PRESS KIT - Palais des Beaux Arts de Lille

PRESS KIT

FABLES DU PAYSAGE FLAMAND
Bosch, Brueghel, Bles, Bril
FLEMISH LANDSCAPE FABLES
Bosch, Breughel, Bles, Bril
This exhibition is organized by the Palais des Beaux-Arts Museum and the City of Lille,
within the framework of FANTASTIC / lille 3000.
It has been recognized as “of National Interest,” by the Ministère de la Culture et de la
Communication/Direction Générale des Patrimoines/Service des Musées de France,
and has been granted exceptional financial aid from the State.
It has been organized thanks to the backing of the Conseil Régional Nord- Pas de Calais
and the Lille Métropole Communauté Urbaine.
It has received the support of the Flemish Government, and has been given the label
of the Eurométropole Lille-Kortrijk-Tournai.
It has benefitted from the sponsorship of the Caisse d’Epargne Nord France Europe, GDF SUEZ,
the SFETD and Auchan.
Exhibition Curator
Alain Tapié, Head Curator
Co-Exhibition Curators
Manfred Sellink, Director, Municipal Museums, Bruges
Paul Huvenne, Director, Musée Royal des Beaux-Arts, Antwerp
Paul Vandenbroeck, Curator, Musée Royal des Beaux-Arts, Antwerp
Michel Weemans, Art Historian, Professor, The Ecole Nationale Supérieure d’Art de Bourges
Press Contact
Nord-Pas de Calais
Palais des Beaux-Arts de Lille
Mathilde Wardavoir
33 (0)3 20 06 78 18
mwardavoir@mairie-lille.fr
Press Contact
Great Britain
Kathryn Hone
Arts Europe
+44 (0)208 977 5591
+44 (0)7833595626
info@artseurope.net
www.artseurope.net
Press Contact
France and Great Britain
Heymann Renoult Associées
Sarah Heymann et Laurence Gillion
33 (0)1 44 61 76 76
l.gillion@heymann-renoult.com
www.heymann-renoult.com
Press Contact
Belgium and Netherlands
Anne Samson & Catherine Dufayet
Communications
Léopoldine Turbat 33 (0)1 40 36 84 35
Laureen Grant 33 (0)1 40 36 84 40
rp@annesamson.com
Cover : Hieronymus Bosch (follower of), Paradise, ©Vienne, Kunsthistorisches Museum
1

SUMMARY
General Information
pg.3
Oblique view of the exhibition tour path pg. 4
Press Release
pg.5
Museum and Gallery Lenders
pg.7
The Exhibition Sections
pg.8
Exhibition activities pg. 22
List of Works of Art
pg.24
Images available for the Media
pg.27
Press Release on the Brussels Lille Artline pg. 29
GENERAL INFORMATION
Exhibition dates: October 6, 2012 to January 14, 2013, at the
Palais des Beaux-Arts Museum in Lille
Place de la République – 59000 Lille, France
www.pba-lille.fr / 33 (0)3 20 06 78 00
Opening Hours :
Monday: 2 to 6pm, Wednesday to Sunday: 10am to 6pm.
Closed on Monday morning and all day on Tuesday.
Ticket Prices :
9 euros/6 euros : ticket for the entire museum (permanent collections, “Babel” exhibition, and “Flemish
Landscape Fables - Bosch, Breughel, Bles, Bril ” exhibition).
On sale at: www.fnac.com
Exhibition Catalogue
Published thanks to the sponsorship of AG2R La Mondiale
SOMOGY editions
3

