Art history from Holland
“The destigmatization of art geography: a preliminary to the study of the Dutchness of Dutch art,” Nationale identiteit en historisch besef in Nederland, ed. Els Kloek & Leen Dorsman, Utrechtse Historische Cahiers 14 (1994), nr. 4, pp. 1-14
From the proceedings of a congress on Dutch national identity.
“Lady Pictura painting flowers,” Tableau 15 (1993), nr. 6, Summer, pp. 66-81
The editors of this art magazine asked me to write about a newly discovered, exceptional kunstkamer painting. The deadline was short, but I plunged into it, telling them that I would not be able to go in search of those paintings within the painting that could not easily be identified. Fortunately, my lapses in this regard were corrected in the following issue by Edwin Buijsen.
Lady Pictura painting flowers – the painting. (A press photo from the Noordbrabants Museum, in connection with an exhibition on the Brueghel family. Credit line, with a different attribution and dating than mine: Jan Brueghel de Jonge, Allegorie op de schilderkunst, ca. 1625-1630, olieverf op koper, 49 x 77 cm. JK Art Foundation. Foto Peter Cox).
“Lady Pictura painting flowers” – the article (6.7 MB)
Edwin Buijsen, Schildersportretten in een Antwerpse kunstkamer
Comparative images that are illustrated across two pages in the magazine:
Jan Brueghel I and eleven other Antwerp painters, including Peter Paul Rubens and Frans Francken II, Allegory of sight and smell, 1618. Madrid Museo del Prado
Jan Brueghel I and Peter Paul Rubens, Allegory of sight, 1617. Madrid, Museo del Prado
Click on the images to enlarge and view the delicious details.
See also Schwartzlist 408, “The Sephardi iconophile in me”
and
Schwartzlist 424, “The transparent connoisseur 8: an ill-judged attribution in Den Bosch”
A pretty critical review of Svetlana Alpers’s book Rembrandt’s enterprise: the studio and the market, Chicago (University of Chicago Press) 1988, published in Art in America 76, nr. 11 (November 1988), pp. 25-29
“‘Though deficient in beauty’: a documentary history and interpretation of Rembrandt’s 1654 painting of Bathsheba,” in: Rembrandt’s Bathsheba reading King David’s letter, ed. Ann Jensen Adams, Cambridge, England (Cambridge University Press) 1998, pp. 176-203
For a volume on Rembrandt’s Bathsheba in the Cambridge University Press series Masterpieces of Western painting, edited by Ann Adams, I contributed an essay on the provenance and critical history of the painting, ending with an interpretation of my own.
An exploration of the riches of beauty and meaning invested in and taken from art by Guillam van Haecht and his patron Cornelis van der Geest. Published in the Dutch art magazine Tableau, the summer issue of 1996, pp. 43-52.
Scroll down to below the sidebar, which I was unable to disable.
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
PDF of Gary Schwartz, A Last Judgment to scare the hell out of you
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.
“From the word go, admiration for Rembrandt has was offset by annoyances and uncertainties of various kinds.” Thoughts on the matter as published in the Rembrandt Year volume of The Low Countries, 14 (2006), pp. 221-26
Continue reading “Yes, but: Rembrandt as an unstable medium”
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.
This text was written, in Dutch, for the magazine of the Jewish Historical Museum in Amsterdam, to mark the fortieth anniversary of the publication of the first integral edition of the great creation of Charlotte Salomon (1917-43), Life? or Theater? The original work is in care of the museum, and since its publication in book form has constantly been on demand for exhibitions all over the world. The English translation below was generated with astonishing accuracy by Google Translate and edited by me. See also
Continue reading “The making of Life? or Theater?”