codar t Courant 20 u i i a M G f n n n r e p t u d t e i c t s t r e b y e v o h o u n a i o m e m d i d w k s d i s ’ o e r n i s r e d f s e s A i g s b c s n r e e u y t e n s t P 1 e x s t e i 0 l k o h a y r i T t l b a i r l h v c s b o B e q i g i o e u M u a t r w i p u t i r i m o e s i t c n d o h n a w o t b e r h s a s y d H e k 2 M T a i o s 4 h t 1 n r u r 8 e o s u t M c e r c 2 u a t o e b T u m t d l h r r e a o i e a A n l p O r c m o Z o t t l a n b h i g t a a s e a r e s r c n e s r 3 b t a v M d c a i 1 t o v u 2 u i r o i s c r J e t n . u u a i W o m e r t f i s p a o l o l a 2 t i r f a n 0 A o m ’ e f s r l r a t n p M ’ 4 i s a t e F i i d c n i s w v d t a d e i e s s n n p i e & g d a v s P i o e n n 8 i r c r t f c o t i i s n u u t i 2 g r 1 e r 2 e s 6 s f c a r c r e D t o a l u m a u o d t r t e e r a c d a s h ’ r i s t t n a o t o c n t G m o d r h e e ’ F l e r s N l a l m e r i e m e d n b t c h D i t e s t e o h e r r i u l r o d s a i r v n n & n a i d w S T e n s c i h w 1 h n e 4 e w g w L P s e i , h a s r p i i G 2 l n r b 3 i o n 6 r r o t t s o e k r ,

Summer 2010 2 codar t is the international council for codar t Maecenasses and Jozef Deleu, writer, and founder and former curators of Dutch and Flemish art. Its aim is corporate sponsors chief editor of the Flemish-Netherlands to further the study, the care, the accessibility ne w George Abrams, Boston association Ons Erfdeel and the display of art from the Low Countries The European Fine Arts Fair ( tefa f), Helvoirt Jan Jessurun, former chair of the Netherlands in museums all over the world. codar t Hoogsteder & Hoogsteder, The Hague Council for Culture serves as a platform for exchange and coopera - The Leiden Gallery, New York Jeltje van Nieuwenhoven, former chair of tion between curators from different parts of Metropolitan Museum of Art, New York the Dutch parliament the world, with different levels of experience Amb. J. William Middendorf ii, Little Henk W. van Os, director emeritus of the and from different types and sizes of institu - Compton Rijksmuseum, Amsterdam tions. codar t stimulates international rk d (Netherlands Institute for Art History), Simon Schama, historian, writer inter-museum cooperation through a variety The Hague Jan G. F. Veldhuis, former president of the of activities, including congresses, study trips, Rijksmuseum, Amsterdam University of Utrecht, Utrecht publications and the website (www.codart.nl). Vlaamse Kunstcollectie (Koninklijk Museum By these means codar t strives to solidify voor Schone Kunsten Antwerpen, Musea Program Committee the cultural ties between the Netherlands and Brugge, Museum Schone Kunsten Gent) Eric Domela Nieuwenhuis, curator, Instituut Flanders, and to make the artistic heritage of Waanders Publishers, Zwolle Collectie Nederland ( ic n), Rijswijk these countries accessible to the international Nico van Hout, curator, Koninklijk Museum art-loving public at large. Board of codar t voor Schone Kunsten Antwerpen ( kmsk a), codar t was founded in 1998 on the Greetje van den Bergh (chair), former vice- Antwerp initiative of Gary Schwartz and the Instituut president of the board of the University Suzanne Laemers, curator, rk d (Netherlands Collectie Nederland (Netherlands Institute of Amsterdam, Amsterdam Institute for Art History), The Hague for Cultural Heritage, ic n). It enjoys the Emilie Gordenker, director of the Mauritshuis, Huigen Leeflang, curator of prints, generous support of the Netherlands Ministry The Hague Rijksmuseum, Amsterdam of Education, Culture and Science ( oc w). Sari van Heemskerck Pillis-Duvekot, former Norbert Middelkoop, (chair), curator, member of parliament for the vv d (Dutch Amsterdams Historisch Museum, codar t Courant Liberal Party), The Hague Amsterdam Bi-annual newsletter of the international Jan Hoekema, mayor of the city of Wassenaar Sander Paarlberg, curator, Dordrechts council for curators of Dutch and Flemish Anthony Ruys, chairman of the supervisory Museum, Dordrecht art. The codar t Courant is distributed by board of the Rijksmuseum, Amsterdam Sabine van Sprang, curator, Koninklijke mail to members and friends of codar t. Manfred Sellink, director of the Musea Musea voor Schone Kunsten van België, Tosubscribe : www.codart.nl/join –codart Brugge, Bruges Brussels Publisher: Arnout Weeda, former director of the Adriaan Waiboer, curator of Northern codar t Zuiderzeemuseum, Enkhuizen European art, National Gallery of Ireland, p.o. Box 90418 Rudi Ekkart (advisor to the board), director Dublin nl-2509 lk The Hague of the rk d (Netherlands Institute for Helen Wüstefeld, curator, Bibliotheca The Netherlands Art History) , The Hague Philosophica Hermetica, Amsterdam e [email protected] t +31 70 333 9744 / f +31 70 333 9749 Board of the Friends of Website Committee www.codart.nl codar t Foundation Lars Hendrikman, curator, Wim Jacobs, (chair), former controller, Bonnefantenmuseum, Maastricht Editorsandtranslators: Kist & Kilian Instituut Collectie Nederland ( ic n), Greta Koppel, curator of Dutch and Flemish Coordinators: Maartje Beekman, Amsterdam paintings, Kadriorg Art Museum, Art Jennifer Cardona, Gerdien Verschoor Greetje van den Bergh, former vice-president Museum of Estonia, Tallinn Design: Typography Interiority & Other of the board of the University of Rieke van Leeuwen, webmaster, rk d Serious Matters, The Hague Amsterdam, Amsterdam (Netherlands Institute for Art History), Printedby: Drukkerij de Maasstad, Rotterdam Arnout Weeda, former director of the The Hague Cover: Govert Flinck (attributed to), Ladywitha Zuiderzeemuseum, Enkhuizen Gero Seelig, curator, Staatliches Museum plume , 1636, The Huntington Art Collections, Schwerin, Schwerin San Marino Advisory committee to the Friends of Geert Souvereyns, project coordinator, codar t Foundation Bruggemuseum, Bruges iss n 1388 9559 Hedy d’Ancona, former Minister of Culture Priscilla Valkeneers, scientific associate, of the Netherlands Centrum voor de Vlaamse Kunst van Contributions are welcome. For more infor- Mària van Berge-Gerbaud, former director de 16de en 17de eeuw, Antwerp mation see: www.codart.nl/codart/courant of the Fondation Custodia (Collection Louisa Wood Ruby, photo archivist, The Frick Frits Lugt), Paris Collection, New York The Other Gerdien Verschoor 3

The Polish writer Ryszard Kapu s´ ci ński, whose Museum ; the dinner Carol Togneri hosted for so preoccupied with digitizing their collec - books have been translated into virtually all us at her home – these are all special moments tions that they have less time for mounting of the languages spoken by our codar t that squarely serve codar t’s mission of exhibitions and compiling publications – and, members, traveled around the world in search maintaining, fortifying and inspiring our if so, is that a bad thing ? How can smaller

of “the Other.” A year before his death (2007) international network . museums – with less staff – best deal with c o he published TheOther,an anthology of six Others, too, support us by creating net - digitization ? And what about museums in d a lectures in which he attempts to plumb work moments. For example, thanks to The countries where it is a luxury to have one’s r t C

the depths of the Other and determine the European Fine Art Fair ( tefa f) and ax a Art, own computer at work? Will they remain o u r a

stance to be taken vis-à-vis the Other in these our members could meet up at the tefa f plugged into the international museum n t 2 times of globalization, massive emigration at a lively gathering, which was specially arena? What should we think of museum 0 / s u and streams of refugees. Kapu s´ ci ński also organized since this year the congress would catalogues being available only on the m m

sketches the history of experiencing the Other, not be dovetailing with the by now legendary Internet? How should we relate to our online e r 2 beginning with the ancient Greeks and his art and antique fair . databases? And how will digital developments 0 1 great model Herodotus, who inspired him to Naturally, that annual codar t congress permanently change the work of curators? 0 consider the Other as the mirror in which we is the most important moment to meet each I look forward to the codar t dertie n observe ourselves. His entire oeuvre is steeped other. Together with all the members, and congress , where we will have an opportunity in the ethical imperative to truly draw close particularly those on the program committee, to share our experiences and discuss these and to the Other. each year we try to find themes for the con - many other issues. In the interview, Antony During my sabbatical in Kraków this gresses that will be of interest to as many Griffiths states that he “looks forward to a past fall, I seized the opportunity to reread members as possible. In Huigen Leeflang’s new era of print scholarship .” At the congress Kapu s´ ci ński at leisure, and while doing so I interview with Antony Griffiths in the last we can take this a step further by mutually kept thinking about codar t: about the issue of the codar t Courant , an important considering what this new era will mean for uniqueness of a network whose members can impetus was given to discussing a subject that the profession of curator itself. both meet electronically almost at will, as concerns us all: is digitization a blessing or a In the background, the codar t bureau well as travel once or twice a year to actually burden for the work of a curator ? Are curators has naturally begun making preparations for meet the Other. This will always be the most new activities. In 2011, the congress will once important mission for me, as director of again coincide with the opening of the tefa f, codar t, and for the entire team: namely, to from 20 through 22 March . The meeting create as many conditions as possible to ensure place will be the Rijksmuseum Twenthe in that this meeting takes place . It is therefore Enschede, and the excursions include visits deeply gratifying to witness just how much to a number of historical country estates and codar t members, in turn, wish to “cele- castles, such as the still inhabited Twickel brate” that meeting . This transpires primarily Castle in Delden, which is normally closed to during our study trips, when our hosting the public. More-over, the congress’ festive members are particularly involved in opening will be held in a royal venue, namely codar t. The most recent study trips to Het Loo Palace in Apeldoorn. Suggestions for Helsinki and St. Petersburg (September 2009) congress subjects are, of course, most welcome. and Southern California (February 2010) are Please save these dates! cases in point . In these instances, it was the Ryszard Kapu s´ ci ński worked in a webless members insitu who devised numerous era for the greater part of his life . His meeting possibilities for meeting the Other – deador with the Other transpired only “live” – after alive . For example, the codar t group will all, nothing beats the personal encounter . never forget entering the empty galleries of And this is why codar t’s congresses and the Hermitage in St. Petersburg in the early study trips are also so important . But wouldn’t morning of 24 September to meet “our” it be appropriate within the context of masters in all solitude – the participants are codart ’s mission to facilitate all kinds of still talking about it . This also applies to other types of encounters? Via Twitter? Via the hospitality extended to us in Southern Facebook? Can codar t join in these develop - California : the welcom ecodar t signs ments ? Who knows what we are secretly in several institutions; the opportunity of working on? Surely we have some surprises meeting so many museum staff members in store! and scholars at the symposium Drawingsby Rembrandtandhispupilsin the J. Paul Getty [Photo Jan Griffioen, Zutphen] Gerdien Verschoor, director of codar t 4 Dutch and Flemish drawings, prints and books Nadine Orenstein and Stijn Alsteens c o d a r t C o u r a n t 2 0 / s u m m e r 2 0 1 0 / c u r a t o r ’ s n e w s a n d n o t

