헤이그에 소재한 마우리츠후이스 박물관(Mauritshuis: '모리스의 집')
2919년 6월, 네덜란드, 헤이그
할렘에서 4박을 마친 후, 기차를 타고 남쪽으로 내려가서
델프트(Delft)로 이동해서, 미리 예약해 둔 숙소에 짐을 풀었다.
델프트에서 머물면서, 델프트 도시 자체는 물론
근처에 있는 헤이그와 로테르담도 방문했다.
Delft 기차역에서 기차를 타고...
현대풍의 복잡한 헤이그 기차역에서 내려서...
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헤이그(덴 하흐: The Hague/Den Hagg)
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헤이그 기차역에 내리니 비가 억수로 쏟아지고 있었다.
거기다가 거센 바람까지 불어서 박물관까지 약 20분 걸어가는 동안
비에 홀딱 젖어서 겨우 첫 목적지인 마우리츠후이스 박물관에 도착했다.
비에 젖어서 너무 추워서 일단 박물관 카페에서 뜨거운 커피를 곁들여서
크로아상을 먹고 기운을 차린 다음에 렘브란트, 반 다이크,
그리고 베미르등네덜란드를 대표하는
거장들의 작품들이 걸려 있는 전시장으로 올라갔다.
특히 오랫동안 직접 만나고 싶었던 베미르의 진주목걸이의 소녀와
브루헬의 작품들을 드디어 만날 생각에 가슴이 설레인다.
박물관 2층 로비
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Rembrandt van Rijn(렘브란트), Jan Steen(슈텐), P 이 건물은 Nassau-Siegen(나싸우-시근)의 왕자인 마우리츠가 당시 네덜란드의 중심도시였던 헤이그의 호프비베르 연못 옆의 땅을 사들여서 그가 더치-브라질을 통치하던 1636-1641년 사이에 Maurishuis 건물을 캄덴과 포스트가 설계를 해서 왕자의 저택으로 건축되었다.
1679년에 마우리츠 왕자가 사망을 한 후에 이 건물은 마에스 가문으로 넘어갔고, 1704년에 발생한 화재로 건물의 내부가 대부분 유실되었지만, 1708-1718년 사이에 원래대로 복구공사가 진행되었다.
1774년에 미술 갤러리가 오픈되어서 황실 소장품들을 대중들에게 공개했지만, 1795년에 침범한 프랑스 군대에게 이 컬렉션을 빼앗기게 되었다. 1808년에 빼앗긴 미술품의 일부를 되찾아서 다시 갤러리를 열였는데, 곧 장소가 너무 비좁게 되었다. 1820년에 마침 네덜란드 정부가 미우리츠후이스 건물을 사 들여서 로얄 컬렉션을 전시하기 위해서 1822년에 로얄 캐비넷 컬렉션과 로얄 희귀 컬렉션을 전시해서 대중들에게 오픈되었고, 1875년에야 마우리츠후이스 전체 건물이 박물관 공간으로 사용하기 시작했다.
2012년부터 마우리츠후이스 확장공사를 시작해서근처에 소재한
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첫 전시방에서...
Portrait of Catarina Belgica(1578-1648)
1627
카타리나 벨지카의 초상화
by Jan Anthonisz van Ravesteyn(반 라베스타인: c. 1572-1657)
Portrait of Catarina Belgica(1578-1648)
1627
카타리나 벨지카의 초상화(detail)
The Triumph of Rome:
The Youthful Emperor Constantine Honoring Rome 1622-1623
로마의 승전:젊은 콘스탄틴 황제가 로마를 칭송하다
by Peter Paul Rubens (루벤스: 1577-1640)
Gift Katz, Dieren & Basel, 1947
Wooded Landscape with Hunters and Fortune Teller, 1612
사냥꾼과 점쟁이가 있는 숲 풍경화
by Abraham Govaerts(호베르츠: 1589-1626)
Collection William V, transferred 1816
The Adoration of the shepherds,
c. 1817아기 예수를 경배하는 목동들
by Jacob Jordaens(요르댄스: 1593-1678)
Acquired 1959
Kitchen Interior,
1644부엌 내부
by David Teniers II(테이에르스: 1610-1690)
Collection Willilam V, transferred 1816
Kitchen Interior, 1644
부엌 내부(detail)
by David Teniers II(테이에르스: 1610-1690)
Collection Willilam V, transferred 1816
Old Woman and Boy with Candles,
c. 1616-1617
촛불을 든 노파와 소년
by Peter Paul Rubens (루벤스: 1577-1640)
Acquired 2005
An old woman gazes ahead, shielding her eyes from the candlelight,
while the boy behind her holds his candle, ready be lit. The panel is painted
in the style of Caravaggio, whose work Rubens had seen in Italy.
