RKD Netherland Institute for art History
In 1935, Museum Boymans in Rotterdam organized the first major show about Johannes Vermeer and his Delft contemporaries. It was curated by director Dirk Hannema, on the occasion of the opening of the new museum building. Through new archival research, Justine Rinnooy Kan explores the concept, execution and reception of the exhibition, with a focus on Hannema as the driving force.
Around 1900, the city of Bruges was considered as the capital of symbolism. One of the motifs that was frequently described and depicted, notaby in the budding tourist industry, was the black, hooded cloak or ‘kapmantel’ worn by local women. Stefan Huygebaert reveals the various and multilayered meanings of the attire in symbolist art: from a mourning cloak to a symbol of mysterious occultation, from a religious purpose to a social equalizer in Belgian society.
Recent research by Laurens Schoemaker has led to a revision of existing ideas concerning three works by Hercules Segers. An etching generally assumed to depict Amersfoort, turns out to be a mirror-image view of Rhenen. The city is also recognizable in two paintings by Segers. Remarkably, these landscapes are mirror images of each other. It was commonly believed that the larger painting depicted the correct orientation, but the opposite is true, as a result of which the two works must be described entirely differently.
For summaries of the articles, go to oudholland.rkd.nl.
Laurens SchoemakerHercules Segers’ mirrored world: Three views of RhenenStefan HuygebaertUncloaking the kapmantel in Belle Époque Bruges: The symbolist potential of a picturesque motif in artJustine Rinnooy KanThe Vermeer exhibition of 1935: A major debut in historical perspective
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