» 4 October 2015 to 17 January 2016 Reflecting Museum Kurhaus – Ewald Mataré-Collection, History« Kleve / ork ew Y ollection, N eiden C he L T 1643, , Self-portrait , Govert Flinck

could be won over as authors. authors. as over won be could

arranged.

2016 January 17

 For this project, international experts on the seventeenth century century seventeenth the on experts international project, this For on request, individual workshops and studios also can be be can also studios and workshops individual request, on

research into Govert Flinck in a scholarly and essayistic fashion. fashion. essayistic and scholarly a in Flinck Govert into research per person person per Euro 50 , 12

2015 October 4

Dutch, english) that will refl ect the present-day state of scholarly scholarly of state present-day the ect refl will that english) Dutch, hours, including materials): materials): including hours, 2 ( adults for studio 1 to

plus admission price admission plus Euro 105

A catalogue will be published in three languages (German, (German, languages three in published be will catalogue A per person person per Euro 8 Museum kurhaus kleve and the historical garden: garden: historical the and kleve kurhaus Museum

to the gaze in an analytically artistic manner. manner. artistic analytically an in gaze the to hours, including material): material): including hours, 2 ( children for workshop 1

-minute combined guided tour through the the through tour guided combined -minute 120

ennobling portrait is posed for us today, being presented presented being today, us for posed is painting portrait ennobling Prices: Prices: plus admission price admission plus Euro 90

at the same time the question concerning the relevance of this this of relevance the concerning question the time same the at p.m. p.m. 4 to p.m. 2 from the collection and the architecture: architecture: the and collection the

By incorporating the israeli-British video artist, ori Gersht, Gersht, ori artist, video israeli-British the incorporating By p.m., studios for adults every second saturday of the month month the of saturday second every adults for studios p.m., 1 to

-minute guided tour for the current exhibition, exhibition, current the for tour guided -minute 90

national museums. museums. national a.m. a.m. 11 from saturday every place take children for Workshops plus admission price admission plus Euro 65

Boijmans van Beuningen in and many other inter- other many and rotterdam in Beuningen van Boijmans (exhibition, collection or architecture): architecture): or collection (exhibition,

WorksHoPs AnD stUDios AnD WorksHoPs

in , the Mauritshuis in the Hague, the Museum Museum the Hague, the in Mauritshuis the Amsterdam, in

-minute guided tour to various priorities priorities various to tour guided -minute 60

Petersburg, the leiden collection in new york, the rijksmuseum the york, new in collection leiden the Petersburg,

people) 25 of (maximum groups for tours Guided

over the world are expected: from the Hermitage Museum in st. st. in Museum Hermitage the from expected: are world the over

. Euro 2 for hired be can guides Audio minutes). 60 (about For the kleve exhibition, precious works on loan from all all from loan on works precious exhibition, kleve the For

a.m. there will be a free guided tour tour guided free a be will there a.m. 30 . 11 at sunday each centre of the presentation. presentation. the of centre

hierarchies of the commissioning customers will stand at the the at stand will customers commissioning the of hierarchies

AUDio GUiDes AUDio relationship with and his involvement in the social social the in involvement his and rembrandt with relationship

GUiDeD toUrs AnD AnD toUrs GUiDeD German-Dutch painter, Govert Flinck. in particular, his his particular, in Flinck. Govert painter, baroque German-Dutch

t

kinD sUPPort oF: oF: sUPPort kinD abling a new and long overdue review of the work of the the of work the of review overdue long and new a abling

) Euro 12 more or persons 15 of groups WitH tHe tHe WitH he exhibition and the accompanying catalogue aim at en- at aim catalogue accompanying the and exhibition he

and for for and Euro 28,50 families for , Euro 50 , 9 (concession

Euro 16 (www.koekkoek-haus.de): P U B l ic At ion ion At ic l B U P

Dual-purpose card with the B.c. koekkoek-House kleve kleve koekkoek-House B.c. the with card Dual-purpose

eXHiBition AnD AnD eXHiBition

years) years) 18 under children all and adults 2 (

euro euro 20 card: Family

euro) 5 (concession royal Picture Gallery, the Hague the Gallery, Picture royal

euro euro 8 person: per more, or persons 15 of Groups

Mauritshuis, koninklijk kabinet van schilderijen / / schilderijen van kabinet koninklijk Mauritshuis,

those doing military service duty) service military doing those Girl by a high chair high a by Girl 1640 , , Flinck Govert

euro (Pupils, students, disabled people and and people disabled students, (Pupils, euro 5 concession:

euro 10 Adults:

