架构师提供的文本描述。博伊曼斯·范伯宁根博物馆和马德里普拉多国家博物馆都有彼得·保罗·鲁本斯(Siegen 1577-Antwerp 1640年)独特的油画素描收藏。多年来，他们都希望把收藏中最好的作品汇集在一起，并以其他博物馆的杰作作为补充，创造一个前所未有的概览。鲁本斯是石油素描的大师。他是第一位通过在画板上画草图来准备大量重要作品的艺术家。虽然鲁本斯的大型作品有时被描述为黑客作品，部分原因在于助手们经常做出的贡献，而大师本人的杰出、精湛、几乎印象主义的触觉却总是出现在他的油画素描中。

Text description provided by the architects. Museum Boijmans Van Beuningen and the Museo Nacional del Prado in Madrid both have unique collections of oil sketches by Peter Paul Rubens (Siegen 1577-Antwerp 1640). For years they have shared a wish to bring together the finest works from their collections and complement them with masterpieces from other museums to create an unprecedented overview. Rubens was the master of the oil sketch. He was the first artist to prepare a great many of his important compositions by painting sketches on panel. Whereas Rubens’s large works are sometimes described as hackwork, in part because of the contributions often made by assistants, the brilliant, virtuoso – almost impressionistic – touch of the master himself is always present in his oil sketches.

Text description provided by the architects. Museum Boijmans Van Beuningen and the Museo Nacional del Prado in Madrid both have unique collections of oil sketches by Peter Paul Rubens (Siegen 1577-Antwerp 1640). For years they have shared a wish to bring together the finest works from their collections and complement them with masterpieces from other museums to create an unprecedented overview. Rubens was the master of the oil sketch. He was the first artist to prepare a great many of his important compositions by painting sketches on panel. Whereas Rubens’s large works are sometimes described as hackwork, in part because of the contributions often made by assistants, the brilliant, virtuoso – almost impressionistic – touch of the master himself is always present in his oil sketches.

 © Kim Zwarts

(C)Kim Zwarts

鲁本斯为准备他的作品而制作的油品草图相对较小。鲁本斯自己画了所有这些素描，他们比他们所用的大作品要小得多。当草图被放置在大型绘画的基础上时，大的作品不可避免地会引起更多的关注。这次展览的目的是把重点放在油画素描上。利用透视和定位等空间手段，我们试图扭转Bodon翼的层次结构，将草图放在前景中。1600年鲁本斯去了意大利，1604年去了热那亚。他深受那里宫殿之美的影响，于1622年出版了一本两卷书，书名为“热那瓦宫”(Palazzi Di Genova)。这是他唯一纯粹的建筑专著。正是这些计划的语言启发了展览的布局。

The oil sketches on panel Rubens made in preparation for his works are relatively small. Rubens painted all these sketches himself, and they are considerably smaller than the large works for which they were used. When the sketches are placed in proximity to the large paintings based on them, the large works inevitably command the most attention. The aim of this exhibition was to focus on the oil sketches. Using such spatial means as perspective and orientation, we have tried to reverse the hierarchy in the Bodon Wing and place the sketches in the foreground. Rubens went to Italy in 1600 and visited Genoa in 1604. He was so affected by the beauty of the palaces there that he published a two-volume book entitled ‘Palazzi di Genova’ in 1622. This is his only purely architectural treatise.  It is the language of these plans that inspired the layout of the exhibition.

The oil sketches on panel Rubens made in preparation for his works are relatively small. Rubens painted all these sketches himself, and they are considerably smaller than the large works for which they were used. When the sketches are placed in proximity to the large paintings based on them, the large works inevitably command the most attention. The aim of this exhibition was to focus on the oil sketches. Using such spatial means as perspective and orientation, we have tried to reverse the hierarchy in the Bodon Wing and place the sketches in the foreground. Rubens went to Italy in 1600 and visited Genoa in 1604. He was so affected by the beauty of the palaces there that he published a two-volume book entitled ‘Palazzi di Genova’ in 1622. This is his only purely architectural treatise.  It is the language of these plans that inspired the layout of the exhibition.

