“‘Though deficient in beauty’: a documentary history and interpretation of Rembrandt’s 1654 painting of Bathsheba,” in: Rembrandt’s Bathsheba reading King David’s letter, ed. Ann Jensen Adams, Cambridge, England (Cambridge University Press) 1998, pp. 176-203
For a volume on Rembrandt’s Bathsheba in the Cambridge University Press series Masterpieces of Western painting, edited by Ann Adams, I contributed an essay on the provenance and critical history of the painting, ending with an interpretation of my own.
Schwartz 1998 Though deficient in beauty – Bathsheba
Pondering an old, bitter debate, Schwartz puts together some previously unconnected pieces. In one year, 1654, Rembrandt painted two bathing women who make you think of sex, both of whom have been linked to models in classical antiquity. Leading to a daring conclusion.
Continue reading “413 Gazing through King David’s eyes at irresistible beauty”
Do you feel kin to people who lived in your house in the past? Schwartz indulges in the exercise, finding out that he is the successor to members of an intertwined Sephardi clan of jewelers and merchants in diamonds and pearls, members of which were Rembrandt’s next-door neighbors, while another commissioned a staggering Antwerp painting he has studied.
Continue reading “408 The iconophile Sephardi in me”
An exploration of the riches of beauty and meaning invested in and taken from art by Guillam van Haecht and his patron Cornelis van der Geest. Published in the Dutch art magazine Tableau, the summer issue of 1996, pp. 43-52.
Did Vermeer’s Kitchen maid, an icon of Dutchness, have an older, Italian sister? Schwartz finds her resemblance to an earlier, unjustifiedly doubted, Vermeer copy after an Italian painting of a saint so convincing that he sticks his neck out to argue that she does.
Continue reading “405 Early Vermeer body fluids”
Schwartz weighs in on the discussion of the iconography of the splendid Rembrandt Standard bearer now bought by the Rijksmuseum and comments sourly on its price.
Continue reading “402 Rembrandt’s self-non-portraits in armor”
This afternoon I had a query from my dear friend Anja Ševčík of the Wallraf-Richartz Museum concerning the iconography of a painting by Geldorp Gortzius of the Madonna and child with St. Anne. Rather than delving instantly into her case, I was inspired to post a salacious column on the subject that I wrote in 2003. When it appeared in the Financieele Dagblad there were incensed reactions from Christians who maintain a sanitized view of their god’s congress with a married Jewish virgin and her mother. Continue reading “188 Sex with God: for Leo Steinberg”
Scroll down to below the sidebar, which I was unable to disable.
Continue reading “Visions of Tondal in Bosch mode”
At a symposium in Vienna devoted to Jheronimus Bosch’s Last Judgment in the Paintings Gallery of the Akademie der bildenden Künste, I presented a paper that was published only a few months later (hats off to Julia Neuhaus and her staff ) in a volume of proceedings. It was dedicated to the memory of Roger Marijnissen, who died earlier that year, in January 2019, at the age of 95.
Gary Schwartz, “A Last Judgment to scare the hell out of you,” in Hieronymus Boschs Weltgerichts-Triptychon in seiner Zeit: Publikation zur gleichnamigen internationalen Konferenz vom 21. bis 23. November 2019 in der Gemäldegalerie der Akademie der bildenden Künste Wien | Hieronymus Bosch’s Last Judgment Triptych in the 1500s: Publication of the proceedings of the international conference held from 21 – 23 November 2019 in the Paintings Gallery of the Academy of Fine Arts Vienna, Vienna (Gemäldegalerie der Akademie der bildenden Künste) 2020, pp. 149-67
PDF of Gary Schwartz, A Last Judgment to scare the hell out of you
Because it was not possible to place all the illustrations I wanted, the depictions of the Vision of Tundale by followers or copyists of Bosch had to be left out. I added them separately at Visions of Tondal in Bosch mode.
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”