The 2010 Rubenianum

Quarterly 1

Rubenianum Fund launched with a bang! Dear Friends of the Rubenianum,

The Rubenianum Fund was officially launched at a black tie dinner at the Rubens It is with great pleasure that I introduce House in , on 10 February. At the invitation of three of ’s leading the first issue of The Rubenianum private banks (Bank Degroof, Bank Delen and Petercam), some 80 guests attended Quarterly. The purpose of this new this memorable event, including HSH Prince Nikolaus of Liechtenstein. The dinner was held in a transparent tent erected in the illuminated courtyard of the house, publication is to update you regularly and the sudden snowfall only served to enhance the magic of the evening. on the progress of the publication of the The guests were first given a tour of the museum by curator Ben van Beneden, Corpus Rubenianum, tell you about the and then heard Professor Arnout Balis explaining the history and the goals of the various initiatives of the Rubenianum Corpus Rubenianum, and the evening was concluded by a strong plea by Antwerp’s Fund, and inform you about the activities Alderman for Culture, Philip Heylen. of our research and documentation centre. Since this first event, and also thanks to the press coverage of the initiative, this Since the launch of the Fund, created at innovative approach to raising the support for such a unique project has gained widespread attention both in Belgium and abroad. Subsequent fundraising events the beginning of this year to give a firmer have been organized in New York, at the residence of the Belgian Consul-General, financial footing to the Rubenianum, as well as in Belgium. In the coming months, it is planned to further broaden the we have been overwhelmed by the surge appeal by dedicated efforts in several other European cities with historical ties to of support from various parts of the Flemish art and culture. world. Thanks to benefactors and donors Thanks to the help of many volunteers and the strong support of the King Baudouin from Belgium, the United Kingdom, Foundation, the Rubenianum Fund has been able to get off to a flying start, and Switzerland, France and the United the first two additional scholars financed by the Fund will join the Rubenianum on a full-time basis as of 1 September. States, it has been possible already to raise some € 1.1 million – bringing us more than half way towards our minimum goal of € 2 million. This bodes well for our ambition of completing the Corpus Rubenianum by 2020, and more generally of reinvigorating the Antwerp-based research on Rubens and on the Flemish art of his period. I would like to express a deep gratitude to all who have given their support, both financially as well as with their time, to this endeavour. We will strive to have this lively and committed ‘Rubens community’ grow further in the years to come, allowing us to deepen our understanding and appreciation of one of the great moments in the history of western art.

