{"id":12527,"date":"2019-02-10T12:18:38","date_gmt":"2019-02-10T08:18:38","guid":{"rendered":"https:\/\/www.alowais.com\/?p=12527"},"modified":"2019-02-11T08:52:35","modified_gmt":"2019-02-11T04:52:35","slug":"1022019-3","status":"publish","type":"post","link":"https:\/\/www.alowais.com\/en\/1022019-3\/","title":{"rendered":"Exclusive: Louvre Abu Dhabi unveils rare Rembrandt in a regional first"},"content":{"rendered":"
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Rembrandt\u2019s masterful oil sketch of Christ is the first of his works to ever join a museum collection in the Gulf<\/span><\/p>\n<\/div>\n<\/div>\n

\n

When Louvre Abu Dhabi opens its show celebrating the Dutch Golden Age on February 14, the exhibition will leave its mark.<\/span><\/p>\n

The museum has acquired a rare oil sketch by Rembrandt, showing the Christ figure bent forward in thought. The study,\u00a0Head of a Young Man in Prayer\u00a0<\/em>(circa 1655), will be on display for the first time during Rembrandt, Vermeer and the Dutch Golden Age: Masterpieces from The Leiden Collection and the Musee du Louvre, and will\u00a0remain in Abu Dhabi on permanent view.<\/span><\/p>\n

\u201cRembrandt was one of the history of art\u2019s greatest storytellers,\u201d\u00a0Manuel Rabate, \u00addirector of Louvre Abu Dhabi, says.<\/span><\/p>\n

\u201cWith this latest acquisition, the first ever \u00adRembrandt joining a museum collection in the Gulf, our visitors can experience the power of his creations first-hand.\u201d<\/span><\/p>\n

It is rare for a Rembrandt to come to\u00a0\u00admarket\u00a0\u2013 most of the works are\u00a0in institutional \u00adcollections already\u00a0\u2013 and this dark, brooding sketch from the master of psychological \u00adportraiture was only authenticated as such in the 1930s; before that it was thought to be by one of his pupils. It has been exhibited four times before coming to Louvre Abu Dhabi and was acquired last December at Sotheby\u2019s \u00adLondon for nearly \u00a310 million (Dh47.4m).<\/span><\/p>\n

\u201cThe sketch is part of a group in which \u00adRembrandt was looking for the right profile for depicting Jesus in a humanistic way,\u201d\u00a0says Rose-Marie Mousseaux, the\u00a0chief curator of the museum. \u201cYou can see the \u00adintensity throughout the \u00adcomposition, and you can really feel it when you stand in front of the painting.\u201d<\/span><\/p>\n

The Dutch Golden Age<\/span><\/h2>\n

Louvre Abu Dhabi\u2019s latest \u00adexhibition explores the period of the 1600s, when the Netherlands enjoyed extraordinary trade hegemony. \u201cThe Netherlands in the 17th century was the first economic power, not only in Europe but in the world. Rembrandt and Vermeer were the sons of those halcyon days,\u201d says Blaise Ducos, chief curator of Dutch and Flemish paintings at the Musee du Louvre, who co-curated the exhibition with Lara Yeager-Crasselt, curator of the Leiden Collection in New York.<\/span><\/p>\n

The latter is an extensive private collection that focuses on artistic production from the Dutch city of Leiden in the 17th century.\u00a0At 15 years old,\u00a0it is relatively young, and has been assembled by\u00a0billionaire couple Thomas S\u00a0Kaplan and Daphne Recanati Kaplan at a quick-fire pace: in a 2017 interview,\u00a0Thomas said they acquired\u00a0a painting a week, on average, for about five years. Since that time, they have\u00a0loaned out their Old Masters and toured selections of the holdings, from an exhibition at the Musee du Louvre in 2017, through stops in Russia and China, and finally to Abu Dhabi.<\/span><\/p>\n

\u201cAbu Dhabi is, in some ways, the \u00adculmination of a world tour,\u201d says Yeager-Crasselt. \u201cWe began at the Louvre and we end in partnership with them at Louvre Abu Dhabi.\u201d<\/span><\/p>\n

