2015 The

Rubenianum Quarterly 1

Book launch at Rubens’s country estate ‘Het Steen’ Work in progress

On 17 March a small company travelled from Rubens’s town house to his country estate In terms of Rubens research, we are currently witnessing at Elewijt near Mechelen. Spring pleasantly announced itself through the chirping of an exceptionally productive time, of which this issue of birds while the morning sun poured into the landscape surrounding the impressive cas- The Rubenianum Quarterly once again offers ample tle. One would almost forget that four centuries have passed since the days when Rubens proof. In these pages, special attention goes to the once- and his family used to take the exact same route to escape the city buzz for some coun- in-a-lifetime family reunion established by the Rubens try air. The occasion for this historic ride? The book launch of no less than five Brepols/ House in the exhibition ‘Rubens in Private. The Master Harvey Miller publications – to some extent all connected to Rubens or landscapes or Portrays his Family’. Furthermore, we proudly introduce both – set at the unique location of Het Steen. Rubens acquired the estate in 1631 and the latest volume of the Corpus Rubenianum transformed it into a second home to bring his young wife and children and enjoy the last Ludwig Burchard. It was recently presented to the years of his successful life. public, along with studies on Rubens’s landscapes as Once the guests had arrived, Corina Kleinert kicked off the launch by presenting a well as on Ludwig Burchard himself. short history of Het Steen before introducing her own book about Rubens’s ideas on While this new Corpus part brings us closer to Nature and Art. The location for a presentation of a book on Rubens’s landscapes, of the realization of this magnum opus, good news for course, couldn’t have been more appropriate than the very spot where Rubens found its digital component has reached us just recently. inspiration for the various landscape paintings he produced at the end of his life. Hans Complementing the grants we gratefully received from Vlieghe then presented his and Hans Devisscher’s new addition to the Corpus Rubeni- The Samuel H. Kress Foundation, additional Flemish anum, devoted to the youth of Christ. Yours truly followed with a presentation on the funding has now definitely secured the completion of conference proceedings on Ludwig Burchard – edited together with Prisca Valkeneers the ‘Digitizing the Corpus Rubenianum’ project by mid- and Koen Bulckens – contextualizing the man who initiated the Corpus Rubenianum 2016. This will greatly expand the online presence of enterprise. Sabine van Sprang made us return to landscape painting as she introduced the Corpus in an updated and illustrated form. Further us to her book on the principal Flemish landscape painter at the beginning of the 17th good news is that, due to her vigorous efforts, cataloguer century: Denijs van Alsloot. And Katlijne Van der Stighelen rounded off the official part Karen De Meyst is still entirely on schedule. of that morning with remarks on the conference proceedings she and Hannelore Mag- But in a global perspective a great deal more is going nus edited on the history of early modern emotions and art history. All five books were on. For just over a year, print scholars Simon Turner to be presented more elaborately later that day at the Rubenianum, but our curiosity and Jaco Rutgers have been compiling the long-awaited had certainly been aroused while we sat down for an exclusive Rubenesque lunch, in- and much-needed volumes on prints after Rubens in the cluding mousse au chocolat à la Hélène accompanied by a Châteauneuf-de-Rubens. Near ‘New Hollstein Dutch & Flemish Etchings, Engravings the glowing fireplace and with a romantic view from the castle’s windows we could all and Woodcuts’ series. Both Rubens’s personal imagine Rubens relishing his Vin d’Ay and watching his savoury figs and pears grow in the engagement with the print production after his works, as garden. | Lieneke Nijkamp well as the countless reproduction prints in the centuries after Rubens, make theirs an enormous undertaking, on which a report will follow in our Quarterly’s summer issue. Meanwhile, across the Atlantic, Dr Anne-Marie Logan indefatigably continues working on her complete catalogue of Rubens’s drawings, that is to appear as a part of the highly regarded Brepols ‘Pictura Nova’ series. This striking coincidence of ambitious and encompassing standard works on Rubens’s oeuvre goes on to demonstrate the need to map and analyse his vast and influential artistic legacy. Obviously, all publication projects mentioned here will benefit from their respective advancements, as well as from the ever-reliable study collections at the Rubenianum.

