The Van Gogh Museum has been open to the public since 5 June. The prolonged exhibition Here to Stay: A decade of remarkable acquisitions and their stories will be on view up and until 12 September 2021.
The further (provisional) exhibition program for 2021-2022 has been adjusted due to COVID-19. In addition to special exhibitions about masterpieces from the Van Gogh Museum collection, the museum also presents exhibitions about, amongst others, Etel Adnan and Gustav Klimt.
A safe and pleasant visit to the museum still remains a priority. The number of tickets for each start time is and will remain limited. This means that all visitors will have plenty of space to get to know Van Gogh better and can keep the required distance from other visitors and staff.
Tickets with a start time are only available through the museum website (this also accounts for Museum and other discount cards).
Now on display
Here to Stay: A decade of remarkable acquisitions and their stories
Now on display up and until 12 September 2021, exhibition wing.
The exhibition Here to Stay features the most striking and singular acquisitions from the last 10 years, and introduces the full extent of the museum’s collection area: from paintings and drawings to prints, sculptures and letters, and from works presented to the museum as gifts by individual donors to pieces acquired at auction.
Perhaps unexpectedly, most of the more than 150 artworks in Here to Stay are by artists other than Van Gogh. Works by major names from Van Gogh’s time are on display, such as Claude Monet, Berthe Morisot, Edgar Degas and Henri de Toulouse-Lautrec, but visitors can also discover artworks by lesser-known artists such as Henri Guérard and Adolphe Appian.
The stories associated with the acquisitions are a significant aspect of the exhibition. They are told from various perspectives: those of curators and restorers, but also of collectors and of 10 Amsterdam residents, offering visitors a new take on the artworks and explicitly inviting them to consider their own personal perception in relation to the art – which, as public property, belongs to us all. For example, certain details in Toulouse-Lautrec’s The Female Clown at the Moulin Rouge will stand out when curator Fleur Roos Rosa de Carvalho explains how unusual it is that this fragile print remains in such good condition, as if it had been printed just yesterday.
