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.
Christie’s is about to auction as a Vermeer a painting of the early Christian St. Praxedis, who distinguished herself by conserving the body parts of martyrs. In doing so, the auction house braves the dismissal of the Vermeer attribution by nearly all experts in the field. Schwartz is convinced that Christie’s is right and they’re wrong. Continue reading “332 Vermeer’s blood-sopping saint”