OBLIQUE VIEW OF THE EXHIBITION TOUR PATH
© D.R.
4

PRESS RELEASE
Jan Mandijn
Saint Christopher Carrying the Child Jesus
La Rochelle, musée des Beaux-Arts
© Musées d’Art et d’Histoire de La Rochelle, Max Roy
The Lille Palais des Beaux-Arts is organizing a major international exhibition entitled « Fables du
Paysage Flamand au 16° Siècle, Bosch, Brueghel, Bles, Bril » (« Flemish Landscape Fables in
the 16th Century ») from October 6, 2012 to January 14, 2013. This exhibition is preceded by a
contemporary presentation on the theme of the Tower of Babel. The marvellous and fabulous
characteristics of these landscapes, which still arouse feelings of fascination, awe, or perplexity,
will be revealed through a hundred works of art in this exhibition.
At the dawn of the Mannerism movement landscapes stand out as the true subject of painting.
Figures or Biblical stories were relegated to secondary importance by the desire to show the
invisible, in order to produce an impression of infinity. Flemish artists invented a new way of
painting, which was both captivating and creative, at the boundary between reality and
imagination. Nature became the place for myths and fables. Trees and rocks were given human
characteristics, and the strangest creatures were placed alongside men who were conducting their
daily occupations. In these hybrid worlds a path for life is drawn for the spectator. The Flemish
landscape is a terrestrial framework, which encourages the spectator to engage in thought. It
becomes the passageway between physical reality and the spiritual world.
These images show where the Christian faith and popular superstitions intertwined, where Beauty
and the bizarre met, and where both the marvellous and the monstrous were present. Nature was
written in a symbolic language, for which we no longer know all the codes. It carries us into a
world which goes beyond our comprehension: cosmic, legendary, and infinite. Created as vast
compositions, the paintings in the exhibition “Flemish Landscape Fables of the 16th Century”
reproduce the unremitting action of world forces, on a miniature universal scale. Thus the artist’s
act of painting participates in the creative process.
These works of art are signed by famous masters such as Bosch, Breughel, Met de Bles, Bril, or
Patinir, but also by less wellknownbut nonetheless brilliant artists, like Jan Mandijn or Kerstiaen
de Keuninck. Their powerful message continues into the modern world, and has never ceased to
be meaningful. The exhibition is above and beyond an artistic opportunity. It is essentially the
means of understanding the world around us.
Works of art coming from the collections of important French museums (Douai, Paris, Lyon, Strasbourg,
Valenciennes…) and international museums (Antwerp, Bruges, Brussels, Florence, Ghent, London,
Madrid, Rome, Rotterdam, Vienna…).
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MUSEUM AND GALLERY LENDERS
Belgium
Antwerp Mayer van den Bergh Museum
Antwerp Koninklijk Museum voor
Schone Kunsten
Antwerp Rockoxhuis
Bruges Groeningemuseum
Brussels Koninklijke Musea voor Schone
Kunsten
Brussels Museum van Buuren
Tournai Museum voor Schone Kunsten
Kortrijk Stedelijke Musea
Kortrijk/Broelmuseum
Ghent Museum voor Schone Kunsten
Namur Musée des Arts anciens du Namurois
Germany
Coblence, Mittelrhein-museum
Isselburg, Museum Wasserburg anholt
Karlsruhe, Staatliche Kunsthalle
Kassel, Museumlandschaft hessen
Münster, Westfälischen Landesmuseum
für Kunst und Kulturgeschichte
Wuppertal, Von der Heydt-Museum
France
Dijon Musée des Beaux-Arts
Douai Musée de la chartreuse
Lille Palais des Beaux-Arts
La Rochelle Musée des Beaux-Arts
Lyon, Musée des Beaux-Arts
Metz Musée de la cour d’or
Paris, Fondation Custodia, Nederlands Instituut
Paris Musée du Louvre
Paris Musée Jacquemart-André
Sermentizon Château d’Aulteribe, Centre des
Monuments nationaux
Strasbourg Musée des Beaux-Arts
Valenciennes Musée des Beaux-Arts
Holland
Haarlem, Frans Hals Museum
Hertogenbosch, Noordbrabants Museum’s
Leyde, Stedelijk Museum de Lakenhal
Rotterdam, Museum Boijmans - van Beuningen
Italy
Florence Galleria degli Uffizi
Rome Galleria Borghese
Rome Galleria Colonna
Great Britain
London National Gallery
London National Maritime Museum
Oxford Ashmolean Museum
Austria
Graz, Alte Galerie des Steiermärkischen
Landesmuseum Joanneum
Vienna, Kunsthistorisches Museum
Vienna, Gemäldegalerie
Spain
Barcelona, Museu Nacional d’Art de Catalunya
Madrid Museo de Arquitectura y Pintura del Monasterio del
Escorial
Madrid Museo Thyssen-Bornemisza
Madrid Musée du Prado
Madrid Museo Lazaro Galdiano
Switzerland
Zürich Kunsthaus
And private collections.
6

THE EXHIBITION SECTIONS
Introduction
The fabulous 16 th century Flemish mannerist landscapes were interpreted at their time, but
the force of their images continues into the modern world, never ceasing to be significant.
In this respect these landscapes are profoundly anachronistic. The Lille Palais des Beaux-
Arts Museum is organizing an important international exhibition, with around one
hundred works of art, showing “Flemish Landscape Fables in the 16 th Century.” The
mysterious side of the 16 th century Flemish paintings today still arouses fascination. The
exhibition presents artists from a whole era. Recognized masters such as Bosch, Breughel,
Met de Bles, and Bril form the framework of the exhibition. They are accompanied by a
fine web of brilliant, less well-known artists like Jan Mandijn or Kerstiaen de Keuninck,
who were far from being simple copiers. Inspired by master artists, whose reputations
were already well established, they knew how to paint with simplicity, and yet were
captivatingly creative.
With the arrival of Flemish humanism around 1440, the invisible was granted as much
reality, and even more force, than the visible. In every respect, the natural world was
considered the result of spiritual knowledge. From then on, representing nature, through
the sensitive appearance of reality, was part of the search for God. The distant perspective
of space in these paintings aroused a feeling of awe and infinity. The connection between
the One and the many were thought of in theological terms. The fantastical landscape was
the invisible, exceptionally revealed. The originality of Flemish 15 th and 16 th century
landscapes was to push the spiritualization of nature into metamorphosis. It then became
anthropomorphic, mineral rock creating the presence of beings. Through this exhibition
we are truly in a legendary dimension of creation. It is a dimension with multiple aspects,
which offers such varied themes as the marvellous, the fantastic, the anamorphosis, and
even the path or pilgrimage of life.
This exhibition has benefitted from the stylistic work accomplished during past
exhibitions in Vienna and Antwerp. Built essentially on the 16 th century, it shows the
extension, up to the edge of baroque “Rubenien” landscapes, of these image dynamics
which invite critical analysis. The same is true for the few 15 th century landscapes
presented, which testify to the visual preoccupations of humanist spirituality.
Dirck Bouts
The Fall of the Damned, cir. 1470
© Palais des Beaux-Arts de Lille
Dirck Bouts
The Path to Paradise, cir. 1470
© Palais des Beaux-Arts de Lille
7

I.The Road of Life
Joachim Patinir (circle of)
The Crucifixion on Golgotha
Madrid, private collection / D.R.
The landscape, as a marvellous and fantastic representation of the world, doesn’t really imitate
nature, but organizes it according to a symbolic script. Through the intellectualization of
landscapes, the painting places itself between feelings and thought, between perception and the
modelling relief of forms. Thus it offers to the “inner vision” of the spectator the
contemplation of the invisible, exceptionally revealed. The work of art starts as an aesthetic
base, but then can change into a path of life for the spectator.
Some painters, like Herri Met de Bles, represent broad landscapes finely constructed,
populated with social microcosms, in which rivers, roads and elements calling to mind
journeys, snake deeply into the painting’s space.
Until the beginning of the 17 th century and the creation of a harmonious unity, Flemish
mannerist landscapes were built by playing with various “sliding” side planes, or grounds,
inhabited by a few scattered subjects. These side grounds, going from foreground to
background, were either symmetrical or imbalanced. The ultimate symbol in these paintings
was Christ’s cross. If carried, it invited the spectator to go along on a journey to another
world. Erected, it was a reminder that the mysterious and the marvellous need a certain
decorative symmetry, a divine arrangement of the world. As time went by, elements
borrowed from the real world took on a greater role, and peaked with the cosmic work of
Pieter Breughel the Elder.
9