Véronique Van de Kerckhof

Photo by Kwong Gueng To Gueng Kwong by Photo Director of the Rubenianum

Corpus Rubenianum

Hans Devisscher & Hans Vlieghe: some of their youthful servants, while the The Life of Christ before the Passion. 1. The Youth of Christ background is reserved for the royal retinue. (Corpus Rubenianum Ludwig Burchard, Part V/1), London: Harvey Miller, 2014 To make the members of the retinue visible to the viewer, and to enable them to watch the Adoration scene, they are frequently The paintings that Rubens devoted to compositional types: one in which the placed on a flight of steps. This idea of scenes from Christ’s youth are among shepherds or shepherdesses stand or kneel using a flight of steps to fill the composition the most impressive and influential around the manger, and a second type plane with figures to the top was a new examples of art expressing Roman Catholic in which the shepherds are depicted as a and typically Rubensian device. For the spirituality as reasserted by the Council single close-knit group that approaches the horizontally elaborated type with the broadly of Trent. The vast majority of these manger from the left or the right. Rubens conceived procession of the royal retinue, works are Rubens’s numerous images of did not introduce either of these two Rubens again drew on the existing tradition, the Adoration of the Shepherds and the compositional schemes; in both cases he as crystallized in works by Veronese, Bassano Adoration of the Magi. The oldest sources built on existing artistic traditions. For works and Maarten de Vos. for these and other scenes from Christ’s in which shepherds and shepherdesses are Both the Adoration of the Shepherds early years are of course the accounts in sitting or kneeling around the manger, their and the Adoration of the Magi are the Gospels of St Luke and St Matthew. attention totally absorbed by the Child subjects that are wholly attuned to the However, these are extremely brief and being shown to them by the Virgin Mary, iconographical views of the Counter- do not give artists sufficient material are very common in Netherlandish art of Reformation. Essentially, all these scenes on which to base their paintings. From the sixteenth century, as we see in works by revolve around the glorification of Christ the earliest times, artists therefore drew Frans Floris and Maarten de Vos. The second by angels, shepherds and kings, together on other sources: passages from the type, with the group of shepherds rushing symbolizing the community of Christian Apocrypha, prefigurations in the Old to the scene, appears rather to be Italian believers. In line with the views of the Testament, descriptions in legends and in origin. It can certainly be encountered, Counter-Reformation, the compositions are pious tales, and details from the Mystery in any case, in works by Titian and Jacopo never complex: they exude simplicity and Plays. In his interpretations of the themes Bassano. clarity. As far as possible, the protagonists of the Adoration of the Shepherds and the The images of the Adoration of the Magi are placed in the foreground. With their Adoration of the Magi, Rubens built to a can also be divided into two distinct types. direct appeal, these lucid compositions forge large extent on the artistic tradition that Unlike those depicting the Adoration of a psychological connection: the viewer feels had developed in the Low Countries and the Shepherds, these types are largely directly involved in the event, and even has Italy in the fifteenth and sixteenth centuries. distinguished by their compositional the sense of participating in it. The believer is Rubens’s images of the Adoration of format – either horizontal or vertical. thus invited to join the angels, shepherds and the Shepherds are always set in a stable, The horizontal scenes focus heavily on the kings in glorifying the Christ Child. These suggested by the presence of a hay loft, a kings’ retinue, which takes the form of a Adoration scenes therefore encapsulate the hay rack, an impressive beam structure or magnificent procession. In the scenes with concept that the salvation of humankind is miscellaneous farming implements. These a vertical format, the foreground is generally made possible by faith in Jesus Christ and his scenes can be divided into two distinct occupied by the Holy Family, the kings and sacrifice, and by its commemoration in the Eucharist. The emphasis on the Eucharist and on Mary’s role, it should be added, is entirely consistent with the views of the Counter-Reformation. By emphasizing this emphatically Catholic idea, the Roman Catholic Church sought to affirm its own principles as opposed to those of Reformed Protestants. Although Rubens’s scenes from the earliest days of Christ, before or after his birth, constitute a far smaller proportion of his religious oeuvre than the Adoration scenes described above, they are equally illustrative of the approach dictated by Counter-Reformation theorists. These scenes too, of course, are based partly on the Gospel and partly on Apocryphal texts and pious legends added over the years. Rubens could also build on a pictorial tradition that had developed over the centuries, in which the medieval views and patterns originating from Northern Europe had merged with those of the Italian Renaissance. | Hans Vlieghe

