If they didn’t live three centuries apart and if he were a human being instead of a fictional character, you could easily confuse Gulley Jimson with Emanuel de Witte. Both were gifted painters who insulted, bullied and stole from their patrons and were always ready for fights they couldn’t win.
What could be a greater honor than to be appointed Ambassador of the Free Mind? That title was bestowed on Schwartz by unrivalled champions of the free mind, the Ritman family of Amsterdam.
The Francesco Datini Institute in Prato holds a highly distinguished yearly conference (Settimana di studi) on economics and its history. The range of subjects is impressive and inspiring, from “Wool as a raw material” in 1969 to “Water management in Europe, twelfth to eighteenth centuries” in 2017. In 2001 the theme was “Economics and art,” with more than fifty European and American participants. My contribution was a comparison of the patronage networks in three major seventeenth-century art centers. I suggested that certain structural similarities reveal themselves that may point to deep-lying social forces.
The proceedings were published in 2002 in a form that is not easy to scan well. Now that I have tried, fifteen years later, I see that the results are legible enough. An invaluable feature of Datini proceedings is that they include the discussions following each block of papers. Click here for a column on the congress.
“The structure of patronage networks in Rome, The Hague and Amsterdam in the 17th century,” in: Simonetta Cavaciocchi, ed., Economia e arte secc. XIII-XVIII: Atti della “Trentatreesima Settimana di Studi” 30 april-4 maggio 2001, Le Monnier for Istituto Internazionale di Storia Economica “F. Datini,” Prato 2002, pp. 567-74
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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”
A wrong call by the Rembrandt Research Project (“the authority on Rembrandt and has final say in whether a painting is genuine”- Wikipedia) cost the heirs of the generous art collector Harold Samuel a not so small fortune. Schwartz tells the tale and discusses the issues involved. Continue reading “341 The transparent connoisseur 3: the 30 million pound question”
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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