CODART 22 Program
PROGRAM CODART 22 congress
Back to Berlin – And What It Means to Be a Curator Today
Sunday, 2 June 2019 11:00-12:30 Optional visit to Museum Barberini with Ortrud Westheider, Director, Museum Barberini Humboldtstraße 5-6 and Michael Philipp, Chief Curator. Including lunch offered by the Potsdam museum 13:00-15:00 Optional visit to the Dutch and Flemish paintings and the Italian Schloss Sanssouci Maulbeerallee paintings at the Picture Gallery of Schloss Sanssouci, Potsdam with Potsdam Alexandra Bauer, Curator of German, Dutch and Flemish Paintings and Jessica Korschanowski, Curatorial Assistant at the Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg 13:00-14:00 Optional visit to the Cranach Collection at Jagdschloss Grunewald with Jagdschloss Grunewald Hüttenweg 100 Carsten Dilba, Curator at the Stiftung Preussische Schlösser und Berlin Gärten Berlin-Brandenburg
17:00-19:00 Registration and opening reception at the Embassy of Belgium in Embassy of Belgium in Berlin Berlin offered by the General Representative of the Government of Jägerstraße 52-53 Flanders in Germany and the Royal Netherlands Embassy in Berlin
Monday, 3 June 2019 Gemäldegalerie, Staatliche Museen zu Berlin Gemäldegalerie Matthäikirchplatz Congress chair: Bendor Grosvenor, art historian, writer, BBC presenter Main entrance
08:30-09:00 Registration 09:00-12:00 Opening session 09:00-09:05 Welcome by Michael Eissenhauer, Director-General of the Staatliche Museen zu Berlin 09:05-09:15 Introduction to the congress program by the congress chair 09:15-09:40 Lecture by Johannes Rößler, External Lecturer at the University of Bern, Philosophy versus Connoisseurship? The Rediscovery of Early Netherlandish Painting in Nineteenth-Century Berlin 09:40-10:05 Lecture by Julien Chapuis, Deputy Director at the Bode-Museum, Bode and America 10:05-10:50 Coffee and tea in the entrance hall of the Gemäldegalerie 10:50-11:15 Lecture by Chantal Eschenfelder, Head of Education and Digital Collection at the Städel Museum, Beyond Walls - The Digital Extension of the Städel Museum in Frankfurt, Germany 11:15-11:45 Questions, remarks and discussion led by the congress chair 11:45-13:15 Lunch in the entrance hall of the Gemäldegalerie and free time to visit the Dutch and Flemish galleries and the Mantegna/Bellini exhibition (museum is closed to the public) 13:15-14:45 Statements on the congress theme and discussion 13:15-13:20 Introduction by the congress chair
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13:20-14:10 Statements on the congress theme by: 1. Koen Kleijn, Editor of Ons Amsterdam, White Walls 2. Imara Limon, Curator at the Amsterdam Museum, New Narratives for the Amsterdam Museum 3. Peter Carpreau, Curator of Old Masters at M-Museum Leuven, Towards a Visual Museum 4. Micha Leeflang, Curator of Medieval Art at Museum Catharijneconvent, No Exhibitions, No Visitors, No Money: The Effect on the Curator’s Role 14:10-14:40 Questions, remarks and discussion led by the congress chair 14:40-14:45 Closing of the session by the congress chair 14:45-15:15 Coffee and tea and time to travel to the in-depth study visits 15:30-17:00 In-depth study visits 15:15-15:30 Participants go to the meeting points for the in-depth study visits. Take into account the various travelling times to make sure you arrive on time. Please find directions to the excursions on pp. 34-37 15:30-17:00 Visit 1: Gemäldegalerie: Early Netherlandish painting with Stephan Gemäldegalerie Kemperdick, Curator of Early Netherlandish and Early German
Painting We will assemble at 15:25 in the main hall in front of the entrance to the collection. Marijn Everaarts will join the group.
Visit 2: Gemäldegalerie: Early Netherlandish painting with Gemäldegalerie Katrin Dyballa, Research Associate We will assemble at 15:25 in the main hall in front of the entrance to the collection. Brenda Eijkenaar will join the group.
Visit 3: Gemäldegalerie: Seventeenth-century painting with Gemäldegalerie Katja Kleinert, Curator of Dutch and Flemish Art of the Seventeenth Century We will assemble at 15:25 in the main hall in front of the entrance to the collection. Maartje Beekman will join the group.
Visit 4: Bode-Museum with Julien Chapuis, Deputy Director Bode-Museum We will assemble at 15:25 in front of the main entrance on Main entrance on Monbijoubrücke Monbijoubrücke. Rosalie van Gulick will join the group.
Visit 5: Kupferstichkabinett with Holm Bevers, former Chief Curator of Kupferstichkabinett Matthäikirchplatz Dutch and Flemish Prints and Drawings We will assemble at 15:25 in front of the Study Room of the Kupferstichkabinett. Go to the Kunstbibliothek and then to the second floor. Sara Hashemi will join the group.
Visit 6: Schloss Charlottenburg with Alexandra Bauer, Curator of Schloss Charlottenburg Spandauer Damm 24 German, Dutch and Flemish Paintings at the Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg and Michaela Völkel, Curator of Ceramics and Curator of Schloss Charlottenburg We will assemble at 15:25 at the courtyard, at the large equestrian statue of the Great Elector. Dennis Driessen will join the group.
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CODART 22 Program
19:00-22:00 Congress dinner at the museum café of the Deutsches Historisches Deutsches Historisches Museum, Unter den Museum Linden 2 Entrance on the river side, Am Zeughaus
Tuesday, 4 June 2019 Speakers’ Corner at the Bode-Museum Bode-Museum Main entrance on Congress chair: Matthias Ubl, Curator Early Netherlandish Art and Monbijoubrücke German Paintings and Stained Glass, Rijksmuseum Amsterdam 09:30-12:30 Speakers’ Corner 09:30-09:40 Opening of the day 09:40-09:55 A word from the director of CODART 09:55-10:00 Speakers’ Corner: introduction 10:00-10:50 Speakers’ Corner: part 1 For a list of speakers, see pp. 19-21 10:50-11:30 Coffee and tea in the museum café 11:30-12:20 Speakers’ Corner: part 2 12:20-12:30 Closing by congress chair 12:30-14:30 Lunch at your own leisure and time to travel to study visits Please find suggestions for lunch on pp.38-39 14:30-16:00 In-depth study visits Visit 1: Gemäldegalerie: Storage rooms with Stephan Kemperdick, Gemäldegalerie Curator of Early Netherlandish and Early German Painting Matthäikirchplatz We will assemble at 14:25 in the main hall in front of the entrance to the collection. Brenda Eijkenaar will join the group.
Visit 2: Gemäldegalerie: Early Netherlandish painting with Gemäldegalerie Katrin Dyballa, Research Associate Matthäikirchplatz We will assemble at 14:25 in the main hall in front of the entrance to the collection. Sara Hashemi will join the group.
Visit 3: Gemäldegalerie: Seventeenth-century painting with Gemäldegalerie Katja Kleinert, Curator of Dutch and Flemish Art of the Seventeenth Matthäikirchplatz Century We will assemble at 14:25 in the main hall in front of the entrance to the collection. Rosalie van Gulick will join the group.
Visit 4: Bode-Museum with Julien Chapuis, Deputy Director Bode-Museum We will assemble at 14:25 in the main entrance hall of the Bode- Main entrance on Monbijoubrücke Museum. Maartje Beekman will join the group.
Visit 5: Kupferstichkabinett with Holm Bevers, former Chief Curator of Kupferstichkabinett Matthäikirchplatz Dutch and Flemish Prints and Drawings We will assemble at 14:25 in front of the Study Room of the Kupferstichkabinett. Enter the building via the Kunstbibliothek and then go to the second floor. Marijn Everaarts will join the group.
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Visit 6: Workshop on Wilhelm Bode and Wilhelm R. Valentiner with Archäologisches Zentrum Geschwister-Scholl- Petra Winter, Head of the Zentralarchiv and Provenance Research, Straße 6 Staatliche Museen zu Berlin and Esmée Quodbach, Assistant Director and Editor-in-Chief at the Center for the History of Collecting, The Frick Collection and Frick Art Reference Library in New York We will assemble at 14:25 in the foyer of the Archäologisches Zentrum. Dennis Driessen will join the group.
End of program
16:30-18:00 Informal farewell drinks at BRLO Brwhaus BRLO Brwhaus Schöneberger Straße 16 Next to U-Bahnhof Gleisdreieck Evening Participants of the optional program in Schwerin on Wednesday 5 June travel to Schwerin on Tuesday evening by train at their own leisure and check in at their hotel (both to be booked individually).
Optional program CODART 22: Full day Wednesday, 5 June 2019 Full-day excursion to the city of Schwerin. NB: Participants of the optional program in Schwerin will receive an additional leaflet with the program and practical information. Please pick up your leaflet during one of the breaks on Monday or Tuesday.
