Hôtel Sandelin Museum, Saint-Omer In partnership with the Dunkirk Fine Arts Museum

Masterpieces in dialogue European painting from Brueghel to Corot 22/06 > 28/08/2016

PRESS PACK Masterpieces in dialogue contents European painting, from Brueghel to Corot

The exhibition p. 1

Partners p. 11

Practical information p. 17

Copyright-free images p. 20 The exhibition The exhibition

Masterpieces in dialogue European painting, from Brueghel to Corot 22/06 > 28/08/2016

This summer, the hôtel Sandelin Museum invites you to discover an exceptional exhibition comprising masterpieces from its collections of Western paintings and from the Dunkirk Fine Arts Museum. Brueghel, Ribera, Nattier, Boucher, Corot... Explore this fascinating dialogue of master painters. A timeless encounter, with the key word being “admiration”!

The hôtel Sandelin Museum, like the Dunkirk Fine Arts Museum, is home to a great many masterpieces of painting. This unique exhibition presents an exploration of diverse genres: landscapes, portraits, genre scenes, historical paintings, still-lifes and religious scenes, dating from the15th to the 19th centuries. Fun, interactive exhibition aids allow visitors to better understand why these paintings are today considered remarkable works and how they were perceived at the time of their creation. Don’t forget to request your free “visitor’s journal” (available at the front desk) dedicated to this exhibition spotlighting the treasures of these two important regional museums. This exhibition is organized and hosted in partnership with the Dunkirk Fine Arts Museum, currently closed to the public.

2 presentation

This summer, the hôtel Sandelin Museum of Saint-Omer and the Fine Arts Museum of Dunkirk join together to present their visitors with a most colourful season of discoveries. Taking advantage of the Dunkirk museum’s closure to the public, several dozen masterpieces leave their home to enjoy a temporary stay at the lovely hôtel Sandelin, thereby entering into dialogue with the major works housed at the Saint-Omer site.

Over 100 paintings from both collections, dating from the 15th to the 19th centuries, bring 18 exhibition rooms of the hôtel Sandelin Museum to life, representing no less than 65 major figures who left an indelible mark on the art of their time: the Brueghel dynasty, Van Dyck, Snyders, Carrache, Ribera, Giordano, Teniers, Lesueur, Boucher, Robert, Boilly, Prud’hon, Boudin, Corot and many more…

Over and beyond the fame of these artists and what their oeuvres evoke, this exhibition questions and considers the very notion of the “masterpiece”: What makes a particular work stand out from the crowd? What makes a painter “great”? Must a masterpiece be beautiful? Do any essential criteria exist allowing for its definition? Can works be placed in hierarchical order? Does genius beget talent?

An ambitious format, an exceptionally well-constructed subject, sure precise brushstrokes, the evident pleasure and facility of an expert exercising his trade, ingenious thought, expression, eloquence, originality, singularity… Such were the remarkable qualities and distinctive signs of masterpieces that guided our selection of works for this exhibition.

These questions are considered by exploring the various pictorial genres developed between the 15th and 19th centuries: the difficult balancing of objectivity and creation in portraits; the anecdotal, familiar or moralizing characters of genre scenes; the skilful mixing of materials and the discreet symbolism of still- lifes; the science of laying out and of rendering the moment in landscapes; the lyricism and elevation of great historic or religious works…

Throughout their tour, visitors are invited to contemplate, appreciate, discern and admire the most prestigious paintings from both museums’ collections.

Certain encounters allow for the unique juxtaposition of works by the same artist, occasionally separated for several centuries, such as those by Bega, Leytens and Minderhout.

Finally, this exhibition provides the opportunity to evoke certain recent studies, such as those of the Adoration of the Shepherds by Ludovico Carrache, The Wedding of Peleus and Thetis by Mathieu Elias, the Landscape with Skaters by Joos II de Momper and The Battle of Magenta by Alphonse de Neuville.

