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Winy Maas studied garden and landscape design at the High School of Boskoop and architecture at the Technical University Delft. In 1993 he founded, together with Jacob van Rijs and Nathalie de Vries, the architect collective MVRDV, which, over the years, has produced countless high profile buildings, both in the Netherlands and in many other places throughout the world. General information can be found on the agency’s website. For the enthusiast there is a wide range of publications on paper.
Bregje says ‘piss pot’, but in the archives of the museum, this object - registered under number F 325 (KN&V) - is described as a ‘chamber pot’. The po was made between 1625 and 1675 by an anonymous potter in Oosterhout, probably in the same pottery as the milk jug featured in ‘The Milkmaid’ by Johannes Vermeer. The po was donated to the museum in 1991 by Mr and Mrs Van Beuning-De Vriese. There is no record of where it was found.
The panel the restorer is working on is called ‘Girl at the window’. The Rotterdam painter Hendrik Maertensz Sorgh (not Herman, as Bregje calls him accidentally) made it in 1659.
The actual date of Sorgh’s birth is unknown – perhaps 1609, but it could also have been 1611 – but he was buried on 28 June 1670. In the intervening years, he not only painted but also held various public functions. Sorgh was market shipper from Rotterdam to Dordrecht (just like his father), bread weigher, fire man and head of the St. Lucas Guild. He lived on the exclusive Steiger in Rotterdam, where his wife ran a shop in linen articles.
It is not clear with whom Hendrik Sorgh studied painting. Possibly he worked for one or two years with Buytewech or with the Antwerp painter Herman Saftleven, together with his sons Cornelis and Herman Jr. From the start, Sorgh was interested in painting peasant interiors, with displays of pots, pans and food. From 1650, he concentrated for a while on the ‘market’. Museum Boijmans has a painting of a vegetable market with wonderful displays of fruit and vegetables on a market square edged with houses. The last 10-15 years of his life, he concentrated on small paintings with a single figure plus a utensil. ‘Girl at the window’ is an example of his late work.
Since the nineteen-eighties, research has taken place in Museum Boijmans Van Beuningen into the relationship between pre-industrial utensils and the illustrations of them on paintings, prints and drawings. All under the title: ALMA. The initiative for this interdisciplinary study and documentary system was curator Alma Ruempol (1939-1992) and the Collection Van Beuningen-de Vriese formed the basis. This is a private collection of European utensils (twelfth to nineteen century), which was initially loaned to the museum and in 1991 was donated to the City of Rotterdam. The link between illustration and object provides valuable information about the material object and at the same time it can throw new light on a painting or print.
Gwendolyn Boevé-Jones is the owner and director of Redivivus, a restoration studio in The Hague. She works as the main conservator and heads a team of conservators, guest conservators and a photographer. Gwendolyn graduated as a painting conservator and art historian at the Institute of Fine Arts of the New York University. She was awarded a postgraduate fellowship to further her studies at the Van Gogh Museum in the Netherlands and went on to work for the Rijksmuseum Amsterdam. Since 1999 she has worked as an independent painting conservator. Besides restoring, Gwendolyn tutors students of the University of Amsterdam/de Stichting Restauratieatelier Limburg on an ongoing basis. She also provides lectures and exhibits all over the world on issues concerning conservation and restoration. Gwendolyn also contributed to Boijmans TV 2010, episode 8.
Whoever would want to store their valuable possessions in a leaking cellar? Museum Boijmans Van Beuningen’s underground depositary has not been up to standard for years. That is why a new depositary is being built next to the museum; the spectacular building, designed by architect agency MVRDV will be completely above ground. And because the art collection that will be stored there actually belongs to you, the new depositary will also be open to the public.
In this extra episode of Boijmans TV, tour-guide Bregje entertains a group of clairvoyants. They have received signals that work is already under way on the new building and use their gifts to inform Bregje about the future. Yet again, Bregje proves an invaluable source of information on the objects from the past, which will - in the future - find their place there. As the group scouts the location of the new depositary, cashier Mandy looks for Arie. Where on earth has he gone? Mandy goes through the hole of Cattelan and meets an artist. It is Winy Maas, alphabetically the first letter of the well-known Rotterdam architect collective MVRDV. He explains how the mirrored pot that he designed as depositary actually makes the Museum Park larger rather than smaller. But there has to be opposition. And so there is the brave protester who gives his days, his health and perhaps even his life for the good cause. Action!
Cast: Hannah van Lunteren, Jacqueline Blom, Martin van Waardenberg, Gwendolyn Boevé-Jones
Guest: Winy Maas
Editorial: Sjarel Ex, Els Hoek, Catrien Schreuder, Cees van der Wel
Production: Dragan Bakema, Gino Ragueb
Camera: Sef Kroonenberg, Ruben van den Broeke
Sound: David Spaans
Editing: Sander Burger
Leader design: Luis Zertuche
Music: Mike Redman
Sound post-processing: KLEVR Sounddesign
Make-up: Suzanne Pelgrim
Costumes: Wendela van Dijk
Image post-processing: Laurent Fluttert
Thanks to: The clairvoyants and all employees of Museum Boijmans Van Beuningen
Produced by Popovfilm commissioned by RTV Rijnmond