Full day Thursday, 6 June 2019 Symposium in preparation for the upcoming exhibition West Meets East: The Orient in the Work of Rembrandt and His Dutch Contemporaries (2020 and 2021), Museum Barberini. Free admission for CODART members. Sign up via [email protected]
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Participation in CODART 22 Activities
PARTICIPATION IN CODART 22 congress ACTIVITIES
Optional Visits Sunday 2 June
1. Museum Barberini with Ortrud Westheider, Director, and Michael Philipp, Chief Curator (11:00-12:30)
2. Picture Gallery of Schloss Sanssouci, Potsdam with Alexandra Bauer, Curator of German, Dutch and Flemish Paintings and Jessica Korschanowski, Curatorial Assistant at the Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg (13:00-15:00)
3. Cranach Collection at Jagdschloss Grunewald with Carsten Dilba, Curator at the Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg (13:00-14:00)
Study Visits Monday 3 June
1. Gemäldegalerie: Early Netherlandish painting with Stephan Kemperdick
2. Gemäldegalerie: Early Netherlandish painting with Katrin Dyballa
3. Gemäldegalerie: Seventeenth-century painting with Katja Kleinert
4. Bode-Museum with Julien Chapuis
5. Kupferstichkabinett with Holm Bevers
6. Schloss Charlottenburg with Alexandra Bauer and Michaela Völkel
Study Visits Tuesday 4 June
1. Gemäldegalerie: Storage rooms with Stephan Kemperdick
2. Gemäldegalerie: Early Netherlandish painting with Katrin Dyballa
3. Gemäldegalerie: Seventeenth-century painting with Katja Kleinert
4. Bode-Museum with Julien Chapuis
5. Kupferstichkabinett with Holm Bevers
6. Workshop on Wilhelm Bode and Wilhelm R. Valentiner with Petra Winter and Esmée Quodbach
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Wednesday Sunday 2 June Tuesday 4 June Monday 3 June 5 June
Opening Congress Name Optional Visit Study Visit Study Visit Schwerin Reception Dinner Schloss 1 Christopher Atkins Yes 1 Yes 3 Sanssouci Museum Schloss 2 Tyr Baudouin Yes 5 Yes 1 Yes Barberini Sanssouci Schloss 3 Alexandra Bauer Yes 6 Yes 3 Sanssouci Museum 4 Katharina Bechler Yes 2 Yes - Barberini Museum Schloss 5 Ellinoor Bergvelt Yes 3 Yes 4 Yes Barberini Sanssouci Schloss 6 Marc de Beyer Yes 2 Yes 5 Sanssouci Schloss 7 Till-Holger Borchert Yes 2 Yes 6 Sanssouci Schloss 8 Peter van den Brink Yes 1 Yes 1 Sanssouci Cranach 9 Claudia de Brün Yes 5 Yes 1 Collection Museum Schloss 10 Emily Burns Yes 2 Yes 3 Barberini Sanssouci Cranach 11 Quentin Buvelot Yes 6 Yes 6 Yes Collection
12 Peter Carpreau Yes 2 Yes 1
Museum 13 Steven Coene Yes 2 Yes 4 Barberini Cranach 14 James Clifton Yes 6 Yes 3 Yes Collection Museum Schloss 15 Joost Commandeur Yes 3 Yes 1 Barberini Sanssouci Museum Schloss 16 Françoise Commandeur Yes 3 Yes 1 Barberini Sanssouci Museum Schloss 17 Jacquelyn Coutré Yes 5 Yes 3 Yes Barberini Sanssouci Museum Schloss 18 Sabine Craft-Giepmans Yes 6 Yes 1 Yes Barberini Sanssouci
19 Justin Davies Yes 3 Yes 6
20 Marjan Debaene Yes 4 Yes 1
21 Matthias Depoorter Yes 1 Yes 4
Cranach 22 Jelena Dergenc Yes 3 Yes 1 Collection
23 Femke Diercks Yes 6 Yes 4
24 Katrin Dyballa - 2 Yes 2
25 Marianne Eekhout Yes 2 Yes -
Museum Schloss 26 Erik Eising Yes 1 Yes 4 Barberini Sanssouci
27 Chantal Eschenfelder Yes - - -
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Participation in CODART 22 Activities
Wednesday Sunday 2 June Tuesday 4 June Monday 3 June 5 June
Opening Congress Name Optional Visit Study Visit Study Visit Schwerin Reception Dinner Museum Schloss 28 Kirsi Eskelinen Yes 6 Yes 4 Barberini Sanssouci Cranach 29 Mark Evans Yes 1 Yes 6 Collection Museum Schloss 30 Michiel Franken Yes 3 Yes 6 Barberini Sanssouci
31 Rima Girnius Yes 3 Yes 1 Yes
Museum Schloss 32 Hilliard Goldfarb Yes 1 Yes 3 Barberini Sanssouci
33 David de Haan Yes 4 Yes 6
Museum Schloss 34 Bob Haboldt Yes 1 Yes 2 Yes Barberini Sanssouci Schloss 35 Karen Hearn Yes 3 Yes 1 Yes Sanssouci
36 Lars Hendrikman Yes 4 Yes 1 Yes
37 Helen Hillyard - 4 Yes 3
Schloss 38 Camilla Hjelm Yes 4 Yes 2 Sanssouci Museum Schloss 39 Willem Jan Hoogsteder Yes 6 Yes 3 Barberini Sanssouci Cranach 40 Olenka Horbatsch Yes 5 Yes 3 Collection Museum 41 Claudia Hörster Yes 4 Yes 6 Barberini Schloss 42 Geertje Jacobs Yes 4 Yes 5 Sanssouci
43 Irene Jacobs Yes 6 Yes -
44 Alicja Jakubowska Yes 2 Yes 3
Museum 45 Stephan Kemperdick Yes 1 Yes 1 Barberini Museum Schloss 46 Hanna Klarenbeek Yes 6 Yes 5 Barberini Sanssouci
47 Koen Kleijn Yes 4 Yes -
Museum Schloss 48 Katja Kleinert Yes 3 Yes 3 Barberini Sanssouci Cranach 49 Christi Klinkert Yes 3 Yes 5 Collection Schloss 50 Egge Knol Yes 6 Yes - Sanssouci
51 Paul Knolle Yes 6 Yes 3
Cranach 52 Claudia Koch Yes 2 Yes 1 Collection Cranach 53 Anna Koopstra Yes 2 Yes 1 Collection Cranach 54 Dragana Kovačić Yes 6 Yes 5 Collection Cranach 55 Zoltán Kovács Yes 1 Yes 2 Collection
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Wednesday Sunday 2 June Tuesday 4 June Monday 3 June 5 June
Opening Congress Name Optional Visit Study Visit Study Visit Schwerin Reception Dinner
56 Judith van Kranendonk Yes 4 Yes 3
Cranach 57 Blanka Kubikova Yes 5 Yes 3 Collection
58 Suzanne Laemers Yes 5 Yes 1 Yes
59 Friso Lammertse Yes 4 Yes 1
Cranach 60 Micha Leeflang Yes 6 Yes 1 Collection Schloss 61 Alexandra Libby Yes 2 Yes 3 Sanssouci
62 Yuri van der Linden Yes 1 Yes 4
Museum 63 Stephen Lloyd Yes 5 Yes 3 Barberini
64 Samuel Mareel Yes 6 Yes 2
Museum Schloss 65 Nataliya Markova Yes 5 Yes 3 Barberini Sanssouci
66 Norbert Middelkoop Yes 6 Yes 1
67 Patrick van Mil Yes 3 - 1
Cranach 68 Filip Moerman Yes 1 Yes 4 Yes Collection Museum Schloss 69 Uta Neidhardt Yes - Yes 1 Barberini Sanssouci
70 Anne van Oosterwijk Yes 1 Yes 4
Schloss 71 Vanessa Paumen Yes 1 Yes 1 Sanssouci Museum Schloss 72 José Juan Pérez Preciado Yes 2 Yes 4 Barberini Sanssouci Museum Schloss 73 Michael Philipp Yes 6 Yes 4 Barberini Sanssouci Spinella Pianetti della Museum Schloss 74 Yes 1 Yes 2 Yes Stufa Barberini Sanssouci Schloss 75 Almut Pollmer-Schmidt Yes 5 Yes 1 Sanssouci Cranach 76 Esmée Quodbach Yes 3 Yes 6 Collection
77 Thijs de Raedt Yes 4 Yes 1
78 Ingmar Reesing Yes 2 Yes 3 Yes
79 Marrigje Rikken Yes 3 Yes 6
80 Laura Margrit Ritter - 5 Yes 1
Schloss 81 Charlotte Rulkens Yes 6 Yes 3 Yes Sanssouci Schloss 82 Marjan Scharloo Yes 4 Yes - Sanssouci
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Participation in CODART 22 Activities
Wednesday Sunday 2 June Tuesday 4 June Monday 3 June 5 June
Opening Congress Name Optional Visit Study Visit Study Visit Schwerin Reception Dinner
83 Robert Schindler Yes 3 Yes 6 Yes
Museum Schloss 84 Jacques Schraven Yes 3 Yes 4 Barberini Sanssouci Museum Schloss 85 Gien Schraven Yes 3 Yes 4 Yes Barberini Sanssouci Museum Schloss 86 Gary Schwartz Yes 1 Yes 1 Yes Barberini Sanssouci Museum Schloss 87 Loekie Schwartz Yes 1 Yes 1 Barberini Sanssouci Schloss 88 Willem te Slaa Yes 6 Yes 4 Sanssouci Schloss 89 Jorien Soepboer Yes 6 Yes 6 Yes Sanssouci
90 Ron Spronk Yes 5 Yes -
91 Chris Stolwijk Yes 5 Yes 3
Cranach 92 Marlies Stoter Yes 4 Yes 5 Collection
93 Alice Taatgen Yes 2 Yes 1
Museum Schloss 94 Júlia Tátrai - 3 Yes 4 Barberini Sanssouci
95 Lucinda Timmermans Yes 6 Yes 2
Cranach 96 Matthias Ubl Yes 1 Yes 1 Collection
97 Frederica Van Dam Yes 1 Yes 4
Cranach 98 Hildegard Van de Velde Yes 3 Yes 5 Collection Cranach 99 Titia Vellenga Yes 6 Yes 2 Yes Collection Museum 100 Annette de Vries Yes 3 Yes - Barberini Museum Schloss 101 Floris van Wanroij Yes 1 Yes 2 Yes Barberini Sanssouci Cranach 102 Claire Whitner - 1 Yes 3 Collection Cranach 103 Betsy Wieseman Yes 1 Yes 1 Yes Collection Museum Schloss 104 David de Witt Yes 3 Yes 5 Barberini Sanssouci Cranach 105 Tracy Xu Yes 1 Yes 4 Yes Collection
106 Lara Yeager-Crasselt Yes 3 Yes 5
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Board of CODART
Wednesday Sunday 2 June Tuesday 4 June Monday 3 June 5 June
Opening Congress Name Optional Visit Study Visit Study Visit Schwerin Reception Dinner
56 Judith van Kranendonk Yes 4 Yes 3
Schloss 82 Marjan Scharloo Yes 4 Yes Sanssouci
Board of the Friends of CODART Foundation
Schloss 7 Till-Holger Borchert Yes 2 Yes 6 Sanssouci Museum Schloss 34 Bob Haboldt Yes 1 Yes 2 Barberini Sanssouci Cranach 49 Christi Klinkert Yes 3 Yes 5 Collection Cranach 99 Titia Vellenga Yes 6 Yes 2 Yes Collection
CODART Staff
107 Maartje Beekman Yes 3 Yes 4 Yes
Museum Schloss 108 Dennis Driessen Yes 6 Yes 6 Barberini Sanssouci Cranach 109 Brenda Eijkenaar Yes 2 Yes 1 Yes Collection
110 Marijn Everaarts Yes 1 Yes 5 Yes
Schloss 111 Rosalie van Gulick Yes 4 Yes 3 Sanssouci
112 Sara Hashemi Yes 5 Yes 2
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Congress theme
CONGRESS THEME
Back to Berlin – And What It Means to Be a Museum Curator Today
Museums have never been static institutions, and the curator’s profession is constantly changing as a result. Today’s museums, more than ever before, interact with the society around them. Along with rapid changes in the makeup of the population, new questions come to the fore: curators too are constantly thinking of how to present a multi-faceted view of history, how to deal with diversity and inclusivity. Meanwhile, technological advances are facilitating ever more sophisticated scientific analyses of materials, which in turn raise new questions in relation to art history and alter the canon. This impacts on the choices made when selecting artworks for temporary and permanent exhibitions.
