397 Gabriel Metsu’s Sick child – of state?

Gabriel Metsu’s Sick child in the Rijksmuseum is the poster boy of domesticism in Dutch art. What could be more touching? Schwartz thinks it was also meant to move the viewer in other ways than as an image of maternal care. He thinks he can identify the pathetic little boy as a personification of a high office leading an ailing existence. Continue reading “397 Gabriel Metsu’s Sick child – of state?”

“The years have imposed heavy tribulations”: Rembrandt’s portrait of Johannes Wtenbogaert

Working in 2021 on a book about a disputed Rembrandt self-portrait, I wished to refer to the article below, from July 1992, for its comments on the Rembrandt Research Project. The English text had not been published before. If I am not mistaken, this article has never been referred to in subsequent literature on the painting.

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394 The Rembrandt theft of a hundred years ago today

A centennial moment in Schwartz’s art-historical life. One hundred years ago today a Rembrandt self-portrait was stolen from the museum in Weimar. He is writing a book on the painting. A snippet from its fascinating story. Plus a complete lecture and q&a on the exhibition Rembrandt’s orient. Continue reading “394 The Rembrandt theft of a hundred years ago today”

393 The transparent connoisseur 6: Johnny One Work

There are nearly one-and-a-half times as many recorded Dutch painters of the seventeenth century by whom not a single work is known than masters with an identified oeuvre. And then there are those by whom we know only one really good painting. Where did their lost paintings go? Lots were thrown away, but others, Schwartz argues, are catalogued under well-known names. This subverts one of the basic assumptions of the connoisseur’s attribution.
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Comparing Rembrandt and Saenredam: Het belang van banale zaken

In an article in the Dutch art magazine Kunstschrift, the editor, Mariette Haveman, disparaged the importance Schwartz attaches to documentary records as evidence for understanding Rembrandt as a person. Schwartz responds.

Letter to the editor: Gary Schwartz, 8 December 1991: “Het belang van banale zaken,” Kunstschrift 36:1 (1992), p. 6

1992HetBelangVanBanaleZaken

389 Botticelli’s Primavera as an image of Santa Maria del Fiore

A guest column by Loekie Schwartz. The calm central figure in the Primavera is framed by a bower with the shape of the cupola of Florence Cathedral, Santa Maria del Fiore. The visual rhyme is intended to convey that she partakes both in the floral association of the name and its Marian essence. A further link between painting and cathedral is to be found in a writing by Alberti, where the Duomo is called a springtime refuge from the vicissitudes of the world outside.  Please copy to students of Italian art and literature. Continue reading “389 Botticelli’s Primavera as an image of Santa Maria del Fiore”