Presented exclusively at The Huntington Sept. 28, 2013—Jan.
13, 2014, “Face to Face: Flanders, Florence, and Renaissance Painting”
brings together 35 masterworks to demonstrate that Flemish painting made
a vital contribution to that of Renaissance Florence.
Rogier van der Weyden (ca. 1400–1464). Left: The Virgin and Child,
ca. 1460, oil on panel transferred to canvas transferred to masonite,
19 1/2 × 12 1/2 in. The Huntington Library, Art Collections, and
Botanical Gardens Rogier van der Weyden (ca. 1400–1464) Right: Portrait of Philippe de Croÿ,
ca. 1460, oil on panel, 20 × 12 1/2 in. The Koninklijk Museum voor
Schone Kunsten, Antwerp. Photo © Lukas Art/Koninkijk Musuem voor Schone
Press preview: Friday, Sept. 27, 10 a.m.—noon
About the Book • Related Exhibition • Related Programs • Images
Aug. 8, 2013 (updated from Sept. 14, 2012)
MARINO, Calif.—An exhibition of 29 paintings by Renaissance luminaries
such as Domenico Ghirlandaio, Hans Memling, Pietro Perugino, and Rogier
van der Weyden, complemented by six rarely exhibited illuminated
manuscripts, has been organized by The Huntington Library, Art
Collections, and Botanical Gardens and is on view in the MaryLou and
George Boone Gallery from Sept. 28, 2013, through Jan. 13, 2014.
Accompanied by a book of the same title, “Face to Face: Flanders,
Florence, and Renaissance Painting” explores the relatively little-known
fact that Flemish painting helped make possible the innovative,
sophisticated, and beautiful works of the Italian Renaissance.
many exhibitions have shed light on the beauty of 15th-century Flemish
painting, and even more have celebrated the glory of Italian Renaissance
painting, “Face to Face” (inspired by the 2008 exhibition “Firenze e
gli Antichi Paesi Bassi 1430–1530,” presented at the Palazzo Pitti in
Florence) is the first in the United States to examine the theme,
showing the results of artistic contact between the creative centers in
Flanders (specifically those located in present-day Belgium) and
“The Huntington houses several masterpieces of
Renaissance painting,” said Kevin Salatino, Hannah and Russel Kully
Director of the Art Collections at The Huntington, “and they deserve to
be displayed in a larger context like this—helping to shed light on the
cultural, economic, and artistic links between these two profoundly
important artistic centers in the second half of the 15th century. We’re
very excited to be able to organize this exhibition for American
“Face to Face” marks the first time viewers in the Los Angeles area will be able to see The Huntington’s acclaimed Virgin and Child (ca. 1460) by Flemish painter Rogier van der Weyden (ca. 1400–1464) displayed alongside its companion diptych panel. Portrait of Philippe de Croÿ,
on loan from the Koninklijk Museum voor Schone Kunsten, Antwerp, was
originally the right half of the two-panel painting hinged to open and
close like a book—a common format at the time that enabled the works to
stand open on a table or altar.
With paintings from the
Galleria degli Uffizi in Florence, the National Gallery of Ireland in
Dublin, and the National Gallery of Art in Washington, D.C., among
others, the exhibition juxtaposes Flemish and Italian works in thematic
groupings, addressing the form of the diptych, the depiction of the face
of Christ, the evolution of portraiture, the elements of landscape
painting, and the virtuosic rendering of materials and objects.
“Face to Face” is co-curated by Catherine Hess, chief curator of European art at The Huntington, and Paula Nuttall, author of From Flanders to Florence: The Impact of Netherlandish Painting, 1400–1500 (2004, Yale University Press) and Face to Face: Flanders, Florence, and Renaissance Painting,
published by The Huntington on the occasion of this exhibition. Her
recent book includes a new essay on the topic and reproduces all of the
works included in the display.