 © Kim Zwarts

(C)Kim Zwarts

1971年，亚历山大·博登(Alexander Bodon)被允许在博伊曼斯·范博宁根博物馆(Museum Boijmansvan Beuningen)增加一个延伸-由阿德·范德斯泰尔(Ad Van Der Steur)设计。我们以古典历史和现代故事为起点，把它们交织在一起。

Boijmans van Beuningen In 1971 Alexander Bodon was allowed to add an extension to Museum Boijmans van Beuningen – designed by Ad van der Steur.  We took classical history and the modern story as the starting points.  We wanted to interweave them.

Boijmans van Beuningen In 1971 Alexander Bodon was allowed to add an extension to Museum Boijmans van Beuningen – designed by Ad van der Steur.  We took classical history and the modern story as the starting points.  We wanted to interweave them.

 © Kim Zwarts

(C)Kim Zwarts

 © Kim Zwarts

(C)Kim Zwarts

故事Ard de Vries建筑试图构建的故事，策展人弗里索·拉默茨讲述了鲁本斯的故事。从入口你走过一个封闭的走廊，这创造了距离，只允许你看到阿喀琉斯发现的女儿之间的莱科梅德斯。你进入前奏曲：一个正方形的空间，头顶上有一个圆形的灯光。在右边，你可以看到完成的作品来自于阿喀琉斯的油品素描，它来自普拉多。在左边，你可以看到展览中心的三个入口。

Story Ard de Vries Architecten tried to construct the story that curator Friso Lammertse told about Rubens. From the entrance you walk through a closed corridor, which creates distance and only allows you a view of Achilles Discovered among the Daughters of Lycomedes. You come into the prelude: a square space with a round light overhead. On the right you see the finished work derived from the oil sketch of the unmasking of Achilles, which comes from the Prado. On the left you see three entrances to the heart of the exhibition.

Story Ard de Vries Architecten tried to construct the story that curator Friso Lammertse told about Rubens. From the entrance you walk through a closed corridor, which creates distance and only allows you a view of Achilles Discovered among the Daughters of Lycomedes. You come into the prelude: a square space with a round light overhead. On the right you see the finished work derived from the oil sketch of the unmasking of Achilles, which comes from the Prado. On the left you see three entrances to the heart of the exhibition.

 © Kim Zwarts

(C)Kim Zwarts

当你走过三个入口之一时，你就会到达展览的中心，中间是摔跤手的雕塑。在圆圈里悬挂着经典和鲁本斯意大利时期的作品。在它周围的矩形空间中，我们使墙壁变得更厚，以引入一个新的古典尺度。我们在墙上做了一些壁龛，使我们能够更有效地点亮这些作品。继续走下去，你会遇到一个正方形物体，里面有一个圆圈。一边是大挂毯，一边是阿喀琉斯之怒；另一边是一个圆形展示柜，上面有九幅小油画素描，可以俯瞰“巴克斯的胜利”。就在你离开房间之前，“鹦鹉”看着你。

When you walk though one of the three entrances you arrive at the heart of the exhibition with the sculpture of the wrestlers in the centre. In the circle hang the works from the Classics and Rubens’s Italian period. In the rectangular space around it we made the walls thicker to introduce a new classical scale. We made niches in those walls in which we were able to light the works more effectively. Keep on walking and you encounter a square object with a circle in it. On one side hangs the large tapestry The Wrath of Achilles; on the other there is a circular display case with nine small oil sketches that overlook ‘The Triumph of Bacchus.” Just before you leave the room, ‘A Parrot’ looks at you.

When you walk though one of the three entrances you arrive at the heart of the exhibition with the sculpture of the wrestlers in the centre. In the circle hang the works from the Classics and Rubens’s Italian period. In the rectangular space around it we made the walls thicker to introduce a new classical scale. We made niches in those walls in which we were able to light the works more effectively. Keep on walking and you encounter a square object with a circle in it. On one side hangs the large tapestry The Wrath of Achilles; on the other there is a circular display case with nine small oil sketches that overlook ‘The Triumph of Bacchus.” Just before you leave the room, ‘A Parrot’ looks at you.

 © Kim Zwarts

(C)Kim Zwarts