Thomas Leysen

From left to right Prof. Arnout Balis, Thomas Leysen and Ben van Beneden Chairman, Rubenianum Fund at the opening event in the Rubens House Corpus Rubenianum Man in Armour baton), seriousness is easily re-established. There we are given not only a survey of Usually the subject is identified as a recent scholarship but also the fruit of Arnout Balis portrait (sometimes more specifically as painstaking new investigations. And it is a that of Charles V or the Duke of Alba) – beautifully written piece. This is a feature to Interview with Jeremy Wood once it was suggested that St George was be applauded: more and more sale catalogues This is a very impressive and – at the same here represented, but more likely a generic can count as scholarly literature. Here The section of the Corpus devoted to Copies and Adaptations from Renaissance and Later time – tantalizing painting. It is painted on character was intended, expressive of general we are offered detailed comments upon Artists: Italian Artists (Vol. xxvi, part 2) covers so much material that it has been divided into oak panel, some 123 x 98 cm. In it we are ideas regarding the role of the ‘hero’. In a way the possible provenance of the painting, three volumes, all by Jeremy Wood, the first of which – devoted to Rubens’s study of work by confronted by a forceful man, an emblem this is, then, an allegory, be it one without the a survey of opinions as expressed in the Raphael and his School – appeared in January this year. The second volume, focused on Rubens’s of preparedness: look at his eyes and stance. accoutrements of symbolic elements we find literature, technical details, possible sources study of Titian and other artists working in North Italy, is currently in press and will be presented He is clad in steel. In a way, this is a study in in other Rubensian depictions of the theme. of inspiration for the artist, the indications of at the Museo Nacional del Prado in Madrid in November 2010. Readers of this short interview are reflections. Steel becomes almost palpable As is often the case with Rubens, what may the use of possible ‘study heads’, and (this for cordially invited to this event. But, in case you can’t attend, the author agreed to answer some thanks to the way it reflects a cold light. look simple at the first glance may contain the first time) a competent description of the questions from Cécile Kruyfhooft about how the publication is progressing. But this intensity and aloofness might have hidden depths. particular armour here depicted (it appears been too chilling to endure, so it has been There already exists some pertinent to date from the first half of the 16th century). Q Can you tell us about yourself and how you where I work. I was very lucky that it was on would take a journeyman copy and draw on alleviated by more emotionally engaging literature on this painting, and it so happens We can only be thankful for these additions handled this massive amount of material? display only a short distance from my office top of it in his own style. The result, of course, activity on the right: two pages, still in their that three of the most distinguished to the literature. A I was invited to contribute more decades and I could look at the loans every day and is not a copy at all because Rubens may never teens and eager, are assisting the hero in Rubens specialists of a former generation Have we then, by now, reached a comfort­ ago than I care to think about, initially as sometimes outside opening hours. have seen the original. Anne-Marie Logan, the putting on his armour (sometimes the action (one of them still alive and active) have able scholarly position? The matters we are a collaborator with Kristin Belkin. After distinguished drawings scholar who has for is identified as quite the opposite: the helmet given us their thoughts on it: Julius Held, confronted with are complicated in several she moved to Highland Park in New Jersey, Q To what extent do your volumes deal with long worked in the USA, deserves a great deal has just been taken off and the breast armour Michael Jaffé and Justus Müller Hofstede. respects, and some comments might allow us working closely together became much more drawings and to what extent with paintings? of the credit for observing that Rubens was is being unfastened). With affection his Each time new views were presented, and to highlight a few of the more urgent debates difficult because I remained on the wrong A The first volume is really more about far more of a retoucher than a copyist – my left hand is resting on the shoulder of the new aspects were commented upon. This in Rubens scholarship (such as the importance side of the Atlantic. As a result we decided to works on paper because Rubens bought and volumes are full of acknowledgements to her youngest boy. All this is shown on the right- is the way scholarship can advance. And of prestigious provenances or Rubens’s system split the project so that she focused on the retouched such a lot of copy drawings after clear-sighted judgement. From my point of hand side of the painting. On the left, with most recently, the comments in the recent of having replicas made) and the diagnostic German and Netherlandish copies (published work by Raphael, Giulio Romano and Polidoro view, I find it surprising that some scholars have a forceful gesture (armoured hand on the Christie’s sale catalogue have contributed. techniques to cope with such problems. as Vol. xxvi, part i, in 2009) while I took da Caravaggio, but in the second volume the tried to identify what are basically standard charge of the Italian material. The latter is emphasis shifts more towards the painted 16th-century pen-and-ink copies after artists much the larger section, containing no fewer replicas even though some of these are only like Polidoro – other