This style is characterized by its exciting effects of light and unpolished naturalism.
Old Woman and Boy with Candles, c. 1616-1617
촛불을 든 노파와 소년 (detail)
by Peter Paul Rubens (루벤스: 1577-1640)
Still Life with Cheeses, Almonds and Pretzels, c. 1615
치즈, 아몬드와 프렛츨의 정물화
By Clara Peeters(페터스: c. 1580- in or after 1621)Aquisition 2012
Vase of Flowers, c.1670
꽃병
by Jan Davidsz de Heem(데 헴: 1616-1683/84)
Loan 1993
Compared to flower still-lifes of the early seventeenth century,
this painting is a real floral explosion.
Rather than a stiff bouquet, we see a colourful profusion
of flowers hanging over the edge of the vase.
One special detail is the reflection in the glass vase,
which shows a cloudy sky through
the studio window and a few objects on the windowsill.
Jan Davidsz de Heem was the most influential flower painter of his day.
He spent various periods in Antwerp, where he became acquainted
with the effusiveness of the south.
'Modello' for the Assumption of the Virgin, c.1622-1625
성모마리아의 승천 '스케치'
by Peter Paul Rubens (루벤스: 1577-1640)
Acquisition with the support of Stichting Vrienden van het Mauritshuis, 1956
This is not a finished painting, but an oil sketch. Rubens made it as a ‘modello’,
or design, for an enormous altarpiece in the Cathedral of Our Lady in Antwerp.
It was intended to show his plans to his patrons.
Rubens depicted the Virgin’s ascent into heaven as a swirling movement.
From the stone sarcophagus, the Virgin floats heavenwards
in a cloud of angels, where she is to be crowned.
Dynamism is added to the scene
by Rubens’ rapid, powerful brushstrokes.
'Modello' for the Assumption of the Virgin, c.1622-1625
성모마리아의 승천(detail)
by Peter Paul Rubens (루벤스: 1577-1640)
'Modello' for the Assumption of the Virgin, c.1622-1625
성모마리아의 승천(detail)
by Peter Paul Rubens (루벤스: 1577-1640)
Garland of Fruit surrounding a Depiction of Cybele, c.1620-1622
시벨레를 묘사한 주위의 과일 화환
by Jan Brueghel I & Hendrik van Balen
(브루헬 I & 반 발렌: 1568-1625 & 1574-1632)
Collection Willem V, transferred 1816
The medallion in the centre depicts Cybele, the goddess of Earth and Nature.
Around the medallion hangs a garland of flowers, vegetables and fruit –
a tribute to the goddess and an ode to plenty and fertility.
Brueghel collaborated on this painting with Van Balen,
who was responsible for painting the medallion.
Brueghel himself painted the abundant garland, the surrounding figures
and the numerous animals. He painted
with such a fine touch that he was called the Velvet Brueghel.
Garland of Fruit surrounding a Depiction of Cybele, c.1620-1622
시빌을 묘사한 주위의 과일 화환(detail)
by Jan Brueghel I & Hendrik van Balen
(브루헬 I & 반 발렌: 1568-1625 & 1574-1632)
Collection Willem V, transferred 1816
Ships off a Rocky Coast, 1621
험한 암석의 항구를 떠나는 선박들
by Adam Willaerts(빌래르츠: 1577-1664)
Loan Rijksmuseum, 2000
Apelles Painging Campaspe, c.1630
아펠리즈가 캄페스페를 그리는 유화(
note: 아펠리즈는 기원전 4세기의 유명한 화가이며, 캄페스페는 알렉산더 대왕의 애첩이다.)
by Willem van Haecht(헤흐트: 1593-1637)
Collection Willem V, transferred 1816
This room is filled with paintings that are all existing Flemish,
German and Italian works of art.
