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CODART TWINTIG program

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PROGRAM CODART TWINTIG congress

Deep Storage or Open Depot: Access to the ‘Hidden’ Collections

Sunday, 21 May 2017

14:15-17:00

Optional activities before the congress:

City Walking Tour 1: Socialist Realism architecture in Warsaw,

with Łukasz Traczyk

City Walking Tour 2: History of Jewish Warsaw,

with Marcin Mroziński and Mariusz Nurkiewicz

17:00-19:00 Opening reception and registration at the Royal Castle in Warsaw Royal Castle Plac Zamkowy 4

Monday, 22 May 2017

National Museum in Warsaw (Muzeum Narodowe w Warszawie)

Congress chair: Uta Neidhardt, Curator of Dutch and Flemish

Paintings, Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen

Dresden

National Museum Aleje Jerozolimskie 3

08:45-09:00 Registration

09:00-12:15 Opening session in the auditorium

09:00-09:05 Welcome by Agnieszka Morawińska, Director

09:05-09:15 Introduction to the congress program by the Congress chair

09:15-09:55 Keynote lecture by David Duindam, Lecturer at the University of

Amsterdam: Holding on to the Past, Preparing for the Future: Heritage

and Depots in Times of Crisis and Transformation

09:55-10:25 Lecture by Robert Skwirblies, Researcher at the Technical University,

Berlin: Storage in Early Modern Art Museums: The Value of Objects

Behind the Scenes

10:25-11:10 Coffee and tea in the museum café

11:10-11:40 Lecture by Sjarel Ex, Director of Museum Boijmans Van Beuningen,

Rotterdam: A New Public Art Storage Facility for Museum Boijmans

Van Beuningen

11:40-11:50 Discussion about the lectures led by the Congress chair

11:50-12:05 Introduction to the exhibition In the Workshop of a Netherlandish

Master by Piotr Borusowski and Aleksandra Janiszewska

12:05-12:10 Introduction to the afternoon program

12:15-13:15 Lunch in the museum café

13:15-15:00 Possibility to visit the collections of the National Museum and the

exhibition; the museum’s curators are available for questions. The

museum is open exclusively for congress participants.

14:30-15:00 Coffee and tea in the museum café


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15:00-17:00 Statements and discussion in the auditorium

15:00-16:00 Statements on the congress theme by:

1. Meta Knol, Director of Museum De Lakenhal, Leiden: Work in

Progress: Presenting the Collection as a Generator of Change in

Museum De Lakenhal, Leiden

2. Edwin Buijsen, Head of Collections at the Mauritshuis, The Hague:

On Public Demand: Staging Temporary Exhibitions of Artworks

from Storage

3. Catherine Ince, Curator at the Victoria and Albert Museum,

London: V&A East: ‘A book that would always be open, and never

shut’

4. Jørgen Wadum, Director of Conservation and of CATS at the

Statens Museum for Kunst, Copenhagen: Something in Store? Principles of Low-Energy Storage Buildings

16:00-17:00 Discussion led by An Van Camp, Christopher Brown Assistant Keeper

of Northern European Art, Ashmolean Museum, Oxford and closing of

the day by the Congress chair

17:00-18:00 Medieval Gallery and Gallery of Old Masters open exclusively for

congress participants.

18:30-22:00 Congress dinner

18:30 Transport by bus from the Mercure Hotel Warszawa Grand to the

congress dinner location. Please find more information on p. 32.

Mercure Hotel

Warszawa Grand

Krucza Street 28

19:00-22:00 Congress dinner at the Old Orangery of the Royal Łazienki Museum After the congress dinner, buses will bring you back to the congress hotel.

Royal Łazienki Museum

Agrykoli Street

Tuesday, 23 May 2017

Royal Castle in Warsaw (Zamek Królewski w Warszawie)

Congress chair: Friso Lammertse, Curator of Old Master Paintings,

Museum Boijmans Van Beuningen, Rotterdam

Royal Castle

Plac Zamkowy 4

09:00-12:00 Speakers’ Corner in the Concert Hall

09:00-09:05 Welcome by Artur Badach, Curator

09:05-09:15 Welcome by the Congress chair

09:15-09:30 Column by Gerdien Verschoor, Director of CODART

09:30-09:40 Statement by Titia Vellenga, Chair of the Board of the Friends of

CODART Foundation

09:40-10:25 CODART Speakers’ Corner part 1:

short presentations (seven minutes) by CODART members on actual

questions For the speakers see pp. 19-21.

10:25-11:10 Coffee and tea in the Council Hall

11:10-11:50 CODART Speakers’ Corner part 2


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11:50-12:00 Closing by the Congress chair

12:00-14:00 Lunch at your own leisure Please find suggestions for lunch on p.36.

14:00-16:00 Excursions

Take into account the various traveling times to make sure

you arrive on time. Please find directions to the excursions on pp. 32-35.

Excursion 1: In-depth visit to the storage facility of the National

Museum in Warsaw with Antoni Ziemba, Hanna Benesz, and

Aleksandra Janiszewska, and the Print Room with Joanna Tomicka We will assemble at 14:00 in the main entrance hall of the museum.

Dennis Driessen will join the group.

National Museum

Aleje Jerozolimskie 3

Excursion 2: In-depth visit to the Royal Castle in Warsaw with

Dorota Juszczak, Artur Badach and Alicja Jakubowska We will assemble at 14:00 at the information desk on the first floor.

Gerdien Verschoor will join the group.

Royal Castle

Plac Zamkowy 4

Excursion 3: Visit to the Print Room of the Warsaw University Library

with Jolanta Talbierska, General Director and Keeper of the Print Room The entrance is on the corner of Lipowa Street and Dobra Street. We will assemble at 14:00

in the main courtyard under the sign of the book with ‘HINC OMNIA’. Please find directions

on p. 34.

Rosalie van Gulick will join the group.

Warsaw University Library

Dobra Street 56/66

Excursion 4: Visit to the Royal Łazienki Museum with Izabela

Zychowicz, Deputy Director, and an Attribution Session with Marek

Maksymczak, Anna Selerowicz and Joanna Szumańska We will assemble at 14:00 on the corner of Aleje Ujazdowskie and Agrykoli Street. Please

find directions on p. 35.

Milou Goverde will join the group.

Royal Łazienki Museum

Agrykoli Street

Excursion 5: City Walking Tour: Dutch and Flemish traces in Warsaw

(Tilman van Gameren) with Jakub Adamski, Professor at Warsaw

University We will assemble at 14:00 at Sigismund’s Column on Castle Square (Plac Zamkowy), in

front of the Royal Castle.

Marijn Everaarts will join the group.

Sigismund’s Column

Plac Zamkowy

End of main program

16:30-18:00 Informal Farewell Drinks

For those who cannot say farewell to CODART yet and/or who need to

pick up their luggage from the luggage room at the congress hotel before

traveling to Cracow, there will be drinks in the Winestone Bar of the

Mercure Hotel Warszawa Grand. CODART will give you a coupon for one

drink. Additional drinks will be at your own expense.

Mercure Hotel Warszawa

Grand

Krucza Street 28

17:45 Participants of the optional program in Cracow who wish to take the

18:55 train from Warszawa Centralna to Kraków Główny, are invited to

take the CODART bus to the railway station. The bus leaves in front of

the hotel at 17:45 sharp.

N.B. Participants of the optional study trip to Cracow will receive a

additional leaflet with the program and practical information. Please pick

up your leaflet during one of the breaks on Monday or Tuesday!

Participation in CODART TWINTIG activities

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PARTICIPATION IN CODART TWINTIG congress ACTIVITIES

City Walking Tours Sunday 21 May

1. City Walking Tour 1: Socialist Realism Architecture in Warsaw, with Łukasz Traczyk

2. City Walking Tour 2: History of Jewish Warsaw, with Marcin Mroziński and Mariusz Nurkiewicz

Excursions Tuesday 23 May

1. In-depth visit to the storage facility of the National Museum in Warsaw with Antoni Ziemba, Hanna Benesz, and Aleksandra Janiszewska,

and to the Print Room with Joanna Tomicka

2. In-depth visit to the Royal Castle in Warsaw with Dorota Juszczak, Artur Badach and Alicja Jakubowska

3. Visit to the Print Room of the Warsaw University Library with Jolanta Talbierska, General Director and Keeper of the Print Room

4. Visit to the Royal Łazienki Museum with Izabela Zychowicz, Deputy Director, and an Attribution Session with Marek Maksymczak,

Anna Selerowicz and Joanna Szumańska

5. City Walking Tour: Dutch and Flemish traces in Warsaw (Tilman van Gameren) with Jakub Adamski, Professor at University of Warsaw

Sunday 21 May

Monday 22 May

Tuesday 23 May

Wednesday

24 May

Name

Walking Tour

Opening Reception

Congress Dinner Excursion

Cracow

Cracow Excursions (after visit to Royal Castle)

