Can the Prado be reformed before its pictures disintegrate?

At the request of the New York magazine ArtNews, of which in the 1970s I was Netherlands correspondent, I visited the Prado Museum in Madrid to report on the new climate control facilities being installed. The article appeared in the March 1980 issue, contributing to the award to ArtNews of the George Polk Award for Cultural Journalism. I am pleased to report that in the intervening decades the Prado has more than redeemed itself from the dire situation in which I encountered it.


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367 Leading expert misled by faulty publication

In a fraught discussion about Rembrandt’s motivation for making so many self-portraits, the leading Rembrandt expert of the day, Ernst van de Wetering, let himself be misled by a faulty publication of 1887, uncritically recycled in 1906 and 1979, into making an incorrect argument to which he attaches fundamental importance.

Donations to this installment of the Schwartzlist will be used not only for the website but also as a contribution to Loekie and Gary’s golden anniversary present, a new television set. See below.

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364 The transparent connoisseur 5: Keeping the Rembrandt Research Project to its word

The contributions of the Rembrandt Research Project to the study of Rembrandt paintings are countless and invaluable. In particular, the insistence of Ernst van de Wetering that the physical study of paintings be integrated into the practice of connoisseurship has changed the face of the field. However, inconsistencies in the six volumes of its Corpus of Rembrandt paintings leave us in uncertainty concerning its reconstruction of Rembrandt’s oeuvre. Schwartz puts his finger on a possible re-attribution that should be forthcoming, but isn’t.
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363 Saenredam and Huygens; Rubens and Rembrandt

“Saenredam, Huygens and the Utrecht bull” was Gary Schwartz’s first publication as an art historian. He looks back on how it came into being and what it meant in his life. Schwartz would like to think of the Dutch- and Flemish-speaking low countries as one culture, but circumstances keep intruding on this ideal image. Circumstances such as the lives and posterities of Peter Paul Rubens and Rembrandt van Rijn.


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Rubens in Holland, Rembrandt in Flanders

The 2018 volume of The Low Countries, an outstanding yearbook to which I have been contributing for twenty years, is the last to appear in print. From now on it will be brought out online only. The yearbook starts out with 100 pages of contributions from CODART members, in recognition of CODART’s twentieth anniversary. Mine juxtaposes the very limited cross-border experiences of the two giants of seventeenth-century art in the Low Countries and tells about the one time, two hundred years later, when they were briefly conjoined as equals in each other’s countries.

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361 Between the wars

Some of the best realist painters of the twentieth century were Dutch. If few art lovers outside the Netherlands have heard of them, this is because the Netherlands has proven unable to launch major reputations for artists who stayed at home and did not work in international groups like De Stijl or Cobra. Schwartz delves into the issue, and is held up midway by the tragic choices of the best of the Dutch realists, Pyke Koch.
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The Temple Mount in the Lowlands

Talk of iconic! What could be more so than the Temple in Jerusalem? Countless are the chapels, churches, synagogues, mosques and palaces modelled on an idea of what the Temple of Solomon looked like, measured or meant. The Reformed Christians of the Dutch Republic were just as susceptible to the sacred mystery of the Temple as Catholics, Muslims and Jews in their own worlds. This study shows how reconstructions of the Temple on paper (by Spanish Jesuits in 1595) and in a famous model (by a Dutch Jew in the 1640s) affected the form of church, synagogue and palace architecture and decoration in the mid-seventeenth-century Netherlands.

Gary Schwartz, “The Temple Mount in the Lowlands,” from: The Dutch intersection: the Jews and the Netherlands in modern history, edited by Yosef Kaplan, Leiden and Boston (Brill) 2008, pp. 111-21. The proceedings of the Tenth International Symposium on the History of the Jews in the Netherlands, held in Jerusalem in 2004

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357 Gulley Jimson had nothing on Emanuel de Witte

If they didn’t live three centuries apart and if he were a human being instead of a fictional character, you could easily confuse Gulley Jimson with Emanuel de Witte. Both were gifted painters who insulted, bullied and stole from their patrons and were always ready for fights they couldn’t win.

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