Pieter Saenredam documented his own art so well in inscriptions on his paintings and drawings that even lost work can often be identified. Now, however, a completely unknown composition has turned up, a view of the artist’s birthplace – even the house in which he grew up – in a touchingly personal painting. Continue reading “316 Pieter Saenredam comes home again (with Marten Jan Bok)”
Have you seen the announcement by the Van Gogh Museum that a painting in the museum that has generally been called a self-portrait of Vincent is actually a portrait by him of his brother Theo? Before you grant it your precious credence, see what Schwartz has to say. Continue reading “315 Theo in the picture”
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”
A country art auction in England made the front pages all over the world when 2.2 million pounds was paid for a painting that looks a lot like a Rembrandt self-portrait. Is it? Schwartz thinks it is, and supplies an analysis to explain why. At the same time, he shows how the published opinions of the Rembrandt Research Project could have led to the rejection of the painting by the experts consulted by the owner and the auction house. More like an article than a column. Continue reading “285 The Cotswolds Rembrandt”
Two exhibitions of Dutch genre paintings take competing approaches to the interpretation of these irresistible depictions of everyday life. One show, in Haarlem and Hamburg, interprets them as moral warnings to the viewer; another, in Rotterdam and Frankfurt, sees them as nothing more than fun subjects. Schwartz introduces into the discussion the ideas of the literary historian René van Stipriaan, whose theories about farces for the stage open new possibilities for interpreting paintings as well.