Thanks to:

The Royal Netherlands Embassy, the Ambassador, Arie van der Wiel, Charlotte Nijland, Suntrade, Mark Davies, Orla Ryan, make-up artist Nana Amu Fleischer; models Sido Eloho Sylvia and Kweku Ansah, Ramesh Studio, Bob Dennis and Jimmy Amegaye, Lesley Lokko, Manon Jachmam, Rinette Maats, Jef Haenen, Alexander Kofman, Prof. Irene K. Odotei, the Ghanaian Press and Karl Nasr.

Supported by:

Royal Netherlands Embassy

By: Reginaldo Gonçalves, Thomas Hess, Lucas Duysens and Monique Haenen Schouwenberg,

Accra, Ghana 2006

Contact: regisaccra@hotmail.com - 0242132654

Bringing

Ghana 2006

Opening: 28^th April at the Queen’s day

at the residence of the Dutch Ambassador to Ghana

3^rd – 31^st May at Ivy’s - Ring road, Accra

Orla Ryan

Introduction: Bringing Rembrandt to Ghana

This catalogue introduces the art exhibition, which is part of the Queen’s Day, the Dutch National Day. This year, the Dutch have double reason for celebration; 2006 is the 400th anniversary of the birth of Rembrandt, the country's most famous painter.

Having Lived in Ghana for some years, Reginaldo Gonçalves, Thomas Hess and Monique Haenen Schouwenberg quickly saw the links between Rembrandt's paintings and modern Ghanaian culture, reflecting in part the centuries-old trading and cultural links between the two countries.

Seeking to place Rembrandt's ideas within a Ghanaian context, they noted that the popularity of Kente clothe in modern Ghana chimes with the importance of dyed worsted clothe in Holland. The Civil Guards, ordinary men who protected Amsterdam in times of trouble find their modern-day match in the Asafo Company, the Ghanaian guard.

With the exception of the Ghanaian Bride - where models are used to reflect the fact that the identity of the original Jewish Bride is unclear - these are no ordinary models as the pictures capture what they do in real life.

Rembrandt's art was deeply rooted in 17th century Dutch life but the fact that the same themes resonate for international artists based in West Africa in the 21st century is testiment to the Dutch master's art and the universality of his work. However, the artists involved in this project used photography, not to provide an exact replica of Rembrandt's work, but to highlight the similarities between Rembrandt's work and aspects of Ghanaian culture.

Take your time to see, feel and compare your impressions of Ghana with those proposed by the artists; it will surely add some new elements to your own view and perceptions.

The Jewish Bride

Amsterdam, 1665

Scholars have established that this type of portrait goes back to Italian Renaissance scenes of marriage or betrothal. Nowadays this loving scene of a couple showing their affection to one another is assumed to represent either the biblical coupe Isaac and Rebecca or a portrait of a scene of a theatre-play. But the colouristic power and the tenderness of the two lovers still retain their original impact.

The Ghanaian Bride

Accra, 2006

Designer Kofi Ansah and Kati Torda conceived the picture of the Ghanaian Bride in a studio in Accra. Similar to Rembrandt's "Jewish Bride", it depicts a loving couple showing their affection to one another.

Traditional Weddings continue to play an important role within Ghanaian society. The way the bride and groom dress is governed by status, tribe and wealth.

The Syndics

Amsterdam, 1662

This painting represents a meeting of the Board of the Drapers, who were responsible for supervising the quality of the dyed worsted, a thickly woven woollen fabric common in Holland at the time.

The painting, commissioned by the Officials of the House, was the last painting in which Rembrandt portrayed a large group of people.

The guild members have different religions and backgrounds but the spirit of cooperation is evident in the picture, highlighting the tolerant nature of Amsterdam society.

The Kente Weavers

Accra, 2006

“Weaving is seen as a God-given ability, a manifest of creativity and a legacy handed from father to son”.

The picture was taken at a shop in Accra where these men produce KENTE. These strip-woven cloths are part of an ancient Ghanaian tradition and were inspired by the demands of royalty and the wealthy for rich display.

“Rembrandt’s paintings are unequalled for their eloquence and human compassion, their deep understanding of mankind, and the dramatic beauty of their expression.”

Lines copied out from the book Rembrandt by Ludwig Munz and bob Haak

Rembrandt van Rijn, 1606-1669

The 400^th birthday of Rembrandt van Rijn, the most famous painter of Holland's Golden Age, is being celebrated in Holland and around the world this year by a series of events and exhibitions.

The son of a miller, Rembrandt grew up in Leiden where he began his career. In 1631, he moved to Amsterdam, where he developed and mastered the technique of Chiaroscuro, the play of light and shadow. The painter strove to create a world of thought and feeling, so the finished work was more than just a simple representation of reality. He amplified the power of the major human themes, such as love, religion, sexuality and violence, changing not only the course of painting, but also our perception of the world. Practitioners of the technique of Chiaroscuro seek to highlight emotion, tension and drama, bringing the dead surface of the paper to life.

Night Watch

Amsterdam, 1642

Rembrandt's portrayal of the Civic Guards of Amsterdam, now known as the Night Watch, is his most famous painting. The painting was renamed in the 18^th century as its layers of yellow varnish had darkened after years spent hanging over an open fire at the headquarters of the Company of Captain Frans Banning Cocq in Amsterdam.

During the war between the Netherlands and Spain in the 17^th century, the city of Amsterdam was protected by Companies of Civil Guards; ordinary men aged between 18 and 60 who were responsible for law and order in the city. At that time, Amsterdam was divided into districts and neighbourhoods and each had its own Civil Guard. When the war ended, these companies of Civil Guards became social societies.

The Ghanaian Night Watch Asafo Companies, Accra, 2006

Grouped according to Akutsei-quarters- and based on the We-patrilineage- the representatives of the Asafo Companies portrayed in this picture are a community whose task is to protect and defend the people in times of war, responsible for law and order and act as rescue squad in times of emergencies. Furthermore, this Civil Society is also responsible for the cause of the common people and their relationship with the chiefs for justice and accountability.

The four quarters presented here are Asere, Gbese, Otublohum, and Abola.