What does all this mean for the curator’s profession? What is the tradition from which our profession originates? Could we draw on this tradition to find answers to the new questions confronting us?
Berlin provides the perfect surroundings in which to reflect on this subject. In this city, a public museum was planned as early as 1815. With the acquisition of Edward Solly’s collection in 1821, a large number of early German and Netherlandish works came to Berlin. The collections of the Staatliche Museen zu Berlin, especially those of the Gemäldegalerie and the Kupferstichkabinett, rank among the most important holdings of Netherlandish art from the 15th to 17th centuries worldwide. They would become a point of departure for systematic research on early Northern European art. In addition, Berlin occupies an important place in the development of art history as an academic discipline, especially in relation to the growing interest in early Netherlandish painting.
Wilhelm Bode was a pivotal figure in the later development of the Berlin collections, crafting an acquisition policy that would remain in force for decades. Bode was a leading scholar in several fields of art history, including 17th-century Dutch painting, Italian Renaissance sculpture, and Oriental carpets. A current trend in museum exhibitions that harks back to Berlin collections of the early 20th century is the combination of different media, such as paintings, sculpture and the applied arts. This was practiced in the Berlin Museums in Bode’s day, both in period rooms and in a more or less neutral ambience. Max J. Friedländer, assistant at the Gemäldegalerie from 1896, who became deputy director in 1904 and served as director from 1929 to 1933, followed the Berlin tradition of scholarship in relation to early Netherlandish painting, eventually becoming its most respected and arguably most influential connoisseur, up to the present day. Soon after his appointment, however, Berlin ceased to be a center of art scholarship and research. The Third Reich and the Second World War marked a break with the past: scholars like Friedländer were threatened and fled from the country, and the Berlin collections would eventually suffer a severe loss in 1945, when over 430 paintings and hundreds of sculptures perished in a fire that swept through an air raid shelter, where they had been stored to keep them safe.
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What does this history mean for our position as curators of Old Masters? In what respects could we said to be working along the same lines as our predecessors a hundred years ago, and what fundamental changes have taken place? Have our much larger fund of knowledge and far more sophisticated ideas about historical art widened our understanding in comparison to those pioneering times, or, to the contrary, actually narrowed it? Can we find answers to the questions confronting us from society while remaining faithful to the heritage of luminaries such as Bode and Friedländer?
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Lectures Monday 3 June
ABSTRACTS OF PRESENTATIONS MONDAY 3 JUNE Opening session at the Gemäldegalerie, Staatliche Museen zu Berlin
Lecture
Philosophy versus Connoisseurship? The Rediscovery of Early Netherlandish Painting in Nineteenth-Century Berlin Johannes Rößler, External Lecturer, University of Bern
During the first hundred years of the rediscovery of early Netherlandish painting, Berlin was a leading center of research and art expertise. Basing themselves on the Romantic concept of northern art developed by Friedrich Schlegel, the Boisserée brothers, and Goethe, the Berlin philosopher Hegel and scholars such as Waagen, Hotho, and Schnaase developed a particular philosophical, technical and cultural perspective regarding the works of Jan van Eyck and his followers. My presentation examines these approaches to the northern art of the late Middle Ages and early Renaissance. I will highlight both similarities and differences in the concepts expounded by scholars such as the “connoisseur” Waagen and the “philosophical researcher” Hotho. The late nineteenth century displays a marked shift to different areas of interest: while the young researcher Ludwig Scheibler redefined and completed the matrix of fifteenth-century painting, his mentor, Wilhelm Bode developed a fresh perspective regarding Mannerist painters such as Jan Gossaert and Jan van Scorel.
About Johannes Rößler Johannes Rößler is an external lecturer at the University of Bern. He has worked as a research fellow and lecturer at the University of Bern (2006–2009; 2014–2016), the Klassik Stiftung Weimar (2010– 2013), and Passau University (2017–2018). In the year 2018/2019 he served as assistant professor at Bielefeld University. His work focuses on art history of the eighteenth to twentieth centuries and explores the methodological approaches of early art history scholars, as well as the classical tradition in art and art theory. His interests also include the history of collections, the impact of early Netherlandish art, and the history of connoisseurship. His first book, Poetik der Kunstgeschichte (PhD thesis, Humboldt-University Berlin, 2006, Berlin: Akademie Verlag/now: De Gruyter, 2009) examines the art-historical methods and principles of art historiography in late nineteenth-century Germany. In 2017, he completed a book on the European Classicism of around 1800.
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Lecture
Bode and America Julien Chapuis, Deputy Director, Bode-Museum, Berlin
The man after whom the museum at the tip of Berlin’s Museum Island is named, Wilhelm von Bode (1845–1929), spent nearly fifty years working for the Royal Prussian Museums. He joined the sculpture department as an assistant in 1872 and rose through the ranks to become Director General in 1905, a position he held until 1920. From Chicago to St. Petersburg his name was synonymous with the Berlin museums: he worked relentlessly to enhance them by acquiring works of art, opening new areas of collecting, and developing a novel presentation concept that combined objects in various media. He added two buildings to the Museum Island: the Kaiser Friedrich Museum, now the Bode-Museum, which opened in 1904, and the Pergamon Museum, completed in 1930, one year after his death.
The art historian Friedrich Winkler wrote of Bode that "outside Germany his achievements influenced first and foremost American museums." Bode's complex relationship with the United States cannot be reduced to a single denominator. The lecture will address several aspects of this mutual give and take: Bode's contact with American collectors, his contribution to Kaiser Wilhelm II’s cultural ambitions in the United States, and the gradual adoption of Bode's method of presentation in American museums.
About Julien Chapuis Julien Chapuis has served as Deputy Director of the Bode-Museum, Berlin, since 2008. He studied art history at the universities of Groningen and Indiana, writing his PhD thesis on the Cologne painter Stefan Lochner. From 1997 to 2007 he was Curator of Medieval Art at the Metropolitan Museum, New York, during which time he organized an exhibition on the German sculptor Tilman Riemenschneider. In Berlin, he curated the exhibitions The Lost Museum: The Berlin Painting and Sculpture Collections 70 years after World War II (2015) and Beyond Compare: Art from Africa at the Bode-Museum (2017).
Julien Chapuis has been a member of CODART since 2013.
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Lectures Monday 3 June
Lecture
Beyond Walls – The Digital Extension of the Städel Museum in Frankfurt, Germany Chantal Eschenfelder, Head of Education and Digital Collection, Städel Museum, Frankfurt
Nowadays, almost all museums and cultural institutions are closely involved in art education from the perspective of developing new audiences. Given the digital transformation of society, however, it has become essential to reflect on ways of translating educational methods and standards to the digital realm. Through its innovative projects, the Städel Museum in Frankfurt seeks to make cultural institutions more accessible to different sections of today’s multifaceted society. Its educational work therefore focuses on presenting the art museum as an active platform for visitors of diverse backgrounds and expectations. But what are the challenges of online education? How can we keep users interested over a long period of time? How does the macrocosm of art align with the new trend of microlearning? And how can we emphasize visual, example-based learning as a way of strengthening users’ powers of perception?
