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  • Posts Tagged ‘Rijksmuseum’

    HAPPY BIRTHDAY MR. REMBRANDT AND THANK YOU

    Saturday, July 15th, 2017

    The Rijksmuseum is celebrating Rembrandt’s anniversary today with the online publication Drawings by Rembrandt.  Born on July 15, 1606 he is regarded as one of the greatest artists in the history of art. The Rijksmuseum has the most important collection paintings, drawings and prints by Rembrandt in the world.

    All drawings by Rembrandt from the Rijksmuseum collection in Amsterdam will now be available to everyone in high resolution.  This is accompanied with the most up to date knowledge by Rembrandt specialist Peter Schatborn and Head of the Rijksmuseum Printroom Jane Turner. From now on, researchers, students and Rembrandt-lovers will gain new insights, knowledge and inspiration by the 64 landscapes, biblical scenes, portraits and everyday scenes of Rembrandt.

    Rembrandt Harmensz van Rijn – Christ appearing to Mary Magdalene as a Gardener c1645 (detail)

    Rembrandt Harmensz van Rijn – Saskia sitting by a window c1638 (detail)

    TEFAF WATERCOLOURS FOR RIJKSMUSEUM

    Sunday, March 19th, 2017

    A unique collection of 750 exquisite watercolours of animals, birds and plants from the late Renaissance period from TEFAF is to be exhibited at the Rijksmuseum in Amsterdam.  The Natural History Paper Museum of Holy Roman Emperor Rudolph II was one of the most extraordinary items on offer at this year’s TEFAF and dates from the late Renaissance period.  The albums were purchased by a private collector from Antiquariat Bibermuehle AG Heribert Tenschert for a seven figure sum and will be on long term loan to the museum.  Compiled between 1596 and 1610 as a compendium of zoology and botany—a Historia Naturalis—by Rudolph II’s court physician, Anselmus de Boodt they have remained together for four centuries. The watercolours are still pristine.

    From common domestic and farmyard animals like dogs, cats, horses and cattle to exotic creatures such as the ostrich, walrus and porcupine and extinct ones such as the dodo and even a dragon ‘drawn from life’, the compendium offers a glimpse of the range of plants, animals and birds believed to exist at the dawn of the Dutch Golden Age. Although De Boodt aimed to supply a faithful ‘scientific’ reproduction of each living thing, the animal illustrations in particular have a lively, humorous air that sets them apart from earlier models.

    The general director at the Rijksmuseum Taco Dibbits said: “This was the absolute sensation at TEFAF. Rarely, if ever does something come on the market that was made for Emperor Rudolph II. The colours are particularly fresh, which makes the drawings lively and attractive to the eye. It’s great that a private collector has made it possible for everyone to admire them.”

    AN 18TH CENTURY MASTERPIECE ACQUIRED BY THE RIJKSMUSEUM

    Wednesday, December 21st, 2016
    Jean-Etienne Liotard (1702-1789) 'A Dutch girl at breakfast', c. 1756-57

    Jean-Etienne Liotard (1702-1789) ‘A Dutch girl at breakfast’, c. 1756-57

    A Dutch girl at breakfast by Jean-Etienne Liotard  is to be displayed at the Gallery or Honour in Amsterdam’s Rijksmuseum from mid-January. An export licence for the work, recently purchased from a private collection where it has remained for more than 240 years, was granted today by the British government. Genevan pastellist Jean-Etienne Liotard (1702-1789) created it in the style of Dutch seventeenth-century masters during a long sojourn in Holland around 1756.  It is one of his few oil-paintings and an important addition to a group of pastels by Liotard in the Rijksmuseum since 1885.

    Taco Dibbits, General Director of the Rijksmuseum said: “A Dutch girl at breakfast radiates the same atmosphere of peace and simplicity as Vermeer’s Milkmaid. In this sensitive representation, the painter allows us to get very close to his subject. As the girl carefully opens the tap of the coffee-pot, she won’t allow herself to be disturbed by the millions of visitors who will come to see her. We are extremely grateful to the funds and private donors who made it possible to acquire this masterpiece for The Netherlands”.

