In the second half of the seventeenth century, Dutch artists swarmed all over Europe in search of earnings that were drying up at home. They virtually annexed the art scene of Great Britain, giving shape to much of what we think of as English culture. Schwartz’s view of British Baroque.
For the befriended art dealer Saam Nystad, in 1983 Schwartz researched three paintings he had on offer. Four decades later, he was able to borrow for his exhibition Rembrandt’s Orient, one of them, Pieter Lastman’s Jephtha’s daughter, from the museum to which it had been sold, Kunstmuseum Winterthur.
Rembrandt was the most avid imaginable illustrator of stories from the Bible. But the relationship of his images to Scripture is sometimes inexplicably fallacious. Schwartz probes this delicate question.
This is a two-part series about archive researchers incapable of accepting that Rembrandt was manipulative, no more trustworthy than he had to be, tricky with money, capable of great cruelty, and about whom in his century few people had a nice word to say. Both of these researchers added significantly to our knowledge of Rembrandt’s life, and both coupled their archival citations to tendentious claims that the documents absolve Rembrandt of all stigma.
This is a two-part series about archive researchers, one in 1852 and one in 2019, who were incapable of accepting that Rembrandt was manipulative, no more trustworthy than he had to be, tricky with money, capable of great cruelty and downwardly mobile. Both of these researchers added significantly to our knowledge of Rembrandt’s life, and both coupled their archival findings to the tendentious claim that the documents absolve Rembrandt of all stigma. Continue reading “379 Whitewashing Rembrandt, part 1”
A splendid documentary on the ownership of and trade in Rembrandt paintings prompts Schwartz to ask questions not posed in the film. What went on behind the scenes in Paris to allow the Rothschild family to sell abroad a treasure of French cultural heritage? And could the Duke of Buccleuch’s painting of an old woman reading not be the mother of Jan Six?
My research paths have crossed those of Jan de Hond in various ways for twenty years now. Again and again, he has beaten me to the punch in putting his finger on vital items. A tribute to a gifted colleague. Continue reading “377 Three discoveries by Jan de Hond of which I am envious*”
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”
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”
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.