“Saenredam, Huygens and the Utrecht bull” was Gary Schwartz’s first publication as an art historian. He looks back on how it came into being and what it meant in his life. Schwartz would like to think of the Dutch- and Flemish-speaking low countries as one culture, but circumstances keep intruding on this ideal image. Circumstances such as the lives and posterities of Peter Paul Rubens and Rembrandt van Rijn.
Schwartz looks back on his beginnings as an art historian. Grad student blues and release through new loves.
Mutual relations among Rembrandt specialists are not always as cordial as they might be. It takes understanding and diplomacy to stay on good terms with everyone in the field. In that I have not been universally successful. One colleague with whom I have always got on well, differences not aside but included, is Christopher Brown. This is more to his credit than to mine. But I admire him for much more than that. Continue reading “362 Work for a grown man”
A German art critic-editor and a German publisher have brought out one of the main ego documents of twentieth-century art in England and the US. Schwartz’s personal comments on and associations evoked by R.B. Kitaj’s outrageous Confessions of an old Jewish painter.
Continue reading “360 Kitaj lets it all hang out”
What could be a greater honor than to be appointed Ambassador of the Free Mind? That title was bestowed on Schwartz by unrivalled champions of the free mind, the Ritman family of Amsterdam.
To mark Rembrandt’s upcoming birthday, Schwartz reminisces about his beginnings in Rembrandt studies half a century ago.
With a family history in Poland and the encumbrance of the Holocaust, Schwartz cannot visit that country like a casual tourist. A professional congress brought him to Warsaw for four days, where his ignorance of his antecedents came back to oppress him. Personal, scholarly and professional feelings become crossed and confused.
Continue reading “353 Back to/from Poland”
During the same years in the middle of the first half of the seventeenth century, important collections of paintings were amassed by the stadholder of the United Provinces of the Netherlands, Frederik Hendrik, prince of Orange (1584-1647), and Cardinal Francesco Barberini (1597-1679), the nephew of Maffeo Barberini, Pope Urban VIII. The inventories of their collections were drawn up in 1632 and 1625, respectively, offering a good basis for comparison. The article deals not only with the collections, the inventories and their publication in the twentieth century, but also with the structure of the patronage networks deployed by pope and stadholder.
The article was published in honor of Marilyn Lavin, in a festschrift offered by her friends.
Medieval, Renaissance, Baroque: a cat’s cradle for Marilyn Aronberg Lavin, ed. David A. Levine and Jack Freiberg, New York (Italica Press) 2010, pp. 167-178.
Download pdf (280 kB)
On Tuesday evening, 3 February 2015, a commuter train from Grand Central Station to Westchester County and Connecticut crashed into an automobile on a crossing in Valhalla, New York. Of the more than 600 passengers in the train, six in the first car were killed in a fire caused by the crash. Among them was Walter Liedtke, a friend and colleague of Gary Schwartz. With their first exchange of letters. Continue reading “338 The young Walter Liedtke”
On the retirement of Paul Huvenne as director of the Koninklijk Museum voor Schone Kunsten Antwerpen, the museum offered him a surprise friendship album with contributions by 76 colleagues and friends, mainly art historians and artists. The theme, as I reported in the postscript to Schwartzlist 334, was Beelddenken – thinking in images. The book opens with Paul’s own definition of the word: “Beelddenken is the ability to form and develop thoughts in wordless images and to picture, express and communicate them directly. In Western culture, thinking in images is the repudiated opponent of thinking in words. This bypasses the fact that most words are image thoughts and that the most abstract concepts are easier imagined than articulated.” The engaging and dedicated young woman who thought up and edited the volume, Katharina van Cauteren, to whom the authors as well as the dedicatee are deeply indebted, asked the contributors to write brief reflections on any visual object of their choice, not necessarily a work of art. Continue reading “335 A Hebrew Bible page for Paul Huvenne”