Giambattista Tiepolo, Study of a Female Head (recto) and Study of a Male Head (verso), c. 1730–31, white and black chalk on paper, 28.5cm x 21cm. Finnish National Gallery / Sinebrychoff Art Museum Photo: Finnish National Gallery / Jenni Nurminen

Editorial: Reuniting Tiepolos in 2020

Kirsi Eskelinen, PhD, Museum Director, Finnish National Gallery / Sinebrychoff Art Museum

 

1 October 2020

 

The COVID-19 pandemic and the closing of international borders has caused major problems for the collaboration of museums worldwide. However, this situation which we all are experiencing, whether we are in Finland or in London, has encouraged museums to find new ways to connect and to work together with colleagues. Museums are also willing to make compromises on their usual procedures, for example with loans to institutions abroad. In a way, I would say that the difficulties have strengthened the will to co-operate and make things happen. This has certainly been the case with the exhibition ‘Tiepolo – Venice in the North’, which opened at the Sinebrychoff Art Museum in September. All of our partner museums were dedicated to making sure the loans that had been agreed reached their destination and they were ready to work very hard to realise our common goal. In the end, the pandemic has also had positive effects – paradoxically this widespread isolation has at the same strengthened the international museum community.

Another aspect of museum work that has gained new attention is the importance and value of museum collections. It might seem a cliché to say that the collection is the heart of a museum. Now collections and the research relating to them have been rediscovered. At the Sinebrychoff Art Museum we have focused on the research work concerning the jewels of our collection during recent years. Conducting research on old masters is time-consuming and is of course based on collaboration with various specialists in the field. The aim of our research is to lead to an exhibition project, which allows us to show our own artworks in their proper and meaningful context. Our Lucas Cranach exhibition in the autumn 2019 was our first of this kind.

‘Tiepolo – Venice in the North’ began as a research project concerning the provenance of two paintings in our museum’s collection. The paintings, The Rape of the Sabine Women, by Giambattista Tiepolo and the Greeks Sacking Troy, by his son Giandomenico Tiepolo, are both oil sketches, which are preparations for full-scale paintings. The National Gallery in London also has two more oil sketches belonging to the same series of the Trojan Horse, namely the Building of the Trojan Horse and The Procession of the Trojan Horse into Troy. We know that these three oil sketches were still together in the early 19th century, when they were sold in St Petersburg. Now, for the first time in 200 years, the three paintings are reunited in Helsinki. This marks one of the major highlights of the show.

In addition to paintings, an important part of the oeuvres of Giambattista and Giandomenico Tiepolo are their drawings and etchings, and these are also well represented in the exhibition. The Sinebrychoff Art Museum has recently acquired a rare, double-sided drawing by Giambattista. The sketch, Study of a Female Head (recto) and Study of a Male Head (verso) is related to the lost frescoes of the Palazzo Archinto in Milan. Scholars are aware of only a few of Giambattista’s early works in chalk and therefore these studies form an important point of reference. Special mention must be also made of a rare loan from the National Library of Finland, an album containing the complete production of etchings by the family members, published by Giandomenico after the death of his father. This album is a uniquely well-preserved example of a first edition hitherto unknown to Tiepolo scholars.

The preliminary idea for the exhibition concept in 2015 was to bring the Trojan Horse series together. However, we soon realised that the Tiepolo small-scale paintings and oil sketches in other Nordic countries, and in Russia, should be included too. Many of the paintings have an important and early provenance related to the royal houses both in Sweden and Russia. Some of these paintings had arrived in these countries already during the lifetime of Giambattista. The exhibition and its accompanying catalogue focus on the story behind his far-reaching reputation and the diffusion of this art to the most northern parts of Europe. The show is the result of a longstanding collaboration between the Sinebrychoff Art Museum, international experts in the Tiepolo field and museum curators in St Petersburg, Stockholm, London and Venice.

Ira Westergård, the Chief Curator of the Sinebrychoff Art Museum, has served as the project manager for this ambitious initiative, which comprises research on the provenance of our two Tiepolo paintings and the exhibition project. In this issue we publish an interview with Ira Westergård, by Gill Crabbe. The article reveals the fascinating world of provenance research.

The Ateneum Art Museum and the Museum of Contemporary Art  Kiasma also share the same ambition and passion to promote the research concerning the Finnish National Gallery’s collection. Senior researcher Anu Utriainen presents Elga Sesemann (1922–2007) an artist who was virtually forgotten for many decades in post-war art history and only rediscovered quite recently. Elga Seseman – A Women Artist Rediscovered is a research project that will culminate in an exhibition at the Ateneum Art Museum in 2021. Meanwhile, in September the Museum of Contemporary Art Kiasma opened its exhibition on the sound artist and musician Mika Vainio (1966–2017). The three articles from the exhibition catalogue that we publish in this issue – by Kati Kivinen, Leevi Haapala and Rikke Lundgreen – delineate a portrait of this versatile sound artist and composer, who took part in many international group exhibitions, presenting his spatial sound installations.

This issue of FNG Research also includes a peer-reviewed article by Professor Juliet Simpson, who presents new research on the reception and Nachleben (afterlife) of the art of Lucas Cranach the Elder (1472–1553) during the 19th century and especially during the latter part of it. The paper is entitled ‘Lucas Cranach’s Legacies – “Primitive” and Rooted identities of Art and Nation at the European Fin de Siècle.’

Also in this issue the Finnish National Gallery announces its fifth Call for Research Interns.

With warm wishes for the coming season.

Featured image: Giambattista Tiepolo, Study of a Female Head (recto) and Study of a Male Head (verso), c. 1730–31, white and black chalk on paper, 28.5cm x 21cm. Finnish National Gallery / Sinebrychoff Art Museum
Photo: Finnish National Gallery / Jenni Nurminen