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”
“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”