II. The Fantastical World
The Devil’s Share and Places of Dissimilarity
Hieronymus Bosch, (imitator of)
Vision of Tondal
© Madrid, Museo Lázaro Galdiano
Beyond the marvellous, the second category of paintings in the show plays with the
almost pleasurable feeling that horror can give. These are fascinating landscapes, which
correspond to the idea of nature at the Renaissance. At that time, the accidental occurrence
was preferred over the rule of natural laws. This category presents the bizarre, the
extravagant, and the monstrous, which does not mean that there was no search for
aestheticism in the pictorial composition. This line of landscapes opened the way for paintings
of hell, monsters, and unpredictable combinations. Fantasy allowed the mixture of forms and
systems in the universe. This art generated the association of brilliant ideas, of which the
puzzling contents are yet to be decoded. In this way the central pictorial element of the
mouth of hell suggests that the marvellous of nature’s divine book can be changed into a
“diabolical world” of nature.
The dominant figure in this fantastical world is personified by Hieronymus Bosch. He joined
the artwork of illustrators from the end of the Middle Ages with their fervent imagery, to the
astonishment and fascination of scenes of short-lived worlds, such as dreams and nightmares.
Bosch’s creations provoked dread, without abandoning the humanity of his characters.
Anthropomorphic images invite the spectator to test the analogy between nature’s forms,
their reversibility, and their infection of one into another. This is done in a purely visual
manner, with the eye going back and forth, never being certain of the meaning and constantly
feeling like the victim of an illusion. Through the 16 th century fondness for fantastic and
alchemical metamorphoses, the anthropomorphic and zoomorphic landscapes are places where
hidden images with human or animal forms appear. This demands an active participation
from the spectator in contemplating the work of art. Behind the painted realism of nature,
suddenly appears a double image, which makes one hear something else than what is said, and
see something else than what is shown. The anamorphic landscape sets on a stage the
distortion of an image from nature, and its reconstruction. The spectator, bodily absorbed in
front of the picture, has to find his place in order to discover the new hidden landscape within
the landscape.
11

Lucas Gassel (attributed to)
Lot and his Daughters, C. 1525 –1530
Paris, private collection / D.R.
For this reason the landscapes by Herri Met de Bles, such as The Calvary Ascent show a broken
up anthropomorphism, to be decoded continuously (here an eye, there an ear, elsewhere a
forehead or fleshy lips, a turned up nose…). The rock which towers over the Calvary, can
itself in this way mime mockery, anticipating the kind of “head landscapes” by Joos de
Momper. The road towards the anamorphous, drawn harmoniously, participates in this
dialectic of the hidden and the revealed. It is associated with the “sliding” side grounds of the
paintings full of vegetable life, within which are inserted the realism of everyday microcosms,
such as forges, windmills, etc.
Hieronymus Bosch (follower of)
Paradise, C.1539
©Vienne, Kunsthistorisches Museum
13

III. Sacred Fables, Profane Fables
Formerly Pieter Breughel the Elder
The Fall of Icarus
© Brussels, Museum van Buuren
The two preceding exhibitions devoted to Dutch 16 th and 17 th century landscapes
emphasized naturalism (influenced by the direct observation of nature, by travelling,
and by the development of cartography). The subject of this exhibition, “Landscape
Fables,” centered on the 16 th century, is very different. Here the aim is to shed light on
the role of Christian thought, but also on humanist culture, rediscovering classical
mythological treasures in the emergence and development of Flemish landscapes.
The section “Profane Fables, Sacred Fables” illustrates the meaning of the word “fable”
as a “fictional tale exemplifying a sense of morality.” It is a tale based on real, everyday
elements in order to explain a general truth, a misleading narrative, or a marvellous
story from Antiquity. Beyond these general lines, the landscapes in this section echo
the way authors of that time (from Erasmus to Blaise de Vigenére and Karel van
Mander) used and defined the word “fable.” In the fable defined as fiction, the outside
bark has to be peeled off, in order to see the tale’s intentions. This leads to an analogy
between fable and allegory, which will be taken up by several authors. The metaphor
of bark and pit, or stone, when applied to the search for a hidden meaning in the Holy
Scripture or in mythological stories, also signals a parallel established between profane
fables and sacred fables. In both cases the fable imposes a slanted point of view and a
search for a hidden or spiritual meaning beyond the literal appearance, which can be
misleading (as seen in the play on words used between “feinture” and “peinture” or
“trickster” and “picture”).
15

Simon de Meyle
Noah’s Ark on Mount Ararat, C. 1570
Belgium, private collection / D.R.
In some painted landscapes, at times a little detail suddenly bursts into a calm scene of
nature or everyday life. The foot springing up from the foam in The Fall of Icarus, by
Pieter Breughel, and the red coat held high by the prophet in Elijah and Elisha, by Jan
Massijs, are just two examples. They push the landscape into the fabulous or the
supernatural, and suggest a search for an allegorical or moral sense. The various
meanings of the fables which illustrate this section, are anticipated in the previous
sections devoted to divine contemplation through the Creation, and can also be found
in the following sections on fantastic and diabolical landscapes.
17

