Schwartz looks back on his beginnings as an art historian. Grad student blues and release through new loves.
The 2018 volume of The Low Countries, an outstanding yearbook to which I have been contributing for twenty years, is the last to appear in print. From now on it will be brought out online only. The yearbook starts out with 100 pages of contributions from CODART members, in recognition of CODART’s twentieth anniversary. Mine juxtaposes the very limited cross-border experiences of the two giants of seventeenth-century art in the Low Countries and tells about the one time, two hundred years later, when they were briefly conjoined as equals in each other’s countries.
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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
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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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Lead essay in the catalogue of an exhibition at the Bucerius Forum, Hamburg, 4 June-11 September 2016: Verkehrte Welt: das Jahrhundert von Hieronymus Bosch, edited by Michael Philipp
The essay argues that the Garden of Delights by Jheronimus Bosch is based on the first account of creation in the Bible. Genesis 1 speaks of the creation of man and woman simultaneously, both in the image of God. No prohibition is expressed against eating forbidden fruit; the first humans are not disobedient; there is no serpent to tempt them; they are not embarrassed by their nakedness; they are not expelled from Eden and cursed with a life of hard work and painful childbearing. This picture corresponds to the left panel of the Garden of Delights. The spectacular center panel shows what the world would have looked like had the Fall of Man not taken place, had mankind been free merely to “be fruitful and multiply.”
The hell panel is compared by the author to the 12th-century Vision of Tundale, a Dutch translation of which was published in Den Bosch in 1484. The point of both works is to frighten the reader or viewer into repenting from sin before it is too late. The message is not one of inevitable damnation, but of how to achieve salvation, as did Tundale.
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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, 300-20
“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, 294-97, 300-20
“Die Sherleys und der Schah: Persien als Spielfigur in einem Schurkengambit,” in Ausstellungskatalog Sehnsucht 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
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.
In October 2014 the Szépmüvészeti Múzeum in Budapest opened the large and ambitious exhibition Rembrandt and the Dutch Golden Age, with 195 displays, mainly paintings. It was accompanied by a correspondingly large, magnificently printed 606-page catalogue. Preceding the entries are five essays, one of which I wrote and which with the kind permission of the museum I make available on Schwartzlist Documents.
Gary Schwartz, “The meanings of Rembrandt,” in exhib. cat. Rembrandt and the Dutch Golden Age, Budapest (Szépmüvészeti Múzeum) 2014, pp. 36-57