1 Joost Vander Auwera - Yes Yes 4 Royal Łazienki Museum No

2 Artur Badach - Yes Yes 2 Royal Castle No

3 Alexandra Nina Bauer - No Yes 1 National Museum No

4 Katharina Bechler 2 Yes Yes 2 Royal Castle No

5 Valentine De Beir 2 Yes Yes 5 City Walking Tour No

6 Hanna Benesz - Yes Yes 1 National Museum No

7 Marc de Beyer - Yes Yes 1 National Museum No

8 Britta Bode 2 Yes Yes 3 University Library No

9 Till-Holger Borchert 2 Yes Yes 3 University Library Yes 1 Jagiellonian Library - Czartoryski Collection

10 Piotr Borusowski - Yes Yes 1 National Museum No

11 Edwin Buijsen 2 Yes Yes 1 National Museum Yes 3 Czartoryski Collection - St. Mary's Basilica

12 Quentin Buvelot 2 Yes Yes 4 Royal Łazienki Museum Yes 2 St. Mary's Basilica - Jagiellonian Library


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Sunday 21 May

Monday 22 May

Tuesday 23 May

Wednesday

24 May

Name

Walking Tour

Opening Reception


Cracow


13 An Van Camp 2 Yes Yes 4 Royal Łazienki Museum Yes 1 Jagiellonian Library - Czartoryski Collection

14 Daniël Christiaens 1 Yes Yes 3 University Library No

15 Wolfgang Cillessen 1 Yes Yes 5 City Walking Tour No

16 Frederica Van Dam - Yes Yes 2 Royal Castle No

17 Justin Davies - Yes Yes 4 Royal Łazienki Museum No

18 Jelena Dergenc 1 Yes Yes 1 National Museum No

19 Femke Diercks 1 Yes Yes 4 Royal Łazienki Museum No

20 Annabel Dijkema 2 Yes Yes 1 National Museum Yes 3 Czartoryski Collection - St. Mary's Basilica

21 David Duindam 2 Yes Yes 2 Royal Castle No

22 Ellis Dullaart 2 Yes Yes 4 Royal Łazienki Museum No

23 Charles Dumas - Yes Yes 3 University Library Yes 2 St. Mary’s Basilica – Jagiellonian Library

24 Katrin Dyballa - Yes Yes 1 National Museum No

25 Kirsi Eskelinen 2 Yes Yes 1 National Museum No

26 Sjarel Ex - No Yes - No

27 Josephina de Fouw - Yes Yes 1 National Museum No

28 Michiel Franken 2 Yes Yes 2 Royal Castle Yes 3 Czartoryski Collection - St. Mary's Basilica

29 Jenny Gaschke - Yes Yes 1 National Museum No

30 Erik van Ginkel - Yes Yes - No

31 Hilliard Goldfarb 2 Yes Yes 2 Royal Castle Yes 3 Czartoryski Collection - St. Mary's Basilica

32 David de Haan 1 Yes Yes 1 National Museum No

33 Marijke Hellemans - Yes Yes 3 University Library No

34 Liesbeth Helmus - Yes Yes 2 Royal Castle Yes 3 Czartoryski Collection - St. Mary's Basilica

35 Lars Hendrikman - Yes Yes 1 National Museum No

36 Zofia Herman - Yes Yes - No

37 Camilla Hjelm 1 Yes Yes 2 Royal Castle No

38 Jasper Hillegers - No Yes 2 Royal Castle Yes 2 St. Mary’s Basilica – Jagiellonian Library

39 Annemieke Hogervorst 1 Yes Yes 2 Royal Castle No


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Sunday 21 May

Monday 22 May

Tuesday 23 May

Wednesday

24 May

Name

Walking Tour

Opening Reception


Cracow


40 Catherine Ince 1 Yes Yes 3 University Library No

41 Alicja Jakubowska - Yes Yes 2 Royal Castle No

42 Aleksandra Janiszewska - Yes Yes 1 National Museum No

43 Anita Jansen 2 Yes Yes 1 National Museum No

44 Dorota Juszczak - Yes Yes 2 Royal Castle No

45 Stephan Kemperdick - Yes Yes 1 National Museum No

46 Sandra Kisters - No Yes 1 National Museum No

47 Hanna Klarenbeek 2 Yes Yes 2 Royal Castle No

48 Christi Klinkert 2 Yes Yes 1 National Museum Yes 3 Czartoryski Collection – St. Mary’s Basilica

49 Meta Knol 2 Yes Yes - No

50 Claudia Koch - Yes Yes 4 Royal Łazienki Museum No

51 Lidewij de Koekkoek 2 Yes Yes 1 National Museum Yes 3 Czartoryski Collection - St. Mary's Basilica

52 Izabela Korczyńska 1 Yes Yes 1 National Museum No

53 Fritz Koreny - Yes Yes 1 National Museum No

54 Olga Kotkova - Yes Yes - No

55 Dragana Kovačič 1 Yes Yes 4 Royal Łazienki Museum No

56 Zoltan Kovács 2 Yes Yes 4 Royal Łazienki Museum No

57 Friso Lammertse 1 Yes Yes 3 University Library Yes 2 St. Mary's Basilica - Jagiellonian Library

58 Micha Leeflang 2 Yes Yes 1 National Museum Yes 3 Czartoryski Collection - St. Mary's Basilica

59 Rieke van Leeuwen - Yes Yes 1 National Museum Yes 2 St. Mary's Basilica - Jagiellonian Library

60 Katrien Lichtert 1 Yes Yes 5 City Walking Tour No

61 Yuri van der Linden - Yes Yes 4 Royal Łazienki Museum No

62 Oxana Lopatina 2 Yes Yes 2 Royal Castle No

63 Nataliya Markova - Yes Yes 1 National Museum No

64 Ingrid De Meûter - Yes Yes 2 Royal Castle Yes 1 Jagiellonian Library - Czartoryski Collection

65 Norbert Middelkoop 1 Yes Yes 2 Royal Castle No

66 Patrick van Mil 1 Yes Yes 4 Royal Łazienki Museum Yes 3 Czartoryski Collection - St. Mary's Basilica


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Sunday 21 May

Monday 22 May

Tuesday 23 May

Wednesday

24 May

Name

Walking Tour

Opening Reception


Cracow


67 Tom van der Molen 2 Yes Yes 2 Royal Castle No

68 Ángel Navarro 2 Yes Yes 2 Royal Castle Yes 1 Jagiellonian Library - Czartoryski Collection

69 Uta Neidhardt - No Yes 4 Royal Łazienki Museum No

70 Piotr Oczko - Yes Yes 1 National Museum Yes 2 St. Mary’s Basilica – Jagiellonian Library

71 Anna Olszewska - Yes Yes - No

72 Anne van Oosterwijk - No Yes 4 Royal Łazienki Museum Yes 1 Jagiellonian Library - Czartoryski Collection

73 Cynthia Osiecki - Yes Yes 3 University Library No

74 Vanessa Paumen 2 Yes Yes 4 Royal Łazienki Museum Yes 3 Czartoryski Collection - St. Mary's Basilica

75 Sabine Pénot 2 Yes Yes 1 National Museum Yes 2 St. Mary's Basilica - Jagiellonian Library

76 Michael Philipp - Yes Yes 2 Royal Castle No

77 Almut Pollmer-Schmidt 2 Yes Yes 1 National Museum No

78 Mireille Pondman - Yes Yes - No

79 Teresa Posada Kubissa 2 Yes Yes 1 National Museum No

80 Ruud Priem - Yes Yes 1 National Museum Yes 1 Jagiellonian Library - Czartoryski Collection

81 Marrigje Rikken 2 Yes Yes 1 National Museum Yes 1 Jagiellonian Library - Czartoryski Collection

82 Charlotte Rulkens - Yes Yes 4 Royal Łazienki Museum Yes 1 Jagiellonian Library - Czartoryski Collection

83 Loekie Schwartz 2 Yes Yes 5 City Walking Tour No

84 Gary Schwartz 2 Yes Yes 5 City Walking Tour No

85 Gero Seelig - No Yes 3 University Library No

86 Manfred Sellink 2 Yes Yes 2 Royal Castle Yes 1 Jagiellonian Library - Czartoryski Collection

87 Robert Skwirblies - Yes Yes 4 Royal Łazienki Museum No

88 Leonore van Sloten 2 Yes Yes 2 Royal Castle No

89 Ron Spronk 2 Yes Yes 1 National Museum Yes 1 Jagiellonian Library - Czartoryski Collection

90 Ariane van Suchtelen - Yes Yes 2 Royal Castle No

91 Alice Taatgen 1 Yes Yes 1 National Museum Yes 3 Czartoryski Collection - St. Mary's Basilica

92 Júlia Tátrai 2 Yes Yes 4 Royal Łazienki Museum No

93 Joanna Tomicka - Yes Yes 1 National Museum No


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Sunday 21 May

Monday 22 May

Tuesday 23 May

Wednesday

24 May

Name

Walking Tour

Opening Reception


Cracow


94 Anna Tummers - Yes Yes 5 City Walking Tour No

95 Jacek Tylicki 2 Yes Yes 1 National Museum No

96 Matthias Ubl 2 Yes Yes 2 Royal Castle Yes 3 Czartoryski Collection - St. Mary's Basilica

97 Hildegard Van de Velde 1 Yes Yes 1 National Museum No

98 Annette de Vries 2 Yes Yes 4 Royal Łazienki Museum No

99 Jørgen Wadum - Yes Yes - No

100 Henrietta Ward - Yes Yes 1 National Museum Yes 2 St. Mary's Basilica - Jagiellonian Library

101 Ira Westergård 2 Yes Yes 1 National Museum No

102 David de Witt - No Yes 2 Royal Castle No

103 Antoni Ziemba `- Yes Yes 1 National Museum No

104 Izabela Zychowicz - Yes Yes 4 Royal Łazienki Museum No

Board of CODART

30 Erik van Ginkel - Yes Yes - No

86 Manfred Sellink 2 Yes Yes 2 Royal Castle Yes 1 Jagiellonian Library – Czartoryski Collection

Board of the Friends of CODART Foundation

9 Till-Holger Borchert 2 Yes Yes 3 University Library Yes 1 Jagiellonian Library - Czartoryski Collection

105 Bob Haboldt 1 Yes Yes 2 Royal Castle Yes 1 Jagiellonian Library - Czartoryski Collection

65 Norbert Middelkoop 1 Yes Yes 2 Royal Castle No

107 Rob Vellekoop 2 Yes Yes 2 Royal Castle Yes 1 Jagiellonian Library – Czartoryski Collection

108 Titia Vellenga 1 Yes Yes 5 City Walking Tour Yes 1 Jagiellonian Library - Czartoryski Collection


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Patrons of CODART

Sunday 21 May

Monday 22 May

Tuesday 23 May

Wednesday

24 May

Name

Walking tour

Opening Reception


Cracow

Cracow Excursion (after visit to Royal Castle)

109 Michel Ceuterick 2 Yes Yes 1 National Museum Yes 1 Jagiellonian Library - Czartoryski Collection

110 Leen Gysen 1 Yes Yes - No

105 Bob Haboldt 1 Yes Yes 2 Royal Castle Yes 1 Jagiellonian Library - Czartoryski Collection

111 Willem Jan Hoogsteder - Yes Yes 4 Royal Łazienki Museum No

112 Jacques Schraven 2 Yes Yes 1 National Museum Yes 2 St. Mary's Basilica - Jagiellonian Library

113 Gien Schraven-Swart 2 Yes Yes 1 National Museum Yes 2 St. Mary's Basilica - Jagiellonian Library

107 Rob Vellekoop 2 Yes Yes 2 Royal Castle Yes 1 Jagiellonian Library – Czartoryski Collection

108 Titia Vellenga 1 Yes Yes 5 City Walking Tour Yes 1 Jagiellonian Library - Czartoryski Collection

CODART

114 Gerdien Verschoor - Yes Yes 2 Royal Castle Yes 3 Czartoryski Collection – St. Mary’s Basilica

115 Dennis Driessen 1 Yes Yes 1 National Museum Yes -

116 Marijn Everaarts 2 Yes Yes 5 City Walking Tour Yes 2 St. Mary’s Basilica – Jagiellonian Library

117 Milou Goverde - Yes Yes 4 Royal Łazienki Museum Yes 1 Jagiellonian Library - Czartoryski Collection

118 Rosalie van Gulick 2 Yes Yes 3 University Library Yes 3 Czartoryski Collection – St. Mary’s Basilica

Congress theme

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CONGRESS THEME

Deep Storage or Open Depot: Access to the ‘Hidden’ Collections

Almost every museum in the world has more objects in its collections than it can permanently display.

They are usually kept in storage with only limited public access. CODART TWINTIG will look into

recent approaches to the problems posed by ever-expanding collections, lack of space, shrinking

funds, and increasing demand for public access.

There is a widespread belief that museums are guilty of “hiding treasures.” However, the reasons for

placing artworks in storage are rarely mentioned, let alone discussed: apart from the sheer number of

objects, relative to the limited gallery space, artworks may be too large or heavy, they may be out of

step with the collection in terms of quality, origin, or technique; or problems of fragility or poor

condition may prevent their permanent or even temporary display. Nowadays, museums tend to be

more cautious in their acquisitions, trying to ensure that they only acquire objects that fulfill their

collecting criteria. Nonetheless, they often struggle with legacies from the past, consisting of

purchases, bequests, and gifts that may fall in one or more of the categories mentioned above.

How do museums deal with these challenges? The most radical solution is deaccessioning, practiced

in the US but prohibited for many public collections in Europe and elsewhere. Traditionally, larger

museums had study galleries in their buildings, but many of these have been given up – although the

National Gallery in London recently reinstated its study gallery. “Outposts” have been created, such

as the Louvre Lens, which may be dedicated to particular areas of the collection, displaying large

numbers of objects on a permanent or semi-permanent basis. Storage areas, though usually open to

scholars by appointment, tend to be inaccessible to the public.

Recently some institutions have adopted a different approach, introducing a system of “open storage”

such as the Schaulager in Basel. The “Public Art Depot” of Museum Boijmans Van Beuningen in

Rotterdam (to open in late 2018) will take this one step further, making the museum’s stored

collection accessible to the public in its entirety as well as renting out space and offering collection

services to private individuals. Is this a model for the future?