examples of which survive than 259 items, making it one of the biggest known from early descriptions. When it came in large quantities for comparison – as works – perhaps the biggest – in the entire Corpus. to Venetian art, Rubens preferred making that are entirely by Rubens. It’s true that he You might think that a small sketch after an very careful facsimiles on canvas or panel sometimes reworked these earlier sheets so Italian picture is very much easier to deal with and in oil, and, even more remarkably, on the extensively that they end up covered in his than one of Rubens’s major altarpieces. But same size as the originals. He began doing handiwork, but, more often, large portions the problem, from my point of view, is that this in Italy as a relatively young man, but, of the underdrawing remain visible and many of the Italian prototypes have a very as everybody knows, it was when he visited untouched – which makes separating the hands extensive literature and even more complex Madrid and London between 1628 and 1630 much easier. That’s not the case with red chalk problems of interpretation in their own that he embarked on making a large number of copies that Rubens retouched with more red right. You only have to think of Raphael’s these replicas. Many writers have commented chalk and sometimes with red wash. In those frescoes in the Vatican Stanze (covered in on how unusual it was for a mature artist to go cases the different layers become blended, but the first of my volumes) or Titian’s paintings back to being a student, and the painted copies luckily these examples are in the minority. for the camerino at Ferrara and the poesie that result, such as the Adam and Eve after for Philip II (discussed in my second volume, Titian in Madrid, and the later adaptations Q What was the purpose of Rubens’s copying, currently in press). Quite often the literature of the Worship of Venus and the Andrians in retouching and reworking? on the Italian sources itself makes reference Stockholm that he painted after his return A As the politicians say, I’m so glad you to Rubens’s copies and this immediately to Antwerp, are among the most famous asked me that (meaning exactly the opposite, extends the bibliography that I have to cover works of their kind in the entire history of art. of course). This really is the most difficult alarmingly. And, of course, it’s not just a So, the short answer to your question is that question you could ask. I think one of the main Willem van Haecht, The ‘Kunstkamer’ of Cornelis matter of understanding the history of these the connections with Rubens’s own work dangers is assuming that there’s one consistent van der Geest (detail). Rubens House, Antwerp Italian works in their own right but trying to as a painter become far more evident in the answer that will cover all the copies and grasp what Rubens may have known about volume that’s about to appear. adaptations and that remains valid throughout them, which can be an entirely different Rubens’s life. For example, people have Two almost identical versions of this matter altogether. Q You mentioned that Rubens retouched some tended to assume that Rubens was primarily composition exist: next to the one from Preparing these volumes has been a copy drawings – how can you tell the difference interested in Titian’s work because he admired Althorp (Lord Spencer) and offered for sale bit like running a marathon: it’s needed between the underdrawing and Rubens’s his handling of paint, but it’s also obvious he by Christie’s (London) on 6 July, there is a some practice. I wrote essays on individual additions? studied his work because Titian recorded what panel of approximately the same size in the problems that came to my attention – for A Cécile, I know how interested you are in a number of famous men and women of the Detroit Institute of Arts (it surfaced as late example, a group of Rubens copies that was this because you yourself own one of Rubens’s 16th century looked like, and he also provided as the 1950s and was acquired by the museum obtained by Padre Sebastiano Resta (1635– most beautiful and important drawings a great deal of information about the dress in 1979). This of course poses the problem of 1714) which I discussed in Master Drawings of this kind. This problem has generated a of the period. Conversely, Rubens was also attribution. The existence of these two look- as long ago as 1990, and another on the great deal of discussion among writers on deeply interested in the work of Francesco alikes might also confuse the matter of the attributions that Rubens sometimes wrote on art over the centuries. Connoisseurs in the Primaticcio, but writers have tended to shun early provenance of these paintings, to which his Italian drawings for the Wallraf-Richartz- 18th century, such as Pierre-Jean Mariette this because it doesn’t fit their preconceptions. I turn first. Jahrbuch in 1994. But, more importantly, (1694–1774) and Jonathan Richardson I have a great deal to say about this in my three We know of two early sightings of this I was curator of an exhibition on Rubens as (1667–1745), knew all about this, even though volumes so will you forgive me if I say, rather Rubens composition: first in the collection a copyist that opened at the National Gallery they’re not infallible. Modern taste – and cheekily, that your readers will have to look of Cornelis van der Geest (1577–1638), one of of Scotland in Edinburgh in 2002 and then the pressures of the saleroom – has been in them for a more detailed and – I hope – , A Commander being armed for Battle. Rubens’s personal Antwerp friends, and again moved to the University of Nottingham less comfortable with the idea that Rubens satisfactory answer? Sold at Christie’s (London) on 6 July 2010, for € 11 million in a renowned 18th-century collection: that of