Dutch Golden Age painting \u00addescribes roughly a century of \u00adphenomenal artistic production, when Rembrandt, Vermeer, Frans Hals, and others, took to capturing the domestic surroundings and the social life of a country transformed by global trade. The painters worked to a high standard of naturalism, \u00adexecuting both history paintings and, influenced by Italian painting, \u00adBiblical and mythological scenes. They also paid close attention to \u00adeveryday life, particularly Vermeer, in intimate scenes that chronicled an increasingly globally-aware society.<\/span><\/p>\n

\u201cGlobal exchange is a key premise of this exhibition,\u201d says Yeager-\u00adCrasselt. \u201cSometimes this is literal, with \u00adexamples of Oriental carpets, African parrots, and Chinese \u00adporcelain. And, in a broader sense, we are \u00adlooking at artistic exchange, which, at points, you can actually see \u00adhappening between the different artists\u2019 paintings.\u201d<\/span><\/p>\n

Cut from the same cloth<\/span><\/h2>\n

This idea of complementarity\u00a0is not just a figure of speech. The \u00adexhibition at Louvre Abu Dhabi will feature two exemplary paintings that have been revealed to be cut from the same bolt of canvas: Vermeer\u2019s\u00a0The Lacemaker<\/em>, owned by the Musee du Louvre, and\u00a0Young Woman Seated at a Virginal\u00a0<\/em>(a type\u00a0of piano), from the Leiden Collection, both painted from around 1669 to 1671.<\/span><\/p>\n

\u201cThis is the only case, that I know of, where you can say that two Vermeer paintings are from the same bolt,\u201d says Ducos. \u201cIt was a rather recent discovery. A few years ago there were images and X-rays of the painting which enabled you to count the thread of the canvas millimetre by millimetre. And by comparing the two images \u2013 that of\u00a0The \u00adLacemaker<\/em>\u00a0and that of the\u00a0Virginal<\/em>\u00a0\u2013 you got a \u00adperfect match.\u201d<\/span><\/p>\n

The pair were first shown in the Musee du Louvre\u2019s Dutch Golden Age exhibition in 2017, which featured the Leiden Collection of paintings, and here they will be exhibited next to each other for the first time.<\/span><\/p>\n

\u201cThey both share stylistic \u00adsimilarities,\u201d says Yeager-Crasselt. \u201cBut the connection goes beyond that\u00a0\u2013 you can imagine Vermeer cutting the canvas from a large bolt \u00adsomewhere in his studio.\u201d<\/span><\/p>\n

The Lacemaker<\/em>\u00a0is one of the most famous Old Masters, showing an \u00adupper-class woman absorbed in one of her leisure-time pursuits. \u201cVermeer introduces to painting a narrative, you start\u00a0imagining what came before and what came after, and you start hoping for his young lady to lift up her gaze and look at you\u00a0\u2013 and, of course, that\u2019s what she does in the\u00a0Young Lady at the Virginal<\/em>,\u201d Ducos says\u00a0of the painting\u2019s material cousin.<\/span><\/p>\n

Domestic in scale, both paintings demonstrate\u00a0Vermeer\u2019s sensitivity \u00adtowards light, which you can see \u00adfalling on the women\u2019s faces. This 17th-century attention towards light is always startling. It \u00adanticipates \u00adphotography and auteur cinema of\u00a0200 years later, in that Vermeer\u2019s degree of naturalism \u00adextended to a \u00adreluctance to artificially \u00adilluminate his subjects, just as later \u00adartists \u00adworking with technological means often deliberately constrain \u00adthemselves from doing.<\/span><\/p>\n

Influence into the 20th century<\/span><\/h2>\n

Indeed,\u00a0The Lacemaker<\/em>\u00a0also had an influential afterlife among \u00admodern artists, who looked to it as a \u00adforerunner of the 20th century\u2019s \u00adinterest in abstraction and self-\u00adreflexivity, especially Salvador Dali.<\/span><\/p>\n

