347 How a patrician made good for slighting a prince, maybe

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”

311 Love in the huiskamer

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”

305 Worlds within worlds: paintings and prints missing from the van Haecht exhibition

The first exhibition devoted (in part) to the work of the Antwerp master Guilllam (aka Willem) van Haecht is nearing its close in the Mauritshuis. Van Haecht was the object of intensive study by Schwartz for an unfinished dissertation. He lets down his hair and expresses his chagrin at being bypassed by the organizers. Supplemented by fascinating van Haecht materials wrongly omitted from the exhibition. Continue reading “305 Worlds within worlds: paintings and prints missing from the van Haecht exhibition”