The lecture will take a close look at the digital services that the Städel has developed as part of its larger project of “digital extension,” and explain the motivational and developmental basis underlying its digital strategy. The extension of the educational mandate into the digital sphere encompasses a wide range of initiatives and projects, which can serve as examples for art education and museum strategies. The lecture will also provide exclusive insight into the internal change processes and structures at the heart of this digital transformation. Finally, it will share some valuable experience regarding user feedback and collaboration with external partners.
About Chantal Eschenfelder Chantal Eschenfelder studied art history, German and American studies. She started her career as a project manager for culture and new media at the European Office of the City of Cologne. Since 2000 she has been employed as a scientific consultant for the Museum Ludwig, the Wallraf-Richartz- Museum, and the Museum für Angewandte Kunst at the Museum Service Cologne. She was appointed Head of Education at the Städel Museum and the Liebieghaus Skulpturensammlung in 2007, and these duties widened to include the Schirn Kunsthalle, Frankfurt, in 2011. She sees the process of opening up cultural institutions to all spheres of society as an important aim of her work. One of the forums in which she is currently tackling this issue is the Städel Museum's digital thinktank. She has also been Head of Digital Collection at Städel Museum since 2013. In 2015, she and her team won the Grimme Online Award for their Monet Digitorial.
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STATEMENTS ON THE CONGRESS THEME
White Walls Koen Kleijn, Editor, Ons Amsterdam
In 1925, Frederik Schmidt Degener, director of the Rijksmuseum Amsterdam, had all the museum’s walls painted white. Until then, the museum had been a vast and colorful repository of anything and everything that was deemed relevant to the country’s cultural history, but no more, said Schmidt Degener: the museum must be a place “of high devotion.” He banned children from the galleries, stating that “it is foolish to make children suffer for things that are entirely over their little heads.” Since then, displays of “old art” have undergone multiple upheavals and huge transformations, catering to the educated elite and the mesmerized millions. Curators are often heard complaining that their institutions value commerce over content, quantity over quality. Have they lost sight of who they are actually meant to serve?
About Koen Kleijn Koen Kleijn is an art historian and the current art critic of De Groene Amsterdammer, one of the Netherlands’ oldest and most highly respected weekly magazines. He is also Editor-in-Chief of Ons Amsterdam, a monthly journal devoted to the history of the city. He has previously worked for organizations including the Rijksmuseum Amsterdam, the Netherlands’ public broadcasting company NTR, and the Royal Concertgebouw Orchestra. He serves as the part-time artistic director of Museum Het Grachtenhuis, Amsterdam.
New Narratives for the Amsterdam Museum Imara Limon, Curator, Amsterdam Museum
The Amsterdam Museum’s mission as a city museum is to be relevant to as wide-ranging an audience as possible. We live in a global society consisting of numerous interwoven identities and histories, and our aim is to reflect this in our programming and behind the scenes: the New Narratives project is a multi-year research program for reinterpreting the museum and the collections and for broadening the networks in the city and beyond. In a Dutch context, museums are only just beginning to acknowledge their identity as institutions with a specifically Western historical and art-historical canon rather than as universal places of knowledge. For example, our unique collection of large group portraits is associated with norms and values that are now connected to typical Dutchness, an attitude originating in the seventeenth century that included voyages of discovery and colonial expansion. Bringing in contemporary views through guest tour guides, focus groups, and contemporary artists who engage with material and non-material heritage helps to provide new insights and perspectives that were hitherto lacking, while at the same time adding to the collections.
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Statements Monday 3 June
About Imara Limon Imara Limon is Curator at the Amsterdam Museum, where she was responsible for the exhibitions Black Amsterdam (2016) and Black & Revolutionary: The Story of Hermine & Otto Huiswoud (2017), an initiative of The Black Archives. She developed the multi-year research program New Narratives that is aimed at making the museum more inclusive. Limon studied Contemporary Art, Museology and Cultural Analysis at the University of Amsterdam. She has an advisory position in arts funds and serves on the board of Kunsten ’92. In 2017 she was awarded the National Museum Talent Prize. In July and August 2018, she was curator-in-residence at the International Studio & Curatorial Program (ISCP) in New York.
Towards a Visual Museum Peter Carpreau, Curator of Old Masters, M-Museum Leuven
Walter Benjamin’s thoughts on the aura of the artwork provide a reassuring framework for museums. His exposition clearly demonstrates the importance of the original artwork as an irreplaceable object, for which no true substitute is possible. That provides museums with a fundamental raison d’être, as the custodian of those original artworks. Today’s world, however, has more in common with the concept of Musée Imaginaire as proposed by Théophile Thoré and developed by André Malraux. With the recognition of the key importance of photography to art-historical research (Thoré) and the idea of metamorphosis, in which an artwork is stripped of its function by the museum and is primarily visual (Malraux), this approach seems more in tune with today’s consumption of images through platforms such as Instagram and WhatsApp. This puts pressure on the object-centered approach. At the same time, however, it gives museums an opportunity to explore a different raison d’être. Museums are not only centers of art history, part of the entertainment industry, or vehicles for city marketing. They may also play a role in the educational or medical sectors. However, this calls for a different museological strategy: rather than focusing exclusively on the art object, we will need to widen our focus, as curators, to include the relationship between viewer and artwork, going from an object-oriented to a visually-oriented perspective. This vision involves a shift towards a museum that can familiarize its visitors with the visual, teach ways of interacting with images, and advance “image literacy” – a visual museum.
About Peter Carpreau Peter Carpreau serves as Curator of the Old Masters and Collection department of the M-Museum, Leuven. At M, he was also responsible for the reinstallation of the collection presentation in 2017. Carpreau studied art history at the Catholic University of Leuven and the Sorbonne, Paris. His research focuses on perception, visual literacy, and the value of art. Recent exhibitions include Power and Beauty, the Arenbergs (2018), Crossing Borders: Medieval Sculpture from the Low Countries (2017), Edgard Tytgat, Memory of a much-loved window (2017), and Michiel Coxcie, The Flemish Raphael (2013).
Peter Carpreau has been a member of CODART since 2010.
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No Exhibitions, No Visitors, No Money: The Effect on the Curator’s Role Micha Leeflang, Curator of Medieval Art, Museum Catharijneconvent
Over the past twelve years, during my tenure as Curator of Medieval Art at Museum Catharijneconvent, Utrecht (the Netherlands), my job description has changed dramatically. Having started out as a classical museum curator, mainly concerning myself with the institution’s own collections and research on it, my role has mutated into that of an exhibition maker, including all the more recent additions such as presenting introductory films/documentaries and vlogs, hosting press receptions, and giving lectures to different types of publics.
All this means that there is no longer any time to produce a collection catalogue or a book highlighting our greatest treasures. As a museum, we are assessed in the Netherlands by the Ministry of Education, Culture and Science on the basis of visitor numbers. That is what determines the funding we receive. In other words: no visitors, no money. Exhibitions are our “main selling point”: visitors come to see the exhibitions, and not – in the case of Museum Catharijneconvent in any case – to see the permanent exhibition or to purchase a book about the collection. So, the management’s decision to focus the staff’s efforts entirely on exhibitions makes perfect sense.
Another consequence of this shift is that staff working in different departments of the museum now play a much greater role than before in organizing exhibitions. While once the curator would take sole responsibility for almost everything from concept development to implementation, today the staff of the marketing and education departments are also involved in matters of content, under the watchful eye of the project leader, who also has a say in the exhibition’s content. Each staff member has a different area of expertise that informs his or her vision of what the public wants. In consequence, each exhibition is developed by a project group. With what result? I would like to discuss the advantages and disadvantages of this construction with you.
About Micha Leeflang Micha Leeflang (b. 1975) studied technical art history at the University of Groningen, where she obtained her PhD in 2007 for a dissertation entitled Uytnemende Schilder van Antwerpen with the subtitle Joos van Cleve: Atelier, Productie en Werkmethoden. She worked at the Rijksmuseum in Amsterdam as Curatorial Researcher from 2005 to 2007. She then moved to Museum Catharijneconvent in Utrecht, where she was responsible for exhibitions including Surviving the Iconoclasm, Medieval Sculpture (2012–2013), The Secret of the Middle Ages in Gold Thread and Silk (2015), Holy Scripture: Tanakh, Bible, Koran (2016) and Magical Miniatures (2018).
Micha Leeflang has been a member of CODART since 2007.
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Speakers’ Corner Tuesday 4 June
SPEAKERS’ CORNER TUESDAY 4 JUNE
The morning session on Tuesday 4 June will feature a plenary Speakers’ Corner. CODART members will be given the congress floor for seven minutes, during which time they can put questions to their fellow curators or appeal to them for help with a project or research question. After each presentation there will be time for responses from the audience.
The following speakers will take part in the Speakers’ Corner (in order of appearance).
Marjan Debaene – Borman and Sons. The Best Sculptors Marjan Debaene (b. 1978) studied Art History and Cultural Studies at the Catholic University of Leuven. She is currently Head of Collections at Museum M in Leuven. She specializes in late gothic sculpture from Brabant. Marjan has curated a number of exhibitions for M Museum, including Signed, Jan R: The Rediscovery of a Renaissance Master (2012), Sculptures from Bruges (2015), Masters of Sculpture, and Crossing Borders: Medieval Sculpture from the Low Countries (2017). She is curating the forthcoming exhibition on Jan Borman (2019) and is the coordinator of Ards, the network association for medieval sculpture (www.ards.be). Her doctoral research, which is entitled What’s in a name? Leuven Anonymous Sculpture Re- Examined focuses on the sculptures that were produced around 1500 and the first quarter of the sixteenth century in and around the city of Leuven. The purpose of this research, with supervising professors Jan Van der Stock (Catholic University of Leuven) and Ethan Matt Kavaler (University of Toronto), is to reboot medieval sculpture research by adopting a multidisciplinary approach and by partly stepping away from classical ‘monographic’ and stylistic analyses of a body of works, which often produce disappointing results. Marjan Debaene has been a member of CODART since 2010.