The exhibition is complemented by numerous aids for an enriched experience: a “visitor’s journal”, game cards for children, a game for visiting families, a visitor’s guidebook in English and in Dutch, regular gatherings, guided tours and a dedicated publication.

The goal of this exhibition is, by relying on the exceptional quality of these works, to be shared and enjoyed by the greatest number of visitors. It also allows for a new perception and interpretation of the hôtel Sandelin Museum collections, while nourishing a reflection on the future of the Dunkirk Fine Arts Museum.

3 The exhibition

Exhibition Organisation

The exhibition is divided into six sections, allowing for an intermingling of genres, painters and periods and establishing a veritable dialogue between both collections, that of the hôtel Sandelin Museum of Saint-Omer and that of the Fine Arts Museum of Dunkirk. The presented works complement, interact and mutually enrich one another, while forming an extensive ensemble reflecting the great trends of European painting from the 15th to the 19th centuries. Each genre is in this manner illustrated by a series of truly exceptional works, offering visitors a fresh perspective on the notion of the “masterpiece”.

> The Portrait > The Genre Scene > The Still-Life > The Landscape > The Religious Painting > The Historical Painting

4 Exhibition Sections

> The Portrait

During the Middle Ages, the art of portrait painting was a luxury reserved for the elite, for the princes, nobles and other powerful persons who commissioned artists. Portraits from this period represent persons who played a preponderant role in the society of their time, persons readily identifiable by their attributes suited to their rank or function. Such was the case of political and religious figures, as well as wealthy and influential individuals, such as donors and patrons, whose ranks included – starting in the Renaissance – more and more rich merchants and bankers. The influence of these new sponsors allowed for the appearance – alongside works emphasizing the great power and fortune of the represented persons – of a new type of portrait focusing on the subject’s face and its traits, on expressing, by his regard, the nobility of the subject’s attitude rather than any evident wealth. Emphasis was lent the person’s physical presence and penetrating expression, as in Portrait of a Man by Adriaen Thomasz Key (Dunkirk Collection, 1585). During the 17th century, under the influence of Van Dyck and Rubens, Flemish portrait painting constituted a synthesis of the psychological, introspective approach and the decorative approach. In this manner, Thomas de Keyser, in his representation of Hendrick Verburg and Elisabeth van der Aa (Saint-Omer Collection, 1628 / Image 1), pays as much attention to the richness of their dress, reflecting their social position, as to their expressions.

At the same time, artists produced more and more study heads or so-called 1 “fantasy figures”, constituting so many anonymous portraits or “expressive heads” (têtes d’expression), inspired by models, with the artists varying their subjects’ perspective, physical characteristics, eloquence, body movements and psychology. A few accessories suffice for these works – usually focused on the face orthe head and shoulders – to lend their subject a particular identity or symbolic role. The work by Jusepe Ribera, The Philosophers’ Dispute (Saint-Omer Collection, 17th century), also shows two figures face-to-face, a theme dear to this painter. The heavy folds of their clothing and the books are dealt with like veritable still- lifes. Their body movements and expressions make for an especially eloquent painting and represent so many possibilities for the painter to take full advantage of his subject. The Woman Laughing by Van de Venne (Dunkirk Collection, 17th century), represents an old woman with an almost caricatural face whose striking expression, at once ironic and malicious, seems to invite us to view the world as a farce. In a masterful and nimble style, Van Dyck represents a Bearded Man (Dunkirk Collection, 17th century / Image 2), most likely the fragment of a much larger panel. Also starting during this period, and later to a much greater extent during the 18th century, painters lent the attributes of ancient heroes or gods or inserted literary references so as to magnify their models, as illustrated by Madame de Pompadour portrayed as Diana the Huntress by Nattier (Saint-Omer Collection, 1748). In the following century, portrait painting – a genre that attracted the greatest talents – mixed together natural attitudes, hyperreal details and codes of bourgeois representation 2 (Portrait of Citizen Bourgeon by Girodet, Saint-Omer Collection, 1800). 5 The exhibition