Some museums (such as Museum Boijmans Van Beuningen and the Mauritshuis in The Hague) have

mounted temporary exhibitions of objects that are normally kept in storage, or loan objects to other

public institutions on a long-term basis, thereby providing access to objects that would otherwise be

stored. Other modes of outreach include the digitization and online cataloguing of stored objects, as

well as virtual and traveling exhibitions. CODART TWINTIG will look at the past and present of

storage as well as debating models for the future. The discussions will address the needs of artworks

and people, while taking into account factors of conservation, access, and viability.

Lectures Monday 22 May

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ABSTRACTS OF PRESENTATIONS MONDAY 22 May Opening session at the National Museum in Warsaw Keynote lecture

Holding on to the Past, Preparing for the Future:

Heritage and Depots in Times of Crisis and Transformation

Dr. David Duindam, Lecturer at the University of Amsterdam

This lecture addresses two issues: the loss and reconstruction of built heritage and the preservation

of artworks in museum storage facilities. The value of both movable and immovable heritage is often

taken for granted. In times of crisis we are confronted with fundamental questions: is heritage more

valuable than human lives? What is lost when we reconstruct buildings and entire cities? This

conference takes place in a city that was almost entirely destroyed during the Second World War:

only 15% of Warsaw’s old center remained intact. Duindam will start by considering issues of

authenticity, the ideology of heritage, and how reconstructions should be present in today’s world.

The second part deals with a different kind of systemic transformation. Museums preserve

many of the artworks in their possession in storage facilities, where they are temporarily invisible and

inaccessible to the public. Furthermore, besides the artworks themselves, the inner workings of

museums – the selection of what to exhibit and what to store away – are also concealed from the

public eye. However, the notions of accessibility, knowledge production, and institutional authority are

currently undergoing rapid change. The idea of opening up storage facilities to the public seems to be

a response to these reassessments. But are we dealing with a paradigm shift towards a democratic,

interactive model of the museum depot, or are institutions merely opening up their kitchens on their

own terms to provide a semblance of openness in order to ultimately maintain their position of

authority?

About David Duindam

Dr. David Duindam is a memory and heritage scholar and lecturer at the Department of Literary and

Cultural Analysis at the University of Amsterdam. He studied philosophy and literary studies and was

awarded a doctorate on the strength of his dissertation Signs of the Shoah: The Hollandsche

Schouwburg as a Site of Memory on the establishment of a Holocaust Memorial Museum in

Amsterdam. He is serving as the coordinator of the European research network “Digital Memory of

the Shoah,” and is organizing the international conference “Materialities of Postcolonial Memory” (7-9

December 2017, Amsterdam).


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Lecture

Storage in Early Modern Art Museums:

The Value of Objects Behind the Scenes

Dr. Robert Skwirblies, Researcher at the Technical University, Berlin

One of the most important arguments for the creation of the modern art museum around 1800 was to

give the public access to hitherto hidden works of art or whole collections. The museums had their

points of reference in royal castles, rich collectors’ homes, or secularized churches and monasteries

that were either closed to the public or whose access was very limited. As the modern concepts of

“public” and “public interest” began to emerge during the Enlightenment and Revolutionary eras, so

too did the urge to make artworks accessible to almost everyone – in the interests of fulfilling citizens’

rights (as newly defined) to education and enjoyment.

The idea of separating off parts of the museum collections from the exhibition spaces was

therefore inherently at odds with this aim. In fact the Louvre or Musée Central/Musée Napoléon in

Paris has been criticized ever since the day it opened for the number of paintings that are undergoing

restoration, stored in closed rooms, or missing. The National Gallery in London, too, has always

suffered from a lack of space since its founding in 1824, even though until the 1840s the collection

contained fewer than 150 paintings.

The problems we face today – limited space, the high costs of conservation and storage, and

the huge number of objects in the collections – are the same problems that museums have grappled

with since their inception. In Berlin, for instance, it was decided to put over 2,000 paintings of the new

Royal Museum collection into storage even before the gallery rooms were built and opened in 1830.

They ended up in the attic of the new building, since the museum did not provide any space in which

to store its objects aside from the exhibition rooms. In northern and central Italy, the provisional

depositi demaniali of the revolutionary and Napoleonic era, which were filled with thousands of

artworks from monasteries and churches that had been claimed by the state, became part of the

existing academies and galleries, which had difficulty preserving them for the following several

decades.

Using the major examples of the Louvre in Paris, the Royal Museum in Berlin, the National

Gallery in London, and the academy galleries of Milan, Florence and Bologna, the paper will look at

the origins of today’s museum storage facilities in the first decades of the 19th century. Though the

question of how art should be presented in public has been much more widely discussed than how it

should be preserved, we will see that there has been a steady growth of awareness, first, of the need

to store artworks, second, to store them carefully as public property, and third, to do so within the

newly created museum structures. Although the progress of this “history of museum storage” can only

be roughly sketched as yet, it is nonetheless part of museum history that deserves more attention.


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About Robert Skwirblies

Dr. Robert Skwirblies is a research assistant at the Technische Universität Berlin, where he is

affiliated with the research clusters Transnational History of Museums and the Center for Art Market

Studies. He is collaborating with Bénédicte Savoy on a scholarly edition of the letters written by and to

the painter and art historian Johann David Passavant from 1807 to 1824. He lectures in art history at

universities in Berlin and Frankfurt/Main. He recently published his PhD on the reception of, and

market for, Italian Renaissance paintings in Germany, especially in Berlin, between 1797 and 1830,

with a special focus on cultural policy, the art trade, and personal networks in post-revolutionary

Europe.


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Lecture

A New Publicly-Accessible Art Storage Facility

for Museum Boijmans Van Beuningen

Sjarel Ex, Director of Museum Boijmans Van Beuningen, Rotterdam

As the museum’s main financing body, the municipal authority of Rotterdam did not pay too much

attention to the work that a museum has to do behind the scenes, and the conditions in the spaces

where that work is done. Since 1999, the water that was seeping every year into the basement rooms

beneath Boijmans’s current building at Museumpark, which contain much of Rotterdam’s art

treasures, started to pose a serious threat of flooding. The first action to be taken was to move the

print room up to a higher floor. This was executed in 2008. Plans were then devised to build a new

storage facility for the museum’s entire collection of paintings and three-dimensional artworks.

Firmly convinced of the need for a top-class storage facility and the importance of taking

proper care of the artworks preserved there, the museum ran a successful external fundraising

campaign and invited tenders for a new storage facility in Museumpark that would be open to lay

visitors. This idea immediately attracted widespread support among Rotterdam’s city council and the

local population. Visitors will be free to roam around about half of the facility at their leisure, and will

have an opportunity to view the rest – the closed part – in guided tours that will be provided on a

permanent basis throughout the day.

For visitors the change means many interesting additions to the museum’s regular program:

they can learn about the collection’s care, the way exhibitions are prepared, conservation and

restoration projects, and problems relating to packing, natural lighting, and pest control. In addition,

the museum – which has received gifts of over 52,000 artworks in the 170-odd years of its existence –

will be able to devote more attention than in the past to historical and recent donors. It can also

highlight the world of collecting. All these innovations will be strengthened by the public-private nature

of this initiative, in which both corporate enterprises and private individuals will have the opportunity to

place their collections with the museum for safe keeping.

About Sjarel Ex

Sjarel Ex majored in Modernism and was awarded his master’s degree with distinction by Utrecht

University in 1982. After some years at the Free University of Amsterdam in a research post funded

by the then Netherlands Organization for Pure Scientific Research (ZWO) and a number of freelance

research and exhibition projects for diverse museums, he was appointed as director of the Centraal

Museum Utrecht in 1988. In the fifteen years in which he headed this museum, its regular program

was thoroughly revamped, the building itself was completely renovated and upgraded, a new storage

facility was installed, and a comprehensive collection catalog was produced. In 2004 Sjarel Ex took up

his post as director of Museum Boijmans Van Beuningen in Rotterdam.

Statements Monday 22 May

15

STATEMENTS ON THE CONGRESS THEME

Work in Progress:

Presenting the Collection as a Generator of Change in Museum De Lakenhal, Leiden

Meta Knol, Director of Museum De Lakenhal, Leiden

In 2010 Museum De Lakenhal in Leiden took what was designated as a “sabbatical.” Instead of

focusing on the production and presentation of exhibitions, it spent the entire year in a process of self-

reflection on its existence and remit as a museum. Acquisitions were suspended and all exhibitions

cancelled. For a full twelve months, the management and staff of Museum De Lakenhal would take a

prolonged look at the collection. We called this project “Work in Progress.”

The exhibition hall was turned into a public workspace. A 65-meter conveyer belt was

installed, with four workstations at which staff examined each item of the inventory under the public’s

watchful gaze. The entire storage facility was emptied, one shelf at a time. In the space of the year,

over 13,000 objects passed down the conveyer belt: each one was cleaned, subjected to essential

conservation, photographed, and added to a digital database. This gave the public a unique view of

what lay hidden away in the bowels of storage. Eventually, the museum’s entire collection of over

23,000 objects was examined and published online in a completely revamped website

(www.lakenhal.nl).

In the meantime, the management, curators and other staff held talks, which were also

attended by external guests, on the collection’s significance to the museum’s development and its

identity. This in-depth review culminated in a new mission and vision. The comprehensive renewal of

Museum De Lakenhal will conclude in the spring of 2019 with a festive reopening, following the

restoration of the museum’s 17th-century premises and its expansion with a new exhibition wing. With

these changes, Museum De Lakenhal will be presenting itself as a strong collection-based museum.

The project “Work in Progress” laid the foundations for this new vision.

About Meta Knol

Meta Knol is the director of Museum De Lakenhal in Leiden, the Netherlands. She gained her

master’s degree in art history from Utrecht University, specializing in modern and contemporary art.

She then spent several years devising exhibitions, publishing on the visual arts, and working with

others on a range of cultural initiatives. From 1997 to 2009 she was attached to the Centraal Museum

in Utrecht, as a researcher, deputy head of exhibitions, and curator. In 2007 Meta Knol joined with

Edwin Jacobs and Stijn Huijts to produce the “Manifesto for an Enfranchised Museum,” a plea for

renewal in the museum world, which was published in the daily newspaper NRC-Handelsblad. She

has been putting into practice the principles articulated in this piece since 2009 as director of Museum

De Lakenhal.


16

On Public Demand: Staging Temporary Exhibitions of Artworks from Storage

Edwin Buijsen, Head of Collections at the Mauritshuis, The Hague

Museum storage facilities are currently very much in the spotlight. Usually, these places are

inaccessible to visitors, which in itself naturally arouses curiosity. A recent survey conducted by a

leading Dutch newspaper concluded that over 90% of the artworks owned by the country’s museums

is languishing in storage. Pressure is mounting for the public to be given an opportunity to view these

“hidden treasures.” More and more frequently we now see museums responding by organizing

temporary exhibitions featuring objects from their own storage, not least because this is a relatively

inexpensive way of attracting visitors.

There are several modalities for an exhibition of this kind. One option is to have the museum

staff choose the artworks to be included. Another is to invite a succession of TV celebrities to roam

the storage facility. A third route might be to hold an online survey in which members of the public can

indicate what they would like to see on display. A key factor in all these decisions is the museum’s

own position on what it does and does not want to put on display. For instance, you need to decide

whether artworks from storage should undergo restoration before being put on display, or whether

they should be exhibited quite deliberately in their original state, even if they are in poor condition.

This statement will examine the dos and don’ts of the phenomenon of “Out of Storage

Exhibitions,” in which Edwin Buijsen will primarily draw on his own experience with the exhibition In

and Out of Storage, which was on view at the Mauritshuis in the spring of 2016.