2 3 Philippe, Duke of Orléans (1674–1723). Julius authenticity of one or the other of the position to decide the extent to which they Rubeniana Held (1982) went into some detail working versions, since he himself clearly preferred may be helpful. out both provenances. For the first case we the Althorp painting. There was, for him, Little by little Held’s view that the have only visual evidence (the depiction of the evidence of the eye. Althorp painting is the original seems to this composition as part of the art gallery of It is worth quoting Held at some length have gained ground. Many of those who have Prince Hans-Adam II of Liechtenstein Van Dyck’s so-called second Antwerp The Rubenianum Lectures Van der Geest, the painting by Willem van since he clearly defined what might still be had the occasion to study the painting from visits Rubens in Antwerp period. Haecht in the Antwerp Rubens House), for the role of connoisseurship when it comes to close by (including the author of these lines) Everyone who has had the honour and Starting from September 2010 the the second one we have documentary as forming an opinion as regards authenticity: have recognized Rubens’s particular way of On 22 April H S H Prince Hans-Adam II pleasure to work with Dr Vey, keeps a Centre for Flemish Art of the 16th and well as visual evidence (a drawing). As could ‘In the last analysis, it is the work of art itself handling the paint and brush throughout. of Liechtenstein, patron of the Corpus particularly warm souvenir of this tall and 17th Centuries and the Rubenianum be expected, what with the now existing that furnishes the decisive evidence about Some may also have had the occasion Rubenianum Ludwig Burchard, honoured engaging gentleman-scholar. will embark, with the support of the databases on early whereabouts of paintings, its historical classification. It is only a careful to study the Detroit painting afresh, and Antwerp with a visit. Paul Huvenne, Director The Rubenianum is very fortunate and Foundation Inbev Baillet Latour, on a the recent Christie’s catalogue offers even and unprejudiced examination of both come to conclusions about its status. Others of the Royal Museum of Fine Arts Antwerp, grateful to have recently acquired Dr Vey’s series of quarterly lunchtime talks on more details, especially concerning the paintings with the aim of finding out which (such as myself ) have had only photographs and his staff organized a well-balanced personal Van Dyck documentation, kindly recent Rubens scholarship and related Orléans provenance (from 1707 onwards), of them is “the better” – in other words, at their disposal and would find it more programme which included Antwerp’s donated by Mrs Vey. Carefully organized subjects. which could with some plausibility be traced more worthy of Rubens’s brush – that can difficult to define its precise character. major Rubens highlights. The Prince was according to painting, historic person etc., The 30-minute talks are open to back to an earlier English collection (the lead to a decision as to which is the original. Maybe we should await further observations accompanied by Johan Kräftner, Director of the dossiers contain the basic material for the general public and take place on Melfort family). Also the later whereabouts Yet [Held adds], as the differences of opinion of other participants in the debate before the Liechtenstein Museum in Vienna, and Dr Vey’s publications, consisting of a multitude Sunday mornings at the Rubenianum of the Orléans painting could be traced show, even this approach does not guarantee closing the file. But for the time being, Manfred Leithe-Jasper, formerly Director of of sources and images, and enriched with his at 11 am, followed by an aperitif. till the year 1798, again in an English unanimity.’ Here we are confronted with one it would appear that ‘connoisseurship’ the Kunstkammer of the Kunsthistorisches own comments. This treasure of information Admission is free. The 2010–11 collection. The compilers of the Christie’s of the most frequently asked questions, that (in the present case based not only on the Museum. The guests were offered a private is a welcome addition to the Rubenianum’s programme will include: sale catalogue felt entitled to connect about the ‘authenticity’. How can we install ‘autopsy’ of the painting itself, but also tour of Antwerp Cathedral and the Rubens extensive Van Dyck documentation, built this 1798 painting with the one we find in more certainty in that art-historical problem on technical multispectral images that House in the company of the respective around Dr Ludwig Burchard’s archive.  