Between the 1610s and 1650 an enchanting form of painting was produced in Antwerp and Antwerp alone: the kunstkamer painting, an evocation of an art collection in which actions of various kinds take place. Love of art is not the only kind of love expressed in these paintings. In one of the very earliest examples … Continue reading “311 Love in the huiskamer”
Three spectacular current exhibitions set out to restore the look and content of past displays of art. Antwerp Cathedral in the sixteenth century, an Antwerp merchant’s house in the seventeenth and the greatest English collection of the eighteenth have been endowed with their historical look and contents. Schwartz is deeply content.
In 1997, Schwartz described a way in which museums could provide visitors with highly personalized digital information and imagery to enhance their viewing of original objects. In 2010 the means to make this technically feasible came within reach. The first concept and its latter-day form are sketched in and made available to anyone or any … Continue reading “310 Augmenting art”
The exhibitions that take place in Kassel every five years (initially four) since 1955 under the name documenta have a powerful founding myth. They were initiated in response to two forms of totalitarianism: they rehabilitated German artists who had been banned by the Nazis as “degenerate” and they showed up the repressive cultural policies of … Continue reading “284 Being where?”
The Van Gogh Museum did not take kindly to my column of January 19th (“The saga of Bouwe Jans”). The museum feels that I criticized it unfairly for the way it handled a request for an expert opinion on the authorship of a possible van Gogh painting. I promised the museum, by way of response, … Continue reading “154 The transparent connoisseur 1: Free advice to the Van Gogh Museum”