![]() In the catalogue of a 1988 Council of Europe exhibition on Christian IV, we read: “In 1637, Christian IV … directed his engraver, Simon de Pas of Utrecht, to procure 80 drawings of heroic events in Danish history, to be executed by ‘the best Dutch artists,’ so that large paintings could be made from them afterwards for the Great Hall at Kronborg. The role of Netherlandish artists in creating a Danish national identity went even further than in Poland. The painter was Karel van Mander III, the grandson of the famous Dutch-Flemish artist and art historian of that name. Because of later developments in the fortunes of the Vasas, the painting now hangs in Frederiksborg Castle outside Copenhagen, near a quite similar portrait of the daughter of the Danish King Christian IV. It was engraved after a painting by the Amsterdam painter Pieter Danckerts de Rij. One of the prints, by the Hague engraver Willem Hondius, shows Queen Cecilia Renata, the wife of King Ladislas IV Vasa, on horseback. Because there were no Polish artists at the time capable of creating high-quality prints of this kind, Poland hired Dutchmen and Flemings to give form in art to the Polish national identity. ![]() They depict military engagements, historical events, monuments, glorifications of Polish royalty, allegories of the Polish nation, images of Polish saints and portraits of prominent Polish contemporaries. It also shows a selection of 60 prints of Polish subjects by Netherlandish artists. Treasures from the Netherlands puts on display all the Dutch and Flemish drawings in the museum collection, including rare and precious sheets by Gerard David and Pieter Bruegel. Last month a new exhibition opened in the Czartoryski Museum in Kraków. On May 26th I took part in the session on “The Rijksmuseum and Dutch national identity.” This, in short, is what I said: Each discussion is devoted to an important issue in the restructuring of the museum. In order to benefit from the ideas of outsiders, the museum is holding a series of what it calls round-table discussions with non-Rijksmuseum people. He attached to it a very concrete proposal for the presentation of Dutch and foreign art in the rebuilt museum art and an interpretation of the philosophy behind the Old Rijksmuseum.Īs the Rijksmuseum is rebuilding its physical plant, it is also rethinking its mission. As a participant in the round-table discussion on “The Rijksmuseum and Dutch national identity,” Schwartz advised the museum to focus instead on Dutch international identity. The Rijksmuseum is consulting an array of outsiders in formulating its program for the New Rijksmuseum, which is to open in 2008.
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