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”
“Saenredam, Huygens and the Utrecht bull” was Gary Schwartz’s first publication as an art historian. He looks back on how it came into being and what it meant in his life. Schwartz would like to think of the Dutch- and Flemish-speaking low countries as one culture, but circumstances keep intruding on this ideal image. Circumstances such as the lives and posterities of Peter Paul Rubens and Rembrandt van Rijn.
Continue reading “363 Saenredam and Huygens; Rubens and Rembrandt”
Schwartz looks back on his beginnings as an art historian. Grad student blues and release through new loves.
Continue reading “My reflection in Clio’s mirror”
The 2018 volume of The Low Countries, an outstanding yearbook to which I have been contributing for twenty years, is the last to appear in print. From now on it will be brought out online only. The yearbook starts out with 100 pages of contributions from CODART members, in recognition of CODART’s twentieth anniversary. Mine juxtaposes the very limited cross-border experiences of the two giants of seventeenth-century art in the Low Countries and tells about the one time, two hundred years later, when they were briefly conjoined as equals in each other’s countries.
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A German art critic-editor and a German publisher have brought out one of the main ego documents of twentieth-century art in England and the US. Schwartz’s personal comments on and associations evoked by R.B. Kitaj’s outrageous Confessions of an old Jewish painter.
Continue reading “360 Kitaj lets it all hang out”
The Jewish Historical Museum in Amsterdam has opened one of the most remarkable exhibitions you are ever likely to see, Charlotte Salomon. Life? or Theatre? It runs for a generous five months from 20 October 2017 to 25 March 2018. The occasion is the 100th anniversary of the artist’s birth in 1917. In 1943 she was murdered in Auschwitz.
Continue reading “358 The titles of Charlotte Salomon’s masterpiece”
To mark Rembrandt’s upcoming birthday, Schwartz reminisces about his beginnings in Rembrandt studies half a century ago.
Continue reading “354 How I became a Rembrandt scholar”
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!”
Seven years after his death, the memory of the Utrecht illustrator and draftsman Peter Vos is enlivened in an exemplary edition of his illuminated letters. The letters enriched the lives of their recipients, and now they do so for us all. Continue reading “350 The munificence and imaginativeness of Peter Vos (1935-2010)”
Lead essay in the catalogue of an exhibition at the Bucerius Forum, Hamburg, 4 June-11 September 2016: Verkehrte Welt: das Jahrhundert von Hieronymus Bosch, edited by Michael Philipp
The essay argues that the Garden of Delights by Jheronimus Bosch is based on the first account of creation in the Bible. Genesis 1 speaks of the creation of man and woman simultaneously, both in the image of God. No prohibition is expressed against eating forbidden fruit; the first humans are not disobedient; there is no serpent to tempt them; they are not embarrassed by their nakedness; they are not expelled from Eden and cursed with a life of hard work and painful childbearing. This picture corresponds to the left panel of the Garden of Delights. The spectacular center panel shows what the world would have looked like had the Fall of Man not taken place, had mankind been free merely to “be fruitful and multiply.”
The hell panel is compared by the author to the 12th-century Vision of Tundale, a Dutch translation of which was published in Den Bosch in 1484. The point of both works is to frighten the reader or viewer into repenting from sin before it is too late. The message is not one of inevitable damnation, but of how to achieve salvation, as did Tundale.
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