21 drawings with Rembrandt’s signature of which his authorship is accepted
3 drawings with signatures that might be authentic but the drawing itself not by the hand of the master
2 etchings reworked by hand and signed by Rembrandt
For an explanation of the nature of this list, see Schwartzlist 301.
Continue reading “301 1 Core list of Rembrandt drawings:
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”
The first exhibition on the Arabian peninsula of original work by Rembrandt took place in Muscat, Oman, from 19 August to 19 September 2009. Schwartz made a brief film on Rembrandt and Amsterdam to introduce the master to the Omanis. He attended the opening and the first week of the show. His impressions.
Continue reading “299 Rembrandt and I in Oman”
A country art auction in England made the front pages all over the world when 2.2 million pounds was paid for a painting that looks a lot like a Rembrandt self-portrait. Is it? Schwartz thinks it is, and supplies an analysis to explain why. At the same time, he shows how the published opinions of the Rembrandt Research Project could have led to the rejection of the painting by the experts consulted by the owner and the auction house. More like an article than a column.
Continue reading “285 The Cotswolds Rembrandt”
Two independent Dutch art historians, Michiel Roscam Abbing and Roelof van Straten, have made optimal use of the Rembrandt year to bring out some basic books on the artist as well as more popular writings. A tribute.
Continue reading “269 Advanced Rembrandt”
The idea that Rembrandt was sympathetic to Jews and Judaism is so generally accepted that it is seldom questioned critically. One of the pillars of this supposition is the identification of many portrait sitters and models as Jews. Hardly any of these can however stand up to scrutiny.
Continue reading “268 Bredius’s Jews”
A friend of Rembrandt’s wrote four poems on The hundred-guilder print. Only two of them, sweet thoughts on the goodness of Christ, are cited in the literature. The third one, a concise statement of classical Christian anti-Judaism, has been repressed in the Rembrandt literature. Schwartz insists that we acknowledge that Rembrandt shared the same attitudes toward the Jews of all his contemporaries and that he was not sympathetic to Judaism. Continue reading “252 The third poem”
The Rembrandt Year 2006 is upon us. At work on a new book on Rembrandt, Schwartz reminisces about the book he edited for the Rembrandt Year 1969. As a publishing project, Horst Gerson’s Rembrandt paintings was a great success. Such successes do not come out of the blue. Schwartz pays tribute to the man who conceived and sold the project, Willem Bloemena.
Continue reading “235 Willem Bloemena’s Great Rembrandt Book”
The papers are full of long stories on a short letter in the New England Journal of Medicine. The authors, Harvard neurobiologists, claim that his self-portraits contain certain evidence that Rembrandt was wall-eyed and that this had consequences for his artistry. Schwartz begs to differ. The scientists simply ignore a mass of material in which no such aberration is visible, and they fail to notice that similar effects as they observe in Rembrandt portraits can also be seen in self-portaits by others. Continue reading “219 Rembrandt as eyewitness”
In 1998, for an exhibition in Amsterdam and Paris, a team of art historians and archivists retraced Rembrandt’s footsteps in six walks in and around Amsterdam. Following the trajectory of Walk IV, on the Amstel River, Schwartz realizes that Rembrandt’s deepest wish was to have Holland all for himself. Continue reading “213 Walk IV”