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  • MuseoMag
  • MuseoMag 2022_01
  • Sommaire
  • Editorial
  • Fräischaffend Kënnschtler_innen zu Lëtzebuerg : Deemools an Haut : Eng Schlussfolgerung vun der Table ronde, déi den 30. September 2021 am MNHA stattfonnt huet
  • Darf man Probe liegen ? : Das MNHA erwirbt die Schaukelliege von Romain Urhausen (1930-2021)
  • Le dernier des Munchen : Portrait de Charles Munchen, fidèle donateur du musée
  • New faces among old masters: A more thematic arrangement of subjects and genres on the 3rd floor
  • Eine verblassende Erinnerung ? Ein Blick auf "Luxemburgs koloniale Vergangenheit"
  • Dématérialisation de problèmes matériels : Quoi de plus analogue dans un musée qu'un service de restauration ? Le traitement des oeuvres restera toujours une question de dextérité
  • Trois petits tours et puis s'en vont : Les deux grands formats de Joseph Kutter quittent la salle d'exposition baptisée au nom de l'artiste après vingt ans d'accrochage
  • Eng nei Erfarung fir jiddereen : "Osez le geste" : E Workshop mam Lëtzebuerger Artist Robert Brandy
  • Bon à savoir

Full text

14 museomag   01 ‘ 2022 
Recently the permanent presentation of the MNHA’s in- 
ternational collection of old masters was renewed. On 
the third floor, more than half of all the exhibition rooms 
were repainted and refurbished, while the selection 
and arrangement of the works was also changed. In- 
stead of an organization focused primarily on a division 
between European schools of painting, a choice was 
made to concentrate more on subject matter and spe- 
cific genres, filling the respective exhibition rooms with 
landscapes, still life paintings, portraits, and religious 
scenes. In part, this was born out of strategic choices 
made over the past year and a half in the acquisition 
policy for old masters, aimed at improving two specific 
areas that we considered weak or under-represented in 
our collection: European (specifically French) paintings 
from the period 1700-1825, and the genre of portrai- 
ture in general. Thanks to some long-term loans from a 
private collection and a handful of strategic purchases, 
we managed to bring no less than fifteen high-quality 
paintings to the museum in a relatively short period of 
time. Among other things, the museum can now offer 
its visitors a beautiful room with portraits (including 
nine recent acquisitions) in the new presentation. One 
particular example is highlighted here. 
A NEW FACE FROM NUREMBERG 
Among the earliest portraits in the new presentation, 
is the physically imposing and psychologically pene- 
trating effigy of the Nuremberg lawyer Valentin Kötzler, 
painted in 1564 by Nicolas Neufchâtel (1527-1590). 
Kötzler is presented in a highly restrained and digni- 
fied manner, befitting of his position, wearing the 
legal robes and cap of his profession. Neufchâtel has 
portrayed the sitter’s likeness with considerable skill, 
The museum can now offer its visitors a beautiful room with portraits (including nine recent acquisitions) in the new presentation. 
NEW FACES AMONG OLD MASTERS 
A MORE THEMATIC ARRANGEMENT OF SUBJECTS AND GENRES ON THE 
3rd 
FLOOR 
© 
éric chenal
	        

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