ADMission

.) 01 . 01 and . 12 . 31 ., 12 . 25 ., 12 . 24 except

(and on all public holidays, holidays, public all on (and

p.m. 5 – a.m. 11

tuesday – sunday – tuesday

oPeninG HoUrs oPeninG

Kleve / Germany / Kleve

the Museum kurhaus kleve kurhaus Museum the

www.museumkurhaus.de www.museumkurhaus.de Premium partner of of partner Premium Museum kurhaus kleve – ewald Mataré-collection ewald – kleve kurhaus Museum

kleve / Germany / kleve 47533

41 tiergartenstraße

History « Museum kurhaus kleve – ewald Mataré-collection ewald – kleve kurhaus Museum

r e F l e c t i nG nG i t c e l F e r

G ov e rt F l i nc k k nc i l F rt e ov G »

Be sPonsoreD By: sPonsoreD Be a.m. a.m. 30 . 11 , 2015 . 10 . 04 sunday, opening

tHe eXHiBition Will Will eXHiBition tHe « History reFlectinG – Flinck Govert »

exhibition eXHiBition eXHiBition

native of kleve, Govert Flinck (1615-1660), was one of the most U y l e n B U rG H A n D Flinck’s PAinter’s known work in the Great Hall was rembrandt’s Nightwatch, A prominent portraitists during the Golden Age of Dutch pain- The Company of Captain Frans Banninck Cocq. in this painting, ting, becoming one of the most celebrated painters of his time inDePenDence Ho U s e on rembrandt achieved a hitherto unattained combination of illumi- in Amsterdam. even today he is regarded as one of rembrandt’s tHe lAUrierGrAcHt native power and vitality by reinterpreting the traditional struc- most famous and gifted pupils. Already during his lifetime, his rom the beginning of his independence, Govert Flinck ture of the painting, employing the highly effective chiaroscuro, fame had by far exceeded that of his teacher. His patrons in- F made in the genres in which he was active right n the lauriergracht, Govert Flinck’s work fl owed continually. instead as a dramatically effective history with risky optical en- cluded not only Amsterdam’s patriciate and magistracy, but also up to his death: portraits, historical paintings and landscapes. oHe took on numerous commissions for portraits and was tanglements. the group paintings by rembrandt’s pupil, Govert the House of orange, the House of Brandenburg and the kleve During his time with Uylenburgh, the production of portraits often given prominent commissions by the Amsterdam civic Flinck, illustrate a fi ner narrative web, showing atmospheric clar- Governor John Maurice, Prince of nassau-siegen. stood in the foreground. Uylenburgh’s studio was an extremely guards and city goverment. Apart from his artistic talent, Flinck ity and materiality. they are calmer, resting within themselves. His four hundredth birthday in 2015 provides the occasion effi cient workplace at which all painters could work in their could rely here also on his good contacts with the city’s ruling they aimed at patrons to whom their recognizability and the for the Museum kurhaus kleve to appraise the oeuvre of Govert specialist areas. thus, landscape, still life, fi gurative and portrait elite and within the art world. He had intercourse with burgo- portrayal of their social status were paramount. Flinck in a comprehensive exhibition that will represent the fi rst painters collaborated to achieve an optimal fi nal result. masters, poets, theatre directors and other artists. in this way on the occasion of the celebration of the Peace of Westphalia retrospective in more than fi fty years. it will illuminate his multi- it is unclear when Flinck left Uylenburgh’s studio. it is estab- he himself played an important role in Amsterdam’s cultural life in 1648, Flinck painted the Company of Joan Huydecoper for the faceted oeuvre, his initial proximity to rembrandt, as well as his lished that he was still living there in 1637 and that — according in a decade in which the so-called Golden Age attained its zenith old Hall of the st. Joris civic guards, one of his main works that development into an artistically independent, successful painter. to his other biographer, — he was there in the . today is kept at the Amsterdam Museum. From this commission for many years. in 1644 Flinck fi nally acquired a house with a it is striking that all known pupils in Flinck’s workshop came grew a good relationship between Flinck and captain Huyde- studio on lauriergracht. it may be assumed that from this time originally from German-speaking areas: Johannes spilberg from coper, who later was a member of the construction commission Flinck’s PerioD oF onward, Flinck was independently active. Düsseldorf, Johannes Buns from cologne, Bartholomeus Hoppfer for the new Amsterdam town Hall. APPrenticesHiP from and probably also Jürgen ovens from tönning. When, in 1655, commissions were awarded for paintings in Furthermore, apart from the Amsterdam magistracy, Flinck the town hall on the dam (today: Koninklijk Paleis), Flinck was also cultivated contacts with important individual nobles active the most successful