About Edwin Buijsen

Edwin Buijsen studied art history at Leiden University. He took up his position as Head of Collections

at the Mauritshuis in 2008. Through the years he has worked on various exhibitions and publications

on Dutch and Flemish artists, including Paulus Potter, Jan van Goyen, Rembrandt, Johannes

Vermeer, and Cornelis Troost. Recently he curated the exhibition In and Out of Storage at the

Mauritshuis. He is currently completing his dissertation on the production of paintings by the

seventeenth-century Dutch artist Adriaen van de Venne. He is a member of the editorial board of Oud

Holland and a former member of CODART’s program committee.

Edwin Buijsen has been a member of CODART since 2005.


17

V&A East: ‘A book that would always be open, and never shut’

Catherine Ince, Senior Curator at the Victoria and Albert Museum, London

Enabling public access to ‘hidden’ collections is a constant conundrum for most museums worldwide.

Like many institutions, the V&A is routinely criticised for ‘hoarding treasures’ despite major efforts over

recent decades to improve and increase collections on permanent display or accessible through the

provision of dedicated study facilities.

When the Victoria and Albert Museum was created in 1857, its founding director Henry Cole

famously described it as ‘a book that would be always open and never shut.’ The V&A is now in a

position to realise Cole’s vision. The 2012 Olympic Games catalysed an ambitious legacy

development plan for east London and the V&A is the lead museum partner for a new cultural and

academic quarter planned for the Queen Elizabeth Olympic Park. Our new satellite institution,

tentatively called V&A East, is due to open in 2022. During the early stages of planning V&A East, the

British government announced the future sale of Blythe House, the former headquarters of the Post

Office Savings Bank in West Kensington, which has served as a home for the reserve collections of

the V&A, the British Museum and the Science Museum since the eighties.

A new, purpose-built facility in east London combined with the urgent need to move our

reserve collections provides a once-in-a-lifetime opportunity for the V&A to create a truly 21st century

institution by radically rethinking the ways in which we house, display, research, and provide open

access to our collections and expertise. This statement will address how will this change the way

curators and visitors access the collections; which collections will be selected for this new location

and what this means for our collections stored at South Kensington; and the discussions currently

underway with collection curators across the whole museum.

About Catherine Ince

Catherine Ince is a Senior Curator at the Victoria and Albert Museum where she is developing the

curatorial program of V&A East, a new institution planned for the Queen Elizabeth Olympic Park,

London. Until November 2015 she was a Curator at the Barbican Centre and produced major survey

exhibitions and publications including The World of Charles and Ray Eames (2015), Bauhaus: Art as

Life (2012), and Future Beauty: 30 Years of Japanese Fashion (2011). Prior to joining the Barbican

Catherine was Co-Director of the British Council’s Architecture, Design and Fashion department

where she organized international touring exhibitions and collaborative projects about contemporary

design and architecture, and commissioned the British Pavilion at the Venice Biennale of Architecture.

Catherine is currently an international juror for the Swiss Design Prize, organized by the Swiss

Federal Office of Culture, and is a member of the advisory board for the Stanley Picker Gallery and

Dorich House Museum at Kingston University. She is a regular contributor to a range of print and

online publications, and has lectured widely in the UK and internationally.


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Something in Store? Principles of Low-Energy Storage Buildings

Prof. em. Dr. Jørgen Wadum, Director of Conservation and of CATS at the Statens Museum

for Kunst, Copenhagen

In order to qualify as a low-energy museum storage facility, a structure requires an extremely well-

insulated superstructure or “building envelope,” with high thermal inertia that keeps temperature

variations to a minimum, using the ground beneath the floor for heat storage. This removes the need

for active heating; it is possible to rely on a low air exchange rate and to dispense with forced

ventilation. When necessary, in response to challenging climate conditions, provision is made for

activating mechanical dehumidification, which can be driven by solar power. Jørgen Wadum will

present some examples of construction of low-energy storage buildings and demonstrate their

effectiveness. He will also discuss pertinent questions like how this may challenge access to museum

staff as well as external researchers and visitors.

About Jørgen Wadum

Jørgen Wadum is director of conservation and of CATS at Statens Museum for Kunst in Copenhagen,

Denmark. From 2012 to 2016 he held a chair in Conservation and Restoration at the Faculty of

Humanities, University of Amsterdam. From 1990 through 2004 he was chief conservator at the

Mauritshuis, The Hague. Wadum holds positions in several international organizations, committees,

and research networks including the Commission for the Conservation of the Ghent Altarpiece and

The MARKS ON ART database at the RKD.

Jørgen Wadum has been a member of CODART since 2005.

Speakers’ Corner 23 May

19

SPEAKERS’ CORNER TUESDAY 23 May

The morning session on Tuesday 23 May will feature a plenary Speakers’ Corner. CODART members

will be given the congress floor for seven minutes, during which time they can put questions to their

fellow curators or appeal to them for help with a project or research question. After each presentation

there will be time for reactions from the audience.

The following speakers will take part in the Speakers’ Corner (in order of appearance)

Joost Vander Auwera and Justin Davies - Jordaens Van Dyck Panel Paintings Project

Dr. Joost Vander Auwera MBA is Senior Curator at the Royal Museums of Fine Arts of Belgium and

one of the co-founders – and project leader – of the four-year multidisciplinary Jordaens Van Dyck

Panel Paintings Project (JVDPPP). He is also serving as project leader for the development of the

new visitors’ center at the Brueghel House in Brussels, and was recently appointed Vice-President of

the UNESCO International Committee on the History of Art. He has some 75 publications on 17th-

century Flemish painting and museum administration to his name. With Dr. Sabine van Sprang, he

curated the exhibition Rubens: A Genius at Work in 2007-08 at the Brussels museum. In 2012-13 he

curated the first exhibition on Jacques Jordaens to have been held in Brussels since 1928, and the

very first in Germany: Jordaens and the Antique, in collaboration with Dr. Irene Schaudies and Dr.

Justus Lange. He was a contributing author to the Jordaens 1593-1678 exhibition catalogue, Petit

Palais, Paris, in 2013.

Joost Vander Auwera has been a member of CODART since 1999.

Justin Davies is one of the co-founders of the Jordaens Van Dyck Panel Paintings Project (together

with Joost Vander Auwera). As a JVDPPP Research Fellow, he is preparing his PhD dissertation at

the University of Amsterdam under the supervision of Prof. Frans Grijzenhout. He also coordinates

the project’s multidisciplinary elements. A graduate of Cambridge University, he was an officer in the

Grenadier Guards before working for the UK Foreign Office in international crisis areas, mainly in the

Balkans and the Middle East. On behalf of Nobel Laureate and former Finnish president Maarti

Ahtisaari he set up the peacemaking mission in the Aceh province of Indonesia in 2005 that

successfully ended the 30-year civil war. An expert on the Anglo-Boer War, he has published articles

and book chapters on both the Boer War and crisis management. He is a specialist in historical

research relying on both primary and secondary sources, and publishes the blog on the Jordaens and

Van Dyck Panel Paintings Project website.

Justin Davies has been an associate member of CODART since 2016.


20

Lars Hendrikman - Wood Carvers Without Borders: Artistic Continuity in the Northern Maas-Rhine

Region

Lars Hendrikman has been curator of Old Master paintings and drawings since 2006 and Old Master

sculpture and applied arts since 2012 at the Bonnefantenmuseum, Maastricht. He has overseen a

number of exhibitions, some curated by himself as well as loan exhibitions on a wide range of topics

in art of the 16th and 17th centuries. His scholarly publications largely focus on early 16th-century

painting. He also published the collection catalogue Bonnefantenmuseum: Netherlandish and German

painting 1500-1800 (2013) and The Neutelings Collection: Four Centuries of Medieval Sculpture

(2016).

Lars Hendrikman has been a member of CODART since 2006.

Aleksandra Janiszewska - New Findings on Jean Bellegambe's "The Lamentation Triptych" and

How to Interpret Them

Aleksandra Janiszewska has been curator of the Collection of Early Modern Netherlandish, Dutch and

Flemish Paintings at the National Museum in Warsaw since 2013. Before then she served as junior

curator of the collection of Early Modern European Sculpture in the Museum of Sculpture, a division of

the same museum. In the period 2009-2016 she curated or co-curated several exhibitions at this

museum. She is currently co-curating (with Piotr Borusowski) the exhibition In the Workshop of a

Netherlandish Master: Dutch and Flemish Drawings from the Collection of the National Museum in

Warsaw.

Aleksandra Janiszewska has been a member of CODART since 2013.

Marrigje Rikken - Swapping the Collections: Images vs Publications

Dr. Marrigje Rikken studied art history at the University of Amsterdam. She gained her bachelor’s

degree with honors in 2004 and her master’s degree in research with honors in 2006. From 2006 to

2008 she worked as assistant curator of Dutch 17th-Century Paintings at the Rijksmuseum in

Amsterdam. From 2009 to 2015 she lectured in art history at the University of Amsterdam. In 2014

she was appointed associate curator at the Frans Hals Museum in Haarlem. She combines her duties

there with her position as curator of history paintings at the RKD - Netherlands Institute for Art History

in The Hague, to which she was appointed in 2015. In 2016 she was awarded a PhD by Leiden

University on the strength of her dissertation on the development of Southern Netherlandish animal

imagery into an autonomous genre between 1550 to 1630 in relation to developments in natural

history, artists’ networks, and elite collecting practices.

Marrigje Rikken has been a member of CODART since 2014.

Femke Diercks - CollectieCentrum Nederland: A New Collection Centre for the Rijksmuseum,

Cultural Heritage Agency of the Netherlands, Holland Open Air Museum, and Paleis Het Loo

Femke Diercks is curator of European Ceramics at the Rijksmuseum. After studying Art History at the

University of Groningen and internships at, among other institutions, the Peabody Essex Museum in


21

Salem (Mass.) and the Amsterdam Museum, she specialized in decorative arts and ceramics. She is

connected to the Rijksmuseum since 2009, where her responsibilities have included contributing to

the museum’s refurbishment leading up to the reopening (2013). She was one of the curators of the

exhibition Asia in Amsterdam (2015-2016). She is currently working on a collection catalogue of the

Dutch Delftware at the Rijksmuseum.

Femke Diercks has been a member of CODART since 2009.

Sandra Kisters - Public Storage: Opening Up the Collection

Dr. Sandra Kisters was assistant professor in modern and contemporary art at Utrecht University until

2015, before she joined Museum Boijmans Van Beuningen as Head of Collections and Research.

Kisters did research into artists’ self-representations, and the opening of studios, artists’ houses and

personal museums to the public. In addition, she is interested in artistic process and co-edited Hiding

Making – Showing Creation. The Studio from Turner to Tacita Dean (2013). With her department, she

is closely involved in the realization of the Depot Boijmans Van Beuningen.

Sandra Kisters has been a member of CODART since 2016.

Izabela Zychowicz - A New Catalogue: “The Stanisław August Collection of Paintings – A Critical

Analysis of Tadeusz Mańkowski’s Work of 1932”

Izabela Zychowicz is an art historian and curator. She currently serves as the deputy director of the

Royal Łazienki Museum, where she previously headed the Department of Art. She has curated

international exhibitions held at the Palace on the Isle and the Old Orangery and lectures in art

history. She graduated in art history from the University of Warsaw, and in graphic techniques from

the European Academy of Arts, besides pursuing a range of specialist postgraduate studies. She

takes a particular interest in art prints.

Izabela Zychowicz has been a member of CODART since 2015.

