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.
Download pdf (988 kB)
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”
The opposition between the parched land in Bosch’s Haywain and the unquenchable thirst of its inhabitants for dry hay is contrasted to the mouthwatering abundance of the aqueous Garden of Delights. Schwartz suggests that this supports his interpretation of the Garden as a fulfillment of God’s command to the first man and woman. Continue reading “346 Bosch’s dry Haywain and his sopping wet Garden of Delights”
A magnificent new catalogue has been published on the Bernard and Mary Berenson collection at I Tatti. Schwartz uses it to test the sustainability of the Berensons’ attributions of paintings for which they put down cash on the barrelhead. The results are disenchanting. Only one of eighty-seven relevant entries is an original Berenson attribution that is still accepted. Continue reading “345 The transparent connoisseur 4: a Berenson scorecard”
Jheronimus Bosch painted a man having a flower removed from his head, with an inscription speaking of a stone being cut out. Schwartz cannot explain why, but he nonetheless proposes a new theory of what is going on in the painting. He sees more empathy in it than scorn. Continue reading “343 A medical opinion from Jheronimus Bosch”
A wrong call by the Rembrandt Research Project (“the authority on Rembrandt and has final say in whether a painting is genuine”- Wikipedia) cost the heirs of the generous art collector Harold Samuel a not so small fortune. Schwartz tells the tale and discusses the issues involved. Continue reading “341 The transparent connoisseur 3: the 30 million pound question”