Gary Schwartz, “Rembrandt’s David and Mephiboseth: a forgotten subject from Vondel,” in Tribute to Lotte Brand Philip, art historian and detective, New York (Abaris Books) 1985, pp. 166-74
Gary Schwartz, “Jan van der Heyden and the Huydecopers of Maarsseveen,” The J. Paul Getty Museum Journal 11 (1983), pp. 197-220
The painting that is the subject of the article was de-accessioned by the Getty Museum and sold at auction in New York (Sotheby’s) on 25 January 2007. It was bought by Baron Willem van Dedem, a distinguished collector of Dutch and Flemish paintings. (Baron van Dedem died in November 2015.)
“Digital imagery and user-defined art,” The Art Bulletin 79 (June 1997), pp. 206-08
The complete section of The Art Bulletin in which the article by Gary Schwartz appears on pp. 206-08 is dedicated to “Digital Culture and the Practices of Art and Art History.”
“Le musée documentaire: reflections on a database of works mentioned in art treatises and town descriptions before 1800,” Journal of Information Science 15 (1989), pp. 41-47. Originally published in AICARC: Bulletin of the Archives and Documentation Centers for Modern and Contemporary Art 1986(2)/1987(1), pp. 56-59
On Sunday afternoon, 13 March 2011, the eminent art historian Leo Steinberg died, in his own long-time home on West 66th Street in New York, at the age of 90. I have called Leo Steinberg a good friend since we met for the first time at the National Gallery in London in 1966. When Loekie and I were married in New York in April 1968, Leo took us and our wedding guests to lunch at Ratner’s on Second Avenue. We have always thought of him as the godfather of our marriage, now in its 42nd year.
In 1994, Leo Steinberg came to the Netherlands to deliver a public lecture at Utrecht University. This is the text of the talk by which I introduced him to the audience.
Open pdf (282 kB) at Leo Steinberg Utrecht 1994
Vol. IV of A corpus of Rembrandt paintings is the first for which Ernst van de Wetering is fully responsible. The uneasy relationship of the new volume to vols. I-III is examined critically.
Published in HNA News and Review of Books, November 2006, pp. 28-31, without illustration. Available online, though only for members of HNA (Historians of Netherlandish Art – if you are not a member – join!). Published previously in German in the Frankfurter Allgemeine Zeitung, 3 May 2006, which can be downloaded for one euro at https://fazarchiv.faz.net/.
Download pdf (300 kB)
An extended critique of the Rembrandt Research Project and of connoisseurship in general. Published in the last issue of the short-lived journal Annals of Scholarship. The issue is dated 1993, but the sickness and death of the editor, Ruth Graham, led to a delay in publication until 1995.
Not more often than once in a lifetime does it happen that a senior practitioner of a given field can move to another and revolutionize it. That was the achievement of the later Michael Montias.
A painting that is ignored in the first three volumes of the Corpus of Rembrandt paintings has now been attributed to Rembrandt by the leader of the Rembrandt Research Project. His arguments give Schwartz reason to investigate his methods and ask what criteria should be addressed in judging the authorship of old master paintings. He first tells the story of how the painting was bought and sold since 1970.