212 The international identity of the Netherlands

The Rijksmuseum is consulting an array of outsiders in formulating its program for the New Rijksmuseum, which is to open in 2008. As a participant in the round-table discussion on “The Rijksmuseum and Dutch national identity,” Schwartz advised the museum to focus instead on Dutch international identity. He attached to it a very concrete proposal for the presentation of Dutch and foreign art in the rebuilt museum art and an interpretation of the philosophy behind the Old Rijksmuseum. Continue reading “212 The international identity of the Netherlands”

209 The taste of the unicorn

A good provenance is not supposed to add to the value of a work of art, but it does. The information that an object was once owned by someone with famous good taste is worth money on the auction block. A collection mainly of Dutch 18th-century drawings that partakes of this quality, coming up at Sotheby’s Amsterdam on 19 May, is the Unicorno Collection, accumulated over the past 50 years by Saam and Lily Nijstad.


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154 The transparent connoisseur 1: Free advice to the Van Gogh Museum

The Van Gogh Museum did not take kindly to my column of January 19th (“The saga of Bouwe Jans”). The museum feels that I criticized it unfairly for the way it handled a request for an expert opinion on the authorship of a possible van Gogh painting. I promised the museum, by way of response, to elaborate on the recommendations in my piece. I do this in print because my remarks were not intended only for the Van Gogh Museum – which I am sure behaved in all good faith in this matter – but for any body, museum or not, that proffers expert opinions on sensitive subjects to the public. Continue reading “154 The transparent connoisseur 1: Free advice to the Van Gogh Museum”

149 The saga of Bouwe Jans

The Van Gogh Museum has the good fortune of having acquired a tenacious, articulate, unforgiving critic with enough right on his side to teach it a valuable lesson. Whether the museum sees it that way I do not know; I‘m sure that I would not enjoy reading about myself the kind of things that the Dutch-English art dealer Bouwe Jans has published about the museum in his cantankerous book Artquakes and van Gogh. Yet the Van Gogh Museum and other arbiters of authenticity do have much to learn from his report. Continue reading “149 The saga of Bouwe Jans”

After I win the game I’ll tell you what the rules were, or A new Rembrandt from 1632

A painting that is ignored in the first three volumes of the Corpus of Rembrandt paintings has now been attributed to Rembrandt by the leader of the Rembrandt Research Project. His arguments give Schwartz reason to investigate his methods and ask what criteria should be addressed in judging the authorship of old master paintings. He first tells the story of how the painting was bought and sold since 1970.


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