My research paths have crossed those of Jan de Hond in various ways for twenty years now. Again and again, he has beaten me to the punch in putting his finger on vital items. A tribute to a gifted colleague. Continue reading “377 Three discoveries by Jan de Hond of which I am envious*”
Taking thankful advantage of an opportunity to honor an old and beloved friend, the brilliant David Freedberg, I wrote an essay on one of the subjects David has claimed as his own, emotion in art. It is based on my work for the exhibition Emotions: pain and pleasure in Dutch painting of the Golden Age, Haarlem, Frans Hals Museum, and the aftermaths of that show.
For Peter Hecht, who following his retirement from a celebrated professorship in art history at Utrecht University, entered the fray of interpreters of Rembrandt’s notoriously treacherous Leiden History Painting. Schwartz reviews the state of the question, especially with regard to the emotions of three of the figures, and reintroduces into the discussion a neglected piece of pertinent evidence.
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.
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.
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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”
The final scenes of two of the greatest books of the twentieth century, The trial by Frans Kafka and Catch-22 by Joseph Heller, are eerily similar. Schwartz examines this and other disturbing overlaps, including ties between him and Heller. Continue reading “331 “Kafka meets Catch-22”; Schwartz meets Heller”