e Before 1993, the Department of drawings of the Metro- made in the area of German, Swiss and Austrian art, yet s politan Museum of Art had only a modest number of it was still possible to add more than 100 15th- to 19th- significant Netherlandish drawings in its collection, century Dutch, Flemish and Belgian drawings to the including major works by Peter Paul Rubens and collection. A list of these acquisitions arranged by school Rembrandt, the latter given to the museum by Louisine and century is published on the codar t website. Havemeyer in 1929. Others entered the institution in Obviously, some of the drawings on the list are 1975 with the remarkable collection assembled by minor, but there are also more important works by Robert Lehman, which to this day is administered by a 16 th-century artists such as Denijs Calvaert; one of Dirck separate department. Egbert Haverkamp-Begemann Crabeth’s largest and most accomplished drawings; and Fritz Koreny fully catalogued Lehman’s Nether- several drawings by Jacob de Gheyn ii, including a size - landish drawings in 1999, and Helen B. Mules published able sheet with studies of 11 heads; a miniature by Joris a selection of Dutch 17th-century drawings from both Hoefnagel, dedicated to his mother, which appears to departments in the spring issue of the museum’s be the artist’s first dated independent still life; two Bulletin in 1985. previously unrecognized drawings by Karel van Mander; It was only after George R. Goldner’s appointment as and a sheet by the Master of Liechtenstein, which is a chairman of the newly created Department of drawings second version of a drawing that has been present in and prints (which united the collections of the former the collection since 1963. As for the 17th century, recent Departments of drawings and of prints and illustrated acquisitions include a freely executed wash drawing on books) in 1993 that the museum began collecting blue paper whose attribution alternates between Jan Northern European drawings more systematically. Asselijn and Willem Schellinks; a monogrammed oil Naturally, this effort has been constrained by the sketch on paper by Balthasar van der Ast; a large, signed availability of works in the market, and it may not be a view of Brederode Castle near Haarlem by Nicolaes coincidence that the collection is now stronger in 16th- Berchem; a pen sketch by Hendrick Goudt of the type century Netherlandish and 17th- to 18th-century Central that has often been confused with pen sketches by Adam European drawings than in more traditional areas of Elsheimer; an oil sketch on paper of a standing boy collecting, such as 17th-century Dutch and Flemish and by Dirck Hals; a highly finished study of the Farnese early 16th-century German and Swiss drawings. In the Hercules by Peter van Lint; and an allegory of the arts last four years, the majority of the acquisitions were by Erasmus Quellinus. Truly exceptional are two early

Lucas van Leyden, ThearchangelGabrielannouncingthebirthofChrist , ca. 1520, J. Hermann, after Jelle Reyners, plate 16 from Treur-statigheuyt-vaert,oftebegraeffenisse Metropolitan Museum of Art, New York, promised gift of Leon D. and Debra R. Black, desont-zieldenlichaems,vandenonvertsaeghden,endeseerstrijdtbarenkrijghs-heldt,Ernest and purchase, Lila Acheson Wallace Gift and 2007 Benefit Fund, acc. 2008.253 recently acquired by The Metropolitan Museum of Art 5 c o d a r t C o u r a n t 2 0 / s u m m e r 2 0 1 0 / c u r a t o r ’ s n e w s a n d n o

ThetemptationofChrist t Netherlandish drawings: a sketchbook sheet by Gerard Karel du Jardin; by Hieronymus e David, long thought to be lost; and one of the less than 30 Cock; a curious merry company by Jan van de Velde, and s known drawings by Lucas van Leyden, which represents a copper plate by Johannes Sadeler, Christinthehouseof the archangel Gabriel and is a pendant to a well-known MaryandMartha , showing a state published by Frederick drawing of the Virgin in the Kupferstichkabinett, Berlin. de Wit not known to the cataloguers of Sadeler’s prints. Curators in the original print department bought While the museum continues to work on making its Dutch and Flemish prints early on. Gifts from Louisine entire collection accessible online, most of the more Havemeyer and Felix Warburg provided the museum than 16,000 drawings in the department – and all Dutch, with a fine group of etchings by Rembrandt and the Flemish and Belgian ones – are now searchable in the collection gained particular strength in this area during museum’s online database (www.metmuseum.org/ the late 1940s and early 50s with the acquisition of Works –of –Art/collection –database). Images are provided hundreds of reproductive engravings from the for all but some of the larger sheets. The sheer bulk of Liechtenstein collection by Maarten van Heemskerck, the department’s collection of well over a million prints, Hendrick Goltzius, Johannes Stradanus, and others. books, printing plates and blocks , has retarded progress Thus, with a strong body of Old Master works to build in the online data input, but nearly 40,000 entries are now on, recent acquisitions of Northern prints have been accessible. A serious attempt to photograph all the prints more selective than in the area of drawings and include in the collection will begin shortly. The department is some superb works from German-speaking countries, committed to enlarging and improving this database, such as the Master of the Playing Card’s unique Queenof and hopes that now and in the future it will continue to flowers , a fabulous impression of Schongauer’s Virginand serve the research needs and curiosity of all those inter - Childwithanapple , and Max Klinger’s wonderful portfolio ested in Netherlandish art. EinHandschuh from 1881. However, a few Netherlandish works of note have also entered the collection in recent Nadine Orenstein is curator of drawings and prints at the years, including a group of anonymous proverb prints Metropolitan Museum of Art in New York and a codar t after Marten van Cleve; funeral processions of Frisian member since 1998. stadholders by Pieter Feddes van Harlingen; a wonder- Stijn Alsteens is associate curator of drawings and prints at fully lively print by the little-known J. Hermann after the Metropolitan Museum of Art in New York and a codar t the equally little-known Jelle Reyners ; Thebattlefield by member since 2004.

Casimyr,graefftotNassauw […], Leeuwarden 1634, Metropolitan Museum of Art, Jacob de Gheyn ii, Studyofelevenheads , ca. 1604-1620s, Metropolitan Museum of Art, New York, W. Gedney Beatty Fund, by exchange, acc. 2009.454 New York, purchase, Harris Brisbane Dick Fund, Frits and Rita Markus Fund, and Charles and Jessie Price Gift, acc. 2006.101 6 Five paintings related to Gerard Dou in Schwerin c o d a r t C o u r a n t 2 0 / s u m m e r 2 0 1 0 / c u r a t o r ’ s n e w s a n d n o t e s

One of the most intriguing aspects of curating a collec - exhibited outside of Schwerin, they have received little tion that has evolved over the centuries is reevaluating attention. The most important recent publication on past attributions. Perhaps it is typical of a former German Dou to take note of the Schwerin paintings, Ronni Baer’s Democratic Republic museum that this should happen 1990 dissertation on the artist, dismissed four of them. only now. The attributions of paintings in the Staat- She accepts only the Toothpuller . She discussed the Maid liches Museum Schwerin have not been reviewed since cleaningcarrots together with a picture in Buckingham Friedrich Schlie’s magisterial catalogue of 1882 and Palace, London, at length, considering them both to be by Cornelis Hofstede de Groot’s review of it in 1894. the same hand but as problematic attributions to Dou. Although destroying cherished illusions is certainly The other three Schwerin panels are rejected without a sad task, it is nevertheless the curator’s privilege to discussion. shed light on aspects of the collection, bringing them Thanks to a restoration campaign funded by the into clearer focus than previously. Furthermore, the Getty Grant Program, two of the “Dous,” the Maid following remarks reveal just how much research cleaningcarrots and the Geographer , have been restored still needs to be done in the storerooms of historical and were thoroughly examined in the process (cf. Silvia collections. Castro, Silvia Hofmann, “Exemplarische Firnisbehand- Let us examine a group of five paintings in Schwerin lung an zwei Gemälden Gerard Dous mit Quellungs- hitherto attributed to Gerard Dou, a leading artist of the erscheinungen an Farb- und Firnisschichten,” Beiträge Golden Age who was considered to be one of the very zurErhaltungvonKunst-undKulturgut 2 [2006] , pp. 89-98). finest by 18th-century German princely collectors. The From a technical point of view, nothing was found to Duke of Mecklenburg, who lost his first collection of indicate that it is by another hand. In fact, the Maid is paintings in a fire in 1725, is said to have rescued a single only now in a state conducive to a proper examination. work from the inferno with his own hands: one by In my view, technical and stylistic features leave no Gerard Dou. Because the Schwerin Dous were rarely doubt that it is an excellent work by Dou himself. The

Gerard Dou, Maidcleaningcarrots , Staatliches Museum Schwerin, Schwerin, Domenicus van Tol, Shopinterior , Staatliches Museum Schwerin, Schwerin, inv. no. g 136 inv. no. g 134 Gero Seelig 7

Geographer, on the other hand, exhibits several aspects that seem foreign to the master. The arguments must be carefully reviewed, not least because of the opinions

of leading authorities, for instance Jørgen Wadum c o

(keeper of conservation, Statens Museum for Kunst, d a Copenhagen) who is convinced of the painting’s authen - r t C

ticity. Without going into the details here – a task better o u r a

left to the collection catalogue – while many features n t 2 are close to Dou, there are pronounced weaknesses, 0 / s u especially in terms of composition and subject, that are m m

entirely out of keeping for the master. Accordingly, it e r 2 will be presented as an anonymous work from Dou’s 0 1 0 / workshop. c u

Furthermore, there is a copy of a composition by r a t

Dou, the Oldwomanataspinningwheel . The original o r ’ has changed hands a number of times and was finally s n shown at the large Rembrandt exhibition, Rembrandt e w themasterandhisworkshop (Berlin and Amsterdam) in problems encountered in a centuries-old collection and s a 1991. The Schwerin painting, long held to be the the varying degrees to which historical attributions n d original, is clearly good, perhaps even contemporary, have to be corrected. Two original works by Dou, one n o t

but a copy nonetheless and not an autograph replica, picture from his workshop, one outright copy of a e as has also been maintained. known painting by the master and one by another s The fifth panel, the Shopinterior , is a different case artist derived from the master’s models, all of them as there is no direct model for it, even though several once bought as originals – this array is typical for an features derive from Dou’s works. This interesting 18th-century German princely collection. panel turns out to be by Domenicus van Tol, Dou’s Other painters are also represented by groups of nephew, who made a point of elaborating on his uncle’s works: three Abraham Diepraams, five Jan van compositional models, often without being up to the Huchtenburgs, three Pieter van Slingelands, and five task. While the Staatliches Museum Schwerin loses a Thomas Wijcks. As in Dou’s case, some of these groups work that did not add to Gerard Dou’s glory, it rejoices have shrunk through reattribution: two of the five works in gaining a painting by Van Tol, who was missing catalogued as by Jan Miense Molenaer turn out to be from the long list of genre painters represented in the by Jan Molenaer iiand Egbert van Heemskerck, and collection. one of the three paintings given to Jacob Toorenvliet Along with more than 100 other Dutch genre is really by Bartholomeus Maton (while a second one paintings, these five works will be discussed in the was lost in 1945). As is better known, the last of the forthcoming third volume in the five-volume collection 13 Schwerin paintings once attributed to Rembrandt catalogue and will be on view in the accompanying – the Oldman – is by Jan Lievens! Much seems to be new exhibition, which opens on 22 July 2010 and is entitled : in this “seemingly familiar” collection. Scheinbarvertraut-Seeminglyfamiliar:Dutchgenrepaintings inSchwerin . The catalogue presents many of the high - Gero Seelig is curator of paintings at the Staatliches Museum lights of the collection, including works by Carel Schwerin, co-founder and currently a board member of ank k Fabritius, Frans Hals and Gerard ter Borch as well as (ArbeitskreisNiederländischeKunst-undKulturgeschichte ) and a lesser known pictures, such as the enigmatic Roman codar t member since 2001. carnival of 1660 by Abraham Hondius, the Peasantinterior by Cornelis Saftleven once owned by Rubens, and the small Self-portrait and the Portraitoftheartist’swife by Frans van Mieris. The five paintings formerly ascribed to Gerard Dou in Schwerin are textbook examples of the kinds of

Gerard Dou (workshop of), Geographer , Staatliches Museum Schwerin, Schwerin, inv. no. g 92 8 Getty addresses skills gap in the structural conservation c o d a r t C o u r a n t 2 0 / s u m m e r 2 0 1 0 / c u r a t o r ’ s n e w s a n d n o t e s

In May 2009 , the Getty Foundation, the Getty Conserva- profile through years of bench practice and mentorship. tion Institute, and the J. Paul Getty Museum launched Building on this tradition, we will support conservation the PanelPaintingsInitiative – a collaborative project training/treatment projects, through which qualified to ensure that critical knowledge about the structural conservators will receive side-by-side training from conservation of panel paintings is transferred from leading experts in the field. current experts to a new generation of conservators. At the beginning of the initiative, the Getty The initiative has two main goals: to make certain that Foundation funded a needs assessment survey to a sufficient number of well-trained conservators are update information on the state of panel paintings con - in place when current specialists retire, and to expand servation in major American and European collections, expertise beyond North America and Western Europe including those in Central and Eastern Europe and to Russia and Central and Eastern Europe. (For more Russia. The survey started last year under the leader- information, see www.getty.edu/foundation/funding/ ship of codar t member Dr. Jørgen Wadum, keeper conservation/current/panel –paintings.html). of conservation at the Statens Museum for Kunst in As many museum curators know, panel paintings Copenhagen. Questionnaires were mailed out to conservators often possess a unique set of skills, blending museums, professional conservation institutions, and expertise in painting conservation with structural training programs , many of which were identified panel/wood conservation. It takes many years of practice through the codar t network. The results of the survey, to develop sufficient material knowledge and hand which will be completed over the next few months, will skills to become a panel conservation specialist, and provide an overview of the current state of the field and most of the current experts developed their unique form the basis for identifying training opportunities.

