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Jacques Goudstikker (August 30, 1897 – May 16, 1940)〔 was a Jewish Dutch art dealer who fled the Netherlands when it was invaded by Nazis during World War II, leaving an extensive and significant art collection including over 30 "Old Masters" which was looted by the Nazis. "Between the two World Wars, Jacques Goudstikker was probably the most important Dutch dealer of Old Master paintings", according to Peter C. Sutton, executive director and CEO of the Bruce Museum of Arts and Science. The Dutch government restored the paintings to the Goudstikker family in 2006, and they were sold at auction in 2007 for almost $10 million. ==Biography== Goudstikker was born in Amsterdam, the son of an art dealer, Eduard Goudstikker. He studied at the Commercial School in Amsterdam, and more intensely with Wilhelm Martin and William Vogelsang at Leiden and Utrecht. In 1919 he joined his father's Amsterdam gallery, restructured it as a public limited liability company with himself as the director and major shareholder, and introduced a notably more international style; publishing catalogs in French rather than Dutch, and showing for the first time Italian Renaissance paintings, including ''The Madonna and Child'' by Francesco Squarcione. This was revolutionary in the Netherlands of the time, where in 1906, Adriaan Pit, the director of the Rijksmuseum, had stated "We have become chauvinistic with regard to the field of art. This worship of our old school of painting, which started thirty years ago is still alive and appears not to let us appreciate any foreign art." Following World War I, Amsterdam once again became a center of international commerce, and Goudstikker flourished, along with fellow art dealers, P. de Boer, and Henri Douwes; in 1927 he moved to a larger gallery. Goudstikker rose above his contemporaries, however in presenting works from the Dutch Golden Age alongside panels by 14th century, 15th century and 16th century Dutch, Flemish, German and Italian painters, mixing paintings, sculptures, carpets, and other works of art together, in the sophisticated style of Wilhelm von Bode of Berlin, much emulated in London, Paris, and New York. Goudstikker's taste extended to the design of his catalogs, which were minor works of art in themselves.〔 Goudstikker maintained close ties with art historians and collectors. In the introduction to his 1928 catalog, he wrote "()e are happy as a logical development in our Italian department in having obtained the assistance of our compatriot Doctor Raimond van Marle", author of the influential ''The Development of the Italian Schools of Painting''. His clients, including J. W. Edwin vom Rath, Detlen Van Hadeln, J. H. van Heek, Ernst Proehl, Daniel G. van Beuningen, Heinrich Baron Thyssen-Bornemisza de Kászon and Otto Lanz, also partook in this mix of connoisseurship and scholarship.〔 He staged an exhibit of Dutch and Flemish paintings, including five van Goghs, two van Dongens, and a Mondrian, together with a group of 17th century works including a magnificent wooded landscape by Philips Koninck, at the Anderson Gallery in New York in 1923, organized through the Netherlands Chamber of Commerce; the Committee of Patrons included such society notables as Mrs. T. J. Oakley Rhinelander and Mrs. Cortland S. Van Rensselaer.〔 The stock market crash and Great Depression took their toll on the connoisseur art trade, as on other luxury businesses. Goudstikker was forced to economize on production of his catalogs, but he still managed to organize a Rubens exhibition in 1933, as well as what may have been his ultimate achievement, participating in the exhibition of ''Italian Paintings in Dutch Collections'' at the Stedelijk Museum in Amsterdam in 1934, where he personally showed Queen Wilhelmina the exhibits.〔 While escaping the Nazis in May, 1940, Goudstikker fell in the hold of the '' in the English Channel, fatally breaking his neck.〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Jacques Goudstikker」の詳細全文を読む スポンサード リンク
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