Female Voices in Art: Claudia Walendy, Specialist in Old Master paintings and Gallery Director

Claudia Walendy (b. 1994, Knokke-Heist, BE) grew up near Moerkerke. She is a Master of Laws and a dedicated specialist in Old Master paintings. She founded her gallery in 2019 and, as its director, is committed to preserving Old Masters for future generations through two key pillars: research and conservation, striving for their artistic and historical legacy to endure. Dedicated to piecing often forgotten puzzles back together, she focusses on researching the history and provenance of paintings, aiming to restore broken links in provenance-chains. Equally passionate about restoration, she sometimes also takes on works others deem too risky or not worthwhile, believing exceptional quality deserves a second chance. For her, honouring the legacy of the Old Masters goes beyond material preservation; it is also about keeping these works alive by maintaining their cultural significance, ensuring their history and beauty continue to resonate. Because of this, she is also very interested in finding ways to engage new audiences, exploring ways to connect them with Old Masters so that the works can hopefully continue to touch people for generations to come.

Could you tell us something about your role in the art world?

I work as a gallery director, with a focus on the preservation and research of Old Master paintings. In addition, I am always exploring new ways to reach broader and younger audiences, to share our common passion. 

What did you enjoy about being a part of this project?

It is a tremendous honour to me to have been invited to be part of this project, standing alongside so many remarkable and inspiring women who are making significant contributions to the art world.

Do you have a favourite artist?

While I don’t have one specific favorite, I am particularly drawn to 16th- and 17th-century artists who can capture the intense character and psychological depth of their subjects with a life-like accuracy, such as Anthony Van Dyck, Bartholomeus van der Helst, Pieter Nason, Master I. S. and many more.

What is your earliest memory involving art?

As a young child, I would spend hours sitting in my parents’ hallway, captivated by a large triptych that my father had inherited. The piece featured an old German text, which I tried to decipher for a very long time. After many attempts, my father, taking pity on me, reached out to museums for assistance, and it was revealed to be an epitaph from 16th-century Weimar. Alas after this revelation, it was immediately offered for sale.

Do you have any special thoughts about the position of women in the art world?

I am grateful to live in a place and era where we have made considerable progress, but there is still work to be done. Looking back at history, it’s inspiring to see how far we’ve come, and it’s equally important to keep striving for greater awareness about the challenges many women face.

What are you wearing, and tell the story behind it?

I’m wearing my favorite scarf, a souvenir from the MET museum. It features the motif of a Tiffany vase, a reminder of the artistry and craftsmanship that inspire me.

What are you currently working on?

I am involved in various cases, both restoration-wise and trying to find missing puzzle pieces in archives. 

Could you mention a project, an institution, or a person who has been important or inspiring for your career and why?

The greatest inspiration for me has always come from meeting like-minded enthusiasts of Old Master paintings. The exchange of knowledge and passion with others in the field has been a constant source of joy and motivation, reminding me of the importance of shared dedication in the art world. We all share the same love and the more we can work together, the further we can come.