Dorota Juszczak - Abraham van den Tempel's Painting at Museum Boijmans Van Beuningen,

Formerly at the Royal Castle in Warsaw

Dorota Juszczak has a master’s degree in art history from the University of Warsaw. She is senior

curator of paintings at the Royal Castle in Warsaw. She co-authored (together with Hanna

Małachowicz) the scholarly catalogues The Royal Castle in Warsaw: A Complete Catalogue of

Paintings c.1520-c.1900 (2013) and The Stanisław August Collection of Paintings at the Royal

Łazienki: Catalogue (2016). Her research focuses on Stanisław August’s collection of paintings and

she is also an expert on Marcello Bacciarelli, the Roman painter who worked for the Polish king.

Dorota Juszczak has been a member of CODART since 2004.

Participants List

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PARTICIPANTS OF CODART TWINTIG

Joost Vander Auwera Senior Curator Royal Museums of Fine Arts of Belgium, Brussels [email protected] Artur Badach Curator Royal Castle in Warsaw, Warsaw [email protected] Alexandra Nina Bauer Curator of German, Dutch and Flemish Paintings Stiftung Preussischer Kulturbesitz, Potsdam [email protected] Katharina Bechler Director Schloss Philippsruhe, Marstall, Hanau [email protected] Valentine De Beir Assistant Curator Museum voor Schone Kunsten, Ghent [email protected] Hanna Benesz Curator of Early Netherlandish and Flemish Painting National Museum in Warsaw, Warsaw [email protected] Marc de Beyer Director Museum Gouda, Gouda [email protected] Britta Bode Board Member Arbeitskreis Niederländische Kunst- und Kulturgeschichte, Berlin [email protected] Till-Holger Borchert Director Musea Brugge, Bruges [email protected] Piotr Borusowski Keeper in the Department of Prints and Drawings National Museum in Warsaw, Warsaw [email protected] Edwin Buijsen Head of Collections Mauritshuis, The Hague [email protected]

Quentin Buvelot Senior Curator Mauritshuis, The Hague [email protected] An Van Camp Christopher Brown Curator of Northern European Art Ashmolean Museum, Oxford [email protected] Michel Ceuterick Patron of CODART

Asper [email protected] Daniël Christiaens Curator Maagdenhuismuseum, Antwerp [email protected] Wolfgang Cillessen Curator Historisches Museum Frankfurt am Main, Frankfurt am Main [email protected] Frederica Van Dam Assistant Curator & Project Coordinator Museum voor Schone Kunsten, Ghent [email protected] Justin Davies Co-Founder and Research Fellow Jordaens Van Dyck Panel Paintings Project Royal Museums of Fine Arts of Belgium, Brussels [email protected] Jelena Dergenc Senior Curator National Museum, Belgrade [email protected] Femke Diercks Curator of European Ceramics Rijksmuseum, Amsterdam [email protected] Annabel Dijkema Junior Curator Museum Catharijneconvent, Utrecht [email protected] David Duindam Lecturer University of Amsterdam, Amsterdam [email protected]

Participants List

23

Ellis Dullaart Curator Dutch and Flemish Old Master Painting RKD - Netherlands Institute for Art History, The Hague [email protected] Charles Dumas Former Deputy Director and Chief Curator Old Master Paintings and Drawings RKD - Netherlands Institute for Art History, The Hague [email protected] Katrin Dyballa Research Associate

Gemäldegalerie, Staatliche Museen zu Berlin, Berlin [email protected] Kirsi Eskelinen Director Sinebrychoff Art Museum, Helsinki [email protected] Sjarel Ex Director Museum Boijmans Van Beuningen, Rotterdam [email protected] Josephina de Fouw Curator Museum Gouda, Gouda [email protected] Michiel Franken Curator Technical Documentation / Rembrandt and Rembrandt School RKD - Netherlands Institute for Art History, The Hague [email protected] Jenny Gaschke Curator of Fine Art Pre-1900

Bristol Museum & Art Gallery, Bristol [email protected] Erik van Ginkel Managing Director Rijksmuseum, Amsterdam [email protected] Hilliard Goldfarb Senior Curator - Collections Musée des Beaux-Arts de Montréal, Montréal [email protected] Leen Gysen Patron of CODART Managing Partner, International Platform for Art Research and Conservation (IPARC), Louvain [email protected]

David de Haan Curator of the Art Collections

Museum Prinsenhof, Delft [email protected] Bob Haboldt Board Member of the Friends of CODART Patron of CODART Owner, Haboldt & Co. and Pictura, New York, Paris, Amsterdam [email protected] Marijke Hellemans Curator of the Printroom Museum Plantin-Moretus / Prentenkabinet, Musea Antwerpen, Antwerp [email protected] Liesbeth Helmus Curator of Old Master Paintings and Drawings Centraal Museum, Utrecht [email protected] Lars Hendrikman Curator of Old Master Painting and Applied Arts Bonnefantenmuseum, Maastricht [email protected] Zofia Herman Assistant Curator National Museum in Warsaw, Warsaw [email protected] Camilla Hjelm Curator Stockholm University Art Collection, Stockholm [email protected] Jasper Hillegers Assistant Curator of Old Masters Frans Hals Museum, Haarlem [email protected] Annemieke Hogervorst Curator Museum Helmond, Helmond [email protected] Willem Jan Hoogsteder Patron of CODART Owner-Director, Hoogsteder & Hoogsteder, The Hague [email protected] Catherine Ince Senior Curator Victoria and Albert Museum, London [email protected]

Participants List

24

Alicja Jakubowska Curator

Royal Castle in Warsaw, Warsaw [email protected] Aleksandra Janiszewska Curator National Museum in Warsaw, Warsaw [email protected] Anita Jansen Curator of Old Master Paintings Museum Prinsenhof, Delft [email protected] Dorota Juszczak Curator Royal Castle in Warsaw, Warsaw [email protected] Stephan Kemperdick Curator of Early Netherlandish and Early German Painting Gemäldegalerie, Staatliche Museen zu Berlin, Berlin [email protected] Sandra Kisters Head of Collections and Research Museum Boijmans Van Beuningen, Rotterdam [email protected] Hanna Klarenbeek Curator of Paintings, Prints and Drawings Paleis Het Loo, Apeldoorn [email protected] Christi Klinkert Curator Stedelijk Museum Alkmaar, Alkmaar [email protected] Meta Knol Director

Museum De Lakenhal, Leiden [email protected] Claudia Koch Curator Gemäldegalerie der Akademie der bildenden Künste, Vienna [email protected] Lidewij de Koekkoek Director Museum Het Rembrandthuis, Amsterdam [email protected] Izabela Korczyńska Senior Librarian Jagiellonian Library, Cracow [email protected]

Fritz Koreny Senior Researcher

Institut für Kunstgeschichte der Universität Wien, Vienna [email protected] Olga Kotková Senior Curator of Netherlandish, German and Flemish Paintings and Sculpture National Gallery in Prague, Prague [email protected] Dragana Kovačìč Senior Curator National Museum, Belgrade [email protected] Zoltán Kovács Deputy Head of Research and Documentation Department of Cultural Heritage Szépmüvészeti Múzeum, Budapest [email protected] Friso Lammertse Curator of Old Master Paintings Museum Boijmans Van Beuningen, Rotterdam [email protected] Micha Leeflang Curator of Medieval Art

Museum Catharijneconvent, Utrecht [email protected] Rieke van Leeuwen Project Manager Gerson Digital RKD - Netherlands Institute for Art History, The Hague [email protected] Katrien Lichtert Curator MOU - Museum of Oudenaarde and the Flemish Ardennes, Oudenaarde [email protected] Yuri van der Linden Curator State Collection Cultural Heritage Agency, Rijswijk [email protected] Oxana Lopatina Curator of Glass and Ceramics Pushkin State Museum of Fine Arts, Moscow [email protected] Nataliya Markova Senior Researcher, Curator of Netherlandish, Dutch and Flemish Prints and Drawings of XVI – XX Centuries Pushkin State Museum of Fine Arts, Moscow [email protected]

Participants List

25

Ingrid De Meûter Curator of Tapestries and Textiles

Koninklijke Musea voor Kunst en Geschiedenis – Jubelparkmuseum, Brussels [email protected] Norbert Middelkoop Curator of Paintings, Prints and Drawings Amsterdam Museum, Amsterdam [email protected] Patrick van Mil Director Stedelijk Museum Alkmaar, Alkmaar [email protected] Tom van der Molen Curator Amsterdam Museum, Amsterdam [email protected] Agnieszka Morawińska Director National Museum in Warsaw, Warsaw Ángel Navarro Curator of Drawings (before XIX Century) Museo Nacional de Bellas Artes, Buenos Aires [email protected] Uta Neidhardt Curator of Dutch and Flemish Paintings Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden, Dresden [email protected] Piotr Oczko Associate Professor Jagiellonian University, Cracow [email protected] Anna Olszewska Curator of Prints Scientific Library of the Polish Academy of Arts and Sciences, Cracow [email protected] Anne van Oosterwijk Assistant Curator Groeningemuseum, Musea Brugge, Bruges [email protected] Cynthia Osiecki Junior Researcher Bonnefantenmuseum, Maastricht [email protected] Vanessa Paumen Coordinator, Flemish Research Center for the Arts in the Burgundian Netherlands Groeningemuseum, Musea Brugge, Bruges [email protected]

Sabine Pénot Curator of Netherlandish and Dutch Paintings

Kunsthistorisches Museum (KHM), Vienna [email protected] Michael Philipp Chief Curator Museum Barberini, Potsdam [email protected] Almut Pollmer-Schmidt Associate Curator Städel Museum, Frankfurt am Main [email protected] Mireille Pondman Business Director RKD - Netherlands Institute for Art History, The Hague [email protected] Teresa Posada Kubissa Head of Department of Dutch Painting Museo Nacional del Prado, Madrid [email protected] Ruud Priem Chief Curator Sint-Janshospitaal, Musea Brugge, Bruges [email protected] Marrigje Rikken Associate Curator of Old Master Painting Frans Hals Museum, Haarlem [email protected] Charlotte Rulkens Assistant Curator Mauritshuis, The Hague [email protected] Jacques and Gien Schraven Patrons of CODART The Hague [email protected] Gary Schwartz Honorary Member of CODART Maarssen [email protected] Loekie Schwartz Honorary Member of CODART Maarssen [email protected] Gero Seelig Curator of Netherlandish Paintings

Staatliches Museum Schwerin, Schwerin [email protected]

Participants List

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Manfred Sellink General Director and Head Curator

Royal Museum of Fine Arts Antwerp (KMSKA), Antwerp [email protected] Robert Skwirblies Researcher Technical University Berlin, Berlin [email protected] Leonore van Sloten Curator Museum Het Rembrandthuis, Amsterdam [email protected] Ron Spronk Technical Art Historian / Professor Queens University, Kingston / Radboud University Nijmegen [email protected] Ariane van Suchtelen Curator Mauritshuis, The Hague [email protected] Alice Taatgen Curator of Exhibitions and Education Royal Palace, Amsterdam [email protected] Júlia Tátrai Head of the Department of Old Master Paintings Szépmüvészeti Múzeum, Budapest [email protected] Joanna Tomicka Curator of European Prints National Museum in Warsaw, Warsaw [email protected] Anna Tummers Curator of Old Masters Frans Hals Museum, Haarlem [email protected] Jacek Tylicki Chair for History of Art and Culture Nicolaus Copernicus University, Toruń [email protected] Matthias Ubl Curator Early Netherlandish Painting Rijksmuseum, Amsterdam [email protected] Hildegard Van de Velde Curator Rockoxhuis, Antwerp [email protected]

