Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2007)

ANNUAL REPORT - A 2007. ÉV - MIKLÓS GÁLOS: A Passion Panel Resurrected: The Restoration of Maarten Van Heemskerck's The Lamentation

the overpainted figures in a perfectly intact condition. This painting, which serves as a point of reference in the museum's pictures of sixteenth century Netherlandish art, was previously known only in a form that falsified the painter's original composition. Even though the positive tone of the urban mission's motto was in contrast with the lamentation, wLich is perhaps the most tragic theme of Christian art, this event provided a splendid opportunity to present this newly found treasure in our collection. The museum's Ionic passage was renovated for this occasion and proved to be an ideal exhibition space. The walls were painted violet, the liturgical colour of Lent. The restored panel was placed on an easel that stood in the axis of the room, thus alluding to the restoration work and rendering the work an altar-like appearance that signified its original liturgical function. Of course we could not rely on loans for a display lasting only a week, and it would not have been wise to interfere with the gallery's permanent exhibition either. Therefore, the path that led to the Heemskerck panel was lined with paintings selected from the Old Masters' Gallery's storerooms that are rarely exhibited to the public. One of these, a sixteenth century copy of Hugo van der Goes' picture on the same theme helped visitors to understand the relationship between Heemskerck's work and Netherlandish traditions. The Deposition, painted after Rogier van der Weyden, illustrated the role played by pictures used for private devotion with its close-up type cut, while the painted version of Michelangelo's Pietà in San Pietro revealed the influences that affected the style of Heemskerck, who was also known as the Michelangelo of Haarlem. MAARTEN VAN HEEMSKERCK. THE LAMENTATION. BUDAPEST. MUSEUM OF FINE ARTS