III. The Marvellous World
From World Diversity to Sacred Cosmology
Tobias Verhaecht
Landscape with the Tower of Babel
© Antwerp, Koninklijk Museum voor Schone Kunsten Antwerpen
The Flemish landscape is the base for a worldly experience, in which the spectator is
pushed to engage in thought. It allows him to consider nature like the place for a
contemplative walk intended for him. Here nature is found under the formal and visual
grip of signs and symbols, as if they were hieroglyphics forming nature’s book. Through
the poetic device of amazement, the contemplation of these landscapes changes into a
surprised excursion for the eye. This wondering gaze shows the world perceived by the
senses, and allows the spectator to pass from terrestrial reality to a marvellously spiritual
one. This can be seen, for example, in the paintings done around 1470 by the forerunner
Dirck Bouts, “The Path to Heaven” or “The Chosen Ones’ Ascension” and “The Fall of
the Damned” (Lille Palais des Beaux-Arts). In these representations of the world, the
painting is the cosmic vessel of nature’s vast infinity, whereas the painter is the one
relating the image of “all of nature’s marvels.” The imitation of nature in all its diversity
is expressed in compositions reproducing the never-ending work of world forces. The
painter’s ambition is to imitate God’s Creation of the world, in all of its variety.
This notion of “varietas” corresponds, on one hand, to the idea that nature is the place to
find variety, and it is there that it attains perfection. On the other hand, this “varietas”
signifies an apprehension of nature, put into place by cosmological and landscape
literature, which consisted of characterizing and describing nature in its “copia varietas.”
19

Lucas van Valkenborg
Landscape with Mines
Paris, Nederlands Intituut Fondation Custodia, Institut néerlandais/ D.R.
In the middle of nature and a framework of harmonious elements, the cosmological
dimension deals with the resemblance between the human and the divine. With the
contribution of traditional myths, both profane and sacred, abundance in all domains is
noticeable. Breughel and Paul Bril created visionary landscapes, using the inversion
method appreciated by Flemish mannerists. Marvellous landscapes, often with religious
themes, offer a whole different range of feelings. They are not as close to daily life, more
elliptical, but just as fascinating to the spectator. The religious scenes are submerged in
panoramic landscapes full of realistic details, which reflect the diversity in the divine
creation of the world. Joachim Patinir constructed his works with naturalism in the
details, as well as with strange forms seemingly cut-out, such as rocks, which served to
give lengthwise structure to the paintings’ space.
These rocky arch elements are directly involved in a heavenly cosmology, where access
is very laborious. Even the figure of the saint was also confronted by the efforts to be
endured, and the time needed to make the spiritual ascension. This became a model for
the staunch believer.
In these paintings spatial distance and variety were mixed together creating a gradual
cosmic aesthetic, in which successive breakthroughs resulted in the panoramic
representations of a painter like Joos de Momper.
CONCLUSION
The reversal of proportions between nature and figures, between the sacred and the profane in
these landscapes drawn from Flemish mannerism, has definitely put nature in the heart of the
spiritual road. Created as vast compositions, the paintings in the exhibition “Flemish Landscape
Fables in the 16 th Century,” organized by the Lille Palais des Beaux-Arts Museum, reproduce at
a microcosmic scale the never ceasing work of world forces. In this, the act of painting
participates in the act of creating, by its principle of variety and perpetual transformation. The
subject of this exhibition, beyond an artistic opportunity, is proving to be essential in
understanding the world around us.
21

EXHIBITION ACTIVITIES
▪ RELATED EXHIBITION
“THE SEVEN DEADLY SINS,” BY ANTOINE ROEGIERS
Landscape of the Seven Deadly Sins, 2012
ink on paper
193 x 130 cm
Flemish painting meets digital art. Hybrid and fantastical creatures, found in Peter
Breughel the Elder’s engravings, are animated in a series of videos. They suddenly spring
up from an imaginary world, as if blown out by a diabolical spirit. This work of art,
shown until January 14, 2013, in the low-relief table maps department, is accompanied by
92 preparatory drawings, two monumental drawings (ink on paper), and a video
installation on seven screens presenting the animations of seven of Breughel’s engravings.
Dept. des Plans-Reliefs (Niv. R-2). Accessible with an Entrance Ticket.
22

▪ LECTURES (IN FRENCH)
Wednesday, October 3 rd at 6:30pm
Le paysage flamand au XVIe siècle, Bosch - Brueghel - Bles –
Bril, by Alain Tapié, Exhibition Curator and Head
Curator
Wednesday, October 10 th at 6:30pm
Les maîtres du paysage flamand au XVIe et la question de
l’attribution, by Jan De Maere, Doctor in art History,
Member of the Scientific Committee of the
Exhibition
Wednesday, October 24 th at 6:30pm
Le monde vu d’en haut. Vision aérienne, œil charnel et œil
spirituel dans le paysage cosmique flamand du XVI e s., by
Michel Weemans, Art Historian, Professor, The Ecole
Nationale Supérieure d’Art de Bourges
▪ EVENING ACTIVITIES
Wednesday, November 21st from 7pm to 10pm
Students’ Fantastical Night
• Entrance to the exhibitions BABEL and Flemish
Landscape Fables of the 16 th Century
• Live Model Studio Workshop on the theme of
Paradise and Hell (materials provided)
• Miyazaki Night, the master of Japanese film
animation. Films: “The Travelling Castle” (Japan,
2005, 1h 54), “Chihiro’s Voyage” (Japan, 2001,
2h04), “Princess Mononoké” (Japan, 2000, 2h 14).
Free Entrance. Reserved for Students and those under 26.
Tuesday November 27 th at 7 pm
The Palace of Delights - Special Late-Night Opening
Guided tour (in French) of the exhibition Flemish
Landscape Fables, followed by a dinner prepared by
the chefs from “Tables et Toques du Nord-Pas de
Calais.”
by reservation (reservationpba@mairie-lille.fr) • 90 €
▪ SPECIAL READING (IN FRENCH)
with Jean-Claude Carrière and Carole Bouquet
Monday December 3rd at 6:30 pm
The voices of the actress Carole Bouquet and the
author Jean-Claude Carrière will personify figures from
the Bible through the reading of texts from the Book of
Genesis. This will follow a tour of the exhibitions
Babel and Flemish Landscape Fables.
12 € • 7 €.
▪ AT FLAGEY IN BRUSSELS
This season there will be numerous occasions to collaborate
with cross-border cultural institutions around the
exhibition Flemish Landscape Fables, with which
Brussels has associated its programming.
Flagey Cinema and Music Festival • sept. > oct. 2012
The Lille exhibition will be extended into this
multidisciplinary hall in Brussels, through a surrealist and
fantastical week of activities. This event will put Flemish
painting masters into a contemporary perspective, through
the organization of concerts, film-concerts, and a cinema
cycle, all related to the imaginary theme of the Lille
exhibition.
Place Saint Croix, Ixelles, Belgium
Tel. 00 32 2/6411020 / www.flagey.be
Concert « Antonio Vivaldi / John Cage : 8 Seasons »
A totally new concert for the exhibition, by the young
baroque orchestra B’Rock, presented in conjuncture with
the original film by Alexis Destrop based on works of art
presented in the Flemish Landscape Fables exhibition
and coproduced by Flagey and the Palais des Beaux-Arts
de Lille.
Wednesday, Oct. 24th, 20:15pm at Flagey, Brussels
Thursday, Oct. 25th, 7:00pm at the Palais des Beaux-
Arts, Lille
▪ AT THE MUSEES ROYAUX DES
BEAUX-ARTS DE BELGIQUE - BRUSSELS
…the show continues with:
Landscapes in 16th Century Mannerist
Paintings, from Memling to Breughel
Discovery Path within the permanent museum
collections.
As an echo to the Lille Flemish Landscape Fables
exhibition, the Belgium Musées Royaux des Beaux-
Arts presents a starred path through-out their
works of art, on the theme of 16 th century landscape
paintings. From one landscape to the next, this
path will lead the visitor to 16 th century mannerist
paintings from Antwerp to Brussels. Going from
Memling (15 th c.) to Breughel (16 th c.) nine
masterpieces are marked with special stickers.
Musée d’art ancien, 3 rue de la Régence, Brussels.
Tel. 00 32 2/508 32 11 / www.fine-arts-museum.be
▪ POLYPHONIC FABLES
CLOSING CONCERT
Sunday, January 13, 2013, 6:30 pm
With the ensembles Métamorphoses, Biscantor!
and the chamber choir Coeli et Terra conducted by
Maurice Bourbon.
12€ • 7€ (Entrance into the exhibition included)
23

