Ashmolean Museum, Oxford
23 March – 23 June 2024
The Ashmolean’s spring 2024 exhibition “Brueghel to Rubens, great Flemish drawings” will be devoted to some of the finest works of art produced by Flemish masters. Bruegel to Rubens will show 120 of the most outstanding drawings from the 16th and 17th centuries, with over 30 on display for the first time, including some which have only recently been discovered. Many of the drawings from Belgium are “Topstukken” – masterpieces designated by the Flemish Government for their exceptional quality and value.
The exhibition will show a remarkable range of artworks rarely seen in public because of their fragility and sensitivity to light. Among the works on show will be drawings by three of the most famous Flemish artists: Pieter Bruegel the Elder (c. 1525–69), Peter Paul Rubens (1577–1640) and Anthony Van Dyck (1599–1641). The exhibition will also present numerous drawings by other talented draughtsmen, such as Maerten de Vos, Hans Bol, and Jacques Jordaens.
These drawings were produced during a period of great change and prosperity in the region known as the Southern Netherlands. This area was a hub of artistic production driven by high demand from the established rural aristocracy, newly monied urban patricians, and many religious orders and professional guilds. All were eager to commission sacred and secular paintings, sculpture and decorative artworks which required preparation in drawing.
This exhibition will be a first for grouping South Netherlandish drawings according to their function in the artist’s studio and beyond, presented in three galleries: as sketches and copies; as preparations for other works; and as independent works of art in their own right. In doing so, the exhibition provides an insight into how these artists honed their drawing skills throughout their careers.
The 120 works on display range from quick scribbles to elaborate studies: from sensitive portraits to compositional studies for paintings; colourful designs for triumphal arches and monumental tapestries; and elaborate sheets made to celebrate friendships. These will be shown together with a selection of related works for which the drawings were designs; and with artworks which inspired them. Overarching themes running across the exhibition include the personal connections and networks forged between these artists, often resulting in collaborations. Many of them travelled extensively, settled abroad and became court artists across Europe, emphasising the broader international achievements of South Netherlandish artists.
To begin with, the show considers studies, made in the studio or out of doors (en plein air), and includes copies of other artworks, such as antique sculpture. A highlight is an album containing tiny drawings by Rubens from around 1590, including his earliest work produced when he was aged just 13: ‘The Abbot and Death’, inspired by a Hans Holbein woodcut. Rubens makes the scene his own, enlivening the action and rendering the skeleton figures more dynamic. There will also be a reconstruction of Rubens’s drawing desk, featuring Ancient Roman busts and coins from the Ashmolean’s collections, similar to those the artist is known to have collected and copied.
The exhibition then explores design-drawings created in preparation for works in other media, including paintings, prints, sculpture, architecture and decorative arts, such as metalwork, stained glass and tapestries.
One of the most striking examples is Bruegel’s ‘The Temptation of St Anthony’ (c. 1556), a hellish vision of demonic creatures across a bleak landscape which recalls the work of Hieronymus Bosch (c. 1450–1516). The drawing is meticulously rendered in pen and brown ink, intended to be made into an engraving by a professional printmaker. The Ashmolean has recently acquired an impression of the print, which will be on display for the first time in the exhibition.
Finally, the exhibition looks at drawings made as independent works of art, often for presentation or as gifts to patrons, friends and other artists. Among these are highly finished and painterly ‘cabinet miniatures,’ including a particularly fine example by Joris Hoefnagel – ‘An Arrangement of Flowers in a Vase with Insects’ (1594). This forms part of a display of sheets from ‘friendship albums’ with contributions from many South Netherlandish artists that would have circulated among friends and colleagues.