2 Rubens in Private. The Master Portrays his Family*

Ben van Beneden

From 28 March until 28 June the Rubens House is focusing on a distinct category within the was probably disinclined to invest time in work of Peter Paul Rubens – the portraits he made of himself and the members of his family. painting self-portraits for art lovers, even This comprehensive exhibition, the first ever dedicated to the private work of the most public princely ones. His portraits of members of painter of the seventeenth century, takes a fresh look at Rubens’s family portraits, re-examining his own family testify to great spontaneity their functions and meanings, and reconsidering the works in the context of Rubens’s life, and sincerity, but the pictures he produced and his social and artistic concerns. of himself are an entirely different matter. In his self-portraits, Rubens invariably As an artist, Rubens did not immediately most successful ever. Yet the portraits of his projected his public image, the way he develop a particular fondness for the intimate friends and relatives show another wished to be seen – not as an artist but as genre of portraiture. It should come as no Rubens: a man of flesh and blood, who a gentleman, a gentiluomo. surprise, therefore, that his most remarkable was deeply attached to his first and second The lack of a detailed inventory of achievements in this genre are portraits of wives, his brother and his children. Among Rubens’s estate makes it impossible to family members and loved ones. Because his most tender expressions of intimacy and determine where the family portraits were these works were never intended for public paternal love are undoubtedly the handful displayed in his house on the Wapper. It is display, they are freer and often more daring of portrait studies of his sons from his first highly likely that there were also portraits than the likenesses of his official clientele. marriage, in which he succeeded with only hanging in his country house, Het Steen, Nothing about these private portraits seems a few unerring lines of the pencil in showing, in Elewijt, though we have no precise idealized. They are uncommonly honest in all its beauty, the utter vulnerability of a information about this either. The fact that works that testify to profound commitment child’s soul (fig. 1). Antwerp interiors usually featured portraits and deep affection. According to the time- Despite the wealth of surviving family in the most important rooms on the ground honoured Tuscan proverb ‘every painter portraits, a few of the protagonists in floor illustrates the importance attached paints himself’ (‘ogni dipintore dipinge sè’) Rubens’s life are lacking a face. This is to them. For example, Jan Brant, Rubens’s – found in the writings of Leonardo da Vinci – particularly true of his mother, Maria father-in-law, owned twenty ‘likenesses’, Rubens no doubt incorporated some measure Pypelinckx. In 1561 she married Jan Rubens, including ‘a piece by Mr Peter Paul Rubens of his own personality in his family portraits. an Antwerp lawyer and magistrate, but with his first wife’, which was displayed in A remarkably large number of Rubens’s the pendant portraits they commissioned ‘the large room on the courtyard’, together painted and drawn portraits of close friends to mark their marriage have not survived; with a portrait of Rubens’s ‘little daughter’, and relatives have been preserved – a body nor do we know the name