The Connection Between Flanders and Florence
was a wealthy region encompassing parts of present-day Belgium, France,
and the Netherlands, and it was ruled by the dukes of Burgundy, whose
magnificent court attracted leading artists. These factors led to the
flourishing of art and culture in this region. It was in Flanders,
argues Nuttall, that in the first decades of the 15th century “a new
pictorial language based on the observation of reality” was developed,
notably by Jan van Eyck (ca. 1380/90–1441) and Van der Weyden.
also had a prosperous mercantile economy and was an important cultural
and artistic center in the 15th century. And since the late Middle Ages,
a colony of Florentine merchants and bankers had settled in Flanders to
facilitate banking and trade.
Through these commercial
connections, Flemish painting became known in Florence, where it was
admired for its emotional intensity and awe-inspiring realism. By the
end of the 15th century, influential art patrons, including the Medici
family, displayed works by Flemish artists in Florentine churches and
The lessons learned from Flemish painting enriched
and transformed the art made in Florence. Even Michelangelo commented on
the realism of Flemish painting by noting that the painting of Flanders
“will cause [the devout] to shed many tears,” and “in Flanders they
paint with a view to deceiving the eye.”
A particularly striking example of the impact of Flemish work on a Florentine artist is Hans Memling’s (ca. 1430–1494) Man of Sorrows Blessing,
an intensely moving Flemish devotional painting that promoted private
prayer and the contemplation of Christ’s humanity rather than his
divinity. The painting was owned by a Florentine and must have arrived
in Florence soon after it was painted, generating a host of copies.
Outstanding among these is the copy by Domenico Ghirlandaio (1449–1494)
that is so faithful to its model that it was long thought to be by
Memling himself. Both works are on view in “Face to Face” for visitors
The Glory of Renaissance Painting
Masterworks gathered together for “Face to Face” include Memling’s Portrait of a Man with a Coin of the Emperor Nero from the Koninklijk Museum voor Schone Kunsten in Antwerp and his Saint Veronica from the National Gallery of Art in Washington, D.C., as well as Gerard David’s (ca. 1455-1523) Virgin with the Milk Soup from the Palazzo Bianco in Genoa, Pietro Perugino’s (ca. 1446/1450–1523) Portrait of Francesco delle Opere from the Galleria degli Uffizi in Florence, and Filippino Lippi’s (ca. 1457–1504) Portrait of a Musician from the National Gallery of Ireland in Dublin.
A celebrated cornerstone of Western art, Portrait of a Man with a Coin of the Emperor Nero
displays elements typical of Memling’s portraits that were popular with
Italians in Flanders, including the fanciful landscape in the
background and an especially refined execution. The painting may depict
an Italian patron, an idea supported by the Roman coin in his hand.
is a sensitive rendering of the saint kneeling within an expansive
landscape and holding a veil imprinted with the image of Christ’s face.
This Flemish panel originally formed half of a diptych—with Memling’s Saint John the Baptist,
now in Munich—that was owned by Bernardo Bembo, the Venetian ambassador
to Burgundy and subsequently the Venetian ambassador to Florence.
An image of intimate domesticity, Virgin with the Milk Soup
is a masterful rendering of objects of daily life—including the child’s
transparent linen shirt, a basket and prayer book under the window, and
the elements of a meal on the table in the foreground—a characteristic
of Flemish painting prized by Florentine painters and patrons.
Portrait of a Musician is a remarkable Italian portrait that shows a young man, a bow tucked in his elbow, tuning a lira da braccio
(a Renaissance stringed instrument), with other instruments and books
on the shelf behind him. The domestic setting, the window with a vista,
and virtuosic details in this Italian picture were undoubtedly inspired
by Flemish models.
“We are thrilled to present these
dazzling paintings from such a fascinating chapter of European art,”
said Hess. “Very few members of the general public realize the great
impact Netherlandish artists had on artists in Florence during the
Renaissance. I believe the public will be not only captivated by the
topic but also stunned by the beauty of the works on display, many of
them masterpieces that have never been seen before on the West Coast.”