Hubert and Jan van Eyck, TheGhentAltarpiece (open), completed 1432 , St. Bavo Cathedral, Ghent, © Lukas - Art in Flanders of panel paintings Antoine M. Wilmering 9

While the needs assessment is still underway, an ideal training opportunity has already presented itself at the Museo del Prado in Madrid. Metropolitan Museum of

Art conservator and panel painting expert George Bisacca c o

recently collaborated with Prado conservator José de la d a Fuente on restoring Albrecht Dürer’s Adamand Eve (1507). r t C

The Met’s associate conservator Allan Miller assisted o u r a

throughout, while the project also offered opportunities n t 2

for short-term study visits by conservators from 0 / s u

Budapest and Los Angeles. With the structural work m m

complete, the paint surfaces of both panels are currently e r 2

being restored and the paintings will be back on view 0 1 0 /

in the Prado’s galleries later this year. c u

Another significant artwork is the focus of a new r a t

Getty-funded project. Three post-graduate and three o r ’

mid-career conservators will participate in conservation s n

planning for one of the world’s most famous panel e w

paintings, the GhentAltarpiece , painted by Hubert and s a Jan van Eyck in 1432 for the Vijdt Chapel of the St. Bavo n d

Cathedral in Ghent. The project offers an unprecedented n o t

opportunity for younger conservators to work along- e side a team of international experts as the altarpiece is s dismantled for thorough examination. The altarpiece is composed of 18 panels, and its structural condition will be assessed and documented in preparation for of panel paintings conservation. The PanelPaintings conservation treatment. While it is disassembled, the Initiative builds on two previous groundbreaking painted surfaces will be examined employing state-of- symposia on panel paintings organized by the Getty the-art technology, which should advance our under - Conservation Institute and the Getty Museum in 1995 standing of the Van Eyck brothers’ painting techniques. and 2009. Last year’s symposium highlighted recent In addition to training projects, we may support some developments in panel paintings research and conser- shorter workshops in which conservators and curators vation, ranging from specific treatment projects to could together explore issues related to the history of related exhibition issues. Along with formal presenta - panel making. These could address themes such as the tions, the symposium included a panel discussion in behavior of painted panels in adverse climate conditions, which conservators reflected on their own formative safe display and storage practices, and the range of treat- experiences and discussed training possibilities for ment options for structurally damaged paintings. the next generation. (For more information, see The Getty is fortunate to be working with an advisory www.getty.edu/conservation/education/panelpaintings committee composed of distinguished international /panelpaintings –component1.html). Video recordings experts, including George Bisacca (co-chair), conservator, of the symposium are available on the Getty Conser- Metropolitan Museum of Art, New York; Jørgen Wadum vation Institute’s website, and the proceedings will be (co-chair), keeper of conservation, Statens Museum for published next year. Additionally, an extensive biblio- Kunst, Copenhagen; Simon Bobak, conservator, Ebury graphy will be made available on the Getty Conservation Street Studios, London; Marco Ciatti, director, Fortezza da Institute’s website as an online resource in the near Basso, Opificio delle Pietre Dure, Florence; Paul van Duin, future. head conservator, Rijksmuseum, Amsterdam; and Ian McClure, chief conservator, Yale University Art Gallery, Antoine M. Wilmering is program officer at the Getty Foundation New Haven. in Los Angeles. As many codar t members know, the Getty has had a long-standing interest in the structural issues

Albrecht Dürer, AdamandEve , 1507, © Museo del Prado, Madrid 10 c o d a r t C o u r a n t 2 0 / s u m m

e The Philbrook Museum of Art r 2 0 1 0 / c It was Waite Phillips and his family who gave their name one of the museum’s areas of note, it comprises a modest u r to the Philbrook Museum of Art, along with the Italian- yet meaningful portion of Philbrook’s holdings. a t o style villa in which it is housed, back in the late 1930s. Although the Phillips’ original bequest was not rich r ’ s Because the Phillips family’s extraordinary gift did not in artwork, the family remained engaged and active c o include a comprehensive art collection, the museum’s supporters of the museum beyond its founding in 1938 l l e holdings have grown throughout the years by means and continued to donate objects periodically. It was their c t of a combination of judicious acquisitions and generous 1944 gift of a pair of tapestries from the workshop of the i o n donations. Through this process, Philbrook has 18th-century Flemish tapestry-maker Peter van den gradually built a collection that is defined by several Hecke (active from 1711-died 1752) that constitutes the key areas of strength. first touchstone of the Dutch and Flemish collections. The 1961 gift of the Kress collection of Italian painting Still adorning the stairwell of the Great Hall, the location and sculpture anchors Philbrook’s European collection. for which Waite Phillips originally purchased them, the Numbering 40 objects in all, this generous donation tapestries depict ThetoiletteofPsyche and Themarriage boasts several genuine masterpieces, including Tanzio ofPsycheandEros . They were executed after designs by da Varallo’s marvelous painting of St.JohntheBaptistin Jan van Orley (1665-1735). The central coats of arms and thewilderness . Another significant gift is Laura Clubb’s markings on the reverse indicate that the tapestries 1947 donation to the museum, which provides strength were originally part of a set made for Maria Theresa in 19th-century French Academic painting, and also (1717-1780), wife of Francis i (1708-1765), Holy Roman includes a number of important American paintings, Emperor. They were given to Prince Ernest Augustus of such as William Merritt Chase’s Bluekimono.Museum Hanover in 1815, and remained in the royal family until purchases of exceptional pieces such as Alexander 1918. The Phillips family bought them from French & Hogue’s MotherEarthlaidbare have helped to further Company in 1929. The tapestries remain signature pieces define Philbrook’s American collection. In addition to in Philbrook’s collection and not only complement the these holdings, the museum is known for important museum’s architecture, but are also objects of significant collections of Native American art, such as the Clark historical weight. Field collection of pottery and basketry, and more Other than Samuel Kress, perhaps no donor was recently the Eugene B. Adkins collection. In 2009, George more important to the European collection than Laura R. Kravis iipledged a significant collection of modern Clubb. In 1947 she gave Philbrook a significant group of and contemporary design to Philbrook. 86 European and American paintings. A passionate but Dutch and Flemish art has entered the museum’s unlikely collector, Laura Clubb was a rancher’s wife collection primarily through donations rather than from Kaw City, Oklahoma. She began collecting in 1922 purchases. Accordingly, the group of tapestries, water- when oil was discovered on her family’s land, and the colors, oil paintings and prints that comprise the abundant revenue allowed her to pursue her love of art. museum’s Northern European collections is not always She displayed much of her collection in the grand, four- thematically consistent. Nevertheless, although Dutch story Clubb Hotel that the family later owned in Kaw and Flemish art has traditionally not been considered City. Determined that her collection should remain

Peter van den Hecke after Jan van Orley, Themarriage Sir Peter Lely and studio, PortraitofMrs.Hudson , Jozef Israëls, Goinghome , ca. 1878, Philbrook Museum ofPsycheandEros , ca. 1745-1748, Philbrook Museum ca. 1670, Philbrook Museum of Art, Tulsa, Oklahoma, of Art, Tulsa, Oklahoma , inv. no. 1947.8.43 of Art, Tulsa, Oklahoma , inv. no. 1944.8.14 inv. no. 1947.8.39 1

1 codart Courant 20/ summer 2010/ curator’s collection ts r t ng ts. f l. h h y nal g h in o u s r tly ei b Art, the ed c n en lso - Huff. o e t Bo ric b laughing s erms s a f of pr t i t a t ropean ro he elde, inen y 1995.11.34 rec over ra is t emi objec of ng n e of low V ar nd Du st in di are over 0 Th no. Eu at tion, all Fl noctu ra al a Adria . th 0 Bust on pri rtuosity de ade h 2 d Museum other arba su inv. art ca m’s cod , three prom de nd l by n vi B m n n ich tes a vi a a a l series bot ibiti often erdina condi v s Ostade, nt oody, varied series, as is ubli seu rti era are broa ca nd pea F lection wh clude i most of a a P nclu u stra and w e hi m ro d i van p Philbrook exh a e, al in , s Jan but h sev Oklahoma M me col and m m form less , t on Eu ty n Juno s an Dutch oma y f peasa 6, sa qu a the is t o i of he 9 pieces ctori e g his ah does e from r of t li Tulsa, Adriaen peasant s, bers 9 n orks den, e o ion. g print cant ius’ dem join ift 1 Robert Vi it at th of w at g Okl , roup, hin thi ius of um Velde, Ley nce qua spectru In ur a, lly g by nd mpl tech nifi sive, . nic oltz c ial n on. tz of a ls ertheless e a i his e rest of da ollect fu de de G an andin aug t from gift c h on sig e l Tu v ev ex th ft, , t usart’s s ect Gol emish s a wi n n and l tst g i 1994, ms ehen i or , th gh dman gi , bun D of j van a s of Fl n ecti mater cas a of ck e rt s e l th al in ou i enus ecause col ter d A commu i ook’ beauti h Har n en ted e V iv dences Tulsa, B th ma Lu g ies mi ses n s hou eli Publica n y a of ng a i col , r tion s t i a G. n i i he d it n nt l n at s ter lbr ght a th i l t e 9. t compr i Art, el m i evi n a h A 0 vel th up. lec t u c of a hi bi 1996.8.14 h es ch d oti th dona o in t ot nn Hendr 20 Adr ma da Victoria ent Cor P z ecent etch r Ru n a Flem s , d ghl e en ong n n use no. col r pa i n c a g es i e s fin is de compa of fecti of by t , egi i r Du ui h es M h t h m an in a eum. ca ter ca iv nd inv. b t s e k ef R s i nger , mez A Museum is Dusart, en a , e ed ea gs r pr s, st o nc d to on n ted . a the s o r Paul ut t n i o Rep t oug r iv d mos Pot te Minerva O ti a s s a in al al ta . ch s mu br en t i i ya yer in ed ica s n s e v v p s mer si is s d . n gif s ea e. r f r r th es il i e embe heet n e i h l a la A Flem d e r ut a f an y O h ie se m lu ra s r h r ha te te s i ke n in n T A ne m Philbrook P Cornelius Oklahoma T V e p e d d d d t l D it u r n 0 p uf cob d e y la 0 n n n n ng xqu xp ig e ce iv a 3 ma e d a of Wi r e im of to e Du s f a H Pe S J A Pa va ma b a a p loo - . - ted to t r , om by , ic in t al c Tulsa, ter- tz, two. inting l po , 1596, a and by only o and This firs er , ar t . nts Ar ia Art, also some her w pa studio paintings. nal raëls L k. than ev t dem s of ngs been made ing, Juno 1980.9.36 a d pur ied i s museum books o Is e Mr. n gi pri only e e ugh The he f if ant is A c gif no. way common t wo his . ti ri nti s, int o ruhe, or ef Aca l r t of n watercolor useum opean o was s. bro n the e mater has y ls ar me oup e ass to inv. m on pa si s l , t ltho Museum pai Goltzius, Joz h ur i onst c rter The and ti a M hil gr hoo s h al na donat . E the ns C Kar h P int und jksm latio wed ol, thes Sc has rench to nting o of librar is pr the F or ug Ri The l the ollec f lle, iso ho f Dutc Oklahoma Philbrook Hendrick c artist erdess suppo pai Flemi o us, numbers gue Sc of end Clubb prints, h rightly portant identic contai expressive tho of the h nd n copy ntia Adolph a l o ation Ha the e, th n ue a here. Hudson hased im and hep i ely e d ura gift entury tor s between prints was S of ati odest a Clubb rs. Goltzi er f vi ag Dutc the La ch Kunstha larg o Hag m f two ssed rk larg on M d ura purc lection substa he l nature, of Da vestig eau n museum o is d g ship t streng (c au 9th-c o is of virtually a e h p n, t Dut ma, io Grand- 1 wo gs, in t col the in n drick by T h ndon) is s of f he t a Clubb’s din Museum . ion ists an discu P er leopatra, ho it o guer he e rai he T tin us rou atliche rom Artz, rk , t Lo tion t rt es C . f an randmoth a wa is g w gtim ssma ich a clu Hen er in g ura rth m of St wo collect be relat a Port Bou er, hom e in 947 th all Okla iesem pa by Gu La lon ork wh o nd 1 ollec Fu Philbrook ing nific mport , t he llery, e nt geneo fa ch a th c i Constant he ng h w y’s W of t Oklahoma a a nic t us, sm t along er . s in ection ection c e oi c el isit sig n 1884, G dt a E and he ets hen he rk. co s, i rst L V G t bo t i rbert thes ifi fo 1947.8.86 ca. sel w fi balance N al Tulsa, etero , Adolph s coll d d ed stat er wo e e no. h of and by

