codar t Courant 21 i i O F i i c n n n n l o t e t t w m t h h d t o e e e i h a c s r s S k r h i e p v s r W t a a v i n n i e i m i c e d i s w s e l s e h D k s u G i m o u R 6 f e e t o b T E o c y a h e r m h a g b r l e P e p o C a V s e K i o r u r n & o e l o l u y t t r e i n e w n c R c s t e g M , u i o i o w a n d a n d t o t r s s t e i l a a h f r 1 2 r v i 4 3 a e i i n t c u l e 4 d w w 2 u p F t O e r c l r h d e - l o e a s d L b c B a t m y M o n r o e V a i d a s a r i n s e c a m t s ’ t f g e s m o t c r e r c a s e r u i , m a a x O s m e S s h p t u a o e t p n i d o m b a A c e v i h r i r f a n n ü t t o n t , r i i t L m V n i o K o m e g u b u n e s s i e n n s i s 8 s s c ’ 1 s 3 2 c t a 8 Q 4 u c n u c n u d u r o d i s n r a d p K t a t i e u a H c t o l r t t o o a r u t r c r a ’ r l s a t e g ’ i s e c i i c n s F n t o c l t h a i e h l v c i e l c w c i i h e a t E s t g c m i e e & e t i b o n s i l n f e o 2 M R m o 0 n u ü a f t b t n R a a e e s i i n i s t j n t k e s R r s s B 1 o m 1 6 i d e e 2 c l u l i a D i s u v n n e ´ u e d s r u t k t r m c a i S h s t P a T p 2 a v o w 2 l a e a r i r e c n y ’ n e t : s t i a p n h t a g e i n 1 t 0 e r

Spring 2011 2 codar t is the international council for Hoogsteder & Hoogsteder, The Hague Jozef Deleu, writer, and founder and former curators of Dutch and Flemish art. Its aim is The Leiden Gallery, New York chief editor of the Flemish-Netherlands to further the study, the care, the accessibility Metropolitan Museum of Art, New York association Ons Erfdeel and the display of art from the Low Countries Amb. J. William Middendorf ii, Little Jeltje van Nieuwenhoven, former chair of in museums all over the world. codar t Compton the Dutch parliament serves as a platform for exchange and coopera - rk d (Netherlands Institute for Art History), Henk W. van Os, director emeritus of the tion between curators from different parts of The Hague Rijksmuseum, Amsterdam the world, with different levels of experience Rijksmuseum, Amsterdam Simon Schama, historian, writer and from different types and sizes of institu - ne w Joan and Marc Sherman, New York Jan G. F. Veldhuis, former president of the tions. codar t stimulates international ne w Gregor’s Lijsten, Spankeren University of Utrecht, Utrecht inter-museum cooperation through a variety ne w Simoons & Company, Bussum of activities, including congresses, study trips, ne w Rob Vellekoop, Rotterdam Program Committee publications and the website (www.codart.nl). Vlaamse Kunstcollectie (Koninklijk Museum Eric Domela Nieuwenhuis, curator, Rijks- By these means codar t strives to solidify voor Schone Kunsten Antwerpen, Musea dienst voor het Cultureel Erfgoed ( rc e), the cultural ties between the Netherlands and Brugge, Museum Schone Kunsten Gent) Rijswijk Flanders, and to make the artistic heritage of Waanders Publishers, Zwolle Nico van Hout, curator, Koninklijk Museum these countries accessible to the international voor Schone Kunsten Antwerpen ( kmsk a), art-loving public at large. Board of codar t Antwerp codar t was founded in 1998 on the Greetje van den Bergh (chair), former vice- Suzanne Laemers, curator, rk d, The Hague initiative of Gary Schwartz and the Instituut president of the board of the University Huigen Leeflang, curator of prints, Collectie Nederland ( ic n). It enjoys the of Amsterdam, Amsterdam Rijksmuseum, Amsterdam generous support of the Netherlands Ministry Emilie Gordenker, director of the Mauritshuis, Sander Paarlberg, curator, Dordrechts of Education, Culture and Science ( oc w). The Hague Museum, Dordrecht Sari van Heemskerck Pillis-Duvekot, former Sabine van Sprang, curator, Koninklijke codar t Courant member of parliament for the vv d (Dutch Musea voor Schone Kunsten van België, Bi-annual newsletter of the international Liberal Party), The Hague Brussels council for curators of Dutch and Flemish art. Jan Hoekema, mayor of the city of Wassenaar Adriaan Waiboer (chair), curator of Northern Publisher: Anthony Ruys, chairman of the supervisory European art, National Gallery of Ireland, codar t board of the Rijksmuseum, Amsterdam Dublin p.o. Box 90418 Manfred Sellink, director of the Musea Helen Wüstefeld, curator, Bibliotheca nl-2509 lk The Hague Brugge, Bruges Philosophica Hermetica, Amsterdam The Netherlands Arnout Weeda, former director of the e [email protected] Zuiderzeemuseum, Enkhuizen Website Committee t +31 70 333 9744 / f +31 70 333 9749 Rudi Ekkart (advisor to the board), director Piotr Borusowski, assistant curator, National www.codart.nl of the rk d, The Hague Museum in Warsaw, Poland Pascal Ennaert, coordinator, Vlaamse Kunst- Editorsandtranslators: Kist & Kilian Board of the Friends of collectie, Ghent Coordinators: Maartje Beekman, codar t Foundation Lars Hendrikman, curator, Bonnefanten- Jennifer Cardona, Gerdien Verschoor Hildelies Balk, head of European projects museum, Maastricht Design: Typography Interiority & Other at the Royal Library, The Hague Roman Koot, head of public services and chief Serious Matters, The Hague Greetje van den Bergh, former vice-president curator of the library and foreign art, rk d, Printedby: Drukkerij de Maasstad, Rotterdam of the board of the University of The Hague Cover: Gabriël Metsu, Deadcock , ca. 1659 -60, Amsterdam, Amsterdam Greta Koppel, curator, Kadriorg Art Museum, Museo Nacional de Prado, Madrid, Norbert Middelkoop, curator, Amsterdam Art Museum of Estonia, Tallinn inv. no. p-2103 Museum, Amsterdam Gero Seelig, curator, Staatliches Museum Wim Weijland, director of the National Schwerin, Schwerin iss n 1388 9559 Museum of Antiquities, Leiden Priscilla Valkeneers, scientific associate, Centrum voor de Vlaamse Kunst van Contributions are welcome. For more infor- Advisory committee to the Friends de 16de en 17de eeuw, Antwerp mation see: www.codart.nl/codart/courant of codar t Foundation Amy Walsh, curator of European paintings Hedy d’Ancona, former Minister of Culture and sculpture, Los Angeles County codar t Maecenases of the Netherlands Museum of Art ( lacm a), Los Angeles George Abrams, Boston Mària van Berge-Gerbaud, former director ne w Ger Eenens, Horn of the Fondation Custodia (Collection The European Fine Arts Fair ( tefa f), Helvoirt Frits Lugt), Paris Old Masters, modern times Gerdien Verschoor 3

Spring is here! And with it comes a beautiful members. Over the years, the newsletter has Partly as a result of the successful codar t- time to contemplate new developments developed into a podium created for and by light day in Bruges – with close to 100 attendees within codar t. The fall of 2010 offered the the members. Currently we are working on – we have decided to hold more such meetings opportunity to reflect on our activities on creating a digital newsletter with the purpose in the future under the heading codar tfocus .

account of the congress and study trip of strengthening the content of the Courant The focus of these meetings – which will be c o evaluation forms dutifully filled in each year and the website. Soon, your article in the co-organized with our members – can lie on d a by participants, as well as the time to mull electronic Courant can be connected, not only a single specific exhibition or project, or on r t C

over the solicited and unsolicited member to your curator’s page, but also to museum examining a permanent collection in greater o u r a

reactions we came across in our mailbox. collections, background information in a depth in the company of the codar t n t 2

Also the brainstorming session organized digital catalogue, or even to your guided member host. The scale of the codar tfocus 1 / s p in November for the program committee professional tour on the YouTube channel gatherings will be smaller than the large r i n g

unleashed a torrent of ideas. Some of the of your museum. These new features can annual congresses, making it possible to 2 0 1 suggestions of the members of the program optimize the Courant ’s functioning, and foster respond more quickly to actual events, sub - 1 committee dovetailed with ideas codar t more depth and network reinforcement. jects or exhibitions. The first focus gathering had already been entertaining for some time. Moreover, the electronic Courant can facilitate will be held in Dordrecht (the renovated Highly interesting is the core message of all an even greater dissemination of information Dordrechts Museum) and Leiden (Lucas van of the members who forwarded innovative on the Dutch and Flemish masters in Leyden exhibition in the Lakenhal). In a proposals: do not tamper with codar t’s museums and over the curatorial profession time when many curators are finding it formula for success, namely as an inter- in general. We are aiming at publishing the increasingly difficult to afford the longer national network of museum curators with electronic version of the Courant in the same codar t study trips, the codar tfocus days an annual meeting point (the codar t frequency, that is twice a year, but we are also will continue to make it possible to jointly congress), in-depth gatherings in museums, looking into the possibility of publishing explore in greater depth subjects vital to the a prize-winning website that continues to electronic articles in the interim. Members profession of curator. fill an enormous need, and a supply of remain strongly encouraged to send in con- All cultural institutions in the Netherlands information via a newsletter (the Courant ), tributions! are being affected by government cutbacks, and electronic News and Notifications. Every- and codar t is no exception. Many of you one seems to agree regarding the content of are fully aware of this, and I would like to take codar t’s activities, and we have absolutely this opportunity to thank all of the codar t no intention of changing any of it. However, members who responded to our appeal for it is worthwhile taking a critical look at the financial support with a voluntary contribu - forms and considering which ones are best tion. Your support is of great of importance suited to the times. to us! Given this background it is very A few years ago the codar t website was encouraging that the number of maecenases thoroughly renovated in terms of content and supporting codar t is growing steadily: appearance, as well as technical capacity. The their names are listed on the facing page. latter made all kinds of cross-linking within Most of the maecenases became interested in the website possible: from the curator’s pages codar t through the positive reactions of you can click through to collections, from the our members, who also alerted them to the collections to special features, from the special possibility of affiliating themselves with the features to digital publications, and vice versa. network. We would greatly appreciate it if By offering these different layers within the you could recommend codar t to collectors website, codar t affords access to as many or businesses in your network, or give us leads curators as possible, background about their for contacts who could help us strengthen field (such as the section Curatorinthespotlight ) codar t’s enduring position in the cultural and information on Dutch and Flemish art in establishment. museums throughout the world. A further dimension could be added to this by creating In closing: behind the scenes and together an interactive electronic newsletter, a so called with our members in Brussels we are working e-zine. hard on the codar t vijftie n congress, With the first issue of the Courant , which which will take place in Brussels from 18 to appeared in 1998 as a bulletin of codar t’s 20 March 2012. Save the date! activities, a tradition was initiated that came to be appreciated by many of the network’s [Photo Jan Griffioen, Zutphen] Gerdien Verschoor, director of codar t 4 Roelandt Savery: painter in the services of Emperor c o d a r t C o u r a n t 2 1 / s p r i n g 2 0 1 1 / c u r a t o r ’ s n e w s a n d n o t e s The Flemish artist Roelandt Savery was born in Kortrijk He lived and worked in Utrecht, deploying and fully in 1576 and became one of the most original painters developing the skills he had acquired in Prague: by 1620 working at the court of Emperor Rudolf ii. His life he was one of the city’s most successful and best paid mirrors the turbulent and dramatic situation in Europe painters. His house on the Boterstraat, called the at the end of the 16th and beginning of the 17th century. Keyserswaepen (Emperor’s arms), still exists. During Savery was compelled to flee his hometown on account the last years of his life Roelandt collaborated intensely of his parents’ Anabaptist beliefs and the poor economic with his nephew Hans Savery. Despite the substantial situation in Flanders. The family settled in Haarlem, sums his paintings fetched, he was declared bankrupt in along with many other refugees from the Kortrijk area. September 1638 and forced to sell his house and garden. Roelandt later apprenticed in the workshop of his elder He died in Utrecht in 1639. brother Jacob in Amsterdam. His early paintings are Savery’s paintings and drawings grace many entirely in the Flemish tradition. His Plunderingofa European and North American collections, but the village , for instance, reflects the work of Pieter Bruegel last retrospective of his work was held in Cologne and the Elder. Utrecht in 1985-86. The willingness of two museums Around 1604 Emperor Rudolf iioffered Savery a to collaborate and exchange expertise presented a nice position at his court in Prague. There, he masterfully opportunity to rediscover this painter. The National expanded on the characteristic features of Flemish Gallery in Prague contacted the Broelmuseum in Kortrijk painters such as their outstanding capacity for observa - to suggest co-organizing an exhibition of his work. Since tion, sense of detail and general curiosity about the Prague played such a major role in Savery’s career, it world. Savery subscribed to the naerhetleven approach seemed like the natural venue for the show: the newly to painting, taking full advantage of the stimuli offered rebuilt Schwarzenberg Palace, of which Savery made a by contemporary Prague and visits to the imperial drawing (now in the National Gallery of Canada, collections of naturalia and artificialia and Rudolf’s Ottawa), currently houses a long-term exhibition of menageries. He rendered numerous picturesque vistas Baroque art owned by the National Gallery in Prague. of Prague and the surrounding forests, as well as scenes The second venue is the Broelmuseum in Savery’s native of peasants drinking beer. Deeply interested in land- Kortrijk. This smaller museum focuses on the work of scape and eager to see mountain scenery, he traveled to artists who were born, lived or worked in the area. Tyrol, and elsewhere. Shortly after the emperor died, Some 40 paintings and drawings from public and Savery returned to the Netherlands (ca. 1613/1616). private collections in Prague, Vienna, Berlin, Karlsruhe,