Exhibition Sections

> The Genre Scene

The following section gathers together genre scenes from the 16th to the 18th centuries that testify to the vitality of this type of representation, as well as the various currents of influence over time. The Flemish Primitives lent their fame to these scenes directly inspired by reality and illustrating social phenomena and everyday life, occasionally set upona moralizing narrative background. In The Fires of Saint-Martin by Martin van Cleef (Dunkirk Collection, 16th century / Image 3), the painter perfectly presents the figures within their milieu while at the same time preserving their individuality with great detail work on the faces. In the distance, typically Flemish architectural details set the scene, while the festival is in full swing and the joyous fires lit for the soil’s fertility light up the scene. In the 17th century, many Dutch painters seized upon these popular subjects. Two rustic scenes typical of Cornelis Bega’s oeuvre, one from Saint-Omer and one from Dunkirk, show common folk busy within sober, simple interiors in various shades of brown. The exhibition’s Flemish genre scenes evoke light and joyous subjects, while nevertheless discreetly warning against excess, pleasure, idleness and property. For instance, Anthonie Palamedesz excelled in representing social gatherings held in refined settings, as in his Joyous Meeting (Dunkirk Collection, 17th century); but here his moralizing intention is clear, warning against the abuse of futile pleasures. 3 Over a century later, Boilly would tackle the subject of love and its vagaries via four paintings (Saint-Omer Collection, 1790-91 / Image 4). The figures are few in number, the play of light and dark is almost theatrical, and the fabrics are rendered with great finesse: all of this contributes to making this series an interesting synthesis of the technical rendering borrowed from the Netherlands and the quintessentially French spirit of the subject, so dear during the century of Beaumarchais.

4 6 Exhibition Sections

> The Still-Life

The following exhibition spaces are dedicated to still-lifes and reveal the extent to which this genre has been a source of creativity and a medium for technical prowess, as well as the occasional conveyance of messages. In the Netherlands and the German-speaking countries, still-lifes first appeared during the 16th century and truly blossomed during the 17th century. Representations of fruits and flowers were particularly popular. Osias Beert, one of the greatest still-life painters of his time, presents us with his Artichoke still-life (Saint-Omer Collection, 17th century / Image 5), a painting of striking severity that initially appears quite cold. This artist was the first to introduce in his compositions Chinese porcelain pieces imported by the Eastern trading companies. Market and kitchen scenes abounding with fruits and vegetables also enjoyed great success in Flanders, during a period marked by rising agricultural production. The fruit and vegetable merchant-woman (Dunkirk Collection, 17th century) by Frans Snyders, a great Flemish colourist of the 17th century, testifies to Antwerp’s rich international trade. Certain artists chose to convey messages – occasionally moralizing messages – via their still-lifes. Their chosen symbols could be meant to translate hope in the resurrection or in eternal life (ears of wheat, laurel wreaths, etc.), the ephemeral nature of human life (skeletons, watches, hourglasses, candles, flowers, etc.) or 5 the futility of worldly goods (the vanities of knowledge with books, of wealth and power with jewellery and money, of pleasures with musical instruments, wine, games, etc.). The Ham still-life by Pieter Claesz (entrusted to the Dunkirk Fine Arts Museum by the French state, 17th century), typical of the still-lifes developed in the Netherlands (the banketjen or “lunches”), presents a simple, sober scene, in which the dominant shades of brown highlight the whiteness of the tablecloth, in a perfect play of light and dark. Conversely, the more opulent works Rug still-life and Bas-relief still-life by Nicolas de Largillière (Dunkirk Collection, 17th century / Image 6), in which fruits and flowers are mixed together in warm, harmonious shades, translate the generosity of Nature.

