‘I think it’s our duty as a museum to address social issues, whether they’re in the past, or whether they’re happening now, because we have a societal role. We’re here for society… Art is about people. It’s about working together. It’s about how we look at each other, how we understand the world, and how we open our minds to what is unfamiliar. That’s what a museum should do.’

—Lidewij de Koekkoek

For the twentieth episode of Dutch Art & Design Today, I sat down with Lidewij de Koekkoek, who is the director of the Frans Hals Museum in Haarlem. Lidewij has had a long and storied career in the Dutch cultural heritage world, shaped by her international upbringing in Belgium and the United States, her art historical studies at Leiden University, and a leadership style grounded in collaboration, curiosity, and care. From her early role in journalism and public art to senior roles at institutions including the Netherlands Architecture Institute, the Textile Museum in Tilburg, and the Rembrandt House Museum in Amsterdam, Lidewij has built a career at the intersection of strategy, storytelling, and public value of the arts.

In this hour long conversation, we trace Lidewij’s path through the Dutch cultural landscape—from the formative years of studying contemporary art and architecture through, to her later rediscovery of seventeenth-century painting, and deep belief in the relevance of historical collections today. Her career is marked by several directorial roles at Dutch museums, which have all informed her current outlook on what it means to be a museum director. We talk about her first directorship at the Stedelijk Museum Alkmaar, where she led a bold rebranding focused on the city’s Old Masters and modern art collections, and how both could be utilized to better communicate the importance of the city’s collection to the city’s citizens and their civic heritage. Alongside her time as director of the Rembrandt House in Amsterdam, where she helped reposition the museum around his studio, social networks, and contemporary relevance.

Finally, we discuss her current role at the Frans Hals Museum, and how its unique bifocal identity—combining a world-class collection of early modern painting with a cutting-edge contemporary programming and collection of works—makes it a deeply human institution. But also one with challenges due to its current location, and the limited amount of space it currently allows, even as its ambitions its current capacity, in terms of displaying the vastness of its collection. Ultimately, Lidewij makes clear that she sees the museum’s future as grounded in Haarlem, its civic pride, and the power of visual art to reflect and reshape society. From leadership philosophy to renovation plans, and from drag performances to Dutch Impressionism, this wide-ranging conversation explores what it means to shape a museum’s future—while staying anchored in its past.

Learn more about the Frans Hals Museum.

Cover: Esiri Erheriene-Essi, Having Your Cake and Eating it Too, 2019, 200 x 165 cm., oil, ink and xerox transfer on linen, Frans Hals Museum, Acquired in 2024

You can find John on X ⁠@johnbezold⁠ and at his website ⁠johnbezold.com⁠.

'Dutch Art & Design Today' is published by ⁠Semicolon-Press⁠.

ISSN: 3050-6662

'When I think about Rembrandt, I think of Rembrandt as dramatic. There's a drama. An emotional something's going on; the dark colors; a three-dimensional pull into it. And that three-dimensional pull, pulls me as a person into what is going on. And I have an emotional response to being in that scene—whatever it is. So there's something about Rembrandt that is guttural; you know? I don't just look at Rembrandt and say, oh, isn't that interesting. I dive into a Rembrandt.'

—Jill Bolte Taylor

For the 19th episode of 'Dutch Art & Design Today', I sat down with Jill Bolte Taylor—an author, scientist, and speaker whose groundbreaking work has left an profound mark on how we understand the human brain, and ourselves. Jill is best known for her 2008 TED Talk, 'My Stroke of Insight', where she recounted her experience of surviving a life-threatening stroke in 1996 and her subsequent eight-year recovery. That talk, viewed by over 30 million people, catapulted her into the global spotlight and laid the foundation for her most recent book, Whole Brain Living: The Anatomy of Choice and the Four Characters That Drive Our Life (2021). Jill and I explore art through the lens of Whole Brain Living (WBL), discussing how her cellular anatomical framework can enrich the way we create, think about and interpret, and experience art—in all its forms. Jill's framework explores the brain’s four distinct 'characters'—left-brain thinking and feeling, and right-brain thinking and feeling. The 'we' inside of 'me'.

Jill explains how these characters shape our emotions, thoughts, and interactions, providing a practical guide for cultivating balance and harmony within ourselves. What makes this conversation unique, however, is that our focus on how these insights apply to the world of art. From the analytical precision of 'Character 1' to the raw, present-moment engagement of Character 3, and the universal connection offered by Character 4, Jill reveals how art involves a holistic brain experience. We touch on iconic Dutch artists such as Rembrandt and Frans Hals, as well as the sensory and emotional power of museums, illustrating how WBL can deepen our connection to creativity, and ourselves, and art.