Roelandt Savery, Plunderingofavillage , 1604, Roelandt Savery, OnKampaIsleunderCharlesBridgeinPrague , 1603-04, Broelmuseum, Kortrijk, inv. no. 51 National Gallery in Prague , inv. no. k 64999 Rudolf iiOlga Kotková and Isabelle De Jaegere 5 c o d a r t C o u r a n t 2 1 / s p r i n g 2 0 1 1 / c u r a t o r ’ s n e w s a n d n o t e

Brussels, Antwerp, Ghent, Liège, Kortrijk, Utrecht, Olga Kotková is senior curator of Netherlandish, German and s Amsterdam, Lille and Kassel reflect the evolution of Flemish paintings and sculpture at the Národní galerie v Praze Savery’s artistic skills: from early works done entirely (National Gallery in Prague) and a codar t member since 1998. in the spirit of the Flemish masters, to the unique land - scape compositions he produced for Rudolf ii, and his Isabelle De Jaegere is curator at the Broelmuseum in Kortrijk mature, carefully composed paintings of animals and and a codar t member since 2007. elaborate flower still lifes. Great attention is devoted to his drawings as well – above all to Savery’s famous venues naerhetleven sheets, which mostly originated during his sojourn in Prague. There, Savery, among others, Prague, National Gallery in Prague, 8 December 2010-20 March 2011. observed peasants, their behavior and customs. He Kortrijk, Broelmuseum, 21 April-11 September 2011. found his models in the streets and marketplaces, in front of a church or a synagogue. Savery sketched catalogue them insitu in black or red chalk, writing notes on the drawings about the colors or condition of the clothing, The exhibition will be accompanied by a fully illustrated catalogue later finishing the sketch in pen back in his studio. (in English, Czech and Dutch) with essays by Olga Kotková, Isabelle The loans highlight the variety of genres in which De Jaegere, Filippe De Potter, Joaneath Spicer and Stefan Bartilla, he worked and demonstrate the full range of his art, as well as extensive catalogue entries. including topographically accurate vistas of towns and landscapes, the emperor’s favorite hunting scenes For more information see the joint website www.savery.eu and paintings of flora and fauna. All of Savery’s work (paintings and drawings) evidences his uncanny ability to combine what he observed in the world around him with a share of his own fantasy. In Kortrijk, special tourist arrangements and family tours will be provided in addition to guided tours for adults. Schools are also invited to discover the fantastic world of the painter.

Roelandt Savery, Orpheusplayingtotheanimals , 1625, National Gallery in Prague, inv. no. o 1265 6 Frescoes after Otto van Veen’s QuintiHoratiiFlacci Hanna Benesz

The Bieli n´ ski Palace at Otwock Wielki near Warsaw, paintings represent intricate symbolic scenes, elucidated

c constructed in the 1680s and attributed to Tilman van with Latin verses (some of which differ from the titles of o d Gameren (1632-1706), a pupil of Jacob van Campen Van Veen’s emblems). a r and architect to Polish kings and aristocrats, has been A merry company depicting a dancing masked couple t C

o administered by the Muzeum Narodowe w Warszawie among other people who are drinking, embracing and u r a

n (National Museum in Warsaw) since 2004. Although the playing dice, and a person being tended to in a sickbed t 2

1 building suffered greatly during the 19th-century and in the right background, bears the title Spernevoluptates: / s p r was reconstructed only in the second half of the 20th nocetemtadolorevoluptas(Van Veen’s title: Voluptatum i n g usure,morbietmisere 2 century, quite remarkably the frescoes in three rooms of ). Expressing a warning against vain 0 1

1 the pianonobilesurvived relatively intact. The decoration pleasures, which may result in a loss of health and well / c u includes Italianate marines and landscapes with antique being, the scene calls for temperance. The inscription r a

t ruins in two rooms, and the so-called Horace Room with accompanying the image of Philemon and Baucis, Sors o r ten scenes derived from the famous emblem book by suaquemquebeata,explains that these humble people ’ s n Otto van Veen, EmblemataHoratiana of 1607, which served were honored by a visit from the gods because they e w as a handbook of neo-Stoic philosophy and manners for accepted their destiny with serenity. Temperance and s a young nobles. The illustration of each emblem reflected acceptance, thus, are considered the keys to happiness. n d an idea or an expression from the works of Horace and The following paintings illustrate vices and mental n o other classical authors deemed suitable for meditation. states that can destroy inner peace. Raroantecedentem t e s This extremely popular book was translated into several scelestum/deservitpedepoenaclaudo(Culpampoenapremit languages, including Polish, and appeared in numerous comes ) – a woman personifying Punishment castigating editions far into the 18th century. It was found in the an escaping murderer with a whip formed of snakes – libraries of Tilman van Gameren and the Polish king signifies the inevitability of punishment. Novitpavcos/ Jan ii i Sobieski. securaqvies(Mentisinquietudo ) – a Roman emperor or The scenes chosen to adorn the Horace Room at consul being attacked by Harpies, who his soldiers Otwock are noteworthy for their refined formula for and servants are unable to drive away – testifies to the living in conformity with nature and reason, far from highest value, which is peace as opposed to power or vain desires, greed and voluptuousness, and concen- riches. Aeternumsubsolenihil– Chronos with his scythe trating on unspoken and courageous deeds. Until now overthrowing Hercules (physical power) and Mercury the palace and the frescoes have been treated only in (eloquence) and trying to conquer the Three Graces Polish literature in the 1970s and were the subject of an (in the background), affirms the transience of human unpublished master’s thesis in 2004. Therefore, it is high nature. Labunturanni,necpietas/moramrugisautinstanti time to present a brief summary of them to codar t senectae/adferetindomitaequemorti(Sicvivamusutmortem members, given that two Netherlandish artists were nonmetuamus ) – a man looking in a mirror and a woman involved in their creation. trying to prevent an old man and a skeleton from The scenes are painted alfrescoin monochromatic entering – is a reminder that one should not struggle sepia tones and rendered in an illusionistic fashion, against the inevitability of old age and death and live in imitating wall hangings with Latin inscriptions in a way as not to fear the end. Paulumsepultaedistatinertiae cartouches at the bottom. Above the doors and windows celatavenus(Virtusinactioneconsistit ) – a woman with a are yellow gold figures of atlantes. The Horace Room was helmet and a spear sitting inside a tomb (hidden virtue) formerly the study of the palace’s founder, Kazimierz and a man lying on a bed in a dark cave with a donkey Ludwik Bieli n´ ski, who is thought to have been respons- at his side (sloth) – contends that virtuous people who ible for selecting Van Veen’s emblems for the ideological fear and do not engage with their enemies rather than program of this ensemble. The master of the house, actively fighting evil, differ little from those who are namely, received numerous guests there who shared his morally at fault. Two more images illustrate virtues neo-Stoic ideas, including Prince Stanis ław Herakliusz that add up to tranquility and harmony and augment Lubomirski and Jan Andrzej Morsztyn. wisdom: Innocentiaubiquetuta– an old man accompanied Of the ten scenes, only one (the first in the cycle) is by a lamb passing by a pile of weapons and a dragon in rendered as a genre piece. The second illustrates the well- a mountainous landscape symbolizing the power of known fable from Ovid’s Metamorphoses of Philemon and innocence – guarantees safety amidst the dangers of life; Baucis receiving a visit from Jupiter and Mercury. Other while Nihilsilentioutilius– a seated angel with the Roman Emblemata in Bieli n´ ski Palace at Otwock Wielki 7 c o d a r t C o u r a n t 2 1 / s p r i n g 2 0 1 1 / c u r a t o r ’ s n e w s a n d n o t e s

