Kárpáti Zoltán - Liptay Éva - Varga Ágota szerk.: A Szépművészeti Múzeum közleményei 101. (Budapest, 2004)

ANNUAL REPORT 2004 - A 2004. ÉV - PERMANENT EXHIBITIONS - ÁLLANDÓ KIÁLLÍTÁSOK - ILDIKÓ EMBER, ESZTER FABRY, AND ANNAMÁRIA GOSZTOLA: New Permanent Exhibition of the Old Masters' Gallery

Brucgel-followers, among them Pieter Balten, have been placed here, together with the larger-scale panel paintings, which bear witness to the development of the Netherlandish painting of the sixteenth century, such as Jan van Hemessen's Isaac Blessing Jacob, one of the many versions of Marinus van Reymerswale's Saint Jerome, Pieter Aertsen and Joachim Beuckelaer's market scenes, and Nicolas Neufchâtel's pair of portraits. The smaller works of the representatives of Flemish portrait painting, Netherlandish Mannerism, and within this, the Romanist tendency, are on view in the adjoining cabinets. In cabinet number 7, the most important work has been placed at the central axis: Barend van Orley's Portrait of Charles V. Arranged around it are the portraits of Hungarian King, Louis II, and his wife, Queen Maty, and an aristocratic lady with a carnation, as well as a Flemish landscape depicting popular court entertainment, Falcon-Hunting. The panel presenting Landscape with a Forge by Herri met de Bles, on display on the opposite wall, which was in the restorer's atelier for years due to its problematic condition, finally had its restoration completed for the occasion of the arrangement of the present exhibition. On one of the longitudinal walls, alongside the Lucretia of the Master of the Holy Blood from Bruges, works associated with Antwerp Mannerism are arranged. Opposite is the story of the Prodigal Son, put in the context of a "musical company", produced ca. 1535-50, and next to it, Allegory of Earthly Riches, attributed to Christian van den Perre, from the very beginning of the seventeenth century. The following cabinets, numbers 6 and 5, introduce the Netherlandish Romanist painters and the era of Northern Mannerism. Here, we have installed a work from each of Anthonic Blocklandt, Frans Floris, Hendrick de Clerck, Maerten van Heemskerck, Master of the Budapest Saint Paul and Barnabas, Josse de Momper, Frederick van Valckenborch and Bernaert de Rijckere. Abraham Janssens' early Diana and Callisto, painted in 1601, also joins the works of Hendrick van Balen, Sebastian Vrancx and Frans Francken IL The largest and also most significant among the Flemish Late Mannerist and Baroque paintings were installed in the most imposing, central hall of the renovated wing of the museum, number VIII (fig. 54). The works by the great Flemish triad of painters, Rubens, Van Dyck and Jordaens, prevail here alongside Andries Benedetti's sumptuous still life, Comelis de Vos' family portrait and the altarpiece attributed to Daniel Seghers. The row of cabinets provided an opportunity for more significant additions and more exciting modifications from a scholarly point of view. Alongside the familiar masterpieces, now an additional almost thirty paintings brought out of storage have been put on display. For the first time, we have devoted one cabinet to historypainters, providing a brief survey of the forerunners of Rubens and Van Dyck in cabinet number 4 (Otto van Veen, Artus Wolffort), as well as the work of their followers (Jan Boeckhorst, Jan van den Hoecke, Willem van Herp, Cornelis de Vos, Peter van Lint). We developed thematic groupings among the secular genres of still life, landscape, bourgeois and peasant genre paintings, for a variegated presentation in cabinets 3 and 2, and in hall VII. Among the still lifes, the depictions of the spoils of hunting, the game pieces of Jan Fyt and Pauwel de Vos, like K. Lux's two Vanitas