Rembrandt was the most avid imaginable illustrator of stories from the Bible. But the relationship of his images to Scripture is sometimes inexplicably fallacious. Schwartz probes this delicate question.
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”
For Peter Hecht, who following his retirement from a celebrated professorship in art history at Utrecht University, entered the fray of interpreters of Rembrandt’s notoriously treacherous Leiden History Painting. Schwartz reviews the state of the question, especially with regard to the emotions of three of the figures, and reintroduces into the discussion a neglected piece of pertinent evidence.