Adam Eaker | |
---|---|
Born | 1984 (age 39–40) |
Nationality | American |
Alma mater | Yale University, Columbia University |
Occupation(s) | curator, art historian |
Adam Eaker is an American art historian and curator currently serving as an Associate Curator in the Department of European Paintings at The Metropolitan Museum of Art in New York City. [1] [2] He received his Ph.D. from Columbia University in 2016, with a specialization in British painting, and particularly the work of Anthony van Dyck produced in England. [3] He is considered an authority on the work of the painter. [4] He was supervised for his dissertation by David Freedberg.
Eaker is an adjunct associate lecturer of art history at Barnard College. [5] His curatorial work has significantly impacted the presentation and understanding of Northern European, and specifically English art, in North America. [6] [7]
Earlier in his career, Eaker was a fellow at the Rubenianum Research Institute for Flemish Art in Antwerp. [8] While at the Frick he curated an exhibition organized around the six paintings by Van Dyck in the museum's collection. [9]
Eaker joined The Metropolitan Museum after serving as an Anne L. Poulet Curatorial Fellow and guest curator at the Frick Collection. [10] Since starting at The Metropolitan Museum, he has continued to focus on the study and presentation of European painting through research, exhibition planning, and managing the Dutch and Flemish art during gallery renovations, enhancing the museum's collection. [11]
The Metropolitan Museum has acquired several notable artworks guided by Eaker's curatorial work, including a painting by Francesco Renaldi of an eighteenth-century Mughal woman that was previously in a private collection. [12] The work was acquired from Sotheby's of London. [13]
In addition to his curatorial work, Eaker has contributed to various art history anthologies and exhibition catalogs, offering new insights into the interpretation of seventeenth-century Flemish and English paintings. [14] His lectures and presentations at academic conferences, have also played a key role in advancing the scholarly discourse surrounding Northern European painting. [15] [16]
Since July 2023, Eaker has been affiliated with the Journal of Historians of Netherlandish Art as the seventeenth-century Flemish area editor for the journal's reviews section. [17]
Eaker has organized and curated several notable exhibitions, also authoring their publications, including:
Sir Anthony van Dyck was a Flemish Baroque artist who became the leading court painter in England after success in the Spanish Netherlands and Italy.
Early Netherlandish painting is the body of work by artists active in the Burgundian and Habsburg Netherlands during the 15th- and 16th-century Northern Renaissance period, once known as the Flemish Primitives. It flourished especially in the cities of Bruges, Ghent, Mechelen, Leuven, Tournai and Brussels, all in present-day Belgium. The period begins approximately with Robert Campin and Jan van Eyck in the 1420s and lasts at least until the death of Gerard David in 1523, although many scholars extend it to the start of the Dutch Revolt in 1566 or 1568–Max J. Friedländer's acclaimed surveys run through Pieter Bruegel the Elder. Early Netherlandish painting coincides with the Early and High Italian Renaissance, but the early period is seen as an independent artistic evolution, separate from the Renaissance humanism that characterised developments in Italy. Beginning in the 1490s, as increasing numbers of Netherlandish and other Northern painters traveled to Italy, Renaissance ideals and painting styles were incorporated into northern painting. As a result, Early Netherlandish painters are often categorised as belonging to both the Northern Renaissance and the Late or International Gothic.
Petrus Christus was an Early Netherlandish painter active in Bruges from 1444, where, along with Hans Memling, he became the leading painter after the death of Jan van Eyck. He was influenced by van Eyck and Rogier van der Weyden and is noted for his innovations with linear perspective and a meticulous technique which seems derived from miniatures and manuscript illumination. Today, some 30 works are confidently attributed to him. The best known include the Portrait of a Carthusian (1446) and Portrait of a Young Girl ; both are highly innovative in the presentation of the figure against detailed, rather than flat, backgrounds.
Cornelius Johnson or Cornelis Janssens van Ceulen was an English painter of portraits of Dutch or Flemish parentage. He was active in England, from at least 1618 to 1643, when he moved to Middelburg in the Netherlands to escape the English Civil War. Between 1646 and 1652 he lived in Amsterdam, before settling in Utrecht, where he died.
Netherlandish Proverbs is a 1559 oil-on-oak-panel painting by Pieter Bruegel the Elder that depicts a scene in which humans and, to a lesser extent, animals and objects, offer literal illustrations of Dutch-language proverbs and idioms.
