Art historians seldom let their personal predilections and aversions show through in their writing. An exception is the connoisseurship on Maerten van Heemskerck, one of the giants of sixteenth-century European art. His first cataloguer, Thomas Kerrich, set off an abusive trend in 1829 that prevails until our day, in a kind of historiographical bullying. Schwartz takes up the cudgels for Heemskerck. Continue reading “374 Heemskerck-bashing, late and early”
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.
Schwartz muses on the Dutch research libraries he loves to visit, reminiscing about the past and worrying about the future.
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.
The Temple Mount in Jerusalem exercises a bewitching lure over Jews, Muslims and Christians. Not even the famously sober Dutch Calvinists could escape its spell. At least four seventeenth-century churches in the Republic were identified in form with the Temple. So was the Portuguese synagogue in Amsterdam. As similar as these features of the churches and the synagogue may look, the meanings they convey are antithetical.
What could be a greater honor than to be appointed Ambassador of the Free Mind? That title was bestowed on Schwartz by unrivalled champions of the free mind, the Ritman family of Amsterdam.
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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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
The royal palace in Amsterdam is being restored and cleaned. Technical repairs come in the first place, but the campaign is also intended to reduce the disturbing differences between the lightest and darkest blocks in the facade. To Schwartz’s eye the operation, impressive and succesful as it is, nonetheless increased the contrast between the upper and lower stories of the palace. Continue reading “313 The hygric division of the royal palace”
Between the 1610s and 1650 an enchanting form of painting was produced in Antwerp and Antwerp alone: the kunstkamer painting, an evocation of an art collection in which actions of various kinds take place. Love of art is not the only kind of love expressed in these paintings. In one of the very earliest examples of the genre, Schwartz discovers conjugal and filial love as well as love for God. Continue reading “311 Love in the huiskamer”