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e 17th-century Dutch painting in the r 2 0 1 0 / c The collection of 17th-century Dutch paintings in oval wooden panel, similar to many Leiden portraits of u r the Mimara Museum in Zagreb is part of Ante Topi the time and unlike genre scenes painted on surfaces a ć t o Mimara’s generous donation of all his art collections with a semi-circular carved top. This early interpretation r ’ s to the Republic of Croatia, which was initiated in 1973. of the subject is clear proof that from the start Dou c o As such, it represents a separate category within the developed a technique that differed substantially from l l e larger entity of the Ante and Wiltrud Topi Mimara his master’s. His fijnschilder painting style contributed

c ć t Art Collection, which has been on view in the Mimara to his success in portraiture, a genre greatly favored i o n Museum since 1987. by Leiden patrons. This work was succeeded by two Mimara conscientiously assembled a coherent collec - chromatically richer versions, both in the Gemälde- tion of Dutch paintings from what was available at the galerie Alte Meister, Dresden. In one of them, an old time. Of the 35 well-preserved pieces, 22 are attributed woman reads from a scroll, not a book, with the help to artists directly or indirectly influenced by Rembrandt of spectacles and her face displays Rembrandtesque van Rijn, such as Jacob Adriaensz. Backer, Gerard Dou, qualities. In the other one, the old woman is shown in Gerbrand van den Eeckhout, Barent Fabritius, Govert reverse next to a table with a chalice and a pouch. Flinck and Jacob Willemsz. de Wet. The collection Although the artist made these two versions within a also contains paintings attributed to Paulus Moreelse, relatively short period of time, he gradually introduced Hendrick ter Brugghen, Jan Porcellis, Jan van Goyen, increasingly more carefully rendered furniture. The Aelbert Cuyp, Jan van de Capelle, Jacob van Ruisdael, latter painting was the model for the autograph replica Meindert Hobbema, Jan Steen, and Adriaen van Ostade, in the Dollfuss collection in Paris. The work in the as well as a portrait of a woman recently confirmed as Mimara Museum is almost identical to the Dresden a work by Michiel Jansz. van Mierevelt. painting and its autograph copy, differing only slightly One of the paintings attributed to Gerard Dou in terms of size. The carved oak frame is authentic, as is represents his signature motif of an old woman the oak support. The panel exhibits traces of coarse tool reading. Dou began studying with the seven-year older marks. Many details in the Mimara work bespeak Dou’s Rembrandt van Rijn at the age of 15. He spent three years “handwriting”: attention to detail in the facial lines in the master’s workshop, during which he produced a and the sunken skin with a yellowish hue, an evocative series of variations on a motif that became known in art rendering of the texture of metal, fur and various fabrics, history as the “portrait of Rembrandt’s mother.” The the back of the hand covered with a web of olive green character originated from Rembrandt’s ProphetessAnna lines, and a brownish reflection on the fabric of the from 1631 in the Rijksmuseum, Amsterdam. Although clothes. Dou’s exceptionally smooth surfaces and the Rembrandt’s parents are known to have posed for their multi-layered paint technique are most evident. The full son and his pupils Gerard Dou, Jan Lievens and Joris emerald-green cape trimmed with brown fur around van Vliet, it remains uncertain whether his mother the cuffs and collar, the gold chain and the cap with a pair Neeltge Willemsdochter was actually used for the figure of gold ribbons bring to mind Pieter Lastman, whose of Anna. Dou’s first-known Rembrandt’smother is in the influence on the young Rembrandt is also visible in the Gemäldegalerie, Berlin. The work was executed on an ProphetessAnna . Dou’s old woman reflects a particular

Michiel Jansz. van Mierevelt, Portraitofanoblelady , Gerbrand van den Eeckhout, RuthandBoaz , 1661, Jacob Adriaensz. Backer, Thesenseoftaste , Muzej Mimara , Zagreb , inv. no. at m 890 Muzej Mimara , Zagreb , inv. no. 2000 Muzej Mimara, Zagreb, inv. no. b-438 13 c o d a r t C o u r a n t 2 0 / s u m m

Mimara Museum in Zagreb Leila Mehulic e r 2 0 1 0 / notion of aged women in 17th-century Dutch art, new fashion introduced Flemish influences into Dutch c u representing an embodiment of female virtues. In the painting characterized by large pictures in a markedly r a t context of a prophetess entirely dedicated to fasting naturalistic style and with sumptuous settings. Van o r ’ and prayer, her visible “flaws” accentuate the experience den Eeckhout’s quest for perfection expressed itself in s c and spirituality of age overcoming worldly weaknesses. numerous variations on the same theme: he painted o l l

Among the works of Rembrandt’s circle, Gerbrand the subject of our picture, Ruth and Boaz, six times in e c van den Eeckhout’s RuthandBoaz stands out for its scale oil and once in watercolor. Chronologically, the canvas t i o and artistic merit. This painting was analyzed and from the Mimara collection comes fourth, after paintings n published by the late Helena Zoricic, a curator at the in the Kunsthalle Bremen, Museum Boijmans Van Mimara Museum who died in 2004. Like the majority of Beuningen, Rotterdam, and a private collection. In terms Van den Eeckhout’s paintings, the Mimara picture is of its format, and influenced by Flemish painting, with signed and dated: G.V.Eeckhoutfecit/AD1661 . Gerbrand its large, bulky figures and emphasis on the solidity of van den Eeckhout was a painter and engraver of biblical, inanimate objects, our picture was preceded by The mythological and historical subjects and also an expert Leviteandhisconcubineinvitedtospendthenightbythe art assessor. He was born in 1621 in Amsterdam, where citizenofGibeahfrom 1658 in the Pushkin Museum, he lived a quiet life until his death in 1674. He went to Moscow. The figure of Boaz in our painting is modeled study under Rembrandt at the age of 14. According to on Belshazzar in Rembrandt’s Belshazzar’sfeast in the Houbraken, he was Rembrandt’s favorite pupil and later National Gallery, London, and is not only akin to Boaz on, together with Roelant Roghman, his best friend. He in the Rotterdam painting, but recurs as Eliezer in Van remained in Rembrandt’s studio until 1640. Van den den Eeckhout’s 1661 RebekahandEliezeratthewell , also in Eeckhout’s early works have often been attributed to his the National Gallery, London . teacher, whereas his later paintings have frequently been Despite its scale, the RuthandBoaz from the Mimara given to Salomon Koninck, Ferdinand Bol and Govert collection comes across as an intimate genre scene, Flinck. Following an initial period under Rembrandt’s realistically rendered, capturing the mood and atmo- powerful influence, in the early 1650s he began to develop sphere of an early evening in July. Helena Zoricic con - his own style of painting marked by a cool clarity and cluded that it is part of a classicist trend within the subtle palette. This quality distinguished him from Rembrandt School in the second half of the 17th century. Rembrandt’s School, even though his subjects continued to be biblical, mythological and historical, and the Leila Mehulic is curator at the Muzej Mimara (Mimara Museum) settings and costumes were borrowed from the “school in Zagreb and became codar t’s 500th member in September 2009. wardrobe.” The Mimara Museum’s painting originated in Van den Eeckhout’s third, late period, which began around 1658 with large-scale pictures in keeping with the prevailing trends in Amsterdam that had been partly ushered in by his contemporaries Bol and Flinck. This

Jan van Bijlert or Salomon de Bray, Allegoryoflove , Gerard Dou, Rembrandt’smother , Muzej Mimara, Jacob Gerritsz. Cuyp, Portraitofawoman , Muzej Muzej Mimara , Zagreb , inv. no. at m 743 Zagreb, inv. no. at m 714 Mimara, Zagreb , inv. no. at m 746 14 Picture frames in the Netherlands Eric Domela Nieuwenhuis

c The first in-depth investigation of 17th-century Dutch Surprisingly, Van Thiel and De Bruyn Kops’ study did o d picture frames took place in 1984 and culminated in not prompt a new “fundamental” investigation into a r the catalogue Prijstdelijst and the exhibition of the same Northern-Netherlandish frames. There are still lacunas t C

o name in the Rijksmuseum in Amsterdam. This is now in our knowledge in this area, particularly with respect u r a

n more than 25 years ago. To be sure, attention had been to the 16th, 18th and early 19th century. Moreover, very t 2

0 devoted earlier to Dutch picture frames by Claus Grimm, little research has been done on 20th-century uses of / s u m Henry Heydenrijk and Germain Bazin, among others. frames and wooden so-called “strip frames”. The risk for m

e Still, the 1984 research conducted by Pieter van Thiel and the latter group is that after the wedges are removed, r 2