Rob Vellekoop Board Member of the Friends of CODART Patron of CODART Collector, Rotterdam [email protected] Titia Vellenga Chair of the Board of the Friends of CODART Patron of CODART, Ommen [email protected] Annette de Vries Director and Curator Kasteel Duivenvoorde, Voorschoten [email protected] Jørgen Wadum Director of Conservation and of CATS Statens Museum for Kunst, Copenhagen [email protected] Henrietta Ward Assistant Keeper Fitzwilliam Museum, Cambridge [email protected] Ira Westergård Chief Curator Sinebrychoff Art Museum, Helsinki [email protected] David de Witt Chief Curator Museum Het Rembrandthuis, Amsterdam [email protected] Antoni Ziemba Chief Curator of the Foreign Painting Gallery National Museum in Warsaw, Warsaw [email protected] Izabela Zychowicz Deputy Director Royal Łazienki Museum, Warsaw [email protected]

Participants List

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SPEAKERS Edwin Buijsen Head of Collections Mauritshuis, The Hague [email protected] David Duindam Lecturer University of Amsterdam, Amsterdam [email protected] Sjarel Ex Director Museum Boijmans Van Beuningen, Rotterdam [email protected] Catherine Ince Senior Curator Victoria and Albert Museum, London [email protected] Meta Knol Director Museum De Lakenhal, Leiden

[email protected]

Robert Skwirblies Researcher Technical University Berlin, Berlin [email protected] Jørgen Wadum Director of Conservation and of CATS Statens Museum for Kunst, Copenhagen [email protected] HOSTS AND ORGANIZATION Artur Badach Curator Royal Castle in Warsaw, Warsaw [email protected] Hanna Benesz Curator of Early Netherlandish and Flemish Painting National Museum in Warsaw, Warsaw [email protected] Małgorzata Biłozór-Salwa Curator of Old Master Drawings Warsaw University Library, Warsaw [email protected] Piotr Borusowski Keeper in the Department of Prints and Drawings National Museum in Warsaw, Warsaw [email protected]

Alicja Jakubowska Curator

Royal Castle in Warsaw, Warsaw ajakubowska@zamek-krolewski,pl Aleksandra Janiszewska Curator National Museum in Warsaw, Warsaw [email protected] Dorota Juszczak Curator Royal Castle in Warsaw, Warsaw [email protected] Agnieszka Morawińska Director National Museum in Warsaw, Warsaw Przemysław Mrozowski Director Royal Castle in Warsaw, Warsaw Jolanta Talbierska General Director / Keeper of the Print Room Warsaw University Library, Warsaw [email protected] Joanna Tomicka Curator of European Prints

National Museum in Warsaw, Warsaw [email protected] Zbigniew Wawer Director Royal Łazienki Museum, Warsaw Antoni Ziemba Chief Curator of the Foreign Painting Gallery National Museum in Warsaw, Warsaw [email protected] Izabela Zychowicz Deputy Director

Royal Łazienki Museum, Warsaw [email protected] BOARD OF CODART [email protected] Erik van Ginkel Managing Director Rijksmuseum, Amsterdam Manfred Sellink General Director and Head Curator Royal Museum of Fine Arts Antwerp (KMSKA), Antwerp

Participants List

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BOARD OF THE FRIENDS OF CODART FOUNDATION [email protected] Titia Vellenga Chair of the Friends of CODART Foundation Owner of Artara and Former PR & Marketing Manager at TEFAF Ommen Till-Holger Borchert Director Musea Brugge, Bruges Bob Haboldt Owner

Haboldt & Co. and Pictura, New York, Paris, Amsterdam Norbert Middelkoop Curator of Paintings, Prints and Drawings Amsterdam Museum, Amsterdam Rob Vellekoop Collector Rotterdam PATRONS AND BUSINESS SPONSORS [email protected] Michel Ceuterick Asper Leen Gysen Managing Partner International Platform for Art Research and Conservation (IPARC), Louvain Bob Haboldt Owner Haboldt & Co. and Pictura, New York, Paris, Amsterdam Willem Jan Hoogsteder Owner-Director Hoogsteder & Hoogsteder, The Hague Jacques and Gien Schraven Private Collectors The Hague Rob Vellekoop Collector Rotterdam Titia Vellenga Owner of Artara and Former PR & Marketing Manager at TEFAF Ommen

CODART + 31 70 333 9744 (also during the congress) Gerdien Verschoor Director [email protected] Dennis Driessen Webmaster [email protected] Marijn Everaarts Project Associate [email protected] Milou Goverde Project Manager [email protected] Rosalie van Gulick Intern [email protected]

Practical information

29

PRACTICAL INFORMATION Public transport

Tickets for the ZTW buses, trams or metro can be bought at most newspaper stands, the railway stations

or the Tourist Office in the Palace of Culture and Science. Make sure to buy tickets beforehand and

validate them as you get on either the bus, tram and/or metro. For most distances in the city you will need

the ticket that is valid for 20 minutes in zone 1 and zone 2 (Bilet 20-minutowy normalny; 3,40 PLN = 0,85

euro).

Taxi

Taxis are an easy and relatively cheap way of getting around Warsaw. When using taxis, it is

recommended to pre-order a taxi by telephone and to only use one of the city’s official Radio-Taxi

companies, such as:

Plus Taxi: +48 22 196-21

Super Taxi: +48 22 196-22

Express Taxi: +48 22 196-63

Korpo Taxi: +48 22 196-24

Gold Taxi: +48 22 196-88

N.B. Private taxi companies may charge you a much higher rate.

Hotel

Mercure Hotel Warszawa Grand

Krucza Street 28

00-522 Warsaw, Poland

T +48 (0)22 583 2100

W http://www.mercure.com/en/hotel-3384-hotel-mercure-warszawa-grand/index.shtml

Costs per night are 290 PLN (Polish złoty) for a single room and 320 PLN for a double room during the

weekend. During the week a single room costs 490 PLN and a double room 590 PLN. Room rates

include breakfast, taxes and free Wi-Fi.

Participants will pay hotel bills individually at check out.

You are required to check out before noon.

The closest bus stops are Krucza and Plac Trzech Krzyży. The closest metro station is Centrum. The

main railway station Warszawa Centralna is located on a 20-minute walking distance. From there,

SKM train line S3 takes you to Warszawa Chopin International Airport in about 25 minutes.

http://www.mercure.com/en/hotel-3384-hotel-mercure-warszawa-grand/index.shtml


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SUNDAY 21 MAY From the Royal Castle to the Mercure Hotel Warszawa Grand Walking (± 30 minutes) The congress hotel is a 30-minute walk from the Royal Castle. When leaving the Royal Castle turn left onto Castle Square (Plac Zamkowy). You pass the Church of St. Anne on your left and continue all the way down on Krakowskie Przedmieście Street and Nowy Świat Street to the roundabout with the fake palm tree on Aleje Jerozolimskie. Turn right onto Aleje Jerozolimskie. Take the second street on your left: Krucza Street. The congress hotel is on your left-hand side after 350 m.


31

By bus (± 20 minutes) Alternatively, you may take the bus. When leaving the Royal Castle turn left onto Castle Square (Plac Zamkowy). You pass the Church of St. Anne on your left. You will find the bus stop on the right side of Krakowskie Przedmieście Street.

You may take lines 128 or 175 and get of at Krucza (5 stops). From there it is a 5-minute walk to the hotel. You can also take lines 116, 180, 222 or 503 (5 stops) to Plac Trzech Krzyży. From there it is a 5-minute walk to the hotel.


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MONDAY 22 MAY From the Mercure Hotel Warszawa Grand to the National Museum Walking (± 15 minutes) When leaving the hotel go right onto Krucza Street. Turn right onto Aleje Jerozolimskie and continue on this street. After passing the roundabout, you will find the National Museum on your right-hand side. The main entrance is located in the second courtyard.

From the Mercure Hotel Warszawa Grand to the congress dinner location: the Old Orangery at the Royal Łakienki Museum After the plenary meeting at the National Museum, the galleries will be open exclusively for congress participants until 18:00. CODART offers bus transport from the congress hotel to the congress dinner location. Buses will depart at 18.30 sharp in front of the Mercure Hotel Warszawa Grand on Krucza Street. It will take a 5-minute walk through the Royal Łazienki Park from the bus parking to the Old Orangery. After the congress dinner, the buses will bring you back to the congress hotel. Walking (± 25 minutes) If you like to walk to the Old Orangery instead, please find directions on p. 35. For the Old Orangery, turn left onto Agrykoli Street and take the first park entrance on your right after 400 m. Continue straight ahead on this path. You will approach the Old Orangery from the back of the building after 200 m. Walk around the building to enter it from its garden side.


33

TUESDAY 23 MAY From the Mercure Hotel Warszawa Grand to the Royal Castle Walking (± 30 minutes) See Sunday 21 May. By bus (± 20 minutes) From Plac Trzech Krzyży Square you may take bus 116, 180, 222 or 503 and get of at Plac Zamkowy (5 stops). Continue walking along Krakowskie Przedmieście Street until you reach Castle Square (Plac Zamkowy). The entrance to the Royal Castle is via the main courtyard. Alternatively, you can take bus 128 or 175 from Krucza and get of at Plac Piłsudskiego (4 stops). Turn right onto Trębacka Street. Walk until the end of this street and turn left onto Krakowskie Przedmieście Street. Continue until you reach Castle Square (Plac Zamkowy). The entrance to the Royal Castle is via the main courtyard.


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Excursion 3: From the Royal Castle to the Warsaw University Library Walking (± 20 minutes) When leaving the Royal Castle turn left onto Castle Square (Plac Zamkowy). You pass the Church of St. Anne on your left and continue on Krakowskie Przedmieście Street. After passing the Presidential Palace and Hotel Bristol, turn left onto Karowa Street. Continue on this street, follow its right turn, and walk down into the park on your right side just before the bridge. Cross through the park and then follow Gęsta Street. Turn right onto Dobra Street and continue on this street until you reach the crossing with Lipowa Street. The entrance to the Library (the green and purple building) is on this corner. Participants of the excursion meet in the courtyard under the sign of the book with the inscription ‘HINC OMNIA’. From the Warsaw University Library to the Mercure Hotel Warszawa Grand Walking (± 30 minutes) From the University Library cross through Park Kazimierzowski towards Oboźna Street and from there onto Nowy Świat Street. From there follow the route as indicated on p. 30. By bus (± 15 minutes) The bus stop is directly across the entrance of the library. From here take either bus 118 (direction Metro Politechnika) and get off at Plac Trzech Krzyzy, or take line 127 (direction Nowe Wlochy), and get off at Krucza. From there it is a 5-minute walk to the hotel (see the map on p. 31.)


35

Excursion 4: From the Royal Castle to the Royal Łazienki Museum (Palace on the Isle) By bus (± 30 minutes) When leaving the Royal Castle turn left onto Castle Square (Plac Zamkowy). You pass the Church of St. Anne on your left. You will find the bus stop on the right side of Krakowskie Przedmieście Street (see p. 31). From there you can take lines 116, 180, or 503 (8 stops) to Plac na Rozdrożu. Continue along Aleje Ujazdowskie and cross the road at the first traffic lights or use the pedestrian tunnel to get to the left side of the street. Cross the viaduct. Participants of the excursion meet at 14:00 on the corner of Aleje Ujazdowskie and Agrykoli Street in front of café Rozdroże. See p. 36 for lunch options nearby. We will walk through the Royal Łazienki Park to the Palace on the Isle together as a group.

