The Kimbell Art Museum
November 10, 2024–February 9, 2025
This exhibition brings together paintings by Rembrandt, Frans Hals, Gerrit Dou, Jacob van Ruisdael, Maria Schalcken, and other celebrated artists from the Museum of Fine Arts, Boston’s renowned collection. These are joined by six Dutch paintings from the Kimbell’s collection, along with prints, maps, and stunning decorative objects in silver, porcelain, and more, from the seventeenth and the first half of the eighteenth centuries. Exploring how Dutch dominance in international commerce transformed life in the Netherlands and gave rise to an extraordinary cultural flourishing, the exhibition also benefits from new scholarship that contextualizes seventeenth-century Dutch art within the complexities of its historical context.
“The Museum of Fine Arts, Boston’s collection of Dutch and Flemish masterpieces—and its Center for Netherlandish Art for the study and interpretation of the works—is renowned,” said Eric Lee, director of the Kimbell Art Museum. “We’re grateful to the Boston museum for its generosity in sharing this collection so that audiences can experience its treasures here in Texas.”
The seventeenth century in the Netherlands saw unprecedented artistic production due to a Dutch economy fueled by international trade. Many consider the period to be the first age of globalization. Artists painted still lifes to showcase items procured from around the world—porcelains from Asia, spices and silks from India, and sugar and tobacco from North and South America. Lavish bouquets were painted to showcase imported flowers such as the popular tulip from Turkey. Stirring seascapes depicted ships in port and at sea, visual symbols of the maritime-based trade economy. Dutch cityscapes and landscapes were commissioned as the Netherlands became a cosmopolitan world power, reflecting civic and national pride. The extraordinary art of this period continues to be deeply admired today.
Throughout the exhibition, artworks will be presented through the lens of global exchange. The first section, titled The World at Home, opens the exhibition with ostensibly domestic items, many of which have diverse origins. Still-life paintings depict Asian porcelain, American tobacco, Indonesian shells, Turkish tulips, and more. The paintings will be juxtaposed with examples of Chinese porcelain, Dutch Delftware, and silver.
In the second section, titled The World Beyond, grand paintings of ships at sea are complemented by maps, prints, and decorative objects that would have been collected from ports around the world. The next section, Amsterdam as a Cosmopolitan Hub, shows depictions of the capital city as it emerged as Europe’s busiest port and a center for economic and cultural expansion. Next, The World of Faith includes paintings and sacred items that demonstrate how religion and religious tolerance continued to be central to daily life in the Netherlands, even as global trade and colonialism developed. Global Citizens features painted and printed portraits that tell us who the Dutch were in the seventeenth century—a time when the Netherlands was among the most diverse regions of Europe. Through their dress, their surroundings, and their poses, we learn how the Dutch portrayed individuals from diverse socioeconomic classes, or how they viewed the proper balance between moral ideals and the pursuit and display of material wealth.
Even as they embraced the foreign and the exotic, the Dutch discovered the beauty of their native land, and Celebrating the Familiar includes new types of naturalistic landscapes that took inspiration from the flat and watery terrain of the Netherlands. And finally, Conspicuous Consumption displays largely fictional scenes of everyday life, often showcasing a range of foreign goods that would suggest their subjects’ wealth, interests, or vanities. Decorative arts in this section include paraphernalia for the new rituals of smoking and tea drinking, vessels for storing costly imported sugar, and more.
Throughout the exhibition, in keeping with the theme of a global world, new scholarship will position these magnificent products of Dutch prosperity against its darker side—aspects of which were seldom overtly depicted in the works of art themselves. The harsh realities of poverty, child labor, the exploitative colonization of Asia, Africa, and the Americas, and above all the role of the Netherlands in the transatlantic slave trade were depicted in a benign guise, if at all, but these realities fueled the economy that made the works of art possible.
ORGANIZATION AND CATALOGUE
Dutch Art in a Global Age: Masterpieces from the Museum of Fine Arts, Boston brings together more than 125 works of art including paintings, prints, maps, books, porcelain, and metalwork. Six paintings from the Kimbell collection join artworks from the MFA Boston and its Center for Netherlandish Art.
CATALOGUE
The exhibition is accompanied by a 224-page, full-color catalogue, conceived by Anna C. Knaap, Assistant Curator of European Paintings at the Museum of Fine Arts, Boston, and Christopher D. M. Atkins, Van Otterloo-Weatherbie Director of the Center for Netherlandish Art.
Drawing on the world-renowned collection of Dutch paintings, works on paper, decorative arts, and illustrated books at the Museum of Fine Arts, Boston, this book offers a fresh look at seventeenth-century Dutch art, accompanied by authoritative essays that ask readers to consider the global context in which this work was made.
About the Author
The catalogue includes contributions from an international roster of scholars, including Pepijn Brandon, Professor of Global Economic and Social History at the Vrije Universiteit Amsterdam and Senior Researcher at the International Institute of Social History, the Netherlands; Simona Di Nepi, Charles and Lynn Schusterman Curator of Judaica at the Museum of Fine Arts, Boston; Stephanie S. Dickey, Professor of Art History and Bader Chair in Northern Baroque Art at Queen’s University at Kingston, Ontario; Michele L. Frederick, Associate Curator of European Art and Provenance Research at the North Carolina Museum of Art, Raleigh; Hanneke Grootenboer, Professor of Art History at Radboud University in Nijmegen, the Netherlands; Katherine Harper, Curatorial Fellow, Prints and Drawings at the Museum of Fine Arts, Boston; Courtney Leigh Harris, Assistant Curator of European Decorative Arts and Sculpture at the Museum of Fine Arts, Boston; Mary E. Hicks, Assistant Professor of History and the College at the University of Chicago; Rhona MacBeth, Director of Conservation and Scientific Research, Eijk and Rose-Marie van Otterloo Conservator and Head of Paintings Conservation at the Museum of Fine Arts, Boston; Katrina Newbury, Saundra B. Lane Conservator at the Museum of Fine Arts, Boston; Christine Storti, Head of Furniture and Frame Conservation at the Museum of Fine Arts, Boston; Gerri Strickler, Objects Conservator at the Museum of Fine Arts, Boston; Claudia Swan, Mark Steinberg Weil Professor of Art History and Archaeology, Washington University in St. Louis; Jeroen van der Vliet, Head of Collections, Het Scheepvaartmuseum in Amsterdam, the Netherlands; and Benjamin Weiss, Leonard A. Lauder Senior Curator of Visual Culture at the Museum of Fine Arts, Boston.
IMAGES
Gerrit Dou, "Dog at Rest", 1650, oil on panel, 6 ½ x 8 ½ in. (16.5 x 21.6 cm). Promised gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, Museum of Fine Arts, Boston
Gerard Ter Borch, The Card Players, about 1659, 47.6 × 36.8 cm (18 3/4 × 14 1/2 in.). Promised gift of Rose-Marie and Eijk van Otterloo, in support of the Center for Netherlandish Art, L-R 360.2017
