Die wichtigsten Ausstellungen werden erwähnt unter Verweis auf das Museum.

Jheronimus Bosch back in Town


Jacques le Boucq (1520-1573), portrait of Jheronimus Bosch, 1520. Wikipedia

To mark the 500th year since his death, Het Noordbrabants Museum is presenting the exhibition, ‘Jheronimus Bosch – Visions of genius’, from 13th February to 8th May 2016. For one time only, the majority of his work will return to his city, Den Bosch, officially known as ’s-Hertogenbosch. Bosch’s themes are based on tradition, but his artistic language and way of working was entirely modern. His visions were based on religious conviction, realism and fantasy.
Around 20 paintings and 19 drawings by Hieronymus Bosch (1450-1516) will be exhibited, including four triptychs and four double-sided painted panels. The exhibition will also show panels which were painted in Bosch’s work place as well as important followers. In addition, art works from the 15th and 16th centuries will provide the context in which Bosch created his work, and film presentations will provide insight into the surprising results of the Bosch research.

 

The First Centre of Mannerism


Agnolo Bronzino (1503-1572), St Sebastian, ca. 1528/29, © Museo Thyssen-Bornemisza, Madrid

Spanning the period from the return of the Medici to Florence in 1512 and the initial artistic endeavours of the new generation around Pontormo and Rosso to the 1568 publication of Vasari’s Lives (In Le Vite de più eccellenti architetti, et scultori italiani)  the exhibition will be devoted to Florence as the first centre of European Mannerism.
More than 120 paintings,drawings and sculptures will provide an overview of a stylistically formative epoch (from 1512) for which the art historiographer Giorgio Vasari coined the colourful term “maniera” in 1568. Elegant, cultivated and artificial, but also capricious, extravagant and sometimes bizarre: Mannerism. One of the works in the Städel holdings – Bronzino’s famous Portrait of a Lady in Red (ca. 1533) – formed the point of departure for this ambitious show. The project is being carried out with special support from the museums of Florence, above all the Uffizi, the Galleria dell’Accademia and the Galleria Palatina. Further key loans will come from such prominent museums as the Metropolitan Museum of Art in New York, the J. Paul Getty Museum in Los Angeles, the National Gallery of Art in Washington, the Paris Louvre, the Prado and the Museo Thyssen-Bornemisza in Madrid, the Staatsgalerie Stuttgart, the Szépművészeti Múzeum in Budapest and the Brera in Milan.

The art-historical development of the decades from 1512 to 1568 will be presented in close relation to Florentine city history and Medici rule – themes to be investigated in both the exhibition and the accompanying catalogue.

 

Printmaking in Venice


Anton Maria Zanetti (1680-1767), Christ and St. John, 1725. Grafische Sammlung ETH Zürich

The image of eighteenth-century Venetian prints is mainly shaped by vedutas of the city on the lagoon and enigmatic cycles of engravings imbued with artistic imagination. This exhibition focuses on Anton Maria Zanetti (1680-1767), art collector, connoisseur, publisher and wood-engraver, in the midst of illustrious names such as Giambattista and Domenico Tiepolo, Marco Ricci and Canaletto.
Zanetti devoted his life to art, especially to drawing and printmaking. He actively encouraged many artists in his circle, most notably including Marco Ricci and Giambattista and Domenico Tiepolo, to adopt engraving and work on new cycles of prints. He concentrated his attention on the older, sixteenth-century technique of coloured woodcuts, with which he reproduced his collection of drawings by Parmigianino, introducing them to connoisseurs throughout Europe. The exhibition presents the famous views of Venice and the equally fascinating Scherzi, Capricci and Grotteschi by Giambattista Tiepolo and Giovanni Battista Piranesi. In doing so, it seeks to highlight, for the first time, the significant role played by Zanetti within the context of eighteenth century Venetian printmaking.

The First Photographs of Rome


The Colloseum around 1850. Photograph Museum Vela Ligornetto.

The exhibition focuses on the earliest days of photography taking as its starting point around 150 photographs from the Marco Antonetto Collection (around 1850) . The so-called veduta painting, a detailed painting of print of a city landscape, was the examples for the earliest photographers. The exhibition illustrates the different manners in which Rome was viewed prompted by scientific research, artistic passion or professional and commercial demands. The selection displays the specificity of the earliest aspects of photography in Rome, from the first experiments with the Albumin technique, daguerreotypes, Helium- and Collodium and paper negatives, to the birth of professional photographic studios and the creation of the most popular and successful sets of images on the international market. The archaeological and historical value of these early photography is immense and the architecture and urban landscape of the ancient Roman city and the later Papal state can be viewed without the megalomaniac building activities of Mussolini after 1922.