From the Royal Łazienki Museum to the Mercure Hotel Warszawa Grand Walking (± 30 minutes) It is a 30-minute walk from the Palace on the Isle to the congress hotel. Exit the park via one of the gates on Agrykoli Street. Turn left onto Agrykoli Street and walk up to Aleje Ujazdowskie. Turn right onto Aleje Ujazdowskie, cross the viaduct and walk past the Ujazdowski Park. On the crossing on the corner of the park, turn left onto Piękna Street. Take the second street on your right. This is Krucza Street. The hotel will be on your right hand side after 450 m. By bus (± 20 minutes) Exit the park via one of the gates on Agrykoli Street. Turn left onto Agrykoli Street and walk up to Aleje Ujazdowskie. Turn right onto Aleje Ujazdowskie and cross the viaduct. On the viaduct take lines 116, 180, or 503 and get of at Plac Trzech Krzyży (3 stops). From there it is a 5-minute walk to the congress hotel (see the map on p. 33)


36

SUGGESTIONS FOR LUNCH ON TUESDAY 23 MAY There are many options for lunch around the Royal Castle. In Warsaw’s Old Town you will find a large

number of restaurants, cafés and bars, not only on Castle Square (Plac Zamkowy) and the Old Town

Market Square, but also on streets such as Podwale, Piwna and Świętojańska. There are many Polish

restaurants, but also several with Italian, French and other international cuisines. International coffee

chains, such as Costa Coffee, Caffe Nero and Starbucks Coffee can be found all over the city.

Many restaurants serve special Polish dumplings (pierogi) with a variety of fillings, both savory and

sweet. Other Polish specialties are beetroot soup (barszcz), sour rye soup (żurek), fried potato pancakes

(placki ziemniaczane), sauerkraut and meat stew (bigos) and stuffed cabbage leaves (gołąbki). A nice

Polish restaurant is Literatka, opposite the Royal Castle (Krakowskie Przedmieście Street 87/89).

Zapiecek is a chain that can be found all over Warsaw and specializes in pierogi and other Polish dishes.

On the northwest side of the Old Town you will find Freta Street with many enjoyable restaurants, for

example Pod Samsonem, Zapiecek, Barbakan and Fret@Porter.

Are you joining the excursion to the National Museum?

Walking from the Royal Castle to the National Museum you will pass many restaurants on Krakowskie

Przedmieście Street and Nowy Świat Street, with a large variety of cuisines. Closer to the museum you

can, for example, find Zapiecek (Aleje Jerozolimskie 28). You can of course consider the restaurant

Aleje3 inside the National Museum, where lunch on Monday was served. The lunch menu offers starters,

soups, salads and Polish and international main courses. Another option in the National Museum is Café

Lorentz in the courtyard that serves soups and sandwiches.

Are you joining the excursion to the Warsaw University Library?

In the main hall of the Warsaw University Library you will find a number of small shops and cafés that sell

coffee, tea, drinks, sandwiches and other light snacks. These places can, however, be crowded with

students.

Are you joining the excursion to the Royal Łazienki Museum?

You may consider to travel in the direction of the Royal Łazienki Museum immediately after the morning

program and to have lunch at café Rozdroże in front of which we will meet at the beginning of the

excursion at 14:00 (see p. 35). They serve soups, salads, Polish specialties and international dishes.

Another option nearby is Qchnia Artystyczna, which is located in the Centre for Contemporary Art in the

Ujazdowski Castle (Jazdów Street 2). They serve contemporary and seasonal Polish dishes with an

artistic twist.

CODART 2016: The Year in Review

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CODART 2016: THE YEAR IN REVIEW

CODART can look back with satisfaction at what it achieved in 2016. Many new contacts were

established with museums and other cultural institutions and universities around the world. Efforts were

made to strengthen the network, particularly in Spain, Germany, Poland and Flanders.

An international congress was organized in Madrid, and two CODARTfocus meetings were held: one in ’s

Hertogenbosch and the other in Dresden. A successful fundraising campaign was held for a major

operation to upgrade the digital platform www.codart.nl, which was carried out this past year. The website

was presented during a festive afternoon at the Frans Hals Museum. Two special events were organized

for the Friends of CODART: a Patrons Salon and a Friends’ afternoon in Antwerp. These initiatives

succeeded in reaching a wider audience, boosting the number of members, Donors and Patrons.

Given CODART’s results – both quantitative and qualitative – its raison d’être is not in doubt. It is

precisely its focus on international networking activities that makes CODART a strong and effective

organization. Its small but efficient staff has enabled it, with a minimum of overhead, to make great

strides in enhancing the international prestige of the art of the Low Countries.

Achievements

The annual congress, which was held in Madrid in partnership with Museo del Prado, Museo Thyssen-

Bornemisza, Museo Lazaro Galdiano, and Patrimonio Nacional, played a key role in strengthening

international cooperation in the realm of exhibitions, collection mobility, and research. The lectures and

debate that explored the congress theme, Connoisseurship: Between Intuition and Science, and the

Speakers’ Corner event, all helped to develop ideas about innovation in the museum world, the changing

profession of the curator, and problems relating to connoisseurship. Both the theme and the decision to

hold the congress in Madrid were greatly appreciated by participants. This was the fourth time that the

CODART Congress was open to attendance by Patrons, which prompted a positive response from

members as well as the Patrons themselves and encouraged new patrons to forge a stronger

commitment to CODART. For the first time, the lectures and statements were combined into a video and

posted on the website, enabling them to reach a wider public.

Two CODARTfocus meetings were held: one was organized in partnership with the Noordbrabants

Museum and the Bosch Research and Conservation Project (BRCP) and explored the theme Exploring

Bosch: Viewing his Works and Discussing the Results of the Bosch Research and Conservation Project,

while the other, in collaboration with the Gemäldegalerie Alte Meister in Dresden, was entitled Paradise

on Earth: Study Visit to the Gemäldegalerie Alte Meister.

In addition to these events, the annual CODART Patrons Salon was organized in the MECC in Maastricht

(during TEFAF), the aim being to consolidate existing networks and to strengthen private patronage. In


38

addition, a meeting was held for the Friends at the Rockox House in Antwerp around the exhibition Power

Flower.

The December edition of the eZine, which was dedicated to the theme of Art & Architecture, included

contributions from Amsterdam, Brussels, Cracow, Nijmegen, and Washington. It also contained a ‘Patron’s

interview’ with the art dealer Salomon Lillian.

The website remains one of CODART’s central services: a unique product that serves as a source of

information for curators and others who take an interest in Dutch and Flemish art throughout the world. In

2016 the CODART website continued to reach a wide international public among devotees of art from the

Low Countries. With the eZine – which can be read as a separate publication but is integrated into the

website – the site is constantly attracting new readers. In addition, postings on the social media sites

Twitter and Facebook as well as LinkedIn reach an ever larger public.

In 2016 we carried out a major operation to upgrade our digital platform, which was sponsored by the

Mondrian Fund, the Dioraphte Foundation, and the Friends of CODART Foundation. The operation

included putting in place a new Content Management System, improving access from mobile devices

(with “responsive design”), improving search functionality, digital maps, and separate “mini websites” for

each activity. This attractive and completely up-to-date mode of presentation makes it even more

attractive than before for museums to collaborate with CODART and to use CODART to share their

information. Furthermore, the new design means that the ease of sharing information automatically and

in an appealing fashion through social media will bring the activities of CODART and its museum

partners to the attention of a still wider public.

Statistics: the membership now stands at 572, while another 80 people from a total of 41 countries are

registered as associate members. The congress was attended by 136 participants from 24 countries. A

total of 115 people from 13 countries took part in the focus meetings. The eZine reached a total of 32,654

unique visitors. Around 800 people visited the website every day, and CODART reached over 6,700

followers through social media.

Operating Profit and Financial Position

CODART has taken a number of steps to safeguard its financial position and guarantee the quality of its

activities. Members are asked to make a contribution to CODART’s general operating costs, to help fund

the website and eZine, for instance. (N.B. the costs of the congress and the focus meetings are borne

wholly or in part by the participants themselves). The Friends of CODART Foundation and the American

Friends of CODART Fund play an ever greater role in external fundraising. Efforts are also being made to

raise additional funds for long-term projects, such as the further development of the website and the

eZine, and the financial support given to CODART members who are eager to attend the annual

congress but who are attached to museums that are in difficult financial circumstances.


39

The non-profit organization Vlaamse Kunstcollectie (Flemish Art Collection) has supported

CODART with an institutional grant for some years now. The institutional ties between the Netherlands

and Flanders within CODART are as strong as ever. This is demonstrated by the presence of both Dutch

and Flemish members on the board, the program committee, the website committee and the editorial

board of the eZine.

The partnership with the RKD - Netherlands Institute for Art History, which helps to fund

CODART from the subsidy provided by the Ministry of Education, Culture and Science, merits a special

word. The RKD functions as a central point in the global network of all those who are involved in studying

the art of the Low Countries. A number of CODART’s activities are closely aligned with its aims. As

regards CODART’s status, both institutions are happy with the model in which CODART – a small,

capable and decisive organization – functions independently but in close cooperation with the RKD.

This is a summary of CODART’s annual report for 2016. The unabridged annual report in Dutch is

available at www.codart.nl.


40

CODART board, staff and committees

Board

Judith van Kranendonk (Chair), former Director Culture and Media, Ministry of Education, Culture and

Science (OCW), The Hague

Erik van Ginkel, (Secretary-Treasurer), Managing Director, Rijksmuseum, Amsterdam

Emilie Gordenker, Director, Mauritshuis, The Hague

Jan Hoekema, Mayor of the City of Wassenaar

Thomas Leysen, Chairman, KBC Bank and Collector, Antwerp

Marjan Scharloo, Director, Teylers Museum, Haarlem

Manfred Sellink, Director, Koninklijk Museum voor Schone Kunsten, Antwerp

Chris Stolwijk, Director, RKD - Netherlands Institute for Art History, The Hague (advisor to the board)

Changes in the Board:

Emilie Gordenker and Jan Hoekema left the board when their terms ended. Emilie Gordenker was

succeeded by Marjan Scharloo.

Staff

As of January 2016, the staff consisted of

Gerdien Verschoor, Director (78% – 28 hrs per week)

Maartje Beekman, Project Manager (89% – 32 hrs per week)

Dennis Driessen, Website Manager (67% – 24 hrs per week)

Brenda Eijkenaar, Project Manager (67% – 24 hrs per week)

Marijn Everaarts, Project Assistant (44% – 16 hrs per week)

Maternity leave replacement:

Milou Goverde, Project Manager (89% - 32 hrs per week) (as of 1 December)

Committees

Program Committee (advice on congresses and focus meetings)

Uta Neidhardt, Curator of Dutch and Flemish Paintings, Gemäldegalerie Alte Meister, Staatliche

Kunstsammlungen Dresden (Chair)

An Van Camp, Christopher Brown Curator of Northern European Art, Ashmolean Museum, Oxford

Sabine Craft-Giepmans, Head of Fine Arts until 1750, RKD - Netherlands Institute for Art History, The

Hague

Valerie Herremans, Curator of Sculpture, Koninklijk Museum voor Schone Kunsten, Antwerp

Friso Lammertse, Curator of Old Master Paintings, Museum Boijmans Van Beuningen, Rotterdam

Ingrid De Meûter, Curator of Tapestries and Textiles, Koninklijke Musea voor Kunst en Geschiedenis,

Brussels


41

Tico Seifert, Senior Curator of Northern European Art, National Gallery of Scotland, Edinburgh

Matthias Ubl, Curator of Early Netherlandish Painting, Rijksmuseum Amsterdam

Website Committee (advice on website contents and projects)

Christi Klinkert (Chair), Curator, Stedelijk Museum Alkmaar

Ellis Dullaart, Curator of Dutch and Flemish Old Master Painting, RKD - Netherlands Institute for Art

History, The Hague

Pascal Ennaert, Coordinator, Vlaamse Kunstcollectie, Ghent

Wilbert Helmus, Manager Cultural Heritage and Program Manager Digital Heritage, Digital Heritage