Robert Schindler – Exhibition Presentation: Anna & Rachel – Two Sister Painters in Golden Age Amsterdam Robert Schindler is the Fariss Gambrill Lynn and Henry Sharpe Lynn Curator of European Art at the Birmingham Museum of Art, Alabama. He was awarded his PhD in Art History by the Freie Universität in Berlin in 2010. He then served as the Andrew W. Mellon Postdoctoral Fellow and Lecturer in the Department of Art History and Archaeology at Columbia University. From 2012 to 2013 Schindler was the Mellon Curatorial Fellow at the Detroit Institute of Arts, where he worked in the European Art Department on a variety of projects ranging from Early Netherlandish painting to German Expressionism. In 2013, prior to coming to the Birmingham Museum of Art, he was selected to be the Andrew W. Mellon Curatorial Fellow at the Metropolitan Museum of Art in New York City and worked briefly in the Department of Medieval Art and The Cloisters. At the Birmingham Museum of Art, he oversees the collection of European paintings, sculptures, and works on papers ranging from the thirteenth century to 1970. Robert Schindler has been a member of CODART since 2018.
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Dragana Kovačić – Chronicle of the Exhibition Foretold After gaining her bachelor’s degree in Art History, Dragana Kovačić completed a master’s program in Film Theory and was awarded her PhD in Modern European Art by the University of Belgrade’s School of Philosophy. All of her theoretical research and the numerous exhibitions she has staged are based on an interdisciplinary approach with a focus on the art of printmaking (they include Novo lepo mesto Edo (The Beautiful New City of Edo), 2007; Izvorna istina crno-belog (The Original Truth of Black and White), 2011; Edgar Degas: Moments of Observing, 2017; and Sedam otkucaja: Crtež u prostorima Moderne (Seven Beats. Drawing in the Realms of Modern Culture), 2017). In collaboration with fine arts faculties and cultural institutions in Serbia, Kovačić gives lectures and presentations on the history and theory of modern art and printmaking. Dragana Kovačić has been a member of CODART since 2004.
Lara Yeager-Crasselt – The Curator in a Digital World: Fluidity and Flexibility in the Online Catalogue Dr. Lara Yeager-Crasselt is Curator of The Leiden Collection. She was awarded her PhD in Art History by the University of Maryland, where she specialized in seventeenth-century Dutch and Flemish art. Dr. Yeager-Crasselt currently lectures at Vassar College and has taught at the Catholic University of America and the George Washington University. She formerly held curatorial positions at the Clark Art Institute and the National Gallery of Art, and was a post-doctoral research associate at the Catholic University of Leuven, Belgium. Dr. Yeager-Crasselt is the author of the book Michael Sweerts (1618–1664): Shaping the Artist and the Academy in Rome and Brussels (Brepols, 2015), as well as numerous essays and catalogue entries on the art of the early modern Netherlands. She most recently served as curator of The Leiden Collection’s global exhibition tour in China and Russia, and as co-curator of the current exhibition at the Louvre Abu Dhabi. Lara Yeager-Crasselt has been a member of CODART since 2015.
Suzanne Laemers – Help the RKD to get the Bredius notes online! Suzanne Laemers is Curator of Early Netherlandish Painting at the RKD – Netherlands Institute for Art History in The Hague. In 2017 she earned her PhD for a thesis on the German art historian and museum director Max J. Friedländer, entitled: Max J. Friedländer 1867–1958: Art and Connoisseurship, a Life Dedicated to Early Netherlandish Painting (in Dutch). She is currently serving as the project manager of several projects at the RKD, among them the digitization of the so-called “Bredius notes.” Suzanne Laemers has been a member of CODART since 2007.
Irene Jacobs – Preserving the Paintings Collection of the Maritime Museum: Adding Knowledge in More Ways Than One Irene Jacobs studied history at Leiden University, specializing in maritime history. She has worked as a curator at the National Maritime Museum since 1991, and is responsible for the museum’s paintings, prints and drawings, photographs, and applied arts. She has curated dozens of exhibitions over the years, on subjects such as the Dutch East India Company, the maritime relations between China and the Netherlands, and the Royal Nedlloyd shipping company. In 2020 she will be curating
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Speakers’ Corner Tuesday 4 June an exhibition with maritime masterpieces from the Boijmans Van Beuningen collection. She has published widely on maritime history. Irene Jacobs has been a member of CODART since 2007.
Stephen Lloyd – The Technical Investigation of a Rembrandt Studio 'Tronie' Dr. Stephen Lloyd has been the Curator of the Derby Collection, Knowsley Hall, Merseyside since 2012. He held the post of Senior Curator, Scottish National Portrait Gallery, from 1993 to 2009. He received his doctorate in 1995 from Oxford University on Richard and Maria Cosway: Regency Artists of Taste and Fashion. These artists were the subject of his major international loan exhibition at the SNPG in Edinburgh and the NPG in London (1995-1996). He is a specialist in British portrait miniatures (c.1525-1850), and Scottish portraiture around 1800, especially Sir Henry Raeburn (1756-1823). In 2016 he edited the collection of essays Art, Animals and Politics: Knowsley and the Earls of Derby (Unicorn Press). He was President of ICFA, the International Committee of Fine Art Museums and Galleries (ICOM), from 2004-2010. Stephen Lloyd has been a member of CODART since 2015.
Rima Girnius – To Instruct and Delight: The Role of Art Exhibitions Today Rima Girnius is the Associate Curator of European Paintings and Sculpture at The Nelson-Atkins Museum of Art, Kansas City. Since joining the Nelson-Atkins in September 2015, she has curated a number of exhibitions drawn from the permanent collection, including What Lies Beneath: Rediscovering Hieronymus Bosch and Albrecht Bouts, and she also served as a venue curator for the traveling exhibitions Reflecting Class in the Age of Rembrandt and Vermeer and Luxury: Treasures of the Roman Empire. She is currently working on several projects, including an exhibition that explores the relationship between fantasy and naturalism in early modern representations of monstrous and marvelous creatures. She gained her doctorate in art history from Bryn Mawr College. Rima Girnius has been a member of CODART since 2008.
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PARTICIPANTS OF CODART 22
Christopher Atkins Peter van den Brink Associate Curator of European Painting and Director of the Aachen City Museums Sculpture before 1900 Suermondt-Ludwig-Museum, Aachen Philadelphia Museum of Art, Philadelphia [email protected] [email protected] Claudia de Brün Tyr Baudouin Curator Business Sponsor of CODART Sinebrychoff Art Museum, Finnish National Galerie Lowet de Wotrenge, Antwerp Gallery, Helsinki [email protected] [email protected]
Alexandra Bauer Emily Burns Curator of German, Dutch and Flemish Vivmar Curatorial Fellow Paintings The National Gallery, London Stiftung Preussische Schlösser und Gärten [email protected] Berlin-Brandenburg, Potsdam [email protected] Quentin Buvelot Senior Curator Katharina Bechler Mauritshuis, The Hague Director [email protected] Historisches Museum Hanau Schloss Philippsruhe, Hanau Peter Carpreau [email protected] Curator-in-charge Old Masters M-Museum Leuven, Louvain Ellinoor Bergvelt [email protected] Associate Researcher RKD - Netherlands Institute for Art History, Julien Chapuis The Hague and Dulwich Picture Gallery, Deputy Director London Bode-Museum, Berlin [email protected] [email protected]
Marc de Beyer James Clifton Director Director Museum Gouda, Gouda Sarah Campbell Blaffer Foundation, Houston [email protected] [email protected]
Britta Bode Steven Coene Board Member Head of Collections and Presentations Arbeitskreis Niederländische Kunst- und Royal Collections, The Hague Kulturgeschichte (ANKK), Berlin [email protected] [email protected] Joost Commandeur Till-Holger Borchert Patron of CODART Board Member of the Friends of CODART The Hague Director [email protected] Musea Brugge, Bruges Françoise Commandeur [email protected] Patron of CODART
The Hague
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List of Participants
Jacquelyn Coutré Kirsi Eskelinen Bader Curator and Researcher of European Director Art Sinebrychoff Art Museum, Finnish National Gallery, Helsinki Agnes Etherington Art Centre, Queen's [email protected] University, Kingston [email protected] Mark Evans Senior Curator of Paintings Sabine Craft-Giepmans Victoria and Albert Museum, London Head of Fine Arts till 1750 [email protected] RKD - Netherlands Institute for Art History, Michiel Franken The Hague Curator Technical Documentation/ Rembrandt [email protected] and Rembrandt School RKD - Netherlands Institute for Art History, Justin Davies The Hague Co-Founder and Research Fellow Jordaens [email protected] and Van Dyck Panel Paintings Project Koninklijke Musea voor Schone Kunsten van Rima Girnius Associate Curator België, Brussels Nelson-Atkins Museum of Art, Kansas City [email protected] [email protected]
