For whatever bad reason this has happened, the long-awaited catalogue of Rembrandt’s drawings by Peter Schatborn, former head of the department of prints and drawings of the Rijksmuseum, has been published without a concordance in which one can look up the drawings by their Benesch numbers. Those are the numbers that have been used universally since the appearance in 1954-57 of the catalogue by Otto Benesch, edited by his wife Eva Benesch, In 1974, after the death of Otto, Eva brought out a revised edition. Both were published by Phaidon Press. Peter Schatborn’s catalogue came out in 2019 in a volume that also contains Rembrandt’s etchings: Peter Schatborn and Erik Hinterding, Rembrandt: the complete etchings and drawings, Cologne (Taschen) 2019.
Because I found Schatborn’s catalogue unacceptably irritating to use without a concordance – for which reason I have not been using it at all – I have made a concordance, which I make available to all.
Concordance of Benesch numbers with Schatborn numbers
In an article in the Dutch art magazine Kunstschrift, the editor, Mariette Haveman, disparaged the importance Schwartz attaches to documentary records as evidence for understanding Rembrandt as a person. Schwartz responds.
Letter to the editor: Gary Schwartz, 8 December 1991: “Het belang van banale zaken,” Kunstschrift 36:1 (1992), p. 6
The full version of an essay published in the catalogue to the exhibition Rembandt’s Orient: West Meets East in Dutch Art of the Seventeenth Century, Basel (Kunstmuseum Basel) and Potsdam (Museum Barberini) 2020-21.
Continue reading “Convention and uniqueness in Rembrandt’s response to the east”
For the befriended art dealer Saam Nystad, in 1983 Schwartz researched three paintings he had on offer. Four decades later, he was able to borrow for his exhibition Rembrandt’s Orient, one of them, Pieter Lastman’s Jephtha’s daughter, from the museum to which it had been sold, Kunstmuseum Winterthur.
Taking thankful advantage of an opportunity to honor an old and beloved friend, the brilliant David Freedberg, I wrote an essay on one of the subjects David has claimed as his own, emotion in art. It is based on my work for the exhibition Emotions: pain and pleasure in Dutch painting of the Golden Age, Haarlem, Frans Hals Museum, and the aftermaths of that show.
To mark the publication of the Dutch edition of a book on Pieter Saenredam that I wrote with Marten Jan Bok, the Frans Hals Museum in Haarlem invited us to install a small exhibition in the museum. The central work was Saenredam’s painting of the town hall of Haarlem. Marten Jan and I wrote a booklet to accompany the show. In it we expressed the wish that the museum acquire the painting. This has not happened. It remained with Wildenstein & Co. until they put it into a sale at Sotheby’s New York on 28 January 2016. I am told that it was purchased by a married couple of distinguished American collectors who are planning to donate it to a U.S. museum. All the better that it has passed into the hands of people who really want it.
In the Art Bulletin issue of June 1997, a number of scholars were asked to put into writing their thoughts on “Digital culture and the practices of art and art history.” My contribution predicts that viewers will be given increased control over the ways they look at art, and looks forward to the implementation of instruments that can enrich museum visits. Had I known at the time that “augmented reality” already had a name, I would have used that term.
Digital imagery and user-defined art
See here for the complete set of essays
The 350th anniversary of the Treaty of Münster and the Peace of Westphalia was celebrated with symposia in Münster, Osnabrück and the Louvre. My contribution in Paris was a lecture on the image of Dutch burghers in painting with respect to the Eighty Years War.
“City fathers as civic warriors,” in: Jacques Thuillier and Klaus Bussmann, coordinators [aside: the editors, who should have been mentioned on the title page, were Hermann Arnhold and Matthias Waschek], 1648: Paix de Westphalie. L’art entre la guerre et la paix | Westfälischer Friede. Die Kunst zwischen Krieg und Frieden. Actes du colloque organisé par le Westfälisches Landesmuseum le 19 november 1998 à Münster et à Osnabrück et le Service culturel du musée du Louvre les 20 et 21 novembre 1998 à Paris, Paris (Louvre and Klincksieck) and Münster (Westfälisches Landesmuseum) 1999, pp. 201-225
The proceedings were published in a thick, tightly bound volume that is difficult to scan. Apologies as well for the lack of complete titles in the notes – the bibliographies of the individual essays are combined at the end in a 28-page section. For full references, send me a mail.
Schwartz uncovers misappropriations of the great Dutch artist by a raft of writers and an artist. Is he sorry he didn’t write a novel about Vermeer? Maybe.
March 2001 Art in America pp. 104-07 (can be enlarged with CTRL+ for legibility)
Last paragraph and notes (all numbered i – you can link them to their place in the text if you really want to)
At the request of the New York magazine ArtNews, of which in the 1970s I was Netherlands correspondent, I visited the Prado Museum in Madrid to report on the new climate control facilities being installed. The article appeared in the March 1980 issue, contributing to the award to ArtNews of the George Polk Award for Cultural Journalism. I am pleased to report that in the intervening decades the Prado has more than redeemed itself from the dire situation in which I encountered it.
Continue reading “Can the Prado be reformed before its pictures disintegrate?”