There are nearly one-and-a-half times as many recorded Dutch painters of the seventeenth century by whom not a single work is known than masters with an identified oeuvre. And then there are those by whom we know only one really good painting. Where did their lost paintings go? Lots were thrown away, but others, Schwartz argues, are catalogued under well-known names. This subverts one of the basic assumptions of the connoisseur’s attribution.
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