6 7 The exhibition

Exhibition Sections

> The Landscape

The section dedicated to landscapes presents a great variety of representations, from alpine views as in the Landscape with road and village by Jan Brueghel the Elder (Saint-Omer Collection, 17th century) to landscapes evoking a dreamt Antiquity as in the Port adorned with architecture by Hubert Robert (Dunkirk Collection, 18th century). The different seasons were also a source of inspiration for such painters as Gysbrecht Leytens. Winter effect (Dunkirk Collection, 17th century) and Winter landscape with woodcutter (Saint-Omer Collection, 17th century / Image 7) lend a feeling of space with their treatment of light and shadow. The soft colours of the sky, in harmony with the glittering whites of the frozen branches, contrast with the nervous treatment of the trees, with their knotted trunks rising up to the sky and lending the scene a certain phantasmagoric aspect. There next follow the monumental works by Hendrik van Minderhout complementing the smaller landscapes. Rich in colour and embellished with Oriental details, View of an Eastern port (Saint-Omer Collection, 1670) and View of an Oriental port (Dunkirk Collection, 1688) are both idealized representations of ports. The high sails of the merchant ships and the warm sunlight bathing these scenes teeming with details and rid of any historical, religious or mythological 7 subjects contribute to a different view of the sea. Here, a calm symbol of arrival and departure, opening onto a thousand possible adventures, the sea no longer represents danger or the unknown. Finally, in the purest tradition of classic marine landscapes, Claude Joseph Vernet confronts the spectator with the emotions translated by the spectacle of nature. The success of his series of “shipwrecks” (Dunkirk Collection, 18th century, Image 8) can be explained by the fact that these works illustrate the return to nature extolled by Enlightenment thought fashionable during this period; here, the landscape engenders an emotional response and a purely subjective experience.

8 8 Exhibition Sections

> The Religious Painting

Ranging from large-scale works commissioned by wealthy patrons to private works of devotion, religious paintings drew inspiration from a variety of writings. Certain masterpieces were inspired by the Old Testament, as in Judith beheading Holofernes by Francesco II Del Cairo (Dunkirk Collection, 17th century) representing Judith, a beautiful young Hebrew, who saved her city besieged by the Assyrian king Nebuchadnezzar by cutting off the head of his sleeping general Holofernes, after having seduced and inebriated him. The density of the materials and colours testifies to the artist’s perfect mastery of Renaissance-era Milanese painting. Other artists found inspiration in the lives of the saints, as evidenced by Luca Giordano portraying Saint Mary Magdalene renouncing worldly vanities (Dunkirk Collection / Image 9). Here, the artist offers his interpretation of oneofthe most commonly portrayed figures in Counter-Reformation art and translates the Baroque phenomenon of the metamorphosis by representing Marie Magdalene moving from finery to destitution and thereby embodying the greatness of atoning for one’s sins. Finally, the life of Christ has been the subject of numerous paintings. Represented by Abraham Janssens in Noli me tangere (Dunkirk Collection, after 1620 / Image 10), Christ appears to Marie Magdalene in the guise of a gardener after the Resurrection. Rather than opting for the habitual iconography of Christ’s stigmata, 9 of the tomb or of angels, Janssens here prefers a more symbolic representation of the scene (the tree, symbolic of redemption, a still-life of vegetables, a very rare representation possibly translating the beneficial effects of sacrifice or perhaps referring to Marie Magdalene by evoking the fruits of sins, luxury, etc.). Among the works presented in this section, a few paintings by such renowned artists as Carracci, Vignon and Floris demonstrate the extent to which an artist’s “manner” or style can allow for the reinvention of a subject already abundantly evoked.

