Kayla Metelenis is a paintings conservator who holds an MA in Art History and MS in the Conservation of Historic and Artistic Works from The Conservation Center of the Institute of Fine Arts at New York University. As a 2023-2024 Fulbright Student Researcher, Kayla conducted interdisciplinary research at the Royal Museum of Fine Arts Antwerp (KMSKA) and the University of Antwerp to assist in the study and conservation treatment of a seventeenth-century painted altarpiece by Peter Paul Rubens (1577-1640).
Q: “Describe the focus of your research in Belgium.”
My grant project focuses on the study and conservation of a monumental altarpiece— the Enthroned Madonna Adored by Saints (Tronende Madonna Omringd door Heiligen), c. 1628, by the renowned Flemish Baroque artist Peter Paul Rubens (1577-1640). This painting, originally painted for the high altar of the Augustinian Church of Antwerp (Sint-Augustinuskerk), now hangs in the Rubenszaal of the Royal Museum of Fine Arts Antwerp (KMSKA). During my Fulbright grant, I engaged in research in order to learn more about this painting, including its history and its physical construction. At the same time, I assisted in the first phase of the conservation of this painting, carried out with a multidisciplinary team of experts, in order to stabilize the painting and preserve it for future generations of viewers.
Q: “Why did you choose Belgium, or more specifically Antwerp, for your Fulbright grant?”
As a paintings conservator and art historian, I applied to the Fulbright program in Belgium in order to have an opportunity to study the artworks of Peter Paul Rubens, one of the most important and prolific seventeenth-century Flemish Baroque artists. His works are found today in museums and private collections across the world. However, Belgium – and Antwerp, in particular – is the center of Rubens studies. There is a multitude of resources available and an important network of scholars and multidisciplinary specialists who have dedicated their careers to the study of Rubens, his oeuvre, and the preservation of his artworks for future generations. The KMSKA’s “Studio Rubens” project – a multi-year research and conservation campaign (2023-2027), which will involve the study and treatment of two large-format altarpieces by Rubens – provided a unique opportunity for me to engage in dedicated research, while simultaneously participating in the conservation of Rubens’ Enthroned Madonna Adored by Saints.
Q: “What role have you taken in the “Studio Rubens” project?”
I joined the KMSKA’s “Studio Rubens” project in two capacities: as a researcher and as a paintings conservator, working with a team of art historians, curators, conservators, scientists and museum specialists. Just two weeks after I arrived in Belgium, the project commenced. This involved the careful removal of the painting from the wall of the gallery in which it is exhibited (the Rubenszaal of the KMSKA). After being unframed, a temporary and purpose-built conservation studio was constructed in the Rubenszaal, which remains the site of the ongoing “Studio Rubens” project. This means that the painting – and its conservation treatment – will remain visible to the public throughout the duration of the project (until 2025). After months of preliminary art historical and technical research, carried out at the KMSKA and in collaboration with members of the University of Antwerp’s Conservation-Restoration (Heritage Studies) program, the conservation treatment of the painting began. Following careful examination and documentation of the painting, a severely discolored non-original varnish and layers of dirt and grime were slowly removed from the surface of the painting, revealing once again Rubens’ brilliant handling of oil paint and the richness of his palette.
Q: “Describe a typical day in your life.”
Most days I wake up and head directly to KMSKA, where I spend time engaging in research – into the history of the Enthroned Madonna Adored by Saints altarpiece and/or its technical features – and/or actively contributing to the conservation of the painting. The latter is carried out with a team of six other conservators. The nature of my Fulbright project provides a unique opportunity to spend long periods of time carefully looking at a painting of great importance (and, in my opinion, beauty), so I love the days I get to spend at the museum. It is also a wonderful way to deepen my connections with my colleagues, who have been so generous with their time and insights into how best to explore Belgium and take advantage of all that the country has to offer. When I am not at KMSKA, I am typically exploring Antwerp or another Belgian city. This exploration often takes the form of seeking out art (e.g., in museums, in churches, in galleries), but I usually find myself stumbling upon one of the many festivals taking place throughout Belgium at any given time.
Q: “In what ways have you engaged with your host community in Belgium?”
Due to the monumental size of the painting (which measures 18 1⁄2 by 13 feet, unframed), the painting could not be moved from the gallery in which it hangs, which prompted the museum to create a temporary, purpose-built conservation studio (“Studio Rubens”) in the Rubenszaal of the KMSKA. Thus, the technical study and conservation treatment of the Enthroned Madonna altarpiece are being carried out in view of the public. Over the past nine months I have had wonderful experiences meeting native Belgians (as well as international visitors) who come to the KMSKA and are interested in the project. I am thrilled to discuss my work, but I also love when conversations evolve to discussing my experiences of Belgium and/or life in the United States.
Q: “Can you tell us the story of a particular memorable moment(s) from your time in Belgium?”
One particularly memorable moment for me during my time in Belgium thus far was when I participated in the Antwerp 10 mile race, which took place this past April. This event became an opportunity for me to physically explore Antwerp in a unique way – literally running through different neighborhoods of the city – but also to feel immersed in the vibrant culture of the city. There was such great energy throughout Antwerp that day and I felt very lucky to be a part of it.
Q: “Has Belgium been what you expected? In what ways has life in Belgium surprised you, either for its similarities to or differences from your own culture?”
Living and working in Belgium has been immensely rewarding. When I arrived, I was not entirely sure what to expect; I had lists of places I wanted to visit and people I wanted to meet, but I wasn’t sure how similar or different Belgian culture would be from that which I have come to know while living in the United States. I was pleasantly surprised that there were more similarities than differences – and when differences were noted, I felt it was an exciting opportunity to learn more about Belgium, its history, and its people. Overall, I have found that I have been able to settle easily into life here in Belgium – particularly in Antwerp. I feel very grateful for how open and kind the people I’ve met have been, particularly those that I work with at the KMSKA and at the University of Antwerp.
Q: “What advice would you give to someone who is considering applying to the Fulbright Program?”
Fulbright is such a wonderful opportunity to experience and immerse oneself in another culture. That can feel like a daunting prospect but, hopefully, thrilling in equal measures. I cannot advocate enough for this experience and would encourage anyone considering applying to do so. From my experience, the Fulbright community is an incredible network. I would encourage anyone who is interested in applying to find and reach out to people in the network. The Fulbrighters I have met have been generous with sharing their experiences with me and can be a valuable resource when applying, as well as for taking advantage of the Fulbright experience once accepted.