of the artist Clara Serena. of work that is considerably larger than the who painted them. Maria Pypelinckx must Many of those family pieces – in both complete oeuvre of such artists as Caravaggio have been a strong, resolute woman and an senses of the term – were no doubt and Vermeer. In the light of his artistic extremely devoted mother who, as a refugee intended as keepsakes or records of the persona, this number is striking, to say the in a foreign country, often had to be the past (memoriae); they illustrate the need least. Rubens was more than just a brilliant head of the family. Fragmentary archival felt by Rubens and countless others to and versatile artist. He was a pictor doctus, evidence makes it possible to piece together immortalize their loved ones in paint. a learned painter who moved with ease from her life, a life brought very close to us by ‘The art of painting preserves the features the culture of antiquity to that of his own the well-known, loving letter she wrote to of a man after his death’, Dürer wrote in day, who immersed himself in history and her husband, imprisoned in Cologne. Surely a frequently quoted passage of 1508/09. sought to anchor the past in the present. His Rubens painted this exceptional woman That notion can be traced via the fifteenth- career as a painter of the European elite, as a before he left for Italy – how could it be century art theorist Leon Battista Alberti diplomat and as an entrepreneur with a nose otherwise? It would be intriguing, then, to back to Pliny the Elder. In the seventeenth for profitable connections was one of the know what she looked like through the eyes century the commemorative function of her son. of portraits was repeatedly evocatively Rubens did not leave us a portrait of expressed by Constantijn Huygens – poet, himself in the midst of his complete family. diplomat and connoisseur of art – and the The only Antwerp family portrait that is subject is also treated in Het gulden cabinet indubitably by his hand is the engaging der edel vry schilderconst (The golden portrait of Jan Brueghel and his family, cabinet of the noble, liberal art of painting) a painting that surpasses all others of of 1662 by Cornelis de Bie, the erudite this genre by virtue of the sitters’ warm Southern Netherlandish painter’s son and interaction. Rubens and Brueghel often artists’ biographer. The memorial function worked together, and were not only close of portraits also emerges from the wording friends, but also godfathers to each other’s encountered in wills of that period. Jan Brant children – a welcome way to expand the left his books and ‘papers’ (‘pampieren’) family by building up a network of helpful to his grandson Albert Rubens, son of the relationships. painter, who also inherited Rubens’s portrait In comparison with his illustrious fellow of Jan Brant – ‘to honour my memory’, as artists, Rubens did remarkably little the sitter himself had said. The portrait painting in front of the mirror. Only four of his grandfather, a learned legal adviser, autonomous self-portraits by his hand are undoubtedly served Albert not just as a known. Why so few self-portraits of Rubens keepsake but as a paragon and source of Fig. 1 Peter Paul Rubens, Nicolaas Rubens with Necklace, were in circulation is anyone’s guess. inspiration. In their last will and testament, c. 1619. Albertina, Vienna Rubens was a history painter pur sang, who Rubens and Helena Fourment stipulated

