Gruyter Jean-Louis and Martine Juliard-Reynaers Cliff Schorer Philip de Haseth-Möller Gijs Keij Léon Seynaeve Jan De Maere Cécile Kruyfhooft Eric Turquin Michel Demoortel Eric Le Jeune Rafael Valls Elisabeth de Rothschild Christian Levett Lieve Vandeputte Bernard Descheemaeker Christian and Brigitte Leysen Philippe Van de Vyvere François de Visscher Sabina Leysen Tijo and Christine van Marle Eric Dorhout Mees Anne Leysen-Ahlers Rijnhard and Elsbeth van Tets Count Ghislain d’Ursel Anne-Marie Logan Axel Vervoordt Jacqueline Gillion Pierre Macharis Matthew Weatherbie Alice Goldet Gregory Martin Morris Zukerman Patrick Maselis

CORPORATE BENEFACTORS Sotheby’s Telenet NV

Lazard Frères Groupe Bruxelles Lambert SA KBC Group NV Christie’s Dorotheum Crop’s NV Lhoist SA Koller Auctions Ltd Rosy Blue NV Biront nv Noortman Master Paintings Belfius Bank Sibelco – SCR NV

and a number of benefactors and donors who wish to remain anonymous

V.U.: Thomas Leysen CENTRUM RUBENIANUM With thanks to Anagram, Ghent