10 9 The exhibition

Exhibition Sections

> The Historical Painting

The final section of the exhibition is dedicated to historical paintings, considered the “great genre” par excellence, by which numerous masters made a name for themselves. Drawing inspiration from classical mythology and ancient tales, a few works by François Boucher, such as Mucius Scaevola against Porsenna (entrusted to the hôtel Sandelin Museum by the French state, circa 1727 / Image 11), stand out. In this work, Boucher, one of the most famous French painters of the 18th century, relates an episode of Roman history by representing the legendary figure of Mucius Caius Scaevola, a young patrician and hero embodying virtue and courage, who confronted the Etruscan King besieging Rome. This work is a brilliant creation by a young artist, testifying to a personal, dynamic and spirited search. The works by Hendrick van Balen, Jan Brueghel de Velours, Mathieu Élias and Sébastien Leclerc illustrate diverse tales, as fantastical as they are disinhibited, of the loves of the Olympian gods, as inspired by classical texts. Other paintings may be more political or allegorical in nature. Such is the case with Allegory of a perfect minister by Eustache Le Sueur (Dunkirk Collection, 1653) and Justice and Divine Vengeance pursuing Crime by Prud’hon (Saint-Omer Collection, circa 1805 / Image 12). Prud’hon stages, in a single movement, Justice brandishing her two-edged sword and angry, agitated Vengeance holding a torch, while in 11 the foreground, the Crime and the Victim are represented in a realist style that is tense and moving, reinforced by the lunar landscape; the atmosphere is heavy and menacing. This painting embodies, in the very midst of the Neoclassical period, a new ideal arising in Romantic painting (translating a feeling of fatality), falling outside the traditional allegorical conventions.

12 10 Partners Partners

The Hôtel Sandelin Museum of Saint-Omer

The hôtel Sandelin Museum is one of the must-see “Musées de France” of the Hauts-de-France region. Built between 1776 and 1777 and complemented with a courtyard and garden, the prestigious Sandelin hôtel particulier or townhouse of Saint-Omer has housed for over a century exceptional collections of artworks and decorative objects dating from the Middle Ages to the 19th century. On three floors offering a variety of atmospheres (a crypt, a nave, recreated amateur galleries and grand reception rooms, etc.), visitors discover 3,000 works testifying to the rich past of Saint-Omer andthe preferences of such great collectors as Henri Dupuis and the Du Teil Chaix d’Est-Ange family: weaponry, precious-metal works, medieval wood carvings, everyday objects, masterpieces of European painting, ceramics and furniture from the 17th to the 19th centuries. An invitation to enjoy an out-of-the-ordinary journey through History and the Arts! Accessible to visitors with locomotor disabilities and equipped with a classroom, the museum offers a diverse cultural events programme: children’s workshops, diverse guided tours, exhibitions and events, etc.

The hôtel Sandelin Museum has been awarded the “Musée de France” label and is listed as a “Monument historique”.

> A museum for everyone

The museum’s permanent exhibition presents nearly 3,000 artworks and decorative objects, but the museum houses a total of over 30,000 works. So as to share this exceptional treasure trove with the general public, the museum pursues an especially dynamic cultural events programme allowing for a high turnover of exhibited works. Numerous and diverse cultural events are hosted all year long, allowing the museum to best accompany visitors in their discovery of not only the permanent exhibition but also the museum’s reserve collections, while also allowing the museum to attract and delight the widest possible public. • Temporary exhibitions and presentations • Participation in international, national and regional cultural gatherings and events (European Museums Night, Euro-Regional Fortified Sites Days, etc.) • Participation and organization of special events (evening police investigations, etc.) • Activities for all visitors(guided tours, including special tours for disabled visitors, preludes, workshops for adults, adolescents, families and children aged 6 to 12, activities for young children, birthday parties, etc.) • Off-site projects (exhibitions and activities designed around works exhibited at schools, town halls and libraries, in collaboration with these outside institutions)