spq r standard and holding a finger to his lips (in Hanna Benesz is curator of Early Netherlandish and Flemish Van Veen’s print flanked by a wine cup and a bearskin) – painting at the Muzeum Narodowe w Warszawie (National signifies a wise man who does not reveal secrets when Museum in Warsaw) in Warsaw and a codar t member since 1998. drunk or angry, and remains silent. The last composition (but the first seen by visitors literature as it faces the entrance), entitled Dignumlaudevirum musavetatmori(AMusisAeternitas ), shows a man crowned Inemie Gerards-Nelissen, “Otto van Veen’s EmblemataHoratiana, ” with a laurel wreath being lifted by the personification Simiolus, 5 (1971), pp. 20-63. of Fame (with a trumpet) and Chronos up to Parnassus Leonard Forster, “Die Emblemata Horatiana des Otho Vaenius”, where Apollo and the Muses are shown. What is being GeschichtedesTextverständnissesamBeispielvonPindarundHoraz,ed. stressed here is not so much the glory and splendor Walther Killy, Wolfenbütteler Forschungen Bd. 12 (1981), pp. 117-128. – unsuitable in a neo-Stoic program – as the virtues that Mariusz Karpowicz, BarokwPolsce(BaroqueinPoland), Warsaw 1988 p. 66, open the way to eternity in reward for living a worthy p. 307. life. Mariusz Karpowicz, Sztukaos´ wieconegosarmatyzmu(Artoftheenlightened The Otwock Horatian frescoes are among the most Sarmatism) , Warsaw 1970, pp. 146-165. important monuments of Polish Baroque culture. Mariusz Karpowicz, Sekretnetre s´ ciwarszawskichzabytków(Secretmeanings In 2004-05 they received a protective conservation treat - oftheWarsawmonuments) , Warsaw 1976, pp. 197-226. ment from the National Museum’s conservator Dr. Ew a Magdalena Kami n´ ska-Haufa, PalacwOtwockuWielkim.Problematyka S´ wi ˛ecka. This included the consolidation of weakened architektonicznaikonserwatorska (ThePalaceatOtwockWielki.Questions plaster and powdered paint layer, as well as a cleaning of ofarchitectureandconservation) , Uniwersytet Miko łaja Kopernika, the surface, though with no artistic intervention. This Toru n´ 2004 (master’s thesis). proved sufficient to reveal the depth of color and improve the legibility of the scenes and the inscriptions. After Otto van Veen , Appealfortemperance , last quarter of the 17th century , fresco, After Otto van Veen , Transitoryhumanqualities , last quarter of the 17th century , fresco, Bieli n´ ski palace, Otwock Wielki, photo Z. Doli n´ ski, copyright Muzeum Narodowe Bieli n´ ski palace, Otwock Wielki, photo Z. Doli n´ ski, copyright Muzeum Narodowe w Warszawie w Warszawie 8 The VrouwMaria and the Braamcamp paintings c o d a r t C o u r a n t 2 1 / s p r i n g 2 0 1 1 / c u r a t o r ’ s n e w s a n d n o t e s In December 1771, the Russian Empress Catherine the ensued and Catherine, too, wrote about the loss to her Great lamented in a letter to Voltaire that the paintings European friends. Plans to salvage and restore the works, from the Gerrit Braamcamp collection she had recently should they be recovered, were made. However, the bought in Amsterdam had been lost at sea. The post- wreck was never found. In another letter to Voltaire, humous sale of Braamcamp’s collection, which had taken Catherine seems to have accepted the situation: “Well, place in July 1771, was a major event on the European there goes 60,000 écus… what can I do…” The VrouwMaria art scene. After all, the quality and renown of this collec - sank into oblivion – until the 1970s when Dr. Christian tion were exceptional. Always on the lookout to expand Ahsltröm rediscovered the story in the archives. Later, in her collection, Catherine asked her ambassador to The 1999, Rauno Koivusaari found the wreck in a remarkably Hague, Prince Gallitzin, to commission local dealers to intact condition with the cargo still in its hold . buy the best works on her behalf. The prince discharged The late phase of the Dutch trade dominion and his duty, and two of the most valuable paintings, works prosperity that had grown throughout the 17th and by Gerard Dou and Paulus Potter, along with several 18th century is well reflected in the cargo of the Vrouw other masterworks of the Dutch Golden Age went to Maria,and the vessel itself is an example of Dutch ship - Catherine. building, one of the cornerstones of the Dutch economy. The paintings were then loaded, together with a cargo The tobacco products, coffee and dyestuffs are a reminder of typical trade merchandise, in the hold of the merchant of the Dutch colonial trade; the large amount of sugar ship the VrouwMaria for transport to St. Petersburg. As it of the refining industry; and the textiles of the great happened, though, on a stormy October night the Vrouw expertise in cloth making. Items such as lenses and books Maria lost its course and crashed into rocks off the coast hint at the more scholarly aspects of Dutch society, and of Finland, which was then part of Sweden. The ship the paintings are proof of the artistic creativity and remained afloat for several days, giving the crew time advanced and extensive art trade. to salvage some of the cargo, but eventually went down, Despite the shift of the Baltic trade from the Dutch along with the empress’ paintings and the vast majority to the British in the latter part of the 18th century, of the rest of the cargo. When the bad news reached the demand for Dutch products in Russia was great St. Petersburg, the minister of foreign affairs, Nikita and luxury items, such as paintings from the Dutch Panin, contacted the Swedish authorities urging them Golden Age, continued to be sought after. Catherine to make every effort possible to salvage the empress’ was motivated not so much by a love of art but rather precious cargo. A lively diplomatic correspondence political ambition. She knew that to rank as a major

Willem Joseph Laquy after Gerard Dou, Triptych:lying-inchamber (orAllegoryofart-education) , Rijksmuseum, Amsterdam Eero Ehanti 9 player in the arena of international politics, her court and capital had to resemble and outdo the European rivals. A noteworthy art collection was a must. Through

her extensive correspondence Catherine created a net - c o work of influential European intellectuals, including d a Voltaire, Diderot, Grimm, and Falconet, to promote r t C

her art interests and her cause. o u r a

The Braamcamp affair took place in the most active n t 2 period of Catherine’s collecting, between the purchase 1 / s p of the Brühl collection in 1769 and the Crozat collection r i n g

in 1772. These were major coups, encompassing entire 2 0 1 collections with hundreds of paintings. The Braamcamp 1 / c acquisition, though, was different: Catherine’s agents u r a

had to compete with other buyers at a public auction. t o

A total of 313 lots went under the hammer. Which ones Pierre Mignard’s ReturnofJephtah’sdaughter, which is r ’ s went to Catherine, and were they all loaded onto the mentioned in the 1903 Hermitage catalogue by Andrei n e

VrouwMaria ? No clues are found in the ship’s custom Somof as having been bought at the Braamcamp sale w s records as Catherine was exempted from paying a toll. but transported in another vessel. The diplomatic a n

A list of the objects salvaged from the sinking ship has correspondence tells a story of vain attempts to salvage d n been preserved in which six paintings are mentioned, valuable artworks from the sunken ship, but no addi - o t e though they are noted as belonging to Prince Gallitzin. tional clues can be found as to the identity or number of s Indeed, there is one painting today in the Amsterdam the paintings involved. The same applies to Catherine’s Museum, Jan ten Compe’s ViewoftheMintofAmsterdam , personal correspondence. It must be stressed, however, which was sold at the Braamcamp auction and is known that the author has not studied the Gallitzin archives to have belonged to the Gallitzin family. in Russia, which may contain further information. Fortunately, some insights can be gleaned from No excavations of the VrouwMariahave been carried the many preserved catalogues of the auction. A few out to date. The shipwreck remains untouched and the are annotated, informing us about two of Catherine’s discussion of whether or not to raise it continues. acquisitions: Dou’s Braamcamptriptych or the Lying-in Regardless of the outcome of that discussion, in the chamber , of which a copy by Laquy exists, and Potter’s coming years the story of the VrouwMaria will be told in Largedroveofoxen . Another catalogue notes that a an international traveling exhibition, along with that painting by Isaac Koedijck was lost at sea while en route of another, very similar shipwreck, the St.Michel. The to Russia. Other than these mentions, a great deal of case of the lost paintings will be the highlight of the research has been conducted on tracing the paintings exhibition. Anyone with particular knowledge of the in that auction and determining what went missing. Braamcamp sale of 1771 is urged to contact the author, Dr. Clara Bille did much of this in her 1961 doctoral who would be most grateful for any and all information. thesis, Detempelderkunstofhetkabinetvandenheer Braamcamp (J. H. De Bussy Amsterdam). She discovered Eero Ehanti, National Board of Antiquities, Hylkysaari, that in addition to the three aforementioned paintings, fi n-00570 Helsinki, Finland eight others bought by the broker Adriaan van den [email protected] Bogaarde were on the VrouwMaria ; works by Jan van Goyen, Philips Wouwerman, Gabriel Metsu, Abraham Eero Ehanti is curator at the National Board of Antiquities in Storck, Adriaen van Ostade and Adriaen van de Velde. Helsinki and an associate member of codar t since 2009. However, the number of paintings involved must be greater. Values significantly higher than what the combined price of the 11 paintings mentioned above would be are cited in the correspondence. Several other paintings that were in the auction, indeed, remain lost. Curiously, there is one painting in the Hermitage,

Tiina Miettinen, artist’s interpretation of the wreck of VrouwMaria , National Board of Antiquities, Finland 10 c o d a r t C o u r a n t 2 1 / s p r i n g

2 Rijksmuseum Twenthe 0 1 1 / c u The Rijksmuseum Twenthe in Enschede exhibits art the 2006-07 exhibition of diptychs in the National Gallery r a

t and applied art from the Middle Ages to the present. It in Washington with the Kneelingfemaledonor(Maryof o r was founded by the local Van Heek family, captains in Burgundy?)withtheredeemedoftheOldTestament from the ’ s c the textile industry, which donated a collection of about Museo Thyssen-Bornemisza in Madrid. There are also o l 140 paintings to the Dutch state when the museum landscapes by Abel Grimmer, the Van Valckenborchs, l e c opened in 1930. The family also paid for construction Roelant Savery, David Vinckboons, Jan Brueghel the t i o of the museum, which was designed by the Hengelo Elder, Pieter Brueghel the Younger, and Esaias van de n architects Karel Muller and Anton Beudt. The museum Velde. The 17th century as a whole also shows up well, received several extensions over the years and was with landscapes by Barend Avercamp, Salomon van thoroughly renovated from 1994 to 1996. Ben van Berkel Ruysdael, Jacob van Ruisdael, Aelbert Cuyp and Jan van (un Studio) designed the new exhibition gallery and the Goyen, a church interior by Pieter Jansz. Saenredam and café, and landscape architect Lodewijk Baljon redesigned portraits by Jan Cornelisz. Verspronck, Cornelis Jonson the garden, for which he received a Design Merit Award van Ceulen and Gerard ter Borch. Moreover, the museum from The American Society of Landscape Architects in owns genre pieces by Benjamin Gerritsz. Cuyp, Jan Steen, 2004. When the museum opened, its public came from Pieter Codde and Jan Miense Molenaar, as well as still the eastern part of the Netherlands and included lifes by Balthasar van der Ast, Jacob van Hulsdonck workers in the textile industry in Enschede and the and Abraham van Beijeren. Art from the 19th and 20th metal industry in Hengelo. Nowadays almost half of century, which lies outside codar t’s field of interest, the visitors come from other provinces in the Nether- too, is well represented in the museum collection. lands and from Germany. After 1994, the museum also began specifically The collection has grown to more than 8 ,000 objects collecting 18th-century art and applied art. Greater that afford a representative overview of Dutch art attention is given to art from 1680 to 1820 than is the history. Private benefactors have played an important case in most Dutch museums. It counts biblical and role in expanding the museum’s holdings. For instance, mythological scenes by Jacob de Wit, Willem van Mieris they were enriched with the collections of 17th- and and Nicolaas Verkolje, as well as portraits and genre 18th-century paintings of the textile manufacturers pieces by Cornelis Troost, Abraham van Strij, Gerrit J.B. Scholten and M.G. van Heel in the 1960s . From the Zegelaar, Adriaan de Lelie, Willem Laquy, Tibout Regters 14th, 15th and early 16th century, there are images of and Alexander Roslin. And, there are landscapes by Jacob saints, manuscripts, relic shrines and a baptismal font, van Strij (a fine set of paper wall coverings) and Gerard as well as paintings by the Master of Hoogstraten, the van Nijmegen. Thanks to the long-term loan of the Master of the Source of Life, Jan Provoost and Barend van most important 18th-century Dutch paintings from Orley. Portrait painting from the 16th and beginning the Rijksmuseum while it undergoes renovation, the of the 17th century is represented by Joos van Cleve, Rijksmuseum Twenthe has been able to exhibit a select Lucas Cranach, Jan Claesz. and Hans Holbein (or his collection of 18th-century art for some time now. workshop). History painting is represented by Jan Swart The exploration of 18th-century art and culture has van Groningen and Jan Mostaert. The latter’s wonderful been carried out in the form of exhibitions dedicated Christappearingtohismotherinlimbo was reunited during to diverse cultural subjects and artists, such as Wouter

