Art after #meetoo

Photography: Vincent Mentzel

When Wim Pijbes became the Rijksmuseum’s director in 2008 (the most prestigious museum of The Netherlands), the first acquisition he made was my feminine feminist ‘Bare Bottom Dress’, comparing it with Mondriaan's paintings and Rietveld's iconic chair. A bold move, and typical for the dapper art historian with the rebellious streak who made the world news by breaking protocol and shaking hands with Barack Obama in front of Rembrandt's Night Watch. As soon as the #MeToo movement hit the art world, I couldn't wait to sit down with Wim and talk about the consequences of this historical event. "It all goes back to Eve picking the apple."

Marlies: Wim, how do you see #MeToo's effect on the art world? Wim: There are many different sides to it. The #MeToo discussion itself seems to center around events that have come to light during the past year and a half. I think we can all agree: many unacceptable things have happened, also in the art world. At the same time, as an art historian, I observe that from the beginning of our visual language there has been a power dynamic between the artist and his subject, most often a woman. The #MeToo discussion has greatly influenced the way we assess this dynamic, and the question is: does that change the way we see famous works of art like the Venus de Milo or Manet's 'The

Luncheon on the Grass'? I think the recent controversy around Balthus' painting from 1938 called 'Thérèse Dreaming' really shows that shift of awareness.

Marlies: Yes, Balthus portrayed a pubescent girl - leaning back on a chair with her underwear visible - with a sensuality that is now considered very inappropriate. There was even a petition for removal from the Met!

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