Ariane van Suchtelen | |
|---|---|
| Ariane van Suchtelen (2005) | |
| Born | Ariaantje Adriana van Suchtelen July 12, 1962 Hengelo, Overijssel, Netherlands |
| Occupation | Art historian |
Ariane van Suchtelen (born 12 July 1962, Hengelo, Overijssel) is a Dutch art historian and museum curator at the Mauritshuis in The Hague. [1] [2] [3]
Van Suchtelen is a member of the noble branch of the Van Suchtelen family and a daughter of jhr. Mr. Jan Peter van Suchtelen (1916–1997) and Machteld van Hattum (1928). She is the sister of visual artist Anna van Suchtelen. [4]
She studied art history at the University of Groningen. [5]
Following her studies, Van Suchtelen joined the Mauritshuis as a curator, specializing in sixteenth- and seventeenth-century painting of the Dutch Golden Age. Her early scholarly contribution included work for the 1986 publication Renaissance and Reformation and the Art in the Northern Netherlands. In 1996, she prepared the accompanying booklet for the Mauritshuis exhibition on Johannes Vermeer.
She is a member of CODART. [6]
Van Suchtelen has organized numerous exhibitions and publications devoted to Dutch Golden Age painting and genre scenes in the Mauritshuis collection. In 2009, for instance, she organized the exhibition Pride of Place: Dutch Cityscapes of the Golden Age, together with Arthur K. Wheelock Jr. [7]
She co-edited Genre Paintings in the Mauritshuis (2016) with Quentin Buvelot. [8] [9]
In 2013, she wrote the text for a special collection of family portraits of the seventeenth-century merchant Willem Craeyvanger and his family. In 2015, she curated an exhibition on self-portraits and authored the accompanying catalogue Dutch Self-Portraits from the Golden Age. [10] The exhibition received international press coverage. [11] [12]
She also curated the exhibition In Full Bloom, devoted to Dutch and Flemish flower still lifes and the contributions of female artists. [13] [14] [15]
In 2021, she curated the exhibition Fleeting – Scents in Colour, which explored the representation of smell in seventeenth-century painting and incorporated reconstructed historical scents into the gallery experience. [16] [17]