RKD STUDIES

The Eternal Studio. Artists from the Low Countries in Nineteenth‐Century Italy

• Preface
• Introduction

1. The Movable Ladder in the Vatican. Joseph-Charles De Meulemeester, the Lessons and the Artistic Network around Joseph-Benoît Suvée

• 1.1 Introduction
• 1.2 Joseph-Charles De Meulemeester and the loggia of the Vatican
• 1.3 The movable ladder
• 1.4 Drawings and prints of the loggia by Joseph-Charles De Meulemeester
• 1.5 Lithograph by Pieter Jan De Vlamynck after the portrait of De Meulemeester
• 1.6 Joseph-François Ducq: portraitist of Joseph-Charles De Meulemeester
• 1.7 Conclusion
• Bibliography

2. In the Shade of Rome: the Imprint of Neoclassicism on Belgian Sculpture, 1820–1850

• 2.1 Introduction
• 2.2 The ‘Belgians’ in Rome
• 2.3 Cleomenes’ disciples
• 2.4 Art without authors
• 2.5 Conclusion
• Bibliography

3. Beyond handshakes: The impact of François-Joseph Navez on his pupils in Rome

• 3.1 Introduction
• 3.2 Navez and his pupils
• 3.3 Hit the road
• 3.4 At last, Rome
• 3.5 Mastering the social circles
• 3.6 Balancing act: Rome and Brussels
• 3.7 Concluding remarks
• Bibliography

4. Beyond the national circle? Alexandre Robert, Jean Portaels and their network in Rome in the 1840s

• 4.1 Introduction
• 4.2 The Belgian circle
• 4.3 Beyond the national circle
• 4.4 Cosmopolitan Rome
• 4.5 How networks can help to make a living as an artist in Rome
• 4.6 Conclusion
• Bibliography

5. ‘Italianised, but Dutch through and through’. Jan Hendrik Koelman in Rome, 1840-1887

• 5.1 Introduction
• 5.2 Estrangement
• 5.3 International artists’ bubble
• 5.4 Artistic quest
• 5.5 Allegiances
• 5.6 Friendship, respect, prestige
• 5.7 A marriage of art
• 5.8 Bandit brothers
• 5.9 New diplomatic discomfort
• 5.10 The later years
• 5.11 Rome as an antidote
• 5.12 Conclusion
• Bibliography

6. La grande fotografia! Laurens Lodewijk Kleyn and the Roman School of Photography

• 6.1 Introduction
• 6.2 Laurens Lodewijk Kleyn's youth and training
• 6.3 In Rome
• 6.4 Royal Patron in Rome
• 6.5 The Roman School of Photography
• 6.6 Kleyn’s photographic oeuvre
• 6.7 Conclusion
• Bibliography

7. A salon d’art idéaliste in Italy? Belgian Symbolist Painters at the 1906 Milan International Exhibition

• 7.1 Introduction
• 7.2 Belgian artists and Italy, a brief state of the art
• 7.3 Artistic Correspondents
• 7.4 Belgian presences at the 1906 International Exhibition in Milan
• 7.5 Milan as ‘Idealist Sancta-sanctorum’
• 7.6 Idealist painting for a national cause
• 7.7 Conclusions
• Bibliography

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