Jan Mostaert, ChristappearingtohismotherinLimbo , Cornelis van Poelenburch, Oldwomanreading , ca. 1630, Nicolaas Verkolje, MosesfoundbyPharaoh’sdaughter , ca. 1515-25, Rijksmuseum Twenthe, Enschede, Rijksmuseum Twenthe, Enschede, inv. no. 116 1740, Rijksmuseum Twenthe, Enschede, inv. no. 1606 inv. no. 13 1

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2 lw l-Landesmuseum in Münster 0 1 1 / c u The geographical proximity of Westphalia to the Sebastian , notable for its bold and unusual composition. r a

t Netherlands and the long-standing economic and The Utrecht Caravaggists are represented by Dirck van o r cultural links between them that led to the develop- Baburen’s depiction of Christdrivingthemerchantsfromthe ’ s c ment of a common language area in the 15th and 16th temple and Hendrick ter Brugghen’s down-to-earth Four o l centuries also resulted in reciprocal influence between evangelists. The power of Rubens, the pictorial dynamism l e c the arts of the two regions. It was not uncommon for and pathos of his art, also permeate the works of Jan t i o Westphalian artists to work “next door” in the Nether- Boeckhorst, the Münster-born painter who worked in n lands, and conversely Dutch works found their way to the Flemish master’s workshop. Boeckhorst’s Martyrdom Westphalia through commissions and import. ofSaintJamestheGreater is the design for the high altar of This reciprocity is particularly well represented by the Sint-Jacobskerk in Ghent. Boeckhorst, who was not two paintings in the Landesmuseum’s collection of “rediscovered” for Münster until the 1990s, when the 16th-century art: Jan Gossaert’s intimate MotherofGod Landesmuseum mounted an exhibition on him, also andChild , which ended up in the Dominican Church focuses on the themes of allegory and classical antiquity: in Dortmund soon after its creation, influenced a AchillesamongthedaughtersofLycomedes is the second devotional work by the Münster Renaissance artist version (believed lost) of the work in the Bayerischen Hermann tom Ring. The circa 1530 Descentfromthecross Staatsgemaeldesammlungen and has been on view as withthedonor’sfamily by an unknown Antwerp master a long-term loan from a private collection since 1992. after an engraving by Marcantonio Raimondi also The bright, earthy colors of Nicolaas Verkolje’s Jesusin stimulated the rendering of landscape and figurative thetemple already point towards the 18th century. Artifice plasticity in a visual theme common in Westphalian art. and narrative delight imbue another mythological Since the Landesmuseum was founded in the 19th theme: Hendrick de Clerck and Denis van Alsloot’s large- century it has accommodated a host of long-term loans scale JudgmentofMidas sets the musical contest against a that have swelled its collection particularly in the area Flemish wooded landscape. of Medieval and Renaissance art. The first came from Baroque allegory is reflected in two large works from the Westfälische Kunstverein, which loaned its collec- two significant centers of European art. Dirck de Quade tion of paintings to the art gallery permanently in van Ravesteyn’s Threegracesasembodimentoftheseasons 1908. Other numerous loans from private collections, painted around 1600 displays an affinity with the art including works owned by age-old aristocratic West- of the Prague court of Rudolf ii, such as paintings by phalian families, have significantly enriched the Landes- Bartholomeus Spranger and Hans von Aachen. Theodoor museum’s collection. They helped to compensate for van Thulden’s AllegoryofJusticeandPeace of 1659 refers to the lack of a major princely gallery as the basis of the the art center of Antwerp and the allegories of Peter Paul Landesmuseum’s collection, and represent the main Rubens, in whose milieu Van Thulden, a native of Den themes and trends in Dutch and Flemish painting of Bosch, became a leading painter of political allegories. the 17th century in particular. Genre painting is also steeped in allegorical references, Religious art from the beginning of that century as evidenced by a series of five pictures full of movement commences in 1615 with Hendrick Goltzius’ Saint and color of Thefivesenses by Pieter van Noort. They

Jan Gossaert, MotherofGodandChild , ca. 1520, lw l- Jan Boeckhorst, Achillesamongthedaughtersof Anonymous Dutch master, Portraitofagirl , Landesmuseum für Kunst und Kulturgeschichte , Lycomedes , ca. 1650, lw l-Landesmuseum für Kunst 16th century , lw l-Landesmuseum für Kunst and Münster, inv. no. 159 wk v und Kulturgeschichte, Münster, inv. no. 1968 lg Kulturgeschichte, Münster, inv. no. 526 lm 13 c o d a r t C o u r a n t 2 1 / s p r i n g

Angelika Lorenz 2 0 1 1 / c combine common elements of allegorical imagery with Nicolaes Berchem’s Landscapewithshepherdandsheep is u r a

situational, realistic motifs. In his Tooth-puller Theodoor a relatively isolated exception. t o

Rombouts presents a large, dramatic scene that explains Portraiture is represented by a large family portrait r ’ s his status as a leading Dutch Caravaggist. A Dining by Cornelis de Zeeuw dating from 1564, which shows c o anddancingcompany from the workshop of Anthonie several generations of Hendrik van den Broucke’s family l l e

Palamedesz. is mirrored by two intimate pictures on the and provides a glimpse of the upper class in Antwerp. c t i subject of the artist’s studio: Jan van Neck’s Boydrawing Children’s portraits are found in 16th-century works of o from around 1690, with plaster casts in the background, a girl and a boy by an unknown Dutch master: the full- n represents the theme of art instruction. The Painterinher length portraits on the inside of two altar wings express studio – attributed to Pieter van der Werff – is one of the the sitters’ youthful personality in spite of their dark very few portraits of a female artist. Along with the fine ceremonial clothing. The likeness of a gentleman by rendering of material and precious palette of the Leiden Anthonie Palamedesz. exemplifies 17th-century portrai - fijnschilders , the picture also pays homage to some of the ture, which in the Landesmuseum has been qualitatively artistic role models of the age. enriched in the past 20 years through loans from the An artist of special significance for Münster is Gerard former Wittenhorst Collection. ter Borch: as the documentary artist at the negotiations The still life department – a focal point of the for the Peace of Westphalia in 1648, he painted portraits of museum, with the early, dated floral still lifes by the members of the delegations and depicted the treaty- Münster-born Ludger tom Ring the Younger – will signing ceremony. The Landesmuseum’s painting of become more diversified with loans, again from the Card-playingsoldiersinfrontofaruin , dating from 1640-45, private collection mentioned above. The Landesmuseum exemplifies the importance of fortune, a decisive factor also has impressive representatives of Flemish and in the life of soldiers in the Thirty Years’ War, whether Dutch still lifes in the form of four works: a collaboration playing or fighting. between Frans Snyders and Thomas Willeboirts Two large architectural works are fine examples of Bosschaert, a large-format Fruitgarlands,flowervasesand the genre: Anthonie de Lorme’s church interior is a ahousealtarwiththeascensionofChrist dating from 1630-40 masterpiece of spatial illusion. The second work, by is a symbiosis of a still life and a devotional image in Dirk van Delen, shows an open architectural structure trompel’oeil . A banquet scene by Frans Snyders, Stilllife incorporating the outdoors, a palace courtyard with a withmeatbasket , follows the Flemish tradition of large central fountain surrounded by colonnades. market and kitchen scenes. Dutch monochrome still-life The representation of landscape painting in the collec - painting is represented by a fish still life by Abraham van tion is comparatively modest. Examples of Flemish land - Beyeren, and even more Pieter Claesz.’s Vanitasstilllife scape art around the turn of the 16th and 17th century, withnautiluscup of 1634. include a MountainlandscapewiththesacrificeofIsaac by Kerstiaen de Keuninck and a Landscapewithhorsemen by Angelika Lorenz is curator of the 16th - to 19th-century collections Joos de Momper the Younger. Münster’s proximity to the of the lw l-Landesmuseum für Kunst und Kulturgeschichte in Netherlands has left few traces in Dutch landscape art: Münster and a codar t member since 1998.

Anonymous Dutch master, Portraitofaboy , Theodor Rombouts, Tooth-puller , ca. 1628, Attributed to Pieter van der Werff, Femalepainterina 16th century , lw l-Landesmuseum für Kunst and lw l-Landesmuseum für Kunst und workshop , after 1706 , lw l-Landesmuseum für Kunst Kulturgeschichte, Münster, inv. no. 525 lm Kulturgeschichte, Münster, inv. no. 182 wk v und Kulturgeschichte, Münster, inv. no . 1954 lm 14 c o d a r t C o u r a n t 2 1 / s p r i n g

