“J. van Beecq, Amsterdam marine painter, ‘the only one here [in France] who excels in this genre’”

From the proceedings of a symposium held at the university of Lille in 2008.

“J. van Beecq, Amsterdam marine painter, ‘the only one here [in France] who excels in this genre,’” in Les échanges artistiques entre les anciens Pay-Bas et la France, 1482-1814, ed. Gaëtane Maës and Jan Blanc, Turnhout (Brepols) 2010, pp. 15-32

Open pdf at 2010LilleSchwartzEchanges (59Mb)

A reconstruction of the career of a Dutch painter who is known only for work in England and France. An accomplished follower of Willem van de Velde the Younger, van Beecq started off on a highly promising career in France, but failed to establish there anything like the position of van de Velde in England and the Netherlands. The problem seems to have lain in deficient patronage, even though van Beecq had good connections and much to offer as an artistic adjunct to the French import of Dutch shipbuilders for its naval fleet.

The lost portrait oeuvre of Gerard Pietersz. van Zijl, from the tribute volume to Rudi Ekkart

Gary Schwartz, “Gerard Pietersz. van Zijl the portraitist: a ghost story,” in Facebook: studies on Dutch and Flemish portraiture of the 16th-18th centuries, Liber amicorum presented to Rudolf E.O. Ekkart on the occasion of his 65th birthday, Leiden (Primavera Pers) and The Hague (Netherlands Institute for Art History [RKD]) 2012, pp. 301-10

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With Emanuel de Witte in the Oude Kerk in Amsterdam: from the tribute volume to Ildikó Ember

Gary Schwartz, “With Emanuel de Witte in the Oude Kerk in Amsterdam,” Geest en gratie: essays presented to Ildikó Ember on her seventieth birthday, Budapest (Szépmüvészeti Múzeum) 2012, pp. 84-91

The photographs of the Oude Kerk and Nieuwe Kerk were taken in spring 2012 by Piet Musters.

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Ars moriendi: the mortality of art

Gary Schwartz, “Ars moriendi: the mortality of art,” Art in America , November 1996, pp. 72-75

The natural condition of art is not to live on but to perish — usually sooner, almost inevitably later. We deceive ourselves in claiming that art is an undying repository of memory, that it comes to us intact from the past, and that it is in our power to preserve it for posterity. Every generation sees the decay or destruction of far more art than it conserves. This is no less true today than in the past. The conservation of art demands money, space, expert knowledge and lots of love. But which culture will lavish such attention on the art of an enemy or an alien group? Without it, art objects begin at a given moment to obey physical rather than cultural laws of survival.

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The clones make the master: Rembrandt in 1650

Gary Schwartz, “The clones make the master: Rembrandt in 1650,” in: Horizonte: Beiträge zu Kunst und Kunstwissenschaft | Horizons: essais sur l’art et sur son histoire | orizzonti: saggi sull’arte e sulla storia dell’arte |  Horizons: essays on art and art research, Zürich (Schweizerisches Institut für Kunstwissenschaft) and Ostfildern-Ruit, Germany (Hatje Cantz) 2001, pp. 53-64

Horizonte is a volume of studies published to mark the 50th anniversary of the Schweizerisches Institut für Kunstwissenschaft (Swiss Institute for Art Research). The article deals with unacknowledged ambiguities in our understanding of Rembrandt.

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Rembrandt Harmensz. van Rijn, Simeon with the Christ child in his arms, with Mary and Joseph

“Rembrandt Harmensz. van Rijn, Simeon with the Christ child in his arms, with Mary and Joseph,” In arte venustas: studies on drawings in honour of Teréz Gerszi, presented on her eightieth birthday, Budapest (Szépmüvészeti Múzeum) 2007, pp. 170-72

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