WBL is most often used as a tool for personal growth, or having better relationship; and it’s a life philosophy that has transformed how I see and experience the world. By applying Jill’s framework to art, we turn it into a powerful lens for appreciating art as full-bodied, whole-brain experience. As the art historian Esther Pasztory once said, while we all think we understand art, but true essence often eludes us. With Jill’s insights, we move closer to unraveling its mysteries; intellectually, emotionally, and spiritually. This conversation also ventures into philosophy, drawing parallels between Jill’s work and thinkers like Edmund Husserl, Martin Heidegger, and Maurice Merleau-Ponty—the last of whom emphasized the embodied nature of human experience. WBL applied to art, bridges intellectual and emotional experiences of life, offering a way to connect with ourselves and the (art) world around us. And of course, we also discuss Van Gogh, Hals, and Rembrandt.

Watch 2008's 'My Stroke of Insight'

Watch Jill's talk on the teenage brain

Purchase the book Whole Brain Living

Watch an interview with Jill about WBL

You can find John on X ⁠@johnbezold⁠ and at his website ⁠johnbezold.com⁠.

'Dutch Art & Design Today' is published by ⁠Semicolon-Press⁠.

ISSN: 3050-6662

'Language is so important, and particularly right now; especially when differentiating the Dutch Republic from the Southern Netherlands in the seventeenth century. Not only in terms of what that meant politically, but also religiously, and how these factors influenced the way the art produced then and there, looks. I've found that when speaking to museum visitors, they would often use the words Dutch and Flemish interchangeably; so I wanted to unpack this code art historians use—when we say Dutch or Flemish—and make this distinction front and center, in the gallery didactics, here at the Art Institute of Chicago.'

—Jacquelyn N. Coutré

For the 18th episode of 'Dutch Art & Design Today', I sat down with Jacquelyn N. Coutré—an art historian, a curator, an all-around fascinating academic of Dutch art and history—who, since 2019, has been the Eleanor Wood Prince Curator in Painting and Sculpture of Europe, at the Art Institute of Chicago, in the USA. Jacquelyn completed her BA at the Indiana University in Bloomington, where she expanded her early interest in seventeenth-century Dutch paintings. She then moved to New York City, where she completed her MA and PhD at NYU's Institute of Fine Arts, writing her dissertation under Egbert Haverkamp-Begemann, particularly focusing on Jan Livens and his contemporaries. After her studies she returned to Indiana, where she was a curatorial fellow at the Indianapolis Museum of Art, marking her mark on the collection in numerous ways.

In 2015 Jacquelyn moved to Canada, taking on the role of the Agnes Bader Curator and Researcher of European Art ,at the Etherington Art Centre, in Ontario. There she utilized her expertise in Lievens, and curated 'Leiden circa 1630: Rembrandt Emerges', which ran from 24 August-1 December 2019 and accompanied by a open-access catalogue exploring Rembrandt's peers. Since her appointment at Chicago's Art Institute, she has curated several exhibitions, initiated a rehang of the Dutch and Flemish galleries, and expanded the collection she's responsible for.

In this conversation, Jacquelyn discusses her early-fascination with art, and how she found her way to Dutch and Flemish art in particular. During her research for her dissertation, she combined her interest in the literature, politics, and paintings produced during the Dutch Republic, by applying the writings of Constantijn Huygens to artistic production—leading her to become a world's leading authority on the life and work of Lievens. A Francophile since her childhood, her work in Canada left a profound impact on the ways that she approaches institutional nuances concerning the ways the past is viewed, which she unravels in our talk. To conclude, Jacquelyn talks about her plans for a future catalogue of highlights from the Art Institute's collection of Dutch and Flemish paintings and sculpture, relaying the importance of mapping the collection's formation, and the history of its curation.

Learn more about Jacquelyn's work at The Art Institute.

Read Walter Liedtke's 2000 article 'The Study of Dutch Art in America', originally published in Artibus et Historiae.

Download the catalogue Leiden circa 1630: Rembrandt Emerges

You can find John on X ⁠@johnbezold⁠ and at his website ⁠johnbezold.com⁠.

'Dutch Art & Design Today' is published by ⁠Semicolon-Press⁠.

ISSN: 3050-6662