375 Another third poem on Rembrandt Jews

Did Rembrandt have more sympathy for Jews and Judaism than most of his contemporaries? This has long been taken for granted, and his paintings of Old Testament subjects and portraits of Jews have been discussed in this light. Since 1984, Schwartz has been questioning this assumption. Here he presents new evidence that Rembrandt cooperated in attaching anti-Semitic meaning to his work. Continue reading “375 Another third poem on Rembrandt Jews”

374 Heemskerck-bashing, late and early

Art historians seldom let their personal predilections and aversions show through in their writing. An exception is the connoisseurship on Maerten van Heemskerck, one of the giants of sixteenth-century European art. His first cataloguer, Thomas Kerrich, set off an abusive trend in 1829 that prevails until our day, in a kind of historiographical bullying. Schwartz takes up the cudgels for Heemskerck. Continue reading “374 Heemskerck-bashing, late and early”

Emotions in art from Giambattista della Porta to David Freedberg

Taking thankful advantage of an opportunity to honor an old and beloved friend, the brilliant David Freedberg, I wrote an essay on one of the subjects David has claimed as his own, emotion in art. It is based on my work for the exhibition Emotions: pain and pleasure in Dutch painting of the Golden Age, Haarlem, Frans Hals Museum, and the aftermaths of that show.

EmotionsInArtFromDellaPortaToFreedberg

373 Putting ourselves and Rembrandt to the test

For Peter Hecht, who following his retirement from a celebrated professorship in art history at Utrecht University, entered the fray of interpreters of Rembrandt’s notoriously treacherous Leiden History Painting. Schwartz reviews the state of the question, especially with regard to the emotions of three of the figures, and reintroduces into the discussion a neglected piece of pertinent evidence.

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64 The bizarre birth of a genre

A memorial installment. The following column, mailed to subscribers in October 1998, appeared in Loekie Schwartz’s Dutch translation in Het Financieele Dagblad in the issue dated 31 October & 2 November 1998. I am putting it online now in tribute to two exceptional colleagues who both died this week. Hessel Miedema was a fellow art historian and Joop van Coevorden a fellow publisher, for both of whom I have measureless respect. Together, they raised to a new level the study of the greatest single book on early Dutch art, Karel van Mander’s Lives. When I wrote “Indeed, one can no longer read van Mander at all without Miedema, whose exhaustive commentary is one of the great achievements of present-day art history,” I should have said in so many words that the appearance of that commentary was due to the entrepreneurship, the good taste and dedication above and beyond the call of normal duty of Joop van Coevorden, in his DAVACO press. Their publication was financed in part by the Netherlands Organization for Scientific Research and Stichting Charema.

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372 Between brothers-in-law

Country life in the Dutch Republic can be said to have started in the village where Loekie and I have lived for fifty years. The protection from overdevelopment that we enjoy had its origins in the conversion of farmhouses to country homes in the 1620s. Looking more closely at the circumstances, Schwartz finds that the impulse to do so came from two Amsterdam brothers-in-law, out to impress their wives’ wealthy father.

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Pieter Saenredam and the town hall of Haarlem

To mark the publication of the Dutch edition of a book on Pieter Saenredam that I wrote with Marten Jan Bok, the Frans Hals Museum in Haarlem invited us to install a small exhibition in the museum. The central work was Saenredam’s painting of the town hall of Haarlem. Marten Jan and I wrote a booklet to accompany the show. In it we expressed the wish that the museum acquire the painting. This has not happened. It remained with Wildenstein & Co. until they put it into a sale at Sotheby’s New York on 28 January 2016. I am told that it was purchased by a married couple of distinguished American collectors who are planning to donate it to a U.S. museum. All the better that it has passed into the hands of people who really want it.

1989PieterSaenredamAndTheTownHallOfHaarlem

Digital imagery and user-defined art

In the Art Bulletin issue of June 1997, a number of scholars were asked to put into writing their thoughts on “Digital culture and the practices of art and art history.” My contribution predicts that viewers will be given increased control over the ways they look at art, and looks forward to the implementation of instruments that can enrich museum visits. Had I known at the time that “augmented reality” already had a name, I would have used that term.

Digital imagery and user-defined art

See here for the complete set of essays

 

371 Ears and eyes

In his paintings of faces Rembrandt displays knowledge of a particular muscular feature, the one that gives some people bags under their eyes. Schwartz became mildly obsessed with following this from face to face and found that Rembrandt never gave paying sitters the bags he admits to in some self-portraits and mercilessly records when painting old studio models.

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