305 Worlds within worlds: paintings and prints missing from the van Haecht exhibition

The first exhibition devoted (in part) to the work of the Antwerp master Guilllam (aka Willem) van Haecht is nearing its close in the Mauritshuis. Van Haecht was the object of intensive study by Schwartz for an unfinished dissertation. He lets down his hair and expresses his chagrin at being bypassed by the organizers. Supplemented by fascinating van Haecht materials wrongly omitted from the exhibition. Continue reading “305 Worlds within worlds: paintings and prints missing from the van Haecht exhibition”

303 The transparent connoisseur 2: More Rembrandt core

Although the discussion is still somewhat one-sided, Schwartz continues his attempt to correct certain misapprehensions on the part of his colleagues concerning the nature and extent of Rembrandt’s work as a draftsman. Here he compares the promise of the recent Getty exhibition with the compromise it delivers. Continue reading “303 The transparent connoisseur 2: More Rembrandt core”

302 Did Rembrandt really not use drawings for his paintings and etchings?

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?”