Marjan Debaene Hilliard T. Goldfarb Head of Collections Senior Curator - Collections M-Museum Leuven, Louvain Musée des Beaux-Arts de Montréal, Montreal [email protected] [email protected]
Matthias Depoorter Bendor Grosvenor Assistant Curator Art Historian, Writer, TV Presenter Museum voor Schone Kunsten, Ghent [email protected] Edinburgh [email protected] Jelena Dergenc Senior Curator David de Haan Narodni Muzej (National Museum of Serbia), Curator of the Art Collections Belgrade Museum Prinsenhof, Delft [email protected] [email protected]
Femke Diercks Head of the Decorative Arts Department Bob Haboldt Rijksmuseum, Amsterdam Board Member of the Friends of CODART [email protected] Patron of CODART Director of Haboldt & Co and Pictura, Katrin Dyballa New York, Paris, Amsterdam Research Associate [email protected] Gemäldegalerie, Staatliche Museen zu Berlin, Berlin [email protected] Karen Hearn Honorary Professor Marianne Eekhout University College, London Curator of History [email protected] Dordrechts Museum, Dordrecht [email protected] Lars Hendrikman
Curator of Old Master Painting and Applied Erik Eising Former Assistant Curator Arts Städel Museum, Frankfurt am Main Bonnefantenmuseum, Maastricht [email protected] [email protected]
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Helen Hillyard Koen Kleijn Assistant Curator Editor Dulwich Picture Gallery, London Ons Amsterdam, Amsterdam [email protected] [email protected]
Katja Kleinert Camilla Hjelm Curator of Dutch and Flemish Art of the 17th Curator Century Spökslottet, Stockholm Gemäldegalerie, Staatliche Museen zu Berlin, [email protected] Berlin [email protected]
Willem Jan Hoogsteder Christi Klinkert Patron of CODART Board Member of the Friends of CODART Owner-Director, Hoogsteder & Hoogsteder Curator The Hague Stedelijk Museum Alkmaar, Alkmaar [email protected] [email protected]
Olenka Horbatsch Egge Knol Curator Monument Trust Curator of Dutch, Flemish and Groninger Museum, Groningen German Prints and Drawings [email protected] British Museum, London [email protected] Paul Knolle Head of Collections and Curator of Fine Arts Claudia Hörster Rijksmuseum Twenthe, Enschede Keeper of the Art Collection [email protected] Royal Collections, The Hague [email protected] Claudia Koch Deputy Director and Curator Geertje Jacobs Gemäldegalerie der Akademie der bildenden Head of Collections, Education and Exhibitions Künste, Vienna Noordbrabants Museum, Den Bosch [email protected] [email protected] Anna Koopstra Irene Jacobs Guest Curator Exhibition Lucas Gassel Curator Museum Helmond, Helmond Maritiem Museum Rotterdam, Rotterdam [email protected] [email protected] Dragana Kovačìč Alicja Jakubowska Senior Curator Curator of Paintings Narodni Muzej (National Museum of Serbia), Royal Castle in Warsaw, Warsaw Belgrade [email protected] [email protected]
Stephan Kemperdick Zoltán Kovács Curator of Early Netherlandish and Early Head of Archive and Art Historical German Painting Documentation Gemäldegalerie, Staatliche Museen zu Berlin, Szépmüvészeti Múzeum (The Museum of Fine Berlin Arts), Budapest [email protected] [email protected]
Hanna Klarenbeek Judith van Kranendonk Curator of Paintings, Prints and Drawings Chair of the Board of CODART Paleis Het Loo, Apeldoorn Amsterdam [email protected] [email protected]
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List of Participants
Blanka Kubíková Patrick van Mil Senior Curator of Old Master Prints and Director Drawings Stedelijk Museum Alkmaar, Alkmaar Národní galerie v Praze (National Gallery [email protected] Prague), Prague [email protected] Filip Moerman Suzanne Laemers Patron of CODART Curator of Fifteenth and Sixteenth Century Brussels Netherlandish Painting [email protected] RKD - Netherlands Institute for Art History, The Hague Uta Neidhardt [email protected] Curator of Dutch and Flemish Paintings Friso Lammertse Gemäldegalerie Alte Meister, Staatliche Curator of Old Master Paintings Kunstsammlungen Dresden, Dresden Museum Boijmans Van Beuningen, Rotterdam [email protected] [email protected] Anne van Oosterwijk Micha Leeflang Assistant Curator Curator of Medieval Art Museum Catharijneconvent, Utrecht Groeningemuseum, Musea Brugge, Bruges [email protected] [email protected]
Alexandra Libby Vanessa Paumen Assistant Curator Coordinator, Flemish Research Center for the National Gallery of Art, Washington, DC Arts in the Burgundian Netherlands [email protected] Groeningemuseum, Musea Brugge, Bruges Yuri van der Linden [email protected] Curator State Collection Cultural Heritage Agency - Department of José Juan Pérez Preciado Collections, Rijswijk Assistant Curator of Flemish and Northern [email protected] European Paintings
Museo Nacional del Prado, Madrid Stephen Lloyd [email protected] Curator of the Derby Collection
Knowsley Hall, Liverpool Michael Philipp [email protected] Chief Curator
Museum Barberini, Potsdam Samuel Mareel [email protected] Curator
Museum Hof van Busleyden, Mechelen Spinella Pianetti della Stufa [email protected] Patron of CODART
Paris Nataliya Markova [email protected] Senior Researcher, Curator of Netherlandish,
Dutch and Flemish Prints and Drawings of XVI Almut Pollmer-Schmidt – XX Centuries Associate Curator Pushkin State Museum of Fine Arts, Moscow Städel Museum, Frankfurt am Main [email protected] [email protected]
Norbert Middelkoop
Curator of Paintings, Prints and Drawings Amsterdam Museum, Amsterdam [email protected]
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Esmée Quodbach Gien Schraven Assistant Director and Editor-in-Chief Patron of CODART Center for the History of Collecting, The Frick The Hague Collection and Frick Art Reference Library, [email protected] New York [email protected] Gary Schwartz Honorary Member Thijs de Raedt Maarssen Curator of Fine Arts [email protected] Rijksmusem Twenthe, Enschede [email protected] Loekie Schwartz Ingmar Reesing Honorary Member Curator Maarssen Museum Gouda, Gouda [email protected] [email protected] Willem te Slaa
Curator Marrigje Rikken Museum Van Loon, Amsterdam Head of Collections [email protected] Frans Hals Museum, Haarlem [email protected] Jorien Soepboer
Junior Curator Laura Margrit Ritter Museum Gouda, Gouda Curator for Netherlandish and French Art [email protected] Albertina, Vienna [email protected] Ron Spronk
Professor of Art History, Queen’s University – Charlotte Rulkens Department of Art, Kingston, and Hieronymus Junior Curator Bosch Chair, Radboud University, Nijmegen Mauritshuis, The Hague [email protected] [email protected] Chris Stolwijk Marjan Scharloo Director Board Member of CODART RKD - Netherlands Institute for Art History, Director The Hague Teylers Museum, Haarlem [email protected] [email protected] Marlies Stoter Robert Schindler Curator of Old Masters Fariss Gambrill Lynn and Henry Sharpe Lynn Fries Museum, Leeuwarden Curator of European Art [email protected] Birmingham Museum of Art, Birmingham [email protected] Alice Taatgen Curator of Exhibitions and Education Jacques Schraven Royal Palace, Amsterdam Patron of CODART [email protected] The Hague [email protected]
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List of Participants
Júlia Tátrai Betsy Wieseman Head of the Department of Old Master Paul J. and Edith Ingalls Vignos, Jr. Curator of Paintings European Paintings and Sculpture, 1500-1800 Szépmüvészeti Múzeum (The Museum of Fine Cleveland Museum of Art, Cleveland Arts), Budapest [email protected] [email protected] David de Witt Lucinda Timmermans Senior Curator Junior Curator of Base Metals Museum Het Rembrandthuis, Amsterdam Rijksmuseum, Amsterdam [email protected] [email protected] Tracy Xu Matthias Ubl Patron of CODART Curator Early Netherlandish and German Brussels Paintings and Stained Glass [email protected] Rijksmuseum, Amsterdam [email protected] Lara Yeager-Crasselt Curator Frederica Van Dam The Leiden Collection, New York Assistant Curator & Project Coordinator [email protected] Museum voor Schone Kunsten, Ghent [email protected]
SPEAKERS Hildegard Van de Velde Curator Peter Carpreau Museum Snijders&Rockoxhuis, Antwerp Curator-in-charge Old Masters [email protected] M-Museum Leuven, Louvain [email protected] Titia Vellenga Chair of the Friends of CODART Foundation Julien Chapuis Patron of CODART, Ommen Deputy Director [email protected] Bode-Museum, Staatliche Museen zu Berlin, Berlin Annette de Vries [email protected] Head of Collections Dordrechts Museum, Dordrecht Chantal Eschenfelder [email protected] Head of Education Städel Museum, Frankfurt am Main Floris van Wanroij [email protected] Patron of CODART Bendor Grosvenor Owner Floris van Wanroij Fine Art, Dommelen Art Historian, Writer, TV Presenter [email protected] Edinburgh
[email protected] Claire Whitner Director of Curatorial Affairs and Curator of Koen Kleijn European Art Editor Worcester Art Museum, Worcester Ons Amsterdam, Amsterdam [email protected] [email protected]
Micha Leeflang Curator of Medieval Art Museum Catharijneconvent, Utrecht [email protected]
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Imara Limon Lara Yeager-Crasselt Curator Curator Amsterdam Museum The Leiden Collection, New York [email protected] [email protected]
Johannes Rößler External Lecturer HOSTS AND ORGANIZATION Universität Bern [email protected] Alexandra Bauer Curator of German, Dutch and Flemish Paintings Stiftung Preussische Schlösser und Gärten SPEAKERS’ CORNER Berlin-Brandenburg [email protected] Marjan Debaene Head of Collections Holm Bevers M-Museum Leuven, Louvain Former Chief Curator for Dutch and Flemish [email protected] Prints and Drawings Kupferstichkabinett, Staatliche Museen zu Rima Girnius Berlin, Berlin Associate Curator [email protected]