0 Cornelis Johannes de Bruyn Kops of the Rijksmuseum original frames no longer deemed suitable are discarded 1 0 / c revolutionized our knowledge and appreciation of with no documentation. In the past decades, frames of u r frames. Prijstdelijst was internationally acclaimed and an paintings in major Dutch museums were frequently a t o English language edition ( FramingintheGoldenAge ) even replaced with newly designed surrounds that took no r ’ s appeared in 1995. As a result, many museum curators account of the original, discarded frames. The qualitat- c a have become aware of the value of original picture ively better frames were sometimes saved; the lesser s e frames, of the stylistic developments of the profiles and frames – with a few exceptions – were disposed of. ornamentation as well as the construction and function At the beginning of 2009, the Instituut Collectie of picture frames in the 17th century. The catalogue Nederland (Netherlands Institute for Cultural Heritage, includes an overview of cross sections of moulded frames. ic n) launched a research agenda. Falling under one An unintentional consequence of this was that present- of its five programs is the project Pictureframesinthe day frame-makers – some at the request of museum staff Netherlands . This project is not intended to fill all of the – have introduced copies of these profiles in the market. gaps in our knowledge of Dutch frames in one go: the Nowadays, increasing number of paintings are being two years reserved for this is too short a time to allow for set in dark frames with profiles derived from these the publication of a survey of all Dutch frames. Rather, drawings. the aim is to produce a volume with various independent Many publications on picture frames have appeared contributions shedding light on art-historical aspects, since the catalogue and exhibition of 1984, such as cultural value, the restoration of frames and a biblio- Cadresetsupportsdanslapeintureflamandeaux15eet16e graphy. siècle of 1989 by Helène Verougstraete-Marcq and Roger The ic n organizes gatherings to which about Van Schoute. Recently, Elisabeth Bruyns defended her 40 curators and frame restorers are invited to discuss doctoral thesis in Leuven on frames in the Southern research, preservation and conservation, and the Netherlands in the 17th century. Furthermore, more restoration of picture frames. The first session took concise publications on Dutch picture frames have place on 20 November 2009. A variety of subjects were appeared regularly, such as by Hubert Baya on gilding presented in five brief talks. I began with an introduc- techniques and Louis van Tilborgh on framing the work tion on the project and was followed by Hubert Baya, of Van Gogh (exhibition catalogue Inperfectharmony. restorer of frames and gilding at the Rijksmuseum in Pictureandframe1850-1920 , 1995). There is also the sub - Amsterdam, which has more than 750 frames in storage. stantial master’s thesis by Eleonoor Heijboer of 1988 Baya reported on his investigation of the original frames on the late 19th-century Leiden frame-making firm of late-medieval Northern-Netherlandish paintings, Dominicus Sala & Zonen. Other publications worth which were described for the exhibition VroegeHollanders mentioning include: Timothy Newbery’s catalogue in the Museum Boijmans Van Beuningen in Rotterdam of the Robert Lehman collection in the Metropolitan in 2008. Quite remarkably, he ascertained that the Museum of Art, New York (2007); and the exhibition percentage of original frames on late-medieval panels is catalogues Frames.Stateoftheart of the Statens Museum higher than on 17th-century paintings. Quentin Buvelot, for Kunst, Copenhagen (2008), HaltundZierde.DasBild curator at the Mauritshuis in The Hague, gave the third undseinRahmen of the Liechtenstein Museum, Vienna talk. He outlined the points of departure and the criteria (2009) and Rahmenkunst .AufSpurensucheinderAltePinako- involved in selecting and producing a new frame for the thek of the Alte Pinakothek, Munich (2010). While they painting ApellespaintingCampaspe by Willem van Haecht all devote some attention to Dutch frames, the bulk of (1593-1637). The profile of this frame is based on the the research is on picture frames from other countries. one of the painting depicted in this painting by Frans 15 c o d a r t C o u r a n t 2 0 / s u m m e r 2 0 1 0 / c u r a t o r ’ s c a s e

Snijders. The fourth speaker, Christel Kordes of the together own approximately 1,500 frames. Until now, Stedelijk Museum in Schiedam, gave an account of the they have been summarily inventoried and are virtually framings of works by Cobra artists. In the fifth and last never lent out. In the meantime, both institutions have presentation, Sylvia Nijhuis, freelance restorer of picture avidly begun to further disclose their holdings. frames, advocated the continuing professionalization In 2003 Bernd Lindemann gave a presentation at of frame restoration as an independent discipline. She the codar t ze s congress in Amsterdam in which he deems it essential that a specialized training program in launched a plan to set up a database to disclose empty picture frames be established as part of the restoration picture frames and make them available for international curriculum of the University of Amsterdam. loans. It would be interesting to investigate the possibil- The discussion that followed was led by Arjen Kok ities for establishing a small-scale picture frames data - (ic n) and zeroed in on the history of the use of picture base in the Netherlands. The creation of such a database frames in Dutch museums. Buvelot remarked that many could serve as an extension of the current frames project. of the Mauritshuis’ frames date from shortly after the Naturally, the support of Dutch museums is vital to return of the stadholder’s collection from France (1815). such an undertaking. Moreover, it could be linked to It was next noted that the replacement of a frame gives comparable projects abroad, particularly those in Berlin an idea of the prevailing taste in a given period and thus and Basel. Finally, in assessing our progress, we can is sometimes linked to the preferences of the museum report that the bibliography for the publication is being director. For example, in the Rijksmuseum one speaks drawn up and the second gathering took place on of “Van Schendel frames” and in the Mauritshuis of 22 April 2010. “Bredius frames.” It was agreed that most Dutch museums have not yet sufficiently charted the history Eric Domela Nieuwenhuis will preside over a market of the reframing of their collections. Another point of table on this subject at the codar t dertie n congress discussion was the dearth of knowledge regarding in Rotterdam. See our website for more information: individual Dutch frame-makers. For instance, to date www.codart.nl/ codar t-dertie n-congress virtually nothing has been published on most of the 19th-century frame-makers, including Jean Baptiste Eric Domela Nieuwenhuis is curator at the Netherlands Institute Schelfhout, Hubert van Hove (both fathers of successful for Cultural Heritage in Rijswijk and a codar t member since 2003. painters), and Martin Joosstens (Jan Toorop’s frame- maker). The last issue to be broached was that of all the Label of the Dominicus Sala & Zonen firm from 1861-1871 on the back of the frame literally hundreds of frames in the depots of Dutch around the H.W. Mesdag painting: Fishingboatsinthebreakers , 1898, ic n, Rijswijk. museums. For example, the Rijksmuseum and the ic n The label suggests that the frame is at least 20 years older than the painting. 16 Interview with the Honorable Ambassador

experts on Rembrandt, to codar t member Till-Holger Borchert. Music, too, is one of his passions. He composed the HollandSymphony , which was performed for Queen

c Juliana on the 25th anniversary of her ascension (1973) o d and has written many symphonies and an opera . a r t C

o We met while Ambassador Middendorf was in u r a

n Maastricht for The European Art Fair ( tefa f) on t 2

0 Saturday, 13 March, at the hotel he stays in every year. / s u m Before we begin the interview, he shows me a portrait m

e of his daughter that he had painted. She is seated r 2

0 before her easel at work, and set before a background 1 0 / f in which several pieces from her father’s collection r i e are visible. n d ’ s i Howdidyourcollectionoriginate;whendidyoudecideto n t

e startcollectingart? I always loved art, even as a child, and r v wanted to become an artist at one time. It just seemed i e w natural to begin collecting. Initially I bought American For many years, John William Middendorf ii(born art. But my eyes were opened in the beginning of the in Baltimore, Maryland, 22 September 1924), was an 1960s, and in 1961 I acquired my first Dutch master, the American diplomat. In 1969, Richard Nixon appointed Manwiththeblackhat by Rembrandt, which is now in, him Ambassador to the Netherlands, where he served the Hammer Museum, Los Angeles. until 1973. He later served as Ambassador to the euand as Secretary of the usNavy. Ambassador Middendorf IsRembrandtyourfavoriteartist? Of course I greatly admire received a Bachelor’s degree in Naval Science from the the Old Masters from the Golden Age, but, to tell you the College of the Holy Cross in 1945. At the end of the truth, I am fonder of early Flemish painters. The work Second World War he served in the Navy as an engineer of Rembrandt, Hals and Vermeer may be more attractive officer and navigator on the us s lc s (l) 53, being to the modern eye, and that was also my starting point mustered out in 1946. He earned a Bachelor of Arts in the early 1960s. However, my focus shifted for two degree from Harvard College in 1947 and graduated reasons. First of all, at that time very few people were from New York University’s Graduate School of Business collecting art of this period. Second, in a way early Administration with an mb a in 1954. He became an Flemish paintings are complete documents of their investment banker and in 1961, in partnership with time, and this is what fascinates me. Austen Colgate, formed his own company, Middendorf, Colgate and Company. Canyoutellusmoreaboutthis? When you buy American art, you know that what you see is what you get. But Ambassador Middendorf is a great art lover and collects early Flemish paintings have so much more to say than Old Master paintings. In that capacity, in 2009 he decided what is on the surface of the picture. They have a very to support codar t financially as an American Friend of concentrated Christian iconographic appeal and evidence codar t. His interest in art in general, and Dutch and the most impressive skills I have ever seen in art. I admire Flemish art in particular, emerged early on. Actually, the remarkable technique underpinning these paintings. Mr. Middendorf aspired to becoming an artist himself, What also fascinates me is that they tell us so much about but as the father of five children he opted for financial the history of civilization; every painting is a continuous security and made a career in the financial and later the living document. I am intrigued by the fact that artists diplomatic world. However, he never renounced his traveled throughout Europe and that you can discern so true calling. In more than 600 sketchbooks, over 50 years, many mutual influences. It also moved me to learn that he has portrayed individuals whom he encountered in painters frequently worked on oak panels often made daily life, ranging from Laura Bush, Barack Obama, and from one and the same tree with a Baltic origin, and J. William Middendorf iiGerdien Verschoor 17 c o d a r t C o u r a n t 2 0 / s u m m e r 2 0 1 0 / f r i e n d ’ s i n t e r v i e w that these panels are now dispersed all over Europe. Whatdoescodar tmeantoyou? codar t is a group of I only realized all of this through collecting. my dearest friends and advisers, so for me codar t is For me, the greatest painting in the world is the Ghent all about the people. Until 5 pm these individuals are Altarpiece by the Van Eyck brothers. It almost stands very serious, and we engage in scholarly and scientific alone. I once saw it in pieces on the floor of a restoration conversations. In the evening, though, we have a lot studio. I sat on the ground with the restorers and was of fun. Obviously, I hope that codar t will continue able to study it closely. Another painting that I admire is to organize these important meetings and network the AdorationoftheMagi by Jan Gossart in the National moments, which is also in part why I support the Gallery in London. It is worth a pilgrimage just to see it . organization financially. And of course I am counting For me it is a privilege to collect paintings from this on codar t members to retrieve the missing section period, but I realize that, as a collector, my collection is of the GhentAltarpiece ! a distant shadow of the best of these great masters – but that’s close enough. Youareconstantlydrawing.Whatdoyoursketchesmeantoyou ? Even with respect to my favorite paintings in my My drawings help me to concentrate on what is going on collection, I am astounded by the technique. When I around me. Moreover, every drawing is a kind of diary started collecting, infra-red reflectogram and dendro- entry. When I revisit them, I remember the moment, the chronology had just been developed for technical event, and the person. I make about ten drawings a day. I research. The advent of entirely new techniques was a do them in pen rather than pencil so that I cannot erase reason for re-examining the works in my collection and anything. When you draw in pen, you have to focus and gather new information. These rapid technological keep your concentration. You have to make them quickly developments are very exciting. and try to get it right the first time. I even draw in the dark, for instance during a ballet performance. Then, I Doyoustillhaveparticularpaintingsonyourwishlist? can’t see what I am drawing; but those works are the Why yes, I always try to find rare works that are still purest. As a collector who paints and draws himself, it is in good condition, but that’s like looking for a needle like standing at the foot of the Empire State Building: I in a haystack. Fortunately, I have several excellent look up and have the feeling that whatever I accomplish advisers, most of whom, incidentally, are members is virtually nothing compared to such a great landmark. of codar t.

