Exposition des primitifs flamands à Bruges

The Exposition des primitifs flamands à Bruges (Exhibition of Flemish Primitives at Bruges) was an art exhibition of paintings by the so-called Flemish Primitives (nowadays usually called Early Netherlandish painters) held in the Provinciaal Hof in Bruges between 15 June and 5 October 1902.

It was the largest exhibition of c 15th c Flemish art to date, consisted of 413 official catalogue entries, and drew some 35,000 visitors. The exposition was highly influential, leading to at least five contemporary books as well as numerous scholarly articles, and initiated deeper study of the Flemish Primitives by a new generation of connoisseurs. It also inspired Johan Huizinga to research and write his The Autumn of the Middle Ages. The change in attribution of many important works (in table below) reflects progress in understanding the era by art historians since then, although it is an ongoing process.

The 1902 exhibition was not the first to focus on the Flemish Primitives, although it was the first on this scale and to generate so much interest and scientific feedback. Among earlier exhibitions were the 1867 "Tableaux de l'ancienne école Néerlandaise" in Bruges, also directed by W. H. J. Weale; the 1892 "Exhibition of pictures by masters of the Netherlandish and allied schools of XV and early XVI centuries" at the Burlington Fine Arts Club, with 60 pictures; and the 1899 Netherlandish School exhibition at the New Gallery (London), with 165 works.

The 1902 exposition was originally intended for Brussels, but moved to Bruges after the city refused to lend the many works it held to the exhibition if it did not take place in Bruges. It was held in the Provincial Government Palace in Bruges from 15 June until 15 September 1902, but due to popular demand was extended until 5 October 1902.

The president of the exhibition was Baron Henri Kervyn de Lettenhove.

William Henry James Weale wrote the notes for the catalogue for the painting section. The often erroneous attributions were those of the owners, but the position of the paintings in the exhibition generally reflected the opinion of the organizers, including Weale and Georges Hulin de Loo (a professor at the University of Ghent), regarding their authorship. The illustrated catalogue of the section showing manuscripts, miniatures, archive texts, seals, mereaux, coins and medals was written by Baron Albert Van Zuylen Van Nyevelt. A third section, covering needlework, gobelins, and the like, was catalogued by Isabelle Errera.

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