Nelson-Atkins Museum of Art, Kansas City Julien Chapuis [email protected] Deputy Director Irene Jacobs Bode-Museum, Staatliche Museen zu Berlin, Curator Berlin Maritiem Museum Rotterdam, Rotterdam [email protected] [email protected] Carsten Dilba Curator Dragana Kovačìč Stiftung Preussische Schlösser und Gärten Senior Curator Berlin-Brandenburg Narodni Muzej (National Museum of Serbia), [email protected] Belgrade [email protected] Katrin Dyballa Research Associate Suzanne Laemers Gemäldegalerie, Staatliche Museen zu Berlin, Curator of Fifteenth and Sixteenth Century Berlin [email protected] Netherlandish Painting
RKD - Netherlands Institute for Art History, Michael Eissenhauer The Hague Director-General [email protected] Staatliche Museen zu Berlin, Berlin
Stephen Lloyd Stephan Kemperdick Curator of the Derby Collection Curator of Early Netherlandish and Early Knowsley Hall, Liverpool German Painting [email protected] Gemäldegalerie, Staatliche Museen zu Berlin, Berlin Robert Schindler [email protected]
Fariss Gambrill Lynn and Henry Sharpe Lynn Katja Kleinert Curator of European Art Curator for Dutch and Flemish Art of the 17th Birmingham Museum of Art, Birmingham Century [email protected] Gemäldegalerie, Staatliche Museen zu Berlin, Berlin [email protected]
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List of Participants
Jessica Korschanowski Till-Holger Borchert Curatorial Assistant Director Stiftung Preussische Schlösser und Gärten Musea Brugge, Bruges Berlin-Brandenburg [email protected] [email protected]
Bob Haboldt Michael Philipp Chief Curator Patron of CODART Museum Barberini, Potsdam Owner-Director of Haboldt & Co and Pictura, [email protected] New York, Paris, Amsterdam [email protected] Esmée Quodbach Assistant Director and Editor-in-Chief Christi Klinkert Center for the History of Collecting, The Frick Curator Collection and Frick Art Reference Library, Stedelijk Museum Alkmaar, Alkmaar New York [email protected] [email protected]
Michaela Völkel Curator of Ceramics PATRONS AND BUSINESS SPONSORS Schloss Charlottenburg, Berlin [email protected] m.vö[email protected]
Ortrud Westheider Tyr Baudouin Director Business Sponsor of CODART Museum Barberini, Potsdam Galerie Lowet de Wotrenge, Antwerp [email protected] Joost and Françoise Commandeur Petra Winter Patrons of CODART Director Zentralarchiv and Provenance Research, The Hague Staatliche Museen zu Berlin, Berlin [email protected] Bob Haboldt and Spinella Pianetti della Stufa Board Member of the Friends of CODART Patrons of CODART Director of Haboldt & Co and Pictura BOARD OF CODART New York, Paris, Amsterdam
Judith van Kranendonk Willem Jan Hoogsteder Chair of the Board of CODART Patron of CODART Former Director-General of Culture and Media, Hoogsteder & Hoogsteder, The Hague Ministry of Education, Culture and Science [email protected] Filip Moerman and Tracy Xu Patrons of CODART Marjan Scharloo Brussels Director Teylers Museum, Amsterdam Jacques and Gien Schraven [email protected] Patrons of CODART The Hague
BOARD OF THE FRIENDS OF CODART Titia Vellenga FOUNDATION Chair of the Friends of CODART Foundation [email protected] Patron of CODART, Ommen
Titia Vellenga Floris van Wanroij Chair of the Friends of CODART Foundation Patron of CODART Patron of CODART, Ommen Floris van Wanroij Fine Art, Dommelen [email protected]
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CODART STAFF
[email protected] + 31 70 333 9744 (also during the congress)
Maartje Beekman Director [email protected] +31 6 1414 8925
Dennis Driessen Webmaster [email protected] +31 6 477 88 333
Brenda Eijkenaar-Schooneveld Project Manager Manages CODARTfocus events, finances and bureau [email protected] +31 6 2485 8662
Marijn Everaarts Project Manager Manages the CODART congress, member administration and PR [email protected] +31 6 2077 6079
Rosalie van Gulick Project Manager Manages the Friends of CODART Foundation, CODART publications and the Curator in the Spotlight [email protected] +31 6 2710 5050
Sara Hashemi Intern [email protected] +31 6 4378 8171
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PRACTICAL INFORMATION
Congress hotel Hotel Motel One Berlin-Potsdamer Platz Leipziger Platz 12 10117 Berlin, Germany T +49 30 20670780 W https://www.motel-one.com/en/hotels/berlin/hotel-berlin-potsdamer-platz/
Costs per night are 90,50 euros for a single room and 117 euros for a double room. - Room rates include continental breakfast, free Wi-Fi and taxes. - Participants will pay hotel bills individually at check out. - You are required to check out before 12:00.
It is possible to store your luggage at the hotel after checking out.
Transport in Berlin Berlin has an extensive tram, metro and bus network. Walking to the main congress locations is also an option. You can plan your route via Google Maps, or the app Citymapper Berlin (for Android en iPhone). Routes to the locations can be found on the following pages.
Tariff zones and Transport Fares Berlin is divided into three tariff zones: AB, BC and ABC. Tariff zone AB includes the urban area to the city boundary. Zone ABC additionally includes Berlin's surrounding area and Potsdam Hauptbahnhof. For this congress we will be traveling within tariff zone AB with the exception of the optional excursions to Museum Barberini and Schloss Sanssouci on Sunday 2 June, which is tariff zone ABC. For the optional program on Wednesday 5 June train tickets need to be purchased individually via Deutsche Bahn.
Transport Fares One Way Ticket A single fare ticket (Einzelfahrschein) is valid for one person and a two hour journey through the city. It costs €2,80 for tariff zone AB and €3,40 for tariff zone ABC
Short Distance Ticket A short distance ticket (Kurzstrecke) costs €1,70 and is valid for three stops with S- and U-Bahn. Changing trains is allowed. The ticket is also valid for six stops in buses and trams, but only if not changing vehicles.
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Day ticket for one person A day ticket (Tageskarte) allows travelling during the whole day for as many trips as desired. The ticket is valid from its day of validation until 3 am in the following day and costs €7 in tariff zone AB and €7,70 in tariff zone ABC. This ticket is also valid on the regional (RE) trains to and from Potsdam.
Seven-Day-Ticket for one person If you are planning to stay in Berlin longer, the Seven-Day-Ticket is also an option. This ticket is valid for seven consecutive days from the day of its validation. The ticket costs €30 for tariff zone AB and €37,50 for tariff zone ABC. Its validity ends on the seventh day at midnight.
Group Day Ticket for up to five persons Another option is the small-group day ticket. If you are planning on traveling together, this ticket allows up to 5 people to use all public transportations until 3 a.m. the following day. The small-group day ticket costs €19,90 in tariff zone AB and €20,80 in tariff zone ABC.
Buying and Validating Tickets Buying Tickets Tickets can be purchased at multilingual ticket machines on the platforms of S-and U-Bahn stations. In buses, fares are paid to the bus driver, in trams at machines inside the trains. In larger stations the S- Bahn and BVG provide ticket counters.
Validation of Tickets Before the journey starts tickets must be validated by stamping them at the yellow or red boxes on the platforms, in buses or trams. In case of inspection, a ticket that is not stamped is invalid.
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DIRECTIONS SUNDAY 2 JUNE
From the registration and opening reception at the Belgian Embassy to Hotel Motel One Berlin Potsdamer Platz U-Bahn + walking (± 10 minutes) Walking (± 20 minutes) When leaving the Embassy, turn right onto Jägerstrasse. Turn left onto Markgrafenstrasse, and then left onto Taubenstrasse until you are at station Hausvogteiplatz. Take U-Bahn 2 to Ruhleben. After 3 stops, get off at Potsdamer Platz.
Walking to the hotel is also possible. When exiting the embassy, head right onto Jägerstrasse. Turn left onto Markgrafenstrasse. After 350 meters, turn right onto Leipziger Strasse. After 850 meters, the hotel will be on your right.
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MONDAY 3 JUNE
From congress hotel Motel One Berlin Potsdamer Platz to Gemäldegalerie, Staatliche Museen zu Berlin Walking (± 15 minutes) When leaving the hotel, head right onto Leipziger Strasse. Keep going straight ahead. After 900 meters, turn right onto Sharounstrasse. You will find the Gemäldegalerie in front of you. There are construction works going on around the Gemäldegalerie, so follow the signs present to find your way to the entrance.
From the Gemäldegalerie to Bode-Museum Bus + S-Bahn (± 25 minutes) At Kulturforum, take Bus M85 S+U Hauptbahnhof. At the first stop, exit at Varian-Fry-Str and walk towards Berlin Potsdamer Platz Bahnhof. Here, there are several trains that will take you to the Bode- Museum, namely S1, S2, S25 and S26. After 2 stops, exit at Berlin Friedrichstrasse station. Head north toward Am Weidendamm. After 200 meters, turn right onto Am Weidendamm. Keep going straight ahead for 400 meters. The Bode-Museum will be on your right.