12 > Masterpieces within reach

The hôtel Sandelin Museum houses eclectic, exceptionally rich collections, with a vast quantity of objects including masterpieces of the finest quality. In addition to its European collections of paintings, drawing, furnishings, mosaics, ceramics, tapestries, sculptures and weapons, the museum is also home to extra- European objects, including Japanese prints, Campana vases, African bracelets, Egyptian Canopic jars and Polynesian fetish statuettes. Within this collection, medieval objects hold centre stage. A portion of these masterpieces are presented as part of the permanent exhibition and date from the High Middle Ages to the early Renaissance. In the basement, visitors can discover a fascinating collection of weaponry, a rich medieval lapidary and nine- century-old, wonderfully colourful mosaics of remarkable craftsmanship. The medieval art room presents a wide panorama of northern European art dating from the 10th to the 16th centuries; this room notably houses the extremely precious “Saint-Bertin Cross Stand”, the only remaining object of its kind in the world, which astonishes admirers with its wonderful detail work and materials, as well as its rich iconography. The hôtel Sandelin Museum also houses a superb ensemble of ceramic works, forming one of the most beautiful museum collections in northern France. Dating from the 17th to the 19th centuries, these ceramics are of both European and Asian origin. Visitors are invited to discover these works by learning about their Eastern and Western influences and exchanges, their respective borrowings and notably the important role played by the discovery of Asian porcelain in the evolution and perfecting of European porcelain manufacturing. Works of exceptional quality are on exhibit, including Italian maiolica pieces from Castelli, Chinese porcelain from Jingdezhen, Japanese porcelain from Imari, and European porcelain from Delft and Sèvres, not to mention ceramics from Saint-Omer itself.

13 Partners

The Dunkirk Fine Arts Museum

> The eclectic collections of the Dunkirk Fine Arts Museum

The Fine Arts Museum is an encyclopaedic museum typical of the early 19th century, born of the desire to educate the public and for the dissemination of knowledge. From the very beginning, this museum has gathered together a diverse collection lending it a certain universality: the original collection of paintings seized during the French Revolution were soon complemented by a major collection of Oceanian objects from the Raoul and Jolly donations, a natural history collection, ancient Greek and Roman vases and objects, a collection of coins, etc. Throughout its long history, the museum has never ceased from acquiring new ensembles, thereby regularly widening its fields of investigation. Today, boasting a total of some 20,000 objects, the Dunkirk Fine Arts Museum is home to an important collection of paintings, sculptures, drawings and prints, over 10,000 natural specimens (mounted animals, shells, minerals, fossils, etc.), numerous decorative and archaeological objects from various sites (including a rare gilded mummy), local and regional heritage collections, and over 3,000 objects from every continent. The fine arts have ever held a prominent position among the museum’s collections. In 1838, the subprefecture entrusted to the new municipal museum of Dunkirk 71 paintings seized during the French Revolution within the district of West Flanders and temporarily stored at the Saint-Winoc Abbey in Bergues. 69 of these original works remain, including such major pieces as Judith beheading Holofernes by Francesco Del Cairo, The Continence of Scipioby Willem Van Herp and numerous other works of every genre, for the most part Flemish in origin. Very rapidly, the museum was entrusted with additional works taken from public edifices such as the Saint-Eloi Church, the chamber of commerce and the town hall, allowing it to enrich its collections with such masterworks as the Triptych of Saint George by Frans I Pourbus. Up until the First World War, the regular enrichment of the museum’s collection testified to the generosity of numerous donors and legatees, notably several worthies including the Brays, the Malos, Benjamin Coffyn and Alexis Joffroy. The city of Dunkirk also made purchases throughout the 19th century, though slightly less so during the 20th century up until the museum’s reopening in 1973; these acquisitions targeted primarily the Flemish and Dutch schools of the 17th century, French paintings and local artists. Within ten years, the museum’s dynamic acquisition policy allowed it to welcome remarkable works by Hyacinthe Rigaud, Eustache Lesueur, Charles de la Fosse, Nicolas de Largillière and Otto Venius, in large part thanks to significant state and regional support. Over the past fifteen years, works by Abraham Janssens, Jan de Reyn, Corneille Lens and Mathieu Elias have been acquired, further enriching this already remarkable collection and bringing the number of works on canvas, wood, copper, glass and cardboard up to 759 and representing four centuries of European painting.

The Dunkirk Fine Arts Museum has been awarded the “Musée de France” label.

