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.
On four successive Mondays, from 21 January to 14 February, I moderated a webinar on the theme “Rembrandt seen through Jewish eyes,” in preparation for an exhibition of that name in the Jewish Museum and Tolerance Center in Moscow. One point of disagreement among the speakers was how welcoming the Netherlands was to Jewish immigrants. I felt that some speakers had too rose-colored an impression of things, for which I bring the following heavy evidence to bear.
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”
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
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.
Gabriel Metsu’s Sick child in the Rijksmuseum is the poster boy of domesticism in Dutch art. What could be more touching? Schwartz thinks it was also meant to move the viewer in other ways than as an image of maternal care. He thinks he can identify the pathetic little boy as a personification of a high office leading an ailing existence. Continue reading “397 Gabriel Metsu’s Sick child – of state?”
Working in 2021 on a book about a disputed Rembrandt self-portrait, I wished to refer to the article below, from July 1992, for its comments on the Rembrandt Research Project. The English text had not been published before. If I am not mistaken, this article has never been referred to in subsequent literature on the painting.
On 29 and 30 October 2020, the ceremonial openings were to have taken place of an exhibition in Kunstmuseum Basel of which I am guest curator: Rembrandt’s orient: west meets east in Dutch art of the seventeenth century. Because of the pandemic, no openings are being held. Today, I am pleased to say, 31 October, the exhibition is open to the public. Travel restrictions have kept me from being in on the hanging or seeing the exhibition at all for the time being. I can only hope that I can see it before it closes on 14 February 2021 and that by the time the exhibition moves on to Museum Barberini in Potsdam in March 2021 there will be an opening at which I can speak. The catalogue includes an essay of mine on Rembrandt. It had to be shortened, but I have permission from the museums to publish the complete version on the Schwartzlist. The essay is a review of oriental motifs in Rembrandt’s art, which tend to be conventional, and an argument concerning the nature of one group of works that is entirely unique.
To entice you into reading the essay, this column shows only the illustrations. To find out what I have to say about them, click here.
Did Rembrandt have more sympathy for Jews and Judaism than most of his contemporaries? This has long been taken for granted, and his paintings of Old Testament subjects and portraits of Jews have been discussed in this light. Since 1984, Schwartz has been questioning this assumption. Here he presents new evidence that Rembrandt cooperated in attaching anti-Semitic meaning to his work. Continue reading “375 Another third poem on Rembrandt Jews”
Talk of iconic! What could be more so than the Temple in Jerusalem? Countless are the chapels, churches, synagogues, mosques and palaces modelled on an idea of what the Temple of Solomon looked like, measured or meant. The Reformed Christians of the Dutch Republic were just as susceptible to the sacred mystery of the Temple as Catholics, Muslims and Jews in their own worlds. This study shows how reconstructions of the Temple on paper (by Spanish Jesuits in 1595) and in a famous model (by a Dutch Jew in the 1640s) affected the form of church, synagogue and palace architecture and decoration in the mid-seventeenth-century Netherlands.
Gary Schwartz, “The Temple Mount in the Lowlands,” from: The Dutch intersection: the Jews and the Netherlands in modern history, edited by Yosef Kaplan, Leiden and Boston (Brill) 2008, pp. 111-21. The proceedings of the Tenth International Symposium on the History of the Jews in the Netherlands, held in Jerusalem in 2004
Download pdf and read it alongside the illustrations below.
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”