N.B. RIJKSMUSEUM MAASTRICHT IS A CONTINUATION IN NEW FORM OF THE EXHIBITION RIJKSMUSEUM AAN DE MAAS, ALSO KNOWN AS FLEMISH SPLENDOR, WHICH OPENED IN 2004. THE CHANGE IN NAME AND STATUS IS DUE TO A FAR-GOING NEW AGREEMENT BETWEEN THE RIJKSMUSEUM AND BONNEFANTENMUSEUM, INVOLVING LONG-TERMS LOANS OF LARGE NUMBERS OF PAINTINGS AND SCULPTURE AND SHARED CURATORIAL RESPONSIBILITIES.
From the museum website, 4 December 2008
16th and 17th century painting from the Southern Netherlands
The Rijksmuseum Maastricht presents a selection of painting from specific ateliers which determined the identity of art in Antwerp from c. 1550 to c. 1650. The main representatives are Pieter Aertsen, Rubens and Jacob Jordaens. There is a special focus on the atelier of Pieter Brueghel the Younger, which is represented by no less than ten panels. The exhibition also contains a selection of portrait art of the same period, such as that by Willem Key and, once again, Rubens. The undisputed highlight is the series of three portraits painted by Jacob Jordaens in 1635 and shortly thereafter, of Catharina Behagel, Rogier le Witer and Magdalena de Cuyper.
Rijksmuseum Maastricht is a unique alliance for the museum world and aims to provide a platform for painting and sculpture created prior to 1625 in the Southern Netherlands, focussing on research, publication and exhibitions. The Rijksmuseum Amsterdam is participating on the basis of its prestigious collection, and the Bonnefantenmuseum on the basis of location, space and specific sub-collections. The agreement was officially signed on 8 March 2007 by Ronald de Leeuw and Alexander van Grevenstein and will take effect on 1 January 2008.
The Rijksmuseum will provide long-term loans, particularly in the areas of 16th and 17th-century painting and sculpture of the Southern Netherlands, and Italian art of the period 1300-1600, which are traditional areas of focus of the Bonnefantenmuseum. Within this, extra attention will also be given to various private collections, such as the former Otto Lanz Collection and the Willem Neutelings Collection.
The exchange of knowledge forms an important part of the collaboration. The doors of the two museums will be opened not only to the works of art, but also to the staff. There will be cooperation in many different areas. For instance, curators from Amsterdam will help to set up the exhibitions in Maastricht, knowledge will be exchanged in the areas of research and restoration, and cooperation will take place in the areas of publications, attracting the public and publicity.