14 > Destination: museum!

Like all “Musées de France”, the Dunkirk Fine Arts Museum strives to promote its collections by rendering them accessible to the widest public possible, through sharing and exhibiting its works. The Dunkirk Museums Directorate has chosen to take advantage of the current closure of the Fine Arts Museum to disseminate and spotlight its rich collections at new sites, before a new public. To this end, the Destination: museum! programme organizes multifaceted operations demonstrating this marked desire to share the museum’s collections with everyone, everywhere. This innovative programme focuses on the circulation of works, on the organization of off-site exhibitions, on the intermingling of perspectives on and interpretations of its collections, on the presence of art and artists within the public sphere, and on meetings with the public. By lending visibility to a portion of its collections within a near or distant region, the museum strives to make contact with new populations – in their cities and in their neighbourhoods, at local, familiar facilities – and to share its collections well beyond its Dunkirk home. Each unique project is tailor-made to suit the chosen site, necessitating its own appropriate planning and programme. In this manner, the artworks and objects of the museum’s rich collections are revealed in a new light, accessible to all eyes. We invite you to come (re)discover them and to join us in this adventure, by setting course for Destination:a museum!

Upcoming Destination: museum! projects:

Marguerite Yourcenar Museum – Summer 2017 The gilded mummy of Antinopolis Malo-les-Bains town hall – June/September 2017 Exhibition on the Malo family Departmental Museum of Flanders, Cassel – Autumn 2017 Exhibition on the face and portrait in Flemish art

15 Practical Information

16 Practical Information Practical information

The Hôtel Sandelin Museum of Saint-Omer

> Address / contact 14 rue Carnot, 62500 SAINT-OMER, FRANCE Reception: +33 (0)3 21 38 00 94 / [email protected]

> Opening hours Open to all visitors (individuals & groups) from Wednesday to Sunday, 10 AM to 12 noon and 2 to 6 PM. Open only to groups on Mondays and Tuesdays (reservations required).

> Admission Full-rate admission: €5.50 / Reduced-rate admission: €3.50 Free admission under certain conditions. Free admission every Sunday.

> Links Website : www.patrimoines-saint-omer.fr/Les-musees-et-oeuvres/Musee-de-l-hotel-Sandelin Facebook : Musée De L’hôtel Sandelin Twitter : Musee_Sandelin

> Access By motorway: 2 h 50 min from Paris (A1 and A26 motorways), 2 h 20 min from Brussels and 1 h from Lille (A25 and A26 motorways). By train: 2 h from Paris, 3 h from Brussels and 50 min from Lille. by bus: Line 1 (stop: Victor Hugo, Saint-Omer). by foot: 10 min from the railway station

> press contact Lucie Rangognio: [email protected] / +33 (0)3 21 38 00 94 18 The Dunkirk Fine Arts Museum

> contact Reception: +33 (0)3 28 59 21 65 / [email protected]

> Links Website: www.musees-dunkerque.eu/nous-connaitre/mba/

> press contact Nejma DJELLOULI: [email protected] / +33 (0)3 28 29 56 06

18 19 Copyright-free images Copyright-free images

> Portraits

1 2 3 4

1 Jan Miense Molenaer, Enfants au chat, 17e siècle. MNR 449 – Œuvre récupérée à la fin de la Seconde Guerre mondiale déposée le 22 avril 1966 par le musée du Louvre ; en attente de sa restitution à ses légitimes propriétaires © Claude Thériez 2 Antoon van Dyck, Homme barbu, 17e siècle, huile sur bois, Coll. MBA Dunkerque © Jacques Quecq d’Henriprêt 3 Jusepe de Ribera, La dispute des philosophes, vers 1635-1640, huile sur toile, Saint-Omer, Musée de l’hôtel Sandelin © Ph. Beurtheret 4 Jean-Marc Nattier, Madame de Pompadour en Diane, 1748, huile sur toile, Saint-Omer, Musée de l’hôtel Sandelin © Ph. Beurtheret

