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'TRANSALPINUM. FROM GIORGIONE AND DURER TO TITAN AND RUBENS. ...FROM ..KUNSTHISTORISCHES MUSEUM IN VIENNA, THE NATIONAL MUSEUM IN WARSAW, AND THE NATIONAL MUSEUM IN GDANSK'.. ( 'Transalpinum. Od Giorgiona i Durera do Tycjana i Rubensa...)

100%

Folga-Januszewska D.

Muzealnictwo

2004

issue 45

89-101

The 'TRANSALPINUM' exhibition, opened at the National Museum in Warsaw on 17 September 2004, was a highly untypical contemporary museum venture. Its general conception and practical realisation inspire reflections on the essence of combining the history of art and art collecting as well as museum studies with research delving into the sociology and psychology of the reception of artistic phenomena. Idea of the exhibition - the year 2002 witnessed the inauguration of two large-scale exhibitions based on the Polish collections in Kunsthistorisches Museum in Vienna. The shows inspired the conception of presenting the masterpieces of European painting amassed by outstanding Habsburg collectors at an exhibition to be held in Warsaw and demonstrating the mutual impact of north and south European painting. The display was initially entitled 'North-South. Dialogues of the Masters', and after subsequent research was given the additional title of 'TRANSALPINUM'. The inner order of the exhibition was delineated by two perspectives: artistic, devoted to distinguished artists and their outstanding works, and collection, demonstrating the topography of the activity of patrons and collectors. The latter was divided into two parts: dealing with the themes and genres pursued by painters regardless of the topographic location of their studios, and depicting assorted art centres on both sides of the Alps. Thesis of the exhibition and its setting - the prime research thesis assumed that the shape of modern painting in Europe was not so much the effect of the impact exerted by Italian Renaissance and antique tradition upon art in the remaining regions of Europe, as the result of a complicated network of influence and dependence, with extremely strong emphasis placed on the significance of the expression of Northern art, which affected sixteenth-century Italy. A virtual project of the exhibition was prepared in order to portray this process, the instalment of descriptions and installations was carefully planned, and maps illustrating the routes traversed by the artists were included. Educational programme - the presence of so many important paintings inclined the organisers of the exhibition to devise a programme of museum lessons. Exhibition financing and budget - the prime sponsor of the National Museum in Warsaw was Polkomtel S. A., and partial financing of security measures by the UNIQA company made it possible for the exhibition to take place.

ON THE DRAWINGS AT THE EXHIBITION 'REMBRANDT. DRAWINGS AND PRINTS FROM POLISH COLLECTIONS', WARSAW NATIONAL MUSEUM, 2006 (O rysunkach na wystawie Rembrandt. Rysunki i ryciny ze zbiorów polskich, Muzeum Narodowe w Warszawie, 2006)

88%

Kozak A.

Rocznik Historii Sztuki

2008

vol. 33

135-151

In the beginning the authoress discusses a question of attributing drawings to Rembrandt and his school in the past. Then the attention is paid to the present tendency of rejecting Rembrandt's authorship in favour of his pupils. Examples of such revaluations in well known European collections have been quoted. The reference is made to the issue of identifying stylistic groups on the example of Carl Fabritius and Willem Drost. Further, a detailed analysis of the changes in attributions of the drawings of Rembrandt and his pupils in Polish collections is given, which resulted from the exhibition 'Rembrandt. Drawings and Prints from Polish Collections' (The National Museum in Warsaw, 2006). First, the collection from the Ossolinski National Institute in Wroclaw was presented. The attributions of six drawings from this collection, formerly published as Rembrandt's have been changed. Three of them were ascribed to Carel Fabritius ('The Triumph of Mordecai' and two versions of the 'Landscape with an Arcaded Bridge'), another one to Gerbrandt Eeckhout ('Pastoral'), another one to Willem Drost ('Susana and the Old Men') and the last one to a Rembrandt's follower ('Thatched Cottage and a Leafless Tree'). The drawing 'Manius Curius Dentatus Refusing to Accept the Gifts from Samnites' from the Print Room of the University of Warsaw Library, previously published under the name of Rembrandt, has been attributed to Gerbrandt van den Eeckhout. The attributions of two Rembrandt's drawings ('Sitting Old Man in a Hat' and 'View of the St. Anthoniessluis') from the National Museum in Gdansk have not been changed. In the National Museum in Warsaw one drawing which formerly had been ascribed to the Rembrandt's school ('Joseph Telling His Dreams') has now been attributed to Aert de Gelder..

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'TRANSALPINUM. FROM GIORGIONE AND DURER TO TITAN AND RUBENS. ...FROM ..KUNSTHISTORISCHES MUSEUM IN VIENNA, THE NATIONAL MUSEUM IN WARSAW, AND THE NATIONAL MUSEUM IN GDANSK'.. ( 'Transalpinum. Od Giorgiona i Durera do Tycjana i Rubensa...)

ON THE DRAWINGS AT THE EXHIBITION 'REMBRANDT. DRAWINGS AND PRINTS FROM POLISH COLLECTIONS', WARSAW NATIONAL MUSEUM, 2006 (O rysunkach na wystawie Rembrandt. Rysunki i ryciny ze zbiorów polskich, Muzeum Narodowe w Warszawie, 2006)