Flemish Baroque painting was a style of painting in the Southern Netherlands during Spanish control in the 16th and 17th centuries. The period roughly begins when the Dutch Republic was split from the Habsburg Spain regions to the south with the Spanish recapturing of Antwerp in 1585 and goes until about 1700, when Spanish Habsburg authority ended with the death of King Charles II. Antwerp, home to the prominent artists Peter Paul Rubens, Anthony van Dyck, and Jacob Jordaens, was the artistic nexus, while other notable cities include Brussels and Ghent.
Pieter Thijs, Peter Thijs or Pieter Thys was a Flemish painter of portraits as well as religious and history paintings. He was a very successful artist who worked for the courts in Brussels and The Hague as well as for many religious institutions. His work was close to the courtly and elegant style of Anthony van Dyck and his followers.
Adam de Coster was a Flemish painter. He was a prominent member of the Antwerp Caravaggisti. These Caravaggisti were part of an international movement of European artists who interpreted the work of Caravaggio and the followers of Caravaggio in a personal manner. He is mainly known for his genre scenes with strong chiaroscuro effects. He was called a Pictor Noctium because of his preference for tenebrist scenes.
Ian Lorne Campbell is a Scottish art historian and curator. Campbell was Beaumont Senior Research Curator at the National Gallery, London from 1996 to 2012, and from 1974 to 1996 lectured on the Northern Renaissance at the Courtauld Institute of Art, University of London. He has curated major exhibitions at the National Gallery and other museums, including ones on Rogier van der Weyden at Leuven in 2009 and the Prado in 2015.
Till-Holger Borchert is a German art historian and writer specialising in 14th and 15th-century art. He has been the chief curator of the Groeningemuseum and Arentshuis museums in Bruges, Belgium, between 2003 and 2014. In December 2014, he was appointed as director of the Municipal Museums in Bruges. In this role he initiated a radical reorganisation of the institution and laid the foundation for the renewal of infrastructure like the ticketing facility of the Gruuthusemuseum, a new storage, and the exhibition park BRUSK designed by architect Paul Robbrecht. In November 2021 he was appointed as new director of the Suermondt Ludwig Museum in Aachen, a position he resumed in April 2022.
Sir Christopher John White CVO FBA is a British art historian and curator. He is the son of the artist and art administrator Gabriel White. He has specialized in the study of Rembrandt and Dutch Golden Age painting and printmaking.
Walter Arthur Liedtke, Jr. was an American art historian, writer and Curator of Dutch and Flemish Paintings at the Metropolitan Museum of Art. He was known as one of the world's leading scholars of Dutch and Flemish paintings. He died in the 2015 Metro-North Valhalla train crash.
Karen Hearn is a British art historian and curator. She has Master's degrees from the University of Cambridge and the University of London. She is an Honorary Professor in the Department of English Language and Literature at the University College London. From 1992 to 2012 Hearn was the Curator of 16th & 17th Century British Art at the Tate where she curated major exhibitions on Tudor and Jacobean paintings, Anthony van Dyck, and Rubens. She was co-curator of Royalist Refugees at The Rubenshuis in Antwerp. She has also curated recent exhibitions at The National Portrait Gallery in London, The Harley Gallery, and The Foundling Museum. She was elected as a Fellow of the Society of Antiquaries of London on 1 January 2005.
Xavier F. Salomon is a British art historian, critic, curator, and museum director. He is currently the Deputy Director and Peter Jay Sharp Chief Curator at the Frick Collection in New York.
Marrigje Rikken is a Dutch art historian, curator, and museum director, specializing in sixteenth- and seventeenth-century Netherlandish art.
Quentin Buvelot is a Dutch art historian. He works as the chief curator at the Mauritshuis in The Hague, and is regarded as a specialist in the painting of the Dutch Golden Age.
Angela Jager is a Dutch art historian and curator, known for her research and contributions to the fields of Dutch Golden Age painting and Flemish painting. She is Curator of Dutch and Flemish Old Master Painting at the RKD – Netherlands Institute for Art History, in The Hague.
Lara Yeager-Crasselt is an American art historian and curator of seventeenth-century Dutch and Flemish art. She studied art history Vassar College and the University of Maryland, where she received her PhD.
Betsy Wieseman is an American curator and art historian specialized in the art of seventeenth-century Northern Europe. She is the Curator and Head of the Department of Northern European Paintings at the National Gallery of Art in Washington, D.C. Prior to joining the National Gallery of Art, she held curatorial positions at the Cleveland Museum of Art and the National Gallery in London.
Stijn Alsteens is a Belgian art historian and curator, known for his expertise in Dutch and Flemish Old Master drawings. He currently serves as the director of the Fondation Custodia in Paris, overseeing the Frits Lugt Collection.