> Genre Scenes

1 2 3 4

1 D’après Pieter II Brueghel, dit Brueghel l’Ancien, L’excision de la Pierre de folie, après 1557, huile sur bois, Saint-Omer, Musée de l’hôtel Sandelin © Ph. Beurtheret 2 Hendrick Martensz Sorgh, Intérieur de ferme, 17e siècle, huile sur cuivre, Coll. MBA Dunkerque © Claude Thériez 3 Nicolas-Bernard Lépicié, Le lever de Fanchon, France, 1773, huile sur toile, Saint-Omer, Musée de l’hôtel Sandelin © Ph. Beurtheret 4 Louis-Léopold Boilly, La visite reçue, 1789, huile sur toile, Saint-Omer, Musée de l’hôtel Sandelin © Ph. Beurtheret

21 Copyright-free images

> Still-Lifes

1 2 3 4

1 Osias II Beert, Nature morte à l’artichaut, 1er quart 17e siècle, huile sur bois, Saint-Omer, Musée de l’hôtel Sandelin © Musées de Saint-Omer 2 Nicolas de Largillière, Nature morte au tapis, 17e siècle, Coll. MBA Dunkerque © Emmanuel Watteau 3 Pieter Claesz, Nature morte au jambon, 17e siècle. MNR 741 - Œuvre récupérée à la fin de la Seconde Guerre mondiale déposée en 1966 par le musée du Louvre ; en attente de sa restitution à ses légitimes propriétaires © droits réservés 4 Frans Snyders, Marchande de fruits, 17e siècle. MNR 617 - Œuvre récupérée à la fin de la Seconde Guerre mondiale déposée en 1966 par le musée du Louvre ; en attente de sa restitution à ses légitimes propriétaires © Claude Thériez

> Landscapes

1 2 3 4

1 Attribué à Joos de Momper, Paysage aux patineurs, fin 16e - début 17e siècle, huile sur bois, Saint- Omer, Musée de l’hôtel Sandelin © L. Rangognio, Musées de Saint-Omer 2 Hendrick van Minderhout, Vue d’un port du levant, 1670, huile sur toile, Saint-Omer, Musée de l’hôtel Sandelin © Ph. Beurtheret 3 Hubert Robert, Port orné d’architecture, 18e siècle, Coll. MBA Dunkerque © Emmanuel Watteau 4 Camille Corot, Le Matin dans la prairie, 19e siècle, Coll. MBA Dunkerque © Emmanuel Watteau

22 Copyright-free images

> Religious paintings

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1 Maître aux Madones joufflues, La Sainte Famille et un ange, vers 1530-1550, huile sur bois, Saint- Omer, Musée de l’hôtel Sandelin © L. Rangognio, Musées de Saint-Omer 2 Abraham Janssens et Jan Wildens, Noli me tangere, ca 1620, Coll. MBA Dunkerque. Achat à la Galerie MARCUS avec la participation du Fonds régional pour l’Acquisition des Musées en 2001 © Jacques Quecq d’Henriprêt 3 Charles de la Fosse, Dieu le père soutenu par les anges et entouré des symboles des évangélistes, 1665, Coll. MBA Dunkerque © Claude Thériez

> Historical paintings

1 2 3

1 Eustache Le Sueur, Allégorie d’un ministre parfait, 1653, huile sur toile, Coll. MBA Dunkerque. Achat à la galerie Trafalgar de Londres avec la participation du Fonds régional pour l’Acquisition des Musées en 1983 © Claude Thériez 2 Mathieu Elias, Les Noces de Thétis et Pelée (Le festin des dieux), 1702, huile sur toile, Coll. MBA Dunkerque © Emmanuel Watteau 3 François Boucher, Mucius Scaevola devant Porsenna, vers 1727, huile sur toile, Saint-Omer, Musée de l’hôtel Sandelin © Musées de Saint-Omer

23 Copyright-free images > Religious paintings

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