2 Dutch painting in the Spanish royal 0 1 1 / c u The holdings of 17th-century Dutch paintings in the of Austria feature five paintings today identified as works r a

t Museo del Prado originate mostly from the former by four very different Dutch artists: JupiterandtheGods o r Spanish royal collections and, to a lesser extent, from urgingApollototakebackthereinsofhischariot by Cornelis ’ s c gifts and bequests received by the museum since the Cornelisz. van Haarlem; LandscapewithRomanruinsand o l 19th century or from recent acquisitions. shepherds and Dianabathingwithhernymphs by Cornelis l e c Compared to the magnificent collections of Spanish, van Poelenburch; DoubtingThomas by Matthias Stom; t i o Italian and Flemish painting in the Prado, the one of and JudithdeliveringtheheadofHolofernes by Salomon de n Dutch painting is very modest. The artists represented Bray. The latter painting may have been acquired by in the latter collection were considered to be among Philip iv, as implied by the date inscribed on the verso. the most important in their time and country, but The fact that it is listed as an original “fable” by “Juan unfortunately, except for Rembrandt and Salomon de Bre” in the 1734 inventory would seem to indicate that Bray, truly great names are absent. Nor is the number the overpainting of the head of Holofernes with a blue of works very significant. Of course, judging by the vase – the state in which it remained until being restored even smaller representation of Spanish painting in in 1992 – was done to conceal the patriotic tenor under- the Rijksmuseum and the Mauritshuis, the situation lying the biblical scene, which would have prevented it would seem to be reciprocal! from entering the Spanish royal collection. In addition, Historical and religious reasons have been forwarded there are 17 landscapes traditionally attributed to to explain this relatively modest presence of Dutch Herman van Swanevelt and Jan Both that were part of paintings. In my opinion, separate from the historical the series of landscapes with hermits or bucolic scenes and political context, in the case of the collections of the commissioned in Rome by Philip ivto decorate Buen last Habsburgs this was due to a question of taste. Like Retiro Palace in Madrid. 17th-century Italian and French collectors, Philip iv The change of dynasty brought with it the new and Charles iiwere unable to appreciate scenes linked artistic trends in vogue at the French court since the to a pictorial tradition that shunned the utpicturapoesis early 18th century, including the fashion for 17th- of Renaissance humanism in favor of a domestic type century Flemish and Dutch cabinet painting. Indeed, of painting. As for Rembrandt, even though he had like their relatives (the French monarchs), Philip v and embraced the Venetian tradition through Rubens, his Isabella Farnese acquired landscapes, seascapes, winter dreamlike and imaginative world was the complete scenes, genre paintings and Flemish and Dutch still lifes. opposite of Italian and Spanish naturalist classicism, in Originating from their collections are the important short of Velázquez, his contemporary and painter to group of works by Philips Wouwerman (10); the peasant Philip iv. Later, with the advent of the new Bourbon interiors by Adriaen van Ostade (3); a winter landscape dynasty, it was a matter of preference. Finally, the lack by Joost Cornelisz. Droochsloot; and a seascape by of a strong precedent explains the limited growth of Hendrik Cornelisz. Vroom. this part of the collection following the opening of the Charles ii i acquired the only large Dutch painting, Prado Museum in 1819. namely Rembrandt’s JudithatthebanquetofHolofernes The inventories of the last two monarchs of the House (formerly Artemisa ). It was bought on the advice of Anton

Gabriël Metsu, Deadcock , ca. 1659 -60, Rembrandt, JudithatthebanquetofHolofernes , 1634, Salomon de Bray, JudithdeliveringtheheadofHolofernes , Museo Nacional de Prado, Madrid, inv. no. p-2103 Museo Nacional del Prado, Madrid, inv. no. p-2132 1636, Museo Nacional del Prado, Mardrid, inv. no. p-2097 15 c o d a r t C o u r a n t 2 1 / s p r i n g

collections Teresa Posada Kubissa 2 0 1 1 / c

Raphael Mengs from the Marquis of Ensenada’s gifts and acquisitions made directly by the museum or u r a

collection in 1768. Even today it remains the only fully through the state. So, four of its most significant works t o undisputed painting by Rembrandt in Spain. – a still life by Pieter Claesz. and another three by Willem r ’ s

Aside from the Rembrandt, the most interesting Claesz. Heda – were bequested in 1931. The three still lifes c o acquisitions of Dutch paintings were made by Charles iv by Heda came from the collection of Charles ii i’s brother, l l e for the Casita del Príncipe at El Escorial when he was Infante don Luis of Bourbon, in the palace of Boadilla del c t i still prince of Asturias. Today, they are among the most Monte (Madrid). o significant Dutch works in the Prado. They include In 1952 the museum acquired Aphilosopher by n Joachim Wtewael’s panel painting Theadorationofthe Salomon Koninck; in 1953 the two portraits by Michiel shepherds ; Gabriël Metsu’s Deadcock ; Leonaert Bramer’s Jansz. van Mierevelt; in 1982 the Portraitof Petronellade two small paintings Hecuba’sgriefand Abrahamandthe Waert by Gerard ter Borch; and in 1987 the Portraitof threeangels ; and BishopRoveniusblessingafamily(ofJacob JohannaMartensby Paulus Moreelse. The gift of Caspar vanWassenaer?)attributed to Bartholomeus Breenbergh, Netscher’s portraits of JohanRammelmanand his wife which is one of the most iconographically interesting AlidadeLange in 1991 enriched the Prado’s small Dutch pieces in the collection. After ascending to the throne, portrait gallery. Also dating from that year is the Charles ivexpanded the Dutch holdings with Oldman acquisition of the Stilllifewithanimals by Melchior readingbycandlelight , one of Godfried Schalcken’s charac - d’Hondecoeter. Lastly, 2000 saw the acquisition of Adam teristic studies of artificial lighting, and Beachwithfisher - Willaerts’ BattleofGibraltar . men by Adam Willaerts. In 1819 the Museo del Prado opened the first rooms The incorporation into the Prado in 1872 of the devoted exclusively to Spanish painting, and in 1830 holdings of the Museo de la Trinidad – works from the Flemish and Dutch rooms. The reinstallation of churches and monasteries and convents disentailed in the galleries from the 1940s on, however, had negative the 1830s – brought only two new additions: Themetal repercussions for the Dutch painting. As a result of this serpent by Cornelis Cornelisz. van Haarlem, a copy of gradual loss of exhibition space, the 17th-century Dutch an engraving of the no longer extant original Fortune collection is the Prado’s “great unknown”. bestowingherfavors ; and Hendrik van Minderhout’s ChristtheRedeemerprocessioninAntwerp,27August1685 . Teresa Posada Kubissa is curator of Flemish paintings and Northern Throughout the 19th century this core of Dutch Schools (to 1700) at the Museo Nacional del Prado in Madrid and a painting was increased by a considerable number of codar t member since 2004. pictures through bequests and gifts. Unfortunately, the only ones still listed as Dutch are the Navalbattle , now attributed to Aert Anthonisz., which entered the museum in 1889; and Inthemeadow , a dubious original by Paulus Potter, and Gerhard Jan Palthe’s Youngdrafts - man , which joined the collection in 1894. The 20th century saw the influx of a few significant

Phillips Wouwerman, Huntingpartyandfisherman , Adam Willaerts, Beachwithfisherman , 1627, Museo ca. 1660-62, Museo Nacional del Prado, Madrid, Nacional del Prado, Madrid, inv. no. p-1899 inv. no. p-2147 16 Art, music and spectacle in the age of Rubens Nancy Kay c o d a r t C o u r a n t 2 1 / s p r i n g 2 0 1 1 / c u r a t o r ’ s c a s e

On 16-17 April 2010, the Harvard Art Museums, – princes needed music like air for breathing.” However, Cambridge, ma, hosted the m. Victor Leventritt sympo - as no musical score for this particular entry has survived, sium entitled Art,music,andspectacleintheageofRubens . he turned to known local and regional traditions, Anna Knaap, Theodore Rousseau Postdoctoral Fellow archival evidence and suitable comparative material to and codar t member organized this event and the design a program of old music that closely parallels what related exhibition, RubensandtheBaroquefestival Ferdinand and his audience probably heard that day. (19 March-29 August 2010). The symposium focused Three musical groups – TheImperialTrumpets (Boston), on a masterpiece in the museums’ collection, Peter Paul The7HillsRenaissanceWindBand (Somerville), and Rubens’ oil sketch entitled ThevoyageoftheCardinal- CamerataTrajectina (Utrecht) – joined him on stage to InfanteFerdinand,with NeptunecalmingtheTempest (1635) , perform these works on period instruments, and led which served as a preliminary study for the left wing of some spirited political songs that resulted in full the Stageofwelcome . Constructed out of painted wood audience participation. and canvas paintings, the Stageofwelcomewas one of The next day, a packed auditorium heard nine more the nine temporary arches and stages designed by superb presentations ranging from economic and Rubens for the triumphal entry of the Cardinal-Infante intellectual history, to traditional, classical and modern Ferdinand, brother of the Spanish king, into the city aspects of the design of the overall visual and theatrical of Antwerp in 1635. Dr. Anna Knaap (Harvard Art program. Dr. Knaap situated the modest Fogg oil sketch Museum/Fogg Museum, Cambridge, ma) invited nine into the context of the elaborate decorative program distinguished speakers from different disciplines to that the city of Antwerp entrusted to Rubens for the explore the rich historical, musical, theatrical, classical, Joyous Entry of 1635. This included nine monumental and art historical context of the triumphal entry. The apparati – temporary stages, arches and porticoes. Like result was an absolute triumph and the timing of this most entries, the cost for the host city was enormous event was brilliantly conceived. It not only marked but considered essential for establishing a good relation- the 375th anniversary of Ferdinand’s entry, but also ship with their new Spanish sovereign. Ironically, these positioned the ideas that it stimulated into the larger extraordinary staging devices were only on public display movement of Late Medieval and Early Modern studies for six weeks before being dismantled, a few pieces in ceremony and public spectacle. dispersed, and the bulk of the material sold for scrap. On opening night, Louis Grijp (Utrecht University, However, the city preserved the memory of this special Utrecht, and Meertens Institute, Amsterdam) began by event by commissioning a luxurious festival book called claiming, “one could not receive a prince without music the PompaintroitusFerdinandi (1641). Jan Caspar Gevaerts,

Theodore van Thulden after Peter Paul Rubens, Stageofwelcome , Peter Paul Rubens , Neptunecalmingthetempest , 1635, Harvard Art Museums, from Gaspar Gevartius, PompaIntroitusFerdinandi , Houghton Library, Fogg Art Museum, Cambridge, Alpheus Hyatt Purchasing Fund, inv. no. 1942.174 , Harvard University, Cambridge, Typ 630.41.423 p photo: Rick Stafford © President and Fellows of Harvard College city archivist, antiquarian and friend of Rubens, wrote Dr. Ramakers argued that together with the use of 17 the text and Theodoor van Thulden engraved reproduc - older civic floats, these performances gave the masses tions of Rubens’ designs. The copy in Houghton Library a language of celebration they understood. Anne (Harvard University, Cambridge, ma) was featured in the Woollett (J. Paul Getty Museum, Los Angeles, ca, and corresponding exhibition with the Stageofwelcomeon also codar t member) complemented this quite nicely display. It was placed next to the Fogg oil sketch for the by highlighting the most innovative formal aspects of left wing of this same stage and together they provided Rubens’ designs that replaced real human actors with

each speaker with a common point of entry and return. boldly painted canvases and panels. The artist also intro - c o

Jonathan Israel (Institute for Advanced Study, duced a new tripartite form for the Stageofwelcomeand d a Princeton, nj) continued by considering the relation- composed all of his images with dynamic perspectives r t C

ship between Rubens’ designs and Antwerp’s struggle that were designed specifically with the prince in mind. o u r a

to restore its dominant position in world trade, which Frank Fehrenbach (Harvard University, Cambridge, n t 2 was severely diminished as a result of a long war with MA) and Caroline van Eck (Leiden University, Leiden) 1 / s p the Dutch. This was expressed in a number of allegories both approached the topic from the perspective of art r i n g

and personifications that both celebrated Ferdinand’s and architectural theory. Dr. Fehrenbach concentrated 2 0 1 recent victory over Protestant forces at Nördlingen on how visiting sovereigns conveyed their unique power 1 / c

