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
mood; and Karel Dujardin's extraordinary picture of Tobias. These works of outstanding significance appear in the context of the painting of the 1650s and 1660s: we can study characteristic examples of high quality of all the various compositional types of domestic landscape, from the forest view (Meindert Hobbema) and the riverbank (Anthonie Borssom), through the panorama landscape ( Vermeer van Haarlem) and that of the dunes (Salomon van Ruysdael) across to seascapes (Simon de Vlieger, Willem van de Velde), from the Italianate harbour scenes (Thomas Wyck) and across ideal landscapes (Herman van Swanevelt) through to Bambocciantesque shepherd scenes (Jan Both) and naturalist animal pictures (Paulus Potter, Nicolaes Berchem), from the rich bourgeois genre paintings portraying man and his environs (Caspar Netscher, Comelis de Man) across the genre-like portraits through to the cityscapes and architectural paintings, all the way up to the still lifes making an impact in their simplicity. The overall picture of the concluding hall, XXX, is also characterised by multiplicity and abundance, where it is the technical perfection that further increased in the last quarter of the century, that is the most conspicuous. Jan Steen's latter masterpiece, Cat Family, is one focus, about which the further masters of genre painting are grouped: Comelis Bega, Adriaen van Ostade, Comelis Dusart and Richard Brackenburgh. We also consider important the presentation of the so-called fine painters from Leiden, quite modestly represented in the collection, and this is introduced by Pieter Leerman's unique painting of Saint Joseph, followed by the works of Willem van Mieris, Gerrit Maes and Matthys Naiveu. Still life painting attained its climax in painterly bravura by the end of the century, as the paintings of Abraham van Beyeren, Willem van Aelst, Simon Vereist and Jan van der Heyden bear witness. The rather large selection of landscapes mns from Philips Wouwerman, across Jan Wynants and Allaert van Everdingenen, through to the later Italianate Adam Pynacker and Willem de Heusch. We also provided space for works reflecting the fashion for propagation of classicising, French taste: the pictures of Gerard de Lairesse and Jacob de Wit from Amsterdam, and Hendrick van Limborch and Daniel Mijtens the Younger, working around the court of The Hague, appear from this increasingly researched and evaluated period. No special publication was prepared for the vernissage of the new permanent exhibition. 10 In the interest of informing the public, we launched the series entitled Brief Guide to the Gallery, of which fifteen information sheets have been printed until now in Hungarian, available for reference in the halls themselves, and available for purchase at a symbolic price. It is an educational publication planned in twenty-five information sheets for the Dutch exhibition, which could also serve as a comprehensive guide. We intend to continue to develop this series, and to expand it to the whole of the future complete, new permanent exhibition. ILDIKÓ EMBER, ESZTER FABRY, ANNAMÁRIA GOSZTOLA 10 Recent publications concerning this part of the collection: Old Masters ' Gallery. Summary Catalogue of Early Netherlandish, Dutch and Flemish Paintings, vol. 2, eds. I. Ember and Zs. Urbach, Museum of Fine Arts, Budapest 2000; Old Masters' Gallery. Summary Catalogue of German, Austrian, Bohemian and British Paintings, vol. 3, eds. I. Ember and I. Takács, Museum of Fine Arts, Budapest 2004; publication of the scholarly catalogue volumes are planned from 2006.
