Migration and refugees – a very current topic that arouses great emotions all around the world, from the United States, through the Mediterranean, Central Europe to Australia and New Zealand. In fact, the lack of consensus on the issue of migration recently led to the collapse of the Dutch government, and Prime Minister Mark Rutte, after several years in office, during which he earned the nickname Teflon or Unsinkable, finally had to resign.
In light of these events, the exhibition Ode to Antwerp. The secrets of Dutch Masters at the Catharijne Convent Museum in Utrecht, has become an interesting, although perhaps unintentional commentary and its message resonates all the more strongly in the migrant debate – if one is willing to listen. https://www.catharijneconvent.nl/tentoonstellingen/ode-aan-antwerpen/
Dutch Masters. Where did they come from? What caused an explosion of creativity with the end of the 16th and beginning of the 17th century in the Low Countries? Why did painters reach for new themes, experiment with new techniques and depict no longer just saints, monarchs, aristocrats or bishops, but everyone, regardless of their gender, age, appearance or social status?
The story unfolded through the exhibition unambiguously indicates that the spectacular development of painting, the impressive and priceless legacy of artists counted among the widely understood group of Dutch Masters is due to newcomers from Antwerp. Anthony van Dyck, Rubens, Joos van Cleve, Quinten Massijs and many others came from there.
And here is the story: in the middle of the 16th century Antwerp, thanks to its very favorable location on the Scheldt River, was an economic powerhouse. Merchants from the south and the far north traded wool, exotic spices and diamonds here. People grew rich quickly, sometimes acquiring fabulous fortunes, and having acquired them, they commissioned triptychs for private chapels, family portraits or scenes of domestic life, which were probably to them what a souvenir photograph is to us. Antwerp was growing, the middle class represented by the merchants was getting stronger, and the painters prospered . At that time, Amsterdam was an insignificant harbor town, with a population of less than 30,000. Not for long. In 1585, Catholic Spain, very hostile towards the Protestants, took over the reigns of Antwerp. Many wealthy Antwerp merchants, most of them Protestants decided to flee north to Amsterdam to save their lives and property. The rest is easy to guess. Using a contemporary phrase, a transfer of human, financial and intellectual capital took place. Enough to say that in just 15 years the population of Amsterdam doubled, with almost ¾ of it being refugees from Antwerp, and it was largely them, their money and their aspirations that made Amsterdam grow into a powerhouse in the 17th century, becoming a financial, intellectual, artistic and academic center. And it has successfully maintained its prestige and reputation to this day.
This is the story we can follow viewing the exhibition at the Catharijne Convent Museum, coming face to face with the works of Dutch Masters, having a chance to understand how the history of European painting was shaped in the meanders of political and military events, and how newcomers can give a boost to development and finally that there is nothing new about people fleeing war, oppression and poverty in an attempt to provide a better life for themselves and their children.
Striking similarity between the tavern boy and Mary Magdalene, must be the same model! Details of the two previous pictures.
It is a great lesson in European history and in the history of art. To begin with, we learn what exactly distinguished the Antwerp school of painting from other artistic centers, and that it was largely thanks to the painters from Antwerp that the ancient motifs present in the Italian Renaissance found their way into the works of artists from the north, since a trip to Italy was necessary in the education of Antwerp artists. We discover how rich merchants became patrons and clients of talented painters, and how this fact influenced the emergence of new themes in painting and new techniques. We observe the flow of artistic ideas and the tremendous influence of 16th century Antwerp painting on artists creating in the northern Netherlands in the 17th century. Finally, how migration contributed to the development of the previously marginal city, which experienced its heyday in the following decades.
The exhibition showcases exactly 70 paintings, mostly from the museum’s own collection, and from the collection of The Phoebus Foundation (Antwerp), but not only. There are also works from Mauritshuis in The Hague, Museum Boijmans Van Beuningen in Rotterdam, and even from private collections. Each painting has a number, making it easy to find its description in the free catalog, available at the entrance in Dutch or English. Additional advantage is that you can get really close to the paintings and get a good look at the details.
And one more thing – under the introduction opening the exhibition you can read:
True, it has always been the case that not everyone was fortunate enough to be a beneficiary of the dynamically growing economy, but giving this fact sincere attention and reflecting over it inspires my deep respect for the curators’ team who prepared the exhibition.
Ode to Antwerp will be presented at the Catharijne Convent Museum until 17th September 2023,