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.
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”
One of Europe’s greatest historical print collections is turned into an exhibition hall.
A confidently negative judgment of the original Rembrandt Research Project concerning a painting in Kassel has been reversed by the new leader of the Project. However, the arguments advanced by the Project have not been answered.
A painting that is ignored in the first three volumes of the Corpus of Rembrandt paintings has now been attributed to Rembrandt by the leader of the Rembrandt Research Project. His arguments give Schwartz reason to investigate his methods and ask what criteria should be addressed in judging the authorship of old master paintings. He first tells the story of how the painting was bought and sold since 1970.