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Codart Courant 20/ Summer 2010/ Curator’S Collection Ts R T Ng Ts in this issue about codar t 2 The Other 3 curator’s news & note s Dutch and Flemish drawings, prints 0 t 0 2 and books recently acquired by The Metropolitan Museum of Art 4 Five paintings related to Gerard Dou in Schwerin 6 1 r 0 t Getty addresses skills gap in the structural conservation of panel paintings 8 curator’s collectio n The Philbrook 2 a n Museum of Art 10 The Mimara Museum in Zagreb 12 curator’s cas e Picture frames in the Netherlands 14 r e a d r friend ’s intervie w the Honorable Ambassador J. William Middendorf ii 16 curator’s intervie w Lia Gorter, m u interviewed by Piotr Borusowski 18 20 22 & 23 codart activitie s faits diver s codart members new s o m o 24 u upcoming exhibition s S C c 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 .
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