    In this work Liotard reveals himself as one of the earliest 18th-century artists from abroad to put his fascination with Dutch painting of the 17th century into practice. All the characteristics of Dutch 17th-century “genre” are present: the everyday scene, the intimate ambiance, the sober colours, the sophisticated rendering of textures, and the painted church-interior in the background. Nevertheless the furnishings and tableware are all from Liotard’s own time. The mise-en-scène is strongly reminiscent of the well-known interiors of his predecessors Johannes Vermeer, Gerard Dou and Frans van Mieris. Liotard appears to have kept the A Dutch girl at breakfast for himself until 1774, when he included it in a sale of his collection in London. It was bought there by his principal British patron, the 2nd Earl of Bessborough (1704 – 1793), with whose descendants it has remained until now.   The Earl of Bessborough is a title in the Peerage of Ireland. It was created in 1739 for Brabazon Ponsonby, 2nd Viscount Duncannon, who had previously represented Newtownards and County Kildare in the Irish House of Commons.  The 2nd Earl was Whig politician who served as Lord of the Treasury, as a Lord of the Admiralty and as joint Postmaster General.

    ADRIAEN van den VELDE AT THE RIJKSMUSEUM

    Tuesday, August 2nd, 2016

    This summer the Rijksmuseum in Amsterdam is staging the first ever major retrospective of work by Adriaen van de Velde (1636-1672), one of the greatest landscape painters of the Golden Age. The exhibition features sixty paintings, preliminary studies and drawings by the talented artist, who died tragically young. They come from private collections and from museums including the Louvre, the Gemäldegalerie Alte Meister in Kassel, Museo Thyssen Bornemisza Madrid, the Mauritshuis and the British Museum.  Here is a small selection:

    A Recumbent Cow and Three Sheep, Adriaen van de Velde, c. 1671

    A Recumbent Cow and Three Sheep, Adriaen van de Velde, c. 1671

    The beach at Scheveningen, Adriaen van de Velde, 1658.

    The beach at Scheveningen, Adriaen van de Velde, 1658.

    Couple in a Landscape, Adriaen van de Velde, 1667.

    Couple in a Landscape, Adriaen van de Velde, 1667.

    JOINT ACQUISITION OF TWO REMBRANDT PORTRAITS

    Tuesday, February 2nd, 2016
    rem husbandrem wifeThe first ever joint acquisition of two Rembrandt masterpieces by the French and Dutch states was facilitated through Christie’s private sale channel.  The acquisition cost the Louvre 80 million euro and is the largest ever made by a French museum.  They were acquired from the French branch of the Rothschild family. The portraits of Maerten Soolmans and his wife Oopjen Coppit were executed a year after the couple’s wedding in 1634.   They will always be shown together, alternately at the Louvre and the Rijksmuseum, but will be owned separately.  They will be exhibited publicly for the first time at the Louvre in a few weeks time.  They will then be shipped to Holland for restoration.

    ALL VERSIONS OF GIRL IN A KIMONO AT RIJKSMUSEUM

    Wednesday, January 6th, 2016

    An upcoming exhibition at the Rijksmuseum in Amsterdam will bring together for the first time all versions of Girl in a Kimono by the Rotterdam born artist George Hendrick Breitner.  Regarded as an icon of Japonism the works emerged between 1893 and 1896.  The exhibition, which runs from February 20 to May 22, displays the full series of 14 paintings. Included is a hitherto unknown Girl in a Red Kimono from a private collection.  The exhibition will include drawings, sketches and photographs used by the artist in preparation.

    The sitter was Geesje Kwak who posed for the painter between the ages of 16 and 18. From a Zaandam family of bargees she moved to Amsterdam in 1880. Her young, innocent face and slender body contribute significantly to the appearance of delicate sensuality that characterises the entire series.  She posed alternately in a red, a white and a blue Japanese kimono. From the time of his stay in Paris in 1884, where Japonism dominated the fashion scene, Breitner was fascinated by Japanese art.