3 Fig. 2 Peter Paul Rubens, Isabella Brant, c. 1620–25 (detail). Fig. 3 Peter Paul Rubens, Clara Serena Rubens, c. 1616 (detail). The Cleveland Museum of Art. Mr and Mrs William H. Marlatt Fund Sammlungen des Fürsten von und zu Liechtenstein, Vaduz–Vienna

that the portraits of Rubens and his two wives ‘rediscovered’ portrait of Rubens’s eldest In the last phase of his career, Rubens also go to their respective children, whereas ‘the daughter that might well have been painted made in rapid succession several life-size painting called “Het Pelsken” ’ was intended shortly after the girl’s death in 1623. figure paintings featuring young women, such for ‘his current wife’. The sensitive drawings Rubens made of as The Judgement of Paris and The Garden Rubens’s family portraits seem to possess his two sons from his first marriage (see fig. 1) of Love (‘Conversatie à la mode’), for which an immanent quality that gives the viewer also give the impression of being spontaneous Helena seems to have posed indirectly – the illusion, if only for a second, of the studies, lovingly drawn from life – ‘fait con a detail that did not escape the notice of sitter’s palpable presence. Sometimes this amore’, as the nineteenth-century Rubens Rubens’s contemporaries. Even so, we should has to do with barely perceptible facial expert Max Rooses so beautifully put it. not view such veiled portraits historiés as expressions – no more than subtle indications Ultimately, however, it is often the little portraits, for they are sooner an illustration of a psyche in motion. It is fascinating to see touches that cannot easily be analysed of the saying, well known in those days, how Rubens achieved these magical effects: and were almost certainly not consciously ‘Love brings forth art’ (‘Liefde baart kunst’), the white highlight on Isabella’s nose, for applied by the artist, which give the viewer a Neoplatonic allusion to the convergence example, which causes the skin to glow and the sensation of experiencing the picture as of love and creativity. brings the nose itself to the fore, and the strongly as the artist must have experienced The portraits Rubens made of his stray highlights in the eye and on the lower the image in his mind’s eye. immediate family and loved ones served lip (fig. 2). In spite of all the studio tricks and In 1630, more than four and a half years various purposes: besides as a means of conventions in the use of trompe l’œil, the after the death of Isabella Brant, Rubens – remembering (or of not being forgotten), fleeting, almost fortuitous nature of such meanwhile fifty-three years old – married they functioned as exempla and helped to effects is emphasized. It is as though Isabella sixteen-year-old Helena Fourment, daughter build the image of the artist and his family. is about to blink or change her expression. of Daniel Fourment, a wealthy silk and Many questions surrounding those likenesses How could anyone doubt that she was as tapestry merchant of Antwerp. Helena will inevitably remain unanswered, but even happy as she seems to be in her portraits? allowed the artist to experience a second though the feelings we attribute to the artist Around 1616 Rubens made a surprising youth and was to remain an important source are based on only a few outpourings in his studio portrait of a girl – usually identified of inspiration until his death. It was a period correspondence, we may safely assume that as his eldest daughter – who immediately of intense happiness and unprecedented his intimate portraits are chiefly the product captures our hearts (fig. 3). Clara Serena is creativity, in which the painter not only of genuine affection. portrayed from very close up, allowing us to explored new subjects, such as landscape, Ever since the great nineteenth-century follow perfectly the encounter between the but also challenged, from a refreshingly new Rubens expert Max Rooses (1839–1914), painter and the flustered emotion of the face perspective, the conventions of portraiture. Antwerp has played a leading role in his hand was painting. Although it is a cliché Of the portraits he made of Helena, ‘Het international Rubens studies. As this to say so, Rubens succeeded in evoking those Pelsken’ (Kunsthistorisches Museum, Vienna) exhibition illustrates, research into the artist’s affections with a minimum of means: the thin is undoubtedly the most intimate and daring. life and work is being pursued as vigorously line of lead white on the nose, which betrays Especially for the exhibition, ‘Het Pelsken’ as ever at the Rubenshuis and Rubenianum. perspiration; the lip that merges imperceptibly – which is far too fragile to travel – was The exhibition was jointly conceived with with flushed cheeks; the fluid secreted by the scientifically examined. Analysis using macro Nora De Poorter, Katlijne Van der Stighelen, eye that takes on a white gleam – thanks to a X-ray fluorescence (ma-xrf) scanning – an Nils Büttner, Hans Vlieghe and Bert couple of skilfully placed dots, smaller than imaging technique that enables the different Watteeuw, all of whom are closely linked to the head of a pin – so that the whole eye seems layers and chemical elements of the painting the Corpus Rubenianum Ludwig Burchard. to be filled with life. A more succinct yet to be identified – produced a series of compelling portrait is scarcely conceivable. remarkable results, which are presented in * This text is largely based on the Prologue The exhibition also boasts a second, the exhibition catalogue for the first time. in the exhibition catalogue.

4 Rubeniana

International Conference ‘Considering Women in the Early Modern Low Countries’ 24–25 April 2015, Rubenianum

The Rubenianum is very pleased to host an International Conference organized by Dr Sarah Joan Moran, Research Fellow at the Rubenianum and University of Antwerp, and Dr Amanda Pipkin, Associate Professor of History at UNC Charlotte. This interdisciplinary event will present current academic research on the study of women and gender from the sixteenth through the eighteenth centuries. The conference features lectures on art, literature and history, and on the Southern as well as the Fig. 3 Peter Paul Rubens, Clara Serena Rubens, c. 1616 (detail). Northern Netherlands. Programme and Sammlungen des Fürsten von und zu Liechtenstein, Vaduz–Vienna registration can be found at https://clas- pages.uncc.edu/consideringwomen.