LIST OF WORKS OF ART
Introduction
Dirck Bouts
The Path to Heaven or The Ascension of
the Chosen, C. 1470
Oil paint on wood, 115 x 69,5 cm
Lille, Palais des Beaux-Arts
Dirck Bouts
The Fall of the Damned, C. 1470
Oil paint on wood, 115 x 69,5 cm
Lille, Palais des Beaux-Arts
Hans Memling
Allegory with a Virgin, 1479-1480
Oil paint on wood, 38 x 32 cm
Paris, Musée Jacquemart-André
Hieronymus Bosch and studio
The Seven Deadly Sins, C.1505
oil paint on wood, 86 x 56 cm
New-York, private collection
Hieronymus Bosch
Saint John the Baptist, Meditating
Oil paint on wood, 49 x 40,5 cm
Madrid, Museo Lazaro Galdiano
I. The Road of Life
Hieronymus Bosch
The Last Judgement (triptych)
oil paint on wood central panel: 99 x
60,3 cm, side panels: 98 x 28,8 cm
Bruges, Groeningemuseum
Hieronymus Bosch (circle of)
Triptych of Job (triptych)
Oil paint on wood,
central panel: 98 x 72 cm, side panels:
98 x 30 cm
Bruges, Groeninge Museum
Flanders
Allegory of the World, C.1515
Oil paint on wood, 28 x 43 cm
Isselburg, Museum Wasserburg Anholt
Cornelis Cornelisz Kunst
A Pilgrim and Satan, C. 1530
Oil paint on wood, 54,5 x 43,5 cm
Leyde, Stedelijk Museum of Lakenhal
Joachim Patinir (circle of)
The Crucifixion on Golgotha
Oil paint on wood, 17,2 x 21 cm
Madrid, private collection
Joachim Patinir
Landscape with Saint Mary Magdalene in Ecstasy,
C. 1517-1524
Oil paint on wood, 26 x 36 cm
Zürich, Kunsthaus
Herri Met de Bles
Landscape with Saint Christopher
Oil paint on wood, 30 x 43 cm
Rotterdam, Museum Boijmans van
Beuningen
Joachim Patinir
Saint Christopher Carrying the Christ Child
Oil paint on wood, 48 x 59,5 cm
Antwerp, Rockoxhuis
Master of the Adoration of Lille (?)
Saint Christopher
Oil paint on wood England
Private collection
Jan Mandijn
Saint Christopher Carrying the Child Jesus
Oil paint on wood, 45 x 59,5 cm
La Rochelle, musée des Beaux-Arts
The Monogrammist of Brunswick
The Calvary Ascent
First half of the 16 th Cent.
Oil paint on wood, 84 x 70 cm
Paris, Musée du Louvre
Abel Grimmer
Christ’s Bearing of the Cross, 1593
Oil paint on wood, 108,5 x 144 cm
Bruges, Groeningemuseum
The Monogrammist L.C., called
Pseudo Gassel
Imaginary View of Antwerp, with Scenes of
Saint Matthew’s Life
Oil paint on wood, 78,5 x 109 cm
Brussels, Koninlijk Museum voor
Schone Kunsten
Joachim Patinir (attributed to)
Landscape with the Pilgrims of Emmaus
Oil paint on wood, 100 x 125 cm
Madrid, Museo Lazaro Galdiano
Herri Met de Bles
Landscape with Christ and the Pilgrims of
Emmaus
Oil paint on wood, 34,1 x 50,5 cm,
Antwerp, Mayer van den Bergh Museum
Anonymous
The Legend of Saint Christopher, 1558
Oil paint on wood,
Antwerp, Koninklijk Museum voor
Schone Kunsten
Herri Met de Bles
Landscape with Saint Jerome
Oil paint on wood, 75,7 x 105,8 cm
Namur, Musée des Arts Anciens du
Namurois
Frédéric & Gillis van Valckenborgh
Landscape, Resting on the Flight to Egypt,
1612-1620
Oil paint on canvas, 131 x 191 cm
Brussels, private collection
Breughel the Elder (imitator of)
Landscape with an Artist Drawing
C. 1600
Oil paint on wood, 50,8 cm x 68,6 cm
London, National Gallery
II. The Fantastical World
The Devil’s Share & Places of Dissimilarity
Hieronymus Bosch (studio of)
The Temptation of Saint Anthony
Belgium, private collection
Hieronymus Bosch, (painted from)
The Temptation of Saint Anthony
Oil paint on canvas, 118 x 110 cm
Dijon, Musée des Beaux-Arts
Hieronymus Bosch, (painted from)
The Temptation of Saint Anthony, C. 1530
Oil paint on canvas, 50 x 39, 5 cm
Rotterdam, Museum Boijmans - van
Beuningen
Hieronymus Bosch, (imitator of)
Vision of Tondal
Oil paint on wood, 54 x 72 cm
Madrid, Museo Lázaro Galdiano
Pieter Breughel the Younger (?)
Concert in an Egg
Oil paint on canvas, 108 x 126 cm
Lille, Palais des Beaux-Arts
Hieronymus Bosch (follower of)
Saint Christopher, 1508
Oil paint on wood, 31,5 x 45 cm
Hertogenbosch, Noordbrabants Museum’s
Jan de Cock
Saint Christopher
Oil paint on wood, 32,5 x 56,5 cm
Suisse, private collection
Jan Mandijn
Saint Christopher
Oil paint on wood, 29,5 x 43,2 cm
Suisse, private collection
Anonymous Flemish (follower of Bosch)
The Underworld
Oil paint on wood, 54 x 78 cm
Madrid, Musée du Prado
Herri Met de Bles
The Fall of Lucifer
Oil paint on wood, 53,3 x 42 cm
London, National Maritime Museum
Joachim Patinir
Landscape with the Destruction of Sodom
and Gomorrah
C. 1515-1520
Oil paint on wood, 23 x 29,5 cm
Rotterdam, Museum Boijmans - van Beuningen
Joachim Patinir (painted from)
Landscape with the Destruction of Sodom
and Gomorrah
Oil paint on wood, tondo, 33 x 34 cm
University of Oxford, Ashmolean Museum
Herri Met de Bles
Landscape with the Burning of Sodom
Oil paint on wood, 21,5 x 33,7 cm
Namur, Musée des Arts Anciens
24

