For Peter Hecht, who following his retirement from a celebrated professorship in art history at Utrecht University, entered the fray of interpreters of Rembrandt’s notoriously treacherous Leiden History Painting. Schwartz reviews the state of the question, especially with regard to the emotions of three of the figures, and reintroduces into the discussion a neglected piece of pertinent evidence.
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.
Like the conjunctions of stars and planets, artists can become aligned so closely that you can’t see the difference between one and another. When that happens, the result can be greater than the sum of the parts. Schwartz looks at two Italian and two Dutch pairs of artists who entered into bondings of that kind.
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”
“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.
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.
Download the pdf (280 Kb)
To mark Rembrandt’s upcoming birthday, Schwartz reminisces about his beginnings in Rembrandt studies half a century ago.
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!”
The deal is done. The Louvre and Rijksmuseum have come into shared ownership of Rembrandt’s earliest full-length, life-size portraits. Buyers and sellers proclaim piously that they were driven by angst that these cultural treasures might disappear to Arabia or China. Schwartz tests that proposition and finds it wanting. Continue reading “344 Some Rothschild Rembrandts, seen and unseen”