John William Middendorf ii, TheHague’sRembrandt John William Middendorf ii, Till-HolgerBorchertat John William Middendorf ii, Bodeinfrontofthe Maastricht Doomerportrait 18 Lia Gorter , interviewed by Piotr Borusowski

Couldyoupleaseintroduceyourself?Roughly two threads Baen roused our curiosity. Upon inquiry, it appeared run through my life: art and the women’s rights move - that the museum had been closed for years due to renova - ment. I followed the KünstlerischeAbteilung course at the tion and, yes, the collection had been stored in a bunker

c Textil Ingenieur Schule in Krefeld. The program was outside of Havana. The directorate was willing to bring o d established after the Second World War by Johannes out the paintings from the bunker. Michel van de Laar, a r Itten, one of the leaders of the Bauhaus. Subsequently, conservator, Bernard Vermet, art historian, and I went t C

o I studied art history briefly at the University of to Cuba and inventoried, documented and wrote up u r a

n Amsterdam. condition reports of what was clearly an important t 2

0 In 1987 the World Women’s Conference was held in collection. At the time, the museum did not have / s u m Moscow. As a member of the Dutch delegation I visited specialized conservators to maintain the collection. In m

e the Tretyakov State Gallery. I was so impressed by what collaboration with the Instituut Collectie Nederland r 2

0 I saw that I proposed mounting an exhibition and (Netherlands Institute for Cultural Heritage [ ic n]), 1 0 / c setting up an exchange of people at the level of artists’ the sc i contacted the Stichting Restauratie Atelier u r organizations. From then on, regular contact was main - Limburg (Restoration Atelier Limburg Foundation) a t o tained with museum staffs and it was possible to launch asking for two young Cuban conservators to receive r ’ s projects in an atmosphere of mutual trust. To implement supplementary training so that they could take better i n this we needed a work organization, which was estab - care of the Dutch and Flemish collection. The panel t e r lished in 1996, aimed at disclosing unknown collections paintings in particular were in urgent need of treatment. v i e to a broad public. The Stichting Cultuur Inventarisatie The Getty Foundation was willing to pay for their train - w (Foundation for Cultural Inventory [ sc i]) does this in ing. In 2003, two conservators brought six problematic other countries as well, for example India and Cuba. works from the national collection to Maastricht, where they were able to work on “their” paintings for an entire Whatisthesc i’smainfieldofactivity? Inventorying year. When the National Museum in Havana reopened unknown collections that add to our knowledge of in 2004, a large part of the Dutch and Flemish holdings Dutch and Flemish painting. We drew up a plan together was put on view. The museum now has a well-equipped with Rudi Ekkart, director of the rk d ( Netherlands restoration studio and the expertise to maintain its Institute for Art History). With money from private collection. Thanks to codar t, the curator can come to funds we created a pilot project to inventory six modest the Netherlands regularly to conduct research. We put a collections in Russia, to review the attributions – often premium on the transfer and exchange of knowledge. made around 1900 – and to publicize them in and outside of Russia. To be honest, the discoveries are not always Asthedirectorofthesc iyouareinapositiontocomparecollec - earth shattering. But, for example, no autograph work tionsofartindifferentcountries.Differentapproaches,different by Adam van Pitten - an artist known only from the problems.Arethereanycommonalitiesbetweenthecollections? Antwerp “Liggeren ,” or guild lists, was known until the Given the range and scope of the collections in Europe, sc i found a signed and dated (1598) self-portrait in the you can say that they have grown historically. The Ostankino Estate Museum in Moscow. The results of patrons amassing them were kings, aristocrats, religious these inventories were made available to the rk d. institutions and churches and at a later stage wealthy citizens. These collections encompass what we now Whatkindofinstitutionscancountoncollaborationwiththe consider to be masterpieces and numerous works in sc i? Almost all of the requests we receive come from the manner of artists who were in vogue. For example, museums. We ask what the aim is of the inventory. Quite the Kadriorg Art Museum in Tallinn has many com- often the institution in question is undergoing renova - missioned copies of paintings by Dutch and German tion and the collection is being reorganized. We study masters who were popular in the 19th century. Generally the available information on the collection and if it is speaking, this category of painting is not found in the interesting we draw up a plan. There is one condition United States. Instead, there one finds a limited number though, namely that the collection be made available of masterpieces, which were largely acquired by wealthy for research and that the outcome and inventory are individuals in the course of the 20th century. accessible either on a website or in a study room. Some- times the sc i takes the initiative. In 1999 the sc i was Dothecuratorsofnon-Westerncollectionsfacethesame faxed a page of a catalogue of the National Museum in problemsastheircolleaguesinWesternEurope? Because Havana. The names listed there, Jacob Jordaens, Jan curators in non-Western museums had only limited Steen, Aelbert Cuyp, Johannes Verspronck and Jan de access to Western libraries and databanks, their know- ledge is lagging behind. This deficiency though can 19 quickly be redressed through the Internet. Within this context, in September 2009 the sc i gave a seminar at the Yasnaya Polyana estate in Russia. We presented the English-language database the sc i developed together with the CulturalHeritage.cc Foundation, with which the Russian regional museums can input their Nether-

landish collections. This will make available a veritable c o treasure trove of information for research on Dutch and d a Flemish art in Russia. More-over, Russian curators can r t C

consult colleagues via the Internet. After all, a collection o u r a

spanning three centuries requires more expertise than n t 2 any single curator could possibly possess. Therefore, from 0 / s u its inception the sc i has worked together with codar t. m m

As a network, codar t is ideally suited for consulting e r 2 colleagues when you are conducting your own research. as a whole and possibly training conservators, then we 0 1 0 /

This is not only necessary, it is highly rewarding and honor the request to inventory the collection. Further- c u affords useful insights. It is also a matter of courage, or more, the museum must agree to make the collection r a t daring to ask! public, disclosing it for researchers and the general o r ’

public. s i Howdoesthesc ichoosetheprojectsitwillworkon? The sc i n t e selects museums that - on the basis of inventory lists and Whatarethesc i’splansforthenearandfarfuture? r v i photographic material that has been submitted – seem to – Presenting the sc i’s work in Russia in a lecture at e have exceptional works in their collection. I don’t mean the symposium being held by the Dutch-Russian Club w by Rembrandt or Rubens in the first place, but rather the in St. Petersburg on Dutch engravers in the service of the great numbers of Dutch and Flemish paintings produced Tsars Michael and Peter the Great from 13 to 18 April for export. The history of collectors and art dealers, of 2010. the aristocracy and royal houses is often reflected in the – Inventorying the collection of the Kasteev Museum museum collections insitu . If there are key works in a in Almaty, Kazakhstan, from 12 to 19 April 2010. collection, it is important to explore the possibilities – Study trip for four curators from Russian regional – together with the museum – for restoring them and/ museums to the Netherlands during the codar t con - or improving conditions in the museum. gress from 28 May to 5 June 2010. – Producing the collection catalogue of Dutch and Whatkindofhelpcanthesc iofferaparticularcollection?Is Flemish drawings in the Pushkin Museum in Moscow. financialsupportalsopossible? The assistance we can offer The catalogue will appear in June 2010 to accompany the depends on the situation: for example, providing extra exhibition of drawings from the Pushkin Museum in the courses for the training of curators and conservators. The Suermondt-Ludwig-Museum in Aachen, which opens sc i itself does not have funds at its disposal; it relies on on 4 July 2010. This exhibition will subsequently be on subsidies per project and on private donations. We can - view in the Museum Het Rembrandthuis in Amsterdam. not nor do we wish to give money directly to a museum. – Assisting the exhibition in the Museum Mayer Only in the case of a joint project can the specific work van den Bergh in Antwerp, which is being held from in question be paid for. The sc i dispenses advice, or helps 11 September to 7 November 2010. It features the to find funding. rediscovered panel of an altarpiece by Juan de Flandes in Belgrade, which was restored in the Koninklijk Whatdemandsdoesacollectionhavetomeettoqualifyfor Instituut voor het Kunstpatrimonium in Brussels financialsupport? What is important is the specific request (Royal Institute for Cultural Heritage [ kik/irp a]). made by the museum. Museums usually seek assistance – Organizing a seminar with eight Russian regional to study its permanent collection. We provide insight museums at the Yasnaya Polyana estate in Tula, in into how we arrive at an attribution and invite curators collaboration with the Russian Association of Museum to the rk d to show them how to use the Internet and Professionals ( am r), in October 2010. acquaint them with codar t’s international network, – Implementing the database in the Russian regional so that they can find their own way. Our principle is to museums in the coming two years. provide assistance, and make ourselves redundant. If a museum’s director and staff are willing to spend time Piotr Borusowski is assistant curator at the Muzeum Narodowe w and money on their own collection, where possible with Warszawie (National Museum in Warsaw) and a codar t member simple means improving the condition of the collection since 2009. 20 codart activities codart dertien reviews

codar t dertie n study trip to tions given by the exhibition’s curators , emeritus, Harvard Art Museum/Fogg Southern California whereas Martin Royalton-Kisch (former senior Museum, Cambridge ) both expanded upon 31 January-5 February 2010 curator, department of prints and drawings, the course of scholarship that has shaped the British Museum, London) in his critical study of Rembrandt drawings and their

c Review by Susan Anderson, Harvard Art response as the final speaker, argued more distinguished personal roles within this o d Museum/Fogg Museum, Cambridge often for Rembrandt’s hand. The easily history. a r recognizable styles of some students allowed During the discussion sections, the speakers t C

o “It’s not that people don’t want to come to for a deeper evaluation of their oeuvres, as deftly and graciously dealt with questions u r a

n Los Angeles,” a former Getty curator once told William W. Robinson (Maida and George from the general public that often voiced a t 2

0 me, “they just think they don’t want to come to Abrams curator of drawings, Harvard Art familiar sense of anxiety at the “shrinking” / s u m Los Angeles.” This sentiment was confirmed Museum/Fogg Museum, Cambridge ) of such an iconic figure as Rembrandt. m

e by comments from the codar t dertie n demonstrated in his discussion of Samuel van Heartening, however, was the concurrent r 2

0 participants: quite a few had never been to Hoogstraten’s pictorial drawings and their pleasure many demonstrated with the 1 0 / c Southern California before; others had last significance for his role as an advanced student speakers’ well-presented arguments, which o d visited the Getty many years ago; and still in Rembrandt’s workshop. The selection of allowed them to see just how Rembrandt and a r

t others had seen only one or two of the drawings by others, such as Ferdinand Bol, his students differed. This public sentiment a c museums on the study trip itinerary. Even lacked cohesion and suggested avenues for was embodied by the delight of National t i v though the journey may have been long for further research; in her talk, Jan Leja (research Public Radio special correspondent Susan i t i many of us, we all agreed it would be well curator, private collection, New York) affirmed Stamberg as she toured the exhibition with e s worth repeating. this in her convincing reattribution of three co-curator Lee Hendrix, whose conversation The first two days were dedicated to a drawings to Bol that had fallen out of favor was broadcast just days before. As one of the thorough overview of the Getty Museum, after Albert Blankert’s disattribution of a key chief goals of the exhibition and symposium, Conservation Institute, and Research Institute, painting. And the corpuses of still other this reaction confirms its success. with a particular focus on the exhibition students have come into sharper focus thanks DrawingsbyRembrandtandhispupils:tellingthe to an astute selection of loans, such as Govert difference , ( 8 December 2009-28 February 2010) Flinck, Gerbrand van den Eeckhout, and Review by Sylvia Böhmer, Suermondt- and the accompanying symposium on Jan Victors, the latter of whose oeuvre Holm Ludwig-Museum, Aachen 2 February. With the general public and Bevers (chief curator for Dutch and Flemish scholarly community in mind, both exhibi - prints and drawings , Kupferstichkabinett, Since 2008, a number of museums in Los tion and symposium addressed Rembrandt’s Staatliche Museen zu Berlin, Berlin ) wants Angeles, San Marino, Pasadena and San Diego drawn corpus, his practices as a teacher, and to expand. have been collaborating under the title the differences in technique and quality The history and methodologies of RembrandtinSouthernCalifornia to draw public between master and student, with special Rembrandt drawings scholarship came into and scholarly attention to one of the largest emphasis on the recent consensus regarding sharp focus, especially during the symposium. collections of paintings by Rembrandt in the the oeuvres of Rembrandt pupils. The In an ad-hoc debate, audience member Gary United States. Additionally, exhibitions of exhibition was arranged chronologically, Schwartz (director emeritus of codar t) Rembrandt prints are being held in the with drawings displayed mostly in pairs with argued with speaker Peter Schatborn (head museums. Rembrandt on the left and one of 15 students emeritus, department of prints and drawings, This provided a wonderful opportunity on the right. One area was dedicated to various Rijksmuseum, Amsterdam) over the core for the codar t dertie n study trip to drawing media and tools, and cogent and group of Rembrandt drawings, a group that Southern California to visit the various telling comparative details between master cannot be disputed and may form the basis collections and exhibitions in these museums. and student appeared on object labels, clever for further attributions. Schwartz wishes to We began in San Marino and Pasadena on video projection, and interactive touch-screen include drawings that demonstrate a connec - Wednesday (3 February). The complex housing computer terminals. tion to a known, established painting or print, the Huntington Library, Art Collections and Rembrandt and his early compatriot in whereas Schatborn’s more stringent standards Botanical Gardens was made possible through Leiden, Jan Lievens, appeared near the limit these connections to preliminary studies the transfer of the estate and collections of beginning with an installation of their red or those drawings that were demonstrably Henry Edwards Huntington (1850-1927) to a and black chalk drawings, arguably the most part of Rembrandt’s working method. And, private, non-profit institution. Today, the vexing area of connoisseurship presented welcomed with warm applause, Egbert Huntington holds an extensive collection of in the exhibition . During the symposium, Haverkamp-Begemann (John Langeloth Loeb British and French 18th- and 19th-century art. Gregory Rubinstein (worldwide head of professor emeritus of the History of Art, Of special interest to the codar t group was Old Master drawings, Sotheby’s, New York) Institute of Fine Arts, New York University, the painting Ladywithaplume (ca. 1636) that concurred with many of the Lievens attribu - New York) and Seymour Slive (director was formerly attributed to Rembrandt or codart activities codart dertien reviews 21

is unfinished. When viewing the Rembrandt prints exhibition, we focussed on comparing codar t veertie n different impressions of the same print. in Enschede In the Los Angeles County Museum of