The statues, too, are well-known classics. This ‘kunstkamer’, or art room,
was painted by Willem van Haecht. It was a popular subject, particularly in Antwerp.
In the left foreground, Van Haecht depicted a story from classical antiquity.
It shows Apelles painting the portrait of Campaspe, the lover of Alexander the Great.
His patron thought the portrait was so beautiful that it could take Campaspe’s place,
and he presented his lover to Apelles as a gift. Alexander chose art above nature.
Apelles Painging Campaspe, c.1630 (detail)
캄페스페 그림들(그녀는 알렉산더 대왕의 애첩이었다.)
by Willem van Haecht(헤흐트: 1593-1637)
Collection Willem V, transferred 1816
Apelles Painging Campaspe, c.1630 (detail)
캄페스페 그림들(그녀는 알렉산더 대왕의 애첩이었다.)
by Willem van Haecht(헤흐트: 1593-1637)
Collection Willem V, transferred 1816
Apelles Painging Campaspe, c.1630 (detail)
캄페스페 그림들(그녀는 알렉산더 대왕의 애첩이었다.)
by Willem van Haecht(헤흐트: 1593-1637)
Collection Willem V, transferred 1816
Portrait of Peeter Stevens, 1627
페터 스티븐스의 초상화
by Anthony van Dyck(반 다이크: c. 1590-1668)
In 1627, the Antwerp cloth merchant Peeter Stevens had his portrait painted by Anthony van Dyck.
When Stevens got married a year later, he commissioned Van Dyck to paint his wife Anna as well.
Anna was placed on the left, so that Stevens did not have his back turned to her.
ut actually convention dictated that the man should hang on the left and the woman on the right.
After Rubens, Van Dyck was the most important portraitist of his day.
He was popular because he made his patrons look just
a bit more beautiful and elegant
than they really were.
Portrait of Peeter Stevens, 1627
페터 스티븐스의 초상화
by Anthony van Dyck(반 다이크: c. 1590-1668)
Portrait of Peeter Stevens, 1627
페터 스티븐스의 초상화
by Anthony van Dyck(반 다이크: c. 1590-1668)
Portrait of Anna Wake(1605-before 1669), 1628
(페터 스티븐스의 아내)
by Anthony van Dyck (반 다이크: 1599-1641)
Collection Willem V, transferred 1816
Portrait of Anna Wake
(1605-before 1669), 1628 (detail)
Portrait of Anna Wake(1605-before 1669),
1628 (detail)
Draughts Players, 1652
드라우츠 게임자들
(드라우츠 게임은 서양 장기에 해당하는 체커 보드게임)
by Michael Sweerts,
Loan Rijkmuseum, 2000
Two boys are sitting in a dark room playing draughts, while a few others look on.
The boys are dressed in the latest Italian fashion and evidently belong to the upper class.
Michael Sweerts came from Brussels, but made this painting in Rome,
where he lived for some time. Many of his paintings have a mysterious atmosphere,
created by the contrasts between light and dark, and often
by the unclear situations he painted.
The Garden of Eden with the Fall of Man, c.1615
에덴 동산의 몰락한 인간
by Jan Brueghel I & Peter Paul Rubens
(브루헬 I & 루벤스: 1568-1625 & 1577-1640)
This painting is by two famous Flemish masters: Rubens and Brueghel.
They made several of this type of painting, which were intended as showpieces
that combined the best of the two artists.
Although Brueghel was responsible for the comoposition Rubens started
the painting. Very sketchily, in thin paint, he painted Adam and Eve, the tree,
the horse and the serpent. Then Brueghel took on the plants and animals,
which he painted with encyclopaedic precision in finishing paint.
The Garden of Eden with the Fall of Man, c.1615
에덴 동산의 몰락한 인간 (detail)
by Jan Brueghel I & Peter Paul Rubens
(브루헬 I & 루벤스: 1568-1625 & 1577-1640)
The Garden of Eden with the Fall of Man, c.1615
에덴 동산의 몰락한 인간(detail)
by Jan Brueghel I & Peter Paul Rubens
(브루헬 I & 루벤스: 1568-1625 & 1577-1640)
The Garden of Eden with the Fall of Man, c.1615
에덴 동산의 몰락한 인간
by Jan Brueghel I & Peter Paul Rubens
(브루헬 I & 루벤스: 1568-1625 & 1577-1640)
Portrait of a Man, possibly Peter van Hecke(1591-1645),
1630페터 반 헤케씨로 간주되는 초상화
by Peter Paul Rubens(루벤스: 1577-1640)
Acquisition 2003
This man is probably the Antwerp dealer Peter van Hecke, and his wife Clara Fourment
is hanging on the right. They belonged to Rubens’ intimate family circle,
as Clara Fourment was the elder sister of Rubens’ second wife Hélène.