Joachim Patinir
Lot and his Daughters
Oil paint on wood, tondo, 33,5 x 37,5 cm
Antwerp, Koninklijk Museum voor
Schone Kunsten Antwerpen
Lucas Gassel (attributed to)
Lot and his Daughters
C. 1525 -1530
Oil paint on wood, 38 x 55 cm
Paris, private collection
Antwerp (?)
Lot and his Daughters,C. 1520
Oil paint on wood, 32,5 x 45 cm
Rotterdam, Museum Boijmans - van
Beuningen
Kestiaen de Keuninck
Lot and his Daughters
Oil paint on wood, 42,3 x 61,5 cm
Karlsruhe, Staatliche Kunsthalle
Cornelis Cornelisz Kunst
Scenes from the Life of Saint Anthony, 1530
Oil paint on wood, 54,5 x 43,5 cm
Leyde, Stedelijk Museum of Lakenhal
Jan de Cock
The Temptation of Saint Anthony, 1520
Oil paint on wood, 60 x 46 cm
Madrid, Museo Thyssen-Bornemisza
Herri Met de Bles
The Temptation of Saint Anthony
Oil paint on wood, tondo, 25 cm
Paris, Nederlands Intituut Fondation
Custodia
Jan Mandijn
The Temptation of Saint Anthony
Oil paint on wood, 53,1 x 83,2 cm
Valenciennes, Musée des Beaux-Arts
Jan Mandijn
The Temptation of Saint Anthony,
between 1530 and 1559
Oil paint on wood, 61,5 x 83,5 cm
Haarlem, Frans Hals Museum
Pieter Huys
The Temptation of Saint Anthony 1547
Oil paint on wood, 102 x 69 cm
Paris, Musée du Louvre
Pieter Huys (attributed to)
Saint Christopher, 16 th Cent.
Oil paint on canvas, 138,5 x 177 cm
Metz, Musée de la Cour d’Or
Kerstiaen de Keuninck
The Calamities of Humanity, C. 1600
Oil paint on wood, 46,5 x 70,7 cm
Ghent, Museum voor Schone Kunsten
Hans Bol
The Tower of Babel
Oil paint on canvas, 62 x 56 cm
Museum voor Oudheidkunde en Sierkunst
en Schone Kunsten, Kortrijk
Kerstiaen de Keuninck
Lot and his Daughters in front of Burning
Sodom, C. 1620
Oil paint on canvas, 51,2 x 135 cm
Kortrijk, Stedelijke Musea
Hieronymus Bosch (follower of)
Paradise, C.1539
Oil paint on wood, 24,5 x 19,5 cm
Vienne, Kunsthistorisches Museum
Cornelis Massys
The Flight to Egypt
Oil paint on wood, 27 x 33 cm
Barcelone, Museu Nacional d’Art de
Catalunya
Herri Met de Bles
Calvary Ascent
Oil paint on wood, 57 x 72 cm
Vienne, Gemäldegalerie
Herri Met de Bles
The Calling of Saint Peter
Oil paint on wood, 32 x 50 cm
Suisse, private collection
III. Sacred Fables, Profane Fables
Herri Met de Bles
Saint John on the Island of Patmos
C. 1535-1550
Oil paint on wood, 33 x 47 cm
Antwerp, Koninlijk Museum voor
Schone Kunsten Antwerpen
Cornelis Massys ? (painted from
Joachim Patinir)
The Miracle of the Loaves
Oil paint on wood
Madrid, Museo de Arquitectura y
Pintura del Monasterio del Escorial
Abel Grimmer (signed P. Breughel)
The Parable of the Sower
Oil paint on wood
Brussels, private collection
Jacob Grimmer
The Devil Sowing Chaff
Oil paint on wood, 111 x 80 cm
Brussels, private collection
Master of the Sermon of Lille
(attributed to)
The Sermon of Saint John the Baptist
mid 16 th C.
Oil paint on wood, 61,5 x 93 cm
Lille, Palais des Beaux-Arts
Jan Mandijn
The Trials of Job
Oil paint on wood, 67 x 141 cm
Douai, Musée de la Chartreuse
Simon de Meyle
Noah’s Ark on Mount Ararat
C. 1570
Oil paint on wood, 114 x 142 cm
England, private collection
Jan Breughel I
Jesus on the Sea of Galilee, 1596
Oil paint on copper, 26,6 x 35 cm
Madrid, Museo Thyssen Bornemisza
Paul Bril
Jonas, Castaway at Sea, C. 1600
Oil paint on canvas, 125 x 169,5 cm
Lille, Palais des Beaux-Arts
Paul Bril
Jonas, Castaway at Sea
Oil paint on canvas, 46 x 60,5 cm
Brussels, Koninlijk Museum voor
Schone Kunsten
Kerstiaen de Keuninck
Forest Landscape with Toby and the Angel
Oil paint on wood, 40,5 x 56 cm
Karlsruhe, Staatliche Kunsthalle
Kerstiaen de Keuninck
The Sacrifice of Isaac in a Mountainous
Landscape, 1580-1590
Oil paint on wood, 50 x 83 cm
Münster, Westfälischen Landesmuseum
für Kunst und Kulturgeschichte
Jan Nagel
The Miracle of the Prophet Elisha’s Tomb
1596
Oil paint on wood, 69,1 x 60,1 cm
Brussels, private collection
Loedewijk Toeput (attributed to)
Noli me Tangere
Oil paint on canvas, 167 x 180 cm
Rome, Galleria Colonna
Herri Met de Bles
Coastal Landscape with Saint Augustine
Oil paint on wood, 21, 5 x 30,6 cm
Rome, Galleria Colonna
Herri Met de Bles
Landscape with Saint Christopher
Oil paint on wood, 21,8 x 33 cm
Rome, Galleria Colonna
Jan Breughel I
Christ in Limbo
Oil paint on copper, 25,2 x 34,7 cm
Rome, Galleria Colonna
Jan Breughel I
Aeneas Led by the Sibyl to the Underworld
oil paint on copper, 25,7 x 35,3 cm
Rome, Galleria Colonna
Jan Breughel I
Proserpina, Pluto, Orpheus
oil paint on copper, 28,7 x 34,4 cm
Rome, Galleria Colonna
Pieter Breughel the Younger
A Magpie on the Gallows, C. 1568
Oil paint on wood, 45,9 x 50,8 cm
Paris, private collection.
25