Ben van Beneden Althorp shortly afterward (1802). But since zone? Or: how can we define where the contribute to a more precise technical curators. At the Rubenianum, Arnout Balis Geschilderde kunstkamers en het conclusive evidence is still lacking (the limits lie of what can be called ‘certain’ and analysis) comes up in favour of the Althorp introduced the Prince to the Burchard Four new acquisitions neostoïcisme. De casus Willem van other version might at the same time also what is somewhat less? painting. Archive, which forms the basis of the Corpus for the Rubens House Haecht (26 September 2010) have been at large), a question mark was From the moment, in the late 1950s, It may be useful, in the end, to broaden Rubenianum Ludwig Burchard. Final venue  Prof. Arnout Balis added. By the same token, the Van der Geest when it was clear that there were two almost the scope of the discussion, by concentrating of this informal and most agreeable visit was The active acquisitions policy pursued by the Rubens’ Theoretische Notaboek provenance was also claimed for the Althorp identical paintings to consider as possible on what can be considered as a normal the Royal Museum of Fine Arts, where the Rubens House has recently led to four new (19 December 2010) painting (there also with the cautious candidates, there have been differences of practice in Rubens’s studio, namely that Rubens, Van Dyck and Jordaens collection is objects being acquired for the museum on a  Prof. Hans Vlieghe question mark). They state that Held also opinion, and even some uneasiness amongst of duplicating a successful composition. currently featuring in the exhibition ‘Closing longer-term loan basis. The newly acquired Over David Teniers de Jongere had argued for that double provenance for Rubens scholars, in so far as there were We know from letters that the artist could time. Jan Vanriet’ (until 8 October 2010). loans come from private collections in Flanders, (March 2011) the Althorp painting, which is decidedly thoughts about a possible third painting, in some cases bestow special care on such Germany and Switzerland. They include a  Prof. Carl Van de Velde wrong: Held was of the opinion that it was now lost. At first only ‘the eye’ seemed to replicas, promising to retouch them by his Rubenianum acquires Van Dyck painting of Two dogs and the head of a cow De brieven van Rubens ( June 2011). the Detroit painting that had previously come into play; but shortly afterwards the own hand. Could he even at times have documentation of Horst Vey by Frans Snijders (which can be traced back figured in the Van der Geest and Orléans eye was aided by technical photography. himself made a second version ? On the to the collection of the Marquess of Leganés, You will find more detailed information collections (‘probably’, because Held too It is clear that the ideal situation would other hand, he may sometimes even in ‘first Last February the sad news reached the 1580–1655) and Jacob Jordaens’s Madonna and in the next issue of The Rubenianum made use of the question mark). And Held be to have the two contending paintings versions’ have relied on the collaboration of Rubenianum that the eminent German Child in a garland of flowers, fruit and vegetables Quarterly. had a pertinent argument: one distinguishing side by side for inspection, but this proved other hands in his studio. This entails that Van Dyck scholar Horst Vey had passed dating from the 1630s. A third painting of difference between the two versions is that hard to realize (it was nevertheless briefly we should be very cautious with terms such away on the 7th of that month. Dr Vey was Saint Sebastian shows the Roman martyr the youth holding up the helmet (upper the case, at least once). Some authors as ‘original’, ‘authenticity’, ‘authorship’, etc. Curator at the Wallraf-Richartz-Museum affectionately being attended by two angels. right) has in the Detroit painting an extra apparently accepted both versions (Müller It is clear that these intricacies will have to in Cologne before becoming Director Although conclusive evidence is still lacking, lock of hair or curl on his cheek, missing in Hofstede), others stood up for either the remain part and parcel of every serious study of the Staatliche Kunsthalle Karlsruhe this tantalizing painting might well be the the Althorp painting, but clearly discernible Detroit painting (M. Jaffé) or the Althorp of Rubens’s art. (1973–1995). The Rubenianum library holds second version of Rubens’s Saint Sebastian at in both the visual documents I have been one (Held, who went into some detail over sixty titles by his hand on a wide range the Palazzo Corsini in Rome. Further technical referring to for the Van der Geest and the formulating his observations; Jaffé decided of art-historical topics. Above all, Horst investigations and ultimately a confrontation of Orléans collections. that the Althorp panel was a studio work, Vey will be remembered as a leading Van both paintings will help to determine whether Now, how important is this? It is of only