\u201cIt is well known that Dali did many things with the\u00a0Mona Lisa<\/em>, but he considered\u00a0The \u00adLacemaker<\/em>\u00a0as the \u00adpendant in art history to the\u00a0Mona Lisa<\/em>,\u201d\u00a0says Ducos. \u201cHe is photographed in the Mediterranean swimming with Gala, his wife, and in his hand he is holding a large photograph of\u00a0The<\/em>\u00a0Lacemaker\u00a0<\/em>and rolling his eyes\u00a0\u2013 making fun of the painting, and using the reputation of the Old \u00adMasters to enhance his reputation.\u201d<\/span><\/p>\n

As the exhibition will show, \u00adVermeer, Rembrandt and their \u00adassociates were\u00a0revolutionary in\u00a0how they shepherded painting away from religious \u00adconcerns and towards the fascination with everyday life that will culminate in modernism\u2019s famed collapse \u00adbetween art and life.<\/span><\/p>\n

The Rembrandt oil sketch\u00a0acquired by\u00a0Louvre Abu Dhabi, is exemplary of this bold tendency. The work comes from a group of sketches painted from a live model, which scholars believe was a man from the Jewish quarter of Amsterdam, the neighbourhood where Rembrandt lived.<\/span><\/p>\n

\u201cThis young man was used by Rembrandt and his pupils as a model working after life in order to prepare representations of Christ in \u00adhistory paintings, which were the most prized output of the Rembrandt workshop,\u201d says Ducos. \u201cWhen we exhibited it in Paris in 2011, at the heart of our show was the idea of showing Christ after life, which is an oxymoron, of course. Christ after life\u00a0\u2013 what can that mean? And what did that mean in the 17th century in \u00adAmsterdam? It was a way of showing how Rembrandt was original and daring.\u201d<\/span><\/p>\n

It is precisely this humanistic element that makes the oil sketch such a key acquisition for\u00a0Louvre Abu Dhabi. \u201cHere Jesus is presented like a human, and treated like a man in the 17th century\u00a0\u2013 in a context of a huge revolution of religion, which is Protestantism,\u201d says Mousseaux.<\/span><\/p>\n

\u201cIt is really important for us at\u00a0Louvre Abu Dhabi to collect such a figure, to figure out a new perspective in the history of iconography. It is part of our global \u2018red line\u2019 that runs through humanity to find out what has changed human perspective.\u201d<\/span><\/p>\n

Rembrandt, Vermeer and the Dutch Golden Age will be at Louvre Abu Dhabi from Thursday until May 18<\/em><\/span><\/p>\n

www.thenational.ae<\/span><\/p>\n

<\/figure>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Rembrandt\u2019s masterful oil sketch of Christ is the first of his works to ever join a museum collection in the Gulf When Louvre Abu Dhabi opens its show celebrating the Dutch Golden Age on February 14, the exhibition will leave its mark. The museum has acquired a rare oil sketch by Rembrandt, showing the Christ […]<\/p>\n

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\u0645\u0624\u0633\u0633\u0629 \u0633\u0644\u0637\u0627\u0646 \u0628\u0646 \u0639\u0644\u064a \u0627\u0644\u0639\u0648\u064a\u0633 \u0627\u0644\u062b\u0642\u0627\u0641\u064a\u0629","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/www.alowais.com\/en\/1022019-3\/","og_locale":"en_US","og_type":"article","og_title":"Exclusive: Louvre Abu Dhabi unveils rare Rembrandt in a regional first - \u0645\u0624\u0633\u0633\u0629 \u0633\u0644\u0637\u0627\u0646 \u0628\u0646 \u0639\u0644\u064a \u0627\u0644\u0639\u0648\u064a\u0633 \u0627\u0644\u062b\u0642\u0627\u0641\u064a\u0629","og_description":"Rembrandt\u2019s masterful oil sketch of Christ is the first of his works to ever join a museum collection in the Gulf When Louvre Abu Dhabi opens its show celebrating the Dutch Golden Age on February 14, the exhibition will leave its mark. 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