(depicted in the right panel of the Stageofwelcome through the careful manipulation of stasis and move - u r a

opposite the Neptune scene) and drew attention to the ment during ritual moments. In effect, they became t o disastrous results of the Dutch blockade of the Scheldt “living statues” that had the power to bring peace or r ’ s

River. Many of the other speakers returned to the icono- incite war at their command. Dr. Van Eck focused her c a s

graphy of hope as manifested in the decorations and attention on snarling beasts, grotesques, herms, and e Pompa book. Ferdinand did indeed begin plans to build a other fantastic creatures that populated the liminal new waterway called the FossaEugeniana , later Mariana , spaces or edges of the temporary architectural structures. which would have connected the Rhine and Maas rivers With Serlio as her guide, she interpreted them as the and restored free access to the city. This project was never ritual blurring of boundaries between civilization and completed though and the blockade remained in place wilderness, the living and the dead - thus strengthening for the next few centuries. the link between Ferdinand and his royal ancestors and Peter Miller (Bard Graduate Center, New York, ny) heightening their overall impact. turned to the correspondence between Rubens and the The Harvard Art Museums are to be complimented French scholar and antiquarian, Peiresc, to uncover the for bringing together such an eminent group of scholars depths of the artist’s interest and knowledge of Stoic and for encouraging them to bring their expertise to philosophy and ancient iconography. Here, he found bear on one of the finest works in their collection. By antique sources for unusual attributes that Rubens used looking at Rubens’ sketch from a variety of disciplinary to distinguish the three winds depicted in the Neptune perspectives, the papers provided a much fuller under - scene. The passion both men shared for collecting ancient standing of the work’s artistic significance and historical coins and gems in particular inspired a gem book that and ritual context. As such, the symposium offered a was never fully realized. Nevertheless, this project perfect model of how university art museums can serve underscores the significance of the 17 ancient coins as catalysts for interdisciplinary research in order to that Carmen Arnold-Biucchi (Harvard Art Museums, advance the knowledge of works of art in their care. Cambridge, MA) selected for the exhibition and her discussion of the 85 engraved numismatic illustrations Nancy Kay is professor of art history at Merrimack College in in the Pompa . Another classicist, Michael Putnam (Brown North Andover, ma. University, Providence, RI), found more than 20 unmis - takable allusions to Virgil in the text by Gevaerts. He was able to refute John Rupert Martin’s long held assertion that the passage illustrated in the Neptune scene, Virgil’s Aeneid (1:125-143), was not alluded to in Gevaert’s text. Bart Ramakers (Groningen University, Groningen) focused on the literary culture of Antwerp and the often- overlooked contributions to the 1635 entry of two local rhetoricians’ guilds. Unlike those designed by Rubens, these followed the traditional tableau vivant forms. 18 George Keyes , interviewed by Victoria Sancho Lobis

George Keyes received his Ph.D. from the University Moreover, some institutions have succumbed to the of Utrecht, Utrecht with his dissertation on Cornelis idea that certain artists will draw large audiences. It Vroom,marineandlandscapeartist. He worked as a lecturer should be equally appealing to deal with art that is less

c at Queen’s University in Kingston, Ontario and was in the mind’s eye of the general public; Barbizon School o d a collaborator of F. W. H. Hollsteins’DutchandFlemish artists, for example, should be every bit as interesting a r EngravingsandWoodcuts1450-1700 at Antiquariaat as the Impressionists. t C

o A. L. van Gendt b.v., Amsterdam. Keyes was chief curator Trying to present blockbuster exhibitions can be u r a

n at the Detroit Institute of the Arts since 2002 and frustrating for museums that want to be part of the big t 2

1 Elizabeth & Allan Shelden curator of European paintings leagues but cannot compete in terms of securing major / s p r since 1994. He retired in December 2008. Keyes has loans or reaching a critical mass for an exhibition with i n g

2 published widely on 17th-century Dutch art amongst important works from their own collections. When you 0 1

1 other topics. don’t have the resources to reach that level of ambition / c u for planning major loan exhibitions, you need to think r a

t Tellmeaboutyourcurrentprojects .I am currently working more creatively about how to use your permanent collec - o r on two different exhibition projects. The first relates tion. ’ s i to Rembrandt’s image of Christ, predicated on series On balance, what I came to realize when I was at the n t

e of small panel paintings from the 1640s and 1650s Minneapolis Institute of Arts was that we had to become r v (RembrandtandtheFaceofJesus ; to be shown in the more sophisticated in relying on our own collections, i e w Musée du Louvre, Paris, the Philadelphia Museum of a philosophy that deepened when I went to the Detroit Art, Philadelphia, and the Detroit Institute of Arts Institute of Arts. We had to learn how to utilize our Museum, Detroit, 2011-12). Works will come from the own collection more effectively, and devoted most of Fogg Museum, Philadelphia, Paris, and Detroit. It is a our energy to reinstalling the permanent collection. complicated, very theologically based exhibition. We Deviating from traditional, less accessible ways of are examining Rembrandt’s evangelical intentions and presentation, we treated each part of the collection as his representation of Christ as an object of meditation. a special exhibition to create more sex appeal. I am also contributing to the RembrandtinAmericashow, which will explore the American tradition of collecting Howdoyouenvisiontheyearsaheadformuseums,afterthe Rembrandt paintings. It will be on view in Cleveland and recentfinancialcrisisandtheslow-movingrecovery? We are Minneapolis as well as at the North Carolina Museum in for some tough times. I know through my involve - of Art in Raleigh. ment with several different institutions how serious the need for fundraising is. What is challenging for Inthecourseofyourcareer,whichchangeshaveyouobservedin museums is that charity goes in strange waves: there howexhibitionsofthisscaleareorganizedandpresented? may be a focus on museums, then on performing arts, Large-scale exhibitions have become much more difficult then on health care. In the current financial climate, to organize. Insurance valuations have gone into the utilizing permanent collections is so important. stratosphere and lenders of works on paper have become Museums do not necessarily need more art, they need chary about lending to more than one venue, so there the right kind of art. I was not afraid of deaccessioning, is a question of which object goes where. Engineering and think I helped reduce the collection significantly at loans has been terribly challenging, in part because there Minneapolis, deaccessioning paintings as well as objects have been so many recent Rembrandt shows. One of such as frames. As a result, we were able to put the money the frustrating aspects is that people sometimes lend into a handful of really important works that enhanced their art for political reasons whereby material is then the collection. It is a time of retrenchment. As my wife not available for another project that might have been says, there is nothing like a crisis to clean up your act. a more meritorious choice or would have provided a Museums will have to make some hard choices in deter - deeper scholarly context for a particular work to be mining what their priorities are for the future. shown. The other complicating wild card is the issue of Holocaust-era provenance research. Whatwouldyouidentifyasthemostimportantcriteriafor deaccessioning? It depends on the institution, its size and Manymuseumshaveinvestedindevelopingsizableeducation its history. As a rule, I would never deaccession against departments.Howdoyouthinkthishasimpactedthejobofa expertise. You need to know what you are doing. When I curatorinpreparingexhibitions? There is so much apparatus arrived in Detroit, we were working on a whole series of that goes along with organizing exhibitions now. catalogues, and Roger Ward at the Nelson-Atkins said that you don’t want to catalogue something you don’t Doyouseethisroleforcuratorsasrelatedtothecurrenttrends 19 think should be in the collection. I agreed with that inmuseumeducation? Curators need to wake up to the principle and applied it to objects such as works by reality that a museum has to promote itself and find very obscure painters, and works that were badly com - ways to serve novice visitors. Technical jargon does not promised because of damage and couldn’t be brought mean a thing to them. For instance, with respect to the back to life. In Detroit, I edited 40 Dutch paintings out 18th-century French decorative arts collection in Detroit, of the collection after reaching consensus among we talked about how objects were used in their period

colleagues; these paintings would have undermined rather than fine points of style. We used the collection to c o the overall quality of the collection. Furthermore, main - narrate a typical day in the life of European nobility. d a taining material in storage has a price tag; the standard r t C

price for storing a cabinet-size picture is $ 250 per year. Whichphaseofplanningorrealizinganexhibitiondoyoufind o u r a

At the other end of the spectrum, many American mostrewarding? The ability to see and experience what n t 2 museums have made mistakes in deaccessioning against makes art wonderful. I love giving tours and talking from 1 / s p expertise. Institutions can be so eager to acquire a so- the objects. r i n g

called masterpiece by a given artist that they will de- 2 0 1 accession highly significant works by major figures. Whatdoyouconsideressentialtoacurator’straining?While I 1 / c

was living in the Netherlands (for 11 years), I used the u r a

Whichlessonsrelatedtoacquisitionsdidyouperhapshaveto photo archives of various dealers. In one of them, the t o learnthehardway? Since we never had enough money for paintings restorer was working in the same space. It was r ’ s acquisitions, I felt I was always doing it the hard way. an amazing opportunity to see works of art that had been i n t

One thing I observed in my role as advisor to private battered during the wars. When I arrived back in the e r collectors is that one should be willing to negotiate with United States, I was lucky to be invited to participate in v i e dealers - never be too hard-nosed. If you take on too one of the weeklong seminars designed by John Brealey w much of an adversarial role, they will not treat you as to expose curators to issues of conservation. I think it is a premier client. I also favored buying against fashion, very important not to be afraid of the conservation lab. which worked very well. For example, Dutch marine I wish younger curators could be given time off to go art had not yet been discovered and we were able to to Europe just to spend three months in a collection. And acquire a Ludolf Backhuysen for a price that we would also that there were more exchanges between American never see today. The same occurred with a late Gerrit and European museums (not to mention among Dou because it was a grisaille and we therefore got it for American museums) to allow curators more opportuni - an advantageous price. ties simply to look at art. I had the crazy idea that American museums should establish boarding houses in Whatkindofadvicewouldyouoffertoacuratorjuststarting the major European cities, on an equitable, first-come, toproposeacquisitions? It depends on the area. I had a first-served basis. guideline that worked well for buying Old Masters: I would say to myself, would I bother to look at this if it Whatrolehascodar tplayedinyourcareerandwhatkindof were hanging on the wall at the Wallace Collection in opportunitiesdoyouthinkcodar tpresents? codar t is a London? I would do the same in New York – is this a wonderful organization and provides a lovely way of picture I would pay attention to in the Metropolitan meeting colleagues. When I needed to travel behind the Museum of Art’s galleries if it were hanging there? iron curtain, I faced tremendous challenges securing The most important criteria are quality and condition. visas and organizing access to collections. After the iron You don’t need to get a big name. A terrific picture by curtain came down, codar t was instrumental in a lesser-known artist can be every bit as magical to a bringing curators from Central and Eastern Europe viewer as a painting by a heavy hitter. together with curators from the United States and Western Europe. codar t engineered opportunities for Doyouthinkthereisaspecialchallengeingettingageneral curators to travel to Central and Eastern Europe and also audienceinterestedinOldMasterscomparedto,say,contem- for curators from Central and Eastern Europe to become poraryart?The trick is to let members of a general familiar with collections in the West. I would like to have audience develop an intimate relationship with a work gone on every one of the study trips; they provide a fan - of art, with all its unique qualities. The hardest thing is tastic forum for sharing ideas and concerns and a means getting them to the first stage, where they are willing to of getting to know more curators in the field. jump into the unknown. We are trained to see elements of a work of art that a novice member of the general Victoria Sancho Lobis is curator of the print collection and fine art public may not immediately perceive. We can help galleries at the University of San Diego, California and a codar t expose them to quality and technical virtuosity. member since 2009. 20 codart activities codart dertien reviews

codar t dertie n congress of their achievement. Their experience was Review by Maria Ordeanu, Muzeul Na t¸ional in Rotterdam, 30 May-1 June 2010 driven by their need to control and record a Brukenthal (National Brukenthal Museum), particularly large collection. Sibiu Review by Lloyd DeWitt, Philadelphia In her Market table on the restoration of

c Museum of Art Rembrandt’s PortraitofNicolaesvanBambeeck I have been an enthusiastic participant of o d in Brussels ,Liesbeth de Belie (Koninklijke codar t since its founding in 1998. In the a r As a leader in self-transformation, the Museum voor Schone Kunsten van België, beginning, codar t was the only pathway t C

o Museum Boijmans Van Beuningen was a Brussels) explained the pragmatic, sensitive open to curators of Eastern European u r a

n fitting host for this codar t congress on approach to supporting the canvas of this, countries to become acquainted with Western t 2

