The Art Newspaper Russia: "Project by SCI in Omsk is combination of theory and practice"

The Art Newspaper Russia: "Project by SCI in Omsk is combination of theory and practice"

Thu, 2015-05-21

The original article on the website of The Art Newspaper Russia can be found here: http://www.theartnewspaper.ru/posts/1671/

Below is the English translation.



by Dmitri Bavilski 

The joint project of Russian regional museums and the Dutch Foundation for Cultural Inventory (SCI) based in the Omsk Regional Museum of Fine Arts will last until 2017.


The Foundation for Cultural Inventory (SCI), founded in the Netherlands in 1997, is aimed at studying, cataloguing and taking inventory of previously unknown works by Dutch and Flemish art outside the United States and Europe. Lia Gorter, Director of SCI, recalls that the long-term inventory of objects of the two national art schools that sputtered on various countries, started after she one day received a fax from the National Museum of Cuba. The local art experts sent a preliminary attribution of eight Flemish and Dutch paintings. It turned out that the Cuban museum houses 175 Dutch works that were not documented in any registry. Thus began the painstaking work of documenting art cultural objects of the once mighty empire.


Much of the work associated with the activities of SCI is documenting the Russian regional collections. Large collections of the State - State Museum of Fine Arts. Pushkin and the State Hermitage – are described and documented in great volumes, whereas in almost each of the regional galleries are undocumented paintings, sculptures and other objects from Dutch or Flemish origin. And while the Dutch are not faced with the real life of Russian museums, the main task of SCI is to work hand in hand with the Cultural Heritage Agency of the Netherlands (RCE) and restoration company in Limburg (SRAL), and the creation of a common information database about all the monuments and artefacts of national Schools that are stored, for example, in Russia. Such information is indispensable for the study of the life and work of artists who are known far less than a Rubens or a Rembrandt. And for the attribution of newly discovered paintings. And when putting together a large exhibition, rarely used masterpieces are never superfluous.



By describing the Dutch and Flemish art, scattered in the collections of the Urals and Siberia, Dutch experts quickly realized that colleagues need help - not only with information, but also through scientific seminar (in June in Omsk is scheduled the third scientific-practical a workshop for research and restoration of works of Dutch and Flemish paintings XVII-XIX centuries). One of the first lectures was from the book of the second conference, recently published by the M. A. Vrubel Omsk Regional Museum of Fine Arts, discussed the influence of climate on wooden artwork (Bart Ankersmit of RCE), the other was about the influence of light and all kinds of radiation on museum collections (René Hoppenbrouwers of SRAL), the third - how to properly build a restoration table for a wooden based painting (Kate Seymour of SRAL). Theory and practice go hand in hand.


First, experts SCI studied and described the collection of central Russia, and only then moved to the Ural and Siberia. In their first trips, Dutch art historians and restorers visited in just one month 40 museums, revealing interesting art in Yekaterinburg, Vladivostok, Irkutsk, Novosibirsk, Tomsk, Tyumen and Chelyabinsk. One of the most representative in the Russian Urals collections of Dutch and Flemish art was in Omsk, which has become the centre of this international program. Now the staff of the Omsk Regional Museum are participating in international exhibitions, study the experience of colleagues in Europe, hold meetings and seminars. And perhaps most importantly – they are preparing to open an interregional restoration atelier, which the provincial museums need about as much as competent, sane management.


Source: 20 March 2015, http://www.theartnewspaper.ru/posts/1671/