Collection Count + Care seeks relationships within and conversations across the collection. What stories does the collection tell? / Prise en compte, prise à cœur cherche à tisser des liens et des dialogues entre les œuvres de la collection. Quelles histoires la collection raconte-t-elle?
SPEAKER / PRÉSENTATRICE
Suzanne van de Meerendonk, Bader Curator of European Art
Works / Œuvres :
Rembrandt van Rijn, Head of an Old Man in a Cap / Tête de vieil homme au chapeau, around 1630 / vers 1630, oil on panel / huile sur panneau. Gift of Alfred and Isabel Bader, 2003 / Don d’Alfred et Isabel Bader, 2003
Erika DeFreitas, A Teleplasmic Study with Doilies (A Selection) / Étude téléplasmique avec des napperons (sélection), 2010–2011, digital photographs (3) / photographies numériques (3). Gift of Allyson Mitchell and Deirdre Logue, 2021 / Don d’Allyson Mitchell et Deirdre Logue, 2021
English Transcript: https://agnes.queensu.ca/site/uploads…
Queen’s Art Conservation Program would like to acknowledge the generosity of the Jarislowsky Foundation.
Music: “Thinking of Driving” by Kjartan Abel
Videography: Jay MiddaughCollection Count + Care seeks relationships within and conversations across the collection. What stories does the collection tell? / Prise en compte, prise à cœur cherche à tisser des liens et des dialogues entre les œuvres de la collection. Quelles histoires la collection raconte-t-elle? …
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>> This conversation is all about what
lies hidden underneath the surface.
Over the past year, a team of researchers from
Agnes and the Art Conservation Program
at Queen’s has been studying Rembrandt
van Rijn’s “Head of an Old Man in a Cap”.
This includes so-called scanning macro x-ray
fluorescence which measures the distribution
of specific elements throughout
the paint layers.
So if a certain paint contains copper
or lead or mercury, we can now see
or map where the paint has been applied even if
the paint layer lies below the painted surface.
So that is really helpful to shed new light
on the painting process and materials used.
During this study, an underlying earlier
composition by the artist was identified.
In the cobalt map seen here, for
instance, a bust in profile emerges.
And this makes sense because we know from
other examples that the young Rembrandt,
who was only around 24 years old when he painted this work, would frequently reuse panels.
His painting is paired here with recently acquired
work by Toronto-based artist Erika DeFreitas.
These three photos on display
form part of the larger series
that documents the artist performing with
her late grandmother’s handmade doily.
As she unites as it were, these creative processes
along a maternal lineage, the piece reflects
on loss and grief and breath leaving the body.
The fabric configurations that spill from the artist’s mouth
also recall the 19th century ectoplasm photographs of T.G. Hamilton,
who seeking to document the embodied interactions
between mediums and the spiritual world,
turned to photography which then of course was
at the forefront of imaging technology.
Brought together, Rembrandt’s and Defreitas’
work bring into focus an array of tensions
between study and portraits, the visible
and invisible and loss and creation.
[ Music ]
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