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.
What could be a greater honor than to be appointed Ambassador of the Free Mind? That title was bestowed on Schwartz by unrivalled champions of the free mind, the Ritman family of Amsterdam.
The Francesco Datini Institute in Prato holds a highly distinguished yearly conference (Settimana di studi) on economics and its history. The range of subjects is impressive and inspiring, from “Wool as a raw material” in 1969 to “Water management in Europe, twelfth to eighteenth centuries” in 2017. In 2001 the theme was “Economics and art,” with more than fifty European and American participants. My contribution was a comparison of the patronage networks in three major seventeenth-century art centers. I suggested that certain structural similarities reveal themselves that may point to deep-lying social forces.
The proceedings were published in 2002 in a form that is not easy to scan well. Now that I have tried, fifteen years later, I see that the results are legible enough. An invaluable feature of Datini proceedings is that they include the discussions following each block of papers. Click here for a column on the congress.
“The structure of patronage networks in Rome, The Hague and Amsterdam in the 17th century,” in: Simonetta Cavaciocchi, ed., Economia e arte secc. XIII-XVIII: Atti della “Trentatreesima Settimana di Studi” 30 april-4 maggio 2001, Le Monnier for Istituto Internazionale di Storia Economica “F. Datini,” Prato 2002, pp. 567-74
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Report on a high-power conference at an Italian institute for the history of economics, where art was subjected to intensive archival, numerical and tabular scrutiny.
The sale of a painting by Govert Flinck for a higher price than some Rembrandts have fetched in recent years prompts a reflection on the ongoing (and never-ending) revision of our scale of values. Continue reading “352 Up the Rembrandt school!”
That strong emotions have irresistible power over us is undeniable. What can be denied, or ignored, is the all-pervasive influence of even low-grade emotion on society and its members. The Australian Research Council (ARC) is funding a project to investigate the effects of emotion on European life in the second millennium. Schwartz brings back a progress report on emotion in art. Continue reading “351 The emotional turn”
Lead essay in the catalogue of an exhibition at the Bucerius Forum, Hamburg, 4 June-11 September 2016: Verkehrte Welt: das Jahrhundert von Hieronymus Bosch, edited by Michael Philipp
The essay argues that the Garden of Delights by Jheronimus Bosch is based on the first account of creation in the Bible. Genesis 1 speaks of the creation of man and woman simultaneously, both in the image of God. No prohibition is expressed against eating forbidden fruit; the first humans are not disobedient; there is no serpent to tempt them; they are not embarrassed by their nakedness; they are not expelled from Eden and cursed with a life of hard work and painful childbearing. This picture corresponds to the left panel of the Garden of Delights. The spectacular center panel shows what the world would have looked like had the Fall of Man not taken place, had mankind been free merely to “be fruitful and multiply.”
The hell panel is compared by the author to the 12th-century Vision of Tundale, a Dutch translation of which was published in Den Bosch in 1484. The point of both works is to frighten the reader or viewer into repenting from sin before it is too late. The message is not one of inevitable damnation, but of how to achieve salvation, as did Tundale.
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The print room of the Rijksmuseum mounted magnificent exhibitions on two very different Dutch landscape artists, the portrayer of Brazil Frans Post and the traveler in his own imagination Hercules Segers. The juxtaposition brings Schwartz to compare them; he finds out that they both came to the same sorry end. Continue reading “349 The difference between Frans Post and Hercules Seghers”
On the 30th of September 1676 the Delft courts appointed Anthoni van Leeuwenhoek as curator to the insolvent estate of Catharina Bolnes, the widow of Johannes Vermeer. So great is the power of those two names that generations of art historians have interpreted the document as a sign of profound bonding between art and science. Schwartz, in the footsteps of Michael Montias, reveals the disenchanting truth.
In the splendid Antwerp specialty of kunstkamer painting, one painting and one alone migrated from one environment to another, from the patrician collection of Cornelis van der Geest to the fabled one of the archdukes of the southern Netherlands. Schwartz has an idea why. Continue reading “347 How a patrician made good for slighting a prince, maybe”