Netherlands, The Hague

Ilona van Tuinen, Annette and Oscar De La Renta Assistant Curator, Morgan Library and Museum, New

York

Piotr Borusowski and Roman Koot left the Website Committee when their terms ended. They were

succeeded by Ellis Dullaart and Ilona van Tuinen.

eZine Editorial Board (advice on eZine contents and projects)

Michiel Franken, Curator Technical Documentation/Rembrandt and Rembrandt School, RKD

(Netherlands Institute for Art History), The Hague

Vanessa Paumen, Coordinator, Flemish Research Center for the Arts in the Burgundian Netherlands,

Groeningemuseum, Musea Brugge, Bruges

Victoria Sancho Lobis, Prince Trust Associate Curator, Art Institute of Chicago, Chicago

Yao-Fen You, Assistant Curator of European Sculpture and Decorative Arts, Detroit Institute of Arts

(DIA), Detroit

Board of the Friends of CODART Foundation

Titia Vellenga (Chair), Owner of Artara and Former PR & Marketing Manager at The European Fine Art

Fair (TEFAF), Ommen

Till-Holger Borchert, Director, Musea Brugge, Bruges

Bob Haboldt, Director of Haboldt & Co and Pictura, New York, Paris, Amsterdam

Norbert Middelkoop, Curator of Paintings, Prints and Drawings, Amsterdam Museum, Amsterdam

Rob Vellekoop, Collector, Rotterdam

Thomas Leysen left the board of the Friends on account of his numerous professional commitments. He

was succeeded as chair by Titia Vellenga.

http://codart.nl/108/persons/details/?person_id=741





42

The CODART website in figures as of 31 December 2016:

2007 2008 2009 2010 2011 2012 2013 2014 2015 2016

Unique visitors per year - - - - 218.779 229.003 178.086 206.886 233.866 204.838

Average duration of visit 2:40 2:17 3:05 3:06 1:19 1:20 1:22

Dossiers on museums 645 679 711 708 741 757 763 778 760 758

Dossiers on curators 570 614 637 666 690 683 701 708 715 693

Dossiers on exhibitions 1469 1560 1775 1921 2095 2229 2350 2466 2626 2724

Dossiers with news from museums 216 335 441 536 708 851 991 1130 1259 1393

Dossiers on research institutes

throughout the world 124 124 124 124 124 124 124 124 124

n/a

Titles of publications on Dutch and

Flemish art 457 457 465 466 466 466 466 466 466 n/a

Twitter followers - - - 269 850 1321 1835 2203 2487 2704

Facebook followers

IPM+

133

-

323

-

657

-

1048

7,23

1525

11,83

2063

12,06

2576

1506

LinkedIn followers 62 217 319 560 910 1329 1477


43

CODART in figures, 2001-2016

2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016

Number of members 306 312 327 352 410 398 470 480 505 519 537 554 580 569 573 572

Number of associate members 55 56 47 46 46 28 41 50 61 79 80 84 92 98 87 80

Number of countries represented 32 35 35 36 37 38 39 39 40 40 41 40 40 41 41 41

Number of congress participants1

82 93 96 80 111 116 130 142 133 126 108 135 140 136 122 136

Number of countries represented at the congress 20 22 22 22 22 27 25 26 23 20 18 23 24 20 21 24

Number of participants in study trip / Focus2

30 30/15 27 28 31 363 32 32 27 29 30/43 28 87 42 78 115

Number of countries represented on the study trip /

Focus3

8 11/5 10 9 11 18 12 11 11 8 3/7 8 9 13 12 13

Number of newsletters published

2 1 2 2 2 2 2 2 2 2 1 2 2 2 2 1

Edition newsletters/visitors of the eZine (from 2012) 750 750 750 750 750 750 10004 1000 1000 1000 1000 2800 9920 15.809 19.803 32.654

Number of web publications - 1 1 2 2 - - - - 1 - - - - - -

Average number of pages visited per week 800 1.000 2.000 4.000 - - - - - - - - - - - -

Average number of pages visited per day - - - - 1.450 2.212 2.925 2.631 - - - - - - - -

Average number of website visitors per day5

- - - - - - - - 919 898 853 900 750 800 890 800

Number of discussion and News items sent

27 28 35 39 53 60 74 119 98 98 161 154 134 122 136 134

Number of e-mail notifications sent

- - 36 326 300 228 236 355 310 251 231 220 204 159 226 229

Number of subscribers: e-mail notification service6

- - 458 648 782 1.220 1.473 2.026 1.827 1.522 1.742 1.923 2248 2272 2573 23877

Number of subscribers: News6 - - 458 648 782 1.220 1.473 2.026 1.827 1.914 2.121 2.298 2603 2613 2819 2769

7

1) The maximum number of participants was set at 140 in 2009. This will be retained in the years ahead.

2) Number of traveling curators. Curators of institutions that were visited are not included.

3) In 2006 additional funds were obtained for the participation of members from Central and Eastern Europe (because of the study trip in the Netherlands). It was also decided to admit more

participants than the usual maximum of 30. The standard number was reinstated in 2007.

4) The number printed was increased in response to the growing number of members and Friends.

5) In 2009 a new method of counting visitors was introduced. Previously, every page that was opened was counted. As of 2009, only visits are counted.

6) The figures differ greatly from previous years because of the new subscription system. As of January 2010 it became possible to subscribe separately to News and Notifications; previously only a

combined subscription was possible. A number of people subscribe to both services.

7) The numbers relating to the Notification Service are slightly distorted because of a change in the way they are counted. Initially, non-functioning e-mail addresses were included in the count, while

now only active addresses are counted.


44

CODART reactions and remarks

CODART bijeenkomsten zijn voor mij belangrijke netwerkmomenten. Vanuit een decentraal gelegen instelling is het belangrijk veel collega’s op korte tijd te kunnen spreken.

Veel dank voor alle inspirerende congressen. Het was een feest om onderdeel te mogen uitmaken van zo een fantastisch groep enthousiaste professionals.

About the congress in Madrid:

Het boeiende discours over connaisseurschap heeft vele in de ban gehad. Ook ik was aangenaam verrast over de vele insteken en interpretaties rond expertises. Ook de mogelijkheid om toch wel 2 fantastische tentoonstellingen in private te kunnen zien was priceless. Most important: networking, getting to know people and getting to know what people are working on. This helps you in present and future exhibitions. And if people know what you are doing and where is you expertise they will know how to find you and your collection.

About the focus meeting in ’s-Hertogenbosch:

I made contact with persons for future research, for example about the objects on Bosch paintings and the Bruegel exhibition in Vienna (2018). Helped me think about how to deal with attendance for upcoming ‘blockbuster’ exhibition. About the focus meeting in Dresden:

Voor mij was Uta's lezing en het bezoek aan de tentoonstelling het hoogtepunt. Geen wonder, want het is precies mijn tijd en mijn gebied. Geweldig en ademberovend was het bezoek aan het Historische Grüne Gewölbe. Zulk een rijkdom, zo'n hoge kwaliteit, zo mooi tentoongesteld, volkomen in de stijl van de Kunstkammer rond 1600. Fantastisch. Ik heb enkele interessante contacten onderhouden en nieuwe gelegd. Ik heb goede hoop dat dit zijn vruchten gaat afwerpen bij het opzetten van mijn tentoonstellingen over 17de eeuwse landschappen.

About the new website: “Thank you for the great work you’re doing with the Codart website, it’s an immensely useful page!” “Onze gelukwensen ook met de bijzonder geslaagde en gebruiksvriendelijke nieuwe website.” “I congratulate you on the new CODART website. It is quite beautiful.” “I am still getting used to the new site – as you know, it always takes a while to (re) locate things whenever a site is updated. After my initial grumbles (‘where are those links??’), once I am familiar with navigation I am sure that I will come to love it!” “De site is heel helder qua structuur, mooi om te zien en sterk op beeld georiënteerd. Dat zijn enorme pluspunten voor de gebruikers.”

45

CODE OF CONDUCT Since several years CODART Patrons have been offered the possibility to attend our congresses. We

are delighted that our Patrons are taking advantage of the opportunity to participate in this annual

event.

The CODART congresses are international gatherings at which knowledge and expertise are

exchanged at various levels, both formally and informally. CODART’s strength resides in the

spontaneity of this interaction. Our Members give generously of their expertise because they know that

the information they share will be treated confidentially. We therefore rely on our Patrons’ discretion.

Our congresses are certainly not intended as venues to buy and sell works of art or to seek

commercial contacts. If Patrons would like to receive advice about artworks on the market, they are of

course at liberty to contact our Members either before or after the congress.

Impromptu attributions or other assessments of artworks given during our congresses are not binding.

Neither the curators nor CODART can be held responsible for off-the-cuff statements.

Museum visits and social gatherings, such as congress dinner, lunches and receptions, are part of the

professional network program and organized to give the curators the possibility to exchange their

ideas and to share expertise. If Patrons prefer to discuss off-topic issues with curators or other

Patrons, they are of course at liberty to find other occasions or venues.

We warmly welcome our Patrons to our Warsaw congress because we hope that this event will

contribute to a fruitful and enduring relationship between our Members and Patrons.

We wish all participants of CODART TWINTIG a pleasant and inspiring stay in Warsaw and Cracow!

CODART thanks its benefactors

46

CODART is supported by the RKD – Netherlands Institute for Art History

Institutional Members

Museums and institutions that support CODART with an extra contribution

Centraal Museum, Utrecht

Denver Art Museum

Drents Museum, Assen

Fondation Custodia, Collection Frits Lugt, Paris

Glasgow Museums, Glasgow

Harvard Art Museums, Cambridge

King Baudouin Foundation, Brussels

Mauritshuis, The Hague

Metropolitan Museum of Art, New York

Musea Brugge

Museum De Lakenhal, Leiden

Museum Het Rembrandthuis, Amsterdam

Nationalmuseum, Stockholm

Patrimonio Nacional, Madrid

Rijksmuseum, Amsterdam

Het Scheepvaartmuseum, Amsterdam

Szépművészeti Múzeum, Budapest

Van Gogh Museum, Amsterdam

Vlaamse Kunstcollectie (Koninklijk Museum

voor Schone Kunsten Antwerpen,

Groeningemuseum Brugge, Museum Schone

Kunsten Gent)

FRIENDS OF CODART FOUNDATION

Patrons for Life

Bijl-Van Urk B.V.

Michel Ceuterick

Coll & Cortés Ltd.

Bob Haboldt

Fergus Hall

Hoogsteder & Hoogsteder

Thomas Leysen

Marnix Neerman

Elsbeth van Tets

Rob Vellekoop

Business Sponsors

Salomon Lilian

TEFAF (The European Fine Arts Fair)

Patrons

George Abrams

Alexander en Otto Stichting Wassenaar

Stein Berre

Luc Bertrand

Brian Capstick

Joost and Françoise Commandeur-Duynstee

Hester Diamond

Mr. and Mrs. J.A. de Gier

Johnny van Haeften

Mr. and Mrs. Hanstein

Benjamin Jarry

Rachel Kaminsky Fine Art, New York

The Kremer Collection

David Lainé

The Leiden Collection

Amb. J. William Middendorf II

Otto Nauman, Ltd.

Baudouin du Parc

Collection R. Mauricio Sanzana

Jacques Schraven

Axel Vervoort NV

Floris van Wanrooij

Matthew and Susan Weatherbie

The Weiss Gallery

Bernard Wientjes and Titia Vellenga

CODART thanks its benefactors

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48

Notes

deep storage or open depot: access to the ‘hidden’ collections · mercure hotel warszawa grand...

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