During the first half of the seventeenth century, successive shahs of Persia took Dutch artists into their service. Other Dutch artists are recorded in Isfahan in other capacities. All but one – the most remarkable of them, Jan Lucasz. van Hasselt – came east with the Dutch East India Company, which had a distinctly uncomfortable feeling about having artists in its employ. All that we have left are documents and stories.
From exhib. cat. The fascination of Persia: The Persian-European dialogue in seventeenth-century art & contemporary art of Teheran, ed. Axel Langer, Zürich (Museum Rietberg) and Verlag Scheiddeger & Spiess 2013, pp. 153-167, 300-20
Download pdf (2 MB): Between court and Company
“Zwischen Hof und Handelsgesellschaft: Niederländische Künstler in Persien,” in Ausstellungskatalog Sehnsuch Persien: Austausch und Rezeption in der Kunst Persiens und Europas im 17. Jahrhundert * Gegenwartskunst aus Teheran, herausgegeben von Axel Langer, Zürich (Museum Rietberg) und Verlag Scheiddeger & Spiess 2013, S. 153-167
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The illustrations are in low resolution.
Two brothers from an English aristocratic family that was down on its luck, Anthony and Robert Sherley, found their way in 1598 to Persia, where they entered the service of Shah ‘Abbas the Great. Their scarcely believable fortunes – both became ambassadors of the shah to the kingdoms, empire and papacy of Europe – are here reviewed, especially with attention to the prints and paintings through which they displayed their Persian status.
From exhib. cat. The fascination of Persia: The Persian-European dialogue in seventeenth-century art & contemporary art of Teheran, ed. Axel Langer, Zürich (Museum Rietberg) and Verlag Scheiddeger & Spiess 2013, pp. 78-99, 294-97, 300-20
Download: The Sherleys and the Shah.compressed
“Die Sherleys und der Schah: Persien als Spielfigur in einem Schurkengambit,” in Ausstellungskatalog Sehnsucht Persien: Austausch und Rezeption in der Kunst Persiens und Europas im 17. Jahrhundert * Gegenwartskunst aus Teheran, herausgegeben von Axel Langer, Zürich (Museum Rietberg) und Verlag Scheiddeger & Spiess 2013, S. 78-99
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In October 2014 the Szépmüvészeti Múzeum in Budapest opened the large and ambitious exhibition Rembrandt and the Dutch Golden Age, with 195 displays, mainly paintings. It was accompanied by a correspondingly large, magnificently printed 606-page catalogue. Preceding the entries are five essays, one of which I wrote and which with the kind permission of the museum I make available on Schwartzlist Documents.
Gary Schwartz, “The meanings of Rembrandt,” in exhib. cat. Rembrandt and the Dutch Golden Age, Budapest (Szépmüvészeti Múzeum) 2014, pp. 36-57
On the painting of an Apocalypse that has already come and will never be really gone, by the Dutch Nazi artist Henri van de Velde.
“Oude en nieuwe wonden,” Het Financieele Dagblad, 31 January 2004, p. 25
Continue reading “202 Old and new wounds”
The Van Gogh Museum has put on display a painting by van Gogh of the plains below the ruins of the abbey of Montmajour. The museum calls it a “new discovery,” although it has known the painting for 22 years and in the past rejected its authenticity. The Van Gogh is not telling us as much as it should. Continue reading “327 Van Gogh painting newly rediscovered again”
The opening of the New Rijksmuseum prompts reflection on how Schwartz experienced the museum from the 1960s until 2003. Continue reading “325 The New Rijksmuseum and its Modern predecessor”
Impressions of museums and monuments in Hangzhou and Wūzhèn, China, in November 2011. Continue reading “324 Some new museums in the east, part 1”
Attempting to pay tribute to the supreme Frits Lugt and his Fondation Custodia and to protest the announced closing of the Institut Néerlandais with which it is joined, Schwartz sets out to describe one example of Lugt’s collecting genius and gets caught up in the subject. Read about two related drawings and a print by and after Constantijn van Renesse, the only Dutch artist of the 17th century from Schwartz’s adopted village of Maarssen. Continue reading “322 Sheer excellence”
Schwartz is a museum junkie. Wherever he travels, the art museum is his first stop. During the second half of 2011, he got to lots of new destinations, and he found new museums almost everywhere he went. This installment is about Finland, Estonia, Latvia and Belgium. In a following column it will be the turn of China. Continue reading “318 Some new museums in the west”
Prevailing opinion has it that Rembrandt drew far fewer drawings than the 1500 in the standard catalogue of Otto Benesch, and that he almost never used drawings to prepare his compositions. Schwartz posits the opposite: that Rembrandt drew far more than 1500 drawings and that it was his normal practice to use drawings – most of them now lost – in the preparation of his etchings and paintings. Continue reading “302 Did Rembrandt really not use drawings for his paintings and etchings?”