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Codart Courant 21/ Spring 2011/ Curator’S Collection ” C - a - H O S M I Tc

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in this issue about codar t 2 Old Masters, modern times 3 curator’s news & note s Roelandt Savery: painter 1 t 2 in the services of Emperor Rudolf ii 4 Frescoes after Otto van Veen’s QuintiHoratiiFlacciEmblemata in Bieli n´ ski Palace at r 1 t Otwock Wielki 6 The VrouwMaria and the Braamcamp paintings 8 curator’s collectio n Rijksmuseum Twenthe 10 1 a n Flemish and Dutch Painting at the lw l-Landesmuseum für Kunst und Kulturgeschichte in Münster 12 Dutch painting 0 2 a d g r in the Spanish Royal Collections 14 curator’s case Art, music and spectacle in the age of Rubens 16 curator’s n u George Keyes, interviewed by Victoria Sancho Lobis 18 20 22 i intervie w codart activitie s faits diver s o r o & 23 24 p codart members new s upcoming exhibition s S C c 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.
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  • History in the Making – Isabella

    History in the Making – Isabella

    ISABELLA HISTORY IN THE MAKING FASHION & TEXTILES TEACHERS’ RESOURCE HISTORY IN THE MAKING Key Stage 4 & 5: Art & Design and Design & Technology Also suitable for Higher Education Groups Supported by the Arts and Humanities Research Council with thanks to Kings College London 1 FOREPART (PANEL) LIMEWOOD MANNEQUIN BODICE CHOPINES (SHOES) SLEEVE RUFFS GOWN NECK RUFF & REBATO HEADTIRE FARTHINGALE STOCKINGS & GARTERS WIG SMOCK 2 3 4 5 Contents Introduction: Early Modern Dress 9 Archduchess Isabella 11 Isabella undressing / dressing guide 12 Early Modern Materials 38 6 7 Introduction Early Modern Dress For men as well as women, movement was restricted in the Early Modern period, and as you’ll discover, required several The era of Early Modern dress spans between the 1500s to pairs of hands to put on. the 1800s. In different countries garments and tastes varied hugely and changed throughout the period. Despite this variation, there was a distinct style that is recognisable to us today and from which we can learn considerable amounts in terms of design, pattern cutting and construction techniques. Our focus is Europe, particularly Belgium, Spain, Austria and the Netherlands, where our characters Isabella and Albert lived or were connected to during their reign. This booklet includes a brief introduction to Isabella and Albert and a step-by-step guide to undressing and dressing them in order to gain an understanding of the detail and complexity of the garments, shoes and accessories during the period. The clothes you see would often be found in the Spanish courts, and although Isabella and Albert weren’t particularly the ‘trend-setters’ of their day, their garments are a great example of what was worn by the wealthy during the late 16th and early 17th centuries in Europe.