Pieter Breughel the Younger
Winter Scene with a Bird Trap
Oil paint on wood, 33 x 57 cm
Tournai, Museum voor Schone Kunsten
Formerly Pieter Breughel the Elder
The Fall of Icarus
Oil paint on wood, 63 x 90 cm
Brussels, Museum van Buuren
Tobias Verhaecht ou Paolo Fiamingo (?)
The Fall of Icarus
Oil paint on wood,
Rotterdam, Museum Boijmans - van
Beuningen
Hans Bol
The Fall of Icarus
Watercolor on paper, 13,3 x 20,6 cm
Antwerp, Mayer van den Bergh Museum
Lucas Gassel (or studio?) Landscape
with Mercury and Argos, C. 1550
Oil paint on wood, 97 x 123,5 cm
Strasbourg, Musée des Beaux-Arts
Herri Met de Bles
Landscape with Diana
C. 1530-1550
Oil paint on wood, 28 x 36 cm
Strasbourg, Musée des Beaux-Arts
Jacob Saverij
Orpheus, 1601
Oil paint on wood, 46,5 x 92,5 cm
Belgium, private collection
Joachim Wtewael(follower of)
Diana and Callisto
Oil paint on canvas, 50 x 70,2 cm
Brussels, Private collection.
Kerstiaen de Keuninck
The Fire at Troy
Oil paint on wood, 76 x 50 cm
Belgium, private collection
IV. The Marvellous World
From World Diversity to Sacred
Cosmology
Joachim Patinir and studio
Triptych with Saint Jerome, Saint John the
Baptist, Saint Antoine, and Saint Mary
Magdalene, C. 1517-1524
Oil paint on wood, central panel: 90 x
89 cm ; side panels : 89 x 38 cm
England, private collection
Cornelis Massys
Landscape with Saint Jerome, 1547
Oil paint on wood, 26,4 x 31,9 cm
Antwerp, Koninklijk Museum voor
Schone Kunsten
Michiel de Gast
Mary Magdalene
Oil paint on wood, tondo, 20,2 cm
Germany, private collection
Joachim Patinir
Landscape with Saint Jerome, 1524
Oil paint on wood, 21,5 x 32 cm
Wuppertal, Von der Heydt-Museum
Herri Met de Bles
Landscape with Mines, C. 1550
Oil paint on wood, 39,5x 73 cm
Graz, Alte Galerie des Steiermärkischen
Landesmuseum Joanneum
Herri Met de Bles
Landscape with Mine Works
Oil paint on wood, 83 x 114 cm
Florence, Galleria degli Uffizi
Lucas van Valkenborg
Landscape with Mines
Oil paint on wood, 44,5 x 70 cm
Paris, Nederlands Intituut Fondation
Custodia, Institut néerlandais
Cornelis van Dalem and Jan van
Wechlen
Landscape with Bohemians
Oil paint on wood
Karlsruhe, Staatliche Kunsthalle
Hendrick Van Cleef
The Tower of Babel
Oil paint on copper, 42 x 55 cm
Paris, Nederlands Intituut Fondation Custodia
Lucas van Valckenborch
The Tower of Babel, 1595
Oil paint on wood, 42 x 68 cm
Koblenz, Mittelrhein-Museum (Germany)
Tobias Verhaecht
Landscape with the Tower of Babel
Oil paint on wood, 172 x 225 cm
Antwerp, Koninklijk Museum voor
Schone Kunsten Antwerpen
Loedewijk Toeput, also called
Pozzoserrato (?)
Landscape, C. 1580
Oil paint on canvas, 22 x 25 cm
Rome, Gallleria Borghese
Jan Breughel I
The Temptation of Saint Antoine
before 1594
Oil paint on copper, 21,2 x 30 cm
Kassel, Museumlandschaft Hessen
Joachim Patinir (follower of)
Fantastical Landscape with Saint
Christopher, C. 1550
Oil paint on wood, 23 x 25 cm
Rome, Galleria Borghese
Paolo Fiamingo
Agar to the desert
Oil paint on canvas, 81 x 118,5 cm
Brussels, private collection
Joos de Momper II
Allegory of Winter, beg. of the 17 th Cent.
oil paint on canvas, 52,5 x 39,6 cm
Paris, private collection
Joos de Momper II
Allegory of Spring, beg. of the 17 th Cent.
oil paint on canvas, 52,5 x 39,6 cm
Paris, private collection
Joos de Momper II
Allegory of Summer, beg. of the 17 th Cent
oil paint on canvas, 52,5 x 39,6 cm
Paris, private collection
Joos de Momper II
Allegory of Automn, beg. of the 17 th Cent
oil paint on canvas, 52,5 x 39,6 cm
Paris, private collection
Roelandt Savery
Landscape with a Crawfisherman
Oil paint on wood, 38,6 x 33,9 cm
Ghent, Museum voor Schone Kunsten
Jan Breughel I
Fire
Oil paint on wood, 46 x 83 cm,
Lyon, musée des Beaux-Arts
Jan Breughel I
Water
Oil paint on wood, 46 x 83 cm
Lyon, musée des Beaux-Arts
Jan Breughel I
Air
Oil paint on wood, 46 x 83 cm,
Lyon, musée des Beaux-Arts
Jan Breughel I
Earth
Oil paint on wood, 46 x 83 cm
Lyon, musée des Beaux-Arts
Tobias Verhaecht
The pilgrims of Emmaus and the hermitage
in a landscape, C.1610
Oil paint on canvas, 110 x 156 cm
Bruxelles, private collection
Tobias Verhaecht
Mountainous Landscape at the Hermitage
C. 1595
Oil paint on wood, 72 x 99 cm
Sermentizon, Château d’Aulteribe,
centre des monuments nationaux
26