Erasmus Quellinus II, The Birth of the Virgin (detail). Museo Nacional del Prado, Madrid New acquisition: Dr Jean-Pierre De Bruyn’s Quellinus archive soon as possible. Afterwards, the books will attention to portraits of artists’ families or and documentation be integrated into the library collection and families which played a different role in the the files will be treated as the institution’s business of art. The programme features The Rubenianum is glad to announce the primary study collection on Quellinus. both lectures focusing on the Southern donation of the archive and documentation De Bruyn’s gift continues the history of Netherlands and case studies from a of Dr Jean-Pierre De Bruyn. After finishing earlier donations and acquisitions of personal broader European context. his doctoral thesis on the life and work of research collections on early-modern Follow our website www.rubenianum.be Erasmus Quellinus II (1607–1678) in 1972 Flemish art to and by the Rubenianum. for programmes and registration. (Ghent University) – which resulted in the These welcome and valuable additions enable publication of the first monographic study others to build on and continue the research on the artist in 1988 – De Bruyn continued done by established earlier generations The Rubenianum Lectures his career in art history, in which Quellinus of art historians, for which we are most Next lecture: remained a focal point of interest. His grateful. | Lieneke Nijkamp Sunday, meritorious work on the artist recently 28 June 2015, 11 am. culminated with the successful exhibition ‘Dans le sillage de Rubens, Erasme Quellin’ Save the date(s) aaron hyman held at the Musée de Flandre, Cassel, in University of California, Berkeley 2014. This first retrospective ever devoted Please note the following two study days The Afterlives of Rubens to Quellinus re-established the fame of an organized by the Rubenianum: in Early Modern Mexico artist who has long been overshadowed by 8 june 2015 (Erf)goed documenteren Rubens’s compositions, in printed Rubens. Though his work reveals Rubens’s (Documenting Heritage). form, circulated broadly through influence, Quellinus developed a unique and In conclusion of the project ‘Collection the Catholic world, leaving copies refined style anticipating classicism (see also Ludwig Burchard’, a study day will be in their wake. This lecture will trace trq 2014/2). With the exhibition catalogue, devoted to various issues encountered by the contours of two interrelated including an extensive bibliography and a documentation centres within the field of phenomena: on the one hand, how revised list of the artist’s work, De Bruyn’s cultural heritage. The Rubenianum invites Rubens became a lens through which research on Quellinus has come full circle. speakers from fellow institutes to discuss New World artists understood their His lifetime of research has also resulted in guidelines for organizing, preserving and own artistic practices, and on the a less visible yet equally valuable product: a other, how Rubens was often alienated disclosing documentary research collections. personal research collection including art- from the compositions he had helped Organized with the support of the Flemish historical books, (auction) catalogues and create, compositions which took on Community. neatly organized documentation containing lives of their own. photographs, slides, bibliographical 22 june 2015 Likeness and Kinship. Artistic references and notes. The Rubenianum is Families from the Sixteenth and Seventeenth Aaron Hyman is currently BAEF Fellow at therefore pleased to have received such Century Portrayed. the Rubenianum. The lecture – in English – an excellent addition to its holdings, and In conjunction with the exhibition ‘Rubens will take place at the Rubenianum. plans to fully inventory the collection as in Private’, this study day will give special

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 Demergon Foundation The Samuel H. Kress Foundation The Michael Marks Charitable Trust

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 Antoine Friling David Kowitz Juan Miguel Villar Mir Bob Haboldt Bettina Leysen Mark Weiss Thomas and Nancy Leysen

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

CORPORATE BENEFACTORS Sotheby’s Telenet NV

Lazard Frères Groupe Bruxelles Lambert SA KBC Group NV Christie’s Dorotheum Crop’s NV Lhoist SA Koller Auktionen AG Rosy Blue 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