The Carlos de Antwerp Museum joins the Flemish painting offer in Madrid

The Carlos de Antwerp Museum joins the Flemish painting offer in Madrid

Madrid, Nov 4 (EFE) .- The new “Museo Carlos de Antwerp Madrid, Flemish and Dutch Masters” was born with the intention of telling the public two centuries of European common history and of joining the great offer of flamenco painting that can be find in Madrid.

King Felipe VI will inaugurate tomorrow the new museum, which begins its journey with a vocation for continuity and in which they have gathered, around Rubens’s “The Martyrdom of Saint Andrew”, a piece owned by the Carlos de Antwerp Foundation, works by the best flamenco and Dutch artists of the sixteenth and seventeenth centuries.

Rubens, Van Dyck, Jordaens, Jan Brueghel, Cornelis de Vos, Bernard van Orley, Michaelina Wautier or David Teniers, sign some of the works, which come mostly from the Royal Museum of Fine Arts of Antwerp, which will remain closed until the year 2017 for remodeling works.

This fact “has been fundamental” in the launching of the new museum, commented during the presentation Miguel Ángel Aguilar, president of the Carlos de Antwerp Foundation.

In addition to the loans of the Museum of Antwerp, there are those of the Prado Museum and National Heritage, as well as the National Library and the Custody Foundation that have donated graphic work for the small temporary exhibition dedicated to engravings of male and female nudes by Rembrandt .

The new museum “in the candy store that is the wonderful building where it is” is “a perfect example of what can be an inter-institutional collaboration”, in the opinion of José Luis Díez, director of Royal Collections of National Heritage.

This institution has yielded the tapestry “The funerals of King Turno, killed by Aeneas” which is the only one that remains of the nine that made up the History of Aeneas of Philip II and is attributed to Jan van Roome.

“It is a fantastic piece, of great quality, belonging to one of the most representative collections of National Heritage, such as that of upholstery,” and that has been seen very rarely, said Díez.

Alejandro Vergara, head of Conservation of Flamenco Painting and Schools of the North of the Prado Museum wanted to underline the support of the art gallery for this project with the loan of ten works during a renewable year.

The new museum “is another occasion to be able to see more important works in Madrid, we must celebrate that from now on we will be able to see more works of art”.

The selection criteria of Fernando Checa, patron

of the Foundation and scientific director of the museum, has not only been exhibiting pieces by the great flamenco masters, “but also showing the public the great quality of portraits, mythological works, religious iconography, still lifes, landscapes , genre scenes, and animal representations, that gave life to this school.

The “small but very select museum of flamenco painting” was born with the vocation of being a museum “and not an exhibition, long-term loans will allow this permanence”, according to Checa, for whom the project criteria are based “on highlighting the flamenco painting, the one that more historical relation has had with Spain “.

In his opinion, Madrid is the capital of flamenco painting and art in Europe through the collections of the Prado Museum, the Thyssen Museum and National Heritage “that form an unbeatable whole and the fact that in this small space see more works, fills us with satisfaction. “

The tour of the museum begins with the room dedicated to the landscape and the portrait “with some works that mix both genders”. This space includes paintings by Bernard van Orley, Rubens, Jan Brueghel the Elder, Cornelis de Vos, Anton Van Dyck or Michaelina Wautier, one of the few flamenco painters, of which two works are shown.

Presided over by “The Martyrdom of Saint Andrew” and with the National Heritage tapestry in front, in the Hall of the Chapel there are exhibited the largest paintings devoted to religious painting, such as “The Education of the Virgin” by Rubens, and the mythological painting, represented, among others, by “The Dream of Venus” by Jacob Jordaens.

The third space is formed by paintings of smaller formats “in allusion to cabinet and genre painting” such as small-format landscapes, still lifes, market scenes with the presence of authors such as David Teniers, Joos Van Craesbeeck, Frans Snyders or Jan Fyt.