applicant. His Marcus Curtius Dentatus hat Govert Flinck became a painter was not a matter of in or from German territory, fi rst and foremost, John Maurice, Refuses the Gifts of the Samnites (1656), of which he donated a course on considering his biography. According to his fi rst t Prince of nassau-siegen, but also Amalia van solms and Fried- smaller version to his home-town of kleve, celebrates the virtue of biographer, , his father, theunis Flinck — a rich Wilhelm von Brandenburg. incorruptibility, borrowing motifs from rubens’ Abraham’s En- textile merchant who performed several public functions in counter with Melchisedek (Musée des Beaux-Arts, caen). in 1658, kleve between 1617 and 1637 — was against his son’s resolve to Asking God for Wisdom was done for the council hall. become an artist. AMsterDAM: At the end of 1659 he was given the commission to paint also His attitude changed only when the preacher and painter, the lunettes in the gallery of this building with scenes from the lambert Jacobsz, delivered a sermon in kleve. He convinced c e n t r e oF uprising of the Batavi against the romans. Flinck’s early death father Flinck that painting was a respectable profession and the DUtcH BAroQUe prevented him from fi nishing this illustrious commission. young Flinck became an apprentice to him in , thus A rt For his portraits and historical pieces inspired by the Flemish leaving kleve. His early work still shows traces of his infl uence, school he acquired already in the 1650s great renown. although from this fi rst period of apprenticeship no works have survived. hen Govert Flinck lived in Amsterdam in the second and third quarters of the seventeenth century, the city was Around 1634-35, fi nally, Flinck was an apprentice to rem- W ori GersHt: PortFolio brandt for a year. Both painters worked in the studio of Hendrick the absolute centre of Dutch baroque art. the heyday of the Uylenburgh, an art dealer who employed a large number of important commercial city found its material expression in ma- For Govert Flinck painters. shortly after rembrandt married saskia van Uylen- gnifi cent buildings such as the new town Hall designed by burgh (the art dealer’s niece) in 1634, rembrandt left his studio van campen. even today, the group portraits of the civic guards uring his life-time, Govert Flinck enjoyed a grander repu- to work independently. Govert Flinck succeeded rembrandt in represent imposing evidence of the pride of a citizenry fully aware Dtation than rembrandt himself. insofar, his oeuvre can be his position as the most prominent painter in the Uylenburgh of its success and wealth. regarded as exemplary for changes in criteria of aesthetic appre- workshop. there Flinck began his career as a portraitist of Ams- not only through the biography, but also through Govert ciation and evaluation. Because of his networking within leading terdam society. Flinck’s exceptionally creative work, the great attraction and social circles, Flinck acquired extensive portrait commissions for Govert Flinck emulated his master’s style so well that ini- importance of Amsterdam in this period can be understood. in whose realization he fathomed in a masterly fashion the limits tially his paintings were sold as works by rembrandt. According the course of the seventeenth century, a noteworthy art scene de- of this genre, without however ever transgressing them — just as to Houbraken, even contemporaries already found it diffi cult to veloped there that produced a large number of prominent painters, his teacher, rembrandt, did. distinguish his works from rembrandt’s. in the mid-1640s, including also Govert Flinck. Precisely this is the starting-point for the israeli video artist, Flinck began to distance himself from the work of his teacher. ori Gersht, who was born in tel Aviv in 1967. Gersht investigates Within a very short period, he advanced to become one of G ov e rt F l i nc k : the structures and characteristics of Flinck’s oeuvre with regard to rembrandt’s competitors, especially in the area of portrait the essence of artistic freedom, juxtaposing his own position to it. painting. Whether Flinck took business away from his former Govert Flinck, Rembrandt as shepherd, 1636 MAin Works the artist ori Gersht, who has been living in for many teacher, or whether his teacher voluntarily let him have com- rijksmuseum Amsterdam years, has already critically engaged with the aesthetics and missions is not known. mong other works, Govert Flinck painted two of seven group structure of historical painting in previous projects, such as the starting in 1636 the fi rst works by Flinck with his signature A portraits for the Great Hall of the kloveniersdoelen, the seat fascinating still-lifes of Juan sanchez cotàn, translating them have survived. of kloveniers’ civic guards in Amsterdam. today’s most well- into present-day modes of perception.