1 Digitization:blessingorburden? As Director the sole surviving, unlined painting in European and American museums with / s p r Sjarel Ex explained in his welcoming remarks, his oeuvre. The Market table meeting on Dutch and Flemish art. The codar t network i n g

2 the museum has planned reinstallations of frames presented by Eric Domela Nieuwen- provided an invaluable bridge of knowledge, 0 1

1 its entire collection, transforming itself on huis (Rijksdienst voor het Cultureel understanding and cooperation. Less visible / c o schedule. We look forward to Peter Hecht’s Erfgoed, Rijswijk) buzzed with ideas about but also very important were the East-to-East d a

r rehang in April 2011. documenting and repurposing frames, as talks during informal codar t meetings. t

a Amy Walsh (Los Angeles County Museum of well as the reliability of information on Sharing experience was sometimes easier c t Art [ lacm a]) opened the codar t dertie n period frames, and avenues for new research. among curators from the same area who did i v i

t congress on behalf of codar t by raising the The panel on Digitization on Tuesday not need to explain the context. codar t has i e

s questions that were, indeed, guiding themes morning was chaired by the Rijksmuseum’s also opened up a huge window for me with its of the subsequent discussions and talks. Who Huigen Leeflang, who compared the rapid excellent website, notifications of upcoming controls digital images, curator or registrar? progress made by museums in cataloguing exhibitions and events, and the Courant. How is content kept alive – by the curator or prints electronically to the glacial pace of the The theme of each year’s congress has always education department, and to whom is web Hollstein project. Pierre-Yves Desaive outlined enriched my knowledge of the art and culture content addressed – everyone, the scholar, how the Koninklijke Musea voor Schone of the Netherlands. In my opinion, however, pupil or student, or should museums provide Kunsten in Brussels put significant parts of the codar t dertie n congress theme information at different levels? Who controls their collections online, a long process in “Digitization: blessing or burden?” was the the website? How is it maintained? which platform changes resulted in data loss: most interesting to date. The reason for this In highlighting the Boijmans Museum’s a familiar comment. He pointed to the lessons is because digitization – a blessing an d a digital initiatives, Peter van der Coelen and learned about standardization and consistency burden – has become a priority for curators. Alexandra Gaba-van Dongen announced the in data input. Judith van Gent of the Thus, I was very eager to hear about the alm a website linking artifacts in their collec - Amsterdam Museum described the new achievements in this area made by the larger tion of pre-industrial design with paintings database, which has two interfaces – one institutions represented at the congress such showing the objects, and a very nice postcard public, one professional – and that is main - as the British Museum, the Museum Boijmans was circulated to promote alm a. This is tained by a separate documentation depart - Van Beuningen, the Amsterdam Museum and the third in a series of media initiatives that ment. Marco de Niet of Digitaal Erfgoed the Koninklijke Musea voor Schone Kunsten includes bringing the collection catalogue Nederland noted the coming shift from the van België. As a prints and drawings curator, online. They touched on the long history of currently dominant use-generated content I was particularly keen to hear what was documenting the artifact database, raising to computer-generated content, as well as involved in the complex process of digitizing what became a sub-theme of the congress: the tension between object-focused curators the collection of prints as outlined by the the advantages of starting late. and the other, user-focused departments. He project coordinators Antony Griffiths and Antony Griffiths of the British Museum discerned five tasks: availability, description, Thomas Döring. The vast experience they explained in elaborate and entertaining organization, control and durability. Thomas accumulated and communicated to all the detail the long and circuitous history of Döring of the Herzog Anton-Ulrich Museum participants made me consider what I should electronic documentation at the British in Braunschweig told of the joint development do or not do in digitizing our collections. Museum, resulting in their new and remark - of his museum’s database with Wolfenbüttel, The evaluation of the results of digitization, ably rich database. This kind of metahistory a project that also skipped the in-house model a work-in-progress in many museums, was was the theme of the congress. Griffiths also stage and went straight to web. a valuable guide for how to avoid certain highlighted the ways in which latecomer The wonderful histories that many gave mistakes in compiling an accurate (to the advantage was manifest in the British of their museum websites underlined the extent possible) database. Museum experience, especially in recounting transition that has taken place. Museum At this time, the curators of the National tales of data loss during platform transitions. websites now frequently go beyond helping Brukenthal Museum Sibiu are completing In this case, however, the wealth of experience visitors prepare for their visit, forming instead the National Database for Cultural Heritage, gained at least partly explains the authority a new kind of museum and experience. named docpa t, which is being made codart activities codart dertien reviews 21

available online by cime c (Institute for Dutch and Flemish art. Accessibility is vital installation: a historical presentation in an Cultural Memory). The inventory of the to me, as I come from an area with no libraries old hospital hall, using added museum walls national movable cultural heritage has records in a position to acquire the recent literature. and modern showcases to create a routing of about 24,000 items, classified as Thesaurus The codar t forum is important as well in leading to the apotheosis of the visit, namely

or Fund of the National Cultural Heritage. this age of rapid communication. However, six altarpieces by Memling grouped together c o

A small number of them, approximately 120, it is not yet an active part, probably because in the chapel at the end. Jos Koldeweij, d a are Dutch and Flemish paintings in Romanian we have too little time and would rather ask professor of medieval art history at Radboud r t C

collections. While we are burdened by the the question directly to the right person. University, Nijmegen, pleaded for a radical o u r a

task of constantly providing information to Finally, I also benefited immensely from change to this approach, since the monu- n t 2 the nationally administered (i.e., centralized) the excursion to the Atlas van Stolk Museum mental building is at odds with a display that 1 / s p database, a time-consuming system, we as it gave me new ideas on how to organize behaves simultaneously like a “Memling r i n g

began to complete an electronic inventory of our collections of prints and drawings to offer Museum,” an “Art Museum” and a “Hospital.” 2 0 1 the Brukenthal museum’s collection (data specialists and a broader public an idea of the In his view, the main entrance should be 1 / c and images) administered by the museum. history and culture of Transylvania, formerly moved to the back of the building, the hall o d a

The first stage was completed in 2009, with a principality within the Habsburg Empire freed of museum architecture and the large r t

the basic database of European painting, and part of Romania since 1918. Memling altar in the chapel placed elsewhere a c including close to 450 records of Dutch and as it blocks the view of the baroque setting t i v i

Flemish paintings. This year the Dutch and behind it. The current entrance could be t i e

Flemish prints are being entered with text codart light Brugge, 8 November 2010 turned into a huge visual “appetizer” for s and linked images. The digital records are passers-by. And, a large part of the permanent presently only for in-house use. We still have Review by Leonore van Sloten, Museum collection could be installed on the upper floor work to do for the following step, namely het Rembrandthuis, Amsterdam and to restore the great hall’s sense of space. online publication. Therefore the experience Norbert Middelkoop, Amsterdam Museum The subsequent discussion proved fruitful of other museums in this matter was of and touched upon a number of aspects worth particular interest to me. This edition of codart light , hosted by considering. The general consensus was that The interactive searchable catalogue project the Musea Brugge not only for codar t the current display is overcrowded and the of all the paintings of the Brukenthal members but also the Contact Group of Early routing too complex. Suggestions for solving Museum, as recorded in 1909, was undertaken Netherlandish Painting and the Historians these problems ranged from: “The current by codar t in cooperation with the National of Netherlandish Art, attracted a fine mix of permanent exhibition is far too extensive; Brukenthal Museum. The online catalogue more than seventy curators, academics and show a smaller selection of the collection and was the result of codar t vie r: Dutch and city officials. The program was twofold: a perhaps move most of it to the attic for special Flemish art in Romania, 11-13 March 2001, morning session on the presumed necessity presentations,” to “Make the building feel Maastricht and Cologne, and was re-launched of reshuffling the permanent presentation right to the visitor: be more clear about its in September 2007, in Ghent. However, the lack at Sint-Janshospitaal, formerly known as former function as a hospital,” and “Take of images significantly reduces the usefulness the Memling Museum, and an afternoon away the current showcases and confusing of the catalogue. Moreover, most people find dedicated to the arsnova displayed at the museum architecture. Then reconstruct what the 1909 data non-relevant for the research Groeningemuseum – the mega-exhibition the interior looked like, using the painting as it draws attention to matters already known VanEycktoDürer . with a view of the hospital interior as the key and corrected a long time ago. To make this Strolling through the magnificent hall of to a clearer permanent exhibition. Showcases research tool really useful we should perhaps Sint-Janshospitaal, participants might easily in the form of box bed-like structures – like think of another method of cooperation. The have questioned the advisability of changing those in the painting – could be used for basic database with images of the works in a museum display less than ten years after it objects related to the hospital’s history.” the National Brukenthal Museum might be opened to the public. However, this was in A plea was made to “Help the visitor to step a better starting point. line with the invitation of Manfred Sellink, into medieval times, and take them from In any case, the codar t dertie n director of the Musea Brugge, to hold an open there to the various treasures of the collection, congress theme helped me identify the discussion on all the options, although not such as the Memlings.” difficulties as well as the benefits of this before two statements on the issue were made All in all, this codart light was highly process far more clearly. I participated in by members of a so-called “think tank” of successful in its focus on both permanent the Market tables 9 ( e-Publishing: a new specialists. Hilde De Bruyne, archivist-curator and temporary presentations. Studying and journal dedicated to Netherlandish art) and at the Openbaar Centrum voor Maatschap- discussing them with colleagues at the 12 ( codar t forum: brainstorm with the pelijk Welzijn (Public Center for Social Action), invitation of a hosting museum offers an webmaster). e-publishing is a major step sketched the history of the building and excellent model for future editions. forward that will greatly benefit research on outlined the project leading to the current 22 faits divers

