CODART, Dutch and Flemish art in museums worldwide

Rubens in der Graphik

Graphic works after Rubens Exhibition: 20 April - 19 June 2005

Museum press release

Die Eröffnung der neuen Staatsgalerie FlĂ€mische Barockmalerei wird begleitet von einer Sonderausstellung mit Rubens-Druckgraphiken aus den BestĂ€nden der StaatlichenGraphischen Sammlung, die vom 20.04. bis 19.06.2005 in der Galerie in Schloss Neuburg zu sehen sein wird. Über 20 BlĂ€tter vermitteln einen Eindruck von dem großen Spektrum des Rubens’schen Werks und von dem ganz eigenen Reiz der Graphiken. Schon frĂŒh in seiner Karriere plante Rubens, seine Bilder durch Drucke in Europa bekannt zu machen. Seine schönsten Werke veröffentlichte er auf diese Weise, und er beschĂ€ftigte die besten Kupferstecher, die unter seiner Aufsicht arbeiteten und den Reproduktionsstich in dieser Zeit zu einem neuen Höhepunkt fĂŒhrten. In einigen FĂ€llen radierte er sogar selbst.

Ab 1620 erschienen die Stiche von Lucas Vorsterman (1595-1675), den der deutsche Maler und Kunstschriftsteller Joachim von Sandrart 1675 den Mahler mit dem Grabstichel nannte. Er bewunderte damit Vorstermans FĂ€higkeit, farbige GemĂ€lde in Schwarz-Weiß lebendig wiederzugeben. Nach einem schweren ZerwĂŒrfnis zwischen Rubens und Vorsterman im Jahre 1622 trat Paulus Pontius (1603–1658) in Rubens‘ Dienste. Von ihm stammen unter anderen die Stiche nach den beiden Neuburger Altarbildern Anbetung der Hirten und Ausgießung des Heiligen Geistes. Der dritte wichtige Stecher war Schelte A.
Bolswert (um 1586–1659). Neben biblischen und mythologischen Historien stach er vor allem Landschaften in zwei Serien. Die Folge der Kleinen Landschaften mit 20 BlĂ€ttern wurde 1638 noch unter Rubens‘ Aufsicht begonnen. Bolswerts Meisterschaft zeigt sich vor allem in den sechs BlĂ€ttern der Großen Landschaften, in denen an- und abschwellende Linien das Lichtspiel der GemĂ€lde in Schwarz und Weiß wiedergeben. In den dreißiger Jahren wandte sich Rubens der damals sehr vernachlĂ€ssigten Technik des Holzschnittes zu und beschĂ€ftigte dafĂŒr Christophel Jegher (1596–1653), der mit seinen BlĂ€ttern die Technik zu einem neuen Höhepunkt fĂŒhrte.

Flemish Baroque art for Schloss Neuburg

The exhibition Graphic works after Rubens is in conjunction with the opening of the new branch gallery devoted to Flemish Baroque paintings in the Residenzschloss in Neuburg on the Danube from the Bayerische StaatsgemĂ€ldesammlungen. The graphic works after Rubens are on loan from the Staatliche Graphische Sammlung. These prints were of high importance for the dissemination of Rubens’ work throughout Europe. A selection of the most delightful prints executed after his main works will be on view in Neuburg as of April 20st.

The new branch gallery was officially openend on 20 April. With approximately 150 masterpieces from the time of Peter Paul Rubens, the new gallery will exhibit an impressive and comprehensive collection of works from the Flemish school covering all major genres such as history and landscape painting, portraiture, genre scenes, and still-lifes. The unique collection is mainly owed to the ambition of two passionate collectors from the Wittelsbach dynasty: Max Emanuel, Prince Elector of Bavaria in Munich (1662-1726) and Johann Wilhelm, Prince Elector of Palatinate-Neuburg in DĂŒsseldorf (1658-1716). Johann Wilhelm’s grandfather, Wolfgang Wilhelm of Palatinate-Neuburg (1578-1653) had commissioned from Peter Paul Rubens three altarpieces for the court church in Neuburg: In 1617 »The Great Last Judgement« (Rubens’ largest painting which today is on view in the Alte Pinkothek) for the main altar, and in addition the side altarpieces »Adoration of the Shepherds« and »The Effusion of the Holy Spirit« (1619). Years later Duke Johann Wilhelm removed the »Great Last Judgement« (both in 1691) and the side altarpieces (in 1703) from the Neuburg church and brought them to the DĂŒsseldorf Gallery, which he had founded. At the end of the 18th century and after the Palatinate line of the House of Wittelsbach had died out, the works of art from his gallery were brought to Munich. Today, after more than 300 years, the paintings for the side altars are finally returning to Neuburg and will form the centre of the new state gallery.

Beside eight other paintings by Rubens and artists from his studio, the two outstanding Antwerp painters of the period, Anthony van Dyck and Jacob Jordaens, are represented with history paintings and portraits in Neuburg. Moreover, large-format works by painters of the LiĂšge school – primarily by the principal painters GĂ©rard Douffet and Bertholet FlĂ©malle – will be shown for the first time in several decades. These masterpieces will be exhibited in the freshly-renovated rooms in the west wing of Neuburg Castle, the Ottheinrichsbau. Duke Ottheinrich (1502-1559), a descendant of the Palatine lineage of the House of Wittelsbach, had his residence enlarged beginning in 1537. The hall on the second floor constitutes the core of the west wing and thus of the new gallery (measuring 50 by 17 meters). For many years it was reputed to be the largest hall without columns north of the Alps. Today it houses the large-format masterpieces. The cabinet sized Flemish Baroque art is located in the lower level of the west wing: Visitors will be able to admire landscapes by the Brueghel family and by Rubens’ assistants and colleagues Jan Wildens and Lucas van Uden, still-lifes by Frans Synders and Daniel Seghers, seascapes by Andries Artvelt and Bonaventura Peeters, and genre scenes by David Teniers and Gillis van Tilborch. Several of the paintings in Neuburg were part of the pre-war permanent presentation in the Alte Pinakothek. Others were brought in from storage or various other branch galleries. Many of the paintings have been restored and rejoined with original frames before installation.

A comprehensive gallery guide (approximately 400 pages) will be published by Pinakothek-Dumont and will include color reproductions of all paintings in the gallery as well as descriptions.