Art ( lacm a), conservators Joseph Fronek and Save the date! c o

Elma O’Donoghue shared the latest research d a results of their investigations with a digital In cooperation with the Rijksmuseum r t C

microscope. This was particularly helpful in Twenthe, codar t will be holding o u r a

studying Ambrosius Bosschaert’s Bouquetof the codar t veertie n congress in n t 2

flowers, revealing surprising details about the Enschede from 20 to 22 March 2011. 0 / s u

commissioning of the painting, and Emanuel Directly thereafter a short study trip m m

de Witte’s InterioroftheNieuweKerkinDelft, will be made to nearby collections in e r 2

which has heavy underdrawing indicating Germany. 0 1 0 /

that a larger format was originally intended. c o

As the crowning finish to our visit to lacm a, Highlightsofthecongressin d a r

Amy Walsh gave a special presentation on Enschedeinclude : t a

woodcuts by Hendrick Goltzius in relation An opening reception at Paleis Het Loo, c t i his studio. Catherine Hess, chief curator of to his painting Danae . Apeldoorn. v i t

European art, invited us to discuss possibilities As partners in the RembrandtinSouthern Visits to the Rijksmuseum Twenthe’s i e for a new attribution. The painting and California project, the museums in San Diego collection and restoration studio, s its archival documentation were closely (5 February) also mounted exhibitions. From as well as the NicolaasVerkolje(1673-1746): examined. Some participants thought it Rembrandt’sstudio:theprintsofFerdinandBol paintingsanddrawings(1 March- worthwhile to consider an attribution to in the San Diego Museum of Art does not 30 June 2011) exhibition. Govert Flinck. Other Dutch paintings were subordinate Bol’s art to that of Rembrandt, Excursions to Kasteel Twickel in Delden; admired as well, and the exhibition The but presents him as a fellow artist with an Huis Singraven in Denekamp; GoldenAgeintheGoldenState:DutchandFlemish independent oeuvre of equal merit. Curator Museum de Fundatie (Kasteel Het printsanddrawingsgenerated great interest John Marciari’s exhibition allowed prints by Nijenhuis) in Heino; and provided an opportunity to study selected the two artists to be examined side by side. and Kasteel Huis Bergh in ’s-Heerenberg. works in the print room. The Timken Museum of Art chose the rather In the Norton Simon Museum in disconcerting title Rembrandt’srecession: Formoreinformation: Pasadena, Carol Togneri and Gloria Williams passionandprintsintheDutchGoldenAge for codar t showed us an extensive range of works in its exhibition. Director John Wilson drew t +31 70 333 9744 storage, including paintings by Jacob parallels between Rembrandt’s financial e [email protected] Ochtervelt, Jan Steen and Jacob Jordaens. situation and the present economic crisis. He The museum’s excellent collection, which also asked the group to examine Hendrik van A complete and up-to-date program includes masterpieces of 14th- to 16th-century Balen’s SaintJohntheBaptistinthewilderness , of the congress and study trip will European art as well as classic modernism, the background of which is no longer thought be posted on the codar t website elicited great enthusiasm. to be by Brueghel . The attribution problems in due time. Registration begins in The Hammer Museum in Los Angeles, of this painting were discussed by the November 2010. known primarily for its contemporary art, specialists in Flemish painting in the group. surprised us with two important paintings It was suggested that this is not an original codar t veertie n by Rembrandt. On Thursday (4 February), invention by Van Balen, and that the central in Enschede Claudine Dixon led a discussion about figure group looks more like a copy based on Rembrandt’s Portraitofaman holdingablack a print. Save the date! hatand Juno . The Portraitofaman , which Horst We left San Diego on the last evening Gerson rejected as being “too glamorous” of our trip and remembered five days filled for Rembrandt, is now securely given to with positive impressions, fruitful ideas the master . The debate on Juno revolved and interesting points for discussion for our around the question of whether the painting, own museums, but especially the cordial which has an unusual frontal composition, hospitality extended to us by all of the institutions we visited. Govert Flinck (attributed to) , Ladywithaplume , 1636, The Huntington Art Collections, San Marino 22 faits divers

Appointments ation of several aspects of Gossart’s work at Study trip discussion at The Huntington KrisCallenswas appointed head of the upcoming Historians of Netherlandish In July 1958, Mildred Browning Green of Los collections and presentations at the Zuider- Art conference in Amsterdam on Saturday, Angeles, wife of local judge Lucius Peyton zeemuseum in Enkhuizen in September 28 May 2010. Moreover, two study days at Green, acquired a painting of a woman with

c 2009. He was formerly a curator of exhibitions The Metropolitan (18 January 2011 devoted a feather in her hair from the Rosenberg and o d at the Rijksmuseum in Amsterdam. to the exhibition; and 19 January 2011 to the Stiebel Gallery in New York. The painting was a r AnVanCamp was appointed curator of technical analysis and restoration of Gossart’s said to be a 1636 dated work by Rembrandt and t C

o Dutch and Flemish drawings and prints at paintings) will provide specialists another its provenance purportedly followed a path u r a

n the British Museum. She replaces Martin opportunity to discuss recent developments through important European collections. In t 2

0 Royalton-Kisch , who retired in December 2010. in Gossart research. Finally, thanks to the 1978, the Ladywithaplumewas part of a large / s u m JanJaapHeij retired from the Drents Mercatorfonds, the publication accompanying donation the Greens made to The Huntington m

e Museum in Assen in January 2010. Willemijn the exhibition (a catalogue raisonné ) will be Art Collections in San Marino, California. It is r 2

0 Lindenhovius succeeds him as curator of available to a wide audience, as all of the essays a beautiful painting by all accounts and no 1 0 / f Dutch fine and decorative art 1885-1935. will be translated into French and Dutch. question had ever been raised about it dating a i t WouterKloekretired from the Rijks- The exhibition in New York will encom - to the 17th century. However, in the 1980s s d museum, where he had served as curator pass about 52 paintings by Gossart , 36 of his the Rembrandt Research Project rejected its i v e since 1973. During his last years at the Rijks- drawings and 8 prints by or after the artist. attribution to Rembrandt, noting that it was r s museum, his duties as head curator included In addition, works by other artists will be on nevertheless “very Rembrandtesque!” In May coordinating plans for the museum’s view to place his oeuvre in context, including 1958, Dr. W. R. Valentiner, the first director renovation. paintings by Bernard van Orley and Jan of what was then called the North Carolina MartenLoonstra retired as keeper of the Cornelisz. Vermeyen; drawings by Albrecht Museum in Raleigh, wrote that the painting Koninklijke Verzamelingen in The Hague in Dürer and Dirk Vellert; and prints by Jacopo had a companion piece – a Portraitofanofficer , May 2010. de’ Barbari, Marcantonio Raimondi, Dürer, in the Erickson collection, New York, and GerLuijten previously head of the and Vellert; as well as illuminations by Simon subsequently in the collection of Hungarian Rijksprentenkabinet of the Rijksmuseum in Bening and Gerard David; sculpture by pianist Geza Anda (1921-1976) – although Amsterdam, was appointed director of the Conrat Meit; and Italian Renaissance bronzes/ other scholars disagreed with the pairing. Fondation Custodia – Frits Lugt Collection plaquettes and antique sculpture. In all, there Perhaps the most tantalizing detail about in Paris as of 1 June 2010. He succeeds Mària will be around 135 objects in the show. The Huntington’s Ladywithaplume is that vanBerge-Gerbaud , who retired after 38 years Many museums have generously agreed the composition was copied on a large of service. to extend loans to the exhibition, including porcelain vase made in the Imperial Porcelain GarySchwartz (director emeritus of the Gemäldegalerie and Kupferstichkabinett, Factory, St. Petersburg, in the second quarter codar t) was awarded the Prince Bernard Berlin; the National Gallery, London; the of the 19th century (Christie’s, London, Culture Foundation prize for the humanities Galleria Regionale della Sicilia, Palermo; the 29-30 November, 2006, lot 90). One can only in November 2009. British Museum, London; the National Gallery imagine that the image, almost certainly in GeertSouvereyns began as project of Art, Washington, D.C.; the Louvre, Paris; print form, was reproduced elsewhere. coordinator at the Bruggemuseum in Bruges. and the Kunsthistorisches Museum, Vienna. The codar t group’s visit to The PascalEnnaert succeeded him as coordinator In addition, several paintings have recently Huntington in February 2010 was the perfect at the Vlaamse Kunstcollectie in Ghent in been cleaned preliminary to the show, such as opportunity for showing the painting to a January 2010. Gossart’s Christonthecoldstone from Budapest respected group of specialists. It was placed on and the Antwerp Portraitofaman . This is the an easel in the gallery and brightly lit. The Man,myth,andsensualpleasures: first monographic exhibition on the artist ensuing animated and friendly discussion JanGossart’sRenaissance since the 1965 show in Rotterdam and Bruges, yielded a nearly unanimous attribution of the With the exhibition devoted to Jan Gossart and it promises to be a visually stunning painting to Govert Flinck, an idea that had opening in New York in less than six months experience and an event to look forward to. been suggested in the past. I look forward to (6 October 2010-17 January 2011; and sub- Anna Koopstra, Slifka Foundation investigating this avenue in greater depth, sequently at the National Gallery, London, Interdisciplinary Fellow, Department and would welcome any ideas that would 16 February-22 May 2011), we would like to of European paintings, Metropolitan further our understanding of this beautiful share some recent news with codar t Museum of Art, New York and interesting picture. members. Maryan Ainsworth (curator of the Catherine Hess, chief curator of European exhibition and curator of European paintings, art, The Huntington Art Collections, Metropolitan Museum of Art, New York) will San Marino, ca give a workshop devoted to the (re)consider- [email protected] 3

