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.
Gary Schwartz, “Gerard Pietersz. van Zijl the portraitist: a ghost story,” in Facebook: studies on Dutch and Flemish portraiture of the 16th-18th centuries, Liber amicorum presented to Rudolf E.O. Ekkart on the occasion of his 65th birthday, Leiden (Primavera Pers) and The Hague (Netherlands Institute for Art History [RKD]) 2012, pp. 301-10
Gary Schwartz, “With Emanuel de Witte in the Oude Kerk in Amsterdam,” Geest en gratie: essays presented to Ildikó Ember on her seventieth birthday, Budapest (Szépmüvészeti Múzeum) 2012, pp. 84-91
The photographs of the Oude Kerk and Nieuwe Kerk were taken in spring 2012 by Piet Musters.