MuseoMag: MuseoMag 2022_02

MuseoMag 2022_02

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Title:: MuseoMag

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Title:: MuseoMag 2022_02

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Title:: Reunited after 150 years: Adriaen and Maria van Leyden, husband and wife, find each other again at the MNHA

11 02 ‘ 2022 museomag question were painted on panel. The discovery of the identity of the painter and the proposed man was of course shared with the London art gallery where we bought the painting (but only after the sale of the work as an anonymous portrait with an uncertain attribution to Nicolas Neufchâtel had been concluded, as we work with public funds). ORIGINALLY THREE PLANKS The discovery of the female portrait led to a search that ended in Amsterdam, where Adriaen’s wife, Maria van Loo, had found a home in a private collec- tion. Of the wooden panel on which the portrait was painted, (which like Adriaen’s originally consisted of three planks), only the middle section survived unfor- tunately. The two outer panels were probably removed between 1938 and 1961, possibly because they were damaged or tarnished. Luckily, the most beautiful part was preserved and still shows, even in its incomplete form, the elegant appearance in Spanish court dress at Adriaen’s side. The owner knew his lady as «Louise van Leyden», which was not far from the truth. He was kind enough to lend the portrait to the museum and already declared his willingness to cooperate in the eventual sale of the painting to the museum. Now that the portraits hang side by side again, it is easy to see that the composition, colour scheme, pose and clothing in both works are attuned to one another and can best be understood in combination. The background of both works is the same, Adriaen’s fur collar and Maria’s fur arm pieces correspond, and then of course there is the play of hands and gloves. While Adriaen’s one hand is holding a glove and Maria’s a so-called pomander, their other hands make a subtle connection. They communicate with each other. Where Maria’s right hand makes an apparent movement outwards with the glove, it is noticeable that Adriaen’s left hand is open and in- clined forward, as if he wants to take on the glove of his wife in the other painting. It took a while be- fore this could be observed again. From the prove- nance research I did, it became clear that both works were last in the same collection in 1872, at a private residence on the distinguished street Het Rapenburg in Leiden. Now, just in time for Valentine’s Day, Adriaen and Maria were reunited on 14th February last, after 150 years. Anyone who wants to can come and greet the couple at the museum again. We look forward to your visit with them. Ruud Priem FINE ARTS

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