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”
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”
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”
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”
Rembrandt’s last dated drawing and the painting that was on his easel when he died both depict the same subject – Simeon with the Christ child in the Temple – in much the same way. In honor of the memorable exhibition Late Rembrandt Schwartz publishes some thoughts on these exceptional works.
During the same years in the middle of the first half of the seventeenth century, important collections of paintings were amassed by the stadholder of the United Provinces of the Netherlands, Frederik Hendrik, prince of Orange (1584-1647), and Cardinal Francesco Barberini (1597-1679), the nephew of Maffeo Barberini, Pope Urban VIII. The inventories of their collections were drawn up in 1632 and 1625, respectively, offering a good basis for comparison. The article deals not only with the collections, the inventories and their publication in the twentieth century, but also with the structure of the patronage networks deployed by pope and stadholder.
The article was published in honor of Marilyn Lavin, in a festschrift offered by her friends.
Medieval, Renaissance, Baroque: a cat’s cradle for Marilyn Aronberg Lavin, ed. David A. Levine and Jack Freiberg, New York (Italica Press) 2010, pp. 167-178.
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During the first half of the seventeenth century, successive shahs of Persia took Dutch artists into their service. Other Dutch artists are recorded in Isfahan in other capacities. All but one – the most remarkable of them, Jan Lucasz. van Hasselt – came east with the Dutch East India Company, which had a distinctly uncomfortable feeling about having artists in its employ. All that we have left are documents and stories.
From exhib. cat. The fascination of Persia: The Persian-European dialogue in seventeenth-century art & contemporary art of Teheran, ed. Axel Langer, Zürich (Museum Rietberg) and Verlag Scheiddeger & Spiess 2013, pp. 153-167
“Zwischen Hof und Handelsgesellschaft: Niederländische Künstler in Persien,” in Ausstellungskatalog Sehnsuch Persien: Austausch und Rezeption in der Kunst Persiens und Europas im 17. Jahrhundert * Gegenwartskunst aus Teheran, herausgegeben von Axel Langer, Zürich (Museum Rietberg) und Verlag Scheiddeger & Spiess 2013, S. 153-167
The illustrations are in low resolution.
Two brothers from an English aristocratic family that was down on its luck, Anthony and Robert Sherley, found their way in 1598 to Persia, where they entered the service of Shah ‘Abbas the Great. Their scarcely believable fortunes – both became ambassadors of the shah to the kingdoms, empire and papacy of Europe – are here reviewed, especially with attention to the prints and paintings through which they displayed their Persian status.
From exhib. cat. The fascination of Persia: The Persian-European dialogue in seventeenth-century art & contemporary art of Teheran, ed. Axel Langer, Zürich (Museum Rietberg) and Verlag Scheiddeger & Spiess 2013, pp. 78-99
“Die Sherleys und der Schah: Persien als Spielfigur in einem Schurkengambit,” in Ausstellungskatalog Sehnsuch Persien: Austausch und Rezeption in der Kunst Persiens und Europas im 17. Jahrhundert * Gegenwartskunst aus Teheran, herausgegeben von Axel Langer, Zürich (Museum Rietberg) und Verlag Scheiddeger & Spiess 2013, S. 78-99
The illustrations are in low resolution.
The legendary single sale of a painting by Vincent van Gogh in his lifetime is not the art market discovery it is usually taken to be. It has a rich and moving background involving a cast of admirable characters, not least of them Henri Toulouse-Lautrec, who in Brussels challenged a vilifier of van Gogh to a duel. Continue reading “337 Here’s to Vincent and Theo, Anna, Eugène and Octave”
Relates a poem by Constantijn Huygens on the Mariakerk in Utrecht, to an interior of the church by Pieter Saenredam showing the relief of a bull dancing on waves referred to in the poem, a painting that comes from Huygens’s house in The Hague. Religious, historical and architectural issues are heavily involved in the poem and the painting. As far as the author is aware, this is the first publication dealing with Dutch church painting in other than formal and antiquarian terms.
Gary Schwartz, “Saenredam, Huygens and the Utrecht bull,” Simiolus: Kunsthistorisch Tijdschrift 1 (1966-67), pp. 69-93
Also available as an original offprint from the author: Gary.Schwartz@xs4all.nl.