During the Golden Age, the Dutch Republic established itself as a world leader in trade, science, and the arts. Set against this backdrop of cultural exchange, exploration and discovery, the show will explore the artistic traditions that flourished in Leiden and the wider Netherlands in this period, including the development of a new school of artists, called the fijnschilders (fine painters), best known for their exquisitely rendered scenes of daily life.
The exhibition will feature 22 paintings and drawings from across Rembrandt’s career and his workshop—from his early famed series of allegorical paintings of the senses, which demonstrate the artist’s youthful ingenuity and experimentation with expressions, composition and colour during his Leiden days, to later works created in Amsterdam, including sensitively-rendered portraits, a renowned self-portrait, Self-Portrait with Shaded Eyes and Minerva in Her Study (both from The Leiden Collection), his monumental history painting of the goddess Minerva. These works are displayed alongside paintings by other masters from Rembrandt’s artistic circle, demonstrating the influence that this remarkable group of artists had on each other’s work.
On this extraordinary occasion, Johannes Vermeer’s Young Woman Seated at a Virginal(The Leiden Collection) and The Lacemaker (Musée du Louvre), two paintings on canvas cut from the same bolt, will hang beside one another for the first time in 300 years at Louvre Abu Dhabi.
95 artworks, including paintings, drawings and objects, primarily drawn from The Leiden Collection, one of the largest and most significant private collections of artworks from the Dutch Golden Age, highlighted with the Musée du Louvre exceptional collections. Loans from the Rijksmuseum and the Bibliothèque Nationale de France will complete the presentation. On view until 18 May 2019, the exhibition is curated by Blaise Ducos, Chief Curator of Dutch and Flemish paintings at the Musée du Louvre, and Lara Yeager-Crasselt, Curator of The Leiden Collection and a specialist in seventeenth-century Dutch and Flemish art.
The story of the pelican operates as an evocative microcosm of John Wolseley’s career: in the winter of 2014, the artist was camped in a swampy area just south of Mataranka the Northern Territory, Australia nearing the conclusion of six weeks spent creatively immersed in the wilderness.
JOHAN VAN MULLEM
Mirrors to the other side
Van Mullem’s monumental portraits are fluid, transitory, evocative things. Rendered in generously applied oil-based ink on unprimed board, they retain a quality of wetness, an uncanny sense that their surfaces are in fact still shifting.
His use of spray paint, with its associations of graffiti and vandalism, formed a rebellious and anarchic foil to the neat and straight lines preferred by government officials. And where the FBI’s redactions targeted information too sensitive to be released, Garifalakis took aim at the most public of all information: the faces of models and celebrities.