Appointments debated for some time, could now be given our heritage is highly important to the ClaireBaisier was appointed curator at the to a different master on solid grounds. The European ideal and stimulates the European Museum Mayer van den Bergh in Antwerp. picture in question is a nocturnal scene with intercultural dialogue. Therefore, European BenvanBeneden was appointed curator ships acquired as a work by Lieve Pietersz. citizens’ access to our common cultural

c at the Rubenshuis in Antwerp. Verschuier (1627-1686) in 1993. However, it heritage should be enhanced by improving o d AlanChong , previously William and Lia was reattributed by Van der Zeeuw, with the mobility of collections between member a r Poorvu curator at the Isabella Stewart Gardner some reservation, to Egbert van der Poel (see states. t C

o Museum in Boston, was appointed director of N. Schadee [ed.], RotterdamseMeestersuitde The Collection Mobility 2.0/Lending for u r a

n the Asian Civilisations Museum in Singapore. GoudenEeuw , Rotterdam 1994, p. 335). This Europe project aims to introduce into everyday t 2

1 DavidFranklin , previously deputy director Rotterdam painter is known primarily for museum practice the most recent concepts, / s p r and chief curator of the National Gallery of his surprising light effects, an interest he standards and procedures on the lending and i n g

2 Canada in Ottawa was appointed director shared with other local painters. Fires, “mane- borrowing of museum collections. Many of 0 1

1 of the Cleveland Museum of Art. schijntjes” (moonlit scenes) and sunsets were these concepts, standards and procedures have / f a FransGrijzenhout has been appointed as frequently rendered by Rotterdam artists, already been developed within the context i t s the new professor of early modern art history including Egbert van der Poel, Cornelis of The Action Plan for the euPromotion of d i v at the University of Amsterdam. He succeeds Snellinck, Claes Jansz. van der Willigen, Philips Museum Collections’ Mobility and Loan e r

s Eric Jan Sluijter, who retires in April 2011 after van Leeuwen, Willem Verboom, Cornelis Standard (2006). having held the chair since 2002. Saftleven and Adam Colonia. Although the To achieve this an innovative training SandraJanssens left the Musea Brugge to painting fit into Verschuier’s oeuvre in terms package has been developed covering the become director of the Zilvermuseum of subject matter, its execution deviates con - best standards and practices for lending and Sterckshof in Antwerp where she succeeds siderably and so the attribution to him had borrowing between museums in different acting director Wim Nys. to be rejected. Who, then, made it? The first member states. The package will be made VéroniqueVandeKerckhof resumed her clue to a possible solution was found in the available to each member state on a “train the position at the Rubenianum in Antwerp lower left corner of the painting, in the cows, trainers ” principle: Collection Mobility 2.0 after temporarily working at m in Leuven. sheep and a cattle driver depicted there. provides three three-day expert courses RuudPriem , previously curator of Old Marijke de Kinkelder, curator at the rk d in covering subjects such as insurance, legisla - Masters of Museum Het Valkhof in Nijmegen, The Hague specialized in 17th-century land - tion, indemnity, long-term loans, standards was named artistic director of the Museum scape painting, namely, recognized the hand and safety. The courses are open to professional Catharijneconvent in Utrecht . of Adam Colonia (1634-1685) in this section. delegates from each country. RonSpronk , professor of art history at Further investigation revealed that other A new digital platform will be set up Queen’s University in Kingston was named passages (the ships, cloudy sky and swell of to sustain the information of the training Jheronimus Bosch Chair at the Faculty of Arts the sea) were also comparable to the work package and to centralize the relevant infor - at the Radboud University in Nijmegen as of of this Rotterdammer, and the painting in mation in a practical and accessible way for 1 September 2010. the Historisch Museum Rotterdam could be trainers, trainees and other professionals. JamesA.Welu , director of the Worcester Art convincingly given to Adam Colonia. Moreover, a handbook will be published Museum for more than 24 years, stepped down Marijke C. de Kinkelder, curator of 17th- containing theoretical background informa - in October 2010. Welu will remain director century Dutch and Flemish landscape and tion on the subjects covered by the training emeritus of the museum. architecture painting, rk d (Netherlands program. Institute for Art History), The Hague For additional information on the project, the training package or the A newly discovered painting handbook, please visit: by Adam Colonia Mobility 2.0/Lending forEurope, www.lending-for-europe.com. Or contact During the codar t dertie n congress in 21st Century Frank Bergevoet, project coordinator, Rotterdam, participants had the opportunity A group of nine highly ranked institutions Rijksdienst voor het Cultureel Erfgoed of visiting the Historisch Museum Rotterdam. from eight European member states received (Netherlands Institute for Cultural Curator of art and applied art Liesbeth van a grant from the European Commission for Heritage), Amersfoort : der Zeeuw received eight curators of different their project Collection Mobility 2.0/Lending [email protected] nationalities. On the tour past the racks of for Europe. The grant was awarded within the paintings many lively discussions arose context of the European Culture Program Dieuwertje Wijsmuller, office manager , regarding their attribution, subject matter (2007-13). Collections Mobility 2.0/Lending for and provenance. Just how useful such gather - Exhibitions and museums play a vital role Europe 21st Century/Rijksdienst voor het ings can be was underscored by the fact that in spreading knowledge of and appreciation Cultureel Erfgoed (Netherlands Institute one painting, whose attribution had been for our richly varied European culture. Sharing for Cultural Heritage), Amersfoort 3

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f A codar t m 24 upcoming exhibitions

Museums have announced 34 exhibitions on Hamburg , Hamburger Kunsthalle, Bruegel, Maastricht , Bonnefantenmuseum, Dutch and/or Flemish art to open between Rembrandt&Co:niederländischenZeichnungen SchattenuitMoskou:Hollandsetekeningenuithet February and November 2011. They are 1450-1850(Bruegel,Rembrandt&Co:Dutch PushkinMuseum(TreasuresfromMoscow:Dutch arranged by country and city in alphabetical drawings1450-1850) , 17 June-11 September 2011 drawingsfromthePushkinMuseum) , 17 March-

c order in the list below. Munich , Alte Pinakothek, Vermeerin 12 June 2011 o d München:KönigMaxi.JosephvonBayernals Nijmegen , Museum Het Valkhof, a r belgiu m SammlerAlterMeister(KingMaxiJosephof Mythenvanhetatelier(Studiomyths) , t C

o Kortrijk , Broelmuseum, RoelandtSavery. BavariaasaCollectorofOldMasters) , 4 February-8 May 2011 u r a

n VisionairhofschilderinPraag (RoelandtSavery . 17 March- 19 June 2011 Rotterdam , Museum Boijmans Van t 2

1 VisionarycourtpainterinPrague) , 20 April- Beuningen, Decollectieverrijkt(Thecollection / s p r 11 September 2011 japan enriched) , 16 April 2011-31 December 2012 i n g Pierre-JosephVerhaghen:een 2 Leuven , m, Tokyo , National Museum of Western Art, 0 1

1 Brabanderindewereld/Codavandeeeuwvan Rembrandt:thequestforchiaroscuro , 12 March- united kingdom / u p Rubens(Pierre-JosephVerhaghen:aBrabanterin 12 June 2011 Edinburgh , National Gallery of Scotland, c o

m theworld/CodaoftheageofRubens) , 1 April- Dürer’sfame , 9 June-11 October 2011 i n 1 August 2011 the netherlands London , Dulwich Picture Gallery, Presiding g

e Leuven , m,IsalaVanDiest,15 September- Amsterdam , Museum van Loon, Thérèse genius:June:Rembrandt , 1 June-30 June 2011 x h 1 December 2011 Schwartze:deAmsterdamsefinefleurgeportretteerd London , Dulwich Picture Gallery, Presiding i b i (ThérèseSchwartze,theAmsterdameliteportrayed), genius:August:VincentvanGogh t , 1 August- i o france 11 February-3 May 2011 31 August 2011 n s Paris , Institut Néerlandais, Maîtresdes Amsterdam , Rijksmuseum, AnselmKiefer London , National Gallery, Man,mythand Pays-Bas1500-1700:dessinsdelaKunsthallede endeNachtwacht(AnselmKieferandtheNight sensualpleasures:JanGossaert’sRenaissance, Hambourg(Dutchmasters1500-1700:drawings Watch) , 7 May-30 June 2011 16 February-22 May 2011 fromtheKunsthalleHamburg) , 24 March- Amsterdam , Rijksmuseum, Rembrandt& 22 May 2011 Degas , 2 August-23 October 2011 usa Paris , Institut Néerlandais, Larenaissance Dordrecht , Dordrechts Museum, Cambridge , Harvard Art Museum/Arthur deScorel:lesretablesdeMarchiennes(Scorel’s Romantischenachten(Romanticnights) , M. Sackler Museum, Printsandthepursuitof renaissance:thealtarpiecesfromMarchiennes) , 21 June-21 October 2011 knowledgeinEarlyModernEurope , 6 September- 24 March-22 May 2011 Dordrecht , Dordrechts Museum, 10 December 2011 Paris , Institut Néerlandais, Rembrandt JanVeth(1864-1925),een19e-eeuwsnetwerker Detroit , Detroit Institute of Arts ( di a), etsoncercle:dessinsdelacollectionFritsLugt (JanVeth[1864-1925],a19th-centurynetworker) , RembrandtandthefaceofJesus , (Rembrandtandhiscircle:drawingsfromthe 1 November-31 December 2011 20 November 2011-12 February 2012 collectionFritsLugt) , 30 June-2 October 2011 Enschede , Rijksmuseum Twenthe, Philadelphia , Philadelphia Museum Paris , Musée du Louvre, Rembrandtetla NicolaasVerkolje(1673-1746):Defluwelenhand. of Art, RembrandtandthefaceofJesus, 1 August- figureduChrist(RembrandtandthefaceofJesus) , (NicolaasVerkolje[1673-1746]:Thevelvettouch) , 1 November 2011 20 April-18 July 2011 5 February-12 June 2011 Raleigh , North Carolina Museum of Art, Enschede , Rijksmuseum Twenthe, RembrandtpaintingsinAmerica:collectingand german y RembrandtinRijksmuseumTwenthe , 17 March- connoisseurship ,30 October 2011-22 January 2012 Aachen , Suermondt-Ludwig-Museum, 26 June 2011 Salem , Peabody Essex Museum, Leonardoofthenorth:JoosvanCleve , 17 March- The Hague , Mauritshuis, Leveninde Golden:DutchandFlemishmasterworksfrom 12 June 2011 brouwerij:JanSteeninhetMauritshuis(Spiceof theRose-MarieandEijkvanOtterloocollection, Aachen , Suermondt-Ludwig-Museum, life:JanSteenattheMauritshuis) , 3 March- 26 February-19 June 2011 Unpackedforresearch:theearlyNetherlandish& 13 June 2011 Washington , National Gallery of Art, GermanpaintingsfromAachen , 2 July- Leiden , Museum De Lakenhal, Lucasvan GabriëlMetsu , 1629–1667 , 17 April-24 July 2011 2 October 2011 LeydenendeRenaissance(LucasvanLeydenand theRenaissance) , 19 March-26 June 2011

More information on all these exhibitions and other events at www.codart.nl/exhibitions/ Not on the list? Please write to: [email protected]