Rembrandt’s last dated drawing and the painting that was on his easel when he died both depict the same subject – Simeon with the Christ child in the Temple – in much the same way. In honor of the memorable exhibition Late Rembrandt Schwartz publishes some thoughts on these exceptional works.
In October 2014 the Szépmüvészeti Múzeum in Budapest opened the large and ambitious exhibition Rembrandt and the Dutch Golden Age, with 195 displays, mainly paintings. It was accompanied by a correspondingly large, magnificently printed 606-page catalogue. Preceding the entries are five essays, one of which I wrote and which with the kind permission of the museum I make available on Schwartzlist Documents.
Gary Schwartz, “The meanings of Rembrandt,” in exhib. cat. Rembrandt and the Dutch Golden Age, Budapest (Szépmüvészeti Múzeum) 2014, pp. 36-57
Connoisseurship: l’oeil, la raison et l’instrument, ed. Patrick Michel, Paris (Ecole du Louvre) 2014, pp. 229-37.
Open pdf (663 kB) at Connoisseurship Schwartz
The Rembrandt Research Project had everything going for it when it set out in 1968 to examine the authorship of all the paintings seriously attributed to the master. However, by 1991, after publishing three massive volumes covering half of Rembrandt’s career, it ran out of steam and four of the five members quit the project. The remaining member, Ernst van de Wetering, took it over, admitting that vols. 1-3 were a failure. Schwartz asks why and suggests that the fault lay less with the members of the project than with the impossible pretensions of connoisseurship itself.
Rembrandt’s Dürer is the text of a talk delivered by Gary Schwartz on 9 March 2013 at the opening of a sales exhibition of work on paper by both artists at Christopher-Clark Fine Art, 377 Geary Street, San Francisco. These pages are from a printed brochure produced by the gallery.
The emergence of an unknown painting with a close resemblance to an engraving said to reproduce a painting by Rembrandt brings a host of associated images, objects and persons into play. Continue reading “323 The Rákóczy identity”
Cultural pessimists who are sure of the ongoing decline in our appreciation for art will have no choice, after reading Schwartzlist 321, but to change their tune if not their mind. Continue reading “321 Rembrandt, Rubens, the Beau Sancy and the Jew”
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”