This exhibition is made possible by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation.
support is provided by an anonymous donor in honor of Robert F. and
Lois S. Erburu and in memory of Melvin R. Seiden, and also by Gabrielle
Jungels-Winkler, the Samuel H. Kress Foundation, the Gladys Krieble
Delmas Foundation, Christine C. Benter, and the Ahmanson Foundation
Exhibition and Education Endowment.
This exhibition is also
supported by an indemnity from the Federal Council on the Arts and the
Humanities and by the Government of Flanders through Flanders House New
About the Book
Face to Face: Flanders, Florence, and Renaissance Painting
Written by: Paula Nuttall (Introduction by Catherine Hess)
Format: Cloth, 96 pages, 8 × 10 inches, 80 color illustrations
Release: Sept. 2013
Huntington Library Press
lavishly illustrated catalogue accompanies an exhibition of the same
name at The Huntington (Sept. 28, 2013 to Jan. 13, 2014). Co-curator and
scholar Paula Nuttall explores the transmission of ideas, techniques,
and modes of artistic rendering that first developed in the Burgundian
court and became hugely influential in southern Europe—notably on
painting in Florence, usually considered the artistic epicenter of
Renaissance Europe. Nuttall treats the thematic groupings of the
exhibition, exploring the diptych as an art form, the portrayal of the
face of Christ, the development of portraiture, and the virtuosic
renderings of materials and textures.
“Crossing the Alps: Artistic Exchange and the Printed Image in Renaissance Europe”
Sept. 28, 2013–Jan. 13, 2014 | Huntington Art Gallery, Works on Paper Room
view concurrently with “Face to Face,” this focused exhibition displays
15 works by Flemish, Dutch, German, and Italian artists from The
Huntington’s collections. Artists include Albrecht Dürer (1471–1528),
Marcantonio Raimondi (ca. 1480–ca. 1534), and Lucas van Leyden
(1494–1533), who made and disseminated prints after or were inspired by
works of art produced in other countries. Reproducible, inexpensive, and
portable, printed images became agents of artistic exchange in the West
in the late 15th century, when the development of new and efficient
printing techniques began to provide artists with a larger array of
images than ever before. In addition to individual prints, the
exhibition features illustrated printed books from The Huntington’s
Library holdings. Like prints, these books were easy to transport, which
helped transfer knowledge and new ideas to an international audience.
“Flanders, Florence, and Renaissance Painting”
Fri., Nov. 15, 7 p.m. | Ahmanson Room, Botanical Center | Free; no reservations required
co-curator Paula Nuttall offers a new angle on Renaissance art as she
explores the impact of Flemish painting in Florence.
Huntington also will present a suite of educational events surrounding
the exhibition, including a tempera-painting workshop, curator tour, and
children’s activities. More information available at huntington.org.
[EDITOR’S NOTE: High-resolution digital images available on request for publicity use.]
Contacts: Thea M. Page, 626-405-2260, firstname.lastname@example.org
Lisa Blackburn, 626-405-2140, email@example.com
# # #
About The Huntington
Huntington Library, Art Collections, and Botanical Gardens is a
collections-based research and educational institution serving scholars
and the general public. More information about The Huntington can be
found online at huntington.org.
Huntington is located at 1151 Oxford Rd., San Marino, Calif., 12 miles
from downtown Los Angeles. It is open to the public Monday, Wednesday,
Thursday, and Friday from noon to 4:30 p.m.; and Saturday, Sunday, and
Monday holidays from 10:30 a.m. to 4:30 p.m. Summer hours (Memorial Day
through Labor Day) are 10:30 a.m. to 4:30 p.m. Closed Tuesdays and major
holidays. Admission on weekdays: $20 adults, $15 seniors (65+), $12
students (ages 12–18 or with full-time student I.D.), $8 youth (ages
5–11), free for children under 5. Group rate, $11 per person for groups
of 15 or more. Members are admitted free. Admission on weekends: $23
adults, $18 seniors, $13 students, $8 youth, free for children under 5.
