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.
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”
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*”
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”
In the Art Bulletin issue of June 1997, a number of scholars were asked to put into writing their thoughts on “Digital culture and the practices of art and art history.” My contribution predicts that viewers will be given increased control over the ways they look at art, and looks forward to the implementation of instruments that can enrich museum visits. Had I known at the time that “augmented reality” already had a name, I would have used that term.
From the perspective of the year 1650, the past and future of Dutch seventeenth-century painting look radically different from each other. The first half of the century was dominated by participants in the greater European school, with narrative histories and allegories as the most highly prized creations. After 1650 the field is taken over by landscape and townscape, still life and genre. These were less valuable in the marketplace and helped depress the incomes of artists who were already suffering from a shrinking market for their wares. Our picture of the Dutch Golden Age is unduly determined by niche products of the latter half of the century, especially the paintings of Johannes Vermeer, who was virtually unknown until the latter nineteenth century. By forefronting Vermeer and his generation, we adopt a distorted view of the Dutch seventeenth century and its place in Europe, a view that plays into present-day political misunderstandings of where the Netherlands stands in the world.
This phenomenon was demonstrated and discussed by Gary Schwartz in the 32nd Uhlenbeck Lecture, held for the NIAS Fellows Association on 23 June 2014. NIAS is the Netherlands Institute for Advanced Study in the Humanities and Social Sciences.
See the pdf (1.37 mB) at 32ndUhlenbeckLectureNIAS20140623_Gary Schwartz
The terms Rembrandt school, Rembrandt workshop and Pre-Rembrandtist are taken for granted too unquestioningly. In fact, they have created immense confusion. Anticipating the second conference of Rembrandt specialists at Herstmonceux Castle in July 2011, Schwartz calls for a more critical look at the Rembrandt ambit. Continue reading “314 @RembrandtFollowers”
“Digital imagery and user-defined art,” The Art Bulletin 79 (June 1997), pp. 206-08
The complete section of The Art Bulletin in which the article by Gary Schwartz appears on pp. 206-08 is dedicated to “Digital Culture and the Practices of Art and Art History.”
“Le musée documentaire: reflections on a database of works mentioned in art treatises and town descriptions before 1800,” Journal of Information Science 15 (1989), pp. 41-47. Originally published in AICARC: Bulletin of the Archives and Documentation Centers for Modern and Contemporary Art 1986(2)/1987(1), pp. 56-59