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From the Gemäldegalerie to Schloss Charlottenburg Bus (±40 minutes) When exiting the museum, go left onto Herbert-von-Karajan-Strasse. At Tiergartenstrasse, take bus 200 S+U Zoologischer Garten. After 6 stops, exit at Jebenstrasse. At Jebenstrasse, transfer to bus M45 Spandau, Johannesstift. After 8 stops, exit at Luisenplatz/Schloss Charlottenburg. Keep walking in the same direction of the bus. The destination will be on your right after about 100 meters.
From congress hotel Motel One Berlin Potsdamer Platz to Congress Dinner location: the Museum Café at the Deutsches Historisches Museum Bus + walking (± 15 minutes) When exiting the hotel turn left, and then immediately left again to cross the shopping mall. Turn right onto Voßstrasse. Keep walking straight ahead until you reach the bus stop on Mohrenstrasse (300 meter). At the bus stop, take Bus 200 Michelangelostrasse via Alexanderplatz. After 3 stops, exit at Staatsoper (Berlin). Walk further in the direction of the bus, until you see the museum on your left. We will use the entrance on the river-side, so go left onto Am Zeughaus when you reach the river.
Walking to the DHM is also possible (25 min). For the start of the route, see above. Pass bus stop Mohrenstrasse, and keep walking straight ahead. Turn left onto Friedrichstrasse. After 500 meters, turn right onto Unter der Linden. Go straight ahead until you see the museum on your left. We will use the entrance on the river-side, so go left onto Am Zeughaus when you reach the river.
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TUESDAY 4 JUNE
From congress hotel Motel One Berlin Potsdamer Platz to Bode-Museum Walking + S-bahn (± 20 minutes) When exiting the hotel, turn right towards the Berlin Potsdamer Platz Bahnhof. Here, there are several trains that will take you to the Bode-Museum, namely S1, S2, S25 and S26. After 2 stops, exit at Berlin Friedrichstrasse station. Exit the station and turn right onto Georgenstrasse. After 450 meters, turn left onto Am Kupfergraben. Then cross Monbijoubrücke to reach the Bode-Museum.
Berlin Friedrichstrasse station to Bode-Museum (± 8 minutes):
Walking tot the Bode-Museum is also possible. When exiting the hotel, go left. After about 200 meters, turn left onto Glinkastrasse. After about 500 meters, the street turns into Neustädtische Kirchstrasse. Turn right onto Reichstagufer at river Spree, and keep walking along the river until you reach Monbijoubrücke. Cross the bridge to reach the Bode-Museum.
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From Bode-Museum to Archäologisches Zentrum Walking (±5 minutes) When exiting the museum, turn left and cross the Monbijoubrücke. Then turn right onto Am Kupfergraben. At the intersection, turn left onto Geschwister-Scholl-Strasse. The destination will be on your left, number 6.
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SUGGESTIONS FOR LUNCH ON TUESDAY 4 JUNE
Having lunch at the Bode-Museum is possible, but there are many other options in the area, most of them only a short walk from the museum. When leaving the museum turn left on Am Kupfergrabe, then turn right onto Georgenstrasse. Underneath the historic railway arches of Berlin you will find many different places that offer good options for a quick and decent lunch.
Petit Bijou Located right next to the Bode-Museum is the vegetarian-friendly Petit Bijou. Enjoy healthy sandwiches, salads and crunchy bowls all with a fantastic view over the river Spree. Monbijoustrasse 2
12 Apostoli – il segreto Closest to the museum is pizzeria 12 Apostoli, an Italian restaurant that is known for its big variety of pizzas. They also offer pastas and salads. Georgenstrasse 2 S-Bahnbögen 177-180
Da Vinci For authentic Italian food restaurant Da Vinci is the place to go. This cozy little place is tucked away underneath the railway arches on Georgenstrasse. They serve full course Italian meals but also offer soups and salads for lunch. You can also enjoy a variety of Italian cheese with a fine glass of wine. Georgenstrasse 192
Dean & David If you are looking for a light lunch, further down the street you’ll find Dean & David, a restaurant that prides itself on offering fresh and healthy meals. Their philosophy is born out of the idea to create healthy fast food options for a modern and urban market. Vegetarian and vegan meals are also included on the menu. Friedrichstrasse 96 (Ecke Georgenstrasse)
Restaurant zur Nolle Right next to Dean & David you’ll find Restaurant zur Nolle. Here you can enjoy international as well as traditional Berlin cuisine. Berlin’s rich history is noticeable in this establishment that’s over 100 years old, with marble, mirrors, leather furnishings and Art Deco paintings recreating the atmosphere of the roaring 20s. Georgenstrasse 203
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Flamingo Fresh Food bar Located on Neustädtische Kirchstrasse, Flamingo Fresh Food Bar is known since 2010 for its home- made and varied cuisine. With regional, high-quality ingredients they prepare healthy salads, sandwiches and a wide variety of soups. also serve cake and other desserts, so if not for lunch, you can go here for a coffee break. To find this establishment, walk all the way down Georgenstrasse. The restaurant is located at the end of the street. Neustädtische Kirchstrasse 8
Located on the other side of the Spree is Oranienburgerstrasse and the subsequent shopping area Hackeschermarkt. Cross the Monbijoubrücke onto Monbijoustrasse and keep walking straight ahead. In this area of Berlin you will find many cafés, bars and restaurants
Curry61 If you’re craving typical German fast food, Curry61 is the place to be. A place that specializes in the famous currywurst, they serve fresh food only: their curry sauce is homemade and their sausages and fries are made from local ingredients. Curry61 is located on Oranienburgerstrasse near Hackeschermarkt. Oranienburgerstrasse 6
Restauration 1840 At Hackeschermarkt, you can find Restauration 1840, a characteristic Berlin restaurant in the style of the Golden Twenties. This establishment serves authentic German food, so large portions of meat and mashed potatoes are to be expected. Am Zwirngraben 8-10
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CODE OF CONDUCT
Since several years CODART Patrons have been offered the possibility to attend our congresses. We are delighted that our Patrons are taking advantage of the opportunity to participate in this annual event.
The CODART congresses are international gatherings at which knowledge and expertise are exchanged at various levels, both formally and informally. CODART’s strength resides in the spontaneity of this interaction. Our Members give generously of their expertise because they know that the information they share will be treated confidentially. We therefore rely on our Patrons’ discretion.
Our congresses are certainly not intended as venues to buy and sell works of art or to seek commercial contacts. If Patrons would like to receive advice about artworks on the market, they are of course at liberty to contact our Members either before or after the congress.
Impromptu attributions or other assessments of artworks given during our congresses are not binding. Neither the curators nor CODART can be held responsible for off-the-cuff statements.
Museum visits and social gatherings, such as congress dinner, lunches and receptions, are part of the professional network program and organized to give the curators the possibility to exchange their ideas and to share expertise. If Patrons prefer to discuss off-topic issues with curators or other Patrons, they are of course at liberty to find other occasions or venues.
We warmly welcome our Patrons to our Berlin congress because we hope that this event will contribute to a fruitful and enduring relationship between our Members and Patrons.
We wish all participants of CODART 22 a pleasant and inspiring stay in Berlin!
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CODART thanks its benefactors
CODART’s main cooperating partner is the RKD – Netherlands Institute for Art History, The Hague
Institutional Members Museums and institutions that support CODART with an extra contribution
Centraal Museum, Utrecht Museum Het Rembrandthuis, Amsterdam Denver Art Museum Nationalmuseum, Stockholm Drents Museum, Assen Patrimonio Nacional, Madrid Fondation Custodia, Collection Frits Lugt, Paris Rijksmuseum, Amsterdam Glasgow Museums, Glasgow Royal Łazienki Museum, Warsaw Harvard Art Museums, Cambridge Het Scheepvaartmuseum, Amsterdam King Baudouin Foundation, Brussels Stedelijk Museum Alkmaar Kunsthistorisches Museum, Vienna Szépművészeti Múzeum, Budapest Mauritshuis, The Hague Van Gogh Museum, Amsterdam Metropolitan Museum of Art, New York Vlaamse Kunstcollectie (Museums of Fine Musea Brugge Arts: Antwerp, Bruges, Ghent, Leuven, Museum De Lakenhal, Leiden Ostend) Museum of Fine Arts, Boston
Friends of CODART Foundation
Patrons for Life Patrons
George Abrams Alexander & Otto Stichting Wassenaar Bijl-Van Urk B.V. Stein Berre Broere Charitable Foundation Luc Bertrand Michel Ceuterick Brian Capstick Coll & Cortés Ltd. Joost and Françoise Commandeur-Duynstee Bob Haboldt Hester Diamond Fergus Hall Mr. and Mrs. J.A. de Gier Hoogsteder & Hoogsteder Bendor Grosvenor, Edinburgh The Leiden Collection Johnny Van Haeften Thomas Leysen Mr. and Mrs. Hanstein, Cologne Tijo and Christine van Marle Benjamin Jarry Rose-Marie and Eijk de Mol van Otterloo David Koetser Marnix Neerman The Kremer Collection Elsbeth van Tets David Lainé Rob Vellekoop Amb. J. William Middendorf II Filip Moerman and Tracy Xu Otto Naumann, Ldt. Business Sponsors Baudouin du Parc Joseph and Jana Roussel BRAFA Art Fair Onno and Renée Ruding-Hekking Nicholas Hall Collection R. Mauricio Sanzana Galerie Lowet de Wotrenge, Antwerp Jacques en Gien Schraven Salomon Lilian Axel Vervoordt NV Sotheby’s Floris van Wanroij Fine Art TEFAF (The European Fine Arts Fair) Matthew and Susan Weatherbie The Weiss Gallery Bernard Wientjes and Titia Vellenga
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Notes
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Notes
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