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.
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.