Group rate, $14 per person for groups of 15 or more. Members are
admitted free. Admission is free to all visitors with advance tickets on
the first Thursday of each month. Information: 626-405-2100 or huntington.org.
|Hans Memling (ca. 1430 –1494), Portrait of a Man with
a Coin of the Emperor Nero, ca. 1471-74, oil on panel,
12 1/4 × 9 in. The Koninklijk Museum voor Schone
Kunsten, Antwerp. Photo © Lukas Art/Koninkijk Musuem
voor Schone Kunsten.
||Gerard David (ca. 1455-1523), Virgin with the Milk Soup,
ca. 1510-15, oil on panel, 13 3/8 × 11 1/4 in. Musei di Strada Nuova,
Palazzo Bianco, Genoa. Photo © Musei di Strada Nuova, Genoa.
|Domenico Ghirlandaio (1449-1494), Portrait of a Man, ca. 1490, tempera on panel, 20 3/8 × 15 5/8 in. The Huntington Library, Art Collections, and Botanical Gardens.
||Domenico Ghirlandaio (1449-1494), Portrait of a Woman, ca. 1490, tempera on panel, 20 3/8 × 15 5/8 in. The Huntington Library, Art Collections, and Botanical Gardens.
|Hans Memling (ca. 1430 –1494), The Man of Sorrows Blessing, ca. 1480-90, oil on panel, 22 × 13 7/8 in. Musei di Strada Nuova, Palazzo Bianco, Genoa. Photo © Musei di Strada Nuova, Genoa.
||Domenico Ghirlandaio (1449-1494), The Man of Sorrows Blessing,
ca. 1490, tempera on panel, 21 3/8 × 13 1/4 in. Philadelphia Museum of
Art, John G. Johnson Collection. Photo courtesy of the Philadelphia
Museum of Art.
|Hans Memling (ca. 1430–1494), St. Veronica,
ca. 1471–74, oil on panel, framed: 15 3/8 × 12 1/2 in. National Gallery
of Art, Washington, D.C., Samuel H. Kress Collection. Photo courtesy
National Gallery of Art, Washington.
||Hans Memling (ca. 1430–1494), Christ Blessing,
1481, oil on panel, 13 1/8 × 9 7/8 in. Museum of Fine Arts, Boston.
Bequest of William A. Coolidge. Photo © 2013 Museum of Fine Arts,
|Filippino Lippi (ca. 1457–1504), St. Jerome in his Study, ca. 1495, oil on panel, 10 1/4 × 14 1/4 in. El Paso Museum of Art, Gift of Kress Foundation. Photo © El Paso Museum of Art.
||Cosimo Rosselli (1439–1507), The Visitation,
ca. 1490-1500, oil on panel, 21 × 14 1/2 in. Wadsworth Atheneum Museum
of Art. Photo © Wadsworth Atheneum Museum of Art, Hartford, Conn.
|Attributed to Domenico Veneziano (ca. 1410–1461), Portrait of Michele Olivieri,
ca. 1440–55, tempera on panel, 17 3/4 × 12 3/4 in. The Chrysler Museum
of Art, Norfolk, Va., Gift of Walter P. Chrysler Jr. Photo © Chrysler
Museum of Art, Norfolk, Va.
||Master of the St. Ursula Legend, Portrait of Lodovico Portinari,
ca. 1475, oil on panel, 17 1/8 × 12 5/8 in. Philadelphia Museum of Art,
John G. Johnson Collection. Photo courtesy of the Philadelphia Museum
|Hans Memling (ca. 1430–1494), Portrait of Benedetto Portinari,
1487, oil on panel, 17 3/8 × 14 1/2 in. Galleria degli Uffizi,
Florence. Photo © Scala/Ministero per i Beni e le Attività culturali/Art
||Petrus Christus (1410–1472), Portrait of a Man,
ca. 1465, oil on panel, 18 3/4 × 13 7/8 in. Los Angeles County Museum
of Art, Mr. and Mrs. Allan C. Balch Collection. Photo © 2013 Museum
Associates/LACMA. Licensed by Art Resource, New York.