Deze rubriek geeft een overzicht van relevante tentoonstellingen. Ieder onderdeel is gelinkt aan het desbetreffende museum.

Vision of Paradise

Francesco Botticini’s (1446-1497), Tobias and the Angel Andrea del Verrochio About 1470-5. Photo: The National Gallery London

Francesco Botticini’s (1446-1497) painting of the Virgin, an alterpiece installed in the church of San Pier Maggiore in Florence in 1477, was commissioned by Matteo Palmieri (1406–1475). He is portrayed kneeling at the lower left of the painting together with his wife, Niccolosa de’ Serragli, at the right.
This exhibition explores the fascinating life of Palmieri, a true Renaissance man who was educated in Florence as an apothecary, studied philosophy and rhetoric with the leading humanist scholars of the period, wrote histories, biographies and poetry, held top positions in the Florentine government, and developed close friendships with the Medici rulers of Florence.

Palmieri reportedly advised Botticini on the design of this painting, which incorporates a panoramic landscape of Florence in the lower register and an extraordinary dome of Heaven, populated with saints and angels, in the upper. The exhibition provides the rare opportunity to view the painting up close, and it will be shown alongside related paintings, drawings, prints, manuscripts, ceramics, and sculpture for the first time.

Crucially, the exhibition addresses centuries of debate surrounding the painting’s misattribution to Sandro Boticelli (1445-1510) its relationship to Palmieri’s poem ‘Città di Vita’ (City of Life) based on Dante’s ‘Divine Comedy’, and its condemnation for heresy.

The exhibition includes a short documentary film about San Pier Maggiore – a church largely destroyed in the 18th century – using surviving archival, archaeological, and visual material.


A conservative Avant Garde

Jean-Auguste-Dominique Ingres (1780 – 14 January 1867), Napoleon on his throne, 1806. Photo: Musée de l'Armée Paris

The works of Jean-Auguste-Dominique Ingres (1780-1867) constitutes an important forerunner of the late 19th- and early 20th-century artistic revolutions. The exhibition offers a precise chronological presentation of Ingres’ work and his relationship with portraiture. Ingres was a successful portraitist against his own volition. From the outset of his career he accepted commissions for portraits. His portraits of his early period reflect the voluptuousness of Italian models, the colouring of Flemish art and subtle Gothicising influences These portraits are also the best indication of the independent course that his art would take.
The end of his study grant in Rome in 1810 coincided with the establishment of Rome as the second capital of the French empire, allowing Ingres to prolong his stay in order to work for Napoleon and the senior government officials. The refined tastes of these clients offered Ingres a unique opportunity to experiment with new aesthetic approaches in his ongoing quest for classical Roman monumentality. Giving form to the classical tradition was one of the ongoing features of Ingres’ output. In this sense, his interest in Greco-Latin literature played a key role as it allowed him to combine the classicising intent of his aesthetic with the eternal nature of the great themes of antiquity.

Having returned to Paris, in 1826 Ingres devised a composition for the ceiling of one of the new galleries in the Musée du Louvre. Depicting his own version of The Coronation of Homer, it marks the fulfilment of his desire to root his aesthetic in literary idealism. His depiction of Homer, crowned in the presence of the great myths of classically derived western culture, offers the defining image of classicism

Ingres received commissions to paint anecdotal historical episodes. Going beyond this, however, in a personal exercise of introspection, he also depicted scenes from the lives of the artists whom he most admired, particularly Raphael. Based on literary accounts or on Vasari’s Lives. Aware that history painting would never satisfy the ambitions that he had conceded to it, after his return from Italy Ingres reconsidered his literary and erotic canvases, and in particular his portraits. The latter allowed him to make innovations in a fashionable genre, although he never ultimately accepted the idea of himself as a portraitist. Overall, his portraits consciously competed with the emerging art of photography and paved the road to modernism.


The Arts and Empire

George William Joy (1844-1925), The death of general Gordon in 1885. Photo: Leeds Museum and Galleries

How did Britain’s Empire influence the creation and collection of art over the past 400 years? And how did artists themselves reinforce, resist and reflect the Empire in their work? Tate Britain presents a unique exhibition about Imperial visual culture which shows art from across the British Isles, North America, the Caribbean, the Pacific, Asia and Africa.
The exhibition  brings together works to explore how artists from Britain and round the world have responded to the dramas, tragedies and experiences of the British Empire. Featuring a vast array of objects from collections across Britain, including maps, flags, paintings, photographs, sculptures and artefacts, the exhibition examines how the histories of the British Empire have shaped art past and present. Contemporary works within the exhibition suggest that the ramifications of the Empire are far from over. The exhibition reveals how the meanings of these objects have changed through history, and asks what they mean to us today.

The exhibition investigates the different routes by which works of art were created and collected. For the first time, historic paintings are shown with works including Indian miniatures and Maori artefacts, offering critical insight into how each was made, collected and categorised. The encounters between cultures are also explored. Starting in the 16th century, The exhibition shows how artists mapped the world and its resources. From Lambert and Scott’s 1731 painting of Bombay harbour to John Montresor’s 1766 Plan of the City of New York, these works depicted and claimed territories around the globe. Carefully staged paintings of international events also manipulated the sympathies of audiences in Britain, dramatising conquests, treaties and ‘last stands’. The exhibition also brings together grand portraits of key political figures by Augustus John and Joshua Reynolds. It examines how they were presented in ‘exotic’ or hybrid costume, showing how images reflected bonds of union but also established differences between cultural groups.

Artist and Empire demonstrates how in the 20th century artists around the world challenged Imperial ideology, and how contemporary artists reflect on these histories today. National art movements in places such as Bengal and Nigeria accompanied growing demands for independence, as reflected in the work of Jamini Roy and Uzo Egonu. Contemporary British artists, including Hew Locke and Andrew Gilbert, offer fresh interpretations of colonial imagery and confront the problematic legacies of Empire in the present day.

Facing death … George William Joy’s The Death of General Gordon, Khartoum, 26th January, 1885. Photograph: Leeds Museum and Galleries

The last decades of the Nineteenth Century in Constance

Wilhelm Volz (1855-1901), Snake with Glasses, 1890-1900. Photo: Wessenberg Gallery Constance

Wilhelm Volz (1855-1901) was a German painter. He was one of the founders of the Munich Secession in 1892. In his works, he used religious, mythological and allegorical motives, but he is also knows for his genre paintings and landscapes, wall paintings, etchings and lithographs. His work reveals the influence of the Pre-Raphaelites, German Impressionism and Jugendstil (Art Nouveau). The gallery permanently exhibits many works of Volz, but it is the first time since 1921 that a full retrospective of the artist is being organized. His Art Nouveau works can be admired in drawings and lithographs, including his mild sense of humour. The Art Nouveau magazines Pan and Jugend (from which comes the German name Jugendstil) were his source of inspiration. Volz was a nephew of Albrecht Mendelsohn-Bartholdy and together they created musical-graphical works, for example Mopsus in 1898, a Comedy in two parts.