Czére Andrea szerk.: A Szépművészeti Múzeum közleményei (Budapest, 2008)
ANNUAL REPORT • A 2008. ÉV - VILMOS TÁTRAI: Plunge into the World. The Art of Mannerism in Europe
STURZ IN DIE WELT. DIE KUNST DES MANIERISMUS IN EUROPA PLUNGE INTO THE WORLD. THE ART OF MANNERISM IN EUROPE Hamburg, Bucerius Kunst Forum 15 November 2008 - 11 January 2009 Curators: Michael Philipp, Vilmos Tátrai, Ortrud Westheider STURZ IN DIE WELT. DIL KUNST DES MANIERISMUS IN EUROPA. ED. MICHAEL PHILIPP. VILMOS TÁTRAI, AND ORTRUD WESTHEIDER. H I RMER VERLAG. MUNICH 2008. 256 PP., 184 ILLS.. ISBN 978 3 7774 4455 0 The exhibition, originally planned to run for three months, was forced to an early close due to the extension of the Bucerius Kunst Forum building. Despite this, the show w^as a success both in its content and popularity. Ml the works were lent by the Museum of Fine Arts, again proving that its rich collections are capable of staging comprehensive, thematic exhibitions. The period that was featured at the exhibition yielded itself to the joint display of paintings, drawings, prints and sculptures. Thanks to a drawing each by Pontormo, Giulio Romano, Parmigianino, Perino del Vaga, Francesco Salviati, Lelio Orsi and Bartolomeo Passerotti, several protagonists of mannerism were seen at the Hamburg exhibition of which the Old Masters' Gallery does not own any paintings, while the engravings, representing great value in their own right, also highlighted the important role prints had in proliferating mannerist forms. The group of artefacts including Leonard Kern's wood sculpture, entitled Three Graces, and small bronzes was indispensable in demonstrating an important point in art history, namely that the influence of ancient art in mannerism became increasingly more complex and intense than it had been in the Renaissance. The paintings were selected so that the backbone of the exhibition included works by leading artists that are considered prominent according to any criteria. This indisputably high standard was represented at the show by Bronzino's A duration of the Shepherds, Garofalo's Christ and the Adulteress, Tintoretto's Heindes Expelling the Faun from 0?nphale J s Bed, Heemskerck's Lamentation of Christ, Wtewael's The Judgement of Paris, and an Annunciation by El Greco. The exhibition attracted the specialists of the era thanks to works that were acquired in the last one to two decades, and those that were recently attributed or restored. Just to randomly mention a few of these: a painting each by Michèle di Ridolfo, Prospero Fontana, Aurelio Lomi, Hans Rottenhammer, Francesco Montemezzano, Maerten van Heemskerck, and Frans Floris. Heemskerck's Lamentation of Christ, for example, was first exhibited in a museum abroad since its restoration, which revealed five hitherto invis-