    George Hendrik Breitner - Girl in a red kimono.

    George Hendrik Breitner – Girl in a red kimono.

    George Hendrik Breitner - Girl in white kimono.

    George Hendrik Breitner – Girl in white kimono.

    BLOCKBUSTER ASIAN TREASURES SHOW TO OPEN AT RIJKSMUSEUM

    Wednesday, August 12th, 2015

    The excitement created by Asian treasures shipped to Holland during the Golden Age is the subject of an upcoming blockbuster show at the Rijksmuseum in Amsterdam.  Asia in Amsterdam Exotic luxury in the Golden Age runs from October 17 to January 17, 2016.  Lacquer work, ivory, silver, silk, ebony, jewellery and enormous quantities of porcelain poured into Amsterdam, the then bustling ‘capital of the world’, to enrich the interiors of the increasingly prosperous Dutch bourgeoisie.

    Chinese blue-and-white porcelain was especially popular. It was much thinner, smoother and lighter than the earthenware made in Holland. The making of earthenware was soon refined in Delft, leading to the famous ‘Delft Blue’, with Chinese origins. Coloured Japanese porcelain first appeared around 1660, imported by Dutch East India Company officials returning from the Far East. This created another sensation and, 20 years later, the exclusive and therefore expensive Kakiemon porcelain was the big favourite among the Dutch elite.  Dutch interiors changed enormously under the influence of the treasures from Asia. Porcelain was displayed on specially designed shelves and consoles. Imported silk and cotton introduced much more colour and variation in the shape of bedspreads, curtains and wall tapestries.

    With 170 objects from China, Japan, India and Batavia the exhibition presents many 17th century paintings: still-lifes and portraits of citizens who had themselves painted among their newly acquired items of Asian luxury. It is being organised in cooperation with the Peabody Essex Museum in Salem, USA. The loan items originate in Moscow, St Petersburg, Versailles, London, Oxford, Madrid and Stockholm.

    Kendi, anonymous, 1580 - 1620

    Kendi, anonymous, 1580 – 1620

    Majolica, anonymous c1630-1650.

    Majolica, anonymous c1630-1650.

    Cat. 40b Chest. Japan, 1635–1645. Wood covered in black and red lacquer, with gold and silver hiramaki-e and takamaki-e lacquer, gold and silver foil, mother-of-pearl, crystal, and silver and copper fittings. 28 1/8 × 56 1/4 × 26 5/8 inches (71.5 × 143 × 67.5 cm). State Historical Museum, Moscow.

    Cat. 40b Chest. Japan, 1635–1645. Wood covered in black and red
    lacquer, with gold and silver hiramaki-e and takamaki-e lacquer,
    gold and silver foil, mother-of-pearl, crystal, and silver and
    copper fittings.
    State Historical Museum, Moscow.

    Cabinet on stand. Cabinet, Japan, 1600–1630; stand, Japan, incorporating elements from a Dutch table, 1625–1650. Oak and Chinese arborvitae covered in black lacquer, with gold and silver hiramaki-e, ray-skin denticles, mother-of-pearl, and gilt copper mounts. Peabody Essex Museum, Salem,

    Cabinet on stand. Cabinet, Japan, 1600–1630; stand, Japan,
    incorporating elements from a Dutch table, 1625–1650. Oak
    and Chinese arborvitae covered in black lacquer, with gold
    and silver hiramaki-e, ray-skin denticles, mother-of-pearl, and
    gilt copper mounts. Peabody Essex Museum, Salem,

    Bedcover:  Palampore. Deccan, India, 1710–1750. Cotton embroidered  with silk and metal-wrapped threads. Peabody Essex Museum, Salem,

    Bedcover: Palampore. Deccan, India, 1710–1750. Cotton embroidered
    with silk and metal-wrapped threads. Peabody Essex Museum, Salem,