PRESS RELEASE
BRUSSELS LILLE ARTLINE
Brussels Lille Artline, a dynamic new collaboration between Lille and the Brussels-Capital Region, is
the brainchild of the Palais des Beaux-Arts de Lille and three Brussels institutions – the BOZAR
Centre for Fine Arts, Flagey, and the Royal Museums of Fine Arts of Belgium. This unprecedented
collaborative project will be inaugurated in the autumn of 2012 with a major exhibition, Fables of the
Flemish Landscape: Bosch, Brueghel, Bles, Bril and the Music & Visual Festival, followed in
February 2013 by another exhibition: Antoine Watteau (1684–1721): The Music Lesson.
A year of scholarly cooperation and interrelated programming to coincide with the Fables of the
Flemish Landscape (6 October 2012 > 14 January 2013) and Babel (8 June 2012 > 14 January 2013)
exhibitions will get under way in September 2012 at the Palais des Beaux-Arts de Lille. The Fables
of the Flemish Landscape will highlight the extraordinary and fantastical character of those 16 th -
century landscapes, which still inspire fear and raise questions today.
The imagination will reign supreme at Flagey, in its Symbolist, magic-realist, and surrealist forms, in
the Flagey Music & Visual Festival from 18 October to 27 October 2012. A film co-produced by
Flagey and the Palais de Beaux-Arts de Lille and made by the video director Alexis Destoop in the
context of the Fables of the Flemish Landscape will be screened at a film-concert in Brussels (24
October) and Lille (25 October), accompanied live by the Belgian ensemble B'Rock; the event will
also feature the Asko/Schönberg Ensemble conducted by Reinbert de Leeuw, Debussy's Pelléas et
Mélisande with Oxalys, the Quatuor Danel, and more.
The Fables of the Flemish Landscape exhibition will also be echoed at the Royal Museums of Fine
Arts of Belgium in an itinerary, The Mannerist Landscape in the 16 th century (6 October 2012 > 14
January 2013): from Memling (15 th century) to Bruegel (16 th century), nine masterpieces will be
explored.
At the same time, this autumn the Brussels Centre for Fine Arts (BOZAR) will present an exhibition
entitled Constant Permeke: Retrospective (11 October 2012 > 20 January 2013). In the spring
BOZAR will showcase one of the greatest French artists of the 18 th century, Jean-Antoine Watteau
(8 February > 12 May 2013). The exhibition, under the guidance of William Christie, one of its cocurators
and an artist in residence this season, will convey the echoes between painting and music.
From the opening concert on 28 January, conducted by William Christie, to a finale on 23 May with
Rolf Lislevand, all the mystery that Watteau's works still exude today will resonate through a series of
eight concerts.
The Belgian and French publics will be invited to travel between the two countries, encouraged by
extensive, varied, and bold programming and special rates, as well as the cooperation of the tourist
bodies in Belgium (Toerisme Vlaanderen, Wallonie-Bruxelles Tourisme, and Visit Brussels) and
France (Comité régional du tourisme, Office de tourisme de Lille, and Nord Tourisme).
www.brusselslilleartline.com
www.pba-lille.fr www.bozar.be www.flagey.be
www.fine-arts-museum.be www.lilletourism.com www.toerismevlaanderen.be
www.bruxellespourtous.be www.visitbrussels.be www.tgv-europe.be
29