The world press has announced that a painting of an old man in Woburn Abbey, England, has been newly discovered to be an authentic Rembrandt. Schwartz, who included the painting in his book on Rembrandt of 1984, as have all other cataloguers of Rembrandt paintings from 1836 on, is incensed that the abbey practices such flagrant spin, and that the press feeds it to us so uncritically. Continue reading “319 Chopped liver at Woburn Abbey”
Gary Schwartz, “Rembrandt: ‘Connoisseurship’ et érudition,” Revue de l’Art 42 (1978), pp. 100-06
Gary Schwartz, “The clones make the master: Rembrandt in 1650,” in: Horizonte: Beiträge zu Kunst und Kunstwissenschaft | Horizons: essais sur l’art et sur son histoire | orizzonti: saggi sull’arte e sulla storia dell’arte | Horizons: essays on art and art research, Zürich (Schweizerisches Institut für Kunstwissenschaft) and Ostfildern-Ruit, Germany (Hatje Cantz) 2001, pp. 53-64
Horizonte is a volume of studies published to mark the 50th anniversary of the Schweizerisches Institut für Kunstwissenschaft (Swiss Institute for Art Research). The article deals with unacknowledged ambiguities in our understanding of Rembrandt.
The terms Rembrandt school, Rembrandt workshop and Pre-Rembrandtist are taken for granted too unquestioningly. In fact, they have created immense confusion. Anticipating the second conference of Rembrandt specialists at Herstmonceux Castle in July 2011, Schwartz calls for a more critical look at the Rembrandt ambit. Continue reading “314 @RembrandtFollowers”
“Rembrandt Harmensz. van Rijn, Simeon with the Christ child in his arms, with Mary and Joseph,” In arte venustas: studies on drawings in honour of Teréz Gerszi, presented on her eightieth birthday, Budapest (Szépmüvészeti Múzeum) 2007, pp. 170-72
Gary Schwartz, “Rembrandt’s David and Mephiboseth: a forgotten subject from Vondel,” in Tribute to Lotte Brand Philip, art historian and detective, New York (Abaris Books) 1985, pp. 166-74
Although the discussion is still somewhat one-sided, Schwartz continues his attempt to correct certain misapprehensions on the part of his colleagues concerning the nature and extent of Rembrandt’s work as a draftsman. Here he compares the promise of the recent Getty exhibition with the compromise it delivers. Continue reading “303 The transparent connoisseur 2: more Rembrandt core”
An extended critique of the Rembrandt Research Project and of connoisseurship in general. Published in the last issue of the short-lived journal Annals of Scholarship. The issue is dated 1993, but the sickness and death of the editor, Ruth Graham, led to a delay in publication until 1995.
Prevailing opinion has it that Rembrandt drew far fewer drawings than the 1500 in the standard catalogue of Otto Benesch, and that he almost never used drawings to prepare his compositions. Schwartz posits the opposite: that Rembrandt drew far more than 1500 drawings and that it was his normal practice to use drawings – most of them now lost – in the preparation of his etchings and paintings. Continue reading “302 Did Rembrandt really not use drawings for his paintings and etchings?”
Since 1991, the opinion has held sway that only 70 drawings by Rembrandt can be confirmed with great certainty. That is, drawings that are signed, otherwise inscribed in Rembrandt’s hand, indented for transfer to the etching plate or serving as preparatory studies for an autograph painting or etching. Schwartz now expands that list from 70 to 169. Continue reading “301 Rembrandt’s core: the drawings”