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.
In his paintings of faces Rembrandt displays knowledge of a particular muscular feature, the one that gives some people bags under their eyes. Schwartz became mildly obsessed with following this from face to face and found that Rembrandt never gave paying sitters the bags he admits to in some self-portraits and mercilessly records when painting old studio models.
The 350th anniversary of the Treaty of Münster and the Peace of Westphalia was celebrated with symposia in Münster, Osnabrück and the Louvre. My contribution in Paris was a lecture on the image of Dutch burghers in painting with respect to the Eighty Years War.
“City fathers as civic warriors,” in: Jacques Thuillier and Klaus Bussmann, coordinators [aside: the editors, who should have been mentioned on the title page, were Hermann Arnhold and Matthias Waschek], 1648: Paix de Westphalie. L’art entre la guerre et la paix | Westfälischer Friede. Die Kunst zwischen Krieg und Frieden. Actes du colloque organisé par le Westfälisches Landesmuseum le 19 november 1998 à Münster et à Osnabrück et le Service culturel du musée du Louvre les 20 et 21 novembre 1998 à Paris, Paris (Louvre and Klincksieck) and Münster (Westfälisches Landesmuseum) 1999, pp. 201-225
The proceedings were published in a thick, tightly bound volume that is difficult to scan. Apologies as well for the lack of complete titles in the notes – the bibliographies of the individual essays are combined at the end in a 28-page section. For full references, send me a mail.
Schwartz uncovers misappropriations of the great Dutch artist by a raft of writers and an artist. Is he sorry he didn’t write a novel about Vermeer? Maybe.
March 2001 Art in America pp. 104-07 (can be enlarged with CTRL+ for legibility)
Last paragraph and notes (all numbered i – you can link them to their place in the text if you really want to)
In a fraught discussion about Rembrandt’s motivation for making so many self-portraits, the leading Rembrandt expert of the day, Ernst van de Wetering, let himself be misled by a faulty publication of 1887, uncritically recycled in 1906 and 1979, into making an incorrect argument to which he attaches fundamental importance.
Donations to this installment of the Schwartzlist will be used not only for the website but also as a contribution to Loekie and Gary’s golden anniversary present, a new television set. See below.
The contributions of the Rembrandt Research Project to the study of Rembrandt paintings are countless and invaluable. In particular, the insistence of Ernst van de Wetering that the physical study of paintings be integrated into the practice of connoisseurship has changed the face of the field. However, inconsistencies in the six volumes of its Corpus of Rembrandt paintings leave us in uncertainty concerning its reconstruction of Rembrandt’s oeuvre. Schwartz puts his finger on a possible re-attribution that should be forthcoming, but isn’t.
Continue reading “364 The transparent connoisseur 5: Keeping the Rembrandt Research Project to its word”
Schwartz looks back on his beginnings as an art historian. Grad student blues and release through new loves.
The sale of a painting by Govert Flinck for a higher price than some Rembrandts have fetched in recent years prompts a reflection on the ongoing (and never-ending) revision of our scale of values. Continue reading “352 Up the Rembrandt school!”
On the 30th of September 1676 the Delft courts appointed Anthoni van Leeuwenhoek as curator to the insolvent estate of Catharina Bolnes, the widow of Johannes Vermeer. So great is the power of those two names that generations of art historians have interpreted the document as a sign of profound bonding between art and science. Schwartz, in the footsteps of Michael Montias, reveals the disenchanting truth.
In the splendid Antwerp specialty of kunstkamer painting, one painting and one alone migrated from one environment to another, from the patrician collection of Cornelis van der Geest to the fabled one of the archdukes of the southern Netherlands. Schwartz has an idea why. Continue reading “347 How a patrician made good for slighting a prince, maybe”