retouched by the master). It is not Dyck expert. His catalogue on Van Dyck’s the Saint Sebastian at the Rubens House is a course nice to be able to claim respectable always clear whether further authors had drawings – Die Zeichnungen Anton van Dycks work by the master or a studio work. The most provenances for a painting, but if anything, themselves had as close a familiarity with In November 2010 Benefactors and (1962), the first book to appear in the series impressive painting of the four is, however, the ownership of a painting can offer both the paintings as was the case with Held, Donors of the Rubenianum Fund will Monografieën van het Nationaal Centrum the Portrait of Isabella, Infanta of Spain, in a psychological argument, but hardly Jaffé and Müller Hofstede. be cordially invited to the book launch voor de Plastische Kunsten van de XVIde en de the habit of a Poor Clare. This intimate bust compelling evidence where authorship is Technical investigations were made of the next volume of the Corpus XVIIde eeuw – still stands as a reference work. portrait of Isabella is generally accepted to be concerned. One can of course argue that (using X-radiographs and infra-red images) Rubenianum – Jeremy Wood’s Copies Even more important is the recent Van Dyck: the prototype, done from life, of the official a patron such as Cornelis van der Geest is to see how far they could be enlightening and adaptations from Renaissance and later a complete catalogue of the paintings (2004), portrait painted by Rubens in 1625. likely to have owned only ‘original’ paintings as regards the authenticity. There is no artists: Italian artists. II. Titian and North to which he contributed the chapter on from the brush of his friend Rubens; doubt that both versions date from Rubens’s Italian art. The launch will be hosted but what if the desired composition was time and show a painting technique which by the most appropriate of institutions unavailable: would he then not have had to matches that of Rubens and his atelier – the Museo Nacional del Prado – and Useful links be content with a replica? Pushing the matter (e.g. the use of a streaky imprimatura, visible will be followed by a reception and a little bit further and speculating about in infra-red images of both paintings). What a private viewing of the special display  Please let us know if you prefer to receive this newsletter by e-mail Rubens’s psychology as a businessman: must one is hoping for, is the presence of major of the museum’s extensive holdings of by sending a message to [email protected] the artist even have divulged the status of corrections or pentimenti, which would works by Rubens. The event will take  At the same address you can also subscribe for a two-monthly mailing a replica to a prospective buyer, however form a strong argument for the priority of place on a Friday evening. During the of the Rubenianum’s new library acquisitions. close a friend he might have been? All this one or the other version. No such decisive weekend participants will be offered  All Rubens paintings in Belgium – now and in the past – can be is no more than speculation. In any case: pentimenti seem to be evident, but attention an exclusive cultural programme in consulted on the web database www.rubensonline.be (Dutch only). Julius Held did not think that the likeliness has been called to some smaller features that Madrid. More information on the exact  The Rubenianum Fund’s webpage with the King Baudouin Foundation: of Van der Geest’s ownership of the Detroit might be significant. Since I have not studied dates and programme is to follow. http://www.kbs-frb.be/fund.aspx?id=255656&LangType=1033 Rubens, Portrait of Isabella, Infanta of Spain, painting was decisive in deciding on the these technical photographs I am in no  The Rubenianum’s website: www.rubenianum.be in the habit of a Poor Clare

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 Courtin Bouché

Herman De Bode Jules-André Hayen Johnny Van Haeften Michel Ceuterick David Koetser Eric Verbeeck Georges De Jonckheere Thomas Leysen Mark Weiss Baroness Paul Janssen Otto Naumann Antoine Friling Natan Saban

DONORS

Ingrid Ceusters Stéphane Holvoet Patrick Maselis Jean-Marie De Coster Baron Daniel Janssen Baron Jean-Albert Moorkens Jan De Maere Baron Paul-Emmanuel Janssen Martine Reynaers Count Ghislain d’Ursel Gijs Keij Eric Turquin Mrs Dumont de Chassart Eric Le Jeune Rafael Valls François de Visscher Christian Leysen Philippe Van de Vyvere Dov Gottesman Pierre Macharis

CORPORATE BENEFACTORS

Sotheby’s Telenet NV Groupe Bruxelles Lambert SA KBC Group NV Christie’s Sibelco – SCR NV Crop’s NV Lhoist SA Noortman Master Paintings Rosy Blue NV

and a number of donors who wish to remain anonymous

Centrum voor de Vlaamse kunst van de V.U.: Thomas Leysen 16e en de 17e eeuw With thanks to Anagram, Ghent