Donnerstag, 06.10.2022 23:01 Uhr

Rijksmuseum Presents Exhibition on Rhinoceros Clara

Verantwortlicher Autor: PAOLA TESTONI AMSTERDAM, 22.07.2022, 10:45 Uhr
Presse-Ressort von: Paola Testoni de Beaufort Bericht 5237x gelesen
Venetian Painter, Il rinoceronte, 1751
Venetian Painter, Il rinoceronte, 1751  Bild: Rijksmuseum Amsterdam

AMSTERDAM [ENA] Clara was strange and new, huge and awe-inspiring – she was utterly unlike any other known animal. From 30 September 2022, the Rijksmuseum presents Clara the Rhinoceros, an exhibition about an animal who travelled far from her native land of India and became the most famous rhinoceros in the world.

The exhibition shows how new knowledge changed perceptions of the rhinoceros, and how art played its part in this process. The 60 objects on display include paintings, drawings, medals, statues, books, clocks and a goblet. Very few of these artworks have been displayed before in the Netherlands, and never before have so many exceptional objects devoted to Clara the rhinoceros being presented together. They range from the first-ever European print depicting a rhinoceros – made in 1515 by Albrecht Dürer – to a life-size, full-length portrait of Clara by Jean-Baptiste Oudry dating from 1749.

Clara the Rhinoceros runs from 30 September 2022 to 15 January 2023 in the Phillips Wing of the Rijksmuseum. The exhibition has been made possible by a private donor through the Rijksmuseum Fund. Clara the celebrity Clara may not have been the first rhinoceros to come to Europe, but she did become the most famous one. After her long voyage from India, in 1741 she arrived in Amsterdam. Her owner Douwe Mout van der Meer was soon showing her to anyone who would pay for the pleasure, whether at fairs, markets, carnivals or royal courts. For the next 17 years she travelled around Europe in a custom-made cart, accompanied by her entourage. She travelled far and wide: to Vienna and Paris, and to Naples and Copenhagen. Upon her return to

the Netherlands, she lived in a field in the North district of Amsterdam. Eventually, Clara died in London in 1758. People touched, teased, admired and studied Clara. She prompted this sensational level of interest because no one in Europe had ever been able to see a real live rhinoceros. She was a hyped up, must-see cultural phenomenon, and Mout used print advertising and medals to pump that hype to the max. Until Clara’s arrival, all that people knew of her species was from a print made in 1515 by the renowned artist Albrecht Dürer. He based his drawing on a sketch of a rhinoceros that was

briefly in Lisbon. However, the sketch wasn’t entirely accurate: it depicted the rhinoceros with an extra horn on its back, for example, and skin that resembled a suit of armour. Clara’s appearance on the scene changed all this and led to a better understanding of the rhinoceros and to more accurate portrayals. Scholars studied her in minute detail, from head to tail, and artists became fascinated by every fold of her skin. A remarkable number of likenesses were made of Clara, in many forms and using many different materials.

This exhibition presents an outstanding selection of these objects, including an impressive life-size portrait painted in Paris by Jean-Baptiste Oudry in 1749 (on loan from Staatliches Museum Schwerin), a painting by Pietro Longhi showing Clara standing in front of her audience in Venice (from Ca’ Rezzonico, Venice), a large marble statue by the Flemish artist Pieter Anton Verschaffelt from the Rothschild collection at Waddesdon Manor, and an exceptionally rare clock mounted on a Clara figure, from a private Dutch collection made by the Parisian bronzier and clockmaker Jean-Joseph de Saint-Germain.

People’s role in Clara’s story Clara was almost never free to walk, run or swim. She depended on humans for her survival, and was rarely able to display natural behaviours – except for example the occasions when she needed to cross a river by swimming, and clearly enjoyed the water. In 1750 the Neurenberg biographer Christoph Gottlieb Richter published a conversation between a rhinoceros and a grasshopper, in which the rhinoceros bemoans the way people treat her and stare at her. This book presents a role-reversal, with the rhinoceros appraising and studying people rather than the other way around. And in her 2016 installation Clara, the contemporary artist Rossella Biscotti uses the rhinoceros’s story to interrogate the relationship

between humans and animals. The installation, which is also part of the exhibition, shows that Clara’s story is also about colonialism, exoticism and globalisation, as well as exploitation and power. Exhibition design The exhibition design for Clara the Rhinoceros and Crawly Creatures is by stage designer Theun Mosk | Ruimtetijd. Graphic design for the exhibition is by Irma Boom. Tickets Tickets will be available from late August 2022 from the Rijksmuseum website. Visitors are required to book a start time for their visit.

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