The couple clearly live in comfort, in view of their fashionable clothing
of shiny black fabrics and fine lace collars.
Rubens was the leading Flemish painter of the seventeenth century.
His flamboyant, baroque style influenced a whole generation of artists after him.
Portrait of a Man, possibly Peter van Hecke(1591-1645),
1630페터 반 헤케씨로 간주되는 초상화(detail)
by Peter Paul Rubens(루벤스: 1577-1640)
Acquisition 2003
Portrait of a Women, possibly Clara Fourment(1593-1643), c.1630
클라라 푸르망(반 헤케의 아내)로 추정되는 여인의 초상화
by Peter Paul Rubens (루벤스: 1577-1640)
Acquisition 2003
Portrait of Quintijn Symons (1592-after 1646).
c. 1634-1635퀸튼 사이몬스의 초상화
by Anthony van Dyck(반 다이크: 1599-1641)Collection Willem V, transferred 1816
This elegant man is Quintijn Simons, a history painter from Brussels.
His fashionable cloak draped over his shoulders, half-length hair,
dashing moustache,
and goatee give Simons an air of aristocratic elegance
that is characteristic of the portraits of Anthony van Dyck.
Portrait of Quintijn Symons (1592-after 1646).
c. 1634-1635퀸튼 사이몬스의 초상화(detail)
by Anthony van Dyck(반 다이크: 1599-1641)
Collection Willem V, transferred 1816
Van Dyck lived for many years in Italy, where he became famous for his virtuoso official portraits of
prominent members of the nobility. In 1632, he became court painter to King Charles I of England,
but he occasionally travelled to the continent to paint commissions like this portrait.
Winter Landscape, c. 1615-1620
겨울 풍광
by Christoffel van den Berghe(부르헤: c.1590-after 1628)
Bequest A. A. des Tombe, Den Hagg, 1903
People glide over the ice of a frozen waterway.
They are sledging and playing an old game called ‘kolf’.
The ice seems to stretch out endlessly into the distance.
This sense of depth is reinforced
by the bare silhouette of the tree in the foreground.
Christoffel van den Berghe painted this small landscape with great precision
on a copper plate; a very smooth base ideally suited to painting fine detail.
Winter Landscape, c. 1615-1620
겨울 풍광(detail)
by Christoffel van den Berghe(부르헤: c.1590-after 1628)
Bequest A. A. des Tombe, Den Hagg, 1903
Summer Landscape, c.1615-1620
여름 풍광
by Christoffel van den Berghe(부르헤: c.1590-after 1628)
Bequest A. A. des Tombe, Den Hagg, 1903
Imagery Wooded Landscape, c.1636
상상의 숲 풍경화
by Jacob van Geel(반 헬: c. 1585 - in or after 1637)
Roses in a Glass Vase, c.1640-1645
유리병에 꽃혀있는 장미
by Jacob van Hulsdonck(훌스동크: 1582-1647)
Loan Stichting Vrienden van het Mauritshuis, 2016
Mountainous Landscape with St. Jerome, 1592
성 제롬과 산 풍경화
by Paul Bril (브릴: c.1553-1616)
As a young painter, Paul Bril travelled from Antwerp to Rome,
where he became the most influential landscape painter of his day.
Bril painted this landscape on copper, a base that is excellently suited to painting fine details.
On the left, we see St Jerome, who is praying and doing penance in solitude.
It is an imaginary landscape, like those painted by Flemish artists in the sixteenth century.
The colours run from brown, through green to blue, making the landscape
appear to stretch into infinity.
Mountainous Landscape with St. Jerome, 1592
성 제롬과 산 풍경화(detail)
by Paul Bril (브릴: c.1553-1616)
to be continued to Part 2...
