Rubens, Rembrandt, Poussin and Dutch Masters. This unconventional combination of 40 Baroque masterpieces from its own holdings features works of Peter Paul Rubens, Frans Hals, Willem van Heythuysen, Claude Lorrain, Hendrick Cornelisz and many others.
Curated by Bernd Ebert, Elisabeth Hipp, Mirjam Neumeister
Under the heading ‘New Neighbours’, an unconventional combination of 40
Baroque masterpieces from its own holdings can be seen at the Alte
Pinakothek from June onwards.
The partial closure of the Alte Pinakothek for renovation work provides a rare
opportunity to present paintings together that are not otherwise to be seen
next to one another in the permanent collection, which is arranged
chronologically according to schools of painting. The exhibition combines
works by Flemish, Dutch, German and French Old Masters from the 17th
century and creates unexpected and fascinating correlations.
As a result, the Flemish ‘princely painter’ Peter Paul Rubens encounters the
ambitious young Rembrandt van Rijn, who measured himself against his role
model, not only with his competitively large formats but also with
compositions full of suspense. The Sacrifice of Isaac is in no way inferior to
Rubens’ dramatic mises-en-scène. In the works of Frans Hals, considered the
real founder of Dutch portrait painting, his Flemish origin is evident, with his
Willem van Heythuysen corresponding to Rubens’ Helene Fourment in her
Bridal Gown, both in the use of Baroque décor and in the light, flowing
painterly style.
Revealing visual connections are also created to the French paintings. The
atmospheric southern light marks Claude Lorrain’s Expulsion of Hagar just as
much as Nicolaes Berchem’s Shepherd Scene. The morning sun, low on the
horizon, corresponds to the moon just rising in Adam Elsheimer’s Flight into
Egypt to create one epochal landscape picture. Astonishing parallels can be
found between the figures in Rubens’ Christ and the Penitent Sinners,
characterised by their soft flesh tones, and Nicolas Poussin’s classical
depiction of the nude Bacchus, as well as in Johann Liss’ sensual, feminine
Cleopatra.
The selection of Dutch paintings shows that new thematic correlations can
also be created between works by one school of painting. Hendrick Cornelisz.
Vroom’s The Harbour in Amsterdam makes reference to the Netherlands as a
seafaring nation. The country’s discoveries as well as the overseas trade that
led to its enormous wealth are clearly shown in Frans Post’s Brazilian
landscapes and a pronk still life by Juriaen van Streeck. Jan Davidsz. de
Heem’s opulent bouquet of flowers, however, urges the viewer to look more
closely – as appearances can be deceptive. Ultimately everything surrenders
to decay.
‘New Neighbours’ promises an exciting journey of discovery to masterpieces
in the Alte Pinakothek.
Parallel to ‘New Neighbours’, more 17th-century Dutch paintings as well as
French Rococo works (from July onwards) can be seen as part of the special
presentation ‘Flowing Transition’ in the Neue Pinakothek.
Image: Johann Liss (1595/1600 - 1631), The Death of Cleopatra, ca. 1624/25, Canvas, 97.5 x 85.5 cm © Bayerische Staatsgemäldesammlungen, Alte Pinakothek, München
Tine Nehler M.A.
Leitung Presse & Kommunikation | Head of Press Department
Pinakotheken im Kunstareal | Bayerische Staatsgemäldesammlungen
Kunstareal | Barer Strasse 29 | 80799 Munich
tel: + 49 89 23805-118 | fax: + 49 89 23805-125
e-mail: presse@pinakothek.de
Alte Pinakothek
Barer Straße 27 - 80333 München
Daily except MON 10.00 a.m. - 6.00 p.m.
TUE 10.00 a.m. - 8.00 p.m.