Since this spring, the Lievelingen (Fan Favorites) have been showcased on the spacious fifth floor of the Depot at the Museum Boijmans Van Beuningen. The exhibition features nearly 80 beloved masterpieces from the museum’s collection. This autumn, the display has been refreshed, with ten additional paintings now on view. Among them is a new acquisition: Bosvarens (Woodland Ferns) by Bertha Wegmann. Moreover, Spelende katjes (Playing Kittens) by Henriette Ronner-Knip has emerged as the crowd favorite based on thousands of public votes. The second and third places, while less surprising, are equally impressive: Pieter Bruegel’s The Tower of Babel and René Magritte’s La reproduction interdite.
A Dynamic Collection
The Lievelingen exhibition has clearly resonated with visitors, becoming one of the most highly-rated and well-attended presentations at the museum. This success may be partially attributed to the extended absence of the museum’s collection from its own premises, a sentiment that both the museum and the public have expressed. By actively involving visitors and asking them to vote for their favorite pieces, the museum has created a dynamic interaction between its collection and its audience, capturing the ongoing dialogue that shapes a museum’s relevance. The exhibition offers a glimpse into the breadth of the museum’s collection, spanning from the Middle Ages to the present day.
The public’s vote reflects a variety of well-known masterpieces, each representing a different period or artistic movement. Bruegel’s The Tower of Babel (ca. 1568) and Magritte’s La reproduction interdite (1937) were unexpectedly surpassed by Ronner-Knip’s Spelende katjes (ca. 1890). The latter has become a clear public favorite, likely due to its irresistible combination of playful kittens and a luxurious interior. Henriette Ronner-Knip was one of the most successful Dutch artists of the 19th century, known for her depictions of domestic scenes featuring animals, particularly cats.
In addition to Ronner-Knip, Bruegel, and Magritte, the top five include The Port of Rotterdam (1907) by Paul Signac and Summer Landscape (1837) by Barend Cornelis Koekkoek. Other notable works, such as Lyrisches (1911) by Wassily Kandinsky and The Earring (1893) by George Hendrik Breitner, narrowly missed a top-five spot but are also on display in the Lievelingen collection.
Bertha Wegmann: A New Highlight
New to the Museum Boijmans Van Beuningen collection is Bertha Wegmann’s Bosvarens (ca. 1880), which the museum acquired earlier this year at TEFAF Maastricht. This painting is a significant addition, aligning with the museum’s focus on highlighting female artists and donors. The work is particularly striking, drawing the viewer in with several subtle yet captivating details. For instance, why is there a hat hidden among the ferns? What might have taken place in this secluded setting?
Bertha Wegmann (1846-1926) was born in Switzerland and grew up in Denmark. She became the first woman to receive the prestigious Thorvaldsen Medal and was also the first female member of the Royal Danish Academy of Fine Arts. Her works, which often feature portraits and intimate scenes, reflect her strong command of light and texture, qualities that are evident in Bosvarens.
A Testament to Popularity and Evolution
The Lievelingen exhibition showcases the evolving tastes of museum visitors. The wide variety of selected artworks highlights both the timeless appeal of certain masterpieces and the audience’s willingness to embrace diverse styles and eras. The inclusion of a new acquisition like Wegmann’s Bosvarens speaks to the museum’s commitment to expanding its collection in meaningful ways, especially by elevating underrepresented artists.
The exhibition is a testament to the museum’s dynamic relationship with its audience, underscoring the importance of public engagement in shaping cultural institutions. The reconfiguration of Lievelingen ensures that the presentation remains fresh and reflective of the museum’s broader mission: to connect the public with art that spans centuries and continents, while also inviting them to participate in the ongoing conversation about what art means today.