2 codart Courant 20/ summer 2010/ codart members and news , shrine , a Wood attributes and the before Angeles Lynda with Graydon Los dancing 1790, ca. photo: , , landscape Fauns Resnick, a in and figures Stuart Angeles Satyrs Diana Wood Los and dancing Aa, Aa, and der der Lynda Graydon Resnick, van van 1790, hunting Stuart of photo: Dirk ca. Dirk - e , i y , n l s ey a d t , nc rt oc - on he e s va h on rs i ng th rn e on t se om, i an i c y th ent o e es k e ss sh ic wa ng s s r ant ct ti n c in n ca z rk a l y (ass h e ro ic he 1). if e i e re ri s n, ri di wi bit v ct ue st t e r, r bi tu ent i sl s, gel ll ng St o d e sn , Di by n ut id n The dam, i s si he on nt u su bl es do to n int a th Duma whe 201 s m t ider mal en co la bj oed, r u e. Re ns An a So n dr f a s s g V by nd y Aa ha u exh ter overdo u g ap e exhi gele pr a -c s h u o llem of er r ou o la a magn s le. ) u f Hist s Z lean ur eir t Lon n evio e, A a tio e or Mea tio a a ch , ix th n c c Ma d y , h, th ts ma Lo or gr ca r a A s u Er der dsc Wi s dos da c on s th Pr ,” n ip th e or f Ams gu s ms ra Hag te at 18 n re. a a ck tly r n e der o an o r er g tr Neth e. Du do, popu igh ent e at v a men J th e g ia n t ear la Lo l from ton a esea r fo n ecti ecor Lyn Ha y ba h V 2 s vr mer r eek u oijma l cu s h g iz r d m lacm es ca oc - erda e wo ). e T heby’ les in , old , ivat s ir Pr ( ted va B r cu m Rec s new ng t val t m, din h udy fi on ig to in eu , t e tu en f i ica c 10 ar perwa even 83 s k pr t el ew r in do oth in ti h o pa as Th dh s o hi st s da m tor 0 Sot a eu er blu r iz ry. ayi d ( ir mst lea n a A c th e e 2 g ec eetka n gn o d a ja l terda r ted as , Ch u pa ear f ec n A mi i e lot a gges uded tr D n us ter Sta ks el a -cen r off , si , , o th ecia th seu : d cl s r u a ster ls ) es lett, cl ne 9 na bibli ion : th es kh or s ter u ber M n r n 9 di d hea th ibu Rot bru 0 ter deep Pr ber by of on e , m ei p , a th o , tely in ct el 6 meo y vivin om wor io M es Wa tr in 80 ool cio A ti En 1 ual 20 r in Fe d Neo ire m Qua , et , ca eum , en , f en is ca id, , ber) em teits en, ur au ss “kl ereby ng at be ertie -1 n d e ett W ik n he v Oct s one y a pa g érez r dam t gs i a Na ens si m qu t A e us ther G d m oned dia f s va a a olt 31 P th l n viv ’s ill an dr T. ndels ber a (2 em dvli iess l deli r as in o edgewoo er 7 ia a ac oom t t si the r M and eu eo eum ter - a ble der’s educa onl ive u w r in ni an s s N s ied ed w r m w ist Los (1 r k r t an t iv wer is the ou an on of W ne c Sch ed r d an n u u th a us r e ced, a ial ou n Pa h Z ic ti rt e fo orn n m eu Hen e m ner ra tif n t 5 Ju m or ir ns nty . or e a A c f na dos n ing ch da da J A f D M a m A U d M a 1 B fa 0 ec eal at s dhol é ow lif l pea c th r ai ik e 9 8 dith an pa hit hic rg ia o o Novem ou a es ees ye r in a er ecor al n f 7 g p 2 ta teph om ev u on h ol os u a den d c t S E m a w 1 C r c C w 4 a R D c b c l k t s A d d 1 p i K E o J S J f n s ity o h s nd ts t r , e h a ct t y, los ern an sh o eum t te i ch v der , o er ur ren iver d ropea om v - - ll ll Sch men m r ie D er eum, n ar ris k prin tion onta f orth , Dutc Wien Flemis , d r Stedelijk fu ocia ! rt c Mus Eu Un e f 5 n m Ga ay , zee s ulpt us ta ler y, sea , e: s 0 t o te k sto t an a erla s nd it th 93 ) sc as M ters M in All ( 51 a tor ies s co d seu . Ar Hi n; r Mu -1 depa r elij s h of tor of i belpa ws ther m Wes deg eth mbers s be r a es uider l ch te vers e he i 85 Kün umen aa ra Ma ller ura h Ju ti ä or Mu Z N ha or t ne ms membe r c t the , gsto c - ijke ni me 18 t Sted ember the cu t ga Sta at of s , ntr dat ip n , Bri doc Dut U on t i den lkm rt te m s Old el tor s/ of me m ego e ar Kin Gem a Museu sh A to of cura ar inkl of am cur terda ts ss , ius rator, te cou , e or , s zen gues ator d p s r, Di ian n tor s Bader ngs, rt, erp , ocia i Perm or or, lden iv ne u , Ka od een’s cura cu labl ator ui iedeni 43 ew n A tor aa ead rat , Kon sel ter ss fi t, at at cur wi c Am en bi pr tor ocia obi s h n ef a n , Sa rat ch le of i e, ember ld , L Qu cu is ss cur enhov avai , m ssen nkh rus nd er , öhe, e Antw o, kept cur cur 63 dra cura m H (ass der ur chi a A A E B , , and men , rt, , is Alkm , Ges ) phy, wol ent d is Dickey sh t 2010, h, it a deco innebeke ions a rt uw Z n Gent Lind d e gs on ncho B ge S. m m, m, m, m, and an mp en rn Dieg n n a gra ut pa ti u u u u u co m isier n t rtm Meuwi Sa tio Koch dart.nl/cura rpreau an en an qu an e e e Bro rtynov ts and h fu ident Berg Ca

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3 codar t 24 upcoming exhibitions

Museums have announced 35 exhibitions on Hamburg , Bucerius Kunst Forum, Rubens, russia Dutch and/or Flemish art to open between VanDyck,Jordaens:BarockausAntwerpen St. Petersburg , State Hermitage Museum, March 2010 and February 2011. They are (Rubens,VanDyck,Jordaens:Baroqueartfrom FromGothictoMannerism.EarlyNetherlandish arranged by country and city in alphabetical Antwerp) , 6 June -19 September 2010 drawingsfromthe15thtothe16thcenturiesinthe

c order in the list below. Hamburg , Hamburger Kunsthalle, Segeln, HermitageCollection , 18 May-1 August 2010 o d wasdasZeughält.NiederländischeMalereides St. Petersburg , State Hermitage Museum, a r austria GoldenenZeitalters , ( Sailingasfarasthecanvas TheFlemingsthroughtheeyesofDavidTeniers t C

o Salzburg , Residenzgalerie, DieganzePracht staythecourse.DutchMastersoftheGoldenAge ), theYounger(1610-1690) , 15 October 2010- u r a

n (Thefullsplendor) , 26 March -4 July 2010 4 June -12 September 2010 16 January 201 1 t 2

0 Vienna , Kunsthistorisches Museum, Munich , Haus der Kunst, MarleneDumas: / s u m HofmalerinEuropa:HansvonAachen(1552-1615) “tronies,” 29 October 2010 -6 February 2011 united kingdom m

e (CourtpainterinEurope:HansvonAachen[1552- Schwerin , Staatliches Museum Schwerin, Edinburgh , Queen’s Gallery, Palace of r 2

0 1615]) , 19 October 2010 -9 January 2011 Scheinbarvertraut:Niederländischegenrebilder Holyroodhouse, Dutchlandscapes , 1 0 / u inSchwerin(Seeminglyfamiliar:Dutchgenre 30 April 2010 -9 January 2011 p c belgiu m paintingsinSchwerin) , 22 July -14 November 2010 Edinburgh , National Gallery of Scotland, o m Bruges , Groeningemuseum, VanEycktot TheyoungVermeer , 10 December 2010- i n g Dürer:deVlaamsePrimitievenenhunoosterburen, ireland 13 March 2011 e x 1430-1530(VanEycktoDürer:theFlemish Dublin , National Gallery of Ireland, London , National Gallery, Man,myth, h i b Primitivesandtheireasternneighbors ,1430-1530) , GabriëlMetsu , 4 September -5 December 2010 andsensualpleasures:JanGossart’s Renaissance , i t i 15 October 2010-31 January 2011 16 February-22 May 2011 o n the netherlands s czec h republi c Amsterdam , Rijksmuseum, GabriëlMetsu , usa Prague , Prague Castle Gallery, Hofmalerin 16 December 2010- 20 March 2011 Cambridge , Harvard Art Museum/Arthur Europa:HansvonAachen(1552-1615)(Court Amsterdam , Rijksmuseum , Miró&Jan M. Sackler Museum, RubensandtheBaroque painterinEurope:HansvonAachen[1552-1615]) , Steen , 15 June –13 September 2010 festival , 19 March -29 August 2010 1 July-3 October 2010 Dordrecht , Dordrechts Museum, Hetpor - Evanston , Mary and Leigh Block Museum traithistoriéindeNederlandseschilderkunst of Art, Northwestern University, Thebrilliant german y (TheportraithistoriéinDutchpainting) , line:followingtheearlymodernengraver, 1480- Aachen , Suermondt-Ludwig-Museum, 1 January -31 December 2011 1650 , 9 April-20 June 2010 HofmalerinEuropa:HansvonAachen(1552-1615) The Hague , Mauritshuis, DejongeVermeer Los Angeles , Los Angeles County Museum (CourtpainterinEurope:HansvonAachen[1552- (TheyoungVermeer) , 12 May -22 August 2010 of Art ( lacm a), Eyeforthesensual:selections 1615]) , 11 March-13 June 2010 The Hague , Mauritshuis, Kamersvolkunst, fromtheResnickcollection , 2 October 2010- Aachen , Suermondt-Ludwig-Museum, in17eeeuwsAntwerpen(Roomforart,in17th- 2 January 2011 FromRussiawithlove:thebestDutchdrawings centuryAntwerp) , 25 March -27 June 2010 Minneapolis , Minneapolis Institute of fromthePushkinMuseum , 2 July -3 October 2010 The Hague , Mauritshuis, MadeinHolland: Arts, Desireanddeliverance:dramaintheOld Aachen , Suermondt-Ludwig-Museum, OudeMeestersuiteenAmerikaanseprivéverzame - Testament , 6 March-12 September 2010 Wein,WeibundGesang:AdriaenvanOstadeund ling(MadeinHolland:OldMastersfroman New York , Metropolitan Museum of Art, dasBauerngenreinHaarlem(Wine,womenand Americanprivatecollection) , 4 November 2010- Theartofillumination:theLimbourgBrothersand song:AdriaenvanOstadeandthepeasantgenrein 30 January 2011 the BellesHeuresofJeandeFrance,DucdeBerry , Haarlem) , 15 October 2010 -15 January 2011 Rotterdam , Museum Boijmans Van 2 March-13 June 2010 Dresden , Gemäldegalerie Alte Meister, Beuningen, DevalseVermeersvanVanMeegeren New York , Metropolitan Museum of Art, Staatliche Kunstsammlungen Dresden, Der (VanMeegeren’sfakeVermeers) , 12 May- Sidebyside:Oberlin’smasterworksattheMet , früheVermeer(TheyoungVermeer) , 3 September- 22 August 2010 16 March-29 August 2010 28 October 2010 Voorschoten , Kasteel Duivenvoorde, New York , Metropolitan Museum of Art, Emden , Ostfriesisches Landesmuseum , Tijdloostrendy:modernlichtopinterieurencollectie Man,myth,andsensualpleasures:JanGossart’s ScheinoderWirklichkeit ?Realismusinder vanDuivenvoorde(Timelesstrendy:modernlight Renaissance , 6 October 2010 -17 January 2011 NiederländischenMalereides17.Jahrhunderts oninteriorandcollectionofDuivenvoorde) , Washington , National Gallery of Art, (Illusionorreality?Realismin17th-centuryDutch 1 May-3 October 2010 HendrickAvercamp(1585-1634):thelittleiceage , painting) , 9 May -12 September 2010 21 March -5 July 2010 More information on all these exhibitions and other events at www.codart.nl/exhibitions/ Not on the list? Please write to: [email protected]